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+The Project Gutenberg EBook of Johann Sebastian Bach by Johann Nikolaus
+Forkel and Charles Sanford Terry
+
+
+
+This eBook is for the use of anyone anywhere at no cost and with almost no
+restrictions whatsoever. You may copy it, give it away or re-use it under
+the terms of the Project Gutenberg License included with this eBook or
+online at http://www.gutenberg.org/license
+
+
+
+Title: Johann Sebastian Bach
+
+
+Author: Johann Nikolaus Forkel and Charles Sanford Terry
+
+Release Date: January 24, 2011 [Ebook #35041]
+
+Language: English
+
+Character set encoding: UTF‐8
+
+
+***START OF THE PROJECT GUTENBERG EBOOK JOHANN SEBASTIAN BACH
+***
+
+
+
+
+
+                         [Johann Sebastian Bach]
+
+  _Johann Sebastian Bach.  About 1720. (From the picture by Johann Jakob
+                  Ihle, in the Bach Museum, Eisenach)._
+
+
+
+
+
+Johann Sebastian Bach
+
+His Life, Art and Work.  Translated from the German of Johann Nikolaus
+Forkel.  With notes and appendices by Charles Sanford Terry, Litt.D.
+Cantab.
+
+
+Johann Nikolaus Forkel and Charles Sanford Terry
+
+
+
+Harcourt, Brace and Howe, New York
+1920
+
+
+
+
+
+CONTENTS
+
+
+Introduction
+FORKEL’S PREFACE
+CHAPTER I. THE FAMILY OF BACH
+Chapter II. THE CAREER OF BACH
+CHAPTER IIA. BACH AT LEIPZIG, 1723-1750
+CHAPTER III. BACH AS A CLAVIER PLAYER
+CHAPTER IV.  BACH THE ORGANIST
+CHAPTER V. BACH THE COMPOSER
+CHAPTER VI. BACH THE COMPOSER (continued)
+CHAPTER VII. BACH AS A TEACHER
+CHAPTER VIII.  PERSONAL CHARACTERISTICS
+CHAPTER IX. BACH’S COMPOSITIONS
+CHAPTER X.  BACH’S MANUSCRIPTS
+CHAPTER XI. THE GENIUS OF BACH
+APPENDIX I. CHRONOLOGICAL CATALOGUE OF BACH’S COMPOSITIONS
+APPENDIX II. THE CHURCH CANTATAS ARRANGED CHRONOLOGICALLY
+APPENDIX III.  THE BACHGESELLSCHAFT EDITIONS OF BACH’S WORKS
+APPENDIX IV. BIBLIOGRAPHY OF BACH LITERATURE
+APPENDIX V.  A COLLATION OF THE NOVELLO AND PETERS EDITIONS OF THE ORGAN
+WORKS
+APPENDIX VI. GENEALOGY OF THE FAMILY OF BACH
+Footnotes
+
+
+
+
+
+ILLUSTRATIONS
+
+
+_Johann Sebastian Bach.  About 1720. (From the picture by Johann Jakob
+Ihle, in the Bach Museum, Eisenach)._
+Bach’s Home at Eisenach
+The Church and School of St. Thomas, Leipzig, in 1723.
+Johann Sebastian Bach, circa 1746. _From the picture by Haussmann._
+Divided Harmony, Bach treatment
+Divided Harmony, conventional treatment
+The Bach Statue at Eisenach
+Johann Sebastian Bach. _From the picture discovered by Professor Fritz
+Volbach_
+The Bach Statue at Leipzig
+Genealogy Table, p. 303
+Genealogy Table, p. 304
+Genealogy Table, p. 305
+Genealogy Table, p. 306
+Genealogy Table, p. 307
+Genealogy Table, p. 308
+Genealogy Table, p. 309
+Genealogy Table, p. 310
+
+
+
+
+
+INTRODUCTION
+
+
+Johann Nikolaus Forkel, author of the monograph of which the following
+pages afford a translation, was born at Meeder, a small village in
+Saxe-Coburg, on February 22, 1749, seventeen months before the death of
+Johann Sebastian Bach, whose first biographer he became.  Presumably he
+would have followed the craft of his father, the village shoemaker, had
+not an insatiable love of music seized him in early years.  He obtained
+books, and studied them with the village schoolmaster. In particular he
+profited by the “Vollkommener Kapellmeister” of Johann Mattheson, of
+Hamburg, the sometime friend of Handel.  Like Handel, he found a derelict
+Clavier in the attic of his home and acquired proficiency upon it.
+Forkel’s professional career, like Bach’s half a century earlier, began at
+Lüneburg, where, at the age of thirteen (1762), he was admitted to the
+choir of the parish church.  Thence, at the age of seventeen (1766), he
+proceeded to Schwerin as “Chorpräfect,” and enjoyed the favour of the
+Grand Duke.  Three years later he betook himself (1769), at the age of
+twenty, to the University of Göttingen, which he entered as a law student,
+though a slender purse compelled him to give music lessons for a
+livelihood.  He used his opportunity to acquire a knowledge of modern
+languages, which stood him in good stead later, when his researches
+required him to explore foreign literatures. Concurrently he pursued his
+musical activities, and in 1774 published at Göttingen his first work,
+_Ueber die Theorie der Musik,_ advocating the foundation of a music
+lectureship in the University. Four years later (1778) he was appointed
+its Director of Music, and from 1779 to 1815 conducted the weekly concerts
+of the Sing-Akademie. In 1780 he received from the University the
+doctorate of philosophy.  The rest of his life was spent at Göttingen,
+where he died on March 17, 1818, having just completed his sixty-ninth
+year.
+
+That Forkel is remembered at all is due solely to his monograph on Bach.
+Written at a time when Bach’s greatness was realised in hardly any
+quarter, the book claimed for him pre-eminence which a tardily enlightened
+world since has conceded him.  By his generation Forkel was esteemed
+chiefly for his literary activity, critical ability, and merit as a
+composer.  His principal work, _Allgemeine Geschichte der Musik,_ was
+published in two volumes at Leipzig in 1788 and 1801.  Carl Friedrich
+Zelter, Goethe’s friend and correspondent, dismissed the book
+contemptuously as that of an author who had “set out to write a history of
+music, but came to an end just where the history of music begins.”
+Forkel’s work, in fact, breaks off at the sixteenth century. But the
+curtailed _ History_ cleared the way for the monograph on Bach, a more
+valuable contribution to the literature of music.  Forkel already had
+published, in three volumes, at Gotha in 1778, his _Musikalisch-kritische
+Bibliothek,_ and in 1792 completed his critical studies by publishing at
+Leipzig his _Allgemeine Literatur der Musik._
+
+Forkel was also a student of the music of the polyphonic school.  He
+prepared for the press the scores of a number of sixteenth century Masses,
+Motets, etc., and fortunately received proofs of them from the engraver.
+For, in 1806, after the Battle of Jena, the French impounded the plates
+and melted them down.  Forkel’s proofs are still preserved in the Berlin
+Royal Library.  He was diligent in quest of Bach’s scattered MSS., and his
+friendship with Bach’s elder sons, Carl Philipp Emmanuel and Wilhelm
+Friedemann, enabled him to secure precious relics which otherwise might
+have shared the fate of too many of Bach’s manuscripts. He took an active
+interest in the proposal of Messrs. Hoffmeister and Kühnel, predecessors
+of C. F. Peters at Leipzig, to print a “kritisch-korrecte” edition of
+Bach’s Organ and Clavier works.  Through his friend, Johann Gottfried
+Schicht, afterwards Cantor at St. Thomas’s, Leipzig, he was also
+associated with Breitkopf and Haertel’s publication of five of Bach’s six
+extant Motets in 1802-3.
+
+As a composer Forkel has long ceased to be remembered.  His works include
+two Oratorios, _ Hiskias_ (1789) and _Die Hirten bey der Krippe_; four
+Cantatas for chorus and orchestra; Clavier Concertos, and many Sonatas and
+Variations for the Harpsichord.
+
+In 1802, for reasons which he explains in his Preface, Forkel published
+from Hoffmeister and Kühnel’s “Bureau de Musique” his _Ueber Johann
+Sebastian Bachs Leben, Kunst und Kunstwerke. Für patriotische Verehrer
+echter musikalischer Kunst,_ of which a new edition was issued by Peters
+in 1856.  The original edition bears a dedication to Gottfried Baron van
+Swieten(1) (1734-1803), Prefect of the Royal Library, Vienna, and sometime
+Austrian Ambassador in Berlin, a friend of Haydn and Mozart, patron of
+Beethoven, a man whose age allowed him to have seen Bach, and whose career
+makes the association with Bach that Forkel’s dedication gives him not
+undeserved. It was he, an ardent Bach enthusiast, who introduced the
+youthful Mozart to the music of the Leipzig Cantor. “I go every Sunday at
+twelve o’clock to the Baron van Swieten,” Mozart writes in 1782, “where
+nothing is played but Handel and Bach, and I am now making a collection of
+the Fugues of Bach.”  The merit and limitations of Forkel’s book will be
+considered later.  For the moment the fact deserves emphasis that,
+inadequate as it is, it presented a fuller picture of Bach than so far had
+been drawn, and was the first to render the homage due to his genius.
+
+In an illuminating chapter (xii.), _Death and Resurrection_, Schweitzer
+has told the story of the neglect that obscured Bach’s memory after his
+death in 1750.  Isolated voices, raised here and there, acclaimed his
+genius.  With Bach’s treatise on _The Art of Fugue_ before him, Johann
+Mattheson (1681-1664), the foremost critic of the day, claimed that
+Germany was “the true home of Organ music and Fugue.”  Friedrich Wilhelm
+Marpurg (1718-95), the famous Berlin theorist, expressed the same opinion
+in his preface to the edition of that work published shortly after Bach’s
+death.  But such appreciations were rare.  Little of Bach’s music was in
+print and available for performance or critical judgment.  Even at St.
+Thomas’s, Leipzig, it suffered almost complete neglect until a generation
+after Forkel’s death. The bulk of Bach’s MSS. was divided among his
+family, and Forkel himself, with unrivalled opportunity to acquaint
+himself with the dimensions of Bach’s industry, knew little of his music
+except the Organ and Clavier compositions.
+
+In these circumstances it is not strange that Bach’s memory waited for
+more than half a century for a biographer.  Forkel, however, was not the
+first to assemble the known facts of Bach’s career or to assert his place
+in the music of Germany.
+
+Putting aside Johann Gottfried Walther’s brief epitome in his _Lexikon_
+(1732), the first and most important of the early notices of Bach was the
+obituary article, or “Nekrolog,” contributed by his son, Carl Philipp
+Emmanuel, and Johann Friedrich Agricola, one of Bach’s most distinguished
+pupils, to the fourth volume of Mizler’s _Musikalische Bibliothek,_
+published at Leipzig in 1754.  The authors of this appreciation give it an
+intimacy which renders it precious.  But Mizler’s periodical was the organ
+of a small Society, of which Bach had been a member, and outside its
+associates can have done little to extend a knowledge of the subject of
+the memoir.
+
+Johann Friedrich Agricola contributed notes on Bach to Jakob Adlung’s
+_Musica mechanica Organoedi,_ published in two volumes at Berlin in 1768.
+The article is valuable chiefly for Agricola’s exposition of Bach’s
+opinions upon Organ and Clavier building.
+
+With the intention to represent him as “the coryphaeus of all organists,”
+Johann Adam Hiller, who a few years later became Cantor at St. Thomas’s,
+Leipzig, published there in 1784 a brief account of Bach in his
+_Lebensbeschreibungen berühmter Musikgelehrten und Tonkünstler neuerer
+Zeit._
+
+Four years after Hiller’s notice, Ernst Ludwig Gerber published at
+Leipzig, in two volumes, 1790-92, his _Historisch-biographische Lexikon
+der Tonkünstler._  As in Hiller’s case, Gerber, whose father had been
+Bach’s pupil, was chiefly interested in Bach as an organist.
+
+Coincidently with Gerber, another of Bach’s pupils, Johann Martin
+Schubart, who succeeded him at Weimar in 1717, sketched his
+characteristics as a performer in the _Aesthetik der Tonkunst_, published
+at Berlin by his son in the _Deutschen Monatsschrift_ in 1793.
+
+In 1794 appeared at Leipzig the first volume of a work which Spitta
+characterises as fantastic and unreliable, so far as it deals with Bach,
+Friedrich Carl Gottlieb Hirsching’s _Historisch-literarisches Handbuch_ of
+notable persons deceased in the eighteenth century.
+
+Last of Forkel’s forerunners, A. E. L. Siebigke published at Breslau in
+1801 his _Museum deutscher Tonkünstler,_ a work which adds nothing to our
+knowledge of Bach’s life, but offers some remarks on his style.
+
+Little, if any, information of value, therefore, had been added to the
+_Nekrolog_ of 1754 when Forkel, in 1802, produced his monograph on Bach
+and his music.  Nor, viewed as a biography, does Forkel much enlarge our
+knowledge of the conditions of Bach’s life.  He had the advantage of
+knowing Bach’s elder sons, but appears to have lacked curiosity regarding
+the circumstances of Bach’s career, and to have made no endeavour to add
+to his imperfect information, even regarding his hero’s life at Leipzig,
+upon which it should have been easy for him to obtain details of utmost
+interest.  His monograph, in fact, is not a “Life” in the biographic
+sense, but a critical appreciation of Bach as player, teacher, and
+composer, based upon the Organ and Clavier works, with which alone Forkel
+was familiar.
+
+It would be little profitable to weigh the value of Forkel’s criticism.
+We are tempted to the conclusion that Bach appealed to him chiefly as a
+supreme master of technique, and our hearts would open to him more widely
+did not his appreciation of Bach march with a narrow depreciation of
+Haydn, Mozart, and Beethoven, the last of whom, he declared ex cathedra,
+had not produced “a single work which can be called a masterpiece.” Gluck
+he frankly detested.
+
+But Forkel’s monograph is notable on other grounds.  It was the first to
+claim for Bach a place among the divinities.  It used him to stimulate a
+national sense in his own people. Bach’s is the first great voice from out
+of Germany since Luther.  Of Germany’s own Kisorgimento, patently
+initiated by Goethe a generation after Johann Sebastian’s death, Bach
+himself is the harbinger.  In his assertion of a distinctive German
+musical art he set an example followed in turn by Mozart, Weber, and
+Wagner.  “With Bach,” wrote Wagner, “the German Spirit was born anew.”  It
+is Forkel’s perpetual distinction that he grasped a fact hidden from
+almost all but himself.  In his Preface, and more emphatically in the
+closing paragraph of his last Chapter, he presents Bach as the herald of a
+German nation yet unformed.
+
+It is a farther distinction of Forkel’s monograph that it made converts.
+With its publication the clouds of neglect that too long had obscured
+Bach’s grandeur began to melt away, until the dizzy altitude of his genius
+stood revealed.  The publication of the five Motets (1803) was followed by
+that of the Magnificat in 1811, and of the Mass in A in 1818.  A beginning
+was made with the Cantatas in 1821, when Breitkopf and Haertel published
+“Ein’ feste Burg” (No. 80), commended in an article written (1822) by
+Johann Friedrich Rochlitz (1769-1842), the champion of Beethoven, as now
+of Bach.  Another enthusiastic pioneer was Carl Friedrich Zelter
+(1758-1832), conductor of the Berlin Sing-Akademie, who called Bach “a
+sign of God, clear, yet inexplicable.” To him in large measure was due the
+memorable revival of the _St. Matthew Passion_ at Berlin, which the
+youthful Mendelssohn, Zelter’s pupil, conducted in March 1829, exactly one
+hundred years after the first production of the mighty work at Leipzig.
+In the following years it was given at Dresden and many other German
+towns. Leipzig heard it again after a barren interval in 1841, and did
+tardy homage to its incomparable composer by erecting (1843) the statue
+that stands in the shadow of St. Thomas’s Church, hard by the Cantor’s
+home for a quarter of a century.
+
+Meanwhile, in 1830 and 1831 the _St. Matthew Passion_ and _St. John
+Passion_ had been engraved, and by 1845 the B minor Mass was in print.
+The credit of having revived it belongs to Johann Nepomuk Schelble
+(1789-1837), conductor of the Frankfort Caecilienverein, though the Berlin
+Sing-Akademie was the first to give a performance, considerably curtailed,
+of the whole work in 1835. A little later, in the middle of the forties,
+Peters began to issue his “kritisch-korrecte” edition of the Organ works,
+which at length made Bach widely known among organists.  But the
+publication of the Cantatas proceeded slowly.  Only fourteen of them were
+in print in 1850, when the foundation of the Bachgesellschaft, on the
+centenary of Bach’s death, focused a world-wide homage. When it dissolved
+in 1900 its mission was accomplished, the entire works(2) of Bach were
+published, and the vast range of his genius was patent to the world.
+
+It remains to discuss the first English version of Forkel’s monograph,
+published in 1820, with the following title-page:
+
+
+    LIFE OF JOHN SEBASTIAN BACH; with a Critical View of his
+    Compositions. By J. N. Forkel, Author of The Complete History of
+    Music, etc., etc. Translated from the German.  London: Printed for
+    T. Boosey and Co., Holles-Street, Cavendish-Square. 1820.
+
+
+The book was published in February 1820; it was announced, with a slightly
+differently worded title-page, in the _New Monthly Magazine and Universal
+Register_ for March 1820 (p. 341), and the _Scots Magazine_ for the same
+month ( vol. lxxxv. p. 263).  The _New Monthly_ states the price as 5s.,
+the _Quarterly Review_ (vol. xxiii. p. 281) as 6s.  The book contains
+xi+116+3 pages of Music Figures, crown octavo, bound in dark unlettered
+cloth.  It has neither Introduction, notes (other than Forkel’s), nor
+indication of the translator’s identity.  Much of the translation is so
+bad as to suggest grave doubts of the translator’s comprehension of the
+German original; while his rendering of Forkel’s critical chapters rouses
+a strong suspicion that he also lacked technical equipment adequate to his
+task.  It is, in fact, difficult to understand how such an unsatisfactory
+piece of work found its way into print.
+
+The character of the 1820 translation has a close bearing upon its
+authorship.  In the article on Bach in the new _Grove_ it is attributed to
+Samuel Wesley (1766-1837), an attractive suggestion, since Wesley was as
+enthusiastic a Bach pioneer in this country as Forkel himself was in
+Germany. But the statement is not correct.  In Samuel Wesley’s _Letters to
+Mr. Jacobs relating to the Introduction into this Country of the Works of
+J. S. Bach_ (London, 1875) we find the clue.  On October 17, 1808, Wesley
+writes: “We are (in the first place) preparing for the Press an authentic
+and accurate Life of Sebastian, which Mr. Stephenson the Banker (a most
+zealous and scientific member of our Fraternity) has translated into
+English from the German of Forkel.”
+
+Unfortunately, it is impossible to identify Stephenson precisely, or to
+detect his activities in the musical circle in which Wesley includes him.
+In 1820 there was in Lombard Street a firm of bankers under the style of
+“Remington, Stephenson, Remington, and Toulmin,” the active partner being
+Mr. Rowland Stephenson, a man of about forty in that year.  The firm was
+wound up in bankruptcy in 1829, Stephenson having absconded to America the
+previous year.  He appears to have been the only banker of that name
+holding such a recognised position as Wesley attributes to him, though it
+remains no more than a conjecture that he was the author of the
+translation issued in 1820.(3) But whoever “Stephenson the Banker” may
+have been, the poverty of his work fails to support Wesley’s commendation
+of his “scientific” equipment, and suggests that his purse rather than his
+talents were serviceable to Wesley’s missionary campaign.
+
+For the facts of Bach’s life, and as a record of his artistic activities,
+Forkel admittedly is inadequate and often misleading.  Stephenson
+necessarily was without information to enable him to correct or supplement
+his author.  Recent research, and particularly the classic volumes of
+Spitta and Schweitzer, have placed the present generation in a more
+instructed and therefore responsible position.  The following pages,
+accordingly, have been annotated copiously in order to bring Forkel into
+line with modern scholarship. His own infrequent notes are invariably
+indicated by a prefixed asterisk.  It has been thought advisable to write
+an addendum to Chapter II. in order to supplement Forkel at the weakest
+point of his narrative.
+
+Readers of Spitta’s first volume probably will remember the effort to
+follow the ramifications of the Bach pedigree unaided by a genealogical
+Table.  It is unfortunate that Spitta did not set out in that form the
+wealth of biographical material his pages contain.  To supply the
+deficiency, and to illustrate Forkel’s first Chapter, a complete
+Genealogical Table is provided in Appendix VI., based mainly upon the
+biographical details scattered over Spitta’s pages.
+
+In Chapter IX. Forkel gives a list of Bach’s compositions known to him.
+It is, necessarily, incomplete.  For that reason Appendices I. and II.
+provide a full catalogue of Bach’s works arranged under the periods of his
+career.  In the case of the Oratorios, Cantatas, Motets, and “Passions,”
+it is not difficult to distribute them upon a chronological basis.  The
+Clavier works also can be dated with some approximation to closeness.  The
+effort is more speculative in the case of the Organ music.
+
+In his Preface Forkel suggests the institution of a Society for the
+publication and study of Bach’s works.  The proposal was adopted after
+half a century’s interval, and in Appendix III. will be found a complete
+and detailed catalogue of the publications of the Old and New
+Bachgesellschaft from 1850 to 1918 inclusive.  The Society’s issues for
+1915-18 have not yet reached this country. The present writer had an
+opportunity to examine them in the Library of the Cologne Conservatorium
+of Music in the spring of this year.
+
+In this Introduction will be found a list of works bearing on Bach, which
+preceded Forkel’s monograph.  Appendix IV. provides a bibliography of Bach
+literature published subsequently to it.
+
+Grateful acknowledgment is made to Mr. Ivor Atkins, of Worcester
+Cathedral, and to Mr. W. G. Whittaker, of Newcastle-upon-Tyne, who have
+read these pages in proof, and improved them by their criticism.
+
+                                                                  C. S. T.
+October 1, 1919.
+
+
+
+
+
+FORKEL’S PREFACE
+
+
+Many years ago I determined to give the public an account of the life of
+Johann Sebastian Bach, with some reflections upon his genius and his
+works.  The brief article by Carl Philipp Emmanuel Bach(4) and Herr
+Agricola,(5) formerly composer to the Court of Prussia, contributed to the
+fourth volume of Mizler’s _Musical Library,_(6) can hardly be deemed
+adequate by Bach’s admirers and, but for the desire to complete my
+_General History of Music,_(7) I should have fulfilled my purpose long
+ago.  As Bach, more than any other artist, represents an era in the
+history of music, it was my intention to devote to the concluding volume
+of that work the materials I had collected for a history of his career.
+But the announcement that Messrs. Hoffmeister and Kühnel, the Leipzig
+music-sellers and publishers, propose to issue a complete and critical
+edition of Bach’s works has induced me to change my original plan.(8)
+
+Messrs. Hoffmeister and Künel’s project promises at once to advance the
+art of music and enhance the honour of the German name.  For Bach’s works
+are a priceless national patrimony; no other nation possesses a treasure
+comparable to it.  Their publication in an authoritative text will be a
+national service and raise an imperishable monument to the composer
+himself.  All who hold Germany dear are bound in honour to promote the
+undertaking to the utmost of their power.  I deem it a duty to remind the
+public of this obligation and to kindle interest in it in every true
+German heart.  To that end these pages appear earlier than my original
+plan proposed; for they will enable me to reach a larger number of my
+fellow countrymen.  The section on Bach in my _History of Music_ probably
+would have been read by a handful of experts or musical artists.  Here I
+hope to speak to a larger audience. For, let me repeat, not merely the
+interests of music but our national honour are concerned to rescue from
+oblivion the memory of one of Germany’s greatest sons.
+
+One of the best and most effective means of popularising musical
+masterpieces is to perform them in public.  In that way works of merit
+secure a widening audience.  People listen to them with pleasure in the
+concert room, church, or theatre, remember the agreeable impression they
+created, and purchase them when published, even though they cannot always
+play them.  But Bach’s works unfortunately are rarely heard nowadays; for
+the number of persons capable of playing them adequately is at best
+inconsiderable. It would have been otherwise had Bach given touring
+performances of his music,(9) a labour for which he had neither time nor
+liking. Many of his pupils did so, and though their skill was inferior to
+their master’s, the admiration and astonishment they excited revealed the
+grandeur of his compositions.  Here and there, too, were found persons who
+desired to hear on their own instrument pieces which the performer had
+played best or gave them most pleasure. They could do so more easily for
+having heard how the piece ought to sound.
+
+But, to awaken a wide appreciation of musical masterpieces depends upon
+the existence of good teachers.  The want of them is our chief difficulty.
+In order to safeguard their credit, the ignorant and incompetent of their
+number are disposed to decry good music, lest they should be asked to play
+it.  Consequently, their pupils, condemned to spend time, labour, and
+money on second-rate material, will not after half a dozen years, perhaps,
+show themselves farther advanced in sound musical appreciation than they
+were at the outset.  Whereas, under a good teacher, half the time, labour,
+and money produces progressive improvement.  Time will show whether this
+obstacle can be surmounted by making Bach’s works accessible in the music
+shops and by forming a Society among the admirers of his genius to make
+them known and promote their study.(10)
+
+At any rate, if music is really an art, and not a mere pastime, its
+masterpieces must be more widely known and performed than in fact they
+are.  And here Bach, prince of classic composers, can render yeoman
+service.(11) For his music is so well calculated to educate the student to
+distinguish what is trivial from what is good, and to comport himself as
+an artist in whatever branch of the art he makes his own.  Moreover, Bach,
+whose influence pervades every musical form, can be relied on more than
+any other composer to correct the superficiality which is the bane of
+modern taste.  Neglect of the classics is as prejudicial to the art of
+music as it would be fatal to the interests of general culture to banish
+Greek and Latin writers from our schools.  Modern taste exhibits no shame
+in its preference for agreeable trifles, in its neglect of everything that
+makes a demand, however slight, upon its attention.  To-day we are menaced
+by a proposal to banish the classics from our schoolrooms. Equally
+short-sighted vision threatens to extinguish our musical classics as well.
+And is it surprising?  Modern art displays such poverty and frivolity that
+it well may shrink from putting itself in context with great literature,
+particularly with Bach’s mighty and creative genius, and seek rather to
+proscribe it.
+
+I fain would do justice to the sublime genius of this prince of musicians,
+German and foreign! Short of being such a man as he was, dwarfing all
+other musicians from the height of his superiority, I can conceive no
+greater distinction than the power to comprehend and interpret him to
+others.(12) The ability to do so must at least connote a temperament not
+wholly alien from his own. It may even hint the flattering prospect that,
+if circumstances had opened up the same career, similar results might have
+been forthcoming.  I am not presumptuous to suggest such a result in my
+own case.  On the contrary I am convinced that there are no words adequate
+to express the thoughts Bach’s transcendent genius stirs one to utter.
+The more intimately we are acquainted with it the greater must be our
+admiration.  Our utmost eulogy, our deepest expressions of homage, must
+seem little more than well-meant prattle. No one who is familiar with the
+work of other centuries will contradict or hold my statement exaggerated,
+that Bach cannot be named except in tones of rapture, and even of devout
+awe, by those who have learnt to know him.  We may discover and lay bare
+the secrets of his technique. But his power to inspire into it the breath
+of genius, the perfection of life and charm that moves us so powerfully,
+even in his slightest works, must always remain extraordinary and
+insoluble.
+
+I do not choose to compare Bach with other artists.  Whoever is interested
+to measure him with Handel will find a just and balanced estimate of their
+relative merits, written by one fully informed for the task, in the first
+number of the eighty-first volume of the _Universal German Library,_ pages
+295-303.(13)
+
+So far as it is not derived from the short article in Mizler’s _Library_
+already mentioned,(14) I am indebted for my information to the two eldest
+sons of Bach himself.(15) Not only was I personally acquainted with them,
+but I corresponded regularly for many years with both,(16) particularly
+Carl Philipp Emmanuel.  The world knows them as great artists.  But
+probably it is not aware that to the last moment of their lives they spoke
+of their father’s genius with enthusiastic admiration.(17) From my early
+youth I have been inspired by an appreciation no less deep than theirs. It
+was a frequent theme of conversation and correspondence between us.
+
+Thus, having been in a position to inform myself on all matters relating
+to Bach’s life, genius, and work, I may fairly hold myself competent to
+communicate to the public what I have learnt and to offer useful
+reflections upon it.  I take advantage of my opportunity the more readily
+because it permits me to draw attention to an enterprise(18) that promises
+to provide a worthy monument to German art, a gallery of most instructive
+models to the sincere artist, and to afford music lovers an inexhaustible
+source of sublimest pleasure.
+
+
+
+
+
+
+CHAPTER I. THE FAMILY OF BACH
+
+
+If there is such a thing as inherited aptitude for art it certainly showed
+itself in the family of Bach. For six successive generations scarcely two
+or three of its members are found whom nature had not endowed with
+remarkable musical talent, and who did not make music their
+profession.(19)
+
+Veit Bach,(20) ancestor of this famous family, gained a livelihood as a
+baker at Pressburg in Hungary.  When the religious troubles of the
+sixteenth century broke out he was driven to seek another place of abode,
+and having got together as much of his small property as he could, retired
+with it to Thuringia, hoping to find peace and security there.  He settled
+at Wechmar, a village near Gotha,(21) where he continued to ply his trade
+as a baker and miller.(22) In his leisure hours he was wont to amuse
+himself with the lute,(23) playing it amid the noise and clatter of the
+mill.  His taste for music descended to his two sons(24) and their
+children, and in time the Bachs grew to be a very numerous family of
+professional musicians, Cantors, Organists, and Town Musicians,(25)
+throughout  Thuringia.
+
+Not all the Bachs, however, were great musicians. But every generation
+boasted some of them who were more than usually distinguished.  In the
+first quarter of the seventeenth century three of Veit Bach’s
+grandchildren showed such exceptional talent that the Count of
+Schwarzburg-Arnstadt thought it worth while to send them at his expense to
+Italy, then the chief school of music, to perfect themselves in the
+art.(26)
+
+We do not know whether they rewarded the expectations of their patron, for
+none of their works has survived. The fourth generation(27) of the family
+produced musicians of exceptional distinction, and several of their
+compositions, thanks to Johann Sebastian Bach’s regard for them, have come
+down to us. The most notable of these Bachs are:
+
+   1. Johann Christoph Bach, Court and Town Organist at Eisenach.(28) He
+      was particularly happy in his beautiful melodies and in setting
+      words to music. In the _Archives of the Bachs,_(29) which was in
+      Carl Philipp Emmanuel’s possession at Hamburg, there is a Motet by
+      Johann Christoph in which he boldly uses the augmented sixth, a
+      proceeding considered extremely daring in his day.(30) He was also
+      an uncommon master of harmony, as may be inferred from a Cantata
+      composed by him for Michaelmas, to the words “Es erhub sich ein
+      Streit,” etc., which has twenty-two obbligato parts in correct
+      harmony.(31) Yet another proof of his rare skill is in the alleged
+      fact that he never played the Organ or Clavier in less than five
+      parts.(32) Carl Philipp Emmanuel had a particularly warm regard for
+      him.(33) I remember the old man playing some of his compositions to
+      me on the Clavier at Hamburg, and how quizzically he looked at me
+      when one of these daring passages occurred.(34)
+   2. Johann Michael Bach, Organist and Town Clerk at Gehren.(35) He was
+      the younger brother of Johann Christoph, and like him, a
+      particularly good composer.  The Archives already mentioned(36)
+      contain several of his Motets, including one for eight voices in
+      double chorus,(37) and many compositions for Church use.
+   3. Johann Bernhard Bach, Musician in the Prince’s Kapelle and Organist
+      at Eisenach.(38)He is said to have composed remarkably fine Suites,
+      or Overtures, in the French style.(39)
+
+Besides these three men, the Bachs boasted several able composers in the
+generations preceding Johann Sebastian,(40) men who undoubtedly would have
+obtained higher positions, wider reputation, and more brilliant fortune if
+they could have torn themselves from their native Thuringia to display
+their gifts elsewhere in Germany or abroad. But none of the Bachs seems to
+have felt an inclination to migrate. Modest in their needs, frugal by
+nature and training, they were content with little, engrossed in and
+satisfied by their art, and wholly indifferent to the decorations which
+great men of that time were wont to bestow on artists as special marks of
+honour. The fact that others who appreciated them were thus distinguished
+did not rouse the slightest envy in the Bachs.
+
+The Bachs not only displayed a happy contentedness, indispensable for the
+cheery enjoyment of life, but exhibited a clannish attachment to each
+other.  They could not all live in the same locality.  But it was their
+habit to meet once a year at a time and place arranged beforehand.  These
+gatherings generally took place at Erfurt, Eisenach, and sometimes at
+Arnstadt.  Even after the family had grown very large, and many of its
+members had left Thuringia to settle in Upper and Lower Saxony and
+Franconia, the Bachs continued their annual meetings.  On these occasions
+music was their sole recreation.  As those present were either Cantors,
+Organists, or Town Musicians, employed in the service of the Church and
+accustomed to preface the day’s work with prayer, their first act was to
+sing a Hymn.  Having fulfilled their religious duty, they spent the rest
+of the time in frivolous recreations.  Best of all they liked to
+extemporise a chorus out of popular songs, comic or jocular, weaving them
+into a harmonious whole while declaiming the words of each. They called
+this hotch-potch a “Quodlibet,” laughed uproariously at it, and roused
+equally hearty and irrepressible laughter in their audience.(41) It is
+suggested that German Comic Opera has its origin in these trifles.  But
+the “Quodlibet” was a familiar institution in Germany at a much earlier
+period.  I possess a collection of them printed and published at Vienna in
+1542.(42)
+
+But these light-hearted Thuringians, and even those of their family who
+treated their art more seriously and worthily, would not have escaped
+oblivion had there not emerged in the fulness of time one whose genius and
+renown reflected their splendour and brilliancy on his forbears.  This
+man, the glory of his family, pride of his countrymen, most gifted
+favourite of the Muse of Music, was Johann Sebastian Bach.
+
+                        [Bach’s Home at Eisenach]
+
+                         Bach’s Home at Eisenach
+
+
+
+
+
+CHAPTER II. THE CAREER OF BACH
+
+
+Johann Sebastian Bach was born on March 21, 1685,(43) at Eisenach, where
+his father, Johann Ambrosius Bach, was Court and Town Musician.(44) Johann
+Ambrosius had a twin brother, Johann Christoph, Musician to the Court and
+Town of Arnstadt,(45) who so exactly resembled him that even their wives
+could distinguish them only by their dress.  The twins appear to have been
+quite remarkable.  They were deeply attached, alike in disposition, in
+voice, and in the style of their music.  If one was ill, so was the other.
+They died within a short time of each other, and were objects of wondering
+interest to all who knew them.(46)
+
+In 1695, when Johann Sebastian was not quite ten years old, his father
+died. He lost his mother at an earlier period.(47) So, being left an
+orphan, he became dependent on his eldest brother, Johann Christoph,
+Organist at Ohrdruf,(48) from whom he received his earliest lessons on the
+Clavier.(49) His inclination and talent for music must already have been
+pronounced.  For his brother no sooner had given him one piece to learn
+than the boy was demanding another more difficult.  The most renowned
+Clavier composers of that day were Froberger,(50) Fischer,(51) Johann
+Caspar Kerl,(52) Pachelbel,(53) Buxtehude,(54) Bruhns,(55) and Böhm.(56)
+Johann Christoph possessed a book containing several pieces by these
+masters, and Bach begged earnestly for it, but without effect.  Refusal
+increasing his determination, he laid his plans to get the book without
+his brother’s knowledge.  It was kept on a book-shelf which had a latticed
+front.  Bach’s hands were small.  Inserting them, he got hold of the book,
+rolled it up, and drew it out.  As he was not allowed a candle, he could
+only copy it on moonlight nights, and it was six months before he finished
+his heavy task.  As soon as it was completed he looked forward to using in
+secret a treasure won by so much labour.  But his brother found the copy
+and took it from him without pity, nor did Bach recover it until his
+brother’s death soon after.(57)
+
+Being once more left destitute,(58) Johann Sebastian set out for Lüneburg
+with one of his Ohrdruf schoolfellows, named Erdmann(59) (afterwards
+Russian Resident at Danzig), and entered the choir of St. Michael’s
+Convent.  His fine treble voice procured him a fair livelihood. But
+unfortunately he soon lost it and did not at once develop another. (60)
+
+Meanwhile his ambition to play the Organ and Clavier remained as keen as
+ever, and impelled him to hear and practise everything that promised him
+improvement.  For that purpose, while he was at Lüeburg, he several times
+travelled to Hamburg to hear the famous organist,(61) Johann Adam
+Reinken.(62) Often, too, he walked to Celle to hear the Duke’s French band
+play French music, which was a novelty in those parts.(63)
+
+The date and circumstances of his removal from Lüneburg to Weimar are not
+precisely known.(64) He certainly became Court Musician there in 1703,
+when he was just over eighteen years of age.(65) But in the following year
+he gave up the post on his appointment as Organist to the new Church at
+Arnstadt, probably desiring to develop his taste for the Organ and
+realising that he would have better opportunities to do so at Arnstadt
+than at Weimar, where he was engaged simply to play the Violin.(66) At
+Arnstadt he set himself assiduously to study the works of the celebrated
+organists of the period, so far as his modest means permitted him, and in
+order to improve himself in composition(67) and Organ playing,(68) walked
+the whole way to Lübeck to hear Dietrich Buxtehude, Organist of St. Mary’s
+Church in that city, with whose compositions he was acquainted already. He
+remained there about three months,(69) listening to the celebrated
+Organist, but without making himself known to him, and returned to
+Arnstadt with his experience much increased.
+
+Bach’s zeal and persevering diligence had already drawn attention to him,
+as is evident from the fact that he received in succession several offers
+of vacant organistships, one of which, at the Church of St. Blasius,
+Mühlhausen, he accepted in 1707.(70) Barely a year after he entered upon
+his duties there(71) he again visited Weimar and played to the Duke, who
+was so pleased with his performance that he offered him the post of Court
+Organist, which he accepted.(72) Weimar promised him a particularly
+agreeable atmosphere in which to cultivate his genius.(73) He applied
+himself closely to his work, and probably at this period achieved the
+mastery of the Organ that he ever afterwards possessed.  At Weimar also he
+wrote his great compositions for that instrument.(74) In 1717(75) the Duke
+appointed him Concertmeister, a post which gave him further opportunity to
+develop his art, since it required him to compose and direct Church music.
+
+It was about this time that Zachau, Handel’s master, died at Halle, where
+he was Organist.(76) Bach, who by now had acquired a great reputation, was
+invited to succeed him.(77) He visited Halle and composed a work as a
+specimen of his skill But for some reason unknown he did not obtain the
+post.  It was given to a clever pupil of Zachau, named Kirchhoff.(78)
+
+Johann Sebastian was now thirty-two years old. He had made good use of his
+opportunities, had studied hard as a player and composer, and by tireless
+enthusiasm had so completely mastered every branch of his art, that he
+towered like a giant above his contemporaries. Both amateurs and
+professional musicians already regarded him with admiration when, in 1717,
+Marchand, the French virtuoso, a celebrated Clavier and Organ player,
+visited Dresden.  He played before the King-Elector(79) and won such
+approbation that he was offered a large salary to enter His Majesty’s
+service.(80) Marchand’s chief merit was his finished technique.  Like
+Couperin,(81) his musical ideas were weak to the point of banality, as we
+may judge from his compositions.(82) Bach was an equally finished player,
+and so rich in ideas that Marchand’s head would have swollen had he been
+equally gifted.  Volumier, Concertmeister at Dresden,(83) was aware of
+these circumstances, and knowing that the young German had his instrument
+and his imagination under the fullest control, determined to arrange a
+contest between the two men in order to give his sovereign the
+satisfaction of judging their merits.  With the King’s approbation, a
+message was dispatched to Bach at Weimar(84) inviting him to a contest
+with Marchand.  Bach accepted the invitation and set out at once on his
+journey.  Upon his arrival at Dresden Volumier procured him an opportunity
+to hear Marchand secretly.  Far from being discouraged by what he heard,
+Bach wrote a polite note to the French artist challenging him to a trial
+of skill, and offering to play at sight anything Marchand put before him,
+provided the Frenchman submitted himself to a similar test.  Marchand
+accepted the challenge, a time and place for the contest were fixed, and
+the King gave his approval.  At the appointed hour a large and
+distinguished company assembled in the house of Marshal Count
+Flemming.(85) Bach arrived punctually; Marchand did not appear.  After
+considerable delay he was sought at his lodging, when it was discovered,
+to the astonishment of all, that he had left Dresden that morning without
+taking leave of anybody.  Bach therefore performed alone, and excited the
+admiration of all who heard him, though Volumier was cheated of his
+intention to exhibit the inferiority of French to German art.  Bach was
+overwhelmed with congratulations; but the dishonesty of a Court official
+is said to have intercepted a present of one hundred louis d’or sent to
+him by the King.(86)
+
+Bach had not long returned to Weimar when Prince Leopold of Anhalt-Cöthen,
+a good judge of music and a first-rate amateur,(87) offered him the post
+of Kapellmeister.  He entered at once upon his new office(88) and held it
+for about six years.(89) At this period, about 1722,(90) he visited
+Hamburg, played the Organ there, and excited general admiration.  The
+veteran Reinken—he was nearly one hundred years old—was particularly
+impressed by Bach’s performance.  After he had treated the Choral _An
+Wasserflüssen Babylon_ for half an hour in variation after variation in
+the true Organ style,(91) Reinken paid him the compliment of saying, “I
+thought this art was dead, but I see that it survives in you.”  Reinken
+had treated the same Choral in a similar manner some years before and had
+had his work engraved, showing that he thought highly of it.  His praise
+therefore was particularly flattering to Bach.(92)
+
+On the death of Kuhnau in 1723(93) Bach was appointed Director of Music
+and Cantor to St. Thomas’ School, Leipzig,(94) a position which he
+occupied until his death.  Prince Leopold of Anhalt-Cöthen had great
+regard for him and Bach left his service with regret.(95) But he saw the
+finger of Providence in the event; for the Prince died shortly
+afterwards.(96) The loss of his patron affected him deeply, and moved him
+to compose a funeral Cantata containing remarkably fine double choruses
+which he himself conducted at Cöthen.(97) While he was at St. Thomas’ he
+was appointed honorary Kapellmeister to the Duke of Weissenfels(98) and,
+in the following year (1736), received the title of Court Composer to the
+King-Elector of Poland-Saxony.(99) The two compliments are not of great
+consequence, and the second was to some degree corollary to Bach’s
+position as Cantor of St. Thomas’ School.(100)
+
+Carl Philipp Emmanuel, Bach’s second son, entered the service of Frederick
+the Great of Prussia in 1740.  So widely was Bach’s skill recognised by
+this time that the King, who often heard him praised, was curious to meet
+so great an artist.  More than once he hinted to Carl Philipp Emmanuel
+that it would be agreeable to welcome his father to Potsdam, and as Bach
+did not appear, desired to know the reason.  Carl Philipp did not fail to
+acquaint his father with the King’s interest.  But for some time Bach was
+too occupied with his duties to accede to the invitation.  However, as
+Carl Philipp continued to urge him, he set out for Potsdam towards the end
+of 1747, in company with his eldest son, Wilhelm Friedemann.(101) It was
+the King’s custom to hold a private concert every evening, and to take
+part on the flute in a Concerto or two. One evening,(102) when he had got
+out his flute and the musicians were at their desks, an official brought
+him a list of the strangers newly arrived at Potsdam.  Flute in hand the
+King ran through the names, and suddenly turning to the waiting musicians,
+said with considerable excitement, “Gentlemen, Old Bach has arrived.”  The
+flute was put away for the evening, and Bach, who had alighted at his
+son’s lodging, was summoned immediately to the Palace.  Wilhelm
+Friedemann, who accompanied his father, often told me the story.  Nor am I
+likely to forget the racy manner in which he related it.  The courtesy of
+those days demanded rather prolix compliments, and the first introduction
+of Bach to so illustrious a monarch, into whose presence he had hurried
+without being allowed time to change his travelling dress for a Cantor’s
+black gown, obviously invited ceremonial speeches on both sides.  I will
+not dwell on them; Wilhelm Friedemann related a lengthy and formal
+conversation between the King and the Cantor.(103)
+
+More worthy of record is the fact that the King gave up his concert for
+that evening and invited Bach, already known as “Old Bach,” to try the
+Silbermann pianofortes(104) which stood in various parts of the
+Palace.(105) Accompanied from room to room by the King and the musicians,
+Bach tried the instruments and improvised upon them before his illustrious
+companion.  After some time he asked the King to give him a subject for a
+Fugue, that he might treat it extempore.  The King did so, and expressed
+his astonishment at Bach’s profound skill in developing it.  Anxious to
+see to what lengths the art could be carried, the King desired Bach to
+improvise a six-part Fugue.  But as every subject is not suitable for
+polyphonic treatment, Bach himself chose a theme and, to the astonishment
+of all who were present, developed it with the skill and distinction he
+had shown in treating the King’s subject.  His Majesty expressed a wish to
+hear him on the Organ also. Accordingly, next day, Bach inspected all the
+Organs in Potsdam,(106) as the evening before he had tried the Silbermann
+pianofortes. On his return to Leipzig he developed the King’s theme in
+three and six parts, added Canones diversi upon it, engraved the whole
+under the title _Musikalisches Opfer_ and dedicated it to the royal author
+of the theme.(107)
+
+His visit to Potsdam was Bach’s last journey.  The indefatigable diligence
+he had shown all his life, and particularly in his younger years, when
+successive days and nights were given to study, seriously affected his
+eye-sight.  The weakness grew with age and became very distressing in
+character.  On the advice of friends who placed great confidence in the
+skill of a London oculist lately come to Leipzig,(108) Bach submitted to
+an operation, which twice failed.  He lost his sight completely in
+consequence, and his hitherto vigorous constitution was undermined by the
+drugs administered to him.  He sank gradually for full half a year, and
+expired on the evening of July 30, 1760, in the sixty-sixth year of his
+age.(109) Ten days before his death(110) he was suddenly able to see again
+and to bear the light.  A few hours later he was seized by an apoplexy and
+inflammatory fever, and notwithstanding all possible medical aid, his
+weakened frame succumbed to the attack.
+
+Such was the career of this remarkable man.  I will only add that he was
+twice married, and that he had by his first wife seven, and by his second
+wife thirteen children; in all, eleven sons and nine daughters.(111) All
+of his sons had an admirable talent for music, but only the elder ones
+fully developed it.(112)
+
+         [The Church and School of St. Thomas, Leipzig, in 1723.]
+
+          The Church and School of St. Thomas, Leipzig, in 1723.
+
+
+
+
+
+CHAPTER IIA.(113) BACH AT LEIPZIG, 1723-1750
+
+
+Bach was inducted into his office as Cantor of St. Thomas’ School at nine
+o’clock on the morning of Monday, May 31, 1723.  He died in his official
+residence there at a quarter to nine on the evening of Tuesday, July 28,
+1750.  He was buried early on the morning of Friday, July 31, in the
+churchyard of St. John’s, Leipzig.
+
+The announcement of his death, made from the pulpit of St. Thomas’ on the
+day of his funeral, described him as “Court Composer to His Majesty the
+King of Poland and Electoral and Serene Highness of Saxony, Kapellmeister
+to His Highness the Prince of Anhalt-Cothen, and Cantor to St. Thomas’
+School of this town.”  Bach usually designated himself “Director Chori
+Musici Lipsiensis,” or shortly, “Director Musices.”  Circumstances led him
+to emphasise a title which asserted a musical prerogative not confined to
+the School and the churches it served.
+
+The Cantor of St. Thomas’ was charged formerly with the musical direction
+of four Leipzig churches: St. Thomas’, St. Nicolas’, St. Peter’s, and the
+New Church.  He was also responsible for the music in the University
+Church of St. Paul, the so-called “old service,” held originally on the
+Festivals of Easter, Whit, Christmas, and the Reformation, and once during
+each University quarter. On high days music also had to be provided at St.
+John’s Church.
+
+Bach, as Cantor, succeeded to a more restricted responsibility, which
+dated from the early years of the eighteenth century.  The New Church,
+originally the Church of the Franciscans, had been restored to use in
+1699.  In 1704 Georg Philipp Telemann, who came to Leipzig as a law
+student three years before, was appointed Organist there. He also founded
+the Collegium Musicum, or University Musical Society, a farther slight
+upon the Cantor’s position.  Not until 1729 did the Society pass under
+Bach’s direction and its members become available as auxiliaries in the
+church choirs under his charge.  Notwithstanding that Bach’s predecessor
+Kuhnau had protested against Telemann’s independence, the direction of the
+New Church’s music passed out of the Cantor’s control, though the School
+continued to provide the choristers.  Six years later the University
+Church of St. Paul also began an independent course.  In 1710 the
+authorities resolved to hold a University service in the church every
+Sunday. Kuhnau asserted his prerogative as Cantor. But he was only able to
+maintain it by offering to provide the music for the “new service” as well
+as for the “old service” at the fee of twelve thalers which the University
+so far had paid for the latter.  After his death the University appointed
+(April 3, 1723) Johann Gottlieb Görner, already Organist of St. Nicolas’
+since 1721, to control the music both of the “old” and “new” services, for
+which the University provided the choir.  Not until after a direct appeal
+to the King did Bach succeed, in 1726, in compelling the University to
+restore to the Cantor his emoluments in regard to the “old service,” the
+conduct of which had been restored to him on his appointment as Cantor.
+The “new service” remained under Görner’s direction.  As to St. Peter’s,
+its services, which had entirely ceased, were revived in 1711. The music,
+however, was simple, and consisted only of hymns.
+
+Thus Bach, as Cantor, was responsible for the music in the two principal
+churches, St. Thomas’ and St. Nicolas’.  The School also provided the
+choir for St. Peter’s and the New Church.  The junior and least competent
+singers sang at St. Peter’s.  The rest were pretty equally distributed
+between the other three churches.  At the New Church the music was
+performed under the direction of a Chorpräfect.  At St. Thomas’ and St.
+Nicolas’ Bach personally directed the concerted music.  On ordinary
+Sundays a Cantata or Motet was performed in each church alternately.  At
+the great Festivals, New Year, Epiphany, Ascension Day, Trinity Sunday,
+and the Annunciation, Cantatas were sung at both churches, the two choirs
+singing at Vespers in the second church the Cantata performed by them in
+the morning at the other church.  On these occasions the second choir was
+conducted by a Chorpräfect. The principal Sunday service in both churches
+began at seven in the morning, ended at eleven, and observed the following
+order:
+
+      1. Organ Prelude.
+      2. Motet, related to the Gospel for the Day; (omitted in Lent and
+      replaced by the Benedictus).
+      3. Introit.
+      4. Kyrie, sung alternately, in German and Latin.
+      5. The Lord’s Prayer, intoned at the altar.
+      6. Gloria, intoned at the altar and answered either by the Choir’s
+      Et in terra pax hominibus, or by the congregation with the Hymn,
+      Allein Gott in der Höh’ sei Ehr, the German version of the Gloria.
+      7. Collect, intoned in Latin; preceded by the preces Dominus
+      vobiscum and Et cum spiritu tuo.
+      8. Epistle.
+      9. Litany, in Advent and Lent only; intoned by four boys, the Choir
+      responding.
+      10. Hymn, appropriate to the Gospel.
+      11. Gospel.
+      12. Credo, intoned; (in Lent, last three Sundays of Advent, and
+      Festivals of Apostles, the Nicene Creed, sung in Latin).
+      13. Prelude, followed by a Cantata, lasting about twenty minutes; on
+      alternate Sundays in each church.
+      14. The Creed in German, Wir glauben all’ an einen Gott, sung by the
+      congregation.
+      15. Sermon, lasting one hour (8-9 A.M.).
+      16. Hymn, Herr Jesu Christ, dich zu uns wend, followed by the
+      reading of the Gospel, on which the Sermon had been based.
+      17. General Confession, prayers, and Lord’s Prayer.
+      18. Blessing.
+      19. Hymn.
+      20. Communion Service; Hymns and Organ extemporisation.
+      21. Benediction.
+
+Vespers began at a quarter past one and was a comparatively simple
+service; the music consisted of Hymns, a Motet, and the Magnificat. On the
+last three Sundays in Advent and throughout Lent neither Cantatas nor
+Motets were sung. The Organ was silent. On the three great Festivals the
+appointed Hymn for the season was sung at the beginning of the principal
+service, before the Organ Prelude: at Christmas, Puer natus in Bethlehem;
+at Easter, Heut’ triumphiret Gottes Sohn; at Whitsuntide, Spiritus Sancti
+gratia.  During the Communion service the Sanctus and concerted music were
+sung.  A festal hymn followed the Benediction.  The three great Festivals
+were each observed for three consecutive days, on the first and second of
+which Cantatas were sung at both churches.  On the third day concerted
+music was sung at only one of the two churches.
+
+The other week-day Festivals for which Cantatas were provided were the
+Feast of the Circumcision (New Year’s Day), Epiphany, Ascension Day,
+Purification of the B.V.M., Annunciation of the B.V.M., Visitation of the
+B.V.M., Feast of St. John Baptist (Midsummer Day), Feast of St. Michael
+the Archangel. The Reformation Festival was kept on October 31, or if that
+date was a Saturday or Monday, on the previous or following Sunday.
+
+On Good Friday the Passion was performed in the two principal churches
+alternately. Leipzig adopted no official Hymn-book.  The compilation from
+which the Hymns were chosen by Bach was the eight-volumed Gesangbuch of
+Paul Wagner, published at Leipzig for Dresden use in 1697.  It contained
+over five thousand Hymns but no music, merely the name of the tune being
+stated above the Hymn.  For the most part the Hymns for special, and even
+for ordinary, occasions were prescribed by custom. Otherwise the power of
+selection was in the hands of the Cantor, and Bach’s exercise of it caused
+some friction with the clergy in 1728.
+
+The provision and direction of the music at weddings and funerals was in
+the Cantor’s hands. He arranged the choirs and the music sung at the
+scholars’ annual processions and perambulations of the town, which took
+place at Michaelmas, New Year, and on St. Martin’s and St. Gregory’s Days.
+
+Augmenting the School’s choristers, the Town Musicians took part in the
+Church services and were under the Cantor’s direction. Their numbers and
+efficiency were inadequate.
+
+Upon the staff of the School the Cantor ranked third after the Rector and
+Sub-Rector, and took a share in the general instruction of the scholars.
+Class III. went to Bach for Latin lessons, a duty which the Council
+eventually permitted him to fulfil by deputy.  Singing classes were held
+by the Cantor on three days of the week, Mondays, Tuesdays, and
+Wednesdays, at nine and noon, and on Fridays at noon.  His instruction in
+singing was given to the four upper classes only.  On Saturday afternoons
+the Cantata was rehearsed. Once in four weeks the Cantor took his turn to
+inspect the scholars.  Like the other masters, he was required to conform
+to the regulations of the School House, in which he lived.  He rose at
+five in summer, at six in winter, dined at ten and supped at five in the
+afternoon.
+
+Holidays were numerous.  A week’s vacation was given at the Easter,
+Michaelmas, and New Year Fairs.  At Midsummer the School had a month of
+half-holidays.  Whole holidays were given on the birthdays of the four
+upper masters. There were no morning lessons on Saints’ Days, on the
+occasion of funeral orations in the University Church, and on the
+quarterly Speech Days. Hence, though Bach’s office carried large
+responsibility, it left him considerable leisure for composition.
+
+As Cantor Bach had an official residence in the left wing of the School
+House.  In 1723, the Cantor’s wing was of two storeys only, dwarfed by the
+greater elevation of the main edifice and under the shadow of the church.
+Bach brought to Leipzig four children of his first marriage, and his
+second wife, Anna Magdalena, presented him with a son or daughter annually
+from 1723 to 1729.  The accommodation of the Cantor’s lodging therefore
+rapidly became inadequate.  In the spring of 1731 Bach found a house
+elsewhere while an additional storey was added to it, which provided a new
+music-room, a good-sized apartment whence a passage led to the big
+schoolroom in the main building.  The new wing was formally opened and
+dedicated on June 5, 1732, when Bach’s secular Cantata Froher Tag,
+verlangte Stunden was performed; the libretto being by his colleague
+Winkler.  From thenceforward till his death eighteen years later Bach’s
+occupancy was not disturbed.  The wing continued to be the official
+residence of the Cantor until the School moved to the suburbs of the city
+in 1877.
+
+In addition to his residence, which he occupied rent free, the Cantor
+enjoyed a revenue from various and fluctuating sources, amounting in gross
+to 700 thalers (=£106 per annum).  His fixed stipend was only 100 thalers
+(=£15).  About 12 thalers came to him from endowments.  In kind he was
+entitled to 16 bushels of corn and 2 cords of firelogs, together with 2
+measures of wine at each of the three great Festivals.  From the
+University, after his successful protest, he received 12 thalers for
+directing the “old service.” By far the larger part of Bach’s income was
+derived from fluctuating sources.  They were of three kinds: (1) School
+monies, (2) funeral fees, (3) wedding fees.  The School monies represented
+perquisites derived from funds obtained by the scholars, partly by their
+weekly collections from the public, partly from the four annual
+processions or perambulations of the city.  From the weekly collections a
+sum of six pfennigs multiplied by the number of the scholars was put aside
+for the four upper masters, among whom the Cantor ranked third.  From the
+money collected at the New Year, Michaelmas, and St. Martin’s Day
+processions the Rector took a thaler, the Cantor and the Sub-Rector each
+took one-eleventh of the balance, sixteen thirty-thirds went to the
+singers, and one-quarter of what remained fell to the Cantor.  Out of the
+money collected on St. Gregory’s Day (March 12) the Rector took one-tenth
+for the entertainment of the four upper masters, and the Cantor took
+one-third of the residue.  For funerals one thaler 15 groschen was paid
+when the whole school accompanied the procession and a Motet was sung at
+the house of the deceased.  When no Motet was sung the Cantor’s fee was 15
+groschen. For weddings he received two thalers.
+
+Reckoned in modern currency, and judged by the standard of the period, the
+Cantor’s income was not inadequate and served to maintain Bach’s large
+family in comfort.  When he died in 1750, in addition to a mining share
+valued at 60 thalers, he possessed in cash or bonds about 360 thalers,
+silver plate valued at 251 thalers, instruments valued at 371 thalers,
+house furniture valued at 29 thalers, and books valued at 38 thalers.  His
+whole estate was declared at 1158 thalers, or somewhat less than the
+savings of two years’ income.  But for the inequitable distribution of his
+property, owing to his intestacy, which left Anna Magdalena only about 400
+thalers and the mining share, Bach’s widow and unmarried daughters ought
+not to have been afflicted with excessive poverty, as in fact they were.
+
+At the beginning of his Cantorate Bach worked amid discouraging and
+unsatisfactory conditions. The Rector, Johann Heinrich Ernesti, was over
+seventy years of age in 1723.  The School was badly managed, its
+discipline was relaxed, the better-to-do citizens withheld their sons from
+it, and its numbers were seriously diminished.  In 1717 the junior classes
+contained only 53 as against 120 in Ernesti’s earlier years.  The
+proximity and operatic traditions of Dresden and Weissenfels also had a
+bad effect; the St. Thomas’ boys, after attaining musical proficiency,
+were apt to become restless, demanding release from their indentures, and
+even running away to more attractive and lucrative occupations.  Moreover,
+the governors of the School were the Town Council, a body which had little
+sympathy with or appreciation of Bach’s artistic aims and temperament. To
+these difficulties must be added another.  The Town Musicians, on whom
+Bach relied for the nucleus of his orchestra, were few in number and
+inefficient.
+
+So long as Ernesti lived, there was little prospect of reform.  But, after
+his death, in October 1729, Bach made vigorous representations to the Town
+Council.  Already he had remonstrated with the Council for presenting to
+foundation scholarships boys who lacked musical aptitude.  The Council
+retaliated by accusing Bach of neglecting his singing classes, absenting
+himself without leave, and of other irregularities.  He was declared to be
+“incorrigible” and it was resolved (August 2, 1730) to sequestrate the
+Cantor’s income, in other words, to withhold from him the perquisites to
+which he was entitled for the conduct of the Church services.(114)
+
+Bach was not deterred from offering, three weeks later (August 23, 1730),
+a “sketch of what constitutes well-appointed Church music, with a few
+impartial reflections on its present state of decay” in Leipzig.  The
+document reveals the conditions amid which Bach worked.  Its
+representations may be summarised:
+
+The foundation scholars of St. Thomas’ are of four classes: Trebles,
+Altos, Tenors, Basses.
+
+A choir needs from four to eight “concertists” ( solo singers) and at
+least two “ripienists” to each chorus part, i.e. a minimum of twelve
+voices.
+
+The foundation scholars number fifty-five, by whom the choirs of the four
+Churches, St. Thomas’, St. Nicolas’, St. Peter’s, and the New Church are
+provided.  For the instrumental accompaniments at least twenty players are
+required: viz., 2 or 3 first Violins, 2 or 3 second Violins, 4 Violas, 2
+Violoncelli, 1 Contrabasso, 2 or more Flutes, 2 or 3 Oboi, 1 or 2 Fagotti,
+3 Trombe, 1 Timpani.  To fill these places there are eight Town Musicians,
+and at the moment there are no players available for third Tromba,
+Timpani, Viola, Violoncello, Contrabasso, third Oboe (or Taille).
+
+To augment the Town Musicians the Cantor has been wont in the past to
+employ University students and instrumental players in the School. Upon
+the former “at all times” he relies for Viola, Violoncello, and
+Contrabasso, and “generally” for the second Violins.  But the Council, by
+its recent resolution, no longer affords the Cantor the means to employ
+them.  To place the scholars in the orchestra weakens the choir, to which
+they naturally belong.
+
+By presenting to foundation scholarships boys unskilled and ignorant of
+music, the resources at the Cantor’s disposal are still farther lessened.
+
+Hence, Bach concludes, “in ceasing to receive my perquisites I am deprived
+of the power of putting the music into a better condition.”
+
+No answer was made to Bach’s memorial, and he contemplated resigning his
+position.  But with the advent of Johann Matthias Gesner as Rector in
+September 1730 a happier period dawned upon the “incorrigible” Cantor.  In
+1732 Gesner procured the withdrawal of the Council’s ban on Bach’s
+perquisites.  The fallen fortunes of the School revived, and Bach did not
+again make an effort to leave Leipzig.  In 1736 the grant of the post of
+Hof-Componist to the Saxon Court gave him at length a title which
+compelled the deference of his civic masters.
+
+Bach’s early misunderstanding with the University cut him off from
+association with the most dignified, if not the most important,
+institution in Leipzig, and deprived him of opportunity to display his
+genius beyond the radius of his Church duties.  The situation changed in
+1729, when he became director of the University Society, and he held the
+post for about ten years.  The Society gave weekly concerts on Fridays,
+from 8 to 10, and an extra concert, during the Fair season, on Thursdays
+at the same hour.  It performed vocal and instrumental music and was the
+medium through which Bach presented his secular Cantatas, Clavier and
+Violin Concertos, and Orchestral Suites to the public.  The proficiency of
+his elder sons and pupils, and his wife’s talent as a singer, were a
+farther source of strength to the Society, whose direction undoubtedly
+made these years the happiest in Bach’s life.  He took his rightful place
+in the musical life of the city, and relegated to a position of
+inferiority the smaller fry, such as Görner, who had presumed on Bach’s
+aloofness from the University and Municipality to insinuate themselves.
+His increasing reputation as an organist, gained in his annual autumn
+tours, also enlightened his fellow-townsmen regarding the superlative
+worth of one whom at the outset they were disposed to treat as a
+subordinate official.
+
+The Leipzig of Bach’s day offered various opportunities for musical
+celebration; official events in the University, “gratulations” or
+“ovations” of favourite professors by their students, as well as patriotic
+occasions in which town and gown participated. The recognised fee for
+piecès d’occasion of a public character was fifty thalers.  Bach’s
+conductorship of the University Society enabled him to perform festival
+works with the resources they required, and to augment the band and chorus
+needed for their adequate performance.
+
+Even before he undertook the direction of the University Society, Bach
+more than once provided the music for University celebrations.  On August
+3, 1725, his secular Cantata, _Der zufried-engestellte Aeolus,_ was
+performed at the students’ celebration of Doctor August Friedrich Müller’s
+name-day.  In 1726 he revived an old Cantata(115) to celebrate the
+birthday of another of the Leipzig teachers.  In the same year the
+appointment of Dr. Gottlieb Kortte as Professor of Roman Law was
+celebrated by Bach’s Cantata _Vereinigte Zwietracht der wechselnden
+Saiten._ In 1733 the birthday of another Professor was marked by the
+performance of the Cöthen Cantata to yet another text (_Die Freude reget
+sich_). On November 21, 1734, the lost Cantata _Thomana sass annoch
+betrübt_ was sung at the induction of Gesner’s successor, Johann August
+Ernesti, as Rector of St. Thomas’ School.
+
+But Bach’s activity as a secular composer at Leipzig was chiefly expended
+on patriotic celebrations. His compositions of this character are
+particularly numerous during the years 1733-36, while he was seeking from
+the Dresden Court the post of Hof-Componist.  The first of these
+celebrations took place on May 12, 1727, the birthday of Augustus II. of
+Poland-Saxony, when Bach’s Cantata, _Entfernet euch, ihr heitern Sterne,_
+was performed in the Market Place by the University Society.  The King was
+present and listened to the performance from a convenient window.  The
+music is lost.  Six years elapsed before Bach was invited to collaborate
+in another celebration of the royal House.  On September 5, 1733, less
+than two months after his application for the post of Hof-Componist, the
+University Society celebrated the eleventh birthday of the Electoral
+Prince by performing Bach’s dramma per musica, _Die Wahl des Herkules,_ or
+_Herkules auf dem Scheidewege._ Barely three months later, on December 8,
+1733, Bach produced another Cantata in honour of the royal family, _Tönet,
+ihr Pauken, erschallet Trompeten,_ of which he was both author and
+composer.  On no less than three occasions in 1734 Bach did homage to his
+unheeding sovereign.  In January the University Society, under Bach’s
+direction, performed his Cantata _Blast Larmen, ihr Feinde_ to celebrate
+the coronation of Augustus III.  The music had already done duty in Dr.
+Müller’s honour in 1725.  On the following October 5, 1734, when the King
+visited Leipzig, Bach’s hurriedly written Cantata, _Preise dein Glücke,
+gesegnetes Sachsen,_ whose first chorus became the Osanna of the B minor
+Mass, was performed in the Market Place.  Two days later, on October 7,
+1734, the King’s birthday was celebrated by another Bach Cantata,
+_Schleicht spielende Wellen,_ performed by the Collegium Musicum. In 1738,
+having received the coveted title of Hof-Componist in the interval (1736),
+Bach performed a work—_Willkommen, ihr herrschenden Götter der Erden_—now
+lost, in honour of the marriage of the Princess Maria Amalia of Saxony to
+Charles of Sicily, afterwards Charles III. of Spain.
+
+Apart from his musical activities and the house in which he lived there is
+little that permits us to picture Bach’s life at Leipzig.  Association
+with his friends Johann Christian Hoffmann, Musical Instrument Maker to
+the Court, Marianne von Ziegler, J. C. Gottsched and his musical wife,
+Johann Abraham Birnbaum, among the Professoriate, Picander and Christian
+Weiss, Bach’s regular librettists, suggests the amenities of an academic
+and literary circle. But the claims of his art and the care of his large
+family had the first call upon Bach’s interest.  And few men had a happier
+home life.  While his elder sons were at home the family concerts were
+among his most agreeable experiences.  As his fame increased, his house
+became the resort of many seeking to know and hear the famous organist.
+Late in the thirties he resigned his directorship of the University
+Society.  His sons were already off his hands and out of his house, and he
+turned again to the Organ works of his Weimar period.  Their revision
+occupied the last decade of his life, and the hitherto constant flow of
+Church Cantatas ceased. Pupils resorted to him and filled his empty house,
+to one of whom, Altnikol, he gave a daughter in marriage.
+
+A man of rigid uprightness, sincerely religious; steeped in his art,
+earnest and grave, yet not lacking naive humour; ever hospitable and
+generous, and yet shrewd and cautious; pugnacious when his art was
+slighted or his rights were infringed; generous in the extreme to his wife
+and children, and eager to give the latter advantages which he had never
+known himself; a lover of sound theology, and of a piety as deep as it was
+unpretentious—such were the qualities of one who towers above all other
+masters of music in moral grandeur.
+
+Four, perhaps only three, contemporary portraits of Bach are known.  One
+is in the possession of the firm of Peters at Leipzig and once belonged to
+Carl Philipp Emmanuel’s daughter, who with inherited impiety sold it to a
+Leipzig flute player.  The second hung in St. Thomas’ School and is
+reproduced at p. 48 of this volume.  It was painted in 1746 and restored
+in 1913.  Both portraits are by Elias Gottlieb Haussmann, Court Painter at
+Dresden. The third portrait belonged to Bach’s last pupil, Kittel, and
+used to hang on the Organ at Erfurt, whence it disappeared after 1809,
+during the Napoleonic wars.  Recently Professor Fritz Volbach of Mainz has
+discovered a fourth portrait, which is printed at p. 92 of the present
+volume. He supposes it to be none other than the Erfurt portrait, as
+indeed it well may be, since it represents a man of some sixty years,
+austere in countenance, but of a dignity that is not so apparent in
+Haussmann’s portraiture.(116)
+
+Bach left no will.  In consequence his widow, Anna Magdalena, burdened
+with the charge of a step-daughter and two daughters, was entitled to only
+one-third of her husband’s estate.  Neither Carl Philipp Emmanuel nor
+Wilhelm Friedemann was her own child.  But the fact cannot excuse gross
+neglect of their father’s widow. Her own sons were in a position to make
+such a contribution to her income as would at least have kept want from
+her door.  In fact she was permitted to become dependent on public
+charity, and died, an alms-woman, on February 27, 1760, nearly ten years
+after her great husband.  The three daughters survived her.  One died in
+1774, the second in 1781.  The third, Regine Susanna, survived them, her
+want relieved by gifts from a public that at last was awakening to the
+grandeur of her father.  Beethoven contributed generously.  Regine Susanna
+died in December 1809, the last of Bach’s children.  In 1845 her nephew,
+Johann Christoph Friedrich’s son, also died.  With him the line of Johann
+Sebastian Bach expired.
+
+   [Johann Sebastian Bach, circa 1746. From the picture by Haussmann.]
+
+   Johann Sebastian Bach, circa 1746. _From the picture by Haussmann._
+
+
+
+
+
+CHAPTER III. BACH AS A CLAVIER PLAYER
+
+
+As a Clavier player Bach was admired by all who had the good fortune to
+hear him and was the envy of the virtuosi of his day.  His method greatly
+differed from that of his contemporaries and predecessors, but so far no
+one has attempted to explain in what the difference consisted. The same
+piece of music played by ten different performers equally intelligent and
+competent will produce a different effect in each case.  Each player will
+emphasise this or that detail.  This or that note will stand out with
+differing emphasis, and the general effect will vary consequently.  And
+yet, if all the players are equally competent, ought not their
+performances to be uniform?  The fact that they are not so is due to
+difference of touch, a quality which to the Clavier stands as enunciation
+to human speech.  Distinctness is essential for the enunciation of vowels
+and consonants, and not less so for the articulation of a musical phrase.
+But there are gradations of distinctness.  If a sound is emitted
+indistinctly it is comprehensible only with effort, which occasions us to
+lose much of the pleasure we should otherwise experience. On the other
+hand, over-emphasis of words or notes is to be avoided.  Otherwise the
+hearer’s attention will be diverted from the tout ensemble. To permit the
+general effect to be appreciated every note and every vowel must be
+sounded with balanced distinctness.
+
+I have often wondered why Carl Philipp Emmanuel Bach’s _Essay on the Right
+Manner of playing the Clavier_(117) does not elucidate the qualities that
+constitute a good touch.  For he possessed in high degree the technique
+that made his father pre-eminent as a player.  True, in his chapter on
+“Style in Performance,” he writes, “Some persons play as if their fingers
+were glued together; their touch is so deliberate, and they keep the keys
+down too long; while others, attempting to avoid this defect, play too
+crisply, as if the keys burnt their fingers.  The right method lies
+between the two extremes.” But it would have been more useful had he told
+us how to reach this middle path.  As he has not done so, I must try to
+make the matter as clear as is possible in words.
+
+Bach placed his hand on the finger-board so that his fingers were bent and
+their extremities poised perpendicularly over the keys in a plane parallel
+to them.(118) Consequently none of his fingers was remote from the note it
+was intended to strike, and was ready instantly to execute every command.
+Observe the consequences of this position.  First of all, the fingers
+cannot _fall_ or (as so often happens) be _thrown_ upon the notes, but are
+_placed_ upon them in full control of the force they may be called on to
+exert.  In the second place, since the force communicated to the note
+needs to be maintained with uniform pressure, the finger should not be
+released perpendicularly from the key, but can be withdrawn gently and
+gradually towards the palm of the hand.  In the third place, when passing
+from one note to another, a sliding action instinctively instructs the
+next finger regarding the amount of force exerted by its predecessor, so
+that the tone is equally regulated and the notes are equally distinct.  In
+other words, the touch is neither too long nor too short, as Carl Philipp
+Emmanuel complains, but is just what it ought to be.(119) Many advantages
+arise from holding the hand in Bach’s position and from adopting his
+touch, on the Clavichord and Harpsichord,(120) and on  the Organ as well.
+I point out merely the most important of them.   To begin with, if the
+fingers are bent, their movements are free.  The notes are struck without
+effort and with less risk of missing or hitting too hard, a frequent fault
+with people who play with their fingers elongated or insufficiently bent.
+In the second place, the sliding finger-tip, and the consequently rapid
+transmission of regulated force from one finger to another, tend to bring
+out each note clearly and to make every passage sound uniformly brilliant
+and distinct to the hearer without exertion.  In the third place, stroking
+the note with uniform pressure permits the string to vibrate freely,
+improves and prolongs the tone, and though the Clavichord is poor in
+quality, allows the player to sustain long notes upon it.  And the method
+has this advantage: it prevents over-expenditure of strength and excessive
+movement of the hand. We gather that the action of Bach’s fingers was so
+slight as to be barely perceptible.  Only the top joint seemed to move.
+His hand preserved its rounded shape even in the most intricate passages.
+His fingers rested closely upon the keys, very much in the position
+required for a “shake.”  An unemployed finger remained in a position of
+repose.  It is hardly necessary to say that that other limbs of his body
+took no part in his performance, as is the case with many whose hands lack
+the requisite agility.(121)
+
+A man may possess all these qualities, however, and remain an indifferent
+performer on the Clavier, just as clear and agreeable enunciation does not
+necessarily make a good speaker.  To be a first-rate performer many other
+qualities are needed, and Bach possessed them all in a notable degree.
+
+Some fingers are longer and stronger than others. Hence players are
+frequently seduced to use the stronger whenever they can readily do so.
+Consequently successive notes become unequal in tone, and passages which
+leave no choice as to the finger to be used may become impossible to play.
+Bach recognised this fact very early in his career.  To get over the
+difficulty he invented exercises for his own use in which the fingers of
+both hands were made to practise passages in every conceivable position.
+By this means every finger on both hands equally became strong and
+serviceable, so that he could play a rapid succession of chords, single
+and double “shakes,” and running passages with the utmost finish and
+delicacy, and was equally fluent in passages where some fingers play a
+“shake” while the others on the same hand continue the melody.
+
+Besides these improvements, Bach invented a new system of fingering.(122)
+Before his time, and even in his early years, it was usual for the player
+to pay attention to harmony rather than counterpoint. Even so it was not
+customary to use every one of the twenty-four major and minor keys.  The
+Clavichord was still what we term “gebunden”; that is, several keys struck
+the same string, which, therefore, could not be accurately tuned.(123)
+Consequently it was usual to employ only those keys whose notes were tuned
+with some approximation to accuracy.  Again, good players in those days
+hardly ever used the thumb, except when a large interval had to be
+stretched.  But when Bach began to melodise harmony so that his middle
+parts not merely filled in but had a tune of their own, when, too, he
+began to deviate from the Church modes then in general vogue in secular
+music, using the diatonic and chromatic scales indifferently, and tuning
+the Clavier in all the twenty-four keys, he found himself compelled to
+introduce a system of fingering better adapted to his innovations than
+that in use, and in particular, to challenge the convention which
+condemned the thumb to inactivity. It is held by some writers that
+Couperin forestalled Bach’s method of fingering, in his _L’Art de toucher
+le Clavecin,_ published in 1716.  But that is not the case.  In the first
+place, Bach was above thirty years old in 1716, and had already developed
+a distinctive method of his own.  And in the second place, Couperin’s
+system differs materially from Bach’s, though both made more frequent use
+of the thumb than was so far customary.  When I say “more frequent use” I
+do so advisedly; for whereas in Bach’s system the thumb is the principal
+finger—for the difficult keys, as they are called, are unplayable without
+it—it is not equally indispensable with Couperin, whose thematic material
+was not so intricate as Bach’s, nor did he compose or play in such
+difficult keys.  Consequently Couperin had not an equally urgent need to
+use the thumb. We need only compare Couperin’s with Bach’s system of
+fingering, as Carl Philipp Emmanuel explains it,(124) to discover that
+Bach’s permits every passage, however intricate and polyphonic, to be
+played with ease, whereas Couperin’s is hardly effective even for his own
+compositions.  Bach was acquainted with Couperin’s works and highly
+esteemed them,(125) as he did those of other French Clavier composers, for
+their finish and brilliance. But he considered them affected in their
+excessive use of ornaments, scarcely a single note being free from them.
+He held them, also, superficial in matter.
+
+Bach’s easy, unconstrained use of the fingers, his musical touch, the
+clearness and precision of every note he struck, the resourcefulness of
+his fingering, his thorough training of every finger of both hands, the
+luxuriance of his thematic material and his original method of stating it,
+all contributed to give him almost unlimited power over his instrument, so
+easily did he surmount the difficulties of its keyboard.  Whether he
+improvised or played his compositions from notes, he systematically
+employed every finger of each hand, and his fingering was as uncommon as
+the compositions themselves, yet so accurate that he never missed a note.
+Moreover, he read at sight other people’s compositions (which, to be sure,
+were much easier than his own) with the utmost facility.  Indeed, he once
+boasted to a friend at Weimar that he could play at sight and without a
+mistake anything put before him.  But he was mistaken, as his friend
+convinced him before the week was out.  Having invited Bach to breakfast
+one morning, he placed on the Clavier, among other music, a piece which,
+at a first glance, seemed perfectly easy.  On his arrival, Bach, as was
+his custom, sat down at the Clavier to play or look through the music.
+Meanwhile his friend was in the next room preparing breakfast.  In a short
+time Bach took up the piece of music destined to change his opinion and
+began to play it.  He had not proceeded far before he came to a passage at
+which he stopped.  After a look at it he began again, only to stop at the
+same place. “No,” he called out to his friend, who was laughing heartily
+in the next room, “the man does not exist who can play everything at
+sight.  It can’t be done.” With that he got up from the Clavier in some
+annoyance.(126)
+
+Bach also could read scores with remarkable facility and play them on the
+Clavier. He found no more difficulty in piecing together the separate
+parts when laid side by side before him.(127) He often did so when a
+friend brought him a new Trio or Quartet for Strings and wished to hear
+how it sounded.  If a Continuo part, however badly figured, was put before
+him he could improvise a Trio or Quartet upon it.  Nay, when he was in the
+mood and at the height of his powers, he would convert a Trio into a
+Quartet by extemporising a fourth part.  On such occasions he used a
+Harpsichord with two manuals and pedal attachment.
+
+Bach preferred the Clavichord to the Harpsichord, which, though
+susceptible of great variety of tone, seemed to him lacking in soul.  The
+Pianoforte was still in its infancy and too coarse.(128) Both for practice
+and intimate use he regarded the Clavichord as the best instrument and
+preferred to express on it his finest thoughts.  He held the Harpsichord,
+or Clavicembalo, incapable of the gradations of tone obtainable on the
+Clavichord, an instrument which, though feeble in quality, is extremely
+flexible.
+
+No one could adjust the quill plectrums of his Harpsichord to Bach’s
+satisfaction; he always did it himself.  He tuned his Harpsichord and
+Clavichord, and was so skilful in the operation that it never took him
+more than a quarter of an hour.  It enabled him to play in any key he
+preferred, and placed the whole twenty-four of them at his disposal, so
+that he could modulate into the remoter as easily and naturally as into
+the more nearly related keys.  Those who heard him frequently could hardly
+detect the fact that he had modulated into a distant key, so smooth were
+his transitions.  In chromatic movements his modulation was as easy and
+sequent as in diatonic.  His _Chromatic Fantasia,_ which is now
+published,(129) bears out my statement.  In his extemporisation he was
+even freer, more brilliant and expressive.
+
+When he played his own music Bach usually adopted a brisk pace.  He
+contrived to introduce so much variety that every piece became a sort of
+conversation between its parts.  If he wished to express deep emotion he
+did not strike the notes with great force, as many do, but expressed his
+feeling in simple melodic and harmonic figures,(130) relying rather on the
+internal resources of his art than external dynamics.  Therein he was
+right. True emotion is not suggested by hammering the Clavier. All that
+results is that the notes cannot be heard distinctly, much less be
+connected coherently.
+
+
+
+
+
+CHAPTER IV.  BACH THE ORGANIST
+
+
+What has been said regarding Bach’s admirable Clavier playing applies
+generally to his skill as an organist.  The Clavier and Organ have points
+in common, but in style and touch are as different as their respective
+uses.  What sounds well on the Clavier is ineffective on the Organ, and
+vice versa.  The most accomplished Clavier player may be, and usually is,
+a bad organist unless he realises the differing natures of the two
+instruments and the uses they serve.  I have come across only two men who
+can be regarded as exceptions to this general rule—Bach and his eldest
+son, Wilhelm Friedemann.  Both were finished Clavier performers, but no
+trace of the Clavier style was apparent when they played the Organ.
+Melody, harmony, and pace were carefully selected with due regard to the
+nature and distinctive use of each instrument.  When Wilhelm Friedemann
+played the Clavier his touch was elegant, delicate, agreeable.  When he
+played the Organ he inspired a feeling of reverent awe. On the one he was
+charming.  On the other he was solemn, impressive. So also was his father,
+and to an even greater degree.  Wilhelm Friedemann was a mere child to him
+as an organist, and frankly admitted the fact.(131) The music that
+extraordinary man wrote for the Organ is full of dignity, awe-inspiring,
+saturated with the atmosphere of devotion.  His improvisation was even
+more inspired, dignified, and impressive: for then his imagination was
+untrammelled by the irksomeness of expressing himself on paper.  What is
+the essence of this art? Let me, though imperfectly, attempt an answer.
+
+When we compare Bach’s Clavier compositions with those written for the
+Organ it is at once apparent that they differ essentially in melodic and
+harmonic structure.  Hence we conclude that a good organist must select
+fitting themes for his instrument, and let himself be guided by its
+character and that of the place in which it stands and by the objects of
+its use.  Its great body of tone renders the Organ ill-adapted to light
+and jaunty music.  Its echoes must have liberty to rise and fall in the
+dim spaces of the church, otherwise the sound becomes confused, blurred,
+and unintelligible.  What is played upon it must be suited to the place
+and the instrument, in other words, must be congruous to a solemn and
+majestic fabric.  Occasionally and exceptionally a solo stop may be used
+in a Trio, etc.  But the proper function of the Organ is to support church
+singing and to stimulate devotional feeling.  The composer therefore must
+not write music for it which is congruous to secular surroundings.  What
+is commonplace and trite can neither impress the hearer nor excite
+devotional feeling.  It must therefore be banished from the Organ-loft.
+How clearly Bach grasped that fact!  Even his secular music disdained
+trivialities.  Much more so his Organ music, in which he seems to soar as
+a spirit above this mortal planet.
+
+Of the means by which Bach attained to such an altitude as a composer for
+the Organ we may notice his harmonic treatment of the old Church modes,
+his use of the obbligato pedal, and his original registration.  The
+remoteness of the ecclesiastical modes from our twenty-four major and
+minor keys renders them particularly appropriate to the service of
+religion.  Any one who looks at Bach’s simple four-part Hymn tunes
+(Choralgesänge) will at once convince himself of the fact.  But no one can
+realise how the Organ sounds under a similar system of harmonic treatment
+unless he has heard it.  It becomes a choir of four or five parts, each in
+its natural compass.  Compare the following chords in divided harmony:
+
+                    [Divided Harmony, Bach treatment]
+
+with these:
+
+                [Divided Harmony, conventional treatment]
+
+which is the more usual form organists employ. We realise instantly the
+effect when music in four or more parts is played in the same manner. Bach
+always played the Organ so, adding the obbligato pedal, which few
+organists know how to use properly.  He employed it not only to sound the
+low notes which organists usually play with the left hand, but he gave it
+a regular part of its own, often so complicated that many organists would
+find it difficult to play with their five fingers.
+
+To these qualities must be added the exquisite art Bach displayed in
+combining the stops of the Organ.  His registration frequently astonished
+organists and Organ builders, who ridiculed it at first, but were obliged
+in the end to admit its admirable results and to confess that the Organ
+gained in richness and sonority.(132)
+
+Bach’s peculiar registration was based on his intimate knowledge of Organ
+building and of the properties of each individual stop.  Very early in his
+career he made a point of giving to each part of the Organ the utterance
+best suited to its qualities, and this led him to seek unusual
+combinations of stops which otherwise would not have occurred to him.
+Nothing escaped his notice which had the slightest bearing on his art or
+promised to advance it.  For instance, he made a point of observing the
+effect of large musical compositions in different surroundings.  The
+practised ear, which enabled him to detect the slightest error in music
+even of the fullest and richest texture, and the art and rapidity with
+which he tuned his instrument, alike attest his intuitive skill and
+many-sidedness.  When he was at Berlin in 1747 he was shown the new Opera
+House.  He took in its good and bad qualities at a glance, whereas others
+had done so only after experience. He was shown the large adjoining Saloon
+and went up into the gallery that runs round it. Merely glancing at the
+roof he remarked, “The architect has secured a novel effect which,
+probably, neither himself nor any one else suspected.” The Saloon, in
+fact, is a parallelogram. If a person puts his face to the wall in one
+corner of it and whispers a few words, another person at the corner
+diagonally opposite can hear them distinctly, though to others between
+them the words are inaudible.  The effect arises from the span of the
+arches in the roof, as Bach saw at a glance.  These and similar
+observations suggested to him striking and unusual combinations of Organ
+stops.
+
+Bach brought the methods I have indicated to bear upon Church music, and
+they help to explain his extraordinarily dignified and inspired playing,
+which was at once so appropriate and filled the listener with deep awe and
+admiration.  His profound knowledge of harmony, unfailing originality,
+freedom from a secular style, his complete command of the instrument, both
+manuals and pedals, whence flowed a generous stream of the richest and
+most abundant fancy, the infallible and swift judgment which allowed him
+always to select from the treasury of his mind precisely the musical ideas
+best suited to the occasion immediately before him, his intuitive grasp of
+every detail, and his power to make it serve his artistic ends—in a word,
+his transcendent genius brought the art of Organ playing to a degree of
+perfection which, till then, it had never attained and hardly will attain
+again.  Quantz(133) has expressed the same opinion. “The admirable Johann
+Sebastian Bach,” he writes, “brought the art of Organ playing to its
+highest perfection.  It is to be hoped that when he dies it will not be
+suffered to decline or be lost, as is to be feared from the small number
+of people who nowadays bestow pains upon it.”(134)
+
+Strangers often asked Bach to play to them between the hours of divine
+service.  On those occasions he was wont to select and treat a theme in
+various ways, making it the subject of each extemporisation even if he
+continued playing for two hours.  As a beginning he played a Prelude and
+Fugue on the Great Organ.  Then he developed it with solo stops in a Trio
+or Quartet.  A Hymn-tune followed, whose melody he interrupted in the
+subtlest fashion with fragments of the theme in three or four parts.  Last
+came a Fugue, with full Organ, in which he treated the subject alone or in
+association with one or more accessory themes. Here we have the art which
+old Reinken of Hamburg considered to be lost, but which, as he afterwards
+found, not only survived but attained its greatest perfection in Bach.
+
+Bach’s pre-eminent position and his high reputation often caused him to be
+invited to examine candidates for vacant organistships, and to report on
+new Organs.  In both cases he acted so conscientiously and impartially
+that he generally made enemies.  Scheibe, late Director of Music at the
+Danish Court, who as a young man was examined by Bach on such an occasion,
+was so incensed by Bach’s unfavourable verdict that he afterwards avenged
+himself in his “Critical Musician” by violently attacking his
+examiner.(135) In his examination of Organs Bach equally exposed himself
+to trouble.  He could as little prevail on himself to praise a bad
+instrument as to recommend a bad organist.  He was, therefore, severe,
+though always fair, in the tests he applied, and as he was thoroughly
+acquainted with the construction of the instrument it was hopeless to
+attempt to deceive him.  First of all he drew out all the stops, to hear
+the Full Organ.  He used to say jokingly, that he wanted to find out
+whether the instrument had good lungs!  Then he gave every part of it a
+most searching test.  But his sense of fairness was so strong that, if he
+found the work really well done, and the builder’s remuneration too small,
+so that he was likely to be a loser, Bach endeavoured, and often
+successfully, to procure for him an adequate addition to the purchase
+price.
+
+When the examination was over, especially if the instrument pleased him,
+Bach liked to exhibit his splendid talent, both for his own pleasure and
+the gratification of those who were present.  Such demonstrations of his
+powers invariably invited the verdict, that he was conclusively “the
+prince of Clavier and Organ players,” a title which Sorge, the late
+highly-esteemed organist at Lobenstein,(136) once gave him in a dedicatory
+Preface.
+
+
+
+
+
+CHAPTER V. BACH THE COMPOSER
+
+
+Bach’s first attempts at composition, like all early efforts, were
+unsatisfactory.  Lacking special instruction to direct him towards his
+goal, he was compelled to do what he could in his own way, like others who
+have set out upon a career without a guide.  Most youthful composers let
+their fingers run riot up and down the keyboard, snatching handfuls of
+notes, assaulting the instrument in wild frenzy, in hope that something
+may result from it.  Such people are merely Finger Composers—in his riper
+years Bach used to call them Harpsichord Knights—that is to say, their
+fingers tell them what to write instead of being instructed by the brain
+what to play.(137) Bach abandoned that method of composition when he
+observed that brilliant flourishes lead nowhere.  He realised that musical
+ideas need to be subordinated to a plan and that the young composer’s
+first need is a model to instruct his efforts.  Opportunely Vivaldi’s
+Concertos for the Violin,(138) then recently published, gave him the
+guidance he needed.  He had often heard them praised as admirable works of
+art, and conceived the happy idea of arranging them for the Clavier.(139)
+Hence he was led to study their structure, the musical ideas on which they
+are built, the variety of their modulations, and other characteristics.
+Moreover, in adapting to the Clavier ideas and phrases originally written
+for the Violin Bach was compelled to put his brain to work, and so freed
+his inspiration from dependence on his fingers.  Henceforth he was able to
+draw ideas out of his own storehouse, and having placed himself on the
+right road, needed only perseverance and hard work to succeed. And how
+persevering he was!  He even robbed himself of sleep to practise in the
+night what he had written during the day!  But the diligence he bestowed
+upon his own compositions did not hinder him from studying the works of
+Frescobaldi,(140) Froberger, Kerl, Pachelbel, Fischer, Strungk,(141)
+Buxtehude, Reinken, Bruhns, Böhm, and certain French organists who were
+famed in those days as masters of harmony and fugue.(142)
+
+The models he selected—Church musicians for the most part—and his own
+disposition inclined him to serious and exalted subjects.  But in that
+kind of music little can be accomplished with inadequate technique.
+Bach’s first object, therefore, was to develop his power of expressing
+himself before he attempted to realise the ideal that beckoned him.  Music
+to him was a language, and the composer a poet who, whatever the idiom he
+affects, must first of all have at his disposal the means of making
+himself intelligible to others. But the technique of his period Bach found
+limited in variety and insufficiently pliable.  Therefore he set himself
+at the outset to refashion the accepted harmonic system.  He did so in a
+manner characteristically individual and bearing the impress of his
+personality.
+
+If the language of music is merely the utterance of a melodic line, a
+simple sequence of musical notes, it can justly be accused of poverty.
+The addition of a Bass puts it upon a harmonic foundation and clarifies
+it, but defines rather than gives it added richness.  A melody so
+accompanied—even though all the notes are not those of the true Bass—or
+treated with simple embellishments in the upper parts, or with simple
+chords, used to be called “homophony.”  But it is a very different thing
+when two melodies are so interwoven that they converse together like two
+persons upon a footing of pleasant equality.  In the first case the
+accompaniment is subordinate, and serves merely to support the first or
+principal part.  In the second case the two parts are not similarly
+related.  New melodic combinations spring from their interweaving, out of
+which new forms of musical expression emerge.  If more parts are
+interwoven in the same free and independent manner, the apparatus of
+language is correspondingly enlarged, and becomes practically
+inexhaustible if, in addition, varieties of form and rhythm are
+introduced.  Hence harmony becomes no longer a mere accompaniment of
+melody, but rather a potent agency for augmenting the richness and
+expressiveness of musical conversation.  To serve that end a simple
+accompaniment will not suffice.  True harmony is the interweaving of
+several melodies, which emerge now in the upper, now in the middle, and
+now in the lower parts.
+
+From about the year 1720, when he was thirty-five, until his death in
+1750, Bach’s harmony consists in this melodic interweaving of independent
+melodies, so perfect in their union that each part seems to constitute the
+true melody. Herein Bach excels all the composers in the world.(143) At
+least, I have found no one to equal him in music known to me.  Even in his
+four-part writing we can, not infrequently, leave out the upper and lower
+parts and still find the middle parts melodious and agreeable.
+
+But in harmony of this kind each part must be highly plastic; otherwise it
+cannot play its role as an actual melody and at the same time combine with
+the other parts.  To produce it Bach followed a course of his own, upon
+which the textbooks of his day were silent, but which his genius suggested
+to him.  Its originality consists in the freedom of his part writing, in
+which he transgresses, seemingly, at any rate, rules long established and
+to his contemporaries almost sacred. Bach, however, realised their object,
+which was simply to facilitate the flow of pure melody on a sound harmonic
+basis, in other words, successive and coexistent euphony, and he succeeded
+with singular success though by unfamiliar means.  Let me explain my
+meaning more closely.
+
+Between simple intervals there is little difficulty in deciding whether
+the second note must rise or fall.  And in regard to phrases, or sections
+of a phrase, if we analyse their structure and follow out their harmonic
+tendency, their resolution is equally clear.  But this sense of
+destination may be provoked in each part by different intervals.  As we
+have observed already, every one of the four parts must flow melodically
+and freely.  But to secure that result it will be necessary to introduce
+between the notes which begin a phrase and establish its general
+atmosphere other notes which often are not consonant with those employed
+in the other parts and whose incidence is governed by the accent.  This is
+what we call a transitus regularis et irregularis.(144) Each part starts
+from a fixed point, and returns to it, but travels freely between them.
+No one has made more use of such progressions than Bach in order to colour
+his parts and give them a characteristic melodic line.  Hence, unless his
+music is played with perfect fluency, occasional passages will sound
+harshly and we may be tempted to accuse him of exaggeration.  But the
+charge is ill founded. Once we play them as Bach intended them, such
+passages reveal their full beauty and their attractive though bizarre
+dissonance opens up new vistas in the realm of sound.
+
+But, to speak in detail of Bach’s transgression of recognised rules.  To
+begin with, he admitted octaves and fifths provided they sounded well;
+that is, when the cause of their being forbidden did not arise.(145)
+Everybody knows that there are positions in which they sound well, and
+others when they should be avoided, owing to the harsh effect or thin
+harmony they produce.  Bach’s octaves and fifths never produce bad or thin
+harmony, and he was very definite as to when they could and could not be
+used.  In certain circumstances he would not permit hidden fifths and
+octaves even between the middle parts, though we exclude them only between
+the outer parts.  Yet, on occasion he used them in such a barefaced manner
+as to puzzle the beginner in composition.  But their use very soon
+commends itself.  Even in the last revision of his early compositions we
+find him altering passages, which at first sight appear impeccable, with
+the object of enriching their harmony and without scrupling to use hidden
+octaves.  A remarkable instance occurs in the first part of the
+_Well-tempered Clavier,_ in the E major Fugue, between the fifth and
+fourth bars from the end.(146) I regret to this hour that, on looking over
+the later text, from which Hoffmeister and Kühnel’s edition of that work
+is printed,(147) I was so foolish as to reject Bach’s amended reading
+there, merely because the harmony is unorthodox though more pleasing.  I
+stupidly preferred the older, more correct, and harsher reading, though in
+the later text the three parts run easily and smoothly. And what more can
+one demand?
+
+Again, there is a rule that every note raised by an accidental cannot be
+doubled in the chord, because the raised note must, from its nature,
+resolve on the note above.  If it is doubled, it must rise doubled in both
+parts and, consequently, form consecutive octaves.  Such is the rule.  But
+Bach frequently doubles not only notes accidentally raised elsewhere in
+the scale but actually the semitonium modi or leading-note itself.  Yet he
+avoids consecutive octaves.  His finest works yield examples of this.
+
+Again, Bach’s statement that “over a pedal point all intervals are
+permissible that occur in the three scales”(148) should be regarded rather
+an expansion than a violation of the recognised rule.  In general what is
+called an Organ point is merely a retarded close.  Bach, however, did not
+hesitate to employ it in the middle of a piece; a striking example occurs
+in the last Gigue of the _English Suites._(149) On a first hearing this
+Gigue, imperfectly rendered, may not sound well.  But it grows more
+beautiful as it becomes more familiar, and what seemed harsh is found to
+be smooth and agreeable, until one never tires of playing and hearing it.
+
+Bach’s modulation was as original and characteristic as his harmony, and
+as closely related to it.  But the two things, though closely associated,
+are not the same.  By harmony we mean the concordance of several parts; by
+modulation, their progression through keys.  Modulation can take place in
+a single part.  Harmony requires more than one.  I will endeavour to make
+my meaning clearer.
+
+Most composers stick closely to their tonic key and modulate out of it
+with deliberation.  In music that requires a large number of performers,
+and in a building, for instance a church, where the large volume of sound
+dies away slowly, such a habit shows good sense in the composer who wishes
+his work to produce the best possible effect.  But in chamber or
+instrumental music it is not always a proof of wisdom, but rather of
+mental poverty. Bach saw clearly that the two styles demand different
+treatment.  In his large choral compositions he bridles his exuberant
+fancy.  In his instrumental works he lets himself go.  As he never courted
+popularity, but always pursued his ideal, Bach had no reason to suppress
+the nobility of his inspirations, or to lower their standard for public
+consumption.  Nor did he ever do so.  Therefore every modulation in his
+instrumental work is a new thought, a constantly progressive creation in
+the plane of the chosen keys and those related to them.  He holds fast to
+the essentials of harmony, but with every modulation introduces a new
+suggestion and glides so smoothly to the end of a piece that no creaking
+of machinery is perceptible; yet no single bar—I might almost say no part
+of a bar—is like another.  Every modulation bears a strict relationship to
+the key from which it proceeds, and springs naturally from it.  Bach
+ignored, or rather despised, the sudden sallies by which many composers
+seek to surprise their hearers.  Even in his chromatic passages his
+progressions are so smooth and easy that we are hardly conscious of them,
+however extreme they may be.  He makes us feel that he has not stepped
+outside the diatonic scale, so quick is he to seize upon the consonances
+common to dissonant systems and combine them to his sure purpose.
+
+                      [The Bach Statue at Eisenach]
+
+                       The Bach Statue at Eisenach
+
+
+
+
+
+CHAPTER VI. BACH THE COMPOSER (CONTINUED)
+
+
+Bach’s treatment of harmony and modulation powerfully influenced his
+melody.  The strands of his harmony are really concurrent melodies. They
+flow easily and expressively, never engross the hearer’s attention, but
+divide his interest, as now one now the other becomes prominent. Even when
+they are noticeable they seem obscured by the melodic parts that accompany
+them—I say “seem obscured,” for if the hearer is sufficiently instructed
+to distinguish the several melodies in the ensemble he will discover them
+to be more clearly defined by their accompaniment.
+
+The combination of several melodic lines obliges the composer to use
+devices which are unnecessary in homophonic music.  A single melody can
+develop as it pleases.  But when two or more are combined each must be so
+delicately and cleverly fashioned that it can be interwoven with the
+others in this direction and in that.  And here we detect one at least of
+the reasons why Bach’s melodies are so strangely original, and his tunes
+so clearly distinguishable from those of other composers.  Provided that
+novelty does not degenerate into eccentricity or extravagance, and that
+clearness and facility of expression march with agreeableness, a
+composer’s meritoriousness is proclaimed in his originality.(150) The one
+drawback is that the ordinary hearer cannot appreciate melodic beauties
+which are patent only to the expert.
+
+But Bach’s melodies are not invariably so handicapped. They are always
+original, it is true. But in his free compositions the melodies are so
+natural and spontaneous that, while they sound differently from those of
+other composers, their naturalness, and the sincerity of feeling that
+inspires them, make them intelligible to every listener.  Most of the
+Preludes in the _Well-tempered Clavier_ as well as a number of movements
+in the Suites are of this character.
+
+Bach’s melody, then, bears the unmistakable stamp of originality.  And so
+does his passage work, as it is called.  Such novelty, originality, and
+brilliancy are not found in any other composer. Examples are to be found
+in all Bach’s Clavier works. But the most striking and original are in the
+_Great Variations,_(151) in the first Part of the _Clavierübung,_(152) in
+the _English Suites,_(153) and the _Chromatic Fantasia._(154) In the last
+particularly Bach’s fertility impresses us.  The greater part of its
+passage work is in the form of harmonic arpeggios whose richness and
+originality match the chords they represent.
+
+In order to realise the care and skill Bach expended on his melody and
+harmony, and how he put the very best of his genius into his work, I need
+only instance his efforts to construct a composition incapable of being
+harmonised with another melodic part.  In his day it was regarded as
+imperative to perfect the harmonic structure of part-writing.
+Consequently the composer was careful to complete his chords and leave no
+door open for another part.  So far the rule had been followed more or
+less closely in music for two, three, and four parts, and Bach observed it
+in such cases.  But he applied it also to compositions consisting of a
+single part, and to a deliberate experiment in this form we owe the six
+Violin and the six Violoncello Solo Suites,(155) which have no
+accompaniment and do not require one.  So remarkable is Bach’s skill that
+the solo instrument actually produces all the notes required for complete
+harmony, rendering a second part unnecessary and even impossible.
+
+Bach’s melody never palls on us, because of the presence in it of those
+qualities to which I have referred.  It remains “ever fair and young,”
+like Nature herself.  In his earlier works, in which we find him still in
+bondage to the prevailing mode, there is a good deal that to-day seems
+antiquated.  But when, as in his later works, he draws his melody from the
+living wells of inspiration and cuts himself adrift from convention, all
+is as fresh and new as if it had been written yesterday.  Of how many
+compositions of that period can the same be said?  Even the works of
+ingenious composers like Reinhard Keiser(156) and Handel have become
+old-fashioned sooner than we or their composers might have supposed. Like
+other caterers for the public, they were obliged to pander to its taste,
+and such music endures no longer than the standard which produced it.
+Nothing is more inconstant and fickle than popular caprice and, in
+general, what is called fashion.  It must be admitted, however, that
+Handel’s Fugues are not yet out of date, though there are probably few of
+his Arias that we now find agreeable.(157)
+
+Bach’s melody and harmony are rendered still more distinctive by their
+inexhaustible rhythmic variety.  Hitherto we have discussed his music
+merely subjectively as harmony and melody.  But to display vivacity and
+variety music needs to be uttered with rhythmic point and vigour.  More
+than those of any other period composers of Bach’s time found no
+difficulty in this, for they acquired facility in the management of rhythm
+in the “Suite,” which held the place of our “Sonata.” Between the initial
+Prelude and closing Gigue the Suite includes a number of characteristic
+French dance measures, whose rhythm is their distinguishing
+characteristic.  Composers of Bach’s day, therefore, were familiar with
+measures and rhythms which are now obsolete.  Moreover skilful treatment
+was necessary in order that each dance might exhibit its own distinctive
+character and swing.  Herein Bach exceeded his predecessors and
+contemporaries.  He experimented with every kind of key and rhythm in
+order to give variety and colour to each movement.  Out of his experience
+he acquired such facility that, even in Fugue, with its complex
+interweaving of several parts, he was able to employ a rhythm as easy as
+it was striking, as characteristic as it was sustained from beginning to
+end, as natural as a simple Minuet.
+
+The source of Bach’s astonishing pre-eminence is to be sought in his
+facile and constant application of the methods we have discussed.  In
+whatever form he chose to express himself, easy or difficult, he was
+successful and seemingly effortless.(158) There is not a note in his music
+that does not suggest consummate ease of workmanship. What he sets out to
+do he concludes triumphantly. The result is complete and perfect; no one
+could wish for a single note to be other than it is.  Some illustrations
+will make my point clearer.
+
+Carl Philipp Emmanuel, in the preface to his father’s _Vierstimmige
+Choralgesänge_ (“Four-part Hymn-tunes”), which he edited,(159) says that
+the world was accustomed to look for nothing but masterpieces from Bach.
+Some reviewers thought this praise exaggerated.  But if the term
+“masterpiece” is restricted to works written during the years of Bach’s
+maturity(160) it is nothing less than the truth.  Others have produced
+masterpieces in various forms which may be placed honourably by the side
+of his.  For instance, certain Allemandes, Courantes, etc., by Handel and
+others are not less beautiful, though less richly wrought, than Bach’s.
+But in Fugue, Counterpoint, and Canon he stands alone, in a grandeur so
+isolated that all around him seems desert and void.  No one ever wrote
+Fugues to compare with his; indeed, persons unacquainted with them cannot
+imagine what a Fugue is and ought to be.  The ordinary Fugue follows a
+rule of thumb development.  It takes a theme, puts another beside it,
+passes them into related keys, and writes other parts round them over a
+Continuo.  Certainly this is Fugue: but of what merit?  Persons who know
+no other not unnaturally hold the whole species in little esteem, and the
+player who hopes to make such commonplace material convincing will need
+all his skill and imagination.
+
+Bach’s Fugue is of quite another kind.  It presents all the
+characteristics we are accustomed to in freer musical forms: a flowing and
+distinctive melody, ease, clarity, and facility in the progression of the
+parts, inexhaustible variety of modulation, purest harmony, the exclusion
+of every jarring or unnecessary note, unity of form and variety of style,
+rhythm, and measure, and such superabundant animation that the hearer may
+well ask himself whether every note is not actually alive.  Such are the
+properties of Bach’s Fugues, properties which excite the admiration and
+astonishment of all who can appreciate the intellectual calibre their
+composition demands. How great a tribute of homage is due to work of this
+kind, which exhibits all the qualities which lend distinction to
+compositions in other musical forms!  Moreover, while all Bach’s Fugues of
+his mature period have the foregoing properties in common, each is endowed
+with peculiar excellencies of its own, has its own distinctive
+individuality, and displays a melodic and harmonic scheme in keeping with
+it.  The man who can play one of Bach’s Fugues is familiar with, and can
+play, one only; whereas knowing one, we can perform portfolios of Fugues
+by other performers of Bach’s period.
+
+To what a height was the art of Counterpoint carried by Bach’s genius!  It
+enabled him to develop out of a given subject a whole family of related
+and contrasted themes, of every form and design.  It taught him to develop
+an idea logically from the beginning to the end.  It gave him such a
+command of harmony and its infinite combinations that he could invert
+whole themes, note by note, in every part, without impairing in the least
+the flow of melody or purity of his harmony.  It taught him to write in
+canon at all intervals and in movements of all kinds so easily and
+naturally that the workmanship is not perceptible and the composition
+sounds as smoothly as though it were in the free style. Lastly, it has
+given to posterity a legacy of works immensely various, which are, and
+will remain, models of contrapuntal form as long as music endures.(161)
+
+I have written exclusively so far of Bach’s Clavier and Organ work.  But
+in its expression music has two branches, instrumental and vocal, and as
+Bach excels in both of them, the reader will desire to hear somewhat
+respecting his vocal writings.
+
+It was at Weimar that Bach first had occasion to write for the voice,(162)
+upon his appointment to the Kapelle, which imposed on him the provision of
+music for the ducal chapel.  His church music, like his Organ works, is
+devout and serious, and in every respect what church music ought to be. He
+makes a point also of not elaborating individual words, which leads to
+mere trifling, but interprets the text as a whole.(163) His choruses
+invariably are magnificent and impressive, and he frequently introduces
+Chorals into them,(164) making the other parts accompany their Cantus
+fugally, as was the practice in a Motet.  As elsewhere in his works, the
+harmonic structure of his voice parts and instrumental accompaniment is
+rich.  The declamation of the recitatives is expressive, and the latter
+have fine Continuo parts.(165) In his Arias, hardly one of which is not
+beautiful and expressive, Bach seems to have been handicapped by the
+inefficiency of his singers and instrumentalists, who constantly
+complained of the difficulty of his music.  If he had been fortunate
+enough to have capable performers the merits of his church music would
+have been established and, like his other works, they would still be sung
+and admired; for they contain treasures which deserve immortality.(166)
+
+Among the works composed at Leipzig I single out two Cantatas, one of
+which was performed at Cöthen at the funeral of Bach’s beloved Prince
+Leopold, and the other in St. Paul’s Church, Leipzig, on the occasion of
+the funeral sermon in honour of Christiana Eberhardine, Queen of Poland
+and Electress of Saxony.(167) The first contains double choruses of
+uncommon magnificence and most affecting sentiment.(168) The second has
+only four-part choruses, but they are so delightful and fresh that he who
+begins the work will not pause till he has reached the end of it. It was
+written in October 1727.
+
+Bach also composed a great number of Cantatas, chiefly for the choir of
+St. Thomas’ School, Leipzig.(169) The choir ordinarily numbered fifty
+singers, and sometimes more, over whose musical training Bach presided
+like a father.  He practised them so hard in Cantatas for single and
+double chorus that they became excellent singers.  Among these works are
+some which, in profundity of conception, magnificence, richness of harmony
+and melody, and animation, surpass everything of their kind. But, like all
+Bach’s works, and in common with other masterpieces, they are difficult to
+perform and need a numerous orchestra to produce their full effect.
+
+Such are Bach’s most important vocal compositions. (170) In minor forms of
+the art, morceaux for social entertainments and the like, he wrote
+little,(171) though he was of a most sociable disposition. For instance,
+he is said never to have composed a song.(172) And why should he?  They
+produce themselves so spontaneously that there is little call for genius
+to aid their gestation.
+
+  [Johann Sebastian Bach. From the picture discovered by Professor Fritz
+                                 Volbach]
+
+  Johann Sebastian Bach. _From the picture discovered by Professor Fritz
+                                 Volbach_
+
+
+
+
+
+CHAPTER VII. BACH AS A TEACHER
+
+
+It not infrequently happens that talented composers and players are
+incapable of imparting their skill to others.  Either they have never
+troubled to probe the mechanism of their own facility, or, through the
+excellence of their instructors, have taken the short cut to proficiency
+and allowed their teacher and not their own judgment to decide how a thing
+should be done.  Such people are useless to instruct beginners.  True,
+they may succeed in teaching the rudiments of technique, assuming that
+they have been properly taught themselves.  But they are certainly
+unqualified to teach in the full sense of the word.  There is, in fact,
+only one way to become a good teacher, and that is to have gone through
+the discipline of self-instruction, a path along which the beginner may go
+astray a thousand times before attaining to perfection. For it is just
+this stumbling effort that reveals the dimensions of the art. The man who
+has adventured it learns the obstacles that obstruct his path, and how to
+surmount them. To be sure, it is a lengthy method. But if a man has
+patience to persevere he will reap a sure reward after an alluring
+pilgrimage.  No musician ever founded a school of his own who has not
+followed such a course, and to his experience his teaching has owed its
+distinctive character.
+
+This is so with Bach, who, only gradually discovering his full stature,
+was thirty years old before unremitting application raised him above the
+difficulties of his art.  But he reaped his reward.  Self-discipline set
+him on the fairest and most alluring path that it has ever been given to a
+musician to tread.
+
+To teach well a man needs to have a full mind. He must have discovered how
+to meet and have overcome the obstacles in his own path before he can be
+successful in teaching others how to avoid them.  Bach united both
+qualities.  Hence, as a teacher he was the most instructive, clear, and
+definite that has ever been.  In every branch of his art he produced a
+band of pupils who followed in his footsteps, without, however, equalling
+his achievement.
+
+First of all let me show how he taught the Clavier.(173) To begin with,
+his pupils were made to acquire the special touch of which I have already
+spoken.(174) To that end for months together he made them practise nothing
+but simple exercises for the fingers of both hands, at the same time
+emphasising the need for clearness and distinctness. He kept them at these
+exercises for from six to twelve months, unless he found his pupils losing
+heart, in which case he so far met them as to write short studies which
+incorporated a particular exercise.  Of this kind are the _Six Little
+Preludes for Beginners,_(175) and the _Fifteen Two-part Inventions,_(176)
+both of which Bach wrote during the lesson for a particular pupil and
+afterwards improved into beautiful and expressive compositions.  Besides
+this finger practice, either in regular exercises or in pieces composed
+for the purpose, Bach introduced his pupils to the use of the various
+ornaments in both hands.
+
+Not until this stage was reached did Bach allow his pupils to practise his
+own larger works, so admirably calculated, as he knew, to develop their
+powers.  In order to lessen their difficulty, it was his excellent habit
+to play over to them the pieces they were to study, with the remark,
+“That’s how it ought to sound.”(177) It would be difficult to exaggerate
+the helpfulness of this method. The pupil’s interest was roused by hearing
+the piece properly played. But that was not the sole result.  Without the
+help thus given the pupil could only hope to overcome the difficulties of
+the piece after considerable effort, and would find it much less easy to
+realise a proper rendering of it.  As it was, he received at once an ideal
+to aim at and was taught how to surmount the difficulties the piece
+presented.  Many a young performer, still imperfect after a year’s
+practice, probably would master his music in a month if he once had it
+played over to him.
+
+Bach’s method of teaching composition was equally sure and effective.(178)
+He did not begin with the dry details of counterpoint, as was the custom
+of other teachers in his day.  Still less did he burden his pupils with
+the physical properties of sound, which he held to be matter for the
+theorist and instrument-maker rather than the composer.  He started them
+off at once on four-part harmony over a figured Bass, making his pupils
+write each part on a separate stave in order to impress on them the need
+for accurate harmonic progression.  Then he passed to Hymn tunes, setting
+the Bass himself and making his pupils write the Tenor and Alto parts.  In
+time he let them write the Bass also.  He insisted on correct harmony and
+on each part having a real melodic line.  Every musician knows what models
+Bach has left us in this form.  The inner parts of his four-part
+Hymn-tunes are so smooth and melodious that often they might be taken for
+the melody.  He made his pupils aim at similar tunefulness, and until they
+showed a high standard of merit did not permit them to write compositions
+of their own.  Meanwhile he aimed at cultivating their feeling for pure
+harmony and for the order and connection of ideas and parts by
+familiarising them with the compositions of others.  Until they had
+acquired facility in those qualities he neither permitted them nor held
+them competent to put pen to paper.
+
+Bach required his pupils in composition to work out their musical ideas
+mentally.  If any of them lacked this faculty he admonished him not to
+compose and discountenanced even his sons from attempting to write until
+they had first given evidence of genuine musical gifts.  Having completed
+their elementary study of harmony, Bach took his pupils on to the theory
+of Fugue, beginning with two-part writing.  In these and other exercises
+he insisted on the pupil composing away from the Clavier.(179) Those who
+did otherwise he ridiculed as “Harpsichord Knights.”  In the second place
+he required rigorous attention to each part and its relation to the
+concurrent parts, permitting none, not even an inner one, to break off
+before it had finished what it had to say.  He insisted upon a correct
+relation between each note and its predecessor.  If he came upon one whose
+derivation or destination was not perfectly clear he struck it out as
+faulty.  It is, indeed, a meticulous exactitude in each individual part
+that makes Bach’s harmony really multiple melody.  Confused part-writing,
+where a note that belongs to the Tenor is given to the Alto, or vice
+versa, or the haphazard addition of extraneous parts to a chord which
+suddenly shows an increase of notes as if fallen from the sky, to vanish
+as suddenly as they came, are faults found neither in his own nor his
+pupils’ writing.  He regarded his musical parts as so many persons engaged
+in conversation. If there are three, each of them on occasion may be
+silent and listen to the others until it finds something relevant to say
+itself.  But if, at an interesting point of the conversation, an
+interloping voice intervened, Bach regarded it as an intruder and let his
+pupils understand that it could not be admitted.
+
+Notwithstanding his strictness on this point, Bach allowed his pupils
+considerable licence in other respects.  In their use of certain
+intervals, as in their treatment of harmony and melody, he let them
+experiment within the limits of their ability, taking care to
+discountenance ugliness and to insist on their giving appropriate
+expression to the character of the composition.  Beauty of expression, he
+postulated, was only attainable on a foundation of pure and accurate
+harmony.  Having experimented in every form himself, he liked to see his
+pupils equally adventurous. Earlier teachers of composition, for instance,
+Berardi,(180) Buononcini,(181) and Fux,(182) did not allow such liberty.
+They were afraid to trust their pupils to encounter difficulties, and
+short-sightedly prevented them from learning how to overcome them.  Bach’s
+system was wiser, for it took his pupils farther, since he did not limit
+their attention, as his predecessors did, to the harmonic structure, but
+extended it to the qualities that constitute good writing, namely,
+consistency of expression, variety of style, rhythm, and melody.  Those
+who would acquaint themselves with Bach’s method of teaching composition
+will find it fully set forth in Kirnberger’s _Correct Art of
+Composition._(183)
+
+As long as his pupils were under his instruction Bach did not allow them
+to study any but his own works and the classics.  The critical sense,
+which permits a man to distinguish good from bad, develops later than the
+aesthetic faculty and may be blunted and even destroyed by frequent
+contact with bad music.  The best way to instruct youth is to accustom it
+early to consort with the best models.  Time brings experience and an
+instructed judgment to confirm the pupil’s early attraction to works of
+true art.
+
+Under this admirable method of teaching all Bach’s pupils became
+distinguished musicians, some more so than others, according as they came
+early or late under his influence, and had opportunity and encouragement
+to perfect and apply the instruction they received from him.  His two
+eldest sons, Wilhelm Friedemann and Carl Philipp Emmanuel, were his most
+distinguished pupils, not because he gave them better instruction than the
+rest, but because from their earliest youth they were brought up amid good
+music at home.  Even before they began their lessons they knew what was
+good.  On the other hand, others, before they became Bach’s pupils, either
+had heard no good music or their taste had been already vitiated by
+contact with bad.  It at least attests the excellence of Bach’s method
+that even his pupils thus handicapped took high rank in their profession
+and distinguished themselves in one or other of its branches.(184)
+
+Bach’s first pupil was JOHANN CASPAR VOGLER, who received instruction from
+him in his early days at Amstadt and Weimar and, on Bach’s testimony, was
+an exceedingly able player.  He became organist, and later burgomaster, at
+Weimar, retaining his professional position.  Some Choral Preludes by him
+for a two-manualed Organ with pedals were engraved about 1737.(185)
+
+Other pupils of Bach who became famous were:
+
+      1. HOMILIUS, of Dresden.  He was not only an excellent organist but
+      a distinguished composer of church music as well.(186)
+      2. TRANSCHEL, of Dresden. He was a fine musician and performer on
+      the Clavier. There exist in MS. six Polonaises by him which perhaps
+      are superior to those of any composer but Wilhelm Friedemann
+      Bach.(187)
+      3. GOLDBERG, of Königsberg. He was a very finished player on the
+      Clavier, but without any marked talent for composition.(188)
+      4. KREBS, Organist at Altenburg. He was not only a player of the
+      first rank, but also a prolific composer for the Organ, Clavier, and
+      of church music. He was fortunate in having Bach’s instruction for
+      nine years.(189)
+      5. ALTNIKOL, Organist at Naumburg.  He was Bach’s son-in-law and is
+      said to have been a very competent player and composer.(190)
+      6. AGRICOLA, Court Composer at Berlin.(191) He is less known as a
+      composer than as a theorist. He translated Tosi’s(192) _II canto
+      figurato_ from Italian into German and provided the work with an
+      instructive commentary.
+      7. MÜTHEL, of Riga.  He was a good Clavier player and wrote for that
+      instrument.  His Sonatas and a Duet for two Claviers attest his
+      ability as a composer.(193)
+      8. KIRNBERGER,(194) Court Musician at Berlin to the Princess Amalia
+      of Prussia.(195) He was one of the most distinguished of Bach’s
+      pupils, full of genuine enthusiasm for his art and eager to assure
+      its interests.  Besides his exposition of Bach’s system of teaching
+      composition, we are indebted to him for the first logical treatise
+      on harmony, in which he sets forth his master’s teaching and
+      practice.  The first work is entitled _Kunst des reinen Satzes,_ and
+      the second, _Wahre Grundsätze zum Gebrauch der Harmonie._(196) He
+      served the interests of his art also by other writings and
+      compositions, and was an excellent teacher. The Princess Amalia was
+      his pupil.
+      9. KITTEL, Organist at Erfurt.  He is a sound, though not a
+      finished, player, and is distinguished as a composer by several
+      Organ Trios, so excellent that Bach himself might have written them.
+      He is the sole survivor (1802) of Bach’s pupils.(197)
+      10. VOIGT, of Anspach,(198) and an organist named SCHUBART(199) were
+      mentioned to me by Carl Philipp Emmanuel as having been Bach’s
+      pupils.  He knew nothing about them except that they entered his
+      father’s house after he left it.(200)
+
+I have said already that Bach’s sons were his most distinguished pupils.
+The eldest, WILHELM FRIEDEMANN BACH, came nearest to his father in the
+originality of his genius.  His melodies have quite a different character
+from those of other composers.  They are exceedingly clever, elegant, and
+spontaneous.  When performed with delicacy, as he played them, they cannot
+fail to charm every hearer.  It is greatly to be regretted that he
+preferred to follow his fancy in extemporisation and to expend his genius
+on fugitive thoughts rather than to work them out on paper.  The number of
+his compositions therefore is small, but all are beautiful.
+
+CARL PHILIPP EMMANUEL BACH, who comes next, went out into the world
+sufficiently early to discover that it is a good thing for a composer to
+have a large public behind him.  Hence, in the clearness and easy
+intelligibility of his compositions, he approaches the popular style,
+though he scrupulously avoids the commonplace.(201) Both he and his elder
+brother admitted that they were driven to adopt a style of their own by
+the wish to avoid comparison with their incomparable father.
+
+JOHANN CHRISTOPH FRIEDRICH BACH, Concertmeister at the Court of Bückeburg,
+imitated Carl Philipp’s style, but was not his equal. According to Wilhelm
+Friedemann, he was the best player among the brothers, and the most
+effective performer of their father’s Clavier compositions.
+
+JOHANN CHRISTIAN BACH, called “Bach of Milan,” and afterwards “Bach of
+London,” was the youngest son of Bach’s second marriage and of too tender
+an age when his father died ever to have had lessons from him.  Hence,
+perhaps, the absence of Bach’s style in his music.  He was, in fact, a
+popular composer universally admired in his day.(202)
+
+
+
+
+
+CHAPTER VIII.  PERSONAL CHARACTERISTICS
+
+
+Distinguished as a player, composer, and teacher, Bach was also an
+indulgent father, a good friend, and a loyal citizen.  His paternal
+devotion is shown by his care for his children’s education, and he was
+equally assiduous in the performance of his civil and social duties.  His
+acquaintance was agreeable to everybody.  Every lover of music, whatever
+his nationality, was sure of a friendly reception at his house, and his
+sociability and reputation caused him to be seldom without visitors.
+
+As an artist Bach was exceptionally modest. Notwithstanding his
+pre-eminence in his profession, a superiority of which he could not but be
+conscious, and in spite of the admiration and respect daily shown him, he
+never gave himself airs.  If he was asked the secret of his mastership he
+would answer, “I was made to work; if you are equally industrious you will
+be equally successful,”(203) a remark which made no allowance for his own
+exceptional genius.  His opinion of other composers and their work was
+invariably fair and generous.  Naturally, much of their work struck him as
+somewhat trivial, viewed from his own altitude.  But he never uttered a
+harsh criticism, unless it were to a pupil, to whom he held himself bound
+to say what he thought.  Still less did he presume on his acknowledged
+superiority to indulge in braggadocio, as often happens with performers
+brought into touch with those whom they regard as their inferiors.  Herein
+Bach’s modesty went so far that he never spoke voluntarily of his
+frustrated contest with Marchand, though the latter was the
+challenger.(204) Many absurd stories are told of Bach; for instance that,
+dressed up as a village schoolmaster, he liked to enter a church and ask
+the organist to let him play a Choral, in order to enjoy the astonishment
+excited by his playing, or to hear the Organist declare, “This must be
+Bach or the Devil.”(205) He always ridiculed such stories, and indeed had
+too much respect for his art to make it cloak his vanity.
+
+At musical parties where Quartet or other instrumental music was
+performed, Bach liked to play the Viola, an instrument which put him, as
+it were, in the middle of the harmony in a position from which he could
+hear and enjoy it on both sides.  On those occasions he would sometimes
+join in a Trio or other piece on the Harpsichord. If he was in the mood
+and the composer was agreeable, he would, as has been told already,
+extemporise a new Trio from the Continuo part, or, adding a new part,
+convert the Trio into a Quartet. But these were the only occasions on
+which he was ready to display his great powers before others.  One
+Hurlebusch, of Brunswick,(206) a conceited and arrogant Clavier player,
+once visited Bach at Leipzig, not to hear him play, but to play to him.
+Bach received him politely and listened patiently to his very indifferent
+performance. On taking leave Hurlebusch made Bach’s eldest sons a present
+of his published Sonatas, exhorting them to study them diligently. Bach,
+knowing the kind of music his sons were wont to play, smiled at
+Hurlebusch’s naïveté but did not permit him to suspect his amusement.(207)
+
+Bach was fond of listening to the music of other composers. If he and one
+of his elder sons happened to be in church when a Fugue was played,
+directly the subject had been stated he always pointed out how it ought to
+be developed.  If the composer knew his business and fulfilled Bach’s
+anticipations, he was pleased and nudged his son to draw his attention to
+the fact.  Is this not evidence of his impartial interest in other
+people’s compositions?
+
+I have mentioned already the composers whom in his youth Bach esteemed,
+loved, and studied. Later, when experience ripened his critical faculty,
+he had other favourites, among them Imperial Kapellmeister Fux, Handel,
+Caldara,(208) Reinhard Keiser, Hasse,(209) the two Grauns,(210)
+Telemann,(211) Zelenka,(212) Benda,(213) etc., and, in general, the
+distinguished musicians at Dresden and Berlin.  He was acquainted with all
+except the first four of those I mention.  In his youth Bach was intimate
+with Telemann.(214) He also had a very warm regard for Handel and often
+expressed a desire to know him.  As Handel, like himself, was a famous
+performer on the Organ and Clavier, many in Leipzig and its neighbourhood
+wished to bring the two great men together.  But Handel, then living in
+London, never found time for a meeting during the visits he paid to Halle,
+his native town.  On his first visit in 1719, Bach was at Cöthen, only
+some twenty miles distant.  As soon as he was informed of Handel’s arrival
+he lost not a moment in setting out to visit him, but on his arrival found
+that Handel had returned to England.  At the time of Handel’s second
+visit, between 1730 and 1740,(215) Bach was prevented from leaving Leipzig
+by indisposition.  But no sooner was he advised of Handel’s arrival at
+Halle than he sent his eldest son, Wilhelm Friedemann, to beg him to visit
+Leipzig, an invitation which Handel was unable to accept.  In 1752 or
+1753, when Handel paid his third visit to Germany,(216) Bach was dead. He
+had always expressed the strongest desire to know Handel, and the Leipzig
+people were disappointed in their wish to hear the two great men together.
+
+While Hasse was Kapellmeister at Dresden both the Opera and Kapelle
+flourished.  Bach had many friends at Dresden, who held him in high
+regard.  Among them may be mentioned Hasse and his wife, the celebrated
+Faustina.(217) They often visited Leipzig and were admirers of the
+Cantor’s rare talents.  Hence, at Dresden he was always received in the
+most respectful manner and often visited the Opera, generally accompanied
+by his eldest son.  When the time for their journey approached Bach would
+say in fun, “Well, Friedemann, shall we go to Dresden to hear the pretty
+tunes(218) again?” Innocent as the jest was, I am sure Bach would not have
+uttered it to any but his son, who already could distinguish between great
+music and agreeable trifles.
+
+Bach was never in a position to make what is called a brilliant
+fortune.(219) He held a fairly lucrative office, but his income had to
+maintain and educate a large family.  He neither possessed nor sought
+other means of livelihood, and was too absorbed in his art and work to
+think of accepting engagements which, in those days, and to a man of his
+genius, certainly would have brought riches. Had he possessed a taste for
+travel he would, as even one of his detractors admits, have “drawn upon
+himself the admiration of the whole world.” But he preferred a quiet
+domestic life, constant occupation in his work, with contentment and a
+moderate competence, like his forbears. His modesty, however, did hot
+prevent him from receiving manifold proofs of regard and affection and
+marks of honourable distinction. Prince Leopold of Cöthen, Duke Ernst
+August of Weimar,(220) and Duke Christian of Weissenfels, all showed
+sincere regard for him, which must have been the more agreeable to him
+seeing that they were all sound judges of music.  At Berlin, as at
+Dresden, he was universally honoured and respected. If we add to these
+testimonies the fact that he captured the admiration of all who heard him
+play or were acquainted with his music, then we may be sure that Bach,
+“singing for himself and the Muses,” received at the hands of Fame the
+recognition he valued most, and cherished it far more than the trivial
+honour of a ribbon or gold chain.
+
+I add that, in 1747, Bach became a member of the “Society of the Musical
+Sciences,” founded by Mizler, only because we owe to the circumstance his
+admirable Choral Variations on _Vom Himmel hoch._(221) He presented them
+to the Society on his admission and they were engraved subsequently.(222)
+
+
+
+
+
+CHAPTER IX. BACH’S COMPOSITIONS
+
+
+To have produced so many great works in all forms of musical expression
+Bach necessarily must have been a prolific writer.  For if a composer be
+the greatest genius in the world, unless he constantly exercises his art
+he cannot hope to produce real masterpieces.  Superlative excellence is
+the fruit of indefatigable application.  Yet in Bach’s case we should be
+wrong to acclaim as masterpieces all the products of his great activity
+just because masterpieces at length were the fruit of it.  Already in his
+early compositions we find undeniable evidence of genius.  But they are
+blemished by faults, passages poor in quality, extravagant, insipid, that
+are hardly worth preserving, though of interest to the student who wishes
+to trace from its source the development of Bach’s genius.
+
+It is not difficult to distinguish with exactitude those of Bach’s early
+compositions which are of the first excellence; for he has been at pains
+to give us the clue.  As he did not publish his first work until he was
+about forty years old (223) we are justified in assuming the merit of
+what, at so mature an age, he thought worthy to put into print, and in
+concluding generally that all his engraved works are of first-rate
+merit.(224)
+
+With respect to his unpublished compositions, and they are by far the most
+numerous, we must in order to distinguish their merit rely partly on a
+critical examination of their texts, partly on Bach’s own judgment.  Like
+all great composers, he was continually working on his compositions with a
+view to making them still more finished.  Indeed, he actually attempted to
+improve some of them that were already perfect.  Any that were susceptible
+of improvement he improved, even those already engraved.  Such is the
+origin of the variant readings of his works found in older and more recent
+texts.  By constantly retouching his compositions Bach aimed at making
+them indisputable masterpieces.  In this category I place most of what he
+wrote before the year 1725, as I show in detail in the following
+catalogue.  A great many compositions subsequent to 1725, which for
+reasons easily understood are still in MS., bear too evidently the stamp
+of perfection to leave us in doubt whether to class them as early essays
+or as the finished work of an accomplished master.
+
+The following are those of Bach’s works which have been engraved:
+
+      1. _Clavierübung_, or “Exercises for the Clavier, consisting of
+      Preludes, Allemandes, Courantes, Sarabandes, Gigues, Minuets, etc.,
+      for the Diversion of Amateurs. Opus I. Published by the Composer,
+      1731.”  This was Bach’s first published work and contains six
+      Suites.  The first of them came out in 1726;(225) the others
+      followed in successive years until all were engraved together in
+      1731.(226) The work was much noticed at the time.  Such compositions
+      for the Clavier had not been seen or heard before, and the man who
+      could play them was sure of a success.  Our young players to-day
+      would profit by the study of them, so brilliant, agreeable,
+      expressive, and original are they. In the new edition(227) they are
+      entitled, “Exercises for the Clavier.”
+      2. _Clavierübung_, or “Exercises for the Clavier, Part II.,
+      consisting of a Concerto in the Italian style and an Overture in the
+      French manner(228) for a Clavier with two manuals.  Published by
+      Christopher Weigel, Junior, in Nürnberg.”(229)
+      3. _Clavierübung_, or “Exercises for the Clavier, Part III.,
+      consisting of various Organ Preludes to the Catechism and other
+      Hymns, composed for the diversion of amateurs and particularly of
+      competent judges of such works.  Published by the Composer.”
+      Besides the Preludes and Fugues for the Organ, all of which are
+      masterly, the book contains four Duetti for the Clavier,(230) models
+      of their kind.
+      4. _Sechs Choräle_, or “Six Choral Melodies of different kinds, for
+      an Organ with two manuals and pedal.  Zella, in the Thuringian
+      Forest.  Published by Johann G. Schübler.”(231) They are full of
+      dignity and religious feeling.  In some of them, too, we have
+      instances of Bach’s original management of the stops.(232) Thus, in
+      the second Choral, _Wo soll ich fliehen hin,_ he gives to the first
+      manual an 8 foot, to the second a 16 foot, and to the pedal a 4 foot
+      stop.  The pedal has the cantus firmus.(233)
+      5. _Clavierübung_, or “Exercises for the Clavier, consisting of an
+      Aria with several Variations, for a Clavier with two manuals.
+      Published by Balthasar Schmidt at Nürnberg.”(234) This admirable
+      work consists of thirty Variations, some in canon, in a variety of
+      movements and at all intervals from the unison to the ninth, with
+      easy flowing melody.  It includes a regular fourpart Fugue,(235)
+      several extremely brillant Variations for two Claviers,(236) and
+      concludes with a Quodlibet, as it is called, which alone would
+      render its composer immortal, though it is not the best thing in the
+      volume.(237)
+
+      The Variations are models of what such compositions ought to be,
+      though no one has been so rash as to attempt to follow Bach’s
+      footsteps. We owe them to Count Kaiserling, formerly Russian
+      Ambassador at the Saxon Electoral Court, who frequently visited
+      Leipzig with Goldberg, already mentioned(238) among Bach’s pupils.
+      The Count was a great invalid and suffered from insomnia.  Goldberg
+      lived in the Ambassador’s house, and slept in an adjoining room, to
+      be ready to play to him when he was wakeful.  One day the Count
+      asked Bach to write for Goldberg some Clavier music of a soothing
+      and cheerful character, that would relieve the tedium of sleepless
+      nights.  Bach thought a set of Variations most likely to fulfil the
+      Count’s needs, though, on account of the recurrence of the same
+      basic harmony throughout, it was a form to which he had hitherto
+      paid little attention.  Like all his compositions at this period,
+      however, the Variations are a masterpiece, and are the only example
+      he has left us of this form.(239) The Count always called them “my
+      Variations” and was never weary of hearing them.  For long
+      afterwards, when he could not sleep, he would say, “Play me one of
+      my Variations, Goldberg.” Perhaps Bach was never so well rewarded
+      for any composition as for this.  The Count gave him a golden goblet
+      containing one hundred louis d’ors, though, as a work of art, Bach
+      would not have been overpaid had the present been a thousand times
+      as large.  It may be observed, that in the engraved copy of the
+      Variations there are serious mistakes, which the composer has
+      corrected in his own copy.(240)
+
+      6. _Einige kanonische Verdäderungen,_ “Canonic Variations on the
+      Christmas Hymn ‘Vom Himmel hoch da komm ich her,’ for an Organ with
+      two manuals and pedal. Published at Nürnberg by Balthasar Schmidt.”
+      The work contains five canonic variations of the utmost
+      ingenuity.(241)
+      7. _Musikalisches Opfer_, or “A Musical Offering,” dedicated to
+      Frederick II., King of Prussia.  The theme received by Bach from the
+      King(242) is treated first as a three-part Fugue under the acrostic
+      title “Ricercare” (Regis iussu cantio et reliqua canonica arte
+      resoluta). There follows a six-part “Ricercare” and Thematis regii
+      elaborationes canonicae of various kinds.(243) The work includes a
+      Trio for Flute, Violin, and Clavier upon the same subject.(244)
+      8. _Die Kunst der Fuge_, or “The Art of Fugue.”  This work, unique
+      of its kind, did not appear till about 1752, after Bach’s death,
+      though the greater part of it had been engraved by his sons during
+      his lifetime.(245) Marpurg,(246) the leading German musical critic
+      of that day, contributed a preface to this edition which contains
+      many just observations on the value and utility of such
+      treatises.(247) But, being too good for the general public, the work
+      found only a small circulation among those who discerned its merit
+      and eagerly bought copies. The plates were never used again and
+      eventually were sold(248) by Bach’s heirs at the price of old
+      copper.  Written by a man of Bach’s transcendent genius, and
+      commended as a masterpiece by a critic so highly regarded as
+      Marpurg, a work of this kind, if published in any other country than
+      Germany, would have passed through at least ten editions by now, if
+      only at the bidding of patriotism.  But in Germany not a sufficient
+      number of copies was sold to pay for the plates used in engraving
+      the work!
+
+      The work consists of fugal Variations planned on the most elaborate
+      scale.(249) The composer’s intention was to show in what a variety
+      of ways the same theme can be treated fugally.  The Variations (here
+      called “Contrapunctus”)(250) are complete Fugues upon the same
+      theme.  The last Fugue of all has three subjects, in the third of
+      which the composer signs his name, B A C H.(251) Bach was prevented
+      from finishing it by the disorder of his eyes, and as an operation
+      brought no relief the movement was never completed.  It is said that
+      Bach intended to introduce four themes into it and to bring it to an
+      impressive conclusion by inverting them all. All the Fugues in the
+      work are equally smooth and melodious.
+
+      To make up for the unfinished Fugue Bach concluded the work with a
+      Choral Prelude upon the tune “Wenn wir in höchsten Nöthen sein,”
+      which he dictated to his son-in-law, Altnikol, a few days before his
+      death.(252) Of the extraordinary skill it displays I do not speak,
+      save to remark that even in his last illness it proclaims Bach’s
+      skill undiminished.  The pious resignation and devotion that
+      characterise it move me deeply whenever I play it.  Nor should I
+      find it easy to say which I had rather had been omitted, the Choral
+      Prelude, or the conclusion of the unfinished Fugue.
+
+      9. Lastly, after Bach’s death, his four-part Chorals were collected
+      by his son, Carl Philipp Emmanuel, and were published by Birnstiel
+      (Berlin and Leipzig), Part I. in 1765, Part II. in 1769.(253) Each
+      Part contains one hundred Chorals, mostly taken from the composer’s
+      church Cantatas.
+
+      More recently Kirnberger edited, in four volumes, a collection of
+      Bach’s Chorals. They are published by Breitkopf.(254)
+
+      Bach’s works, still in MS., consist of compositions for the Clavier,
+      Organ, with and without other instruments, Strings, and the voice.
+      I will enumerate them in that order.
+
+
+
+
+                     I. Compositions For The Clavier
+
+
+      1. _Six Little Preludes far Beginners_.(255)
+      2. _Fifteen Two-part Inventions_.  An Invention is a musical theme
+      so constructed that by imitation and inversion a whole movement can
+      be evolved from it.  The subject having been first stated, the rest
+      develops naturally out of it.  For the instruction of a young
+      Clavier player these fifteen Inventions are of great value, seeing
+      that the composer has been careful not only to provide exercises for
+      both hands but for every finger as well.  They were composed at
+      Cöthen in 1723, with a long title which begins: “An honest Guide, in
+      which lovers of the Clavier are shown a clear method of playing
+      correctly in two parts,” etc.(256)
+
+      It cannot be denied that, among other blemishes, the Inventions
+      occasionally exhibit melodic poverty and roughness.  But finding
+      them useful to his pupils, Bach eventually revised them and removed
+      from them everything that offended his maturer taste, so that they
+      now stand as masterpieces of pure music.  Moreover they are
+      invaluable exercises for the fingers and hands and are sound
+      instructors of taste.  There is no better introduction to Bach’s
+      larger works than they afford.
+
+      3. _Fifteen three-part Inventions_, also called Symphonies.  They
+      were written for the same purpose as the Inventions, but are more
+      advanced.(257)
+      4. _The Well-tempered Clavier_, or, Preludes and Fugues in all tones
+      and semitones, composed for the profit and use of young musicians
+      desirous of knowledge, as also for those who are skilled already in
+      this studio.  Part I. was finished in 1722.  Part II., like Part I.,
+      contains twenty-four Preludes and twenty-four Fugues in every key,
+      and was composed at a later period.(258) Every number of it, from
+      first to last, is a masterpiece.  In Part I., however, certain
+      Preludes and Fugues bear marks of immaturity and are included
+      probably only in order to complete the series.  But here again Bach
+      eventually corrected whatever seemed to him lacking in finish.  He
+      altered or rewrote entire passages, so that in the later texts few
+      movements are not perfect.  Among these few I reckon the Fugues in A
+      minor,(259) G major and G minor,(260) C major,(261) F major and F
+      minor.(262) The rest are excellent, some of them so superlatively
+      good as to be not inferior to those in Part II.(263) Even Part II.,
+      for all its original perfection, has been improved by the composer,
+      as may be observed by comparing the original and later texts.  Both
+      Parts contain treasures of art not to be found outside Germany.
+      5. _Chromatic Fantasia and Fugue._(264) I have taken considerable
+      pains to discover a similar piece of music by Bach, but without
+      success.  The Fantasia is unique and unequalled.  Wilhelm Friedemann
+      sent it to me from Brunswick inscribed with these words by a mutual
+      friend. “Anbey kommt an etwas Musik von Sebastian, sonst genannt:
+      Fantasia chromatica; bleibt schön in alle Saecula.”
+
+      It is remarkable that this piece, for all its technical skill,
+      appeals to the most unpractised hearer, if it is performed at all
+      tolerably.
+
+      6. A _Fantasia in C minor_.  It is not of the same character as the
+      preceding work, but resembles rather the Allegro of a Sonata.  It is
+      divided into two parts, but must be played as a single movement.  It
+      is an excellent work, and in old copies an unfinished Fugue follows,
+      which, however, cannot belong to it.(265) The first thirty bars
+      certainly are by Bach, for they are marked by an extremely bold use
+      of augmented and diminished intervals and their inversions, in
+      three-part harmony.  None but Bach attempted such things. The rest
+      of the movement seems to have been added by another hand and bears
+      no trace of Bach’s style.
+      7. _Six large Suites_, consisting of Preludes, Allemandes,
+      Courantes, Sarabandes, etc.  They are known as the “English Suites,”
+      because the composer wrote them for an Englishman of rank.(266)  All
+      of them are of great merit as works of art, and some movements, in
+      particular the Gigues of the fifth and sixth Suites, are perfect
+      masterpieces of harmony and melody.
+      8. _Six small Suites_, consisting of Allemandes, Courantes, etc.
+      They are generally called the “French Suites,” because they are
+      written in the French style.(267) The composer is intentionally less
+      academic in them than in his larger Suites, and their melodies are
+      more than usually pleasant and agreeable.  In particular the fifth
+      Suite deserves to be noticed: all its movements are most melodious,
+      and in the concluding Gigue only consonant intervals, especially
+      thirds and sixths, are used.
+
+These are Bach’s principal works for the Clavier which can be considered
+classics.(268) A great number of single Suites,(269)Toccatas and
+Fugues,(270) besides those already mentioned, have great and varying
+merit, but are youthful works.(271) At the most, ten or twelve of them
+seem to me worth preserving, some of them because they would be useful as
+finger exercises, for which their author originally intended them, others
+because they are at least better than similar works by other composers.
+As an exercise for the fingers of both hands I particularly single out a
+Fugue in A minor,(272) in which the composer has been at great pains to
+write florid passages in order to give equal strength and suppleness to
+both hands.  For beginners a little two-part Fugue(273) should also prove
+useful.  It is melodious, flowing, and not at all old-fashioned.
+
+
+
+
+             II. Music For The Clavier With Other Instruments
+
+
+      1. _Six Sonatas for Clavier with Violin obbligato_.  Composed at
+      Cöthen, they are among Bach’s masterpieces in this form and display
+      fugal and canonic writing which is both natural and full of
+      character.  The Violin part needs a master to play it; for Bach knew
+      the capabilities of the instrument and spared it as little as the
+      Clavier.  The six Sonatas are in the keys of B minor, A major, E
+      major, C minor, F minor, and G major.(274)
+      2. _Several Sonatas for Harpsichord and Violin_,(275) _Harpsichord
+      and Flute_,(276) _Harpsichord and Viol da Gamba_.(277) They are
+      admirably written and most of them are pleasant to listen to even
+      today.(278)
+      3. _Several Concertos for the Clavier and other instruments_.  They
+      contain real gems of art but are antiquated in form.(279)
+      4. _Two Concertos for two Claviers_, with an accompaniment of two
+      Violins, Viola, and Violoncello.  The first, in C minor,(280) has an
+      antique flavour. But the second, in C major,(281) is as fresh as if
+      it had been written yesterday.(282) It may be played without the
+      String quartet and still sounds admirable.  The final Allegro is a
+      majestic movement and strictly fugal.  Compositions of this form
+      were first perfected, indeed, we may conjecture, were first
+      attempted, by Bach.  At least, I have met with only a single example
+      by another composer that may perhaps be older—namely, Pachelbel of
+      Nürnberg’s Toccata, as he called it.  Pachelbel, however, was a
+      contemporary of Bach and may have taken the idea from him.  However,
+      his work is not worth considering.  One instrument merely repeats
+      the other’s phrases without being at all concertante.  It almost
+      seems as if Bach at this period had made up his mind to discover
+      what could be done with any number of parts. Having already written
+      for a single solo instrument music which required no accompaniment,
+      he next experimented in dividing his material between as large a
+      number of solo instruments as possible.  Hence the Concertos for two
+      Claviers were followed by
+      5. _Two Concertos for three Claviers_ with an accompaniment of
+      Strings.(283) These Concertos present a remarkable characteristic:
+      besides the concertante combination of three Claviers, the stringed
+      instruments also have concertante parts distinct from the
+      accompaniment.  It is difficult to realise the art involved in this
+      achievement.  For, in spite of their technical skill, the two works
+      are so delicate, full of character, and expressive, that the
+      composer might be treating a simple melody (note particularly the
+      Concerto in D minor).  Words are inadequate to express the
+      admiration they arouse.  But Bach was not satisfied.  Hence he wrote
+      6. _A Concerto for four Claviers_ and four stringed
+      instruments.(284) I cannot judge the effect of this composition, for
+      I have never been able to get together the four instruments and four
+      performers it requires.  But that it is admirably written can be
+      seen from the parts.
+
+
+
+
+                     III. Compositions For The Organ
+
+
+The pedal is the distinctive feature of the Organ which places it above
+all other instruments, and gives it its magnificence, sonority, and
+majesty.  Deprive it of the pedal and you take from it the solemn and
+imposing tones which are its distinctive utterance, reducing it to the
+level of a “positiv,” or Chamber-organ, an instrument relatively
+insignificant.
+
+But an Organ equipped with a pedal must be able to employ it in its full
+compass,(285) and both composer and organist must know the proper use of
+it.  No one excelled Bach in this knowledge.  Not only is his rich harmony
+and melody singularly adapted to the instrument, but he gave the pedal a
+part of its own, even in his early compositions.  Yet it was only
+gradually that he mastered its technique; for his Organ masterpieces
+belong to the period in which those for the Clavier began to be classics.
+His early and immature Organ works are widely dispersed; for as soon as a
+composer begins to be distinguished everybody is anxious to possess a
+specimen of his art.  Public curiosity, however, generally dies down long
+before a composer comes to maturity, particularly if his work is over the
+heads of the public.  And this seems to have been Bach’s fortune.
+Consequently his mature Organ works are less familiar than his early
+efforts.  The latter, however, cannot possibly be admitted to a “correct
+and critical” edition of his works, and I mention here only those whose
+merit is as incontestable as that of the Clavier works enumerated in the
+preceding paragraphs.
+
+Bach’s finest Organ music falls into three groups:
+
+      1. _The Great Preludes and Fugues_, with obbligato pedal.  Their
+      number cannot be stated, but I believe it not to exceed a
+      dozen.(286) At least, after prolonged search I have not been able to
+      collect more than that number.(287) To these I must add a very
+      clever and original Passacaglia, which, however, seems suitable
+      rather for a two-manual Clavicembalo and pedal than for the
+      Organ.(288)
+      2. _Preludes on Choral Melodies_. It was at Arnstadt that Bach began
+      to compose Variations on Choral melodies, under the title _Partite
+      diverse._(289) Most of them can be played on the manuals alone.
+      Those which I include here are an exception and require the
+      obbligato pedal.  Their number may amount to one hundred.  I myself
+      possess above seventy, and more survive elsewhere.(290) No other
+      Choral Preludes approach them in religious feeling, dignity, and
+      sublimity of expression.  I cannot notice them individually; they
+      are too numerous. Besides the larger, there is a great number of
+      shorter and easier ones, particularly useful for young players.
+      MSS. of them exist in considerable number.(291)
+      3. _Six Sonatas_, or Trios, for two manuals and an obbligato
+      pedal.(292) Bach wrote them for his eldest son, Wilhelm Friedemann,
+      whom they helped to become the great performer he was when I knew
+      him.  It is impossible to overpraise their beauty.  Bach composed
+      them when he was in the full vigour of his powers, and they may be
+      considered his chef d’oeuvre in this form.(293) He also wrote other
+      Organ Sonatas, the MSS. of which are in various collections.  They
+      are fine compositions, though they do not equal the Six in
+      merit.(294)
+
+
+
+
+                          IV. Instrumental Music
+
+
+There are few instruments for which Bach did not write.  In his day it was
+usual to play a Concerto or instrumental Solo during the Communion
+office.(295) Bach composed many of these pieces himself, and always with a
+view to their improving the technique of the player.  Most of them are
+lost.  But two important works of another kind survive and to some extent
+compensate us.  They are:
+
+      1. Six Solos for Violin, unaccompanied.(296)
+      2. Six Solos for Violoncello, unaccompanied.(297) The Violin Solos
+      have long been considered by the finest players to be the best
+      instructor for the instrument. The Violoncello Solos are equally
+      effective.(298)
+
+
+
+
+                              V. Vocal Music
+
+
+      1. Five complete sets of church Cantatas for the Sundays and
+      Festivals of the year.(299)
+      2. Five compositions for Holy Week, one of which is for double
+      chorus.(300)
+      3. Several Oratorios,(301) Masses,(302) a _Magnificat,_ settings of
+      the Sanctus,(303) compositions for birthdays and Saints’ Days,(304)
+      funerals,(305) marriages,(306) and some Italian Cantatas.(307)
+      4. Several Motets for single and double chorus.(308)
+
+Most of these works are now dispersed.  The Church Cantatas were divided
+between his elder sons after their composer’s death.  Wilhelm Friedemann
+had the larger share because, being organist at Halle, he could make use
+of them.  Later, circumstances compelled him to part with them gradually.
+I know of no other collection of Bach’s larger choral works.  There exist,
+however, eight or ten Motets for double chorus, but they are dispersed in
+various hands.(309) In the collection bequeathed by the Princess Amalia of
+Prussia to the Joachimsthal Gymnasium at Berlin there are some of Bach’s
+vocal compositions.(310)  Their number is not considerable, but among them
+are the following:
+
+      1. Twenty-one Church Cantatas.(311) In one of them, set to the
+      words, _Schlage doch, gewünschte Stunde,_(312) the composer
+      introduces a bell obbligato.  From that fact we may conclude that
+      the Cantata was not composed in the period of Bach’s maturity,(313)
+      for the use of bells is of doubtful taste.
+      2. Two Masses for five voices with instrumental accompaniment.(314)
+      3. A Mass for double chorus, the first being accompanied by Strings
+      and the second by wind instruments.(315)
+      4. A _Passion,_ for double Chorus,(316) the text by Picander.(317)
+      5. A _Sanctus,_ for four voices and instrumental accompaniment.(318)
+      6. A Motet, for four voices, _Aus tiefer Noth schrei ich zu
+      dir._(319)
+      7. A Motet for five voices, _Jesu, meine Freude._
+      8. Four Motets, for eight voices in double chorus:
+
+            (a) _Fürchte dich nicht, ich bin dei dir._
+            (b) _Der Geist hilft unserer Schwachheit auf._
+            (c) _Komm, Jesu, komm._
+            (d) _Singet dem Herrn ein neues Lied._(320)
+
+      9. A detached four-part fugal chorus, _Nimm was dein ist, und gehe
+      hin._(321)
+      10. A bucolic Cantata, with Recitatives, Aria, Duet, and Chorus.  A
+      note is prefixed to it.(322)
+
+      On the MS. of the last-named Cantata and of the Mass for double
+      chorus (No. 3 supra) there is a note by Kirnberger analysing the
+      skill and merit of the compositions.
+
+
+
+
+
+CHAPTER X.  BACH’S MANUSCRIPTS
+
+
+It has been remarked more than once that Bach, throughout his life,
+devoted much thought to the improvement of his compositions.  I have had
+frequent occasion to compare the original and subsequent texts of his
+works, and confess to have experienced both surprise and pleasure in
+observing his care to improve whatever he thought faulty, to make good
+better, and better perfect.  Nothing is more instructive than a collation
+of this kind, whether to the experienced musician or the instructed
+amateur.  I should like to see a supplement to the complete edition of
+Bach’s works showing these variant readings.(323) The collation would be
+in the highest degree instructive, and to attempt it is as appropriate to
+the works of the composer, a poet in sound, as to those of the poet in
+words.
+
+In Bach’s early texts he often repeats a phrase to other words with some
+melodic variety, in a lower or even in the same octave.  In his riper
+experience he could not tolerate such poverty of workmanship, and cut out
+these passages remorselessly, without regard for the number and quality of
+the persons who had approved them in their original state.  There occur to
+me two good examples of this, the C major and C sharp minor Preludes in
+the first part of the _Well-tempered Clavier._ Bach revised them so
+drastically as to cut them down by one-half, sacrificing passages that he
+thought redundant.(324)
+
+In other places Bach tends to be over-concise; he expresses an idea, but
+does not fully develop it.  The best illustration that occurs to me is the
+D minor Prelude in the second part of the _Well-tempered Clavier._  I
+possess several texts of it.  In the oldest the first transposition of the
+theme in the Bass and several other details essential to a complete
+development of the idea are wanting.  A second MS. gives the theme to the
+Bass wherever the latter is in a key nearly related to that of the tonic.
+In a third MS. these addenda are developed more fully and are joined more
+skilfully.  But melodic details are present of doubtful relevance to the
+rest of the composition.  In a fourth MS. these disappear or are amended,
+so that, as we have it, the Prelude stands as one of the most beautiful
+and least faulty in the _Well-tempered Clavier._ Many people, no doubt,
+preferred the movement in its original form.  But Bach was not a man to be
+influenced by approbation or criticism.  He went on correcting until he
+satisfied himself.
+
+In the early part of the seventeenth century it was the fashion in
+instrumental music to overload single notes with ornaments and add florid
+runs.  Lately it has become the fashion to do so in vocal music as well.
+That Bach shared this disposition may be inferred from certain pieces that
+he wrote in this style.  An instance is the Prelude in E minor in the
+first part of the _Well-tempered Clavier._  But he soon returned to his
+natural better taste, and altered the movement to the form in which it is
+engraved.(325)
+
+Every decade has its own style of melody, distinctive of itself and
+evanescent.  A composer must carefully avoid it if he hopes to be listened
+to by posterity.  In his young days even Bach ran upon this rock.  His
+early compositions for the Organ, and the two-part _Inventions_ in their
+original form, are full of fiorituri such as the taste of his period
+approved.  His Organ compositions remain comparatively untouched, but the
+_Inventions_ he closely revised.  The public will soon be able to compare
+them in their first and later forms, as the publishers, with admirable
+spirit, have resolved to discontinue the present edition and to send out
+to subscribers a revised one based on Bach’s corrected text.
+
+Bach’s processes of revision so far mentioned, however, merely correct
+faults of form, that is, diffuseness or incomplete development of a
+musical thought.  But Bach employed other methods which are less easy to
+describe because they are more subtle.  He often rivets the style and
+character of a piece by changing a single note, strictly correct
+grammatically and yet disagreeable to an artist such as himself.  Even
+commonplace passages he could convert into phrases of beauty by the
+addition or alteration of a single note.  Only the most sensitive taste
+and trained experience can decide in such cases, and Bach possessed both
+in the highest perfection.  He developed them to such a pitch, indeed,
+that his brain eventually rejected any idea which, in all its properties
+and relations, did not accord inevitably and naturally with the whole
+composition.  Consequently his later works display such consistency of
+merit that all of them seem to have been cast complete in a mould, so
+smooth, facile and abundant is the flow of his rich fancy.  It is on the
+highest summits of the art that harmony and melody find their ideal union,
+and as yet Bach dwells there in majestic isolation.
+
+
+
+
+
+CHAPTER XI. THE GENIUS OF BACH
+
+
+It is surely unnecessary to ask whether that artist is a genius who, in
+every form of his art, has produced masterpiece after masterpiece, of an
+originality which sets them above the achievements of all other ages,
+distinguished also by a wealth of originality and agreeableness that
+enslaves every hearer.  The most fertile fancy, invention inexhaustible, a
+judgment so nice as to reject intuitively every irrelevant and jarring
+detail, unerring ingenuity in employing the most delicate and minute
+resources of his art, along with an unrivalled technique—these qualities,
+whose expression demands the outpouring of a man’s whole soul, are the
+signboards of genius.  The man who cannot find them in Bach’s music either
+is not acquainted with it at all or knows it imperfectly.  One needs to be
+steeped in it thoroughly to appreciate the genius of its author.  For the
+greater the work the closer study is demanded for its apprehension.  The
+butterfly method, a sip here and there, is of little use.  But admirable
+as were the gifts Bach received from nature, he could never have become an
+accomplished genius had he not learned betimes to avoid the rocks on which
+many artists, some of them perhaps not less gifted than he, too often
+founder.  I will communicate to the reader some scattered thoughts on the
+subject and conclude this essay with an indication of the characteristics
+of Bach’s genius.
+
+Even the largest natural gifts, coupled with the strongest propensity for
+a particular art, offer no more than fruitful soil on which that art may
+thrive by patient cultivation.  Industry, the true begetter of every art
+and science, is an indispensable factor.  Not only does it enable genius
+to master technique, but it stimulates the critical and reflective
+faculties also.  The very ease with which genius acquires and applies the
+apparatus of musical composition frequently entices it to leap over root
+principles in its plunge into deeper waters, or to fly before its wings
+are grown.  In such a case, unless genius is guided back to neglected
+fundamentals and forced to build itself upon the great examples of the
+past, it will inevitably expend its treasure uselessly and never attain to
+its promised dimensions.  For it is an axiom, that real progress can never
+be made, nor the highest perfection be attained, if the foundations are
+insecure.  If arduous heights are to be achieved, the easier obstacles
+must first be approached and overcome.  Guided by his own inexperience no
+one ever can hope to become great.  He must profit by the practice and
+example of others.
+
+Bach did not founder on this rock.  His soaring genius attended an equally
+ardent industry which incessantly impelled him, whenever he found his own
+equipment insufficient, to seek guidance from others.  Vivaldi and his
+Concertos were the first from whom he sought counsel.  From them he turned
+to the principal Organ and Clavier composers of the period.  Nothing is
+more intellectually stimulating than counterpoint, and the composers Bach
+studied were distinguished by their mastery of it, as their fugal writing
+attests.  Hence Bach’s diligent study and imitation of them pointed his
+taste and imagination to perceive wherein himself was lacking and what
+steps were needed to take him farther in his art.
+
+A second rock upon which genius often comes to grief is the public’s
+undiscriminating applause.  To be sure, I do not undervalue public
+approval or commend without reserve the remark of a Greek teacher to his
+pupil, “You performed badly, otherwise the audience would not have
+applauded you.”  Yet it is none the less true that many artists are thrown
+off their balance by exaggerated and often unmerited plaudits,
+particularly in their early careers before they have acquired
+self-discipline and sound judgment.  The public merely asks for what it
+can understand, whereas the true artist ought to aim at an achievement
+which cannot be measured by popular standards.  How, then, can popular
+applause be reconciled with the true artist’s aspirations towards the
+ideal?  Bach never sought applause, and held with Schiller:
+
+
+    Kannst du nicht allen gefallen durch deine That und dein
+    Kunstwerk,
+    Mach’ es wenigen recht; vielen gefallen ist schlimm.(326)
+
+
+Like every true artist, Bach worked to please himself in his own way,
+obeying the summons of his own genius, choosing his own subjects, and
+finding satisfaction only in the approval of his own judgment.  He could
+count on the applause of all who understood good music, and never failed
+to receive it.  Under what other conditions can sound works of art emerge?
+The composer who debases his muse to the popular mood either lacks real
+genius or, having it, abuses it.  For to catch the ear of the public is
+not a difficult task and merely connotes an agreeable facility.  Composers
+of that class are like artisans who frankly fashion their goods to suit
+their market.  But Bach never condescended to such artifices.  The artist,
+in his judgment, is the dictator of public taste, not its slave.  If, as
+often happened, he was asked to write something simple for the Clavier he
+would answer, “I will do what I can.”  He would choose an easy theme.  But
+when he began to develop it he always found so much to say that the piece
+soon became anything but simple.  If his attention was drawn to the fact,
+he would answer smilingly, “Practise it well and you will find it quite
+easy.  You have as many good fingers on each hand as I have.”  Nor was he
+prompted in this by mere contradictoriness, but exhibited the true artist
+spirit.
+
+It was, in fact, the artist temperament that led Bach to make the great
+and sublime his goal.  For that reason his music is not merely agreeable,
+like other composers’, but transports us to the regions of the ideal.  It
+does not arrest our attention momentarily but grips us the stronger the
+oftener we listen to it, so that after a thousand hearings its treasures
+are still unexhausted and yield fresh beauties to excite our wonder.  Even
+the beginner who knows but the A B C of his art warms with pleasure when
+he hears Bach’s music and can open his ear and heart to it.  It was the
+true artist spirit, too, that guided Bach to unite majesty and grandeur of
+design with meticulous care for detail and the most refined elegance,
+characteristics which we rather seek, perhaps, in works whose object is
+merely to give pleasure.  Bach held strongly that if the strands are
+imperfect, the whole design is faulty.  His genius is sublime and
+impressive, and he never condescends to be frivolous even when he touches
+the lighter forms of art.
+
+To conclude: it was the union of astounding genius and indefatigable
+application that enabled Bach to widen at every point the domain of
+musical expression.  His successors have failed to maintain the art at the
+level to which he raised it.  If Bach was more successful, if he was able
+to produce great work of convincing beauty and imperishable as a model for
+those who came after him, we owe it as much to his application as to his
+genius.
+
+This man, the greatest orator-poet that ever addressed the world in the
+language of music, was a German!  Let Germany be proud of him!  Yes, proud
+of him, but worthy of him too!
+
+                       [The Bach Statue at Leipzig]
+
+                        The Bach Statue at Leipzig
+
+
+
+
+
+
+APPENDIX I. CHRONOLOGICAL CATALOGUE OF BACH’S COMPOSITIONS
+
+
+
+
+I. CATALOGUE OF BACH’S COMPOSITIONS PRIOR TO HIS APPOINTMENT TO WEIMAR IN
+                JUNE 1708, in his twenty-fourth year.(327)
+
+
+
+VOCAL:—
+
+
+Motet: Lobet den Herrn, alle Heiden.
+
+
+
+CLAVIER(328):—
+
+
+      Capriccio sopra la lontananza del suo fratello dilettissimo (bk. 208
+      p. 62) (1704).
+      Capriccio in honorem Joh. Christoph Bachii, Ohrdruf (bk. 216 p. 34)
+      (c. 1704).
+      Sonata in D major (bk. 215 p. 44) (c. 1704).(329)
+
+B.G. XXXVI. prints a number of pieces which, in general, may be assigned
+to Bach’s immature years. They are reproduced in Peters’ edition:
+
+      Book 200:
+
+            Fughetta in C minor (p. 10).
+            Prelude and Fughetta in D minor (p. 40).
+            Prelude and Fughetta in E minor (p. 42).
+            Prelude and Fughetta in A minor (p. 47).
+            Fugue in C major (p. 54).
+            Fugue in C major (p. 56).
+
+      Book 207:
+
+            Fantasia in C minor (p. 50).
+
+      Book 212:
+
+            Fantasia in C minor (p. 58).
+            Fugue in D minor (p. 59).
+            Fugue in D minor (p. 61).
+            Fugue in E minor (p. 68).
+
+      Book 214:
+
+            Prelude and Fughetta in F major (p. 76).
+            Prelude and Fughetta in G major (p. 78).
+            Prelude in G major (p. 80).
+
+      Book 215: Three Minuets (p. 62).
+
+To these may be added (? authentic) from B.G. XLII.:
+
+      Book 212:
+
+            Fantasia and Fughetta in B flat major (p 58).
+            Do. do. D major (p. 60).
+
+
+
+Organ(330):—
+
+
+      Prelude and Fugue in C minor (bk. 2 p. 48) (c. 1704).
+      Do. do. C major (bk. 8 p. 88) (? 1707).(331)
+      Do. do. the “Short,” A minor (bk. 10 p. 208).
+      Fugue in C minor (bk. 12 p. 95) (c. 1704).
+      Do. C minor, on a theme by Legrenzi (bk. 10 p. 230) (c. 1708).
+      Do. B minor, on a theme by Corelli (bk. 3 p. 60).
+      Do. D major (bk. 12 p. 83).
+      Do. G major (bk. 12 p. 55).
+      Do. G major (bk. 12 p. 86).
+      Do. G minor (bk. 2 p. 41).
+      Prelude in A minor (bk. 10 p. 238) (by 1706).
+      Do. C major (bk. 12 p. 94).
+      Fantasia and Fugue in A minor (bk. 12 p. 60).
+      Fantasias in 6 major (bk. 9 p. 168; bk. 12 p. 75).
+      Pastorale in F major (bk. 12 p. 102).
+      Choral Partita: Christ, der du bist der helle Tag (bk. 19 p. 36).
+      Do. O Gott, du frommer Gott (bk. 19 p. 44).
+      Do. Sei gegrüsset, Jesu gütig (bk. 19 p. 55).
+
+Generally speaking, the Choral Preludes, other than those in the maturer
+collections made by Bach himself, may be regarded as youthful works (bks.
+18, 19).
+
+
+
+
+    II. Catalogue Of Bach’s Compositions At Weimar, 1708-17, from his
+                 twenty-fourth to his thirty-third year.
+
+
+
+Vocal:—
+
+
+      Secular Cantata: Was mir behagt (1716), _or_, Verlockender
+      Götterstreit.
+
+
+
+Clavier:—
+
+
+      Sixteen Concertos after Vivaldi (bk. 217) (c. 1708-12).
+      Toccatas in D major (bk. 211 p. 28), G major (bk. 215 p. 19), D
+      minor (bk. 210 p. 68), G minor (bk. 211 p. 4),  E minor (bk. 210 p.
+      23) (c. 1708-12).
+      Aria variata alia maniera Italiana (bk. 215 p. 12) (c. 1708-12).
+      Prelude and Fugue in A minor (bk. 211 p. 14) (c. 1715).
+      Fugues in A major (bk. 215 pp. 52, 57).
+      Do. B minor (bk. 214 p. 48).
+      Do. A major (bk. 212 p. 66).
+      Do. A minor (bk. 212 p. 70).
+      Fantasia in G minor (bk. 215 p. 32).
+      Do. B minor (bk. 215 p. 41). (For Organ, N. bk. 12 p. 71.)
+      Do. D major (bk. 211 p. 28).
+      Do. A minor (bk. 215 p. 5) (c. 1710).
+
+
+
+Organ:—
+
+
+      Passacaglia and Fugue in C minor (bk. 10 p. 214).
+      Four Concertos after Vivaldi (bk. 11).
+      Eight Short Preludes and Fugues (bk. 1).
+      Orgelbüchlein (bk. 15) (1717).
+      Aria in F major (bk. 12 p. 112).
+      Fantasia con Imitazione (bk. 12 p. 71).
+      Do. C major (bk. 12 p. 92).
+      Do. C minor (bk. 3 p. 57).
+      Trio in C minor (bk. 12 p. 108).
+      Do. D minor (bk. 2 p. 54).
+      Canzona in D minor (bk. 2 p. 34) (c. 1714).
+      Allabreve in D major (bk. 2 p. 26).
+      Prelude and Fugue in C major (bk. 7 p. 74).
+      Do. do. the “Short,” E minor (bk. 2 p. 44).
+      Do. do. D major (bk. 6 p. 10).
+      Do. do. the “Great,” A minor (bk. 7 p. 42).
+      Do. do. A major (bk. 3 p. 64).
+      Do. do. the “Great,” C minor (bk. 7 p. 64).
+      Do. do. F minor (bk. 6 p. 21).
+      Do. do. G major (bk. 7 p. 80).
+      Do. do. G minor (bk. 8 p. 120) (c. 1712).
+      Toccata and Fugue in D minor (bk. 6 p. 2).
+      Do. do. the “Great,” C major (bk. 9 p. 137).
+      Do. do. the “Great,” F major (bk. 9 p. 176).
+      Do. do. the Dorian, D minor (bk. 10 p. 196).
+      Fantasia and Fugue in C minor (bk. 3 p. 76).
+      Prelude in G major (bk. 2 p. 30).
+      Do. C major (bk. 12 p. 91).
+      Fugue, the “Short,” in G minor (bk. 3 p. 84).
+      Do. C major (bk. 12 p. 100).
+
+
+
+
+    III. Catalogue Of Bach’s Compositions At Cöthen, 1717-23, from his
+                  thirty-third to his thirty-ninth year.
+
+
+
+Vocal:—
+
+
+      Secular Cantata: Durchlaucht’ster Leopold (1717).
+      Do. Mit Gnaden bekröne der Himmel die Zeiten
+      (?1721). Do. Weichetnur, betrübte Schatten (?1717-23).(332)
+
+
+
+Clavier:—
+
+
+      Clavier-Büchlein vor Wilhelm Friedemann Bach (1720).
+      Chromatic Fantasia and Fugue (bk. 207 p. 4) (c. 1720-23).
+      Clavier-Büchlein vor A. M. Bachin (bk 1959) (1722).
+      The Well-tempered Clavier (Part i.) (bk. 2790a) (1722).
+      Six French Suites (bks. 202 and 2793) (c. 1722).
+      Six English Suites (bks. 203-4 and 2794-95) (before 1726).
+      Fantasia and Fugue in A minor (bk. 208 p. 50).
+      Fugue in A minor (bk. 207 p. 16) (B.G. III. p. 334).
+      Twelve Little Preludes and Six Preludes for Beginners (bks. 200 and
+      2791) (c. 1722).
+      Inventions and Symphonies (bks. 201 and 2792) (1723).
+      Toccatas in F sharp minor and C minor (bk. 210 pp. 30 and 40).
+      Suites in A minor, E flat major, E minor, F major, and F minor
+      (fragment) (bk. 214 pp. 54,62, 68; bk. 215 p. 27; bk. 212 p. 84).
+      Prelude and Fugue in E flat major (bk. 214 p. 40).
+
+
+
+Chamber(333):—
+
+
+      Six Sonatas (Suites) for Violin Solo (bk. 228) (c. 1720).(334)
+      Six Sonatas (Suites) for Violoncello Solo (bk. 238a) (c. 1720).
+      Six Sonatas for Violin and Clavier (bks. 232-33-232a-33a).
+      Suite in A major for Violin and Clavier (bk. 236).
+      Four Inventions for Violin and Clavier (bk. 2957).
+      Sonata in E minor and Fugue in G minor for Violin and  Clavier (bk.
+      236) (?early work).
+      Six Sonatas for Flute and Clavier (bks. 234-35).
+      Sonata in C major for two Violins and Clavier (bk. 237).
+      Three Sonatas for Viol da Gamba and Clavier (bk. 239).
+      Sonata in G major for two Flutes and Clavier (bk. 239 p. 2).
+      Sonata in G major for Violin, Flute, and Clavier (bk. 237).
+
+
+
+Orchestral:(335)—
+
+
+      Six Brandenburg Concertos (bks. 261-66) (1721).
+      Four Suites (Overtures) (bks. 267-69, 2068).(336)
+      Three Concertos for Violin and Orchestra (bks. 229, 230).(337)
+      Concerto in D minor for two Violins and Orchestra (bk. 231).(338)
+
+
+
+Organ:—
+
+
+      Prelude (Fantasia) and Fugue, the “Great,” in G minor (bk. 8 p. 127)
+      (?1720).
+
+
+
+
+    IV. Catalogue Of Bach’s Compositions At Leipzig, 1723-34, from his
+                    thirty-ninth to his fiftieth year.
+
+
+
+Vocal:—
+
+
+      Magnificat in D (?1723).(339)
+      Sanctus in C major, D major (c. 1723), D minor, and G major (P. bk.
+      29b).(340)
+      St. John Passion (1723).
+      Trauer-Ode (1727).
+      St. Matthew Passion (1729).
+      Mass in B minor (1733-?1738).
+      Christmas Oratorio (1734).
+      Three Wedding Chorals (P. bk. 1654).
+      Motet: Jesu, meine Freude (1723).
+      Do. Der Geist hilft unsrer Schwachheit auf (1729).
+      Do. fürchte dich nicht.
+      Do. Singet dem Herrn ein neues Lied.
+      Motet: Komm, Jesu, komm.
+      Secular Cantata: Der zufriedengestellte Aeolus (1725); also entitled
+      Blast Larmen, ihr Feinden (1734).
+      Do. Vereinigte Zwietracht der wechselnden Saiten (1726), or, Auf
+      schmetternde Töne der muntern Trompeten (after 1733).
+      Do. Schwingt freudig euch empor; _also entitled_ Die Freude reget
+      sich, _or_ Steigt freudig in die Luft (1726).
+      Do Entfernet euch, ihr heitern Sterne (1727; music lost).
+      Do. Vergnügte Pleissenstadt (1728; music lost).
+      Do. Von der Vergnügsamkeit, _or_ Ich bin in mir vergnügt (c. 1730).
+      Do. Weichet nur, betrübte Schatten (c. 1730).
+      Do. Der Streit zwischen Phoebus und Pan 1731).
+      Do. Froher Tag, verlangte Stunden (1732; music lost).
+      Do. Schweigt stille (Coffee Cantata) (c. 1732).
+      Do. Herkules auf dem Scheidewege, _or_ Die Wahl des Herkules (1733).
+      Do. Tönet, ihr Pauken!  Erschallet, Trompeten (1733).
+      Do. Preise dein Glücke, gesegnetes Sachsen (1734).
+      Do. Schleicht, spielende Wellen (1734).
+      Do. Thomana sass annoch betrübt (1734; music lost).
+      Graduation Cantata: Siehe, der Hüter Israels (music lost).
+
+
+
+Clavier:—
+
+
+      Notenbuch vor Anna Magdalena Bach (bk. 1959) (1725).
+      Clavierübung, Part I. containing the six Partitas, or German Suites
+      (bks. 205-6 or 2796-97) (1731).
+
+
+
+Orchestral:—
+
+
+      Concertos in C major, C minor, and C minor for two Claviers and
+      Orchestra (bks. 256, 257, 257b) (1727-36).(341)
+      Seven Concertos for Clavier and Orchestra (bks. 248-54) (1729-36).
+      Concerto in A minor for Violin, Flute, Clavier, and Orchestra (bk.
+      255) (c. 1730).(342)
+      Concerto in A minor for four Claviers and Orchestra (bk. 260) (c.
+      1733).
+      Concertos in D minor and C major for three Claviers and Orchestra
+      (bks. 258, 259) (c. 1733).
+
+
+
+Organ:—
+
+
+      Prelude and Fugue, the Great, in G major (bk. 8 p. 112) (1724 or
+      1725).(343)
+      Six Sonatas in E flat major, C minor, D minor, E minor, C major, G
+      major (bks. 4 and 5) (1727-33).(344)
+      Prelude and Fugue in C major (bk. 3 p. 70) (c. 1730).
+      Do. do. D minor (bk. 9 p. 150).
+
+
+
+
+    V. Catalogue Of Bach’s Compositions At Leipzig, 1735-50, from his
+                      fifty-first year to his death.
+
+
+
+Vocal:—
+
+
+      Ascension Oratorio (Cantata 11) (c. 1735).
+      Schemelli’s Hymn-book (1736).
+      Easter Oratorio (c. 1736).
+      Four Masses, in P major, A major (c. 1739), G minor, G major (c.
+      1739).
+      Secular Cantata: Angenehmes Wiederau (1737).
+      Do. Willkommen, ihr herrschenden Götter der Erden (1738) (music
+      lost).
+      Do. Mer hahn en neue Oberkeet (Peasant Cantata) (1742).
+      Do. O holder Tag (?1749), _or_, O angenehme Melodei.
+      Italian Cantata: Amore traditore.
+      Do. Andro dall’ colle al prato (lost).
+      Do. Non sa che sia dolore.
+
+
+
+Clavier:—
+
+
+      Clavierübung, Part II. containing the Italian Concerto (bk. 207) and
+      Partita in B minor (bk. 208) (1735).
+      Fantasia and Fugue in C minor (bk. 207 p. 50 and bk. 212 p. 88) (c.
+      1738).
+      Clavierübung, Part III. containing the four Duetti (bk. 208) (1739).
+      Clavierübung, Part IV. containing the Goldberg Variations (bk. 209)
+      (c. 1742).
+      The Well-tempered Clavier, Part II. (bk. Ib or 2790b) (1744).
+
+
+
+Chamber:—
+
+
+      Sonata for Violin, Flute, and Clavier, in C minor (in the “Musical
+      Offering”) (bk. 237 p. 3) (1747).
+      Three Partitas for the Lute (?1740).(345)
+
+
+
+Organ:—
+
+
+      The Catechism Choral Preludes (in Clavierübung, Part III.)  (bk. 16)
+      (1739).
+      Fugue in D minor (in ditto) (bk. 16 p. 49) (1739).
+      Prelude and Fugue in E flat major (in ditto) (bk. 6 p. 28) (1739).
+      Do. do. the “Great,” in C major (bk. 9 p. 156).
+      Do. do. the “Great,” in B minor (bk. 7 p. 52) (1727-36).
+      Do. do. the “Great,” in E minor (bk. 8 p. 98).
+      Canonic Variations on “Vom Himmel hoch” (bk. 19) (1746).
+      The Schübler Choral Preludes (bk. 16) (c. 1747-50).
+      The Eighteen Choral Preludes (bk. 17) (c. 1747-50).
+      The Musical Offering (P. bk. 219) (1747).
+      The Art of Fugue (P. bk. 218) (1749).
+
+
+
+
+
+APPENDIX II. THE CHURCH CANTATAS ARRANGED CHRONOLOGICALLY
+
+
+We have the statement of Carl Philipp Emmanuel Bach,(346) confirmed by
+Forkel,(347) Bach’s earliest biographer, that his father composed five
+Cantatas for every Sunday and Festival of the ecclesiastical year.
+Concerted music was sung at Leipzig annually on forty-three Sundays and
+sixteen week-days.(348) Bach therefore must have written at least 295
+Cantatas.  Of this number he composed at least thirty before 1723.  Hence
+approximately 265 were written at Leipzig.  But Bach’s fertility does not
+appear to have outlived the year 1744.  We have reason, therefore, to
+conclude that the 265 Leipzig Cantatas were written in the course of
+twenty-one years, that is, between 1723 and 1744.  To complete that number
+Bach must have composed a new Cantata every month, a surprising but
+demonstrable conclusion.
+
+Of the 295 Cantatas only 202 have come down to us, three of them in an
+incomplete state.(349) Of those written before 1723 the survivors are too
+scanty to indicate a rate of productivity.  But thereafter we have fuller
+materials for a calculation.  Bach, as Cantor, conducted his first Leipzig
+Cantata on May 30, 1723, and in the following sixteen months produced
+twenty-four Cantatas, at the rate of more than one a month.(350) Beginning
+at the New Year of 1725 he wrote eighteen Cantatas in nine months, some of
+which, however, may belong to the years 1726-7-8-9.  But even so, his
+monthly average seems to have been maintained.  For 1730 we have, perhaps,
+ten Cantatas.  For 1731 about twenty survive, of which half a dozen may
+belong to 1732, a deduction which still preserves Bach’s steady average.
+In 1735 he produced actually nineteen Cantatas between the New Year and
+the following November, though not all of them are positively dated.
+Thereafter his activity is less certainly measured.  But from 1736 till
+the end of 1744 he composed fifty-three Cantatas, at the rate, that is, of
+at least six every year, without making allowance for Cantatas written and
+lost.
+
+There are few phenomena in the record of art more extraordinary than this
+unflagging cataract of inspiration, in which masterpiece followed
+masterpiece with the monotonous periodicity of a Sunday sermon.  Its
+musical significance has been presented with illuminating exegesis by more
+than one commentator.  But its literary apparatus has captured little
+attention.  Yet Bach’s task must have been materially eased or aggravated
+according as the supply of libretti was regular or infrequent, while the
+flow of his inspiration must have been governed by their quality.
+Moreover, the libretto was the medium through which he offered the homage
+of his art to the service of God.  The subject therefore deserves
+attention.  However trivial, measured against the immensities of Bach’s
+genius, the study will at least provide a platform from which to
+contemplate it.
+
+At the outset the opinion may be hazarded that the provision of his weekly
+libretti caused Bach greater anxiety than the setting of them to music, a
+task which he accomplished with almost magical facility. It is true that
+from the early part of the 18th century cycles of Cantata texts for the
+Church’s year were not infrequently published.  Bach was in more or less
+intimate touch with the authors of four, perhaps five, printed collections
+of the kind.  But he used them with surprising infrequency.  Neumeister’s
+published cycles provided him with seven libretti,(351) Franck’s with
+sixteen,(352) Picander’s with ten,(353) Marianne von Ziegler’s with
+nine,(354) and Helbig’s with two.(355) He took three libretti from the
+Bible,(356) and the hymn-book furnished him with eleven more.(357) But all
+these published sources together only account for fifty-eight texts.  Bach
+possessed only one book that could assist his own efforts at
+authorship—Paul Wagner’s eight-volumed Hymn-book—whence he took the
+stanzas which decorate his Cantatas like jewels in the rare settings he
+gave them.  It was, therefore, mainly upon writers with whom he was
+brought into occasional or official contact that Bach depended for his
+texts.
+
+At the beginning of his career Bach was thrown upon his inexperience.  His
+earliest libretti, consequently, are tentative and transitory in their
+construction.  His first Cantata was written at Arnstadt for the Easter
+Festival of 1704.(358) The core of the libretto is a seven-stanzaed Easter
+song by an unknown poet, eked out by two passages of Scripture, a
+Excitativo, Aria, and a verse of a congregational hymn.  The Aria and
+Recitativo are the only original numbers of the libretto, and there is
+little doubt that Bach wrote them himself.(359) But the whole libretto is
+stamped by his personality, and reveals the inveterate subjectivity of his
+religion.  For, disregarding the general message of the Festival, the
+libretto opens on the soul’s personal longing for immortality and closes
+on its song of victory over death.  In construction it is archaic, a
+survival of traditions acquired from central and northern Germany through
+Bach’s earlier residence at Lüneburg and intercourse with Hamburg.(360)
+
+Three years passed before Bach produced his next extant Cantata. In the
+interval, on 29th June 1707, he resigned his Arnstadt appointment to
+become organist of the Church of St. Blasius at Mühlhausen.(361) Here,
+within the space of ten months, he produced three Cantatas, the uniform
+character of whose libretti points to local and transitory influence upon
+the composer.  The first of them,(362) written in August 1707, is a
+setting of Psalm 130, with the addition of two hymn-stanzas.  The
+second(363) was performed on 4th February 1708, at the inauguration of the
+Mühlhausen Town Council, and consists of Old Testament passages, a verse
+of a hymn, and three original stanzas.  The third,(364) a wedding Cantata,
+was performed at Dornheim, near Arnstadt, on 5th June 1708, at the
+marriage of Pastor Johann Lorenz Stauber to Frau Bach’s aunt, and is set
+to four verses of Psalm 115.
+
+We can have little doubt regarding the authorship of these singularly
+austere libretti, so far removed in atmosphere from those of Bach’s
+subsequent periods.  In fact, the clue is furnished by Bach himself.  A
+note in his handwriting on the score of the first of the three Cantatas
+(No. 131) states that he composed it at the request of Georg Christian
+Eilmar.  The man was a close friend, godfather of Bach’s eldest daughter,
+Katharina Dorothea (b. 1708), chief pastor of the Church of the Blessed
+Virgin, and Consistorial Assessor, at Mühlhausen.  He was, moreover, an
+aggressive foe of Pietism, of which Mühlhausen was the citadel, and Bach’s
+minister, Frohne, the protagonist.  Indeed, the two men waged so public
+and wordy a warfare(365) that Bach’s social relations with the one and
+official connection with the other must have been rendered difficult.  To
+his settled convictions regarding the fellowship of music and worship
+Pietism offered Puritan opposition.  In fact, its lack of sympathy
+eventually drove him from Mühlhausen, in hope, in his own words, “to
+realise my views upon the right ordering of Church music without vexation
+from others.”(366) Eilmar, on the other hand, though he admitted the
+aesthetic value of music, conspicuously lacked the warmth and emotionalism
+of Bach’s religious temperament.  To him undoubtedly we must attribute the
+cold austerity of the three Mühlhausen libretti and the suppression of the
+personal note already sounded in Bach’s Arnstadt Cantata.  Nor did
+Eilmar’s influence pass with Bach’s departure from Mühlhausen.(367) It is
+to be traced in the early libretti of the Weimar period.
+
+The Weimar Cantatas are twenty-two in number, of which all but three were
+written subsequently to Bach’s appointment as Concertmeister early in
+1714. He had been organist to the Ducal Court of Weimar since June 1708, a
+position which did not require him to compose for the Ducal Chapel. On the
+other hand, three Cantatas are attributed to the early Weimar years. But
+they cannot be positively dated, and their libretti bear such clear traces
+of Eilmar’s influence that their composition may belong rather to the
+Mühlhausen period.  Their texts display Eilmar’s preference for strictly
+Biblical material and a disinclination to employ secular forms.  The first
+of them(368) is a paraphrase of the Magnificat. The second(369) consists
+of four verses of Psalm 25, along with three simple rhymed stanzas which
+we have no difficulty in attributing to Bach himself.  The third, _Gottes
+Zeit ist die allerbeste Zeit_ (No. 106), was composed, Spitta
+conjectures,(370) for the funeral of Philipp Grossgebauer, Rector of
+Weimar School, in 1711.  But more recently, and more probably, Pirro(371)
+has expressed the opinion that Bach wrote it for the funeral of his uncle,
+Tobias Lammerhirt, who was buried at Erfurt in September 1707.  The theory
+accords with the suggestion that all three Cantatas belong to the
+Mühlhausen period.  If so, it is probable that the libretto, a very
+ingenious mosaic of Scripture texts, was written by Eilmar for the
+occasion.  It is the last in which we detect his influence.
+
+Bach’s appointment as Ducal Concertmeister at Weimar can be placed between
+14th January and 19th March 1714(372) and, it is probable, was nearer the
+former date.  He seems to have produced the first Cantata his new post
+required him to write on Sexagesima Sunday, which fell on 4th February in
+that year.  From thence to the end of 1716 he produced nineteen Cantatas
+and collaborated with a writer whose libretti at length gave him a
+satisfactory literary medium.
+
+The new poet, Erdmann Neumeister, four of whose libretti Bach set to music
+immediately after his appointment, and a fifth a year later,(373) was
+considerably Bach’s senior.(374) As far back as 1700 he had begun to write
+a cycle of Cantata texts for the Ducal Chapel at Weissenfels, and pubushed
+it in 1704, with an explanatory Preface referred to later.(375) In 1708 he
+issued a second cycle for the Court of Rudolstadt, while in 1711 and 1714
+third and fourth cycles were written for the Ducal Chapel at Eisenach.
+All four cycles were reissued in 1716,(376) with the addition of a fifth
+and a Preface, which lauded Neumeister as “the first German to give sacred
+music its fitting position by introducing and perfecting the Church
+Cantata.”(377)
+
+Spitta has dealt exhaustively(378) with the evolution and construction of
+the Neumeister libretto.  It need only be remarked that it adapted a
+secular or operatic apparatus to the service of religion, and that the
+innovation, hateful to many, triumphed because of Neumeister’s delicate
+handling of it.  He perfected the new form, however, in stages.  “A
+Cantata,” he insisted in his 1704 Preface, “is simply a fragment of Opera
+made up of Aria and Recitativo.”  But the restriction excluded from the
+Cantata its most appropriate material.  In his 1708 cycle he found a place
+for the chorus.  Finally, he admitted the Bible stanza and congregational
+hymn.  With their inclusion the Cantata libretto assumed the form familiar
+to us in Bach’s use.  It represents a combination of secular Opera and
+ecclesiastical Motet.  The free Arias and Recitativi are derived from the
+one, the Bible stanzas and congregational hymns perpetuate the traditions
+of the other. Unity of design is stamped on the whole by its general
+subordination to the Gospel for the Day.  Thus, at the moment when Bach
+was about to devote his genius to the Cantata, Neumeister opportunely
+provided him with a libretto singularly adapted to the end Bach had in
+view, and appropriate to the musical expression by which he proposed to
+secure it.  He adhered to it almost to the end of his life, and found
+unfailing inspiration in Neumeister’s sincerity, delicacy, and uniformly
+religious outlook.  Neumeister’s Arias, with a single exception,(379) are
+hymn-like in mood and metre.  His Recitativi are reflective and prayerful,
+rarely oratorical or pictorial, simple communings upon the Gospel themes
+which the libretto handles.(380)
+
+Bach’s early introduction to Neumeister’s texts is explained by the close
+relations between the Courts of Weimar and Eisenach, by his associations
+with his own birthplace, and his intimacy with Georg Philipp Telemann,
+Kapellmeister there, for whose use Neumeister’s third and fourth cycles
+were written.(381) Bach set, in all, seven of the libretti—four from the
+fourth cycle,(382) one from the third,(383) and two from the first,(384)
+one of which (No. 142) differs so much from the published version as to
+raise the question whether Bach did not receive it direct from Neumeister
+in the form in which he set it.(385)
+
+That Bach should have set no more than seven of Neumeister’s texts(386) is
+strange.  He shrank, perhaps, from appropriating libretti on which his
+friend Telemann had a prior claim.(387) But the reason is found rather in
+the fact that at Weimar Bach discovered in 1715 a local poet of first-rate
+ability who, with perhaps but one exception, wrote the libretti of all the
+Cantatas he composed during the last two years of his Weimar appointment.
+
+Salomo Franck, Bach’s new collaborator, was Curator of the Ducal Museum of
+Coins and Medals at Weimar.  He was twenty-six years older than Bach.  But
+Spitta’s conjecture,(388) that the two men were not acquainted, is hardly
+tenable.  Both resided in the same small provincial town, both were in the
+Duke’s service, and throughout 1715 and 1716 collaborated in at least ten
+Cantatas performed in the Ducal Chapel.  Moreover, though the Preface of
+Franck’s first cycle is dated 4th June 1715,(389) Bach had already set one
+of its libretti for Easter of that year. A second cycle of texts, of which
+Bach made little use,(390) was published by Franck in 1717.(391)
+
+Schweitzer, no doubt, is correct in his conclusion(392) that Bach was
+drawn to Franck by his poetic insight, his mysticism, and innate feeling
+for nature.  It must be remembered, too, that his libretti were, in some
+degree, official.  On the other hand, Franck was Neumeister’s inferior in
+ability to conceive a picture fit to express Bach’s larger moods, and on
+occasion could descend to sheer bathos.(393) But his texts have a rhythmic
+swing and melody which Bach found agreeable.  He set at least sixteen of
+them, and returned to them even after he settled at Leipzig.
+
+The circumstances which terminated Bach’s service at Weimar are familiar,
+and need not be restated.  He received a new appointment at Cöthen on 1st
+August 1717, and took up his duties there, probably at Christmas, that
+year.(394) His position was that of Capellmeister to the princely Court.
+He never styles himself Court Organist,(395) and his duties severed him
+for five years from the service of the Church, to which he had declared
+his particular dedication in 1708.  The Cöthen Court was unpretentious.
+The Prince was a Calvinist.  Figurate music was not permitted in the Court
+Chapel, and its Organ was small and inadequate.  Hence Bach devoted
+himself chiefly to chamber music, and only two genuine Church Cantatas
+belong to this period of his career.  Both must have been written for
+performance elsewhere, possibly in connection with Bach’s frequent Autumn
+tours as a performer.(396)
+
+For both Cantatas Bach employed a librettist, otherwise little known,
+named Johann Friedrich Helbig, State Secretory to the Eisenach Court. In
+March 1720,(397) more than two years after Bach’s arrival at Cöthen,
+Helbig published a cycle of “Musical Texts on the Sunday and Saints’ Day
+Gospels throughout the year,” for performance “in God’s honour by the
+Prince’s Kapelle at Eisenach.”(398) How they came into Bach’s hands we do
+not know, but can readily conjecture.  They are indifferent poetry,
+judging them by the two specimens Bach made use of, and are uniform in
+construction.  The first movement invariably is a Chorus upon a text from
+the Gospel for the Day, or a Scripture passage closely related to it.  Two
+Arias separated by a Recitative follow. A Choral brings the libretto to an
+end.(399)
+
+The first of the two Cantatas written to Helbig’s words was designed for
+the Seventeenth Sunday after Trinity, which fell in 1720 on September
+22.(400) Spitta conjectures(401) that Bach intended it for performance at
+Hamburg.  In fact, his wife’s death postponed Bach’s visit to that town
+until November, by which date the Sunday appropriate to the Cantata had
+passed. Spitta holds that the Cantata may have been performed, after all,
+during the visit. Schweitzer is sceptical.(402) But Bach certainly
+expended great pains upon the score.
+
+The second Helbig Cantata(403) is for the Third Sunday in Advent, and the
+date of it would appear to have been 1721.  It is one of the least
+agreeable of Bach’s works.  Spitta (404) declares it a juvenile
+composition hastily adapted to a new libretto. Schweitzer(405) expresses
+the same opinion, and Sir Hubert Parry(406) finds the work “rather
+commonplace.”  Its genuineness is discussed by Max Schreyer in the
+“Bach-Jahrbuch” for 1912, and more recently Rudolf Wustmann has insisted
+that it does not bear the stamp of Bach’s genius.(407) If it actually was
+composed in 1721, its production must have coincided with Bach’s second
+marriage on December 3 of that year.(408) In that case, his resort to old
+material is explicable.
+
+Only these two Cantatas were composed at Cöthen.  But later, at Leipzig,
+two others were manufactured out of secular material written there.(409)
+It is unnecessary to refer to them, except to remark that in each case
+Bach appears to have been the author of the new libretto.  In the first of
+them(410) it is clear that he was handicapped by the frankly secular metre
+of the original stanzas.  The second of them,(411) originally a Birthday
+Ode to Prince Leopold of Anhalt-Cöthen, is a masterly conversion into a
+Whit-Monday text which, assuming that Bach wrote it, puts his literary
+facility beyond question.
+
+Bach made the last move in his professional career on May 31, 1723, when
+he was inducted Cantor of St. Thomas’ School at Leipzig, with particular
+charge of the Churches of St. Thomas and St. Nicolas.  Here by far the
+greater number of his Cantatas appeared, and 172 of them survive.  They
+are too numerous to be considered individually, and their classification
+is rendered difficult by the fact that the authorship of most of their
+libretti is conjectural and not ascertained.  They fall, however, into two
+large categories, each of which exhibits characteristics of its own.
+
+The dividing year, clearly but not arbitrarily, is 1734.  Before it and
+after it Bach was aided by new writers.  But the earlier period
+pre-eminently was one of experiment, out of which emerged the glorified
+hymn-libretto, or Choral Cantata, of Bach’s last years.  That it sprang,
+in some degree, from the difficulty of finding good original texts in
+sufficient number may be granted.  That it was adopted as an avenue of
+escape from Picander’s coarser work is a conjecture based, apparently,
+upon a prevalent exaggeration of Bach’s dependence on that writer.  The
+fundamental reason which led Bach to the hymn-libretto undoubtedly was the
+fact that it most closely fulfilled the ideals which informed his work.
+
+The first Cantata performed during Bach’s Cantorship(412) reveals a new
+author, whose assistance, if the conclusion is well grounded, was at
+Bach’s disposal throughout the whole of the earlier Leipzig period.
+Spitta’s keen insight failed him in this instance.  He betrays no
+recognition of the new writer, and occasionally(413) attributes his
+libretti to Picander.  The credit of the discovery belongs to Rudolf
+Wustmann, though he fails to work it out to its fullest conclusions.(414)
+
+No one can read the early Leipzig libretti without being struck by the
+number of them that are not only uniform in structure, but similar in tone
+and point.  They all begin with a Bible text, chosen frequently, but not
+invariably, from the Gospel for the Day.  Every one of them ends with a
+hymn-stanza.  Their Arias, with hardly an exception,(415) are written in
+what, compared with Picander’s rollicking dactyls, may be held
+hymn-metres.  Their Recitativi, almost invariably, are didactic or
+exegetical.(416) They do not display the vapid rhetoric of Picander.  Nor
+do they express the reflective or prayerful mood that reveals Bach.  They
+are essentially expositive and, it is noticeable, are studded with direct
+or veiled references to Bible passages which expand or enforce the lesson
+of the initial text.  In a word, they suggest the work of a preacher
+casting his sermon notes into lyrical form, an impression which is
+strengthened by the fact that the libretto invariably opens with a
+Scripture passage and frequently blends the Gospel and Epistle for the Day
+in one harmonious teaching.  Spitta detected this characteristic.  But he
+failed to follow up the clue.  He speaks(417) of one of these texts(418)
+as a “moralising homily,” a phrase concisely appropriate to them all.
+Moreover, a remark of his,(419) pointing the significance of the
+god-parents chosen by Bach for his children—Eilmar, for instance—as
+revealing Bach’s intimate associates at the moment, affords another clue
+to the personality of the new writer.
+
+Among the clergy of St. Thomas’ during Bach’s Cantorate were two men,
+father and son, each of whom bore the name Christian Weiss.  The elder was
+Pastor of the Church from 1714 till his death in 1737.  He was a cultured
+man, in touch with the University, and possibly formed a link between it
+and Bach, to whom he showed greater cordiality than the Cantor received
+from other clerical colleagues.  In 1732 his daughter, Dorothea Sophia
+stood godmother to Bach’s son, Johann Christoph Friedrich, afterwards
+famous as the “Bückeburg Bach.”(420) In 1737 his son stood sponsor to
+Bach’s daughter, Johanna Caroline.(421) Nor can it be altogether without
+significance that the names Dorothea, Sophia, Christian, are borne by
+others of Bach’s children by his second marriage.  There is sufficient
+evidence, therefore, that Bach’s relations with the elder Weiss were
+intimate enough to support a literary partnership.  Moreover,
+circumstances lend weight to the inference.  For some years before Bach’s
+arrival in Leipzig, Weiss suffered from an affection of the throat which
+kept him from the pulpit.  But, during the first year of Bach’s Cantorate,
+he was able to resume his preaching.  If he was, in fact, the author of
+the libretti, we can have little difficulty in concluding that they and
+his sermons were built on the same text.
+
+So far as they can be identified—the attempt is somewhat speculative—Weiss
+provided Bach with at least thirty-three libretti.  He set five of them in
+1723, three in 1724, nine in or about 1725, one in 1727, two in 1730, six
+in 1731, three in 1732, and four in the later Leipzig period.(422)
+Fourteen others bear a constructional resemblance to Weiss’s texts,(423)
+but their character refers them rather to Bach or Picander.  Even so, if
+we do not exaggerate his activity, Weiss seems to have written at least
+one-sixth of the Leipzig libretti and more than a quarter of those of the
+earlier period.  Without a doubt he eased a difficult situation in Bach’s
+experience before his regular association with Picander began.
+
+Apart from their revelation of Christian Weiss, the libretti of Bach’s
+first year at Leipzig do not call for comment.  Franck and Neumeister
+appear among them, and we trace Bach’s hand in nine.(424) But at Easter,
+1724, he broke new ground with a libretto whence developed the Cantata
+form of his latest period.
+
+The Cantata for Easter Day 1724,(425) is Bach’s earliest setting of an
+entire congregational hymn.  Spitta suggests(426) that he felt the fitness
+of giving the libretto an antique character to match the hymn’s melody.
+However that may be, Bach would appear already to have been groping
+towards the Choral Cantata of the late ’30’s.  And though he did not
+repeat the experiment until the Easter of 1731,(427) he treated three
+hymn-libretti in the interval in a manner which shows him already to have
+worked out the essentials of the Choral Cantata form.(428)
+
+Another landmark meets us a year and a half after the Easter experiment.
+On September 23, 1725(?)—the Seventeenth Sunday after Trinity—Bach
+produced a Cantata(429) whose Arias are set to words which had appeared in
+print in the preceding year.  Their author was a hack writer named
+Christian Friedrich Henrici, or, as he preferred to style himself,
+Picander.  His hand probably is also traced in the libretto used by Bach
+on the preceding Sunday(430) and again in that for Sexagesima in the same
+year.(431) But the evidence is only inferential.  That he collaborated
+with Bach on September 23, 1725 (?), is incontestable, and the work
+defines the beginning of a long and fruitful partnership.
+
+Spitta,(432) who tells us all that is known of Picander, has sufficiently
+exposed his superficial literary facility.  He commenced to write sacred
+poetry in 1724, and on Advent Sunday of that year began a cycle of
+“Profitable Thoughts,” so he termed them, upon the Sunday and Saints’ Day
+Gospels.  He published them in 1725, when the cycle was complete.(433)
+Three years later he issued a cycle of Cantata texts for 1728-29 in the
+Neumeister form.(434) That he intended them for Bach’s use is apparent in
+the fact that he expressly dedicated them to the service of “our
+incomparable Capellmeister.”  But Bach made the sparest use of them and of
+the earlier “Profitable Thoughts” alike.  From the latter he took not one
+libretto.(435) Of the 1728-29 cycle he used only eight texts.(436) One
+more libretto can be referred to Picander’s later publications,(437) and
+of six others we can be sure that they are based upon his texts.(438) In
+other words, of the original libretti of the Leipzig period we can trace
+Picander’s hand positively in no more than fifteen.
+
+It is necessary to emphasise this point. For Spitta(439) has stated
+positively that Picander wrote “most” of the Leipzig libretti, and his
+opinion has been generally accepted.  But its correctness may be
+contested.  It is suspicious, to begin with, that Picander never published
+the texts which Spitta asserts him to have poured out in such profusion.
+“He placed no value,” Spitta answers readily, “on these manufactured
+compositions, put together hastily to please his friend.”  But the
+argument cannot stand.  Why should Picander have thought less of libretti
+actually used by his “incomparable Capellmeister” than of those published
+for and rejected by him?—for Spitta does not venture to declare that as
+literature the rejected were superior to the accepted texts.  If out of a
+published cycle of libretti expressly written for him Bach chose only
+eight texts, are Picander’s “manufactured compositions,” as Spitta calls
+them, likely to have attracted him to a greater degree?  We can detect his
+hand perhaps in six Cantatas(440) besides those already mentioned, and
+Bach relied on him exclusively for his secular texts.  One concludes, none
+the less, that Bach rarely accepted an original Cantata libretto from
+Picander, and employed him chiefly on the Choral Cantatas of his latest
+period.  Excluding them, and adding the probable to the actual original
+Picander texts, they total only twenty-one, a fraction inadequate to
+support Spitta’s sweeping statement.
+
+From the advent of Picander in 1725, to the end of the first Leipzig
+period nine years later, Bach does not seem to have gone outside the
+circle of familial authors for his regular Cantata texts.  On October 17,
+1727, however, he produced a funeral Cantata, or “Trauer-Musik,” in memory
+of the late Queen of Poland, the libretto of which was written by
+Professor J. C. Gottsched.  The partnership, in fact, was accidental: the
+libretto was supplied to Bach with the commission to set it to music, and,
+so far as is known, Gottsched and he did not collaborate again.
+
+So, reviewing Bach’s activities during his first eleven years at Leipzig,
+we find that of the hundred libretti set by him to music Christian Weiss
+heads the list as the presumed author of twenty-nine.  Bach follows him
+with eighteen.(441) Picander’s hand appears in fifteen, Franck’s in
+eight,(442) Neumeister’s and Gottsched’s in one each.  Fifteen libretti
+are congregational hymns in their original or paraphrased form.  One is
+the _Gloria in Excelsis_ of the B minor Mass adapted as a Christmas
+Cantata (No. 190).  Twelve are by authors not identified.
+
+Passing to the later Leipzig period, seventy-two surviving Cantatas are
+attributed to the years 1735-50.  They reveal one, perhaps two, new
+writers.  The first of them, Marianne von Ziegler, was identified by
+Spitta in 1892.  She was the widow of an officer, resident in Leipzig, a
+cultured woman, in touch with University life, her house a salon for music
+and musicians.(443) There is no reason to suppose Bach to have been of her
+circle, or that he was acquainted with her literary gifts.  Indeed the
+contrary is to be inferred from the fact that, though she published her
+poems in 1728,(444) he does not seem to have known them until seven years
+later, when he used them for nine consecutive Sundays and Festivals in
+1735, beginning on the Third Sunday after Easter, and ending on Trinity
+Sunday.
+
+In addition to these nine libretti, both Spitta(445)and Schweitzer(446)
+attribute to her the text of Bach’s Cantata for the Second Sunday after
+Easter in the same year.(447) It is uniform in construction with the
+authentic nine, but is not among the authoress’s published works.
+Wustmann(448) finds the tone of the libretto less ardent and its rhythm
+rougher than those published under her name.  Admitting the soundness of
+Wustmann’s criticism, one hazards the opinion that the challenged text was
+written at the period when Bach set it, namely, in 1735, eight years after
+the poetess published her earlier texts.  The difference of time may
+account for the difference of texture to which Wustmann draws attention,
+but leaves undecided the question whether Bach was drawn to the earlier
+through the later and unpublished texts or vice versa.  It is quite
+probable that he set other libretti by the same writer, though
+Schweitzer’s(449) attribution to her of a second text for Ascension Day,
+1735, must be rejected.(450)
+
+It is worth noticing, since it certainly reveals Bach’s preference, that
+Marianne von Ziegler’s libretti are constructed almost invariably in the
+Weiss form.  Every one of them but three(451) opens with a Bible passage,
+invariably taken from St. John’s Gospel, which provides the Gospel for the
+Day from the First Sunday after Easter down to Trinity Sunday, excepting
+Ascension Day.  All but one (No. 68) of the libretti conclude with a
+Choral, and their Arias are hymn-like in metre.  The tone of them,
+however, is warmer, more personal, less didactic than the Weiss texts.
+That Bach regarded them with particular favour is apparent in the
+circumstance that he took the trouble to revise all but one of them.(452)
+That they stirred his genius deeply is visible in the settings he gave
+them.
+
+After 1735 the chronology of the Cantatas is not certainly ascertained.
+Of those that fall after the Ziegler year, as we may term it, the majority
+can only be dated approximately as circa 1740, that is, anywhere between
+1735 and 1744.  Nor, except rarely, can we detect in their libretti the
+work of those on whom Bach elsewhere relied.  Weiss, who died late in
+1737, is only an occasional contributor.  The texts of this period, in
+fact, are the outcome of Bach’s own experiments in libretto form.
+Thirty-three of them are Choral Cantatas, whose evolution it remains to
+trace concisely.
+
+That Bach should have turned to Lutheran hymnody, chiefly of the fifteenth
+and sixteenth centuries, and that the Cantatas built upon it should be his
+most perfect religious work is not surprising.  The hymns and their
+melodies were the foundations upon which the temple of German
+Protestantism had been reared.  They appealed vividly and powerfully to
+Bach’s spiritual nature, and profoundly influenced his musical utterance.
+His whole career, as Sir Hubert Parry points out,(453) was an effort to
+widen his means for self-expression.  And the Choral Cantata, in effect,
+was the reconciliation or blending of this self-discipline.  It was the
+supreme achievement of Bach’s genius to assert the faith and idealism of
+Lutheran hymnody with the fullest resources of his technique.
+
+It is not our task to consider the hymn libretto in its relation to the
+structure of Bach’s latest Cantatas.  Necessarily it tied him to a
+stereotyped design, which he clung to with greater persistency because it
+exactly fulfilled his devotional purpose.  But experience compelled him,
+after a brief trial, to discard the simple hymn libretto.  In the earlier
+Leipzig years as many as eight Choral Cantatas(454) are set to the
+unaltered text of a congregational hymn.  In the later Leipzig period only
+two(455) libretti are of that character.  Bach, in fact, soon realised
+that, while the unaltered hymn-stanza, with its uniform metre and balanced
+rhyme, was appropriate to the simple Choral or elaborate Fantasia, it was
+unmalleable for use as an Aria or Recitative.  Hence, retaining the
+unaltered Hymn-stanza for the musical movements congruous to it, he was
+led to paraphrase, in free madrigal form, those stanzas which he selected
+for the Arias and Recitativi.
+
+As early as September 16, 1725,(456) Bach was moving towards this
+solution.  And it is significant that Picander’s hand is visible in the
+libretto.  The next example(457) occurs three years later, and again
+reveals Picander’s authorship.  Two other instances also occur in the
+early Leipzig period.(458) To that point, however, it is clear that Bach
+was not satisfied as to the most effective treatment of the hymn-libretto.
+But in the second Leipzig period, after his collaboration with Marianne
+von Ziegler, he arrived at and remained constant to a uniform design.  Of
+the thirty-nine Choral Cantatas of the whole period only two exhibit the
+earlier form.  Of all the others the libretto consists partly of unaltered
+hymn-stanzas—invariably used for the first and last movements, and
+occasionally elsewhere—but chiefly of paraphrased stanzas of the hymn,
+whose accustomed melody, wherever else it may be introduced, is associated
+invariably with the hymn when the text is used in its unaltered form.  We,
+to whom both words and melody are too frequently unfamiliar, may view the
+perfections of the Choral Cantata with some detachment.  But Bach’s
+audience listened to hymns and tunes which were in the heart of every
+hearer and a common possession of them all.  The appeal of his message was
+the more arresting because it spoke as directly to himself as to those he
+addressed.
+
+It would be satisfactory and interesting to point positively to Bach’s own
+handiwork in these libretti, of which he set fifty-four in the period
+1724-44.  Unfortunately it is impossible to do so, except, perhaps, in a
+single case,(459) where we can reasonably infer that the libretto is his.
+Of the rest, one is by Franck.(460) In eighteen of them the hand of
+Picander is more or less patent.(461) Nineteen(462) we can only venture to
+mark “anonymous,” though Picander is probably present in most of them.
+Ten are unaltered congregational hymns.(463) There remain, however,
+five(464) in which, perhaps, we detect another, and the last, of Bach’s
+literary helpers.
+
+Wustmann draws attention(465) to the libretto of Cantata No. 38, a
+paraphrase of Luther’s Psalm 130.  He finds in it, and reasonably, an
+expression of “Jesus religion” very alien to Picander’s muse, and suggests
+the younger Christian Weiss as the author of it.  Like his father, he was
+Bach’s colleague, the godfather of his daughter, and undoubtedly on terms
+of close friendship with him.  But if he wrote the libretto of Cantata No.
+38, probably it is not the only one.  The same note rings in four more of
+the Choral Cantatas,(466) which may be attributed tentatively to Weiss,
+though their ascription to Bach would be equally congruous.
+
+Returning, however, to the seventy-two libretti of the later Leipzig
+period we reach this result: More than half of them (thirty-nine) are
+congregational hymns, all but two of which are of the paraphrased type in
+which we detect the work of Picander, Bach himself, and perhaps the
+younger Weiss.  Of the remaining thirty-three original libretti Marianne
+von Ziegler heads the list with nine, and perhaps ten.(467)  Bach follows
+with a problematical six,(468) Picander with five,(469) the elder Weiss
+with four,(470) Neumeister with one.(471) One text is taken from the
+Bible.(472) Another consists of a single stanza of a hymn by Martin
+Behm.(473) Five are by authors unknown or undetected.(474)
+
+But, as was said at the outset, the attribution of particular libretti to
+individual writers is conjectural, except in comparatively few cases.
+Yet, unsatisfying as it is, this guess-work reveals with approximate
+correctness the extent to which Bach drew upon his own and other people’s
+abilities for the texts he needed.  Summarising our conclusions, we
+discover that about one-quarter (fifty-four) of the 202 libretti set by
+Bach between the years 1704 and 1744 were provided by the hymn-book.  It
+is shown elsewhere(475) that all but eleven of them are taken from Paul
+Wagner’s volumes.  The elder Weiss comes next with thirty-three libretti.
+Bach follows with thirty, Salomo Franck with twenty-one, Picander with
+twenty (exclusive of his arrangements of Choral Cantata texts).  Marianne
+von Ziegler contributes ten, Neumeister seven, Eilmar and Helbig two each,
+Gottsched and Martin Behm one each.  Three libretti are taken from the
+Bible or Church liturgy.  Eighteen remain anonymous.
+
+The literary qualities of the libretti are not under discussion here.
+They have a characteristic, however, on which one cannot forbear from
+remarking.  Indifferent literature as, for the most part, they
+are—children of their period and blemished with its imperfections—they
+enshrine an extraordinarily interesting anthology of the religious poetry
+of the sixteenth, seventeenth, and eighteenth centuries.  They expose the
+evangelical thought of Germany from the age of Luther to that of Bach, and
+are particularly rich in the lyrical fervour of the Reformation itself.
+Of the seventy-seven hymn-writers whom Bach includes in his collection, so
+many as forty-four belong to the sixteenth century.  Only thirteen of them
+touch Bach’s own period.  And a similar bias to the Reformation epoch is
+observable in his choice of the tunes of the Chorals, which are absent
+from only twenty-one of the Cantatas.  By far the greater number of them
+are coeval with the hymns themselves; that is, they date from the
+Reformation and behind it.
+
+Here clearly is the source of Bach’s inspiration, the master-key of his
+art.  He touches Luther, is in a sense his complement, his art builded on
+the foundations Luther laid, consecrated to the ends Luther vindicated,
+inspired by a dedication of himself to God’s service not less exalted—a
+great artist, a great Protestant, a great man.(476)
+
+NOTE.—Cantatas distinguished by an asterisk (*) are for Soli voices only
+(S.A.T.B. unless the particular voices are stated); those marked (†)
+include, in addtion, simple four-part Chorals: the rest contain concerted
+Choruses.
+
+
+
+
+            (1) COMPOSED AT ARNSTADT (see also Nos. 150, 189.)
+
+
+
+
+           (2) COMPOSED AT MÜLHAUSEN (see also Nos. 150, 189.)
+
+
+
+
+    (3) COMPOSED AT WEIMAR. (See also Nos. 12, 72, 80, 164, 168, 186.)
+
+
+
+
+            (4) COMPOSED AT CÖTHEN. (See also Nos. 22 and 23.)
+
+
+
+
+ (5) COMPOSED AT LEIPZIG. 1723-34. (See also Nos. 31, 70, 134, 147,  158,
+                                  173.)
+
+
+
+
+                     (6) COMPOSED AT LEIPZIG: 1735-50
+
+
+
+
+
+APPENDIX III.  THE BACHGESELLSCHAFT EDITIONS OF BACH’S WORKS
+
+
+The Bachgesellschaft was founded on December 15, 1850, issued its first
+volume in 1851, and was dissolved on January 27, 1900, upon the
+publication of its sixtieth and concluding volume.  The Society had
+fulfilled its fundamental purpose—the publication of Bach’s works—and on
+the very date of its dissolution the Neue Bachgesellschaft was founded
+with the object of popularising Bach’s music by publishing it in
+practicable form and by holding Bach Festivals.  A secondary object, the
+foundation of a Bach Museum at Eisenach, in the house in which Bach was
+born, already has been achieved.  Bach Festivals have been held at regular
+intervals—at Berlin in 1901, Leipzig in 1904, Eisenach—in connection with
+the opening of the Museum—in 1907, at Chemnitz in 1908, Duisburg in 1910,
+Breslau in 1912, Vienna in 1914.  The publications of the new Society
+necessarily are unimportant by the side of those of its predecessor.  It
+has, however, brought to light and published a Cantata overlooked by the
+old Bachgesellschaft.  (See New B.G. XIII. (2).)
+
+The publications of both Societies are quoted here by their year of
+issue—I., II., III., and so forth.  When more than one volume has been
+published in a single year they are differentiated thus: XV.(1), XV.(2).
+When a volume appeared upon a date subsequent to the Vereinsjahr it bears,
+the date of the Preface is indicated in a bracket, e.g. 1872[1876].
+
+The editorial work of the original Bachgesellschaft was undertaken, in
+unequal proportions, by ten editors during fifty years.  Of the Society’s
+sixty volumes three were edited by Moritz Hauptmann (1851-58), one by Carl
+F. Becker (1853), two by Julius Rietz (1854-56), twenty-seven by Wilhelm
+Rust (1855-81), one by Franz Kroll (1866), eleven by Alfred Dörffel
+(1876-98), six by Paul Graf Waldersee (1881-94), five by Ernst Naumann
+(1886-94), two by Franz Wüllner (1887-92), and two by Hermann Kretzschmar
+(1895-1900).
+
+
+
+
+                 (A) PUBLICATIONS OF THE BACHGESELLSCHAFT
+
+
+   I. 1851. Kirchencantaten. Erster Band. Ed. Moritz Hauptmann.(478)
+
+            No. *1. Wie schön leuchtet der Morgenstern.
+            No. *2. Ach Gott, vom Himmel sieh darein.
+            No. *3. Ach Gott, wie manches Herzeleid (c. 1740).
+            No. *4. Christ lag in Todesbanden.
+            No.  5. Wo soll ich fliehen hin.
+            No. *6. Bleib’ bei uns, denn es will Abend werden.
+            No.  7. Christ unser Herr zura Jordan kam.
+            No. *8. Liebster Gott, warm werd’ ich sterben?
+            No.  9. Es ist das Heil uns kommen her.
+            No. *10. Meine Seel’ erhebt den Herren!
+            Frontispiece: G. Haussmann’s portrait of Bach, in the
+            possession of St. Thomas’ School, Leipzig.
+
+  II. 1852. Kirchencantaten. Zweiter Band. Ed. Moritz Hauptmann.
+
+            *No. 11. Lobet Gott in seinen Reichen.
+            No. *12. Weinen, Klagen, Sorgen, Zagen.
+            No. 13. Meine Seufzer, meine Thränen.
+            No. 14. War’ Gott nicht mit uns diese Zeit.
+            No. 15. Denn du wirst meine Seele nicht in der Hölle lassen.
+            No. 16. Herr Gott dich loben wir.
+            No. 17. Wer Dank opfert, der preiset mich.
+            No. 18. Gleich vie der Begen uud Schnee vom Himmel fallt.
+            No. 19. Es erhub sich ein Streit.
+            No. 20. O Ewigkeit, du Donnerwort (c. 1725).
+
+ III. 1853. Clavierwerke. Erster Band. Ed. Carl F. Becker.
+
+        (1) Fifteen Inventions and Fifteen Symphonies (Sinfonie) (P. bk.
+            201).(479)
+        (2) Clavierübung, Part I.:—
+
+                  Partiten 1-6 (P. bka. 205, 206).
+
+        (3) Clavierübung, Part II.:—
+
+                  Concerto, in F major, in the Italian style (P bk. 207).
+                  Partita (Overture) in B minor (P. bk. 208).
+
+        (4) Clavierübung, Part III.:—
+
+                  Organ Prelude and Fugue in E flat major (N. bk. 16 pp.
+                  19, 83).
+                  Four Duetti (P. bk. 208 p. 78).
+                  Catechism Choral Preludes (Organ):—
+
+                              Kyrie, Gott Vater in Ewigkeit (N. bk. 16 p.
+                              28).
+                              Christe, aller Welt Trost (ib. p. 30).
+                              Kyrie, Gott heiliger Geist (ib. p. 33).
+
+                              Kyrie, Gott Vater in Ewigkeit (alio modo)
+                              (   2. ib.   1. p. 36).
+                              Christe, aller Welt Trost (ib. p. 37).
+                              Kyrie, Gott heiliger Geist (ib. p. 38).
+
+                     3. Allein Gott in der Hoh’ sei Ehr’ (ib. p. 39).
+                     4. Ditto (ib. p. 40*).(480)
+                     5. Allein Gott in der Hoh’ sei Ehr’ (Fughetta) (N.
+                        bk. 16 p. 41).
+                     6. Dies sind die heil’gen zehn Gebot’ (ib. p. 42).
+                     7. Ditto (Fughetta) (ib. p. 47).
+                     8. Wir glauben all’ an einen Gott (ib. p. 49).
+                     9. Ditto (Fughetta) (ib. p. 52).
+                    10. Vater unser im Himmelreich (ib. p. 53).
+                    11. Ditto (ib. p. 61).(481)
+                    12. Christ unser Herr zum Jordan kam (ib. p. 62).
+                    13. Ditto (ib. p. 67).
+                    14. Aus tiefer Noth schrei ich zu dir (ib. p. 68).
+                    15. Ditto (ib. p. 72).
+                    16. Jesus Christus unser Heiland (ib. p. 74).
+                    17. Ditto (Fugue) (ib. p. 80).
+
+        (5) Clavierübung, Part IV.:—
+
+                  Aria and thirty Variations (Goldberg) (P. bk. 209).
+
+                  Toccata in F sharp minor (P. bk. 210 p. 30).
+                  Ditto. C minor (P. bk. 210 p. 40).
+                  Fugue (with Fantasia) in A minor (P. bk. 207 p. 16).
+
+  IV. 1854. *Passionsmusik nach dem Evangelisten Matthäus.  Ed. Julius
+      Rietz.
+V(1). 1855. Kirchencantaten. Dritter Band. Ed. Wilhelm Rust.
+
+            *21. Ich hatte viel Bekümmerniss.
+            22. Jesus nahm zu sich die Zwölfe.
+            *23. Du wahrer Gott und Davids Sohn.
+            24. Ein ungefärbt Gemüthe.
+            *25. Es ist nichts Gesundes an meinem Leibe.
+            26. Ach wie flüchtig, ach wie nichtig.
+            *27. Wer weiss, wie nahe mir mein Ende.
+            *28. Gottlob! nun geht das Jahr zu Ende.
+            29. Wir danken dir, Gott, wir danken dir.
+            *30. Freue dich, erlöste Schaar.
+
+V(2). 1855 [1856]. Weinachts-Oratorium. Ed. Wilhelm Rust.
+  VI. 1856. *Messe. H moll. Ed. Julius Rietz.
+  VI. VII. 1857. Kirchencantaten. Vierter Band. Ed. Wilhelm Rust.
+
+            No. 31. Der Himmel lacht, die Erde jubiliret.
+            *32. Liebster Jesu, mein Verlangen.
+            33. Allein zu dir, Herr Jesu Christ.
+            *34. O ewiges Feuer, O Ursprung der Liebe.
+            35. Geist und Seele wird verwirrt.
+            36. Schwingt freudig euch empor.
+            37. Wer da glaubet und getauft wird.
+            *38. Aus tiefer Noth schrei ich zu dir.
+            *39. Brich dem Hungrigen dein Brod.
+            *40. Dazu ist erschienen der Sohn Gottes.
+
+VIII. 1858. Vier Messen. F dur, *A dur, G moll, G dur. Ed. Moritz
+      Hauptmann.
+  IX. 1859 [I860]. Kammermusik. Erster Band. Ed. Wilhelm Rust.
+
+            Three Sonatas, in B minor, E flat major, A minor (and
+            Variant), for Clavier and Flute (P. bk. 234).
+            Suite in A major, for Clavier and Violin (P. bk. 236).
+            Six Sonatas, in B minor, A major, E major, C minor, F minor
+            (and Variant), G major (and Variants), for Clavier and Violin
+            (P. bks. 232, 233).
+            Three Sonatas, in G major (or 2 Flutes), D major, G minor for
+            Clavier and Viola da Gamba (P. bk. 239).
+            Sonata in G major, for Flute, Violin, and Clavier (P. bk.
+            237).
+            Sonata in C major, for two Violins and Clavier (P. bk. 237).
+            Sonata in G minor, for Clavier and Violin (not in P.).(  (6)
+            482)
+
+   X. 1860. Kirchencantaten. Fünfter Band. Ed. Wilhelm Rust.
+
+            No. *41. Jesu, nun sei gepreiset.
+            42. Am Abend aber desselbigen Sabbaths.
+            *43. Gott fahret auf mit Jauchzen.
+            *44. Sie werden euch in den Bann thun (c. 1725).
+            45. Es ist dir gesagt, Mensch, was gut ist.
+            46. Schauet doch und sehet, etc.
+            47. Wer sich selbst erhöhet, der soll emiedriget werden
+            48. Ich elender Mensch, wer wird mich erlösen?
+            49. Ich geh’ und suche mit Verlangen.
+            *50. Nun ist das Heil und die Kraft.
+
+XI (1). 1861 [1862]. *Magnificat, D dur, und vier Sanctus, C dur, D dur, D
+      moll, G dur. Ed. Wilhelm Rust.
+
+            The Appendix contains four additional numbers which are found
+            in one of the two Autograph scores of the Magnificat.
+
+XI (2). 1861 [1862]. Kammermusik für Gesang. Erster Band. Ed. Wilhelm
+      Rust.
+
+            Secular Cantata: *Phoebus und Pan.
+            Secular Cantata: Weichet nur, betrübte Schatten.
+            Secular Cantata: Amore traditore.
+            Secular Cantata: Von der Vergnügsamkeit, or, Ich bin in mir
+            vergnügt.
+            Secular Cantata: Der zufriedengestellte Aeolus, or, Zer
+            reisset, zersprenget, zertrümmert die Gruft.
+
+XII (1). 1862 [1863]. *Passionsmusik nach dem Evangelisten Johannes. Ed.
+      Wilhelm Rust.
+XII (2). 1862 [1863]. Kirchencantaten. Sechster Band. Ed. Wilhelm Rust.
+
+            No. 51. Jauchzet Gott in allen Landen.
+            52. Falsche Welt, dir trau ich nicht.
+            *53. Schlage doch, gewünschte Stunde.
+            *54. Widerstehe doch der Sünde.
+            55. Ich armer Mensch, ich Sündenknecht.
+            *56. Ich will den Kreuzstab gerne tragen.
+            57. Selig ist der Mann.
+            58. Ach Gott, wie manches Herzeleid (1733).
+            59. Wer mich liebet, der wird mein Wort halten (1716).
+            60. O Ewigkeit, du Donnerwort (1732).
+
+XIII (1). 1863 [1864]. Trauungs-Cantaten. Ed. Wilhelm Rust.
+
+            No. *195. Dem Gerechten muss das Licht.
+            196. Der Herr denket an uns.
+            197.
+
+                  Gott ist uns’re Zuversicht.
+                  Drei Chorale zu Trauungen : (1) Was Gott thut, (2) Sei
+                  Lob und Ehr’, (3) Nun danket alle Gott.
+
+XIII (2). 1863. Clavierwerke. Zweiter Band. Ed. Wilhelm Rust.
+
+            Six Great Suites, in A major, A minor, G minor, F major, E
+            minor, D minor, known as the “English Suites” (P. bks.
+            203,204).
+            Six Small Suites, in D minor, C minor, B minor, E flat major,
+            G major, E major, known as the “French Suites” (P. bk.
+            202).(483)
+
+XIII (3). 1863 [1865]. *Trauer-Ode. Ed. Wilhelm Rust.
+ XIV. 1864 [1866]. Clavierwerke. Dritter Band. Das wohltemperirte Clavier
+      (P. bks. 2790 a-b.). Ed. Franz Kroll.(484)
+
+            Erster Theil, 1722.
+            Zweiter Theil, 1744.
+
+  XV. 1865 [1867]. Orgelwerke. Erster Band. Ed. Wilhelm Rust.
+
+            Six Sonatas, in E flat major, C minor, D minor, E minor, C
+            major, G major (N. bks. 4, 5), for 2 Claviers and Pedal.
+            Eighteen Preludes and Fugues:—
+
+                  Prelude and Fugue in C major (N. bk. 7 p. 74).
+                  Prelude and Fugue in D major (N. bk. 6 p. 10).
+                  Prelude and Fugue in E minor (N. bk. 2 p. 44).
+                  Prelude and Fugue in F minor (N. bk. 6 p. 21).
+                  Prelude and Fugue in G minor (N. bk. 8 p. 120).
+                  Prelude and Fugue in A major (N. bk. 3 p. 64).
+                  Prelude (Fantasia) and Fugue in C minor (N. bk. 3 p.
+                  76).
+                  Prelude (Toccata) in D minor (N. bk. 10 p. 196).
+                  Prelude and Fugue in D minor (N. bk. 9 p. 150).
+                  Prelude and Fugue (Toccata) in F major (N. bk. 9 p.
+                  176).
+                  Prelude and Fugue the Great, in G major (N. bk. 8 p.
+                  112).
+                  Prelude (Fantasia) and Fugue in G minor (N. bk. 8 p.
+                  127).(485)
+                  Prelude (Fantasia) and Fugue in A minor (N. bk. 7 p.
+                  42).(486)
+                  Prelude (Fantasia) and Fugue in B minor (N. bk. 7 p.
+                  52).
+                  Prelude (Fantasia) and Fugue in C minor (N. bk. 7 p.
+                  64).
+                  Prelude (Fantasia) and Fugue in C major (N. bk. 9 p.
+                  156).
+                  Prelude (Fantasia) and Fugue in E minor (N. bk. 8 p.
+                  98).
+                  Prelude and Fugue in C major (N. bk. 3 p. 70).
+
+                  Three Toccatas and Fugues, in C major, the       “Great”
+                  (N. bk. 9 p. 137).
+                  Toccata and Fugue D minor (N. bk. 6 p. 2).
+                  Toccata and Fugue E major (N. bk. 8 p. 88, as Prelude
+                  and Fugue in C major)
+
+            Passacaglia, in C minor (N. bk. 10 p. 214).
+
+ XVI. 1866 [1868]. Kirchencantaten. Siebenter Band. Ed. Wilhelm Rust.
+
+            No. *61. Nun komm, der Heiden Heiland (1714).
+            62. Nun komm, der Heiden Heiland (c. 1740).
+            63. Christen, ätzet diesen Tag.
+            64. Sehet, welch’ eine Liebe.
+            *65. Sie werden aus Saba Alle kommen.
+            66. Erfreut euch, ihr Herzen.
+            *67. Halt’ im Gedachtniss Jesum Christ.
+            *68. Also hat Gott die Welt geliebt.
+            69. Lobe den Herren, meine Seele.
+            *70. Wachet, betet, seid bereit allezeit.
+
+XVII. 1867 [1869]. Kammermusik. Zweiter Band. Ed. Wilhelm Rust.
+
+            Seven Concertos, in D minor (and Variant),(487) E major (and
+            Variant), D major (and Variant), A major (and Variant), F
+            minor, F major, G minor, for Clavier and Orchestra (Strings;
+            two flutes added in Concerto VI. (P. bks. 248-254).(488)
+            Triple Concerto in A minor, for Flute, Violin, Clavier, and
+            Orchestra (Strings). (P. bk. 255).
+
+XVIII. 1868 [1870]. Kirchencantaten. Achter Band. Ed. Wilhelm Rust.
+
+            No. 71. Gott ist mem Küonig.
+            72. Alles nur nach Gottes Willen.
+            73. Herr, wie du willt, so schick’s mit mir.
+            74. Wer mich liebet, der wird mein Wort halten (? 1735).
+            75. Die Elenden sollen essen.
+            76. Die Himmel erzahlen die Ehre Gottes.
+            77. Du sollst Gott, deinen Herren, lieben.
+            78. Jesu, der du meine Seele.
+            *79. Gott, der Herr, ist Sonn’ und Schild.
+            *80. Ein’ feste Burg ist unser Gott.
+
+ XIX. 1869 [1871]. Kammermusik. Dritter Band. Ed. Wilhelm Rust.
+
+      Six Concertos (“Brandenburg”) for Orchestra and Continuo:—
+
+            No. I. in F major (Strings, 3 Ob., Fag., 2 Cor. (P. bk.
+            261).(489)
+            No. II. in F major (Strings, Flute, Oboe, Tromba) (P. bk.
+            262).
+            No. III. in G major (Strings) (P. bk. 263). [N.B.G. IX. (3)].
+            No. IV. in G major (Strings and 2 Flutes) (P. bk. 264).
+            No. V. in D major (Strings, Flute, Clavier) (P. bk. 265).
+            No. VI. in B flat major (2 Violas, 2 Violas da Gamba,
+            Violoncello, Contrabasso) (P. bk. 266).
+
+XX (1). 1870 [1872]. Kirchencantaten. Neunter Band. Ed. Wilhelm Rust.
+
+            No. *81. Jesus schläft, was soll ich hoffen?
+            *82. Ich habe genug.
+            83. Erf route Zeit im neuen Bunde.
+            84. Ich bin vergnügt mit meinem Glücke.
+            85. Ich bin ein guter Hirt. [Score, N.B.G. IX. (1)].
+            86. Wahrlich, wahrlich, ich sage euch.
+            87. Bisher habt ihr nichts gebeten in meinem Namen.
+            88. Siehe, ich will viel Fischer aussenden. [Score, N.B.G.
+            VII. (1)].
+            89. Was soll ich aus dir machen, Ephraim?
+            90. Es reifet euch ein schrecklich Ende.
+
+XX (2). 1870 [1873]. Kammermusik für Gesang. Zweiter Band. Ed. Wilhelm
+      Rust.
+
+            Secular Cantata: Schleicht, spielende Wellen.
+            Secular Cantata: Vereinigte Zwietracht der wechsehiden Saiten.
+            Secular Cantata: Auf, schmetternde Tone der muntern Trompeten.
+            [See B.G. XXXIV].
+
+XXI (1). 1871 [1874]. Kammermusik. Vierter Band. Ed. Wilhelm Rust.
+
+            Three Concertos for Violin and Orchestra (Strings):—
+
+                  No. I. in A minor (P. bk. 229).(490)
+                  No. II. in E major (P. bk. 230).(491)
+                  No. III. in D minor (two Violins) (P. bk. 231).(492)
+
+            Symphonic movement, in D major, for Violin and Orchestra
+            (Strings, 2 Ob., 3 Trombe, Timp.).(493)
+
+XXI (2). 1871 [1874]. Kammermusik. Fünfter Band. Ed. Wilhelm Rust.
+
+            Three Concertos for two Claviers and Orchestra (Strings):—
+            No. I. in C minor (P. bk. 257).
+            No. II. in C major (P. bk. 256).
+            No. III. in C minor (P. bk. 257b).(494)
+
+XXI (3). 1871 [1874]. *0ster-0ratorium: “Kommt, eilet und laufet.” Ed.
+      Wilhelm Rust.
+XXII. 1872 [1875]. Kirchencantaten. Zehnter Band. Ed. Wilhelm Rust.
+
+            No. 91. Gelobet seist du, Jesu Christ.
+            92. Ich hab’ in Gottes Herz und Sinn.
+            *93. Wer nur den lieben Gott lässt walten.
+            94. Was frag ich nach der Welt.
+            95. Christus, der ist mein Leben.
+            96. Herr Christ, der ein’ge Gottes-Sohn.
+            97. In allen meinen Thaten.
+            98. Was Gott thut, das ist wohlgethan, in B major (c. 1732).
+            99. Was Gott thut, das ist wohlgethan, in G major (c. 1733).
+            100. Was Gott thut, das ist wohlgethan, in G major (c. 1735).
+
+XXIII. 1873 [1876]. Kirchencantaten. Elfter Band. Ed. Wilhelm Rust.
+
+            No. 101. Nimm von uns, Herr, du treuer Gott.
+            102. Herr, deine Augen sehen nach dem Glauben.
+            103. Ihr werdet weinen und heulen.
+            *104. Du Hirte Israel, höre.
+            105. Herr, gehe nicht in’s Gericht.
+            *106. Gottes Zeit ist die allerbeste Zeit (Actus tragicus).
+            107. Was willst du dich betrüben.
+            108. Es ist euch gut, dass ich hingehe.
+            109. Ich glaube, lieber Herre.
+            110. Unser Mund sei voll Lachens.
+
+XXIV. 1874 [1876]. Kirchencantaten. Zwölfter Band. Ed. Alfred Dörffel.
+
+            No. 111. Was mein Gott will, das g’scheh’ allzeit.
+            *112. Der Herr ist mein getreuer Hirt.
+            113. Herr Jesu Christ, du höchstes Gut.
+            114. Ach, lieben Christen, seid getrost.
+            *115. Mache dich, mem Geist, bereit.
+            *116. Du Friedefürst, Herr Jesu Christ.
+            117. Sei Lob und Ehr’ dem höchsten Gut.
+            118. O Jesu Christ, mein’s Lebens Licht.(495)
+            *119. Preise, Jerusalem, den Herrn.
+            120. Gott, man lobet dich in der Stille.
+
+XXV (1). 1875 [1878]. Die Kunst der Fuge: 1749-1750 Ed. Wilhelm Rust. (P.
+      bk. 218)
+
+            Contrapunctus 1-14
+            Four Canons I
+            Two Fugues for two Claviers)
+            Fugue on three subjects )
+
+XXV (2) 1875 [1878], Orgelwerke. Zweiter Band. Ed. Wilhelm Rust.
+
+            (1) Orgelbüchlein (N. bk. 15), containing Preludes on the
+            following melodies:(496)
+
+            _      Advent—_
+
+                     1. Nun komm der Heiden Heiland.
+                     2. Gott, durch deine Güte, or, Gottes Sohn ist
+                        kommen.
+                     3. Herr Christ, der ein’ge Gottes-Sohn, or, Herr
+                        Gott, nun sei gepreiset.
+                     4. Lob sei dem allmächtigen Gott.
+
+            _      Christmas—_
+
+                     5. Puer natus in Bethlehem.
+                     6. Gelobet seist du, Jesu Christ.
+                     7. Der Tag, der ist so freudenreich.
+                     8. Vom Himmel hoch, da komm’ ich her.
+                     9. Vom Himmel kam der Engel Schaar.
+                    10. In dulci jubilo.
+                    11. Lobt Gott, ihr Christen, allzugleich.
+                    12. Jesu, meine Freude.
+                    13. Christum wir sollen loben schon.
+                    14. Wir Christenleut’.
+
+            _      New Year—_
+
+                    15. Helft mir Gottes Güte preisen.
+                    16. Das alte Jahr vergangen ist.
+                    17. In dir ist Freude.
+
+            _      Feast of the Purification of the B.V.M.—_
+
+                    18. Mit Fried’ und Freud’ ich fahr’ dahin.
+                    19. Herr Gott, nun schleuss den Himmel auf.
+
+            _      Passiontide—_
+
+                    20. O Lamm Gottes, unschuldig.
+                    21. Christe, du Lamm Gottes.
+                    22. Christ us, der uns selig macht.
+                    23. Da Jesus an dem Kreuze stund.
+                    24. O Mensch, bewein’ dein’ Sünde gross.
+                    25. Wir danken dir, Herr Jesu Christ.
+                    26. Hilf Gott, dass mir’s gelinge.
+
+            _      Easter—_
+
+                    27. Christ lag in Todesbanden.
+                    28. Jesus Christus, unser Heiland, der den Tod.
+                    29. Christ ist erstanden (three verses).
+                    30. Erstanden ist der heil’ge Christ.
+                    31. Erschienen ist der herrliche Tag.
+                    32. Heut’ triumphiret Gottes Sohn.
+
+            _      Whitsunday—_
+
+                    33. Komm, Gott, Schöpfer, heiliger Geist.
+
+            _      Trinity Sunday—_
+
+                    34. Herr Jesu Christ, dich zu uns wend’.
+                  35-6. Liebster Jesu, wir sind hier (two settings).
+
+            _      The Catechism—_
+
+                    37. Dies sind die heil’gen zehn Gebot.
+                    38. Vater unser im Himmelreich.
+
+            _      Penitence and Amendment—_
+
+                    39. Durch Adam’s Fall ist ganz verderbt.
+                    40. Es ist das Heil uns kommen her.
+
+            _      Christian Conduct and Experience—_
+
+                    41. Ich ruf’ zu dir, Herr Jesu Christ.
+
+            _      In Time of Trouble—_
+
+                    42. In dich hab’ ich gehoffet, Herr.
+                    43. Wenn wir in höchsten Nothen sein.
+                    44. Wer nur den lieben Gott lässt walten.
+
+            _      Death and the Grave—_
+
+                    45. Alle Menschen müssen sterben.
+
+            _      The Life Eternal—_
+
+                    46. Ach wie nichtig, ach wie flüchtig.
+
+            (2) Six Chorals (Schübler) (N. bk. 16) on the following
+            melodies:
+
+                  Wachet auf, ruft uns die Stimme.
+                  Wo soll ich fliehen hin, _or_, Auf meinen lieben Gott.
+                  Wer nur den lieben Gott lässt walten.
+                  Meine Seele erhebt den Herren.
+                  Ach bleib bei uns, Herr Jesu Christ.
+                  Kommst du nun, Jesu, vom Himmel herunter.
+
+            (3) Eighteen Chorals (N. bk. 17) on the following melodies:
+
+            1., 2. Komm, heiliger Geist, Herre Gott (two settings).
+               3. An Wasserflüssen Babylon.
+               4. Schmücke dich, O liebe Seele.
+               5. Herr Jesu Christ, dich zu uns wend’.
+               6. O Lamm Gottes unschuldig (three verses).
+               7. Nun danket Alle Gott.
+               8. Von Gott will ich nicht lassen.
+            9, 10, 11. Nun komm der Heiden Heiland (three settings).
+            12, 13, 14. Allein Gott in der Höh’ sei Ehr’ (three settings).
+            15, 16. Jesus Christus, unser Heiland, der von uns (two
+                  settings).
+              17. Komm, Gott, Schöpfer, heiliger Geist.
+              18. Vor deinen Thron tret’ ich, or, Wenn wir in höchsten
+                  Nöthen sein.
+
+            (4) Older texts of the “Orgelbülein” and “Eighteen” Chorals:
+
+               1. Christus, der uns selig macht (Orgelbülein No. 22) (P.
+                  bk. 244 p. 108).
+               2. Komm, Gott, Schöpfer, heiliger Geist (Orgelbülein No.
+                  33) (P. bk. 246 p. 86A).
+               3. Komm, heiliger Geist, Herre Gott (Eighteen No. 1) (P.
+                  bk. 246 p. 86).
+               4. Ditto (Eighteen No. 2) (P. bk. 246 p. 88).
+               5. An Wasserflüssen Babylon (Eighteen No. 3) (P. bk. 245 p.
+                  103).
+               6. Herr Jesu Christ, dich zu uns wend’ (Eighteen No. 5) (P.
+                  bk. 245 pp. 107, 108 prints two of the three Variants).
+               9. O Lamm Gottes unschuldig (Eighteen No. 6)(P. bk. 246 p.
+                  97).
+              10. Von Gott will ich nicht lassen (Eighteen No. 8) (P. bk.
+                  246 p. 102).
+              11. Nun komm der Heiden Heiland (Eighteen No. 9) (P. bk. 246
+                  p. 92).
+              12. Ditto (Eighteen No. 10) (P. bk. 246 pp. 93, 94).
+              14. Ditto (Eighteen No. 11) (P. bk. 246 p. 96).
+              15. Allein Gott in der Höh’ sei Ehr’ (Eighteen No. 13) (P.
+                  bk. 245 p. 100).
+              16. Allein Gott in der Hö’ sei Ehr’ (Eighteen No. 14) (P.
+                  bk. 245 p. 97).
+              17. Jesus Christus unser Heiland (Eighteen No. 15) (P. bk.
+                  245 p. 112).
+
+XXVI. 1876 [1878]. Kirchencantaten. Dreizehnter Band. Ed. Alfred Dörffel.
+
+       121. Christum wir sollen loben schon.
+       122. Das neugebor’ne Kindelein.
+       123. Liebster Immanuel, Herzog der Frommen.
+       124. Meinen Jesum lass’ ich nicht.
+       125. Mit Fried’ und Freud’ ich fahr’ dahin.
+       126. Erhalt’ uns, Herr, bei deinem Wort.
+       127. Herr Jesu Christ, wahr’r Mensch und Gott.
+       128. Auf Christi Himmelfahrt allein.
+       129. Gelobet sei der Herr.
+       130. Herr Gott, dich loben alle wir.
+
+XXVII (1). 1877 [18791. Kammermusik. Sechster Band. Ed. Alfred Dörffel.
+
+            Three Sonatas (Suites), in G minor, A minor,(497) C
+            major,(498) for Violin Solo (Nos. 1, 3, 5 in P. bk. 228).
+            Three Partitas (Suites, Sonatas), in B minor, D minor, E
+            major,1 for Violin Solo (Nos. 2, 4, 6 in P. bk. 228).
+            Six Suites (Sonatas), in G major, D minor, C major, E flat
+            major, C minor, D major, for Violoncello Solo (P. bks. 238a,
+            238).
+
+XXVII (2). 1877 [1878]. Thematisches Verzeichniss der Kirchencantaten No.
+      1-120. Ed. Alfred Dörffel.
+
+      [Note.—The Thematic Catalogue is completed in B.G. XLVI. (P. bk.
+      270b).]
+
+XXVIII. 1878 [1881]. Kirchencantaten. Vierzehnter Band Ed. Wilhelm Rust.
+
+       131. Aus der Tiefe rufe ich, Herr, zu dir.
+       132. Bereitet die Wege, bereitet die Bahn.
+       133. Ich freue mich in dir.
+       134. Ein Herz, das seinen Jesum lebend weiss [and Variant].
+       135. Ach Herr, mich armen Sunder.
+       136. Erforsche mich, Gott.
+       137. Lobe den Herren, den mächtigen Küonig.
+       138. Warum betrübst du dich, mein Herz?
+       139. Wohl dem, der sioh auf seinen Gott.
+      *140. Wachet auf, ruft uns die Stimme.(499) Mit Gnaden bekrone der
+            Himmel die Zeiten (No. 134 adapted).
+
+XXIX. 1879 [1881]. Kammermusik für Gesang, Dritter Band. Ed. Paul Graf
+      Waldersee.
+
+            Secular Cantata: Was mir behagt, ist nur die muntre Jagd.
+            Secular Cantata: Non sa che sia dolore.
+            Secular Cantata: O holder Tag, erwünschte Zeit (Wedding).
+            Church Cantata No. 194: Hochsterwünschtes Freudenfest.
+            Secular Cantata: Schweigt stille, plaudert nicht.
+            Secular Cantata: Mer hahn en neue Oberkeet.
+            Secular Cantata: Mit Gnaden bekröne der Himmel die Zeiten.
+            Secular Cantata: O angenehme Melodei.
+            Instrumental Piece for Violin, Flute, and Continuo. (Not in
+            P.).
+
+ XXX. 1880 [1884]. Kirchencantaten. Fünfzehnter Band. Ed. Paul Graf
+      Waldersee.
+
+            141. Das ist je gewisslich wahr.
+            142. Uns ist ein Kind geboren.
+            143. Lobe den Herren, meine Seele.
+            144. Nimm, was dein ist, und gehe hin.
+            145. So du mit deinem Munde bekennest Jesum.
+            146. Wir müssen durch viel Trübsal in das Reich Gottes
+            eingehen.
+            147. Herz und Mund und That und Leben.
+            148. Bringet dem Herrn Ehre seines Namens.
+            *149. Man singet mit Freuden vom Sieg.
+            150. Nach dir, Herr, verlanget mich.
+
+XXXI (1). 1881 [1885] Orchesterwerke. Ed. Alfred Dörffel. (P. bk. 219)
+
+            Overture in C major (Strings, Ob. 1 and 2, Fagotto) (P. bk.
+            267).
+            Overture B minor (Strings, Flauto traverso) (P. bk. 268).
+            Overture D major (Strings, Ob. 1 and 2, Trombe 1, 2, 3,
+            Timpani) (P. bk. 269).
+            Overture D major (Strings, Ob. 1, 2, 3, Fagotto, Trombe 1, 2,
+            3, Timpani) (P. bk. 2068).
+            Sinfonia in F major (Strings, Ob. 1, 2, 3, Fagotto, Corno da
+            caccia 1 and 2).(500)
+
+XXXI (2). 1881 [1885] Musikalisches Opfer. 1747. Ed. Alfred Dörffel.
+
+            Ricercare a tre voci.
+            Canon perpetuus super thema regium.
+            Canones diversi 1-5.
+            Fuga canonica in Epidiapente.
+            Ricercare a sei voci.
+            Two Canons.
+            Sonata in C minor, for Flute, Violin, Clavier
+            Canone perpetuo (Flute, Violin, Clavier)(501)
+
+XXXI (3). 1881 [1885]. Kammermusik. Siebenter Band. Ed. Paul Graf
+      Waldersee.
+
+            Two Concertos for three Claviers and Orchestra (Strings): No.
+            1 in D minor (P. bk. 258).(502)
+            No. 2 in C major (P. bk. 259).).(503)
+
+XXXII. 1882 [1886]. Kirchencantaten. Sechzehnter Band. Ed. Ernst Naumann.
+
+            151. Süsser Trost, mein Jesus kommt.
+            *152. Tritt auf die Glaubensbahn.
+            153. Schau’, lieber Gott, wie meine Feind’.
+            154. Mein liebster Jesus ist verloren.
+            155. Mein Gott, wie lang’, ach lange.
+            156. Ich steh’ mit einem Fuss im Grabe.
+            157. Ich lasse dich nicht.
+            158. Der Friede sei mit dir.
+            159. Sehet, wir geh’n binauf gen Jerusalem.
+            160. Ich weiss, das mein Erlöser lebt.
+
+XXXIII. 1883 [1887]. Kirchencantaten. Siebzehnter Band: Ed. Franz Wülner.
+
+            161. Komm, du süsse Todesstunde.
+            162. Ach, ich sehe, jetzt da ich zur Hochzeit gehe.
+            163. Nur Jedem das Seine.
+            164. Ihr, die ihr euch von Christo nennet.
+            165. O heil’ges Geist- und Wasserbad.
+            166. Wo gehest du bin?
+            *167. Ihr Menschen, rühmet Gottes Liebe.
+            168. Thue Rechnung! Donnerwort.
+            169. Gott soll allein mein Herze haben.
+            170. Vergnügte Ruh’, beliebte Seelenlust.
+
+XXXIV. 1884 [1887]. Kammermusik für Gesang. Vierter Band. Ed. Paul Graf
+      Waldersee.
+
+            Secular Cantata: Durchlaucht’ster Leopold.
+            Secular Cantata: Schwingt freudig euch empor, _or_, Die Freude
+            reget sich.
+            Secular Cantata: Hercules auf dem Scheidewege, _or_, Lasst uns
+            sorgen, lasst uns wachen.
+            Secular Cantata: Tönet, ihr Pauken! Erschallet, Trompeten.
+            Secular Cantata: Preise dein Glücke, gesegnetes Sachsen.
+            Secular Cantata: Angenehmes Wiederau.
+            Secular Cantata: Auf, schmetternde Töne der muntern
+            Trompeten.(504)
+
+XXXV. 1885 [1888]. Kirchencantaten. Achtzehnter Band. Ed. Alfred Dörffel.
+
+            171. Gott, wie dein Name, so ist auch dein Ruhm.
+            172. Erschallet, ihr Lieder.
+            173. Erhötes Fleisch und Blut.
+            174. Ich liebe den Höchsten von ganzem Gemüthe.
+            175. Er rufet seinen Schafen mit Namen.
+            176. Es ist ein trotzig und verzagt Ding.
+            177. Ich ruf’ zu dir, Herr Jesu Christ.
+            178. Wo Gott der Herr nicht bei uns hält.
+            179. Siehe zu, dass deine Gottesfurcht nicht Heuchelei sei.
+            *180. Schmücke dich, O liebe Seele.
+
+XXXVI. 1886 [1890]. Clavierwerke. Vierter Band. Ed. Ernst Naumann.
+
+         1. Suite in A minor (Appendix version in P. bk. 214).
+         2. Suite in E flat major (P. bk. 214).(505)
+         3. Suite (Overture), in F major (P. bk. 215).
+         4. Sonata in D major (P. bk. 215).
+        10. Chromatic Fantasia and Fugue in D minor (P. bk. 207).
+        11. Fantasia and Fugue in A minor (P. bk. 208).
+        12. Prelude and Fugue in E flat major (not in P.).
+        13. Prelude and Fugue in A minor (P. bk. 211).
+        14. Prelude and Fugue in A minor (P. bk. 200).
+        15. Prelude and Fughetta in D minor (P. bk. 200).
+        16. Prelude and Fughetta in E minor (P. bk. 200).
+        17. Prelude and Fughetta in F major (P. bk. 214).(506)
+        18. Do. do. G major (P. bk. 214).(507)
+        19. Twelve Preludes for Beginners (P. bk. 200). 20 Six Little
+            Preludes (P. bk. 200).
+        21. Prelude in C major (for Organ, N. bk. 12 p. 94).
+        22. Do. (Fantasia) in C minor (not in P.).
+        23. Do. do. in A minor (P. bk. 215).
+        24. Fantasia in G minor (P. bk. 215).
+        25. Do. C minor (P. bk. 207).
+        26. Do. (on a Rondo), in C minor (not in P.).
+        27. Do. C minor (P. bk. 212).
+        28. Fughetta in C minor (two-parte) (P. bk. 200).
+        29. Fugue in E minor (P. bk. 212).
+        30. Do. A major (P. bk. 212).
+        31. Do. C major (for Organ, N. bk. 12 p. 100).
+        32. Do. A minor (P. bk. 212).
+        33. Do. D minor (P. bk. 212 p. 61).
+        34. Do. A major (P. bk. 215 p. 52).
+        35. Do. A major (P. bk. 215 p. 57).
+        36. Do. B minor (Theme by Albinoni) (P. bk. 214).
+        37. Do. C major (P. bk. 200 p. 54).
+        38. Do. C major (P. bk. 200 p. 56).
+        39. Do. D minor (P. bk. 212 p. 59).
+        40. Capriccio in B flat major, sopra la lontananza del suo
+            fratello dilettissimo (P. bk. 208).
+        41. Do. E major, in honorem J.C.Bach (P. bk. 215).
+        42. Aria variata in A minor (P. bk. 215).
+        43. Three Minuets, in G major, G minor, G major (P. bk. 215).
+        44. Fragment of a Suite in F minor (P. bk. 212).
+        45. Do. do. A major (P. bk. 1959, p. 3).
+        46. Prelude, Gavotte II, and Minuet in E flat major.(508)
+        47. Two Minuet-Trios, in C minor and B minor.(509)
+        48. “Applicatio” in C major.(510)
+        49. Prelude in A minor (not in P.).
+        50. Do. (unfinished) in E minor (not in P.).
+        51. Fugue (unfinished) in C minor (P. bk. 212 p. 88). (511)
+
+XXXVII. 1887 [1891]. Kirchencantaten. Neunzehnter Band. Ed. Alfred
+      Dörffel.
+
+       181. Leichtgesinnte Flattergeister.
+       182. Himmelskönig, sei willkommen.
+       183. Sie werden euch in den Bann thun (?1735).
+       184. Erwünschtes Freudenlicht.
+       185. Barmherziges Herze der ewigen Liebe.
+       186. Aergre dich, 0 Seele, nicht.
+       187. Es wartet Alles auf dich.
+       188. Ich habe meine Zuversicht.(512)
+       189. Meine Seele rühmt und preist.
+      *190. Singet dem Herrn ein neues Lied.
+
+XXXVIII. 1888 [1891]. Orgelwerke. Dritter Band. Ed. Ernst Naumann.
+
+         1. Prelude and Fugue in C minor (N. bk. 2 p. 48).
+         2. Prelude and Fugue in G major (N. bk. 7 p. 80).
+         3. Prelude and Fugue in A minor (N. bk. 10 p. 208).
+         4. Eight Short Preludes and Fugues in C major, D minor, E minor,
+            F major, G major, G minor, A minor, B flat major (N. bk. 1).
+         5. Fantasia and Fugue in A minor (N. bk. 12 p. 60).
+         6. Fantasia con Imitazione in B minor (N. bk. 12 p. 71).
+         7. Fantasia in C major (N. bk. 12 p. 92).
+         8. Fantasia in C minor (N. bk. 3 p. 57).
+         9. Fantasia in G major (N. bk. 12 p. 75).
+        10. Fantasia in G major (N. bk. 9 p. 168).
+        11. Prelude in C major (N. bk. 12 p. 91).
+        12. Prelude in G major (N. bk. 2 p. 30).
+        13. Prelude in A minor (N. bk. 10 p. 238).
+        14. Fugue (Theme by Legrenzi) in C minor (and Variant) (N. bk. 10
+            p. 230).
+        15. Fugue in C minor (N. bk. 12 p. 95). 16» Do. G major (N. bk. 12
+            p. 86).
+        17. Fugue G major (N. bk. 12 p. 55).
+        18. Fugue G minor (N. bk. 3 p. 84).
+        19. Fugue B minor (Theme by Corelli) (N. bk. 3 p. 60).
+        20. Canzona in D minor (N. bk. 2 p. 34).
+        21. Allabreve in D major (N. bk. 2 p. 26).
+        22. Pastorale in F major (N. bk. 12 p. 102).
+        23. Trio in D minor (N. bk. 2 p. 54).
+        24. Four Concertos after Antonio Vivaldi:(513)
+
+                  No. 1, in G major (N. bk. 11 no. I).(514)
+                  No. 2, in A minor (N. bk. 11 no. 2).(515)
+                  No. 3, in C major (N. bk. 11 no. 3).
+                  No. 4, in C major (N. bk. 11 no. 4).
+
+        25. Fantasia (incomplete) in C major (not in N. or P.).(516)
+        26. Fugue (incomplete) in C minor (not in N. or P.).
+        27. Pedal Exercise in G minor (not in N. or P.).
+        28. Fugue (authenticity doubtful) in C major (not in N. or P.).
+        29. Fugue (authenticity doubtful) in D major (N. bk. 12 p.
+            83).(517)
+        30. Fugue (authenticity doubtful) in G minor (N. bk. 2 p. 41).
+        31. Trio in C minor (N. bk. 12 p. 108).
+        32. Aria in F major (N. bk. 12 p. 112).
+        33. Kleinea harmonisches Labyrinth (authenticity doubtful) (P. bk.
+            2067 p. 16) (not in N.).
+
+XXXIX. 1889 [1892]. Motetten, Choräle und Lieder. Ed. Franz Wüllner.
+
+        (1) Motets:
+
+                  Motet: *Singet dem Herrn ein neues Lied.
+                  Motet: *Der Geist hilft unsrer Schwachheit auf.(518)
+                  Motet: *Jesu, meine Freude.
+                  Motet: *Fürchte dich nicht, ich bin bei dir.
+                  Motet: *Komm, Jesu, komm.
+                  Motet: * Lobet den Herrn, alle Heiden.
+                  Motet: *Ich lasse dich nicht, du segnest mich denn (by
+                  Johann Christoph Bach).
+                  Motet: *Sei Lob und Preis mit Ehren (the second number,
+                  Nun lob’ mein’ Seel’ den Herrn, of Cantata 28).
+
+        (2) 185 Chorals harmonised by Bach, from the collection made by
+            Carl Philipp Emmanuel Bach:(519)
+
+            1 (1). Ach bleib’ bei uns, Herr Jesu Christ.
+            2 (2). Ach Gott, erhör’ mein Seufzen und Wehklagen.
+            3 (3). Ach Gott und Herr, wie gross und schwer.
+            4 (385). Ach lieben Christen, seid getrost (Wo Gott der Herr
+                  nicht bei uns hält).
+            5 (388). Wär’ Gott nicht mit uns diese Zeit (Wo Gott der Herr
+                  nicht bei uns hält).(520)
+            6 (383). Wo Gott der Herr nicht bei uns hält.
+            7(10). Ach, was soll ich Sünder machen.
+            8 (12). Allein Gott in der Höh’ sei Ehr.
+            9 (15). Allein zu dir, Herr Jesu Christ.
+            10 (17). Alle Menschen müssen sterben.
+            11 (19). Alles ist an Gottes Segen.
+            12(20). Als der gütige Gott.
+            13 (21). Als Jesus Christus in der Nacht.
+            14 (22). Als vierzig Tag’ nach Ostern war’n.
+            15 (23). An Wassernüssen Babylon.
+            16(24). Auf, auf mein Herz.
+            17 (30). Aus meines Herzens Grunde.
+            18 (157). Befiehl du deine Wege (Herzlich thut mich
+                  verlangen).
+            19 (158). Ditto.
+            20 (32). Befiehl du deine Wege.
+            21 (33). Christ, der du bist der helle Tag.
+            22 (34). Christe, der du bist Tag und Licht.
+            23 (35). Christe, du Beistand deiner Kreuzgemeinde.
+            24 (36). Christ ist erstanden.
+            25 (38). Christ lag in Todesbanden.
+            26(39). Ditto.
+            27 (43). Christ, unser Herr, zum Jordan kam.
+            28 (46). Christus, der ist mein Leben.
+            29 (47). Ditto.
+            30 (48). Christus, der uns selig macht.
+            31 (51). Christus ist erstanden.
+            32 (52). Da der Herr zu Tische sass.
+            33 (53). Danket dem Herren, denn er ist sehr freundlich.
+            34 (54). Dank sei Gott in der Höhe.
+            35 (55). Das alte Jahr vergangen ist.
+            36 (56). Ditto.
+            37 (57). Das walt’ Gott Vater und Gott Sohn.
+            38 (58). Das walt’ mein Gott, Vater, Sohn.
+            39 (59). Den Vater dort oben.
+            40 (60). Der du bist drei in Einigkeit.
+            41 (61). Der Tag, der ist so freudenreich.
+            42 (62). Des heil’gen Geistes reiche Gnad’.
+            43 (63). Die Nacht ist kommen.
+            44 (64). Die Sohn’ hat sich mit ihrem Glanz.
+            45 (65). Dies sind die heil’gen zehn Gebot.
+            46 (67). Dir, dir, Jehovah, will ich singen (Bach’s   melody).
+            47 (70). Du grosser Schmerzensmann.
+            48 (71). Du, 0 schönes Weltgebäude.
+            49 (74). Ein’ feste Burg ist unser Gott.
+            50 (75). Ditto.
+            51 (77). Eins ist noth, ach Herr, dies Eine.
+            52 (78). Erbarm’ dich mein, 0 Herre Gott.
+            53 (85). Erstanden ist der heil’ge Christ.
+            54 (262). Est ist gewisslich an der Zeit (Nun freut euch,
+                  lieben Christen g’mein).
+            55 (92). Es spricht der Unweisen Mund wohl.
+            56 (93). Es steh’n vor Gottes Throne.
+            57 (94). Es wird schier der letzte Tag herkommen.
+            58 (95). Es wol’ uns Gott genädig sein.
+            59 (96). Ditto.
+            60 (106). Für Freuden lasst uns springen.
+            61 (107). Gelobet seist du, Jesu Christ.
+            62 (111). Gieb dich zufrieden und sei stille (Bach’s melody).
+            63 (112). Gott, der du selber bist das Licht.
+            64 (113). Gott der Vater wohn’ uns bei.
+            65 (115). Gottes Sohn ist kommen.
+            66 (116). Gott hat das Evangelium.
+            67 (117). Gott lebet noch.
+            68 (118). Gottlob, es geht nunmehr zum Ende.
+            69 (119). Gott sei gelobet und gebenedeiet.
+            70 (120). Gott sei uns gnädig und barmherzig.
+            71 (121). Meine Seele erhebet den Herrn.
+            72 (123a). Heilig, Heilig, Heilig!
+            73 (129). Herr Gott, dich loben alle wir.
+            74 (132). Für deinen Thron tret’ ich hiermit (Herr Gott dich
+                  loben alle wir).
+            75 (133). Herr Gott dich loben wir.
+            76 (136). Herr, ich denk’ an jene Zeit.
+            77 (137). Herr, ich habe missgehandelt.
+            78 (138). Ditto.
+            79 (139). Herr Jesu Christ, dich zu uns wend’.
+            80 (140). Herr Jesu Christ, du hast bereit’t.
+            81 (141). Herr Jesu Christ, du höchstes Gut.
+            82 (145). Herr Jesu Christ, mein’s Lebens Licht.
+            83 (146). Herr Jesu Christ, wahr’ Mensch und Gott.
+            84 (148). Herr, nun lass in Friede.
+            85 (149). Herr, straf’ mich nicht in deinem Zorn.
+            86 (151). Herr, wie du willst, so Schick’s mit mir.
+            87 (152). Herzlich lieb hab’ ich dich, 0 Herr.
+            88 (170). Heut’ ist, O Mensch, ein grosser Trauertag.
+            89 (171). Heut’ triumphiret Gottes Sohn.
+            90 (172). Hilf, Gott, dass mir’s gelinge.
+            91 (173). Hilf, Herr Jesu, lass gelingen.
+            92 (174). Ich bin ja, Herr, in deiner Macht (Bach’s melody).
+            93 (175). Ich dank’ dir, Gott, für all’ Wohlthat.
+            94 (176). Ich dank’ dir, lieber Herre.
+            95 (177). Ditto.
+            96 (179). Ich dank’ dir schon durch deinen Sohn.
+            97 (180). Ich danke dir, O Gott, in deinem Throne.
+            98 (182). Ich hab’ mein’ Sach’ Gott heimgestellt.
+            99 (185). Jesu, der du meine Seele.
+            100 (186). Ditto.
+            101 (187). Ditto.
+            102 (189). Jesu, der du selbst so wohl.
+            103 (190). Jesu, du mein liebstes Leben.
+            104 (191). Jesu, Jesu, du bist mein (Bach’s melody).
+            105 (195). Jesu, meine Freude.
+            106 (363). Jesu, meiner Seelen Wonne (Werde munter, mein
+                  Gemüthe).
+            107 (364). Ditto.
+            108 (202). Jesu, meines Herzens Freud’.
+            109 (203). Jesu, nun sei gepreiset.
+            110 (206). Jesus Christus, unser Heiland, der von uns.
+            111 (207). Jesus Christus, unser Heiland, der den Tod.
+            112 (208). Jesus, meine Zuversicht.
+            113 (210). Ihr Gestirn’, ihr hohlen Lüfte.
+            114 (211). In allen meinen Thaten.
+            115 (215). In dulci jubilo.
+            116 (217). Keinen hat Gott verlassen.
+            117 (218). Komm, Gott, Schöpfer, heiliger Geist.
+            118 (225). Kyrie! Gott Vater in Ewigkeit.
+            119 (226). Lass, O Herr, dein Ohr sich neigen.
+            120 (228). Liebster Jesu, wir sind hier.
+            121 (232). Lobet den Herren, denn er ist sehr freundlich.
+            122 (233). Lobt Gott, ihr Christen allzugleich.
+            123 (234). Ditto.
+            124 (237). Mach’s mit mir, Gott, nach deiner Güt.’
+            125 (240). Mein’ Augen schliess’ ich jetzt.
+            126 (241). Meinen Jesum lass’ ich nicht, Jesus.
+            127 (242). Meinen Jesum lass’ ich nicht, weil.
+            128 (248). Meines Lebens letzte Zeit.
+            129 (249). Mit Fried’ und Freud’ ich fahr’ dahin.
+            130 (252). Mitten wir im Leben sind.
+            131 (253). Nicht so traurig, nicht so sehr (Bach’s melody).
+            132 (254). Nun bitten wir den heiligen Geist.
+            133 (257). Nun danket Alle Gott.
+            134 (260). Nun freut euch, Gottes Kinder all.
+            135 (261). Nun freut euch, lieben Christen g’mein.
+            136 (269). Nun lob’, mein’ Seel’, den Herren.
+            137 (270). Ditto.
+            138 (273). Nun preiset alle Gottes Barmherzigkeit.
+            139 (298). Nun ruhen alle Wälder (0 Welt, ich muss dich
+                  lassen)
+            140 (289). 0 Welt, sieh’ hier dein Leben (O Welt, ich muss
+                  dich lassen).
+            141 (290). Ditto.
+            142 (291). Ditto.
+            143 (274). Nun sich der Tag geendet hat.
+            144 (275). O Ewigkeit, du Donnerwort.
+            145 (277). O Gott, du frommer Gott (1679 tune).
+            146(282). Ditto (1693 tune).
+            147 (284). O Herzensangst, O Bangigkeit und Zagen (Bach’s
+                  melody).
+            148 (285). 0 Lamm Gottes, unschuldig.
+            149 (286). O Mensch, bewein’ dein Sünde gross.
+            150 (287). 0 Mensch, schau’ Jesum Christum an.
+            151 (288). 0 Traurigkeit, 0 Herzeleid.
+            152 (299). O wie selig seid ihr doch, ihr Frommen (1649).
+            153 (300). Ditto (1566).
+            154 (301). O wir armen Sünder.
+            155 (303). Schaut, ihr Sünder.
+            156(306). Seelenbräutigam, Jesu, Gottes Lamm.
+            157 (307). Sei gegrüsset, Jesu gütig.
+            158 (309). Singt dem Herrn ein neues Lied.
+            159 (310). So giebst du nun, mein Jesu, gute Nacht.
+            160 (311). Sollt’ ich meinem Gott nicht singen.
+            161 (313). Uns ist ein Kindlein heut’ gebor’n.
+            162 (314). Valet will ich dir geben.
+            163 (316). Vater unser im Himmelreich.
+            164 (324). Von Gott will ich nicht lassen.
+            165 (325). Ditto.
+            166 (326). Ditto.
+            167 (331). Warum betrübst du dich, mein Herz.
+            168 (332). Ditto.
+            169 (334). Warum sollt’ ich mich denn grämen.
+            170 (336). Was betrübst du dich, mein Herze (Bach’s melody).
+            171 (337). Was bist du doch, 0 Seele, so betrübet.
+            172 (349). Was willst du dich, 0 meine Seele.
+            173 (351). Weltlich Ehr’ und zeitlich Gut.
+            174 (352). Wenn ich in Angst und Noth.
+            175 (353). Wenn mein Stündlein vorhanden ist.
+            176 (354). Ditto.
+            177 (355). Ditto.
+            178 (358). Wenn wir in höchsten Nöthen sein.
+            179 (359). Ditto.
+            180 (366). Wer Gott vertraut, hat wohlgebaut.
+            181 (367). Wer nur den lieben Gott lässt walten.
+            182 (374). Wie bist du, Seele, in mir so gar betrübt.
+            183 (375). Wie schön leuchtet der Morgenstern.
+            184 (382). Wir glauben all’ an einen Gott, Schöpfer.
+            185 (389). Wo Gott zum Haus nicht gibt sein’ Gunst.
+
+        (3) Seventy-five Chorals harmonised by Bach:(521)
+
+               *1 (S). Ach, dass ich nicht die letzte Stunde.
+            2 (S). Auf, auf! die rechte Zeit ist hier.
+            3 (S). Auf, auf! mein Herz, mit Freuden.
+            4 (S). Beglückter Stand getreuer Seelen.
+            *5 (S). Beschränkt, ihr Weisen dieser Welt.
+            6 (S). Brich entzwei, mein armes Herze.
+            7 (S). Brunnquell aller Güter.
+            8 (S). Der lieben Sonne Lacht und Pracht.
+            9 (S). Der Tag ist hin, die Sonne gehet nieder.
+            10 (S). Der Tag mit seinem Lichte.
+            *11 (S). Dich bet’ ich an, mein höchster Gott.
+            12 (S). Die bitt’re Leidenszeit beginnet.
+            13 (S). Die gold’ne Sonne, voll Freud’ und Wonne.
+            *14 (S). Dir, dir, Jehova, will ich singen.
+            *15 (S). Eins ist noth, ach Herr, dies Eine.
+            16 (S). Ermuntre dich, mein schwacher Geist.
+            17 (S). Erwürgtes Lamm, das die verwahrten Siegel.
+            18 (S). Es glänzet der Christen inwendiges Leben.
+            19 (S). Es ist nun aus mit meinem Leben.
+            20 (S). Es ist vollbracht! Vergiss ja nicht dies Wort.
+            21 (S). Es kostet viel, ein Christ zu sein.
+             *22. Gieb dich zufrieden und sei stille (erste Composition).
+             *23. Ditto. (zweite Composition).(522)
+            24 (S). Ditto. (dritte Composition).
+            25 (S). Gott lebet noch! Seele, was verzagst du doch?
+            *26 (S). Gott, wie gross ist deine Güte.
+            27 (S). Herr, nicht schricke deine Rache.
+            *28 (S). Ich bin ja, Herr, in deiner Macht.
+            29 (S). Ich freue mich in dir.
+            *30 (S). Ich halte treulich still.
+            31 (S). Ich lass’ dich nicht.
+            32 (S). Ich liebe Jesum alle Stund’.
+            *33 (8). Ich steh’ an deiner Krippen hier.
+            *34 (8). Jesu, Jesu, du bist mein.
+            35 (S). Jesu, deine Liebeswunden.
+            36 (8). Jesu, meines Glaubens Zier.
+            37 (8). Jesu, meines Herzens Freud’.
+            38 (8). Jesus ist das schönste Licht.
+            39 (8). Jesus, unser Trost und Leben.
+            40 (8). Ihr Gestirn’, ihr hohlen Lüfte.
+            41 (8). Kein Stündlein geht dahin.
+            *42 (8). Komm, süsser Tod, komm, sel’ge Ruh’!
+            *43 (8). Kommt, Seelen, dieser Tag.
+            *44 (8). Kommt wieder aus der finst’ren Gruft.
+            46 (8). Lasset uns mit Jesu ziehen.
+            46 (S). Liebes Herz, bedenke doch.
+            47 (8). Liebster Gott, wann werd’ ioh sterben.
+            *48 (S). Liebeter Herr Jesu, wo bleibst du so lange.
+            49 (S). Laebster Immanuel.
+            60 (S). Mein Jesu, dem die Seraphinen.
+            *61 (S). Mein Jesu, was für Seelenweh.
+            62 (S). Meines Lebens letzte Zeit.
+            *63 (S). Nicht so traurig, nicht so sehr.
+            64 (S). Nur mein Jesus 1st mein Leben.
+            66 (S). O du Liebe, meiner Liebe.
+              66. O Ewigkeit, du Donnerwort.
+            *67 (S). O finst’re Nacht, wann wirst du doch vergehen.
+            68 (S). O Jesulein süss, O Jesulein mild.
+            *69 (S). O liebe Seele, zieh’ die Sinnen.
+            60 (8). O wie selig seid ihr doch.
+             *61. Schaffs mit mir, Gott, naoh deinem Willen.
+            62 (8). Seelenbräutigam, Jesu, Gottes Lamm.
+            63 (8). Seelenweide, meine Freude.
+            64 (S). Selig, wer an Jesum denkt.
+            66 (8). Sei gegrüsset, Jesu gütig.
+            66 (8). So gehest du nun, mein Jesu, hin.
+            67 (8). So giebst du nun, mein Jesu, gute Nacht.
+            68 (8). So wünsch’ ich mir zu guter Letzt.
+            69 (S). Steh’ ioh bei meinein Gott.
+            70 (8). Vergiss  mein  nioht,  date  ich  dein  nicht
+                  vergesse.
+            *71 (S). Vergiss mein nicht, mein allerliebster Gott.
+             *72. Warum betrübst du dich und beugest.
+            73 (S). Was bist du doch, 0 Seele, so betrübet.
+             *74. Wie wohl ist mir, 0 Freund der Seelen.
+            75 (S). Wo ist mein Schäflein, das ich liebe.(523)
+
+        (4) Five Arias from Anna Magdalena Bach’s “Notenbuch” (1725)"(524)
+
+              *1. So oft ich meine Tabakspfeife.
+              *2. Bist bu bei mir.
+              *3. Gedenke doch, mein Geist, zurücke.
+               4. Gieb dich zufrieden und sei stille.
+               5. Willst du dein Herz mir schenken (Aria di Giovannini).
+
+  XL. 1890 [1893]. Orgelwerke. Vierter Band. Ed. Ernst Naumann.
+
+        (1) Choral Preludes, from Kirnberger’s collection.(525)
+
+               1. Wer nur den lieben Gott lässt walten (N. bk. 19 p. 21).
+               2. Ditto (N. bk. 19 p. 22).
+               3. Ach Gott und Herr (N. bk. 18 p. 1).
+               4. Ditto (N. bk. 18 p. 2).
+               5. Wo soll ich fliehen hin (N. bk. 19 p. 32).
+               6. Christ lag in Todesbanden (Fantasia) (N. bk. 18 p. 16).
+               7. Christum wir sollen loben schon, _or_, Was fürcht’st du,
+                  Feind Herodes, sehr (N. bk. 18 p. 23).
+               8. Gelobet seist du, Jesu Christ (Fughetta) (N. bk. 18 p.
+                  38).
+               9. Herr Christ, der ein’ge Gottes-Sohn (Fughetta) (N. bk.
+                  18 p. 43).
+              10. Nun komm der Heiden Heiland (Fughetta) (N.bk. 18 p. 83).
+              11. Vom Himmel hoch da komm ich her (N. bk. 19 p. 16).
+              12. Ditto. (Fughetta) (N. bk. 19 p. 14).
+              13. Das Jesulein soll doch mein Trost (Fughetta) (N. bk. 18
+                  p. 24).
+              14. Gottes Sohn ist kommen (Fughetta) (N. bk. 18 p. 41).
+              15. Lob sei dem allmächtigen Gott (Fughetta) (N. bk. 18 p.
+                  73).
+              16. Durch Adams Fall ist ganz verderbt (N. bk. 18 p. 28).
+              17. Liebster Jesu wir sind hier (N. bk. 18 p. 72a).
+              18. Ditto. (N. bk. 18 p. 72b).
+              19. Ich hab’ mein’ Sach’ Gott hergestellt (N. bk. 18 p.
+                  54)(526)
+              20. Ditto. (N. bk. 18 p. 58a).
+              21. Herr Jesu Christ, dich zu uns wend’ (N. bk. 18 p. 50).
+              22. Wir Christenleut’ (N. bk. 19 p. 28b).(527)
+              23. Allein Gott in der Höh’ sei Ehr (Bicinium) (N. bk. 18 p.
+                  5).
+              24. In dich hab’ ich gehoffet, Herr (N. bk. 18 p. 59).
+              25. Jesu, meine Freude (Fantasia) (N. bk. 18 p. 64).
+
+        (2) Twenty-eight other Choral Preludes(528)
+
+               1. Ach Gott und Herr (Canon) (N. bk. 18 p. 3).
+               2. Allein Gott in der Höh’ sei Ehr’ (N. bk. 18 p. 4).
+               3. Ditto. (Fuga) (N. bk. 18 p. 7).
+               4. Ditto. (N. bk. 18 p. 11).
+               5. An Wasserflüssen Babylon (N. bk. 18 p. 13).
+               6. Christ lag in Todesbanden (N. bk. 18 p. 19).
+               7. Der Tag der ist so freudenreich (N. bk. 18 p. 26).
+               8. Ein’ feste Burg ist unser Gott (N. bk. 18 p. 30).
+               9. Erbarm’ dich mein, 0 Herre Gott (N. bk. 18 p. 35).
+              10. Gelobet seist du, Jesu Christ (N. bk. 18 p. 37).
+              11. Gelobet seist du, Jesu Christ (N. bk. 18 p. 39).
+              12. Gottes Sohn ist kommen (N. bk. 18 p. 42).
+              13. Herr Gott, dich loben wir (N. bk. 18 p. 44).
+              14. Herr Jesu Christ, dich zu uns wend’ (N. bk. 18 p. 52).
+              15. Herzlich thut mich verlangen (N. bk. 18 p. 53).
+              16. Jesus, meine Zuversicht (N. bk. 18 p. 69).
+              17. In dulci jubilo (N. bk. 18 p. 61).
+              18. Liebster Jesu, wir sind hier (N. bk. 18 p. 70).
+              19. Ditto. (N. bk. 18 p. 71).
+              20. Lobt Gott, ihr Christen allzugleich (N. bk. 18 p. 74).
+              21. Meine Seele erhebt den Herren (Magnificat) (Fuga) (N.
+                  bk. 18 p. 75).
+              22. Nun freut euch, lieben Christen g’mein, _or_, Es ist
+                  gewisslich an der Zeit (N. bk. 18 p. 80).
+              23. Valet will ich dir geben (Fantasia) (N. bk. 19 p. 2).
+              24. Ditto. (N. bk. 19 p. 7).
+              25. Vaterunser im Himmelreich (N. bk. 19 p. 12).
+              26. Vom Himmel hoch da komm ich her (N. bk. 19 p. 19).
+              27. Wie schön leuchtet der Morgenstern (N. bk. 19 p. 23).
+              28. Wir glauben all’ an einen Gott (N. bk. 19 p. 30).
+
+        (3) Choral Variations:
+
+               1. Christ, der du bist der helle Tag (N. bk. 19 p. 36).
+               2. 0 Gott, du frommer Gott (N. bk. 19 p. 44).
+               3. Sei gegrüsset, Jesu gütig (N. bk. 19 p. 55).
+               4. Vom Himmel hoch da komm ich her (N. bk. 19 p. 73).
+
+        (4) Variant texts and fragments:
+
+               1. Variant of Kirnberger’s No. 2 (P. bk. 244 p. 111).
+               2. Variant of Kirnberger’s No. 3 (not in N. or P.).
+               3. Ich hab’ mein’ Sach’ Gott heimgestellt (N. bk. 18 p.
+                  58b).
+               4. Variant of Kirnberger’s No. 6 (P. bk. 245 p. 104).
+               5. Variant of Kirnberger’s No. 25 (P. bk. 245 p. 110).
+               6. Variant of No. 10 of the Twenty-eight supra (not in N.
+                  or P.).
+               7. Variant of No. 17 (not in N. or P.).
+               8. Variant of No. 20 (not in N. or P.).
+               9. Variant of No. 26 (not in N. or P.).
+              10. Variant of No. 22 (P. bk. 246 p. 91).
+              11. Variant of No. 23 (P. bk. 246 p. 100).
+              12. Jesu, meine Freude (fragment) (P. bk. 244 p. 112).
+              13. Wie schön leuchtet der Morgenstern (fragment) (not in N.
+                  or P.).
+
+        (5) Choral Preludes and Variations of faulty text or doubtful
+            authenticity:
+
+               1. Ach Gott vom Himmel sieh’ darein (P. bk. 2067 p.44).
+               2. Auf meinen lieben Gott (P. bk. 2067 p. 39).
+               3. Aus der Tiefe rufe ich (P. bk. 2067 p. 64).
+               4. Christ ist erstanden (not in N. or P.).
+               5. Christ lag in Todesbanden (P. bk. 2067 p. 56).
+               6. Gott der Vater wohn’ uns bei (P. bk. 245 p. 62) (by J.
+                  G. Walther).(529)
+               7. O Vater, allmächtiger Gott (not in N. or P.).
+               8. Schmücke dich, O liebe Seele (not in N. or P.) (also
+                  attributed to G. A. Homilius).
+               9. Vater unser im Himmelreich (not in N. or P.) (also
+                  attributed to G. Böhm).
+              10. Ditto.
+              11. Wir glauben all’ an einen Gott, Schöpfer (P. bk. 2067 p.
+                  40).(530)
+              12. Variations on Ach, was soll ich Sünder machen (not in N.
+                  or P.).
+              13. Variations on Allein Gott in der Höh’ sei Ehr’ (not in
+                  N. or P.).
+
+        (6) Addendum to B.G. III.:
+
+                  Allein Gott in der Höh’ sei Ehr’ (an early version of N.
+                  bk. 16 p. 40*) (P. bk. 245 p. 96).
+
+ XLI. 1891 [1894]. Kirchenmusikwerke. Erganzungsband. Ed. Alfred Döffel.
+
+            Cantata No. 191: Gloria in excelsis (the B minor Mass
+            “Gloria”).
+            Cantata No. 192: Nun danket Alle Gott (incomplete).
+            Cantata No.193: Ihr Pforten zu Zion (incomplete).
+            Ehre sei Gott in der Hone (incomplete).
+            Wedding Cantata: O ewiges Feuer, O Ursprung der Liebe
+            (incomplete).
+            Wedding Cantata: Herr Gott, Beherrscher aller Dinge
+            (incomplete).
+            Sanctus in D major.
+            Kyrie eleison (Christe, du Lamm Gottes).
+            Christe eleison (Johann Ludwig Bach).
+            Jesum lass’ ich nicht von mir (the original concluding Choral
+            of the first Part of the “St. Matthew Passion” (Breitkopf and
+            Haertel’s “Choralgesange,” No. 247).
+            Four Cantatas of doubtful authenticity:
+
+                  Gedenke, Herr, wie es uns gehet.
+                  Gott der Hoffnung erfulle euch.
+                  Siehe, es hat iiberwunden der Lowe.
+                  Lobt ihn mit Herz und Munde.
+
+XLII. 1892 [1894]. Clavierwerke. Funfter Band. Ed. Ernst Naumann.
+
+            Sonata in D minor (P. bk. 213 p. 24).(531)
+            Suite in E major (not in P.).(532)
+            Adagio in G major (P. bk. 213 p. 1).(533)
+            Sonata in A minor (P. bk. 213 p. 2).(534)
+            Sonata in C major (P. bk. 213 p. 16).(535)
+            Fugue in B flat major (P. bk. 1959 p. 75).(536)
+            Fugue in B flat major (P. bk. 1959 p. 90).(537)
+            Sixteen Concertos after Antonio Vivaldi (P. bk. 217).(538)
+            Fifteen Compositions of probable authenticity :
+
+               1. Prelude and Fugue in A minor (P. bk. 1959 p. 84).
+               2. Fantasia and Fugue in D minor (P. bk. 1959 p. 80).
+               3. Fantasia in G minor (P. bk. 1959 p. 94).
+               4. Concerto and Fugue in C minor (not in P.).
+               5. Fugato in E minor (P. bk. 1959 p. 24).
+               6. Fugue in E minor (P. bk. 1959 p. 72).
+               7. Fugue in G major (P. bk. 1959 p. 68).
+               8. Fugue in A minor (not in P.).
+               9. Fugue in A minor (not in P.).
+              10. Prelude in B minor (and Variant) (not in P.).
+              11. Suite in B flat major (P. bk. 1959 p. 54).
+              12. Andante in G minor (P. bk. 1959 p. 63).
+              13. Scherzo in D minor (and Variant) (P. bk. 1959 p. 62).
+              14. Sarabande con Partite in C major (P. bk. 1959 p. 26).
+              15. Passacaglia in D minor (P. bk. 1959 p. 40).
+
+            Ten Compositions of doubtful authenticity :
+
+               1. Fantasia in C minor (not in P.).
+               2. Toccata quasi Fantasia con Fuga in A major (not in
+                  P.).(539)
+               3. Partie in A major (not in P.).
+               4. Allemande in C minor (not in P.).
+               5. Gigue in F minor (not in P.).
+               6. Allemande and Courante in A major (not in P.).
+               7. Allemande in A minor (not in P.).
+               8. Fantasia and Fughetta in B flat major (P. bk. 212 p.
+                  58).
+               9. Do. D major (P. bk. 212 p. 60).
+              10. Fugue (unfinished) in E minor (not in P.).
+
+            Concerto in G major by Antonio Vivaldi (original of the second
+            Clavier Concerto supra).(540)
+
+XLIII(l). 1893 [1894]. Kammermusik. Achter Band. Ed. Paul Graf Waldersee.
+
+            Three Sonatas for Flute and Clavier:
+
+                  1. In C major (P. bk. 235 p. 33).
+                  2. In E minor (ib. p. 39).
+                  3. In E major (ib. p. 51).
+
+            Sonata in E minor, for Violin and Clavier (P. bk. 236).
+            Fugue in G minor for Violin and Clavier (P. bk. 236).
+            Sonata in F major for two Claviers (by Wilhelm Friedemann
+            Bach).
+            Concerto in A minor for four Claviers and Orchestra (Strings)
+            (P. bk. 260 p. 3).(541)
+
+XLIII (2). 1893 [1894]. Musikstücke in den Notenbüchen der Anna Magdalena
+      Bach. Ed. Paul Graf Waldersee.
+
+        (1) The Notebook of the year 1722 contains:
+
+               1. The French Suites (incomplete) (see B.G. an. (2)).
+               2. Fantasia in C major for the Organ (see B.G. XXXVIII. No.
+                  25).
+               3. Air (unfinished) in C minor (not in P.).
+               4. Choral Prelude, ’ Jesus, meine Zuversicht’ (see B.G. XL.
+                  sec. 2 No. 16).
+               5. Minuet in G major (see B.G. xxxvi. and P. bk. 215 p.
+                  62).
+
+        (2) The Notebook of the year 1725 contains:(542)
+
+               1. Partita III. (A minor) from the “Clavierübung,” Part I.
+                  (see B.G. III.).
+               2. Partita VI. (E minor) from the same (see B.G. III.).
+            3 (P). Minuet in F major.
+            4 (P). Minuet in G major.
+            5 (P). Minuet in G minor.
+            6 (P). Rondeau in B flat major (by Couperin).
+            7 (P). Minuet in G major.
+            8 (P). Polonaise in F major (two versions).
+            9 (P). Minuet in B flat major.
+            10 (P). Polonaise in G minor.
+              11. Choral Prelude, “Wer nur den lieben Gott lässt alten”
+                  (see B.G. XL., Kirnberger’s Collection, no. 2).
+              12. Choral, “Gieb dich zufrieden und sei stille” see B.G.
+                  XXXIX. see. 4 no. 4).
+              13. Aria, “Gieb dich zufrieden un sei stille” (see B.G.
+                  XXXIX. sec. 2 no. 62).
+            14 (P). Minuet in A minor.
+            15 (P). Do. C minor.
+            16 (P). March in D major.
+            17 (P). Polonaise in G minor.
+            18 (P). March in A major.
+            19 (P). Polonaise in G minor.
+              20. Aria, “So oft ich meine Tabakspfeife” (see B.G. XXXIX.
+                  sec. 4 no. 1).
+              21. Minuet in G major, “fait par Möns. Böhm.”
+            22 (P). Musette in D major.
+            23 (P). March in E flat major.
+            24 (P). Polonaise in D minor.
+              25. Aria, “Bist du bei mir” (see B.G. XXIX. sec. 4 no. 2).
+              26. Aria in G major (the Aria of the Goldberg Variations.
+                  See B.G. III.).
+            27 (P). Solo per il Cembalo in E flat major.
+            28 (P). Polonaise in G major.
+              29. Prelude in C major (Prelude i. of the first Part of the
+                  “Well-tempered Clavier.” See B.G. XIV.).
+              30. Suite in D minor (the first of the French Suites. See
+                  B.G. XIII (2)).
+              31. Suite in C minor (the first three movements of the
+                  second French Suite. See B.G. XIII (2)).
+              32. Choral (wordless) in F. major.
+              33. Aria, “Warum betrübst du dich” (see B.G. XXXIX. sec. 3
+                  no. 72).
+              34. Recitativo and Aria, “Ich habe genug,” and “Schlummert
+                  ein,” for Basso (from Cantata 82, nos. 2 and 3),
+                  transposed.
+              35. Aria, “Schaff’s mit mir, Gott, nach deinem Willen” (see
+                  B.G. xxxrx. sec. 3 no. 61).
+            36 (P). Minuet in D minor.
+              37. Aria, “Willst du dein Herz mir schenken” (di Giovannini)
+                  (see B.G. XXXIX. sec. 4 no. 5).
+              38. Aria, No. 34 supra.
+              39. Choral, “Dir, dir Jehovah, will ich singen” (see B.G.
+                  XXXIX. sec. 2 no. 46).
+              40. Aria, “Wie wohl ist mir, 0 Freund der Seelen” (see B.G.
+                  XXXIX. sec. 3 no. 74).
+              41. Aria, “Gedenke doch, mein Geist, zurticke” (see B.G.
+                  XXXIX. sec. 4 no. 3).
+              42. Choral, “O Ewigkeit, du Donnerwort” (see B.G. XXXIX.
+                  sec. 2 no. 144).
+
+XLIV. 1894 [1895]. Handschrift in zeitlich geordneten Nachbildungen. Ed.
+      Hermann Kretzschmar. Contains facsimiles of Bach’s handwriting and
+      autograph MSS.
+XLV(1). 1895 [1897]. Clavierwerke. Zweiter Band (neue berichtigte
+      Ausgabe). Ed. Alfred Döffel.(543)
+
+            The Six English Suites (see B.G. XIII. (2)). (P. bks. 2794,
+            2795.)
+            The Six French Suites (see B.G. XIII. (2)). (P. bk. 2793.)
+            Five Canons in 4, 6, 7, 8 parts.
+            Prelude and Fugue in E flat major (P. bk. 214 p. 40).
+            Suite in E minor (P. bk. 214 p. 68).
+            Suite in C minor (not in P.).
+            Sonata (first movement) in A minor (not in P.).(544)
+            Four Inventions, in B minor, B flat major, C minor, D major,
+            for Violin and Clavier (P. bk. 2957).
+            Overture in G minor for Strings and Clavier (not in P.).
+            The “Clavier-Büchlein” of Wilhelm Friedemann Bach contains:
+
+               1. Applicatio in C major (see B.G. XXXVI. no. 48).
+               2. Prelude in C major (the first of the Twelve Little
+                  Preludes) (see B.G. XXXVI. no. 19).
+               3. Choral Prelude, “Wer nur den lieben Gott lässt walten”
+                  (see B.G. XL., Kirnberger’s Collection, no. 2).
+               4. Prelude in D minor (the fifth of the Little Preludes)
+                  (see B.G. XXXVI. no. 19).
+               5. Choral Prelude, “Jesu meine Freude” (fragment) (see B.G.
+                  XL. sec 4 no. 12).
+               6. Allemande in G minor (not in P.).
+               7. Allemande (fragment) in G minor (not in P.).
+               8. Prelude in F major (the eighth of the Little Preludes)
+                  (see B.G. XXXVI. no. 19).
+               9. Prelude in G minor (the eleventh of the Little Preludes)
+                  (see B.G. XXXVI. no. 19).
+              10. Prelude in F major (the ninth of the Little Preludes)
+                  (see B.G. XXXVI. no. 19).
+              11. Minuet in G major (the first of the three Minuets) (see
+                  B.G. XXXVI. no. 43).
+              12. Minuet in G minor (the second of the three Minuets) (see
+                  B.G. XXXVI. no. 43).
+              13. Minuet in G major (the third of the three Minuets) (see
+                  B.G. XXXVI. no. 43).
+              14. Prelude in C major (the first Prelude of the first Part
+                  of the “Well-tempered Clavier.” See B.G. XIV.).
+              15. Do. C minor (the second Prelude of the first Part of the
+                  same. See B.G. XIV.).
+              16. Do. D minor (the sixth Prelude of the first Part of the
+                  same. See B.G. XIV.).
+              17. Do. D major (the fifth Prelude of the first Part of the
+                  same. See B.G. XIV.).
+              18. Prelude in E minor (the tenth Prelude of the first Part
+                  of the same. See B.G. XIV.).
+              19. Prelude in E major (the ninth Prelude of the first Part
+                  of the same. See B.G. XIV.).
+              20. Prelude in F major (the eleventh Prelude of the first
+                  Part of the same. See B.G. XIV.).
+              21. Prelude in C sharp major (the third Prelude of the first
+                  Part of the same. See B.G. XIV.).
+              22. Prelude in C sharp minor (the fourth Prelude of the
+                  first Part of the same. See B.G. XIV.).
+              23. Prelude in E flat minor (the eighth Prelude of the first
+                  Part of the same. See B.G. XIV.).
+              24. Prelude in F minor (the twelfth Prelude of the first
+                  Part of the same. See B.G. XIV.)
+              25. Allemande and Courante in C major, by J. C. Richter.
+              26. Prelude in C major (first of the Little Preludes. See
+                  B.G. XXXVI. no. 19).
+              27. Prelude in D major (fourth of the Little Preludes. See
+                  B.G. XXXVI. no. 19).
+              28. Prelude in E minor (see B.G. xxxvi. no. 50).
+              29. Prelude in A minor (B.G. xxxvi. no. 49).
+              30. Prelude in G minor (not in P.).
+              31. Fugue in C major (see B.G. xxxvi. no. 38).
+              32. Prelude in C major (Invention i. See B.G. m.).
+              33. Prelude in D minor (Invention iv. See B.G. m.).
+              34. Prelude in E minor (Invention vii. See B.G. m.).
+              35. Prelude in F major (Invention viii. See B.G. m.).
+              36. Prelude in G major (Invention x. See B.G. in.).
+              37. Prelude in A minor (Invention xiii. See B.G. m.).
+              38. Prelude in B minor (Invention xv. See B.G. m.).
+              39. Prelude in B flat major (Invention xiv. See B.G. III.).
+              40. Prelude in A major (Invention xii. See B.G. III.).
+              41. Prelude in G minor (Invention xi. See B.G. III.).
+              42. Prelude in F minor (Invention ix. See B.G. III.).
+              43. Prelude in E major (Invention vi. See B.G. III.).
+              44. Prelude in E flat major (Invention v. See B.G. III.).
+              45. Prelude in D major (Invention iii. See B.G. III.).
+              46. Prelude in C minor (Invention ii. See B.G. III.).
+              47. Suite in A major (fragment) (see B.G. XXXVI. no. 45).
+              48. Partita in G minor by Steltzel, including a Minuet Trio
+                  by J. S. B. (Minuet in P. bk. 1959 p. 8).
+              49. Fantasia in C major (Sinfonia i. See B.G. III.).
+              50. Fantasia inD minor (Sinfonia iv. See B.G. III.).
+              51. Fantasia in E minor (Sinfonia vii. See B.G. III.).
+              52. Fantasia in F major (Sinfonia viii. See B.G. III.).
+              53. Fantasia in G major (Sinfonia x. See B.G. III.).
+              54. Fantasia in A minor (Sinfonia xiii. See B.G. III.).
+              55. Fantasia in B minor (Sinfonia xv. See B.G. III.).
+              56. Fantasia in B flat major (Sinfonia xiv. See B.G. III.).
+              57. Fantasia in A major (Sinfonia xii. See B.G. III.).
+              58. Fantasia in G minor (Sinfonia xi. See B.G. III.).
+              59. Fantasia in F minor (Sinfonia ix. See B.G. III.).
+              60. Fantasia in E major (Sinfonia vi. See B.G. III.).
+              61. Fantasia in E flat major (Sinfonia v. See B.G. III.).
+              62. Fantasia in D major (Sinfonia iii. See B.G. III.).(545)
+
+XLV (2). 1895 [1898]. Passionsmusik nach dem Evangelisten Lucas. Ed.
+      Alfred Döffel.
+
+      Though the Score is in Bach’s autograph, the work is generally held
+      not to be his.
+
+XLVI. 1896 [1899].(546) Schlussband. Bericht und Verzeichnisse. Ed.
+      Hermann Kretzschmar.
+
+      The volume contains:—
+
+            Historical retrospect of the Society and its activities.
+            Thematic Index to Cantatas 121-191 (see B.G. XXVII (2)),
+            unfinished Cantatas, Cantatas of doubtful authenticity,
+            Christmas Oratorio, Easter Oratorio, St. Matthew Passion, St.
+            John Passion, St. Luke Passion, Mass in B minor, the four
+            Masses in F major, A major, G minor, G major, the four Sanctus
+            in C major, D major, D minor, G major, Magnificat in D major,
+            the “Trauer-Ode” Wedding Cantatas and Chorals, Motets, Secular
+            Cantatas (P. bk. 270b).
+            Alphabetical Index of the movements throughout the vocal
+            works.
+            Thematic Index to the Clavier music.
+            Thematic Index to the Chamber music.
+            Thematic Index to the Orchestral music.
+            Thematic Index to the Organ music.
+            Thematic Index to the “Musikalisches Opfer”.
+            Thematic Index to the “Kunst der Fuge”
+            Index to the several movements throughout the instrumental
+            works.
+            Index of names and places occurring in the Prefaces of the
+            B.G. volumes.
+            Bach’s vocal and instrumental works arranged (1) in the order
+            of the yearly volumes, (2) in groups.
+
+
+
+
+               (B) PUBLICATIONS OF THE NEW BACHGESELLSCHAFT
+
+
+1(1). 1901. Lieder und Arien. Fur eine Singstimme mit Pianoforte (Orgel
+      oder Harmonium). Ed. Ernst Naumann
+
+      The seventy-eight Songs are those contained in B.G. XXXIX. secs. 3
+      and 4 (first three only) supra.
+
+I (2). 1901. Lieder und Arien. Furvierstimmigen gemischten Chor. Ed. Franz
+      Wüllner.
+
+      The seventy-five Songs are those contained in I (1), omitting those
+      in sec. 4 of B.G. XXXIX. supra.
+
+1(3). 1901. Erstes deutsches Bach-Fest in Berlin 21 bis 23 Marz 1901.
+      Festschrift.
+
+      The frontispiece is Carl Seffner’s bust of Bach.
+
+II (1). 1902. Orgelbüchlein. 46 kürzere Choralbearbeitungen für Klavier zu
+      vier Handen. Ed. Bernhard Fr. Richter.
+
+      The original forty-six Organ Preludes, here arranged for two
+      pianofortes (see B.G. XXV (2), sec. 1).
+
+II(2). 1902. Kirchen-Kantaten. Klavierauszug. Erstes Heft. Ed. Gustav
+      Schreck and Ernst Naumann.
+
+      Contains Breitkopf and Haertel’s vocal scores of—
+
+            Cantata 61: Nun komm, der Heiden Heiland.
+            Cantata 64: Sehet, welch’ eine Liebe.
+            Cantata 28: Gottlob! nun geht das Jahr zu Ende.
+            Cantata 65: Sie werden aus Saba Alle kommen.
+            Cantata 4: Christ lag in Todesbanden.
+
+III (1). 1903. Kirchen-Kantaten. Klavierauszug. Zweites Heft. Ed. Ernst
+      Naumann.
+
+      Contains Breitkopf and Haertel’s vocal scores of—
+
+            Cantata 104: Du Hirte Israel, höre.
+            Cantata 11: Lobet Gott in seinen Reichen.
+            Cantata 34: O ewiges Feuer.
+            Cantata 45: Es ist dir gesagt.
+            Cantata 80: Bin’ feste Burg.
+
+III(2). 1903. Drei Sonaten für Klavier und Violine. Ed. Ernst Naumann.
+
+            Sonata I. in B minor.
+            Sonata II. in A major. (See B.G. IX.)
+            Sonata III. in E major.)
+
+IV (1). 1904. Drei Sonaten für Klavier und Violine. Ed. Ernst Naumann.
+
+            Sonata IV. in C minor.
+            Sonata V. in F minor (See BG. IX)
+            Sonata VI. in G major.
+
+IV (2). 1904. Joh. Seb. Bach, Bildnis in Heliogravure.
+
+      A print of the portrait discovered by Dr. Fritz Volbach reproduced
+      at p. 92 of this present volume.
+
+IV (3). 1904. Zweites deutsches Bach-Fest in Leipzig 1 bis 3 Oktober 1904.
+      Festschrift.
+V (1). 1905. Fest-Gottesdienst zum deutschen Bachfeste in der Thomaskirche
+      zu Leipzig. Ed. Georg Rietschel.
+
+      Contains the order of service and music sung on the occasion.
+
+V (2). 1905. Ausgewahlte Arien und Duette mit einem obligaten Instrument
+      und Klavier- oder Orgelbegleitung.
+
+      I Abteilung: Arien für Sopran Ed. Eusebius Mandyczewski.
+
+         1. Auch mit gedämpften schwachen Stimmen (Cantata 36: Violin).
+         2. Die Armen will der Herr unarmen (Cantata 186: Violin).
+         3. Es halt’ es mit der blinden Welt (Cantata 94: Oboe d’amore).
+         4. Gerechter Gott, ach, rechnest du (Cantata 89 : Oboe).
+         5. Gott versorget alles Leben (Cantata 187 : Oboe).
+         6. Hochster, was ich habe, ist nur deine Gabe (Cantata 39:
+            Flauto).
+         7. Hört, ihr Augen, auf zu weinen (Cantata 98 : Oboe).
+         8. Ich bin vergnügt in meinem Leiden (Cantata 58: Violin).
+         9. Ich ende behende mein irdisches Leben (Cantata 57: Violin).
+        10. Ich nehme mein Leiden mit Freuden auf mich (Cantata 75: Oboe
+            d’amore).
+        11. Ich will auf den Herren schau’n (Cantata 93: Oboe).
+        12. Seufzer, Thranen, Kummer, Noth (Cantata 21 : Oboe).
+
+V(3). 1905. Bach-Jahrbuch 1904. Herausgegeben von der Neuen
+      Bachgesellschaft.
+
+      In addition to sermons and addresses on the occasion of the second
+      Bach Festival at Leipzig in 1904, the volume contains the following
+      articles:
+
+         1. Bach und der evangelische Gottesdienst. By Karl Greulich.
+         2. Praktische Bearbeitungen Bachscher Kompositionen. By Max
+            Seiffert.
+         3. Bachs Rezitativbehandlung mit besonderer Berück sichtigung der
+            Passionen. By Alfred Heuss.
+         4. Verschwundene Traditionen des Bachzeit alters. By Arnold
+            Schering.
+
+VI (1). 1906. Ausgewahlte Arien und Duette mit einem obligaten Instrument
+      und Klavier- oder Orgelbegleitung. II Abteilung: Arien für Alt. Ed.
+      Eusebius Mandyczewski.
+
+         1. Ach, bleibe doch, mein liebstes Leben (Cantata 11: Violin).
+         2. Ach, es bleibt in meiner Liebe (Cantata 77: Tromba).
+         3. Ach Herr! was ist ein Menschenkind (Cantata 110: Oboe
+            d’amore).
+         4. Ach, unaussprechlich ist die Noth (Cantata 116: Oboe d’amore).
+         5. Christen müssen auf der Erden (Cantata 44: Oboe).
+         6. Christi Glieder, ach, bedenket (Cantata 132: Violin).
+         7. Es kommt ein Tag (Cantata 136: Oboe d’amore).
+         8. Gelobet sei der Herr, mein Gott (Cantata 129: Oboe d’amore).
+         9. Ich will doch wohl Rosen brechen (Cantata 86: Violin).
+        10. Jesus macht mich geistlich reich (Cantata 75: Violin).
+        11. Kein Arzt ist ausser dir zu finden (Cantata 103: Flauto).
+        12. Was Gott thut, das ist wohlgethan (Cantata 100: Oboe d’amore).
+
+VI (2). 1906. Ausgewahlte Arien und Duette mit einem obligaten Instrument
+      und Klavier- odor Orgelbegleitung. III Abteilung: Duette für Sopran
+      und Alt. Ed. Eusebius Mandyczewski.
+
+         1. Die Armuth, so Gott auf sich nimmt (Cantata 91: Violin).
+         2. Wenn Sorgen auf mich dringen (Cantata 3: Violin or Oboe
+            d’amore).
+         3. Er kennt die rechten Freudenstunden (Cantata 93: Violin).
+
+VI (3). 1906. Bach-Jahrbuch 1905. Herausgegeben von der Neuen
+      Bachgesellschaft.
+
+      Contains the following articles:
+
+         1. Johann Sebastian Bachs Kapelle zu Cöthen und deren
+            nachgelassene Instrumente. By Rudolf Bunge.
+         2. Geleitwort. By Arnold Sobering.
+         3. Die Wahl Joh. Seb. Bachs zum Kantor der Thomaschule i. J.
+            1723. By Bernhard Fr. Richter.
+         4. Ein’ feste Burg ist unser Gott. Kantata von Joh. Seb. Bach. By
+            Fritz Volbach.
+         5. Verzeichnis der bisher erschienenen Literatur über Johann
+            Sebastian Bach. By Max Schneider.
+         6. Reviews of books.
+
+VII (1). 1907. Kantate No. 88: “Siehe, ich will viel Fischer aussenden.”
+      Partitur. Ed. Max Seiffert.
+VII (2). 1907. Kantate No. 88: “Siehe, ich will viel Fischer aussenden.”
+      Klavierauszug mit Text. Ed. Max Seiffert und Otto Taubmann.
+VII (3). 1907. Bach-Jahrbuch 1906. Herausgegeben von der Neuen
+      Bachgesellschaft.
+
+      Contains the following articles:
+
+         1. Erfahrungen und Ratschlüger bezüglich der Aufführung Bachscher
+            Kirchenkantaten. By Wilhelm Voigt.
+         2. Über die Schickssle der der Thomasschule zu Leipzig
+            angehorenden Kantaten Joh. Seb. Bachs. By Bernhard Fr.
+            Richter.
+         3. Die grosse A-moll Fuge für Orgel [Novello bk. 7 p. 42] und
+            ihre Vorlage. By Reinhardt Oppel.
+         4. Zur Rritik der Gesamtausgabe von Bachs Werken. By Max
+            Seiffert.
+         5. Verzeichnis der bis zum Jahre 1851 gedruckten (und der
+            geschrieben im Handel gewesenen) Werke von Johann Sebastian
+            Bach. By Max Schneider.
+         6. Übersicht der Aufführungen J. S. Bachscher Werke von Ende 1904
+            bis Anfang 1907.
+         8. Notes.
+
+VII (4). 1907. Drittes deutsches Bach-Fest zur Einweihung von Johann
+      Sebastian Bachs Geburtshaus als BachMuseum [at Eisenach]. Fest- und
+      Programmbuch [26-28 May 1907].
+
+      The frontispiece is Carl Seffner’s bust of Bach.
+
+VIII (1). 1908. Violinkonzert No. 2 in E dur. Partitur. Ed. Max Seiffert.
+
+      See B.G. XXI (1) no. 2.
+
+VIII (2). 1908. Violinkonzert No. 2 in E dur fur Violine und Klavier. Ed.
+      Max Seiffert and A. Saran.
+VIII (3). 1908. Bach-Jahrbuch. 4 Jahrgang 1907: Im Auftrage der Neuen
+      Bachgesellschaft herausgegeben von Arnold Schering.
+
+      In addition to a sermon by Professor Georg Rietschel and an obituary
+      notice of Joseph Joachim, the volume contains the following
+      articles:
+
+         1. Sebastian Bach und Paul Gerhardt. By Wilhelm Nolle.
+         2. Stadtpfeifer und Alumnen der Thomasschule in Leipzig zu Bachs
+            Zeit. By Bernhard Fr. Richter.
+         3. Angeblich von J. S. Bach komponierte Oden von Chr. H.
+            Hoffmannswaldau. By —. Landmann.
+         4. Die neuen deutschen Ausgaben der zwei- und dreistimmigen
+            Inventionen [Peters bk. 2792]. By Reinhardt Oppel.
+         5. Thematisches Verzeichnis der musikalischen Werke der Familie
+            Bach. I. Theil. By Max Schneider.
+         6. Notes and Reviews of books.
+
+IX (1). 1909. Kantate No. 85: “Ich bin ein guter Hirt.” Partitur. Ed. Max
+      Seiffert.
+IX (2). 1909. Kantate No. 85: “Ich bin ein guter Hirt.” Klavierauszug mit
+      Text. Ed. Max Seiffert and Max Schneider.
+IX (3). 1909. Brandenburgisches Konzert No. 3. Partitur. Ed. Max Seiffert.
+
+      See B.G. XIX. no. 3.
+
+IX (4). 1909. Brandcnburgisches Konzert No. 3 für Klavier zu vier Händen.
+      Ed. Max Seiffert and Max Schneider.
+IX (5). 1909. Viertes deutsches Bach-Fest in Chemnitz 3-5 Oktober 1908.
+      Fest- und Programmbuch.
+
+      The frontispiece is a photograph of Carl Seffner’s statue of Bach,
+      unveiled at Leipzig May 17, 1908.
+
+IX (6). 1909. Bach-Jahrbuch. 5 Jahrgang 1908: Im Auftrage der Neuen
+      Bachgesellschaft herausgegeben von Arnold Schering.
+
+      Contains the following articles:
+
+         1. Zu Bachs Weihnachtsoratorium, Theil 1 bis 3. By Woldemar
+            Voigt.
+         2. Über Seb. Bachs Kantaten mit obligater Pedal. By Bernhard Fr.
+            Richter.
+         3. Cembalo oder Pianoforte? By Richard Buchmayer.
+         4. Bearbeitung Bachscher Kantaten. By Max Schneider.
+         5. Nachrichten über das Leben Georg Böhms mit spezieller
+            Berücksichtigung seiner Beziehungen zur Bachschen Familie. By
+            Richard Buchmayer.
+         6. Ein interessantes Beispiel Bachscher Textauffassung. By Alfred
+            Heuss.
+         7. Edgar Tinel über Seb. Bach.
+         8. Notes.
+
+X (I). 1910. Ausgewahlte Arien und Duette mit einem obligaten Instrument
+      und Klavier- oder Orgelbegleitung. IV Abteilung: Arien für Tenor.
+      Ed. Eusebius Mandyczewski.
+
+         1. Dein Blut, so meine Schuld durchstreit (Cantata 78: Flauto).
+         2. Die Liebe zieht mit sanften Schritten (Cantata 36: Oboe
+            d’amore).
+         3. Ergiesse dich reichlich, du gottliche Quelle (Cantata 5:
+            Viola).
+         4. Handle nicht nach deiuen Bechten mit uns (Cantata 101:
+            Violin).
+         5. Ich will an den Himmel denken (Cantata 166 : Oboe).
+         6. Ja, tausendmal Tausend (Cantata 43 : Violin).
+         7. Mich kann kein Zweifel stören (Cantata 108 : Violin).
+         8. Seht, was die Liebe thut! (Cantata 85 : Violin or Viola).
+         9. Tausendfaches Unglück, Schrecken, Trübsal (Cantata 143:
+            Violin).
+        10. Wir waren schon zu tief gesunken (Cantata 9 : Violin).
+        11. Woferne du den edlen Frieden (Cantata 41 : Violoncello).
+        12. Wo wird in diesem Jammerthale (Cantata 114: Flauto).
+
+X (2). 1910. Brandenburgisches Konzert No. 1. Partitur. Ed. Max Seiffert.
+
+      See B.G. XIX. no. 1.
+
+X(3). 1910. Brandenburgisches Konzert No. 1 fur Klavier zu vier Handen.
+      Ed. Max Seiffert and Max Schneider.
+X(4). 1910. Bach-Jahrbuch. 6 Jahrgang 1909: Im Auftrage der Neuen
+      Bachgesellschaft herausgegeben von Arnold Schering.
+
+      The volume contains the following articles:
+
+         1. Zum Linearprinzip J. S. Bachs. By Robert Handke.
+         2. Bachs Verhältnis zur Klaviermusik. By Karl Nes.
+         3. Zur Tenorarie [“Ich will an den Himmel denken”: See X (1) no.
+            5, supra] der Kantate 166. By Reinhard Oppel.
+         4. Die Verzierungen in den Werken von J. S. Bach. By E.
+            Dannreuther.
+         5. Konnte Bachs Gemeinde bei seinen einfachen Choral-sätzen
+            mitsingen? By Rudolf Wustmann.
+         6. Buxtehudes musikalischer Nachrnf heim Tode seines Vaters (mit
+            einer Notenbeilage). By Reinhard Oppel.
+         7. “Matthauspassion,” erster Theil. By Rudolf Wustmann.
+         8. Zu den Beschlüssen des Dessauer Kirchengesangver einstages. By
+            Arnold Schering.
+         9. Notes.
+
+X (5). 1910. Fünftes deutsches Bach-Fest in Duisburg 4 bis 7 Juni 1910.
+      Fest- und Programmbuch.
+
+      Frontispiece, St. Thomas’ Church and School, Leipzig, in 1723.
+      Reproduced at p. 28 of the present volume.
+
+XI (1). 1911. Ausgewahlte Arien und Duetto mit einem obligaten Instrument
+      und Klavier- oder Orgelbegleitung V Abteilung: Arien für Bass, Ed.
+      Eusebius Mandyczewski.
+
+         1. Achzen und erbärmlich Weinen (Cantata 13: Violin or Flute).
+         2. Die Welt mit allen Königreichen (Cantata 59: Violin).
+         3. Endlicb, endlich wird niein Joch (Cantata 56: Oboe).
+         4. Erleucht’ auch meine finstre Sinnen (“Christmas Oratorio,”
+            Part V. no. 5: Oboe d’amore).
+         5. Gleichwie die wilden Meeres-Wellen (Cantata 178: Violin or
+            Viola).
+         6. Greifet zu, fasst das Heil (Cantata 174: Violin or Viola).
+         7. Herr, nun lässest du deinen Diener (Cantata 83: Violin or
+            Viola).
+         8. Hier, in meines Vatera Stätte (Cantata 32: Violin).
+         9. Komm, süsses Kreuz (“St. Matthew Passion,” no. 57:
+            Violoncello).
+        10. Lass’, O Welt, mich aus Verachtung (Cantata 123: Flauto).
+        11. Tritt auf die Glaubensbahn (Cantata 152: Oboe d’amore).
+        12. Wenn Trost und Hülf’ ermangeln muss (Cantata 117: Violin).
+
+XI (2). 1911. Bach-Jahrbuch. 7 Jahrgang 1910: Im Auftrage der Neuen
+      Bachgesellschaft herausgegeben von Arnold Sobering.
+
+      The volume contains the following articles:
+
+         1. Die Diatonik in ihrem Einfluss auf die thematische Gestaltung
+            des Fugenbaues. By Robert Handke.
+         2. Bach und die franzosische Klaviermusik. By Wanda Landowska.
+         3. Sebastian Bachs Kirchenkantatentexte. By Rudolf Wustmann.
+         4. Uber Joh. Kasp. Fred. Fischers Einfluss auf Joh. Seb. Bach. By
+            Reinhard Oppel.
+         5. Hans Bach, der Spielmann. By Werner Wolffheim.
+         6. Vom Rhythmus des evangelischen Chorals. By Rudolf Wustmann.
+         7. W. Friedemann Bach und seine hallische Wirksamkeit. By C.
+            Zehler.
+         8. Neues Material zum Verzeichnis der bisher erschienenen
+            Literatur über Johann Sebastian Bach. By Max Schneider.
+         9. Reviews of books.
+
+XII (1). 1912. Ausgewahlte Arien und Duette mit einem obligaten Instrument
+      und Klavier- oder Orgelbegleitnng. VI Abteilung: Arien fur Sopran. 2
+      Heft. Ed. Eusebius Mandyczewski.
+
+         1. Bereite dir, Jesu, noch itzo die Bahn (Cantata 147: Violin).
+         2. Eilt, ihr Stunden, kommt herbei (Cantata 30: Violin).
+         3. Erfüllet, ihr bimmlischen, göttlichen Flammen (Cantata 1: Oboe
+            da caccia).
+         4. Genügsamkeit ist ein Schatz in diesem Leben (Cantata 144: Oboe
+            d’amore).
+         5. Hört, ihr Völker, Gottes Stimme (Cantata 76: Violin).
+         6. Ich folge dir gleichfalls (“St. John Passion,” no. 9: Flauto).
+         7. Jesus soll mein erstes Wort (Cantata 171: Violin).
+         8. Liebster Jesu, mein Verlangen (Cantata 32: Oboe).
+         9. Meinem Hirten bleib’ ich treu (Cantata 92: Oboe d’amore).
+        10. Seele, deine Spezereien sollen nicht (“Easter Oratorio,” no.
+            4: Flauto or Violin).
+        11. Was Gott thut, das ist wohlgethan (Cantata 100: Flauto).
+        12. Wie zittern und wanken der Sünder Gedanken (Cantata 105:
+            Oboe).
+
+XII (2). 1912. Bach-Jahrbuch. 8 Jaargang 1911: Im Auftrage der Neuen
+      Bachgesellschaft herausgegeben von Arnold Schering. Mit 2 Bildnissen
+      und 8 Faksimiles.
+
+      The volume contains the following articles:
+
+         1. “Mein Herze schwimmt im Blut” [see infra XIII (2)]. By Werner
+            Wolffheim.
+         2. Das sogensante Orgelkonzert D-moll, von Wilhelm Friedemann
+            Bach [Peters bk. 3002]. By Max Schneider.
+         3. Bachiana. By Werner Wolffheim.
+         4. Zur Geschichte der Passionsaufführungen in Leipzig. By
+            Bernhard Fr. Richter.
+         5. Tonartensymbolik zu Bachs Zeit. By Rudolf Wustmann.
+         6. Über die Viola da Gamba und ihre Verwendung bei Joh. Seb.
+            Bach. By Christian Dobereiner.
+         7. Carl Philipp Emanuel Bach und Joh. Gottl. Im. Breitkopf. By
+            Hermann von Hase.
+         8. Zur “Lukaspassion.” By Max Schneider.
+         9. Verzeichnis der Sammlung alter Musikinstrumente im Bachhaus zu
+            Eisenach. By G. Bornemann.
+
+      The illustrations are, portraits of W. Friedemann Bach (aet. 72) and
+      Johann Sebastian Bach (son of Carl P. E. Bach); facsimiles of Bach’s
+      arrangement of the D minor Vivaldi Organ Concerto (attributed to W.
+      F. Bach) and “Lukaspassion,” and of a letter written to J. G. I.
+      Breitkopf by C. P. E. Bach, dated 28th February 1786.
+
+XII (3). 1912. Sechstes Deuteches Bach-Fest in Breslau 15 bis 17 Juni
+      1912. Fest- und Frogrammbuch.
+
+      Frontispiece, J. S. Bach after the oil-painting by G. Haussmann in
+      possession of St. Thomas’ School, Leipzig (see Spitta, vol. i.
+      frontispiece and XVI (1) infra).
+
+XIII (1). 1913. Ausgewahlte Arien mit obligaten Instrumenten und
+      Klavierbegleitung. VII Abteilung: Arien fur Sopran. 3 Heft.
+      Weltliche Arien. Ed. Eusebius Mrmdyczewski.
+
+         1. Wenn die Fruhlingslüfte streichen (“Weichet nur betrübte
+            Schatten”: Violin).
+         2. Sich üben im Lieben (“Weichet nur betrübte Schatten”: Oboe).
+         3. Des Reichtums Glanz (“Ich bin in mir vergnügt”: Violin).(547)
+         4. Meine Seele, sei vergnügt (“Ich bin in mir vergnügt”: Flauto).
+         5. Angenehmer Zephryus (“Der zufnedengestellte Aeolus”: Violin).
+         6. Schweigt, ihr Flöten (“O holder Tag”: Flauto).
+         7. Ei! wie schmeckt der Coffee süsse (“Schweigt stille, plaudert
+            nicht”: Flauto).
+         8. Ruhig und in sich zufrieden (“Ich bin in mir vergnügt”: 2
+            Oboi).
+         9. Schafe können sicher weiden (“Was mir behagt”: 2 Flauti).
+        10. Ruhet hie, matte Töne (“O holder Tag”: Violin and Oboe
+            d’amore).
+        11. Jagen ist die Lust der Götter (“Was mir behagt”: 2 Horns).
+        12. Hört doch! der sanften Flöten Chor (“Schleicht, spielende
+            Wellen”: 3 Flauti).
+
+XIII (2). 1913. Solo-Kantate für Sopran, “Mein Herze schwimmt im Blut,”
+      ausgefunden und herausgegeben von C. A. Martiensen. Partitur.
+XIII (3). 1913. Solo-Kantate für Sopran, “Mein Herze schwimmt im Blut.”
+      Klavierauszug mit Text von Max Schneider.
+XIII (4). 1913. Bach-Jahrbuch. 9 Jahrgang 1912: Im Auftrage der Neuen
+      Bachgesellschaft herausgegeben von Arnold Schering. Mit 2
+      Noten-Anhängen.
+
+      The volume contains the following articles:
+
+         1. Uber die Motetten Seb. Bachs. By Bernhard Ft. Richter.
+         2. Uber die F-dur Toccata [N. bk. 9 p. 176] von J. S. Bach. By
+            Woldemar Voigt.
+         3. Die Möllersche Handschrift. Ein unbekanntes Gegenstück zum
+            Andreas-Bach-Buche (mit einem Notenanhange). By Werner
+            Wolffheim.
+         4. Bachs Bearbeitungen und Umarbeitungen eigener und fremder
+            Werke. By Karl Grunsky.
+         5. Über die Kirchenkantaten vorbachischer Thomaskantoren (mit
+            einem Notenanhange). By Arnold Sobering.
+         6. Beiträge zur Bachkritik. By Arnold Sobering.
+         7. Aufführungen von Joh. Seb. Bachs Kompositionen. By Th.
+            Biebrich.
+         8. Notes.
+
+XIV (1). 1914.(548) Joh. Seb. Bachs Kantatentexte. Im Auftrage der Neuen
+      Bachgesellsehaft herausgegeben von Rudolf Wustmann.
+
+      Contains the literary texts of the Church Cantatas, with critical
+      notes.
+
+      XIV (2). 1914. Bach-Jahrbuch. 10 Jahrgang 1913. Im Auftrage der
+      Neuen Bachgesellsehaft herausgegeben von Arnold Sobering. Mit einem
+      Titelbilde und einer Beilage.
+
+      The volume contains the following articles:
+
+         1. Studien zu J. S. Bachs Klavierkonzerten. By Adolf Aber.
+         2. Über Joh. Seb. Bachs Konzerte fur drei Klaviere. By Hans Boas.
+         3. Die Kantata Nr. 150, “Nach dir, Herr, verlanget mich.” By
+            Arnold Sobering.
+         4. Über die C-dur-Fuge aus dem I. Theil des “Wohltemperierten
+            Klaviers.” By Wanda Landowska.
+         5. Die Varianten der grossen G-moll-Fuge für Orgel [Novello bk. 8
+            p. 127]. By Hermann Keller.
+         6. Ein Bachkonzert in Kamenz. By Hermann Kretzschmar.
+         7. Breitkopfsche Textdrucke zu Leipziger Musikaufführungen zu
+            Bachs Zeiten. By Hermann von Hase.
+         8. J. S. Bachs Aria, “Erbauliche Gedanken ernes Tabakrauchers.”
+            By Alfred Heuss.(549)
+         9. Johann Seb. Bachs und Christoph Graupners Kompositionen zur
+            Bewerbung um das Thomaskantorat in Leipzig 1722-23. By
+            Bernhard Fr. Richter.
+        10. Register zu den ersten 10 Jahrgangen des Bach Jahrbuchs
+            1904-13. By Arnold Schering.
+
+      The frontispiece is a portrait of Bach, about thirty-five years old,
+      after the original in the Eisenach Museum by Job. Jak. Ihle. See
+      frontispiece of this volume.
+
+XIV (3). 1914. Fest- und Programmbuch zum 7 Deutschen Bachfest der Neuen
+      Bachgesellschaft. Wien. 9 bis 11 May 1914.
+
+      The frontispiece is a picture of St. Thomas’ Church and School in
+      1723 (see p. 28 supra).
+
+XV (1). 1914. Ausgewählte Arien und Duette mit einem obligaten Instrument
+      und Klavier- oder Orgelbegleitung. VIII Abteilung: Arien für Alt. 2
+      Heft. Ed. Eusebius Mandyczewski.
+
+         1. Bethörte Welt (Cantata 94: Flauto).
+         2. Ein ungefärbt Gemüte (Cantata 24: Violin or Viola).
+         3. Ermuntert euch (Cantata 176: Oboe).
+         4. Gott ist unser Sonn’ und Schild (Cantata 79: Oboe or Flauto).
+         5. In Jesu Demuth (Cantata 151: Oboe d’amore or Violin).
+         6. Jesus ist ein guter Hirt (Cantata 85: Violin or Violoncello).
+         7. Kreuz und Krone (Cantata 12: Oboe).
+         8. Schäme dich, O Seele, nicht (Cantata 147: Oboe d’amore).
+         9. Von der Welt verlang’ ich nichts (Cantata 64: Oboe d’amore).
+        10. Weh der Seele (Cantata 102 : Oboe).
+        11. Willkommen! will ich sagen (Cantata 27: Cor Anglais).
+        12. Zum reinen Wasser (Cantata 112: Oboe d’amore).
+
+XV (2). 1915. Bach-Jahrbuch. 11 Jahrgang 1914: Im Anftrage der Neuen
+      Bachgesellschaft herausgegeben von Arnold Schering (Leipzig). Mit
+      einem Titelbilde und einer Bilderbeilage.
+
+      The volume contains the following articles:
+
+         1. Neues über das Bachbildnis der Thomasschule und andere
+            Bildnisse Johann Sebastian Bachs. By Albrecht Kurzwelly.
+         2. Zur Geschichte der Bachbewegung. Bericht über eine bisher
+            unbekannte frühe Aufführung der Matthaüuspassion. By Karl
+            Anton.
+         3. Johann Christoph Friedrich Bach. By Georg Schünemann.
+         4. Die Wiederbelebung der Kurrende in Eisenach. By W. Nicolai.
+         5. Aufführungen von Joh. Seb. Bachs Kompositionen in der Zeit vom
+            Oktober 1912 bis Juli 1914. By Th. Biebrich.
+         6. Bachaufführungen im ersten Jahre des deutschen Krieges. By Th.
+            Biebrich.
+         7. Mitgliederversammlung der Neuen Bachgesellschaft. Montag, den
+            11 Mai 1914.
+         8. Reviews.
+
+      The frontispiece is a picture of Bach by Daniel Greiner.
+
+XVI (1). 1916. Das Bachbildnis der Thomasschule zu Leipzig, nach seiner
+      Wiederherstellung im Jahre 1913. Gemalt von E. G. Haussmanu 1746.
+
+      A print of the renovated picture is at p. 48 of this volume.
+
+XVI (2). 1916. Bach-Genealogie mit zwei Briefen von Carl Philipp Emanuel
+      Bach. Herausgegeben von Professor Max Schneider in Breslau.(550)
+XVI (3). 1916. Bach-Jahrbuch. 12 Jahrgang 1915. Im Auftrage der Neuen
+      Bachgesellschaft herausgegeben von Arnold Sobering (Leipzig). Mit
+      dem Bildnisse J. S. Bachs nach der Gedenkbüste in der Walhalla.
+
+      The volume contains the following articles:
+
+         1. Johann Sebastian Bach im Gottesdienst der Thomaner. By
+            Bernhard Friedrich Richter.
+         2. Karl Philipp Emanuel Bach und der Dresdner Kreuz kantor
+            Gottfried August Homilius im Musikleben ihrer Zeit. Ein
+            Beitrag zur Geschichte der Stilwandlung des 18 Jahrhunderts.
+            By Rudolf Steglich.
+         3. Eine Umdichtung des “Zufriedengestellten Aeolus” (Mit einem
+            Anhang über die Kantata “Schleicht, spielende Wellen”). By
+            Woldemar Voigt.
+         4. Eine alte, unbekannte Skizze von Sebastian Bachs Leben. By
+            Arthur Prüfer.
+         5. Bachauffuhrungen im zweiten Jahre des deutschen Krieges. By
+            Th. Biebrich.
+         6. Reviews.
+
+      The frontispiece is a photograph of Professor F. Behn’s bust of Bach
+      in the Walhalla.
+
+XVII (1). 1916. Motette “O Jesu Christ, mein’s Lebens Licht.” Nach Bachs
+      Handschrift zum ersten Male herausgegeben von Max Schneider.
+      Partitur, [See E.G. XXIV.]
+XVII (2). 1916. Motette “O Jesu Christ, mein’s Lebens Licht.”
+      Klavierauszug mit Text von Max Schneider. [See B.G. XXIV.]
+XVII (3). 1917. Bach-Urkunden. Ursprung der musikalisch-Bachischen
+      Familie. Nachrichten über Johann Sebastian Bach von Carl Philipp
+      Emanuel Bach. Herausgegeben von Max Schneider.
+
+      The volume contains a facsimile of the Bach Genealogy compiled by
+      Joh. Seb. Bach and formerly in Carl Philipp Emanuel’s possession,
+      and two letters from the latter to J. N. Forkel.
+
+XVII (4). 1917. Bach-Jahrbuch. 13 Jahrgang 1916. Im Auftrage der Neuen
+      Bachgesellschaft herausgegeben von Arnold Schering (Leipzig).
+
+      The volume contains the following articles:
+
+         1. Die F.-Trompete im 2 Brandenburgischen Konzert von Joh. Seb.
+            Bach. By Richard Hofmann.
+         2. Zur Frage der Ausführung der Ornamente bei Bach. Zählzeit oder
+            Notenwert? By Hans Joachim  Moser.
+         3. Friedrich Bachs Briefwechsel mit Gerstenberg und Breitkopf. By
+            Georg Schunemann.
+         4. Bachaufführurgen im dritten Jahre des deutschen Krieges. By
+            Th. Biebrich.
+         5. Laterarische Beigabe: “Der Thomaskantor.” Ein Gemüth-erfreuend
+            Spiel von deme Herren Cantori Sebastian Bachen, vorgestellt in
+            zween Auffzügen durch Bernhard Christoph Breitkopfen seel.
+            Erben: Breitkopf und Hartel 1917. By Arnold Schering.
+
+XVIII (1). 1917. Konzert in D moll nach der ursprünglichen Fassung fur
+      Violine wiederhergestellt von Robert Reitz. Partitur. [See B.G.
+      XVII.]
+XVIII (2). 1917. Konzert in D moll nach der ursprünglichen Fassung für
+      Violine wiederhergestellt von Robert Reitz. Ausgabe fur Violine und
+      Klavier. [See B.G. XVII.]
+XVIII (3). 1918. Bach-Jahrbuch. 14 Jahrgang 1917: Im Auftrage der Neuen
+      Bachgesellschaft herausgegeben von Arnold Schering (Leipzig). Mit
+      einem Eildnis.
+
+      The volume contains the following articles :
+
+         1. Gustav Schreck [d. 22 Jan. 1918].
+         2. Das dritte kleine Bachfest zu Eisenach:
+
+               I. Der Festgottesdienst in der St. Georgenkirche zu
+                  Eisenach am 30 September 1917.
+              II. Vortrage und Verhandlungen der Mitgliederversammlung des
+                  dritten kleinen Bachfestes in Eisenach am 29 September
+                  1917.
+
+         3. Seb. Bachs Stellung zur Choralrhythmik der Lutherzeit. By Hans
+            Joachim Moser.
+         4. Zur Motivbildung Bachs. Kin Beitrag zur Stilpsychologie. By
+            Ernst Kurth.
+         5. Ein Programmtrio Karl Philipp Emanuel Bachs. By Hans Mersmann.
+         6. Hermann Kretzschmar [b. 19 Jan. 1848].
+         7. Review.
+
+      The frontispiece is a copy of the oil portrait of Bach after
+      Haussmann, copied by J. M. David in 1746.
+
+
+
+
+
+APPENDIX IV. BIBLIOGRAPHY OF BACH LITERATURE
+
+
+The following list does not include magazine articles or technical works.
+A comprehensive bibliography, compiled by Max Schneider, will be found in
+the Bach-Jahrbuch for 1905 and 1910.  Shorter lists are in C. F. Abdy
+Williams’ _Bach_ (1900) and Andre Pirro’s _J.-S. Bach_ (1906).  Titles
+within square brackets in the following list are inserted upon the
+authority of the _Bach-Jahrbuch,_ but are not discoverable in the annual
+Book Catalogues.  Since the absence of an Italian section may be remarked,
+it should be said that the _Catalogo generate della Libreria Italiana,
+1847-1899_ (published in 1910) contains no reference to Bach.  Nor does
+the Supplement of 1912.
+
+
+
+
+                                I. Germany
+
+
+      Johann Christoph W. Kühnau, _Die blinden Tonküstler._ Berlin. 1810.
+      J. E. Grosser, _Lebensbeschreibung des Kapellmeisters Johann
+      Sebastian Bach._ Breslau. 1834.
+      Albert Schiffner, _Sebastian Bachs geistige Nachkommenschaft._
+      Leipzig. 1840.
+      Johann T. Mosewius, _Johann Sebastian Bach in seinen Kirch-Kantaten
+      und Choralgesängen._ Berlin. 1846.
+      Johann Carl Schauer, _Johann Sebastian Bachs Lebensbild: Eine
+      Denkschrift auf seinen 100jähringen Todestag._ Jena. 1850.
+      C. L. Hilgenfeldt, _Johann Sebastian Bachs Leben, Wirken und Werke._
+      Leipzig. 1850.
+      [W. Naumann, _Johann Sebastian Bach. Eine Biographie._ Cassell.
+      1855.]
+      [Anon., _Biographien und Charakteristiken der grossen Meister: Bach,
+      Händel, Gluck, Haydn, Mozart, Beethoven, mit Portrats._ 2nd ed.
+      Leipzig. 1860.]
+      C. H. Bitter, _Johann Sebastian Bach._ 2 vols. Berlin. 1865. 2nd ed.
+      1880.
+      C. Albert Ludwig, _Johann Sebastian Bach in seiner Bedeutung für
+      Cantoren, Organisten, und Schullehrer._ Bleichroder. 1865.
+      Alfred Dörffel, _Thematisches Verzeichniss der Instrumentalwerke von
+      Joh. Seb. Bach._ Auf Grund der Gesammtausgabe von C. P. Peters.
+      Leipzig. 1867. 2nd ed. 1882.
+      Carl Tamme, _Thematisches Verzeichniss der Vocalwerke von Joh. Seb.
+      Bach. Auf Grund der Gesammtausgaben von F. Peters und der
+      Bach-Gesellschaft._ Leipzig, n.d.
+      C. H. Bitter, _C. P. E. und W. F. Bach und deren Brüder._ 2 vols.
+      Berlin. 1868. New ed. 1880.
+      [Anon., _J. S. Bach. Biographie._ Leipzig. 1869.]
+      L. Ramann, _Bach und Handel._ Leipzig. 1869.
+      W. Junghans, _Johann Sebastian Bach als Schuler der Partikularschule
+      zu St. Michaelis in Lüneburg._ Lüneburg. 1870.
+      Emil Naumann, _Deutsche Tondichter von Sebastian Bach bis auf die
+      Gegenwart._ Berlin. 1871. 5th ed. 1882.
+      M. Schick, _J. S. Bach: ein musikalisches Lebensbild._ Reutlingen.
+      1873.
+      Philipp Spitta, _Johann Sebastian Bach._ 2 vols. Leipzig. 1873-1880.
+      E. Frommel, _Händel und Bach._ Berlin. 1878.
+      Elise Polko, _Unsere Musikklassiker. Sechs biographische
+      Lebensbilder_ [Bach, etc.]. Leipzig. 1880.
+      [Anon., _J. S. Bach. Biographie._ [In _Meister der Tonkunst,_ no.
+      2.] Leipzig. 1880.]
+      August Reissmann, _Johann Sebastian Bach. Sein Leben und seine
+      Werke._ Berlin and Leipzig. 1881.
+      Otto Gumprecht, _Warum treiben wir Musik?_ [Bach and others.]
+      Leipzig. 1883.
+      C. H. Bitter, _Die Söhne Seb. Bachs._ Leipzig. 1883.
+      Jul. Schümann, _Joh. Seb. Bach, der Kantor der Thomas-schule zu
+      Leipzig._ Leipzig. 1884.
+      A. L. Gräbner, _Johann Sebastian Bach._ Dresden. 1885.
+      Fr. Spitta, _Haendel und Bach. Zwei Festreden._ Bonn. 1884.
+      E. Heinrich, _Johann Sebastian Bach. Ein kurzes Lebensbild._ Berlin.
+      1885.
+      E. Naumann, _Deutsche Tondichter von J. S. Bach bis Richard Wagner._
+      Leipzig. 1886. 6th ed. 1896.
+      Paul Meyer, _Joh. Seb. Bach. Vortrag._ Basel. 1887.
+      Ludwig Ziemssen, _Johann Sebastian Bach. Lebensbild._ Glogau. 1889.
+      Richard Batka, _J. S. Bach._ Leipzig. 1893.
+      Wilhelm His, _Johann Sebastian Bach. Forschungen über dessen
+      Grabstätte, Gebeine und Antlitz._ Leipzig. 1895.
+      Wilhelm His, _Anatomisches Forschungen über J. S. Bach’s Gebeine und
+      Antlitz, nebst Bemerkungen über dessen Bilder._ Leipzig. 1895.
+      Armin Stein, _J. S. Bach. Ein Küntstlerleben._ Halle. 1896.
+      Hans von Wolzogen, _Bach_ [In _Grossmeister deutscher Musik_].
+      Berlin. 1897.
+      [W. Kleefeld, _Bach und Graupner._ Leipzig. 1898.]
+      [Fr. Thomas, _Der Stammbaum des Ohrdruffer Zweigs der Familie von J.
+      S. Bach._ Ohrdruf. 1899.]
+      [Fr. Thomas, _Einige Ergebnisse über J. S. Bachs Ohrdruffer
+      Schulzeit._ Ohrdruf. 1900.]
+      B. Stein, _Johann Sebastian Bach und die Familie der _“Bache.”
+      Bielefeld. 1900.
+      Fr. von Hausegger, _Unsere deutschen Meister_ [Bach and others].
+      Munich. 1901.
+      Arnold Sobering, _Bachs Textbehandlung._ Leipzig. 1901.
+      [W. Tappert, _Sebastian Bachs Kompositionen für die Laute._ Berlin.
+      1901.]
+      K. Söhle, _Sebastian Bach in Arnstadt_ Berlin. 1902. 2nd ed. 1904.
+      Arthur Prüfer, _Sebastian Bach und die Tonkunst des XIX.
+      Jahrhunderts._ Leipzig. 1902.
+      H. Barth, _Joh. Sebastian Bach: Lebensbild._ Berlin. 1902.
+      Gustav Höcker, _Johann Sebastian Bach._ Gotha. 1903.
+      Paul von Bojanowski, _Das Weimar Johann Sebastian Bachs._ Weimar.
+      1903.
+      Jul. Schumann, _Bach, Händel, Mendelssohn. Die protestantische
+      Kirchenmusik in Lebensbildern._ Calw and Stuttgart. 1903.
+      [—. Weissgerber, _J. S. Bach in Arnstadt._ Arnstadt. 1904.]
+      [K. Storck, _J. S. Bach: Charakter und Lebensgang._ Berlin. 1905.]
+      [A. Pischinger, _J. S. Bach._ Munich. 1905.]
+      Philipp Wolfrum, _Joh. Seb. Bach._ Berlin. 1906.
+      Albert Schweitzer, _J. S. Bach._ Berlin. 1908.
+      Friedrich Hashagen, _Joh. Sebastian Bach als Sänger und Musiker des
+      Evangeliums._ Wismar. 1909.
+      Max Trümpelmann, _Joh. Sebastian Bach und seine Bedeutung für die
+      Choralkomposition unserer Zeit._ Magdeburg. 1909.
+      August Wildenhahn, _Joh. Sebastian Bach._ Eisenach. 1909.
+      Philipp Wolfrum, _Johann Sebastian Bach._ 2 vols. Leipzig. 1910.
+      André Pirro, _Johann Sebastian Bach. Sein Leben und seine Werke._
+      [Translated from the French by Bernhard Engelke.] Berlin. 1910.
+      Johannes Schreyer, _Beiträge zur Bach-Kritik._ Leipzig. 1911.
+      Martin Falck, _Wilhelm Friedemann Bach. Sein Leben und seine Werke,
+      mit thematischem Verzeichnis seiner Kompositionen und zwei Bildern._
+      Leipzig, c. 1911-14.
+      K. Glebe, _Johann Sebastian Bach._ Halle. 1912.
+      La Mara, _Johann Sebastian Bach._ 5th edition. Leipzig. 1912.
+      H. Reimann, _Johann Sebastian Bach._ 1912.
+      Armin Stein, _Johann Sebastian Bach._ Halle. 1912.
+      Rudolf Wustmann, _Joh. Seb. Bachs Kantatentexte._ Leipzig. 1914.
+      Max Bitter, _Der Stil Joh. Seb. Bachs in seinem Choralsatze._
+      Bremen. 1913.
+      Ernst Kurth, _Grundlagen des linearen Kontrapunkts. Einführung in
+      Stil und Technik von Bachs melodischer Polyphonie._ Bern. 1917.
+
+
+
+
+                                II. France
+
+
+      Johann Nikolaus Forkel, _Vie, talents et travaux de Jean Sébastien
+      Bach._ [Translated from the German by Felíx Grenier.] Paris. 1876.
+      Ernest David, _La vie et les œuvres de J.-S. Bach, sa famille, ses
+      élèves, ses contemporains._ [An abridged translation of Spitta.]
+      Paris. 1882.
+      William Cart, _Un maitre deux fois centenaire: étude sur J.-S. Bach,
+      1685-1750._ Paris. 1884. New ed. 1898.
+      André Pirro, _L’Orgue de Jean-Sébastien Bach._ Paris. 1895.
+      [G. Fink, _Étude biographique sur Jean-Sébastien Bach._ Angoulème.
+      1899.]
+      [—. Daubresse, _Haendel et Bach._ Paris. 1901.]
+      Albert Schweitzer, _J. S. Bach, le musicien-poète._ Leipzig. 1905.
+      André Pirro, _J.-S. Bach._ Paris. 1906. 4th edition. 1913.
+      André Pirro, _L’Esthétique de Jean-Sébastien Bach._ Paris. 1907.
+
+
+
+
+                            III. Great Britain
+
+
+      Johann Nikolaus Forkel, _Life of John Sebastian Bach. Translated
+      from the German_ [by — Stephenson]. London. 1820.
+      C. H. Bitter, _The Life of J. Sebastian Bach. An abridged
+      translation from the German._ [By Janet Elizabeth Kay Shuttleworth.]
+      London. 1873.
+      R. Lane Poole, _Sebastian Bach._ London. 1881.
+      Sedley Taylor, _The Life of J. S. Bach in relation to his work as a
+      Church musician and composer._ Cambridge. 1897.
+      Philipp Spitta, _Johann Sebastian Bach: His work and influence on
+      the music of Germany, 1685-1750._ Translated from the German by
+      Clara Bell and J. A. Fuller Maitland. 3 vols. London. 1899.
+      C. F. Abdy Williams, _Bach._ London. 1900.
+      A. Maczewski and F. G. Edwards, art. _Bach_ in _Grove’s
+      Dictionary,_ vol. i. 1904.
+      E. H. Thome, _Bach._ London. 1904.
+      C. H. H. Parry, _Johann Sebastian Bach._ London and New York. 1909.
+      Donald F. Tovey, art. _J. S. Bach,_ in _Encyclopaedia Britannica._
+      Vol. iii. 1910.
+      Albert Schweitzer, _J. S. Bach. With a Preface by C. M. Widor.
+      English translation by Ernest Newman._ 2 vols. London. 1911.
+      C. Sanford Terry, _Bach’s Chorals._ 3 vols. Cambridge. 1915, 1917,
+      1920.
+      W. G. Whittaker, _Fugitive Notes on certain Cantatas and Motets by
+      J. S. Bach._ London. 1920.
+
+
+
+
+                       IV. United States Of America
+
+
+      André Pirro, _Johann Sebastian Bach, the Organist, and his works._
+      [Translated from the French by Wallace Goodrich.] New York. 1902.
+      Elbert Hubbard, _Little voyages to the homes of great musicians._
+      New York. 1902.
+      Ludwig Ziemssen, _Johann Sebastian Bach._ [Translated from the
+      German by G. Putnam Upton.] Chicago. 1905.
+      Rutland Boughton, _Bach._ New York. 1907.
+
+
+
+
+                                V. Holland
+
+
+      A. M. Oordt, _Een koort woord over Bach._ Leiden. 1873.
+
+
+
+
+                               VI. Belgium
+
+
+      Charles Martens, _Un livre nouveau sur J.-S. Bach._ Brussels. 1905.
+      Victor Hallut, _Les Maîtres classiques du dix-huitième siecle._
+      [Bach and others.] Brussels. 1909.
+
+
+
+
+                               VII. Russia
+
+
+      [Kuschenaw Dmitrevsky, _Das lyrische Museum_ (no. 25)]. [The oldest
+      Russian biography of Bach.] Petrograd. 1831].
+      [W. Th. Odoewsky, _Sebastian Bach._ Petrograd. 1890.]
+      [G. M. Bazunow, _J. S. Bach._ Petrograd. 1894.]
+      [S. M. Haljutin, _J. S. Bach._ Minsk. 1894.]
+      [Adolf Chybinski, _J. S. Bach._ Warsaw. 1910.]
+
+
+
+
+
+APPENDIX V.  A COLLATION OF THE NOVELLO AND PETERS EDITIONS OF THE ORGAN
+WORKS
+
+
+      Novello: Book I. Eight Short Preludes And Fugues.
+
+            Page 2. Prelude and Fugue in C major (P. bk. 247 p. 48).
+            Page 5. Do. do. D minor (ib. 51).
+            Page 8. Do. do. E minor (ib. 54).
+            Page 11. Do. do. F major (ib. 57).
+            Page 14. Do. do. Q major (ib. 60).
+            Page 17. Do. do. G minor (ib. 63).
+            Page 20. Do. do. A minor (ib. 66).
+            Page 23. Do. do. B flat major (ib. 69).
+
+      Novello: Book II. Preludes, Fugues, And Trio.
+
+            Page 26. Allabreve in D major (P. bk. 247 p. 72).
+            Page 30. Prelude in G major (ib. 82).
+            Page 34. Canzona in D minor (P. bk. 243 p. 54).
+            Page 38. Fugue (The Giant) in D minor (P. bk. 246 p. 78).
+            Page 41. Fugue in G minor (P. bk. 247 p. 85).
+            Page 44. Prelude and Fugue (the Short) in E minor (P. bk. 242
+            p. 88).
+            Page 48. Prelude and Fugue in C minor (P. bk. 243 p. 32).
+            Page 54. Trio in D minor (ib. 72).
+
+      Novello: Book III. Fantasias, Preludes, And Fugues.
+
+            Page 57. Fantasia in C minor (5 parts) (P. bk. 243 p. 66).
+            Page 60. Fugue in B minor (on a theme by Corelli) (ib. 46).
+            Page 64. Prelude and Fugue in A major (P. bk. 241 p. 14)
+            Page 70. Do. do. C major (ib. p. 2).
+            Page 76. Fantasia and Fugue in C minor (P. bk. 242 p. 55).
+            Page 84. Fugue (the Short) in G minor (P. bk. 243 p. 42).
+
+      Novello: Book IV. Sonatas Or Trios For Two Manuals And Pedal.
+
+            Page 88. Sonata in E flat major (P. bk. 240 p. 2).
+            Page 97. Do. C minor (ib. 11).
+            Page 110. Do. D minor (ib. 24).
+
+      Novello: Book V. Sonatas Or Trios For Two Manuals And Pedal
+      (IV.-VI.).
+
+            Page 124. Sonata in E minor (P. bk. 240 p. 36).
+            Page 134. Do. C major (ib. 46).
+            Page 151. Do. G major (ib. 63).
+
+      Novello: Book VI. Toccata, Preludes, And Fugues.
+
+            Page 2. Toccata and Fugue in D minor (P. bk. 243 p. 24).
+            Page 10. Prelude and Fugue in D major (ib. p. 14).
+            Page 21. Do. do. F minor (P. bk. 241 p. 29).
+            Page 28. Do. do. E flat major (P. bk. 242 p. 2).
+
+      Novello: Book VII. Preludes And Fugues.
+
+            Page 42. Prelude and Fugue (the Great) in A minor (P. bk. 241
+            p. 54).
+            Page 52. Do. do. B minor (ib. 78).
+            Page 64. Do. do. C minor (ib. 36).
+            Page 74. Prelude and Fugue in C major (P. bk. 243 p. 2).
+            Page 80. Do. do. G major (ib. 8).
+
+      Novello: Book VIII. Preludes And Fugues.
+
+            Page 88. Prelude and Fugue in C major (P. bk. 242 p. 62).
+            Page 98. Do. (the Great) in E minor (P. bk. 241 p. 64).
+            Page 112. Do. do. G major (ib p. 7).
+            Page 120. Do. in G minor (P. bk. 242 p. 48).
+            Page 127. Fantasia and Fugue (the Great) in G minor (P. bk.
+            241 p. 20).
+
+      Novello: Book IX. Preludes And Fugues.
+
+            Page 137. Toccata and Fugue (the Great) in C major (P. bk. 242
+            p. 72).
+            Page 150. Prelude and Fugue in D minor (ib. 42).
+            Page 156. Do. (the Great) in C major (P. bk. 241 p. 46).
+            Page 168. Fantasia in G major (P. bk. 243 p. 58).
+            Page 176. Toccata and Fugue (the Great) in F major (P. bk. 242
+            p. 16).
+
+      Novello: Book X. Toccata, Preludes, And Fugues.
+
+            Page Page 196. Toccata and Fugue (the Dorian) in D minor (P.
+            bk. 242 p. 30.)
+            Page 208. Prelude and Fugue (the Short) in A minor (ib. 84).
+            Page 214. Passacaglia in C minor (P. bk. 240 p. 75).
+            Page 230. Fugue in C minor (P. bk. 243 p. 36).
+            Page 238. Prelude in A minor (ib. 68).
+
+      Novello: Book XI. Four Concertos [after Antonio Vivaldi].
+
+            Page 1. Concerto in G major (P. bk. 247 p. 2).
+            Page 10. Do. A minor (ib. 10).
+            Page 24. Do. C major (ib. 22).
+            Page 49. Do. C major (ib. 44).
+
+      Novello: Book XII. Preludes, Fantasias, Fugues, Trios, Etc.
+
+            Page 55. Fugue in G major (P. bk. 2067 p. 18).
+            Page 60. Fantasia and Fugue in A minor (ib. 3).
+            Page 71. Fantasia with Imitation in B minor (P. bk. 215 p.
+            41).
+            Page 75. Fantasia in G major (P. bk. 2067 p. 25).
+            Page 83. Fugue in D major (P. bk. 2067 p. 22).
+            Page 86. Do. G major (ib. 12).
+            Page 91. Prelude in C major (P. bk. 247 p. 77).
+            Page 92. Fantasia in C major (ib. 78).
+            Page 94. Prelude in C major (ib. 76).
+            Page 95. Fugue in C minor (P. bk. 243 p. 50).
+            Page 100. Fugue in C major (P. bk. 247 p. 80).
+            Page 102. Pastorale in F major (P. bk. 240 p. 86).
+            Page 108. Trio in C minor (P. bk. 2067 p. 30).
+            Page 112. Aria in F major (ib. 34).
+
+      [Novello’s Books XIII. and XIV. (Choral Preludes and Variations) are
+      superseded by Books XV.-XIX.]
+      Novello: Book XV. Orgelbüchlein (little Organ Book).
+
+            Page 3. Nun komm, der Heiden Heiland (P. bk. 244 p. 44).
+            Page 5. Gott durch deine Güte, or, Gottes Sohn ist Kommen (ib.
+            20).
+            Page 9. Herr Christ, der ein’ge Gottes-Sohn, or, Herr Gott,
+            nun sei gepreiset (ib. 24).
+            Page 11. Lob sei dem allmächtigen Gott (ib. 40).
+            Page 13. Puer natus in Bethlehem (ib. 50).
+            Page 15. Gelobet seist du, Jesu Christ (ib. 19).
+            Page 18. Der Tag, der ist so freudenreich (ib. 13).
+            Page 21. Vom Himmel hoch, da komm ich her (ib. 53).
+            Page 23. Vom Himmel kam der Engel Schaar (ib. 54).
+            Page 26. In dulci jubilo (ib. 38).
+            Page 29. Lobt Gott, ihr Christen, allzugleich (ib. 42).
+            Page 31. Jesu, meine Freude (ib. 34).
+            Page 33. Christum wir sollen loben schon (ib. 8).
+            Page 36. Wir Christenleut’ (ib. 58).
+            Page 39. Helft mir Gottes Güte preisen (ib. 23).
+            Page 43. Das alte Jahr vergangen ist (ib. 12).
+            Page 45. In dir ist Freude (ib. 36).
+            Page 50. Mit Fried’ und Freud’ ich fahr’ dahin (ib. 42).
+            Page 53. Herr Gott, nun schleuss den Himmel auf (ib. 26).
+            Page 58. O Lamm Gottes unschuldig (ib. 46).
+            Page 61. Christe, du Lamm Gottes (ib. 3).
+            Page 64. Christus, der uns selig macht (ib. 10).
+            Page 67. Da Jesus an dem Kreuze stund (ib. 11).
+            Page 69. O Mensch, bewein’ dein’ Sünde gross (ib. 48).
+            Page 73. Wir danken dir, Herr Jesu Christ (ib. 59).
+            Page 76. Hilf Gott, dass mir’s gelinge (ib. 32).
+            Page 79. Christ lag in Todesbanden (ib. 7). 81. Jesus
+            Christus, unser Heiland (ib. 34).
+            Page 83. Christ ist eratanden (ib. 4).
+            Page 89. Erstanden ist der heil’ge Christ (P. bk. 244 p. 16).
+            Page 91. Erschienen ist der herrliche Tag (ib. 17).
+            Page 94. Heut’ triumphiret Gottes Sohn (ib. 30).
+            Page 97. Komm, Gott, Schöpfer, heiliger Geist (P. bk. 246 p.
+            86).
+            Page 99. Herr Jesu Christ, dich zu uns wend’ (P. bk. 244 p.
+            28).
+            Page 101. Liebster Jesu, wir sind hier (ib. 40).
+            Page 103. Dies sind die heil’gen zehn Gebot’ (ib. 14).
+            Page 105. Vater unser im Himmelreich (ib. 52).
+            Page 107. Durch Adams Fall ist ganz verderbt (ib. 15).
+            Page 109. Es ist das Heil uns kommen her (ib. 18).
+            Page 111. Ich ruf’ zu dir, Herr Jesu Christ (ib. 33).
+            Page 113. In dich hab’ ich gehoffet, Herr (ib. 35).
+            Page 115. Wenn wir in höchsten Nothen sein (ib. 55).
+            Page 117. Wer nur den lieben Gott lässt walten (ib. 57).
+            Page 119. Alle Menschen müssen sterben (ib. 2).
+            Page 121. Ach wie nichtig, ach wie flüchtig (ib. 2).
+
+      Novello: Book XVI. The Six “Schübler Chorale Preludes” And The
+      “Clavierübung,” Part III.
+
+            (a) The Schübler Preludes.
+
+                  Page 1. Wachet auf, ruft uns die Stimme (P. bk. 246p.
+                  72).
+                  Page 4. Wo soll ich fliehen hin, or, Auf meinen lieben
+                  Gott (ib. 84).
+                  Page 6. Wer nur den lieben Gott lässt walten (ib. 76).
+                  Page 8. Meine Seele erhebt den Herren (Hi. 33).
+                  Page 10. Ach bleib bei uns, Herr Jesu Christ (P. bk. 245
+                  p. 4).
+                  Page 14. Kommst du nun, Jesu, vom Himmel herunter (P.
+                  bk. 246 p. 16).
+                  (b) The “Clavierübung,” Part III.
+                  Page 19. Prelude in E flat major (P. bk. 242 p. 2).
+                  Page 28. Kyrie, Gott Vater in Ewigkeit (P. 246 p. 18).
+                  Page 30. Christe, aller Welt Trost (ib. 20).
+                  Page 33. Kyrie, Gott heiliger Geist (ib. 23).
+                  Page 36. Kyrie, Gott Vater in Ewigkeit (ib. 26).
+                  Page 37. Christe, aller Welt Trost (ib. 27).
+                  Page 38. Kyrie, Gott heiliger Geist (P. 246 p. 28).
+                  Page 39. Allein Gott in der Höh’ sei Ehr’ (Pk. b. 245 p.
+                  10).
+                  Page 40. Do. do. do (ib. 12).
+                  Page 41. Do. do. do. (ib. 29).
+                  Page 42. Dies sind die heil’gen zehn Gebot’ (ib. 50).
+                  Page 47. Do. do. do (ib. 54).
+                  Page 49. Wir glauben all’ an einen Gott, Schöpfer (P.
+                  bk. 246 p. 78).
+                  Page 52. Do. do. do. (ib. 81).
+                  Page 53. Vater unser im Himmelreich (ib. 60).
+                  Page 61. Do. do. (P. bk. 244 p. 51).
+                  Page 62. Christ, unser Herr, zum Jordan kam (P. bk. 245
+                  p. 46).
+                  Page 67. Do. do. do. (ib. 49).
+                  Page 68. Aus tiefer Noth schrei’ ich zu dir (ib. 36).
+                  Page 72. Do. do. do. (ib. 38).
+                  Page 74. Jesus Christus unser Heiland (ib. 82).
+                  Page 80. Do. do. (ib. 92).
+                  Page 83. Fugue in E flat major (P. bk. 242 p. 10).
+
+      Novello: Book XVII. The Eighteen Chorale Preludes.
+
+            Page 1. Komm, heiliger Geist, Herre Gott (P. bk. 246 p.4).
+            Page 10. Do. do. do. (ib. 10).
+            Page 18. An Wasserflüssen Babylon (P. bk. 245 p. 34).
+            Page 22. Schmücke dich, O liebe Seele (P. bk. 246 p. 50).
+            Page 26. Herr Jesu Christ, dich zu uns wend’ (P. bk. 245 p.
+            70).
+            Page 32. O Lamm Gottes unschuldig (P. bk. 246 p. 45).
+            Page 40. Nun danket alle Gott (ib. 34).
+            Page 43. Von Gott will ich nicht lassen (ib. 70).
+            Page 46. Nun komm, der Heiden Heiland (ib. 38).
+            Page 49. Do. do. do. (ib. 40).
+            Page 52. Do. do. do. (ib. 42).
+            Page 56. Allein Gott in der Höh’ sei Ehr’ (P. bk. 245 p. 26).
+            Page 60. Do. do. do (ib. 22).
+            Page 66. Do. do. do. (ib. 17).
+            Page 74. Jesus Christus, unser Heiland, der von uns (ib. 87).
+            Page 79. Do. do. do. (ib. 90).
+            Page 82. Komm, Gott, Schöpfer, heiliger Geist (P. bk. 246 p.
+            2).
+            Page 85. Wenn wir in höchsten Nöthen sein, or, Vor deinen
+            Thron tret’ ich allhier (ib. 74).
+
+      Novello: Book XVIII. Miscellaneous Chorale Preludes (Part I.).
+
+            Page 1. Ach Gott und Herr (P. bk. 2067 p. 38).
+            Page 2. Do. do. (P. bk. 245 p. 3).
+            Page 3. Do. do. (P. bk. 2067 p. 39).
+            Page 4. Allein Gott in der Höh’ sei Ehr’ (not in P.).
+            Page 5. Do. do. do. (P. bk. 245 p. 6)
+            Page 7. Do. do. do. (ib. 30).
+            Page 11. Do. do. do. (ib. 8).
+            Page 13. An Wasserflüssen Babylon (ib. 32).
+            Page 16. Christ lag in Todesbanden (ib. 43).
+            Page 19. Do. do. (ib. 40).
+            Page 23. Christum wir sollen loben schon, or, Was fürcht’st
+            du, Feind Herodes, sehr (P. bk. 244 p. 9).
+            Page 24. Das Jesulein soll doch mein Trost (P. bk. 2067 p.
+            47).
+            Page 26. Der Tag der ist so freudenreich (not in P.).
+            Page 28. Durch Adams Fall ist ganz verderbt (P. bk. 245 p.
+            66).
+            Page 30. Ein’ feste Burg ist unser Gott (ib. 68).
+            Page 35. Erbarm’ dich mein, O Herre Gott (not in P.).
+            Page 37. Gelobet seist du, Jesu Christ (P. bk. 244 p. 102).
+            Page 38. Do. do. do. (ib. 20).
+            Page 39. Do. do. do. (P. bk. 245 p. 61).
+            Page 41. Gottes Sohn ist kommen (P. bk. 244 p. 22).
+            Page 42. Do. do. (P. bk. 245 p. 64).
+            Page 43. Herr Christ, der ein’ge Gottes-Sohn (P. bk. 244 p.
+            25).
+            Page 44. Herr Gott, dich loben wir (Te Deum Laudamus) (P. bk.
+            245 p. 65).
+            Page 60. Herr Jesu Christ, dich zu uns wend’ (P. bk. 244 p.
+            28).
+            Page 52. Do. do. do. (not in P.).
+            Page 53. Herzlich thut mich verlangen (P. bk. 244 p. 30).
+            Page 54. Ich hab’ mein’ Sach Gott heimgestellt (P. bk. 245 p.
+            74).
+            Page 58. Do. do. do. (not in P.).
+            Page 59. In dich hab’ ich gehoffet, Herr (P. bk. 245 p. 94).
+            Page 61. In dulci jubilo (P. bk. 244 p. 103).
+            Page 64. Jesu, meine Freude (P. bk. 245 p. 78).
+            Page 69. Jesus, meine Zuversicht (P. bk. 244 p. 103).
+            Page 70. Liebster Jesu, wir sind hier (ib. 105).
+            Page 71. Do. do. (ib. 105).
+            Page 72. Do. do. (ib. 39).
+            Page 73. Lob sei dem allmächtigen Gott (ib. 41).
+            Page 74. Lobt Gott, ihr Christen, allzugleich (ib. 106).
+            Page 75. Meine Seele erhebt den Herren (Magnificat) (P. bk.
+            246 p. 29).
+            Page 80. Nun freut euch, lieben Christen g’mein, or, Es ist
+            gewisslich an der Zeit (ib. 36).
+            Page 83. Nun komm, der Heiden Heiland (P. bk. 244 p. 45).
+
+      Novello: Book XIX. Miscellaneous Chorale Preludes (part II.) And
+      Variations.
+
+      (a) Preludes.
+
+            Page 2. Valet will ich dir geben (P. bk. 246 p. 53).
+            Page 7. Do. do. (ib. 56).
+            Page 12. Vater unser im Himmelreich (ib. 66).
+            Page 14. Vom Himmel hoch, da komm ich her (ib. 67).
+            Page 16. Do. do. do. (ib 68).
+            Page 19. Do. do. do. (P. bk. 244 p. 106).
+            Page 21. Wer nur den lieben Gott lässt walten (ib. 56).
+            Page 22. Do. do. do. (ib. 56).
+            Page 23. Wie schön leuchtet der Morgenstern (not in P.).
+            Page 28. Wir Christenleut’ (P. bk. 2067 p. 52).
+            Page 30. Wir glauben all’ an einen Gott, Vater (P. bk. 246 p.
+            82).
+            Page 32. Wo soll ich fliehen hin (P. bk. 2067 p. 48). (6)
+            Variations.
+            Page 36. Christ, der du bist der helle Tag (P. bk. 244 p. 60).
+            Page 44. O Gott, du frommer Gott (P. bk. 244 p. 68).
+            Page 55. Sei gegrüsset, Jesu gütig (ib. 76).
+            Page 73. Vom Himmel hoch, da komm ich her (ib. 92).
+
+The Peters volumes 244, 245, 246, 2067 contain movements excluded from the
+Novello edition, viz.:—
+
+      Book 244: the figured Choral (Herr Christ, der ein’ge Gottes-Sohn)
+      on p. 107, and the Variant texts on pp. 108-112.
+      Book 245: the Variant texts on pp. 96-113.
+      Book 246: the Variant texts on pp. 86-103 (excepting the B version
+      of “Komm, Gott, Schöpfer, heiliger Geist”).
+      Book 2067: the Choral Preludes on pp. 39 (Auf meinen lichen Gott),
+      40 (Wir glauben all’ an einen Gott), 42 (Jesu Leiden, Pein und Tod),
+      44 (Ach Gott, vom Himmel sieh darein), 54 (Aus der Tiefe ruf ich),
+      56 (Christ lag in Todesbanden), and the “Kleines harmonisches
+      Labyrinth” on p. 16.
+
+
+
+
+
+APPENDIX VI. GENEALOGY OF THE FAMILY OF BACH
+
+
+                        [Genealogy Table, p. 303]
+                        [Genealogy Table, p. 304]
+                        [Genealogy Table, p. 305]
+                        [Genealogy Table, p. 306]
+                        [Genealogy Table, p. 307]
+                        [Genealogy Table, p. 308]
+                        [Genealogy Table, p. 309]
+                        [Genealogy Table, p. 310]
+
+
+
+
+
+FOOTNOTES
+
+
+    1 “Seiner Excellenz dem Freyheren van Swieten ehrerbietigst gewidmet
+      von dem Verfasser.”
+
+    2 So far the New Bachgesellschaft has published only a single Cantata
+      overlooked by the old Society. See infra, p. 280.
+
+    3 In _The News_ of January 4, 1829, he is described as the second son
+      of the late John Stephenson of Great Ormonde Street, Queen Square,
+      whom he had succeeded in the partnership of the firm.  His wife was
+      dead, and of his eight children the eldest was also in the Bank.
+
+    4 Carl Philipp Emmanuel Bach, third son of Johann Sebastian Bach, b.
+      1714; Kammermusikus to Frederick the Great of Prussia (1746),
+      Kapellmeister at Hamburg (1768); d. 1788.
+
+    5 Johann Friedrich Agricola, of Dobitsch, b. 1720; studied composition
+      with Bach at Leipzig; Court Composer (1751) and, after Carl Heinrich
+      Graun’s death (1759), Kapellmeister to Frederick the Great of
+      Prussia; d. 1774. See Spitta, _Johann Sebastian Bach,_ iii. 243 ff.
+
+    6 Lorenz Christoph Mizler (1711-78), a pupil of Bach, founded at
+      Leipzig in 1738 the “Sozietat der musikalischen Wissenschaften,” of
+      which Bach and Handel were members.  Mizler’s journal, the
+      _Neueröffneter Musikalischer Bibliothek,_ was its organ.  It
+      appeared from 1736 to 1754.  In Part I. of vol. iv. (1754) C. P. E.
+      Bach and Agricola collaborated in the obituary notice, or
+      “Nekrolog,” which is almost the earliest literary authority for
+      Bach’s life.  It covered less than twenty pages.  (See Schweitzer,
+      _J. S. Bach_ (trans. Ernest Newman), i. 189 ff. and Spitta, i.
+      Pref.)  Agricola’s association with Bach’s son in the preparation of
+      the obituary notice is explained by the fact that for the last ten
+      years of Sebastian’s life Agricola was in closer relations with him
+      than Carl Philipp Emmanuel, who no longer was resident in Leipzig.
+
+    7 Forkel’s _Allgemeine Geschichte der Musik_ (2 vols. 1788-1801) had
+      only come down to the sixteenth century when its author diverted his
+      pen to a biography of Bach.
+
+    8 The firm of Hoffmeister and Kühnel was founded at Leipzig in 1800 by
+      Franz Anton Hoffmeister, who started, in 1801, a subscription for
+      the publication of Bach’s works, to which Forkel alludes.  The
+      scheme failed to mature, and its accomplishment was reserved to C.
+      F. Peters, who purchased Hoffmeister’s “Bureau de Musique” in 1814.
+      See articles on Hoffmeister and Peters in Grove’s _Dictionary._
+
+    9 Though Bach never ventured upon such tours as Mozart or Berlioz, for
+      instance, undertook, he loved travelling, and his artistic journeys
+      made him famous throughout Germany, at least as an organist.  Forkel
+      himself describes (infra, pp. 19, 23) his notable visits to the
+      Courts of Berlin and Dresden.
+
+   10 In 1802, it must be remembered, not a note of Bach’s concerted
+      Church music was in print except the tunes he wrote for Schemelli’s
+      Hymn-book (1736) and the vocal parts of an early Cantata (No. 71).
+      Of his instrumental works engraved by 1802 Forkel gives a list
+      infra, p. 137.  It was hardly until the foundation of the
+      Bachgesellschaft in 1850, to celebrate the centenary of Bach’s
+      death, that the systematic publication of his concerted Church music
+      began.  Before that date, however, Peters of Leipzig had taken in
+      hand the abandoned scheme of Hoffmeister and Kühnel, to which Forkel
+      alludes, and in which he participated.
+
+   11 It is notable that Forkel makes no mention of Haydn, Mozart, or
+      Handel, whose English domicile had divorced him from Germany’s
+      service.  Forkel’s pessimism is the more curious, seeing that
+      Beethoven was already thirty years old, and that Mozart in 1786,
+      after giving him a subject to extemporise upon, had remarked,
+      “Listen to that young man; he will some day make a noise in the
+      world” (Holmes, _Life of Mozart,_ Dent’s ed., p. 223).  Forkel, in
+      fact, appreciated neither Mozart nor Beethoven and thoroughly
+      detested Gluck.
+
+   12 As has been pointed out in the Introduction, Forkel stood almost
+      alone in 1802 in his opinion of Bach’s pre-eminence.  Even Beethoven
+      placed Bach after Handel and Mozart, but knew little of his music on
+      which to found a decision.
+
+   13 The anonymous article in the _Allgemeine deutsche Bibliothek,_ to
+      which Forkel alludes, deals with Bach’s Clavier and Organ works and
+      upon them asserts Bach’s superiority over Handel.  The judgment was
+      unusual.  Bach’s fame was gravely prejudiced by German
+      Handel-worship, which the first performance of the _Messiah_ at
+      Leipzig in 1786 stimulated.  Johann Adam Hiller, Bach’s third
+      successor in the Cantorate of St. Thomas’, was largely responsible.
+      He neglected, and even belittled, the treasures of Bach’s art which
+      the library of St. Thomas’ contained.  See Schweitzer, i. 231.
+
+   14 The _Nekrolog._ See supra, p. xxiv.
+
+   15 Carl Philipp Emmanuel and Wilhelm Friedemann.  The latter was born
+      in 1710, and after holding Organistships at Halle and Dresden, died
+      at Berlin in 1784, leaving his widow and daughter in great poverty.
+      The former received a grant from the receipts of the _Messiah_
+      performance alluded to in note 1, supra.  A man of brilliant musical
+      attainments, Wilhelm Friedemann’s character was dissolute and
+      unsteady. See Schweitzer, i. 146 ff.
+
+   16 Two letters written by C. P. E. Bach to Forkel in 1775, conveying a
+      good deal of information reproduced by Forkel in this monograph, are
+      printed in facsimile by Dr. Max Schneider in his _Bach-Urkunden_
+      (N.B.G., XVII. (3)).
+
+   17 Forkel’s statement is entitled to respect. On the other hand there
+      is nothing in the recorded careers of either of Bach’s sons that
+      bears him out on this point. Schweitzer (i. 229) endorses Elinor’s
+      judgment: “Bach’s sons were the children of their epoch, and never
+      understood their father; it was only from piety that they looked at
+      him with childlike admiration.” Dr. Charles Burney spent several
+      days with Carl Philipp Emmanuel at Hamburg in 1772, but during the
+      whole time the son never played to him a note of his father’s music.
+
+   18 i.e. Hoffmeister and Kühnel’s project.
+
+   19 The accuracy of this statement is apparent from the Genealogy
+      appended to this volume.  Bach’s sons represented the sixth
+      generation from Veit Bach, the sixteenth century ancestor of the
+      family. Veit himself was not a professional musician; one of his
+      sons was a Spielmann; thereafter for the next 150 years all but
+      seven of his descendants, whose professions are known, were
+      Organists or Cantors or Town Musicians.  Many of them, moreover,
+      were men of the highest attainments in their profession.
+
+   20 He took his name from St. Vitus (Guy), patron saint of the church of
+      Wechmar, a fact which sufficiently disproves Forkel’s statement that
+      his original domicile was in Hungary.  The Bachs were settled in
+      Wechmar as early as circ. 1520.  Veit migrated thence to Hungary,
+      though there is no adequate foundation for the statement that he
+      settled at Pressburg.  He returned to Wechmar during the beginning
+      of the Counter-Reformation under the Emperor Rudolph II. (1576-
+      1612), and died at Wechmar, March 8, 1619.  See Spitta, i. 4.
+
+      Apart from church and town registers, laboriously consulted by
+      Spitta in tracing the Bach genealogy, we owe our knowledge of it to
+      an MS. drawn up by Bach in 1735 which is now in the Berlin Royal
+      Library after being successively in the possession of Carl Philipp
+      Emmanuel, Forkel, and G. Pölchau, the Hamburg teacher of music.
+
+      The original entries in it are stated by Carl P. Emmanuel to be by
+      his father. Forkel also owned a Bach genealogical tree, given him by
+      Carl Philipp Emmanuel; it has disappeared. Traces of it exist in a
+      work published at Pressburg by Johann Matthias Korabinsky in 1784,
+      its insertion being due to the assumption that the Bachs were a
+      Hungarian family.  Forkel shared that error.  See Spitta’s Preface
+      on the whole question.  The MS. genealogy of 1735 is published by
+      the New Bachgesellschaft (XVIII. 3) in facsimile.
+
+   21 Veit, in fact, returned to his native village. His name, as has been
+      pointed out, implies a connection with Wechmar that must have dated
+      from infancy.  Moreover, there was living there in 1561 one Hans
+      Bach, an official of the municipality, who may be regarded
+      confidently as Veit’s father.
+
+   22 It has been suggested that the name Bach is the sole authority for
+      the statement that Veit was a baker.  But Spitta points out that the
+      vowel in the name is pronounced long and was frequently written
+      BAACH in the seventeenth century, a fact which makes it difficult to
+      associate the word with “Backer” (Baker).
+
+   23 In the Genealogy Johann Sebastian calls the instrument a Cythringen.
+
+   24 Hans Bach (d. Dec. 26, 1626) and (?) Lips Bach (d. Oct. 10, 1620).
+      See infra, Genealogical Tables I. and II. and note to the latter.
+
+   25 The “Stadt Pfeiferei,” or official town musical establishment,
+      descended from the musicians’ guilds of the Middle Ages and was
+      presided over by the Stadt Musiker, who enjoyed certain ancient
+      privileges and the monopoly of providing the music at open-air
+      festivities. Johann Jakob Brahms, the father of Johannes, was a
+      member of such a corporation at Hamburg, after having served his
+      apprenticeship for five years elsewhere.  See Florence May,
+      _Johannes Brahms,_ vol. i. pp. 48 ff.
+
+   26 See Genealogical Table II.  The three young Bachs were the sons of
+      Lips Bach and, presumably, nephews of Hans the “Spielmann.” The
+      youngest of them was named Jonas; the name of another was certainly
+      Wendel.  It is remarkable, in a period in which Italy was regarded
+      as the Mecca of musicians, that exceedingly few of the Bach family
+      found their way thither.  Besides the three sons of Lips Bach, only
+      Johann Nikolaus, 1669-1753 (see Table VI.), Johann Sebastian Bach’s
+      son Johann Christian, 1735-82 (see Table VIII.), and Carl P. E.
+      Bach’s son Sebastian (see Table VII.) seem to have visited Italy.
+
+   27 i.e. from Veit Bach.  Of the three names Forkel mentions the first
+      two were a generation before Johann Sebastian; the third, Johann
+      Bombard, was of the same generation as Johann Sebastian; none of the
+      three belonged to Johann Sebastian’s branch.
+
+   28 Eldest  son of Heinrich Bach (see Table VI.).  Whether he was Court
+      as well as Town Organist at Eisenach cannot be stated positively.
+
+   29 The _Alt-Bachische Archive_ is a collection of the compositions of
+      various members of the family, before and after Johann Sebastian,
+      formed largely by the latter.  From C. P. E. Bach it passed to G.
+      Pölchau and from him to the Berlin Royal Library.
+
+   30 Johann Christoph composed several Motets (see them discussed in
+      Spitta, i. 75 ff.).  The daring work to which Forkel alludes was
+      written about 1680 and is lost.  Though the augmented sixth was then
+      and remained unusual, Johann Christoph’s is not the earliest use of
+      it.  Spitta finds it in Giacomo Carissimi (1604-74).
+
+   31 The Cantata (“And there was war in heaven”) is analysed by Spitta
+      (i. 44).  The score is unusually full: two five-part choirs; Vn. 1
+      and 2, 4 Violas, Contrabasso, Fagotto, 4 Trombe, Timpani, Organ.  In
+      1726 Johann Sebastian Bach wrote a Cantata for Michaelmas on the
+      same text (Rev. xii. 7).
+
+   32 Spitta (i. 101 n.) characterises the statement as “a mythical
+      exaggeration.” In a chapter devoted to the instrumental works of
+      Johann Christoph and his brother he instances a collection of
+      forty-four Organ Chorals by the former, not one of which is in five
+      parts.
+
+   33 In the Bach genealogy already referred to C. P. E. Bach designates
+      Johann Christoph a “great and impressive composer.”
+
+   34 A _Lamento_ published under Johann Christoph’s name seems actually
+      to have been composed by his father Heinrich (see Pirro, _J.-S.
+      Bach,_ 9 n.). Johann Christoph, however, is the composer of the
+      Motet _Ich lasse dich nicht,_ so often attributed to Johann
+      Sebastian.
+
+   35 See Table VI. He was the father of Johann Sebastian’s first wife.
+
+   36 See note, p. 4 supra.
+
+   37 Spitta (i. 59 ff.) mentions twelve Motets by Michael Bach. Several
+      of them are for eight voices.  Forkel probably refers to the most
+      remarkable of Michael’s Motets, in which he detects the romantic
+      spirit of Johann Sebastian.  It is set to the words _Unser Leben ist
+      ein Schatten,_ (_Life on earth is but a shadow_).  The first choir
+      consists of 2 S., A., 2 T., B., and the second choir of A. T. B.
+      only. Spitta analyses the work closely (i. 70-72). Novello publishes
+      his five- part Motet _Christ is risen_ with an English text.
+
+   38 He succeeded his cousin Johann Christoph at Eisenach in 1703.
+
+   39 Spitta (i. 24 ff.) mentions four Suites, or Overtures, Clavier
+      pieces, and Organ Chorals as being by him.  That Johann Sebastian
+      Bach highly esteemed the Suites is proved by the fact that he copied
+      the parts of three of them with his own hand at Leipzig.
+
+   40 It is a curious fact that, prior to the career of Johann Sebastian
+      Bach, the composers of the Bach family occur invariably in other
+      branches than his.  With two exceptions, the gift of composition
+      appears to have been possessed, or exercised, solely by Heinrich
+      Bach (see Table VI.), his two sons Johann Christoph and Johann
+      Michael, already discussed, and his grandson, Johann Nikolaus (son
+      of Johann Christoph).  Heinrich Bach was a very productive composer
+      in all forms of musical art employed at that time in church (Sp. i.
+      36).  His grandson, Johann Nikolaus, composed a Mass and a comic
+      operetta (ib., 132 ff.). The only other Bach composer known to
+      Spitta is Georg Christoph, founder of the Franconian Bachs (see
+      Table IV.) and Cantor at Themar and Schweinfurt (ib. 155). The other
+      Bach composer outside Heinrich Bach’s branch is Johann Bornhard,
+      already mentioned by Forkel.
+
+   41 In the Quodlibet different voices sang different well-known
+      melodies, sacred and profane, and sought to combine them to form a
+      harmonious whole.  For an example see Variation 30 of the _Aria mit
+      30 Veranderungen_ (Peters’ ed., bk. 209 p. 83).  In it Bach combines
+      two popular songs of his period.
+
+   42 See article “Quodlibet” in Grove.
+
+   43 The date is conjectural, and is deduced from the fact that the
+      infant was baptized on March 23.  The Gregorian Calendar was not
+      adopted in Germany until 1701.  Had it been in use in 1685 Bach’s
+      birthday would be March 31.
+
+   44 Johann Ambrosius’ Court appointment is to be inferred from the fact
+      that in 1684 the Duke refused him permission to return to Erfurt.
+
+   45 See Table IV.
+
+   46 Johann Ambrosius survived his brother by nearly eighteen months.
+
+   47 His mother died in May 1694, and his father in January 1695.  At the
+      latter date Johann Sebastian was three months short of his tenth
+      year.
+
+   48 Excepting Johann Jakob, a lad of thirteen years, Johann Christoph
+      was Bach’s only surviving brother, and the only one of the family in
+      a position to look after him.  Johann Jakob accompanied Sebastian to
+      Ohrdruf (Pirro, p. 13) and afterwards apprenticed himself to his
+      father’s successor as Town Musician at Eisenach. One of the
+      daughters was already married.  What became of the other is not
+      stated. See Table V.
+
+   49 It is difficult to believe this statement.  That the boy was
+      destined for a musical career by his father hardly can be doubted.
+      That he was of unusual precocity, the story told by Forkel in the
+      text proves.  His father’s asserted neglect to instruct him is
+      therefore hardly credible.
+
+   50 Johann Jakob Froberger, born at Halle (date unknown); Court Organist
+      at Vienna, 1637-57; d. 1667.
+
+   51 Johann Caspar Ferdinand Fischer, c. 1660-1738 (actual dates of his
+      birth and death unknown); Kapellmeister to Markgraf Ludwig of Baden
+      at Schloss Schlackenwerth in Bohemia. His _Ariadne Musica
+      Neo-Organoedum_ (1702) was the precursor of Bach’s _Das
+      wohltemperirte Clavier._
+
+   52 Johann Caspar Kerl, b. 1628; Kapellmeister in Munich, 1656-74; Court
+      Organist at Vienna, 1677-92; d. 1693.
+
+   53 Johann Pachelbel, b. 1653, d. 1706.  In 1695 he was Organist of St.
+      Sebald’s Church, Nürnberg.  His influence upon the organ playing of
+      his generation was enormous.  Bach’s brother, Johann Christoph, was
+      his pupil.
+
+   54 Dietrich Buxtehude, b. 1637, d. 1707; Organist (1668) of the
+      Marienkirche, Lübeck, and the chief musical influence in North
+      Germany.
+
+   55 Nikolaus Bruhns, b. circ. 1665, d. 1697; a. pupil of Buxtehude;
+      Organist at Husum; the greatest organist of his time after
+      Buxtehude.
+
+   56 Georg Böhm, b. 1661; date of death uncertain (c. 1739); from 1698
+      Organist of the Johanniskirche, Lüneburg.
+
+   57 In fact, Johann Christoph did not die until 1721, more than twenty
+      years after Sebastian ceased to be under his roof.
+
+   58 The fact that Johann Christoph survived till 1721 disproves Forkel’s
+      statement. The youthful Bach, aged fifteen in 1700, no doubt seized
+      the earliest opportunity to relieve his brother of the charge of
+      him.  Moreover, Johann Christoph’s family was increasing (see Table
+      V.).  In spite of the story of Bach’s midnight copying, it cannot be
+      questioned that he owed a good deal to his brother, who not only
+      taught him but, presumably, maintained him at the Ohrdruf Lyceum,
+      where Bach acquired a sound education and a considerable knowledge
+      of Latin.  See Pirro, pp. 14-16, on Bach’s education at Ohrdruf.  He
+      left the Lyceum in March 1700.
+
+   59 Georg Erdmann, Bach’s fellow-pupil at the Lyceum.
+
+   60 Bach’s entry into the choir of St. Michael’s Convent, Lüneburg, took
+      place about Easter 1700.  The step was taken upon the advice of
+      Elias Herda, Cantor at the Ohrdruf Lyceum, himself a former member
+      of St. Michael’s.  Bach remained at St. Michael’s for three years,
+      till 1703.  The choir library was particularly rich in the best
+      church music of the period, both German and Italian.  Spitta is of
+      opinion that Bach’s talents as a violinist and Clavier player were
+      also laid under contribution.  His voice, as Forkel states, soon
+      ceased to be serviceable.  His maximum pay was one thaler (three
+      shillings) a month and free commons.
+
+   61 Probably Georg Böhm, who had relations with the Convent choir,
+      inspired Bach to make the pilgrimage.  Böhm, then at St. John’s,
+      Lüneburg, was a pupil of Reinken of Hamburg.  Spitta (i. 196)
+      suggests that Bach’s cousin, Johann Ernst (see Table IV.), was at
+      this time completing his musical education at Hamburg, a fact which
+      may have contributed to draw Bach thither.  He made more than one
+      visit, on foot, to Hamburg.  F. W. Marpurg published, in 1786, the
+      story, which he received from Bach himself, that on one of his
+      journeys from Hamburg, Bach sat down outside an inn and hungrily
+      sniffed the savours from its kitchen.  His pockets were empty and
+      there seemed little prospect of a meal, when a window was opened and
+      two herring heads were thrown out.  Bach picked them up eagerly, and
+      found in each of them a Danish ducat.  Who was his benefactor he
+      never discovered; the gift enabled him to satisfy his hunger and pay
+      another visit to Hamburg.
+
+   62 Johann Adam Reinken, b. 1623, became Organist of St. Catherine’s
+      Church, Hamburg, in 1664, and held the post until his death in 1722.
+
+   63 His introduction to French music marked another step in Bach’s
+      progressive education.  The reigning Duke of Celle (father-in-law of
+      George I. of Great Britain and Ireland) had married a Frenchwoman.
+      See Pirro, _J. S. Bach,_ pp. 24-27.
+
+   64 He entered the Weimar service on April 8, 1703 (Pirro, p. 29).
+
+   65 Bach’s engagement was in the private band of the younger brother of
+      the Duke.  He remained in his new post only a few months.  He was
+      engaged as a Violin player, and since his interests were towards the
+      Organ and Clavier, it is clear that he accepted the engagement as a
+      temporary means of livelihood.
+
+   66 He is, however, described in July 1703 as Court Organist (Pirro, p.
+      30).  Bach was drawn to Arnstadt chiefly by the fact that the New
+      Church recently had been equipped with a particularly fine Organ
+      (specification in Spitta, i. 224), which existed until 1863.  Bach
+      inaugurated it on July 13, 1703, and entered on his duties as
+      Organist of the church in the following month (Pirro, p. 30).
+
+   67 His earliest Church Cantata (No. 15) was composed here in 1704.  To
+      the Arnstadt period (1703-7) also must be attributed the Capriccio
+      written on the departure of his brother, Johann Jakob (Peters bk.
+      208 p. 62), the Capriccio in honour of his Ohrdruf brother, Johann
+      Christoph (Peters bk. 215, p. 34), the Sonata in D major (Peters bk.
+      215, p. 44), the Organ Prelude and Fugue in C minor (Novello bk. 2
+      p. 48), and the Organ Fugue in C minor (Novello bk. 12 p. 95).
+
+   68 In the _Nekrolog_ C. P. E. Bach and Agricola remark of the Arnstadt
+      period, that Bach then “really showed the first-fruits of his
+      industry in the art of Organ-playing and composition, which he had
+      in great measure learnt only from the study of the works of the most
+      famous composers of the time, and from his own reflections on them”
+      (quoted in Spitta, i. 235).
+
+   69 Bach’s stipend at Arnstadt was not inconsiderable, and his duties
+      engaged him only at stated hours on Sundays, Mondays, and Thursdays.
+      He, therefore, had leisure and the means to employ it.  In October
+      1705 he obtained four weeks’ leave of absence and set off on foot to
+      Lübeck, after leaving an efficient deputy behind him.  He stayed
+      away until February 1706.  On his return the Consistory demanded an
+      explanation of his absence, and took the opportunity to remonstrate
+      with him on other matters.  They charged him “with having been
+      hitherto in the habit of making surprising variationes in the
+      Chorals, and intermixing divers strange sounds, so that thereby the
+      congregation were confounded.”  They charged him with playing too
+      long preludes, and after this was notified to him, of making them
+      too short.  They reproached him “with having gone to a wineshop last
+      Sunday during sermon,” and cautioned him that, “for the future he
+      must behave quite differently and much better than he has done
+      hitherto” (see the whole charge in Spitta, i. 315 ff.).  Bach also
+      was on bad terms with the choir, whose members had got out of hand
+      and discipline.  Before his Lübeck visit he engaged in a street
+      brawl with one of the scholars.  Then, as later, he was a choleric
+      gentleman.  In November 1706 he got into further trouble for having
+      “made music” in the church with a “stranger maiden,” presumably his
+      cousin Maria Barbara Bach, then on a visit to Arnstadt; he married
+      her a year later.  Clearly the relations between the Consistory and
+      the brilliant young Organist were becoming difficult, and Bach’s
+      migration to Mühlhausen no doubt was grateful to both.  His
+      resignation was made formally on June 29, 1707.
+
+   70 Bach was appointed on June 15, 1707, to succeed Johann Georg Able.
+      Mühlhauson prided itself upon its musical traditions.  Bach’s
+      Cantata, No. 71, written in February 1708 for the inauguration of
+      the Mühlhausen Town Council, was engraved (the parts only), the only
+      one of the 206 Cantatas which have come down to us which was printed
+      during Bach’s lifetime.  He also composed Cantatas 131 and 196 at
+      Muhlhausen, and perhaps three others. See infra, p. 188.
+
+   71 Bach’s petition to the Mühlhausen Consistory for permission to
+      resign his post is dated June 25, 1708, and is printed in full by
+      Spitta, i. 373.  Bach mentions the Weimar post as having been
+      offered to him, but bases his desire to resign the organ of St.
+      Blasius, partly on the ground that his income was inadequate, partly
+      because, though he had succeeded in improving the organ and the
+      conditions of music generally, he saw “not the slightest appearance
+      that things will be altered” for the better.  Mühlhausen, in fact,
+      was a stronghold of Pietism and unsympathetic to Bach’s musical
+      ideals.
+
+   72 He was Court Organist and Kammermusikus.  In the latter post Bach
+      was of use as a Violinist and Clavier player.  The Court band, or
+      Kapelle, on special occasions appeared in Hungarian costume, which
+      Bach presumably donned.  His income began at a sum nearly double
+      that he had received at Arnstadt and Mühlhausen.
+
+   73 The character of his employer, Duke Wilhelm Ernst of Saxe-Weimar,
+      must be reckoned a factor in the development of the youthful Bach.
+      The Duke was not only a cultured artist, but was also a man of
+      genuine piety.
+
+   74 Though Bach retouched them in later years and wrote others, it may
+      be stated in general terms that his Organ works were the fruit of
+      the Weimar period, which lasted from 1708 till 1717.
+
+   75 Bach’s promotion to the position of Concertmeister had taken place
+      certainly before March 19, 1714, on which date Spitta (i. 517)
+      prints a letter in which Bach gives himself the title.  The increase
+      in his income early in 1714 also supports the conclusion, while a
+      letter of January 14, 1714, written by Bach, is not signed by him as
+      Concertmeister.  It would seem that his promotion took place in the
+      interval between the two letters.  As Concertmeister it was part of
+      his duty to provide Cantatas for the church services.  Twenty-two
+      were written by him at Weimar.  See infra, p. 188, for a list of
+      them.
+
+   76 Friedrich Wilhelm Zachau died on August 7 or 14, 1712.
+
+   77 Spitta (i. 513) infers that, in the later years of the Weimar
+      period, Bach spent part of the autumn of every year in visits to the
+      Courts and larger towns of Germany in order to give Organ recitals
+      and to conduct performances of his Cantatas. Besides the visit to
+      Halle, in 1713, to which Forkel alludes, Bach performed at Cassel in
+      1713 or 1714 before the future Frederick I. of Sweden, who presented
+      him with a ring which he drew from his finger.  Bach’s feet, an
+      admirer recorded, “flew over the pedal-board as if they had wings.”
+      In December 1714 he visited Leipzig and performed Cantata No. 61,
+      _Nun komm, der Heiden Heiland._  In 1716 he was again invited to
+      Halle, and at about the same time performed at Meiningen. Forkel
+      records the famous contest with Marchand, the French Organist, at
+      Dresden in 1717.
+
+   78 Forkel’s brief account follows the _Nekrolog._  Bach was in Halle in
+      the autumn of 1713, a year after Zachau’s death.  The latter’s post
+      was still vacant and a new and particularly large Organ (sixty-three
+      speaking stops) was being erected.  The authorities pressed Bach to
+      submit himself to the prescribed tests, and he complied so far as to
+      compose a Cantata and to conduct a performance of it.  On his return
+      to Weimar he received a formal invitation to accept the post.  After
+      some correspondence Bach refused it, partly, perhaps chiefly, on the
+      ground that the income was inadequate.  The refusal was answered by
+      the groundless accusation that he had merely entertained the Halle
+      proposal in order to bring pressure upon Weimar for a rise of
+      salary.  The misunderstanding was cleared away by 1716, when Bach
+      visited Halle again.  In the interval Zachau’s post had been given
+      to his pupil, Gottfried Kirchhoff.  The whole matter is discussed at
+      length in Spitta, i. 515 ff.
+
+   79 Frederick Augustus I. of Saxony was elected, as Augustus II., to the
+      throne of Poland in 1697. He died In 1733.
+
+   80 Louis Marchand, b. 1669, d. 1732; Organist to the French Court and
+      later of the Church of St. Honoré, Paris.  His arrival in Dresden
+      was due to his being in disgrace at Versailles. Whether or not he
+      was offered a permanent engagement at the Saxon Court, he was
+      regarded as the champion of the French style, and as such the
+      challenge was issued to him by Bach.
+
+   81 Francois Couperin, b. 1668, d. 1733; Organist of St. Gervais, Paris.
+      Forkel’s judgment upon his art is not supported by modern criticism.
+
+   82 Bach, however, admired Marchand’s compositions sufficiently to give
+      them to his pupils. See Pirro, p. 52.
+
+   83 Jean-Baptiste Volumier, an acquaintance of Bach, according to Spitta
+      (i. 583). Eitner, _Quellen Lexikon._ says that he was born in Spain
+      and educated in France.  Grove’s _Dictionary_ declares him a
+      Belgian.  In 1709 he was appointed Concertmeister to the Saxon
+      Court.  He died at Dresden in 1728.
+
+   84 It is more probable that Bach was at Dresden either expressly to
+      hear Marchand or upon one of his autumn tours.
+
+   85 Some years earlier Flemming had witnessed Handel’s triumphant
+      descent on the Saxon Court, but had failed to establish friendly
+      relations with him.  See Streatfield’s _Handel_, p. 87.
+
+   86 The article on Marchand in Grove gives a different version of the
+      affair, based upon Joseph Fétis (1784-1871).  According to this
+      story of the event, Bach, summoned from Weimar, attended Marchand’s
+      concert incognito, and after hearing Marchand perform, was invited
+      by Volumier to take his seat at the Clavier.  Bach thereupon
+      repeated from memory Marchand’s theme and variations, and added
+      others of his own.  Having ended, he handed Marchand a theme for
+      treatment on the Organ and challenged him to a contest.  Marchand
+      accepted it, but left Dresden before the appointed hour.
+
+   87 The Prince was brother-in-law of Duke Ernst August of Saxe-Weimar.
+      Bach was, therefore, already known to him and showed the greatest
+      regard for him both at Cöthen and after he had left his service.
+
+   88 The reason for Bach’s migration from Weimar to Cöthen was his
+      failure to obtain the post of Kapellmeister at the former Court upon
+      the death of Johann Samuel Drese in 1716. The post was given to
+      Drese’s son. On August 1, 1717, just before or after his Marchand
+      triumph, Bach was appointed Kapellmeister to the Court of Cöthen.
+      Duke Wilhelm Ernst refused to release him from his engagement, and
+      Bach endured imprisonment from November 6 to December 2, 1717, for
+      demanding instant permission to take up his new post.  Probably his
+      last work at Weimar was to put the _Orgelbüchlein_ into the form in
+      which it has come down to us (see articles by the present writer in
+      _The Musical Times_ for January-March 1917).
+
+      With his departure from Weimar in 1718 Bach left behind him the
+      distinctively Organ period of his musical fertility.  Though his
+      compositions were still by no means generally known, as a player he
+      held an unchallenged pre-eminence.
+
+   89 He was appointed to Cöthen on August 1, 1717, and was inducted at
+      Leipzig on May 31, 1723.
+
+   90 The date actually was November 1720.  At Cöthen Bach had an inferior
+      Organ and little scope for his attainments; his chief duties were in
+      connection with the Prince’s band.  The yearning to get back to the
+      Organ, which eventually took him to Leipzig in 1723, shows itself in
+      his readiness to entertain an invitation to Hamburg in 1720.
+
+   91 Three Organ movements by Bach upon Wolfgang Dachstein’s melody, _An
+      Wasserflüssen Babylon,_ are extant.  See notes upon them and their
+      relation to the Hamburg extemporisation in Terry, _Bach’s Chorals,_
+      Part III.
+
+   92 As at Halle in 1713, Bach does not appear to have gone to Hamburg
+      specially to compete for the post of Organist to the Church of St.
+      James, vacant by the death of Heinrich Friese in September 1720.  He
+      was not able to stay to take part in the final tests, nor was he
+      asked to submit to them, since his visit to Hamburg had given him an
+      opportunity to display his gifts.  In the result the post was given
+      to Johann Joachim Heitmann, who acknowledged his appointment by
+      forthwith paying 4000 marks to the treasury of the Church.  See
+      Spitta, ii. 17 ff.
+
+   93 Johann Kuhnau died on June 25, 1722.
+
+   94 On the title-pages of his published works Bach describes himself as
+      “Capellm. und Direct. Chor. Mus. Lips.”
+
+   95 Forkel has practically nothing to say regarding the Leipzig period
+      of Bach’s musical life.  That a professed historian of music,
+      setting before the public for the first time the life of one whom he
+      so greatly extolled, and with every inducement to present as
+      complete a picture of him as was possible, should have taken no
+      trouble to carry his investigations beyond the point C. P. E. Bach
+      and Agricola had reached in the _Nekrolog_ of 1754 is almost
+      incredible.  The only reason that can be adduced, apart from the
+      lack of a really scientific impulse, is that Forkel was almost
+      entirely ignorant of the flood of concerted church music which
+      poured from Leipzig from 1723 to 1744.  His criticism of Bach as a
+      composer is restricted practically to Bach’s Organ and Clavier
+      works.
+
+   96 On November 19, 1728.  Latterly his interest in music had waned.
+      The fact, along with Bach’s concern for the education of his sons
+      and his desire to return to the Organ, explains his abandonment of
+      the more dignified Cöthen appointment.
+
+   97 The score of this work was in Forkel’s possession, but was missing
+      from his library in 1818 and was assumed to be lost until, in 1873,
+      Rust was able to show that Bach used for the occasion certain
+      choruses and Arias from the _St. Matthew Passion,_ which he was then
+      writing, with the first chorus of the _Trauer-Ode_ as an opening of
+      the extemporised work.  See Spitta, ii. 618; Schweitzer, ii. 208.
+
+   98 In 1723 he received the title Hochfürstlich Weissenfelsische
+      wirkliche Kapellmeister and retained it till his death.  He retained
+      also his Cöthen appointment.
+
+   99 Augustus III. Bach had petitioned for the appointment in a letter
+      dated July 27, 1733 (Spitta, iii. 38), forwarding a copy of the
+      newly-written Kyrie and Gloria of the B minor Mass.
+
+  100 There does not appear to be any ground for the suggestion that the
+      post of Hofcomponist to the Dresden Court was attached ex officio to
+      the St. Thomas’ Cantorate.  Bach applied for it in 1733, taking
+      advantage of the recent accession of the new sovereign, Augustus
+      III., in February 1733.
+
+  101 Friedemann was then at Halle.
+
+  102 May 7, 1747, according to Spitta, quoting Friedrich Wilhelm
+      Marpurg’s _Historisch-kritische Beyträge zur Aufnahme der Musik,_
+      which appeared in 5 vols. between 1754-1778.  On the other hand,
+      Spener, who first records the event, states briefly: “May 11,1747.
+      His Majesty was informed that Kapellmeister Bach had arrived in
+      Potsdam, and that he was in the King’s ante-chamber, waiting His
+      Majesty’s gracious permission to enter, and hear the music.  His
+      Majesty at once commanded that he should be admitted” (Spitta, iii.
+      231 n.).  If the Marpurg and Spener dates are reliable, it looks as
+      though Friedemann’s story of his father, travel-stained and weary,
+      being hurried incontinent into the presence of the King is a piece
+      of picturesque embroidery.
+
+  103 Clearly this was a story that Wilhelm Friedemann prided himself on
+      the telling, and Forkel’s remark suggests the need for caution in
+      accepting all its details.  Frederick’s courtesy to Bach, however,
+      tends to discredit the story that ten years earlier (1737) Handel
+      deliberately refused to meet the King at Aix-la-Chapelle owing to
+      the peremptoriness of his summons.  Mr. Streatfleld (p. 145) also
+      shows that Frederick was not at Aix until 1741, when Handel was
+      writing the _Messiah_ in London.
+
+  104 Gottfried Silbermann, a pioneer of the modern pianoforte.  Bach was
+      already familiar with his Claviers with hammer action, and indeed
+      had offered useful criticism of which Silbermann had taken
+      advantage. See Spitta, ii. 46.
+
+  105 * The pianofortes manufactured by Silbermann, of Freiberg, pleased
+      the King so much, that he resolved to buy them all.  He collected
+      fifteen.  I hear that they all now stand, unfit for use, in various
+      corners of the Royal Palace.  [Robert Eitner, in 1873, found one of
+      the pianos in Frederick the Great’s room at Potsdam.]
+
+  106 According to another account, which Spitta (iii. 232) follows, Bach
+      played before a large congregation in the Church of the Holy Spirit,
+      Potsdam. The King does not appear to have been present. The
+      extemporisation of the six-part Fugue took place in Frederick’s
+      presence on the evening of that day.
+
+  107 Bach’s letter to Frederick accompanying the gift is dated 7th July
+      1747. He calls it “a musical offering, of which the noblest portion
+      is the work of Your Majesty’s illustrious hand.”  In addition to
+      Forkel’s analysis it contains a Sonata for Flute, Violin, and
+      Clavier, and a canon perpetuus for the same three instruments.
+
+  108 John Taylor (1703-72), oculist to George II.  The operation took
+      place in the winter of 1749-50. Taylor is said to have operated on
+      Handel in 1751 (see the article on him in the _Dict. Nat.
+      Biography._).  Streatfield (_Handel,_ p. 212), however, does not
+      mention Taylor, and his account suggests that Samuel Sharp, of Guy’s
+      Hospital, was the operator in Handel’s case.
+
+  109 The actual date was July 28, at 8.45 P.M. Bach was working to the
+      very moment of his collapse on July 18.  Probably his last work was
+      the Choral Prelude (Novello bk. xvii. 85) on the melody _Wenn wir in
+      höchsten Nöthen sein._  Facing eternity, he bade his son-in-law,
+      Altnikol, inscribe the movement with the title of the Hymn, _Vor
+      deinen Thron tret ich hiemit,_ whose first stanza filled his mind:
+
+      Before Thy throne, my God, I stand,
+      Myself, my all, are in Thy hand.
+
+      An addendum to the Genealogy, in C. P. E. Bach’s hand, gives July 30
+      as the date of his father’s death.
+
+  110 July 18.
+
+  111 See Genealogical Tables VII. and VIII.
+
+  112 The statement is misleading.  Of the five sons of the first
+      marriage, two were famous, two died in infancy, and the fifth
+      abandoned a promising musical career for the law. Of the six sons of
+      the second marriage, one was imbecile, three died in infancy, two
+      were famous.
+
+  113 See Introduction, p. XXI, supra.
+
+  114 In view of Bach’s memorial of August 23, 1730 (infra), this seems to
+      be  the meaning of the resolution.
+
+_  115 Steigt freudig in die Luft,_ first performed at Cöthen, set to a
+      new text, _Schwingt freudig euch empor._
+
+  116 The well-known portrait by C. F. Rr. Liszewski in the Joachimsthal
+      Gymnasium, Berlin, was painted in 1772, twenty-two years after
+      Bach’s death.  It represents him at a table with music-paper before
+      him and an adjacent Clavier.  Pirro uses for his frontispiece a
+      portrait by Geber, which bears no resemblance whatever to the
+      Haussmann or Volbach pictures.  Mention must also be made of a
+      singularly engaging picture of Bach at the age of thirty-five.  It
+      hangs in the Eisenach Bach Museum and is by Johann Jak. Ihle.  It is
+      reproduced as the frontispiece of this volume.
+
+  117 His _Versuch über die wahre Art des Klavier zu spielen_ was
+      published (Part I.) in 1753.
+
+  118 Forkel’s meaning can be made clear in the following manner: place
+      the thumb and fingers of either hand upon the notes C D E F G of the
+      pianoforte so that the three middle fingers lie more or less flat
+      upon the keys; then draw back the three middle fingers until they
+      form an arch having their tips approximately in a straight line with
+      the tips of the thumb and little finger upon the keys.
+
+  119 It must be remembered that Forkel is speaking of the Clavier and not
+      of the Pianoforte.
+
+  120 The Harpsichord, as its name implies, was an instrument whose
+      strings were plucked by a plectrum. Bach preferred the older
+      Clavier, or Clavichord, which could be regulated, as the other could
+      not, by nicety of touch. See note, p. 68, infra.
+
+  121 Schweitzer (i. 208) points out that Bach’s touch was modern, in that
+      he realised that “singing tone” depends not only upon the manner in
+      which the keys are struck, but, to a great extent, on the regulation
+      of their ascent.
+
+      Of Handel’s touch, Burney writes (quoted by Rockstro, p. 349): “His
+      touch was so smooth, and the tone of the instrument so much
+      cherished, that his fingers seemed to grow to the keys.  They were
+      so curved and compact when he played, that no motion, and scarcely
+      the fingers themselves, could be discovered.”
+
+  122 At the beginning of the seventeenth century, as Spitta points out
+      (ii. 34), the art of fingering had not developed.  Speaking
+      generally, neither thumb nor little finger was employed.  It was not
+      until the beginning of the eighteenth century that a scientific
+      method emerged, a development rendered necessary by the advance in
+      the modes of musical expression.  C. P. E. Bach, quoted by
+      Schweitzer (i. 206), puts this concisely: “My late father told me
+      that in his youth he had heard great men who never used the thumb
+      except when it was necessary to make big stretches.  But he lived in
+      an epoch when there came about gradually a most remarkable change in
+      musical taste, and therefore found it necessary to work out for
+      himself a much more thorough use of the fingers, and especially of
+      the thumb, which, besides performing other good services, is quite
+      indispensable in the difficult keys, where it must be used as nature
+      intends.”
+
+  123 According to Mr. Arnold Dolmetsch, Clavichords with special strings
+      for each note (bundfrei) were known in Bach’s time.
+
+  124 In the _Essay_ already referred to.  For a discussion of Couperin’s
+      method see Spitta, ii. 37 ff.
+
+  125 For instance, the Rondeau in B flat in Anna Magdalena’s _Noten-
+      buch_ (No. 6) (1725) is by Couperin.
+
+  126 No doubt the friend who prepared this trap for Bach was Johann
+      Gottfried Walther.  His compositions frequently were characterised
+      by intricacy.
+
+  127 Mozart had the same gift.  When visiting St. Thomas’ School in 1789,
+      he heard with astonishment a performance of Bach’s Motet, _ Singet
+      dem Herrn ein neues Lied._ “At the conclusion he expressed his
+      delight, and said, ‘Now that is something from which a man may
+      learn.’  On being informed that Bach was Cantor to this school, and
+      that his Motets were venerated there as reliques, he was eager to
+      see them.  No score being to be obtained, they handed him the
+      separate parts, and it was interesting to observe his manner of
+      reading them, holding some in his hands, some on his knees, placing
+      some on chairs around him; seeming thoroughly lost to everything,
+      and not rising till he had thoroughly satisfied his curiosity”
+      (Holmes, _Life of Mozart,_ ed. Dent, p. 251).
+
+  128 There were in Bach’s time three “Clavier” instruments in use. The
+      oldest, the Clavichord, as a rule, had two strings to every note,
+      set in motion by a “tangent” striking them from below.  Its
+      advantage was that it permitted the tone to be regulated by the
+      touch.  For that reason, though its tone was weak, Bach preferred
+      it.  The Clavicembalo, or Harpsichord, as it is called in the text,
+      was in general known as the “Flügel,” the strings being plucked, or
+      flipped by a quill or metal pin, after the manner of the modern
+      mandoline. The third instrument was the “piano e forte,” or
+      Hammerclavier. The Clavicembalo was also built with two keyboards,
+      like an Organ, and a pedal-board provided with strings.  It was for
+      this instrument that the so-called Organ Sonatas of Bach were
+      written.  He possessed five Clavicembali, but not a single
+      Clavichord at the time of his death. For that reason it has been
+      questioned whether Forkel is accurate in stating that Bach preferred
+      the latter instrument. See Schweitzer, i. 200 ff.
+
+  129 Peters bk. 207 p. 4.
+
+  130 The truth of this remark is very evident in the _Orgelbüchlein._
+
+  131 Forkel writes as though he were in a position by personal knowledge
+      to compare the gifts of Bach and his son.  In fact he was born in
+      1749 and was less than two years old when Bach died.
+
+  132 On Bach’s use of the stops see Spitta, i. 394 ff., and Pirro’s
+      _L’Orgue de J.-S. Bach._
+
+  133 Johann Joachim Quantz, b. 1697; flute player and composer; taught
+      Frederick the Great the flute; settled at Berlin as Kammer-musikus
+      and Court Composer; d. 1773.
+
+  134 The _Nekrolog_ sums up more briefly than Forkel, in a judgment
+      which, without doubt, is the very truth: “Bach was the greatest
+      Organ player that had yet been known.”
+
+  135 Johann Adolph Scheibe, a native of Leipzig, was an unsuccessful
+      candidate for the Organistship of St. Thomas’ Church in 1729.  Bach
+      was one of the judges.  In 1737 Scheibe published in the “Kritische
+      Musikus” a criticism of Bach which, while doing justice to his
+      powers as an organist, characterised his compositions as “turgid and
+      confused in character.”  Bach was incensed by the criticism and
+      asked his friend, Professor Birnbaum of Leipzig, to answer it.
+      Scheibe replied in 1739, with a wholly unjustified challenge of
+      Bach’s general education and culture. In his “Phoebus and Pan,”
+      performed in 1731, Bach had already had the satisfaction of
+      representing Scheibe as “Midas” and calling him an ass.  On the
+      whole matter see Schweitzer, i. 178 ff. and Spitta, iii. 252.
+      Scheibe conducted the Court orchestra at Copenhagen from 1742-49 and
+      died there in 1776.
+
+  136 Georg Andreas Sorge, “Court and Town Organist to the Count of Reuss
+      and Plau at Lobenstein,” in his dedication thus commended Bach: “The
+      great musical virtue that Your Excellency possesses is embellished
+      with the excellent virtue of affability and unfeigned love of your
+      neighbour.” See Schweitzer, i. 155.
+
+  137 The following passage from the Autobiography of Hector Berlioz (ed.
+      Dent, p. 11) is relevant: “My father would never let me learn the
+      piano; if he had, no doubt I should have joined the noble army of
+      piano thumpers…Sometimes I regret my ignorance, yet, when I think of
+      the ghastly heap of platitudes for which that unfortunate piano is
+      made the daily excuse—insipid, shameless productions, that would be
+      impossible if their perpetrators had to rely, as they ought, on
+      pencil and paper alone—then I thank the fates for having forced me
+      to compose silently and freely by saving me from the tyranny of
+      finger-work, that grave of original thought.”
+
+  138 Antonio Vivaldi, A. 1743; a master of form.  That fact turned the
+      attention of German composers to him; while the popularity of his
+      Violin Concertos also attracted musicians, like Bach, whose work at
+      Cöthen was in close association with the Court Kapelle or band.
+
+  139 Bach re-wrote sixteen Vivaldi Violin Concertos for the Clavier, four
+      of them for the Organ, and developed one into a Concerto for four
+      Claviers and a quartet of strings which Forkel enumerates ( infra,
+      p. 132) as a composition of Bach’s (Peters bk. 260). Bach learnt
+      from Vivaldi “clearness and plasticity of musical structure.” See
+      article _Vivaldi_ in Grove; Spitta, i. 411 ff; Schweitzer, i. 192
+      ff.  The Vivaldi Clavier Concertos are in Peters bk. 217; the Organ
+      Concertos in Novello bk. 11. Not all these transcriptions are based
+      on Vivaldi. See Schweitzer, i. 193.
+
+  140 Girolamo Frescobaldi, b. 1583, d. 1644; Organist of St. Peter’s,
+      Rome.
+
+  141 Delphin Strungk, b. 1601, d. 1694; Organist of St. Martin’s,
+      Brunswick; composed for the Organ.
+
+  142 Purcell should be added to those whom Forkel mentions as Bach’s
+      models. See infra, p. 261.
+
+  143 * See Kirnberger’s “Kunst des reinen Satzes,” p. 157. [The work was
+      published in two volumes at Berlin in 1771, 1776.]
+
+  144 Transitus regularis= a passing note on the unaccented portions of
+      the bar; transitut irregularis=a passing note on the accented part
+      of the bar.
+
+  145 Spitta (iii. 315 ff. ) prints a treatise by Bach, _Rules and
+      Instructions for playing Thorough-bass or Accompaniment in Four
+      Parts,_ dated 1738. Rule 3 of chap. vi. states: “Two fifths or two
+      octaves must not occur next one another, for this is not only a
+      fault, but it sounds wrong.  To avoid this there is an old rule,
+      that the hands must always go against one another, so that when the
+      left goes up the right must go down, and when the right goes up the
+      left must go down.”
+
+  146 Actually the third beat of the fourth bar from the end. P. bk. 1 p.
+      37 Fugue no. 9.
+
+  147 Forkel edited the _Wohltemperirte Clavier_ for Hoffmeister in 1801.
+
+  148 The rule is not in the _Rules and Instructions_ already referred to.
+
+  149 Suite No. 6, in D minor (P. bk. 204 p. 84).
+
+  150 * Many people hold the opinion that the best melody is one which the
+      largest number of persons can understand and sing.  But this cannot
+      be admitted, for if it were true, popular airs which are sung up and
+      down the country by all classes, even the lowest, must be accounted
+      the finest and best.  I should be inclined to state the proposition
+      conversely: a melody which attracts everybody is invariably of the
+      most ordinary kind.  In that form the statement might, perhaps, pass
+      as a principle.
+
+  151 Forkel alludes to the _Goldberg Variations_ (P. bk. 209).
+
+  152 P. bks. 205, 206.
+
+  153 P. bks. 203, 204.
+
+  154 P. bk. 207.
+
+  155 Bach wrote three Suites (Partita) and three Sonatas for Solo Violin.
+      They date from about 1720 and are in the keys of G minor, B minor, A
+      minor, D minor, C major, and E major (P. bk. 228).  The six
+      Violoncello Suites date from the same period and are in G major, D
+      minor, C major, E flat major, C minor, and D major (P. bks. 238a,
+      238b).
+
+  156 Reinhard Keiser, b. 1673, d. 1739; scholar of the Leipzig
+      Thomas-schule; settled at Hamburg, 1694; composed a number of
+      Operas, and for a time had a great vogue.
+
+  157 It was precisely his agreeable operatic Arias that expressed
+      Handel’s genius in the eyes of his generation.  With rare exceptions
+      that branch of his work is obsolete and his cult survives mainly in
+      the _Messiah,_ which supports his quite posthumous reputation as
+      “musician in ordinary to the Protestant religion.” See Mr. R. A.
+      Streatfield’s _Handel,_ Introduction.
+
+  158 Schweitzer advances the opinion, which may perhaps be challenged,
+      that inevitable and natural as Bach’s melodies are, they do not give
+      the impression of “effortless invention.”  Bach, he holds, worked
+      like a mathematician, who sees the whole of a problem at once, and
+      has only to realise it in definite values.  Hence, he agrees with
+      Spitta, Bach’s way of working was quite different from Beethoven’s.
+      With Beethoven the work developed by means of episodes that are
+      independent of the theme.  With Bach everything springs with
+      mathematical certainty from the theme itself. See Schweitzer (i.
+      211) on Bach’s methods of working.
+
+  159 Johann Sebastian Bach’s _Vierstimmige Choralgesänge_ were published
+      in 1765 and 1769.  C. P. E. Bach was concerned only with the first
+      volume.  Forkel perhaps refers to an edition of the _Choralgesänge _
+      issued by Breitkopf in four parts at Leipzig in 1784, 1785, 1786,
+      and 1787, and edited by C. P. E. Bach.
+
+  160 Forkel indicates the period 1720-1750.  But in 1720 Bach had already
+      completed the _Orgelbüchlein_ and the greater part of his Organ
+      works.
+
+  161 * There are people who conclude that Bach merely perfected harmony.
+      But if we realise what harmony is, a means to extend and emphasise
+      musical expression, we cannot imagine it apart from melody.  And
+      when, as in Bach’s case, harmony is actually an association of
+      melodies, such a view becomes the more ridiculous.  It might perhaps
+      be reasonable to say of a composer that his influence was restricted
+      to the sphere of melody, because we may get melody without harmony.
+      But there cannot be real harmony without melody.  Hence the composer
+      who has perfected harmony has influenced the whole, whereas the
+      melodist has left his mark only on a fraction of his art.
+
+  162 As has been pointed out already (supra, p. 14) Bach’s earliest
+      church Cantatas date from the Arnstadt period.
+
+  163 The statement certainly needs a caveat.  No composer of his period
+      studied his text more closely or reverently than Bach.  No one, on
+      the other hand, was more readily fired by a particular word or image
+      in his text to give it sometimes irrelevant expression.
+
+  164 Of Bach’s church Cantatas 206 have survived.  In only 22 of them
+      does Bach fail to introduce movements based upon the Lutheran
+      Chorals.
+
+  165 We must attribute to Forkel’s general ignorance of Bach’s concerted
+      church music his failure to comment upon a much more remarkable
+      feature of the recitatives, namely, their unique treatment of the
+      human voice as a declamatory medium, a development as remarkable as
+      Wagner’s innovations in operatic form a century later.
+
+  166 It was not the imperfections of the choir but the indifference of
+      Bach’s successors at St. Thomas’, Leipzig, that was chiefly
+      responsible for the neglect of his Cantatas in the latter half of
+      the eighteenth century.  Johann Friedrich Doles (1716-89) was the
+      only Cantor who realised the greatness of his predecessor’s
+      concerted church music.
+
+  167 The _Trauer-Ode_ was performed on October 17, 1727.  Bach finished
+      the score two days before the performance!  A parallel case is that
+      of Mozart, who finished the overture of _Don Giovanni_ on the
+      morning of the first performance of the Opera, and actually played
+      it unrehearsed that evening.
+
+  168 It has been pointed out already that Bach used the _St. Matthew
+      Passion_ music, set to other words, for the occasion. No. 26 (“I
+      would beside my Lord be watching”) was sung to the words “Go,
+      Leopold, to thy rest”!
+
+  169 Of the 206 surviving Cantatas, 172 were written for the Leipzig
+      choir.
+
+  170 Forkel’s knowledge is very incomplete.
+
+  171 Elsewhere Forkel mentions only one of the secular Cantatas.
+
+  172 There is a tradition that Bach wrote a comic song, _Ihr Schönen,
+      höret an,_ which was widely current about the time of his death
+      (Spitta, iii. 181 n.). The Aria, _So oft ich meine Tabakspfeife,_ in
+      A. M. Bach’s _Notenbuch_ of 1725, should be mentioned.  See B. G.
+      xxxix. sec. 4.
+
+  173 Bach’s method has come down to us in treatises by two of his pupils,
+      C. P. E. Bach’s _Essay_ and Kirnberger’s _Die Kunst des reinen
+      Satzes in der Musik,_ to which reference has been made already.
+
+  174 Supra, p. 60.
+
+  175 Bach wrote eighteen Preludes for Beginners.  They are all in P. bk.
+      200.
+
+  176 Most of these movements, which Bach called indifferently
+      “Inventions” (ideas) and “Praeambula” (Preludes), were written in
+      1723. They are in P. bk. 201.
+
+  177 Heinrich Nikolaus Gerber, who was Bach’s pupil from 1724 to 1727,
+      particularly emphasises this feature of Bach’s teaching.
+
+  178 See on the whole matter Spitta, iii. 117 ff. Bach’s method is
+      illustrated by his _Rules and Instructions_ (1738) printed by
+      Spitta, iii. 315 ff., and also by the _Einige höchst nöthinge
+      Regeln_ at the end of A. M. Bach’s _Notenbuch_ (1725).
+
+  179 Mozart wrote as follows to a correspondent who asked him what his
+      method of composition was: “I can really say no more on this subject
+      than the following; for I myself know no more about it, and cannot
+      account for it. When I am, as it were, completely myself, entirely
+      alone, and of good cheer—say, travelling in a carriage, or walking
+      after a good meal, or during the night when I cannot sleep; it is on
+      such occasions that my ideas flow best and most abundantly. _Whence_
+      and _how_ they come, I know not; nor can I force them. Those ideas
+      that please me I retain in memory, and am accustomed, as I have been
+      told, to hum them to myself.  If I continue in this way, it soon
+      occurs to me how I may turn this or that morsel to account, so as to
+      make a good dish of it, that is to say, agreeably to the rules of
+      counterpoint, to the peculiarities of the various instruments, etc.
+      All this fires my soul, and, provided I am not disturbed, my subject
+      enlarges itself, becomes methodised and defined, and the whole,
+      though it be long, stands almost complete and finished in my mind,
+      so that I can survey it, like a fine picture or a beautiful statue,
+      at a glance.  Nor do I hear in my imagination the parts
+      successively, but I hear them, as it were, all together.  What a
+      delight this is I cannot tell!…When I proceed to write down my
+      ideas, I take out of the bag of my memory, if I may use that phrase,
+      what has previously been collected into it in the way I have
+      mentioned.  For this reason the committing to paper is done quickly
+      enough, for everything is, as I said before, already finished; and
+      it rarely differs on paper from what it was in my imagination”
+      (Life, ed. Dent, p. 255).
+
+      Wagner, writing in 1851 to Uhlig, who could not understand how the
+      libretto of _Young Siegfried_ could be set to music, expresses the
+      same idea as Mozart: “What you cannot possibly imagine is a-making
+      of itself!  I tell you, the musical phrases build themselves on
+      these verses and periods without my having to trouble at all;
+      everything springs as if wild from the ground” (Life, trans. Ellis,
+      iii. p. 243).
+
+      Schumann writes in 1839: “I used to rack my brains for a long time,
+      but now I scarcely ever scratch out a note.  It all comes from
+      within, and I often feel as if I could go on playing without ever
+      coming to an end” (Grove, vol. iv. p. 353).
+
+  180 Angela Berardi’s _Documenti armonici. Nelli quali con varii
+      discorsi, regole, ed essempii si dimonstrano gli studii arteficiosi
+      della musica_ was published at Bologna in 1687.
+
+  181 Giovanni Maria Buononcini, b. c. 1640, d. 1678; Maestro di Capella
+      at Modena; published his _Musico prattico_ at Bologna in 1673, 1688.
+
+  182 Johann Joseph Fux, b. 1660, d. 1741; Kapellmeister at Vienna;
+      published his _Gradus ad Parnassum_ at Vienna in 1725.
+
+  183 See supra, p. 74.
+
+  184 * I speak here only of those pupils who made music their profession.
+      But, besides these, Bach had a great many other pupils.  Every
+      dilettante in the neighbourhood desired to boast of the instruction
+      of so great and celebrated a man.  Many gave themselves out to have
+      been his pupils who had never been taught by him.
+
+  185 See Spitta, i. 522; Schweitzer, i. 214 for farther details regarding
+      Vogler, who died circ. 1765.
+
+  186 Gottfried August Homilius, b. 1714, d. 1785; pupil of Bach, circ.
+      1735.  Cantor of the Kreuzschule, Dresden.
+
+  187 Christoph Transchel (1721-1800) taught music at Leipzig and Dresden;
+      Bach’s pupil and friend, circ. 1742.  See Spitta, iii. 245.
+
+  188 Johann Gottlieb (or Theophilus) Goldberg, clavicenist to Count
+      Kaiserling (infra, p. 119) for whom Bach wrote the so-called
+      _Goldberg Variations._ He was born circ. 1720 and was a pupil of
+      Bach from 1733-46.
+
+  189 Johann Ludwig Krebs, b. 1713, d. 1780; Bach’s pupil, 1726-35. Bach
+      said of him that he was “the best crab (Krebs) in the brook (Bach).”
+
+  190 Johann Christoph Altnikol, d. 1759.
+
+  191 Johann Friedrich Agricola, b. 1720, d. 1774; pupil of Bach circ.
+      1738-41; Director of the Royal Chapel, Berlin.
+
+  192 Pier Francesco Tosi, b. circ. 1650; singing master in London. His
+      _Opinioni de’ canton antichi e moderni, o sieno osservazioni sopra
+      il canto figurato_ was published at Bologna in 1723.
+
+  193 Johann Gottfried Müthel, b. circ. 1720, d. circ. 1790; pupil of Bach
+      in 1750 and resident in his house at the time of his death; organist
+      of the Lutheran Church, Riga.
+
+  194 Johann Philipp Kirnberger, b. 1721, d. 1783; Bach’s pupil, 1739-41.
+
+  195 Louisa Amalia, of Brunswick-Wolfenbüttel, wife of Frederick the
+      Great’s brother, and mother of his successor, Frederick William II.
+      (1786-97).
+
+  196 The second work was published in 1773 at Berlin. For the first, see
+      supra, p. 74.
+
+  197 Johann Christian Kittel, b. 1732, d. 1809; one of Bach’s latest
+      pupils; Organist of the Predigerkirche, Erfurt.  He is said to have
+      possessed a portrait of his master and to have rewarded his pupils
+      for good playing by drawing the curtain which usually covered the
+      picture and permitting them to look upon it.  It is, perhaps, the
+      portrait, recently discovered by Dr. Fritz Volbach, which is
+      reproduced at p. 92 of this volume.
+
+  198 Nothing seems to be known of him.
+
+  199 Johann Martin Schubart succeeded Bach at Weimar in 1717.  He was
+      born in 1690 and died in 1721. See Spitta, i. 343.
+
+  200 In addition to those mentioned by Forkel, the following pupils of
+      Bach are known: Johann Gotthilf Ziegler, of St. Ulrich’s Church,
+      Halle; J. Bernhard Bach, of Ohrdruf; Heinrich Nikolaus Gerber,
+      Organist at Sondershausen; Samuel Anton Bach, of Meiningen; Johann
+      Ernst Bach, of Saxe-Weimar; Johann Elias Bach, Cantor at
+      Schweinfurt; Johann Tobias Krebs, organist at Buttelstädt, and his
+      sons, Johann Ludwig, Johann Tobias, and Johann Carl; Johann
+      Schneider, organist of St. Nicolas’, Leipzig; Georg Friedrich
+      Einicke, Cantor at Frankenhausen; Johann Friedrich Doles, Bach’s
+      second successor in the Cantorate of St. Thomas’; Rudolph Straube,
+      who afterwards settled in England; Christoph Nichelmann, cembalist
+      to Frederick the Great; Christian Gräbner, and Carl Hartwig.
+
+      For full information upon Bach’s pupils see Spitta, i. 522 ff., ii.
+      47 ff., iii. 116 ff., 239 ff., and the relative articles in Grove’s
+      _Dictionary._
+
+  201 Forkel does not do justice to his friend.  C. P. E. Bach is
+      recognised as the immediate precursor of Haydn and as the link
+      between the latter and J. S. Bach.
+
+  202 Mozart had a very particular regard for him.  See Schweitzer i. 220
+      on his brothers’ abilities as composers.
+
+  203 Spitta (iii. 262) quotes a characteristic anecdote.  To some one who
+      praised his skill on the Organ Bach replied: “There is nothing
+      wonderful about it.  You merely strike the right note at the right
+      moment and the Organ does the rest.”
+
+  204 See supra, p. 19.  Bach himself certainly was the challenger.
+
+  205 When Handel was at Venice in 1708, Domenico Scarlatti, hearing a
+      stranger touching the Harpsichord at a masquerade, exclaimed, “That
+      must either be the famous Saxon or the Devil” (Rockstro’s _George
+      Frederick Handel,_ p. 48).  Streatfield (p. 145) mentions a similar
+      event which took place in 1737.  Hearing a stranger playing a Fugue
+      in one of the Flemish churches, the organist embraced him, saying,
+      “You can be no other but the great Handel.”
+
+  206 Heinrich Lorenz Hurlebusch was organist of three churches in
+      Brunswick.  His visit to Bach took place in 1730, seemingly.  See
+      Schweitzer, i. 154.
+
+  207 Schweitzer prints an appreciation of Hurlebusch which suggests that
+      he was a man of distinct ability and “a paragon of politeness.”
+
+  208 Antonio Caldara, b. circ. 1670; vice-Kapellmeister at Vienna,
+      1716-36; d. 1736.
+
+  209 Johann Adolph Hasse, b. 1699, d. 1783; Kapellmeister and Director of
+      the Opera, Dresden.
+
+  210 Johann Gottlieb Graun, b. circ. 1698, d. 1771; conductor of the
+      royal Kapelle, Berlin.
+
+      Carl Heinrich Graun, b. 1701, d. 1759; like his brother, in
+      Frederick the Great’s service.
+
+  211 Georg Philipp Telemann, b. 1681, d. 1767; Cantor and Musik-direktor
+      in Hamburg.
+
+  212 Johann Dismas Zelenka, b. 1679 or 1681, d. 1745; Court Composer at
+      Dresden.
+
+  213 Franz Benda, b. 1709, d. 1786; Concertmeister to Frederick the Great
+      upon the death of J. G. Graun.
+
+  214 On Telemann’s influence on Bach see Spitta, ii. 437.
+
+  215 Handel’s second visit to Halle took place in June 1729.  His
+      mother’s illness detained him.  See Streatfield, p. 110.
+
+  216 Handel’s third visit took place in July-August 1760.  He was laid up
+      by a severe accident in the course of it, and appears to have not
+      recovered from it at the time of Bach’s death.
+
+  217 Faustina Bordoni, b. 1693, d. 1783; m. Hasse in 1730.  She was one
+      of the most famous singers of the day.
+
+  218 The original has “Liederchen.”
+
+  219 See supra, p. 37.  Compare Handel’s case.  He received a royal
+      pension of £600 per annum, and though he was twice a bankrupt, left
+      £20,000.
+
+  220 The Duke was the nephew of, and succeeded, Duke Wilhelm Ernst in
+      1728.
+
+  221 The Canonic Variations on the melody are published by Novello bk.
+      19, p. 73. For the Mizler Society, see supra, p. xxiv.
+
+  222 Spitta (iii. 294) regards the statement as incorrect and holds that
+      the work was engraved before Bach joined Mizler’s Society in June
+      1747.  Pirro (p. 215) supports Spitta and regards the Variations as
+      having been engraved at Nürnberg “vers 1746.”
+
+  223 The first of Bach’s works to be engraved was the Mühlhausen Cantata,
+      _Gott ist mein König,_ (parts only).  It was published in 1708, when
+      Bach was twenty-three years old.  Forkel refers to Partita I. in the
+      first Part of the _Clavierübung_ (P. bk. 205 p. 4).  It was engraved
+      in 1726, when Bach was forty-one years old.  In 1731 he republished
+      it, with five others that had appeared in the interval, in the first
+      Part of the _Clavierübung_ (P. bks. 205, 206).
+
+  224 Forkel’s rather casual critical axioms seem to be as follows:
+      “Publication postulates excellence”; “An amended MS. implies that
+      the original text was not a finished work of art.”
+
+  225 It was the first work engraved by Bach himself, though the parts of
+      the Cantata  _Gott ist mein König_ had been published by the Town
+      Council at Mühlhausen in 1708.
+
+  226 The work was published at Leipzig “in Commission bey Boetii Seel,
+      hinderlassenen Tochter, unter den Rath-hause.”  The Suites, or
+      Partitas (P. bks. 205, 206), are in B flat major, C minor, A minor,
+      D major, G major, E minor.
+
+  227 In 1801 Hoffmeister and Kühnel unsuccessfully attempted to publish
+      Bach’s works by subscription.
+
+  228 The Partita in B minor (P. bk. 208 p. 20).
+
+  229 The work was published in 1735.  The Italian Concerto in F major is
+      published by Novello and P. bk. 207.
+
+  230 The work appeared in 1739.  It was intended to contain works for the
+      Organ only; the four Duetti are incongruous and seem to have crept
+      in by mistake.  See the scheme of the work discussed in Terry,
+      _Bach’s Chorals,_ Part III.  The Choral Preludes are in Novello’s
+      ed., bk. xvi.
+
+  231 The work was published circ. 1747-50.  Five of the six movements
+      certainly, and the sixth with practical certainty, are adaptations
+      to the Organ of movements out of Bach’s Church Cantatas.  See Parry,
+      _Bach,_ p. 535.  The Chorals are in Novello’s ed., bk. xvi.
+
+  232 See supra, p. 65.
+
+  233 Thus the pedal sounds above the part given to the second manual and
+      is often the topmost part.  See Novello’s ed., bk. xvi. 4.
+
+  234 Published circ. 1742; the so-called “Goldberg Variations.” They are
+      in P. bk. 209.
+
+  235 Variation No. 10 is a Fughetta in four parts.
+
+  236 Ten of the Variations are marked “a 2 Clav.,” that is, for two
+      keyboards or manuals: Nos. 8, 11, 13, 14, 17, 20, 23, 25, 26, 28.
+      Nos. 5, 7, 29 are marked “a 1 ovvero 2 Clav.”
+
+  237 The movement is constructed upon two merry folk-songs, _Kraut and
+      Rüben haben mich vertrieben,_ and _Ich bin so lang nicht bei dir
+      gewirt_.
+
+  238 See supra, p. 101.
+
+  239 In fact Bach wrote the early _Aria variata alla maniera Italiana_
+      (Peters bk. 215, p. 12) for the Clavier.  For the Organ he wrote
+      four sets of Variations upon as many Choral melodies (Novello bk.
+      xix.).  But all except the Goldberg Variations are youthful works,
+      and in his maturity Bach clearly had no liking for the form.  The
+      theme of the Goldberg Variations, moreover, is itself a youthful
+      idea; at least it dates back to as early as 1725, and is found in A.
+      M. Bach’s _Notenbuch_ (No. 26, Aria in G major).
+
+  240 There is no reference to these corrigenda in the B. G. edition.
+
+  241 The work has been referred to already in connection with Bach’s
+      membership of Mizler’s Society (supra, p. 112).  It was composed
+      presumably circ. 1746 and in point of technical skill is the most
+      brilliant of Bach’s instrumental works.  Forkel states that it was
+      engraved after June 1747, when Bach joined Mizler’s Society.  Spitta
+      (iii. 295) is of opinion that it was already engraved by then.  It
+      is in bk. xix. of Novello’s edition.
+
+  242 Supra, p. 25.
+
+  243 The presentation copy of the work, which Bach sent to Frederick
+      along with a dedicatory letter (July 7, 1747), is in the Berlin
+      Amalienbibliothek and proves that only the first third of the work,
+      as far as the “Ricercare a sei voci” (see B.G. XXXI. (2)) was sent
+      then.  The latter and the remaining canons were dispatched
+      subsequently probably by the hand of C. P. E. Bach.  The six-part
+      Ricercare was a particular compliment to the King.  Frederick had
+      desired Bach on his visit to play a Fugue in six parts but left it
+      to the player to select his theme.  Bach now employed the thema
+      regium for the purpose.  The first reissue of the work was by
+      Breitkopf and Haertel in 1832. Peters (bk. 219) brought it out in
+      1866. See Schweitzer, i. 417 IV. and Spitta, iii. 191 ff. and 292.
+
+  244 In C minor (P. bk. 237 p. 3).
+
+  245 The statement is inaccurate.  The work was written for the most part
+      in 1749 and the greater part of it was prepared for engraving by
+      Bach himself during his last illness.  None of his elder sons was
+      with him at his death, and the blunders that disfigure the engraved
+      copy show that they clumsily finished their father’s work.  It is in
+      P. bk. 218.
+
+  246 Friedrich Wilhelm Marpurg, b. 1718, d. 1795.
+
+  247 The work was published shortly after Bach’s death, but had no sale.
+      C. P. E. Bach then commissioned Marpurg to write a preface, and the
+      new edition was published at the Leipzig Fair, Easter, 1762.  In
+      four years only about thirty copies were sold. See Spitta, iii. 197
+      ff. and Schweitzer, i. 423 ff.
+
+  248 In 1756.  See C. P. E. Bach’s advertisement in Felix Grenier, p.
+      232.
+
+  249 The work contains six Fugues and four canons upon the same theme; an
+      unfinished Fugue “a tre soggetti,” the first four notes of the third
+      of which spell B A C H; and the Choral Prelude “Wenn wir in höchsten
+      Nöthen sein.”
+
+  250 Schweitzer explains: “His purpose in this work being a purely
+      theoretical one, Bach writes the Fugues out in score, and calls them
+      ‘counterpoints’ ”
+
+                [  251 B A C H in German musical notation]
+
+  252 Supra, p. 27.  The movement is in N. bk. 17 p. 85.  It is not
+      certain that Bach intended the Prelude or the unfinished Fugue to be
+      included.
+
+  253 C. P. E. Bach was only concerned with the first volume.  Erk, in his
+      edition of the _Choralgesänge,_ conjectures that Kirnberger was
+      responsible for the second.
+
+  254 The four volumes were published at Leipzig between 1784-87.  Spitta
+      states that C. P. E. Bach was the editor.  Erk joins Kirnberger with
+      him in that position.  As C. P. E. Bach died in 1788 Kirnberger’s
+      association with the work is probable, especially if he had already
+      been responsible for the 1769 volume.
+
+  255 Bach’s Clavier school consisted of eighteen Preludes for beginners
+      (all in B.G. XXXVI.); the two-part and three-part Inventions; and
+      the _Well-tempered Clavier._  The six Preludes mentioned by Forkel,
+      and which alone he knew, were published by him for the first time.
+      Seven more are found in Wilhelm Friedemann’s _Clavierbüchlein_ (B.G.
+      XLV. (1)), and the remaining five have survived in texts handed down
+      by others of Bach’s pupils.  The eighteen are in P. bk. 200.
+
+  256 The Autograph was written at Cöthen and is dated 1723.  It also
+      contains the fifteen Symphonies, or three-part Inventions mentioned
+      in paragraph 3.  Both Inventions and Symphonies are in F. bk. 201.
+      According to Spitta (ii. 57 n.) the Inventions were published at
+      Leipzig in 1763.  See also Schweitzer, i. 328 ff.
+
+  257 See the previous note.
+
+  258 The second Part was compiled in 1744 and Bach’s Autograph of it,
+      though not the earliest Autograph, is in the British Museum.  See
+      Schweitzer, i. 331 ff. and Spitta, ii. 161 ff.  The whole work is in
+      P. bks. 1, 2; or 1a, 1b; or 2790a, 2790b.
+
+  259 No. 20. Spitta (ii. 164) attributes it to the years 1707 or 1708.
+      Schweitzer (i. 332) also regards it as a youthful piece written,
+      moreover, for the pedal Clavicembalo.
+
+  260 Nos. 15 and 16.  Spitta, admitting that the two do not rank with the
+      most interesting in the collection, finds no indication of their
+      being of different date from the best movements.
+
+  261 No. 1. Here Spitta (ii. 165 n.) challenges Forkel.
+
+  262 Nos. 11 and 12.  In regard to No. 12 (F minor) Spitta holds Forkel
+      to be in error.  As to No. 11, he expresses the same opinion as in
+      note 3, supra.
+
+  263 The date 1744 places the second Part among Bach’s latest
+      compositions.  On the other hand, like the first Part, it contained
+      work of earlier date.
+
+  264 Chromatic Fantasia and Fugue in D minor (P. bk. 207 p. 4).  It
+      probably dates from circ. 1720-23.
+
+  265 The MS. was discovered in 1876 and is now at Dresden. It was written
+      circ. 1738 and disproves Forkel’s conjecture that the fugue did not
+      belong to the Fantasia and is only partially by Bach.  The Fugue
+      contains forty-seven bars.  As the Autograph is a fair copy the
+      Fugue cannot be called unfinished.  See Spitta, iii. 182.  The
+      Fantasia is in P. bk. 207 p. 50; the Fugue in P. bk. 212 p. 88. See
+      B.C. xxxvi., xxxviii., and xlii. for other Clavier Fantasias.
+
+  266 The true explanation seems to be that the Prelude of the first Suite
+      (A major) is based upon a Gigue by Charles Dieupart (d. circ. 1740),
+      a popular teacher and composer in England.  The words fait pour les
+      Anglois, which head the A major Suite in an early MS., have been
+      wrongly interpreted as applying to the whole set of six.  They
+      merely indicate Dieupart’s borrowed Gigue. See Grove, vol. i. 701,
+      and Parry, _J. S. Bach,_ p. 463.  A copy of the work exists, of date
+      1724-27, made by one of Bach’s pupils.  But the composition of the
+      Suites may certainly be assigned to the Cöthen period.  They are
+      published in P. bks. 203, 204.
+
+  267 The French Suites undoubtedly date back to the Cöthen period, since
+      they figure, though incomplete, in the _Notenbuch_ of A. M. Bach
+      (1722). They are published in P. bk. 202.
+
+  268 Forkel’s incomplete catalogue may be compared with the
+      Bachgesellschaft volumes III., XIV., XXV. (1), XXXI. (2), XXXVI.,
+      XLIL, XLIII. (1 and 2), XLV. (1).  See generally Schweitzer, ch. 15,
+      and Pirro, pp. 218 ff.
+
+  269 P. bks. 205, 206, 208, 212 (fragment in F minor), 214, 215, 1959.
+
+  270 P. bks. 200, 210, 211, 212, 214, 215, 1959.
+
+  271 For the most part these youthful works will be found in B.G. XXXVI.
+
+  272 P. bk. 207 p. 16.
+
+  273 In C minor (P. bk. 200 p. 10).
+
+  274 In P. bks. 232, 233.
+
+  275 Suite in A major (P. bk. 236), Sonata in E minor (P. bk. 236), Fugue
+      in G minor (P. bk. 236), four Inventions (P. bk. 2957), Sonata in G
+      minor (BG. ix. 274; not in P.), Sonata in C major for 2 Violins and
+      Clavier (P. bk. 237).
+
+  276 There are six Sonatas for Flute and Clavier, in B minor, E flat
+      major, A minor, C major, E minor, E major (P. bks. 234, 235).
+
+  277 There are three Sonatas for Clavier and Gamba, in G major, D major,
+      G minor (P. bk. 239).
+
+  278 Forkel omits two Sonatas for Violin, Flute, and Clavier, in G major
+      and C minor (both in P. bk. 237).
+
+  279 As Forkol mentions in secs. 4, 5, 6 the Concertos for two, three,
+      and four Claviers, perhaps he had in mind here seven Concertos for
+      Clavier and Orchestra (P. bks. 248-254).  A Concerto for Clavier,
+      Violin, Flute, and Orchestra (P. bk. 255 p. 4) in A minor also
+      should be mentioned.  Also an Overture, in G minor, for Clavier and
+      Strings (B.G. XLV. (1) p. 190; not in P.)
+
+  280 P. bk. 257 p. 4.
+
+  281 P. bk. 256 p. 4.
+
+  282 There are, in fact, three Concertos for two Claviers and Orchestra:
+      two in C minor and one in C major.  Forkel refers to only one of the
+      former and regards it as antiquated by comparison with the one in C
+      major.  Spitta (iii. 144) attributes the C major to 1730.  Forkel’s
+      C minor in its original form was a Concerto for two Violins, now
+      lost.  The other C minor Concerto is identical with the Concerto in
+      D minor for two Violins and is in P. 257b. Spitta (iii. 138) dates
+      it 1736. See Schweitzer, i. 413.
+
+  283 In D minor and C major (P. bks. 258, 259).  The tradition is that
+      Bach wrote these two Concertos in order to play them with his elder
+      sons.  Spitta (iii. 144) finds the tradition trustworthy.  Hence the
+      two works must have been written by c. 1733 at latest, before the
+      sons left home.  See also Schweitzer, i. 414.
+
+  284 In A minor (P. bk. 260).  This is not an original composition, but
+      is an arrangement by Bach of a Vivaldi Concerto for four Violins.
+      Spitta (iii. 149) assigns it to the same period as the Concertos for
+      three Claviers, c. 1733.  See B.G. XLIII. (1) infra.
+
+  285 The pedal on the small German Organ had only the compass of an
+      octave.
+
+  286 The Great Preludes and Fugues are, with one exception, in B.G. XV.
+      The Prelude and Fugue in E flat was published by Bach in the third
+      Part of the _Clavierübung._  Its Fugue is known as the “St. Anne’s.”
+
+  287 From the figures printed by Forkel the twelve can be identified as
+      follows (the references in parentheses are to the Novello edition of
+      Bach’s Organ works):
+
+            Prelude and Fugue in C minor, the “Great” (bk. vii. 64).
+            Prelude and Fugue in A minor, (bk. vii. 42).
+            Prelude and Fugue in G major, (bk. viii. 112).
+            Prelude and Fugue in E minor, (bk. viii. 98).
+            Prelude and Fugue in B minor, (vii. 52).
+            Prelude and Fugue in C major, (bk. ix. 156).
+            Prelude and Fugue in D minor, (bk. ix. 150).
+            Prelude and Fugue in C major (bk iii. 70).
+            Tocatta and Fugue in D minor (bk. x. 196).
+            Tocatta and Fugue in F major (bk. ix. 176).
+            Prelude and Fugue in G minor (bk. viii. 120).
+            Prelude and Fugue in E minor (bk. ii. 44).
+
+  288 The Passacaglia in C minor (Novello bk. 10 p. 214) was written
+      originally for the Clavicembalo and pedal.  It belongs to the later
+      Weimar period, i.e. circ. 1715.  See Spitta, i. 588 and Schweitzer,
+      i. 280.
+
+  289 They are all printed in Novello bk. 19, and are three in number, on
+      the melodies “Christ, der du bist der helle Tag”, “O Gott, du
+      frommer Gott,” and “Sei gegrüsset, Jesu gütig.”  The pedal is only
+      required in one movement of the first, in none of the second, and
+      considerably in the third.  Without question all three date from
+      Bach’s earliest period, but whether they were written at Arnstadt or
+      Lüneburg cannot be stated.
+
+  290 The fullest collection of these miscellaneous Organ Choral Preludes
+      is in B.G. XL. Not counting variant readings they number fifty-two,
+      besides two fragments and thirteen of doubtful authenticity, of
+      which two are sets of Variations.  The Novello edition contains
+      fifty-two in bks. 18 and 19.  To these must be added the “Eighteen”
+      Preludes on Choral Melodies, which Forkel nowhere mentions, as well
+      as the third Part of the _Clavierübung,_ the _Schübler Chorals,_ and
+      the Variations on _Vom Himmel hoch,_ to which he has already made
+      reference in the first section of this chapter.  As he does not
+      mention it specifically, it is to be inferred that Forkel was
+      ignorant of the existence of the _Orgelbüchlein_; otherwise he could
+      hardly have failed to introduce it in this section.  All Bach’s
+      Choral Preludes, miscellaneous and in collections made by himself,
+      are in Novello’s edition, bks. 15-19.  A useful key to their
+      melodies is provided by bk. 20.  For more detailed information see
+      Terry, _Bach’s Chorals,_ Part III.
+
+  291 The large number of MSS. of many of the miscellaneous Preludes is
+      made evident in the introduction to B.G. XL.
+
+  292 The Sonatas in E flat major, C minor, and D minor are in N. bk. 4; E
+      minor, C major, G major in N. bk. 5.
+
+  293 The so-called “Sonatas” were actually written for a Clavicembalo
+      with two manuals and a pedal.  Bach’s Autograph of them belonged to
+      his second son and an earlier copy of them to Wilhelm Friedemann.
+      Both are now in the Berlin Royal Library.  Friedemann went to
+      Dresden as Organist in 1733 and Spitta is of opinion that the whole
+      of the six Sonatas were in existence by or soon after 1727.  If so,
+      they must be regarded as the outcome of Bach’s early years at
+      Leipzig.  See Spitta, iii. 212 ff. and Schweitzer, i. 278.
+
+  294 None are extant.  Spitta, iii. 213 n., conjectures that Forkel
+      refers to the Trios in D minor and C minor (N. bks. 2 p. 54, 12 p.
+      108) and the Pastorale in F major (N. bk. 12 p. 102.) His incomplete
+      knowledge of the Organ works is revealed by Appendix V. infra.
+
+  295 This is a pure conjecture and Schweitzer scouts it (i. 416 n.).
+
+  296 The oldest copy of them dates from circ. 1720; they belong therefore
+      to the late Cöthen period.  The 1720 MS. is in A. M. Bach’s
+      handwriting and was discovered in 1814 at Petrograd among old papers
+      about to be sent away to a butter dealer.  The Sonatas are in P. bk.
+      228.
+
+  297 They also date from the Cöthen period and are in P. bk. 238a, 238b.
+
+  298 Forkel omits to mention the Brandenburg Concertos (P. bks. 261-266);
+      the Overtures in C major (P. bk. 267), B minor (P. bk. 268), D major
+      (P. bk. 269), D major (P. bk. 2068); and the Violin Concertos in A
+      minor (P. bk. 229), E major (P. bk. 230), and (for two Violins) in D
+      minor (P. bk. 231). In B.G. XXI. (1) is a Symphonic movement, in D
+      major, for Violin and orchestra.  A Sinfonia in F major (B.G. XXXI.
+      96) is another version of the first Brandenburg Concerto.  The
+      Clavier Concertos have been mentioned supra.
+
+  299 The set of five is complete only for Christmas Day, Feast of the
+      Circumcision, Whitsunday (one of the five is of doubtful
+      authenticity), Purification of the B.V.M., and Feast of St. Michael
+      the Archangel.  See Terry, _Bach’s Chorals,_ Part II. 2 ff.
+
+  300 In giving the number of _Passions_ as five, Forkel repeats the
+      statement of the _Nekrolog._  The number corresponds with the five
+      sets of Church Cantatas which Bach is known to have written.  It is,
+      however, exceedingly doubtful whether Bach wrote more than four
+      _Passions._  Only those according to St. Matthew and St. John have
+      come down to us from C. P. E. Bach, who was left the Autographs of
+      both by his father.  The _St. John Passion_ was first performed in
+      1724 and the _St. Matthew Passion_ in 1729. Picander, Bach’s
+      librettist, certainly wrote two other Passion texts, one of which
+      was written for Good Friday 1725, and the second, based on St.
+      Mark’s Gospel, was actually performed at St. Thomas’, Leipzig, on
+      Good Friday 1731.  Spitta (ii. 505) gives good reason to hold that
+      Bach’s music for this Passion was adapted from the _Trauer-Ode,_
+      which he had written in 1727 in memory of Queen Christiane
+      Eberhardine.  But of the 1725 _Passion_ there is no trace.  If it
+      ever existed, its loss probably may be assigned to Wilhelm
+      Friedemann’s carelessness, to whom presumably it was assigned in the
+      division of Bach’s property after his death.  But even so, we have
+      no more than four _Passions._ There exists, however, a fifth
+      _Passion according to St. Luke,_ which is undoubtedly in Bach’s
+      Autograph, and which Spitta is inclined to attribute to Bach
+      himself.  It is published by Breitkopf and Haertel, but is generally
+      regarded as being by another composer than Bach, who probably copied
+      it for use at Leipzig.  On the whole matter see Spitta, ii. 504 ff.,
+      Schweitzer, chap. xxvi., and the Bach-Jahrbuch for 1911
+      (Publications of the New Bachgesellschaft XII. (2)).
+
+  301 Other than the _Passions,_ the only Oratorios are the _Christmas
+      Oratorio_, (1734), the _Easter Oratorio_ (c. 1736), and _Ascension
+      Oratorio_ (c. 1735).
+
+  302 Besides the B minor Mass (1733-? 38) Bach wrote four miscalled
+      “short” Masses, in F major, A major, G minor, and G major.  They all
+      belong to the Leipzig period (c. 1739).
+
+  303 Besides the setting of the Sanctus in the B minor Mass there are
+      four detached settings, in C major, D major, D minor, and G major.
+      Of these only that in D major is probably by Bach (c. 1723).
+
+  304 The music for Saints’ Days is included in the church Cantatas.  For
+      the Birthday Odes see supra, Chap. IIA.
+
+  305 Besides the _Trauer-Ode,_ three or four of the church Cantatas and
+      certainly three of the Motets were written for funerals.  See Terry,
+      op. cit., pp. 24, 44.
+
+  306 Among the church Cantatas there are at least five for use at
+      weddings.  Bach wrote also three secular wedding Cantatas: _Weichet
+      nur, betrübte Schatten_ (c. 1730); _O holder Tag_ (11749); the third
+      (1728) has disappeared.
+
+  307 Two Italian Cantatas—_Amore traditore_ and _Non sa che sia
+      dolore_—have come down to us.  A third, _Andro dall colle al prato,_
+      is lost.  See B.G. XI. (ii.), XXIX.
+
+  308 Only six are genuine. See infra, p. 141.
+
+  309 Of the Motets that have come down to us as his, only six are Bach’s.
+      Forkel mentions five of them in secs. 7 and 3 of the next paragraph;
+      he omits _Lobet den Herrn, alle Heiden._  In 1802-3 Breitkopf and
+      Haertel published six Motets—the five mentioned by Forkel and
+      another, _Ich lasse dich nicht,_ of which Bach made a copy, but
+      whose composer actually was Johann Christoph Bach.  We know that
+      Bach composed at least one Latin Motet for double chorus, and
+      Friedemann’s share of his father’s autographs may have contained it
+      and others known to Forkel but no longer extant.
+
+  310 The Amalienbibliothek of the Joachimsthal Gymnasium, Berlin,
+      contains one of the most important Bach collections, but it has long
+      been superseded by the Royal Library there as the chief repository
+      of Bach’s Autographs.
+
+  311 The Amalienbibliothek has only one Autograph, namely, Cantata 34, _O
+      ewiges Feuer._ The rest are early copies.
+
+  312 Cantata 53.  No Autograph of this Cantata exists, and the copies
+      from which the B.G. edition was printed are in the
+      Amalienbibliothek.
+
+  313 On the contrary, the Cantata belongs to the Leipzig period, 1723-34.
+
+  314 None of the four “short” Masses is in five parts.  All have
+      instrumental accompaniments.  The autograph scores of the Masses in
+      A major and G major are in Messrs. Breitkopf and Haertel’s
+      possession.  Copies of the other two scores, in Altnikol’s
+      handwriting, are in the Berlin Royal Library.  See Introduction to
+      B.G. VIII.
+
+  315 An eight-part Mass in G was performed at a Leipzig Gewandhaus
+      Concert on March 7, 1805, and was published later in the year by
+      Breitkopf and Haertel.  The score is admittedly, for the greater
+      part of the work, in Bach’s hand and is in the Berlin Royal Library.
+      The publication of the work was under consideration by the
+      Bachgesellschaft in 1858.  That it is not by Bach is generally held.
+      It has been attributed to Johann Ludwig Bach (d. 1741).  See
+      Genealogical Table II.
+
+  316 The _St. Matthew Passion._
+
+  317 A nom de plume for Christian Friedrich Henrici (1700-64), who wrote
+      a large number of Bach’s Leipzig texts.
+
+  318 Perhaps Forkel indicates the short _Sanctus_ in Richter’s edition of
+      the _Choralgesänge_, No. 123, or that in B.G. XLI. p. 177.
+
+  319 This is the first Chorus of Cantata No. 38.  It is printed as a
+      separate Motet in Erk, No. 150.
+
+  320 Forkel’s list is complete except for _Lobet den Herrn, alle Heiden._
+
+  321 The opening Chorus of Cantata 144.
+
+  322 Forkel refers to the _Peasant Cantata,_ or _Mer hahn en neue
+      Oberkeet,_ performed on August 30, 1742.  Forkel clearly was not
+      familiar with Bach’s other secular Cantatas.  See B.G. XI. (ii.),
+      XX. (ii.), XXIX.  The Autograph score of the Peasant Cantata is in
+      the Berlin Royal Library.
+
+  323 Forkel’s suggestion was carried out, with varying thoroughness, in
+      the Bachgesellschaft edition.
+
+  324 Forkel’s judgment is at fault.  See Schweitzer, i. 336.
+
+  325 Also in Wilhelm Friedemann’s _Clavierbüchlein._  See Schweitzer, i.
+      279; Spitta, ii. 166.
+
+  326 “Since you cannot please everybody by your actions and work, strive
+      at least to satisfy a few; popular appreciation encourages bad
+      art.”—Schiller’s _ Votiftafeln_
+
+  327 The Cantatas are classified under Appendix II.
+
+  328 The references are to Peters’ edition.  Excepting bk. 1959, which
+      contains pieces of doubtful authenticity, every number printed by
+      Peters is entered in the Chronological Catalogue.
+
+  329 There are three other Sonatas, in A minor, C major, D minor, none of
+      which is an original composition.  They are printed in P. bk. 213.
+      The first and second are adaptations of material in Reinken’s
+      _Hortus Musicus._  The third is a transcription of the second Solo
+      Sonata for Violin.
+
+  330 The references are to Novello’s twelve Books of Bach’s Organ Works,
+      edited by J. F. Bridge and J. Higgs.  The edition is complete, and
+      contains every movement included in Alfred Dorffel’s “Thematisohos
+      Verzeichniss” (second edition, 1882) except his No. 24 on p. 72;
+      Nos. 6 and 8 on page 85; the “Kleines harmonisches Labyrinth”
+      (Dörffel, p. 88, tigs. 131-33), the genuineness of which is
+      questioned by Spitta (ii. 43); and figs. 136-37 on p. 88.  The
+      Novello edition also follows Rust, against Spitta’s judgment, in
+      printing the “Fantasia con Imitazione” (bk. 12 p. 71) as an Organ
+      instead of as a Clavier piece.  Books 15-19 print the Choral
+      Preludes.  See the Peters and Novello editions collated in Appendix
+      V.
+
+  331 Printed as a “Toccata” in E major in B.G. XV. p. 276.
+
+  332 Spitta (ii. 620, 718) mentions a Birthday Cantata written in
+      1717-1721(?), the title of which is lost.
+
+  333 The references are to Peters’ edition.
+
+  334 The D minor contains the famous Chaconne.
+
+  335 The references are to Peters’ edition. In the B.G. edition the
+      Orchestral music is included in the Chamber Music volumes.
+
+  336 Pirro, p. 228, holds that the first two (C major and B minor) were
+      written at Cöthen and the last two (D major and D major) at Leipzig.
+      Schweitzer (i. 402) regards it as not clear in which period the
+      Overtures were written.
+
+  337 In A minor, E major, G major. The G major figures as the fourth
+      Brandenburg (bk. 264) and as the Clavier Concerto in F major (bk.
+      248). The A minor and E major were also converted into Clavier
+      Concerti (G minor and D major) (bks. 249, 251). The D minor Clavier
+      Concerto (bk. 264) preserves a lost Violin Concerto in the same key,
+      and the one in F minor (bk. 250) corresponds with a lost Violin
+      Concerto in G minor (bks. 3068, 3069).
+
+  338 Also arranged as a Concerto for two Claviers (C minor) in P. bk.
+      257b.
+
+  339 Bach wrote another Magnificat, the music of which is lost. See
+      Spitta, ii. 374.
+
+  340 All except the Sanctus in D major are of doubtful authenticity. See
+      Schweitzer, ii. 328 and Spitta, iii. 41 n.
+
+  341 The Concerto in C minor (P. bk. 257) is an arrangement of one for
+      two Violins now lost. The third, also in C minor, is identical with
+      the D minor Concerto for two Violins and is published in that key in
+      the Peters edition.  The remaining Concerto, in C major, is the only
+      one originally written for the Clavier.  See Schweitzer, i. 413.
+
+  342 The work is an amplification of the Prelude and Fugue in A minor,
+      already catalogued among the Clavier works of the Cöthen period.
+      Schweitzer (i. 340) concludes that it was rearranged as an
+      orchestral Concerto early in the thirties, when Bach needed
+      Concertos for the Telemann Society’s Concerts.
+
+  343 The scheme of the G major and C major Preludes and Fugues dates back
+      to the Weimar period. See Spitta, iii. 208; Parry, p. 67.
+
+  344 These so-called “Organ” Sonatas were written for the Pedal
+      Clavicembalo.
+
+  345 The Clavier Suites in E minor, E major, and C minor are arrangements
+      of these, otherwise lost, Lute Partitas. See Schweitzer, i. 344.
+
+  346 In Mizler’s _Nekrolog._
+
+  347 Supra, p. 138.
+
+  348 See the present writer’s _Bach’s Chorals,_ Part II. p. 1.
+
+  349 Ibid., p. 4.  Four more Cantatas, of doubtful authenticity, are
+      published by the Bachgesellschaft, Jahrgang XLI.
+
+  350 See the Table of Cantatas set out in chronological order.
+
+  351 Nos. 18, 24, 28, 59, 61, 142, 160.
+
+  352 Nos. 31, 70, 72, 80, 132, 147, 152, 155, 161, 162, 163, 164, 166,
+      168, 185, 186 (part).
+
+  353 Nos. 145, 148 (part), 156, 157, 159, 171, 174, 188, 190 (one
+      version), _Ehre sei Gott_ (incomplete).
+
+  354 Nos. 68, 74, 87, 103, 108, 128, 175, 176, 183.
+
+  355 Nos. 47, 141.
+
+  356 Nos. 50, 191, 196.
+
+  357 Nos. 4, 97, 100, 107, 112, 117, 118, 129, 137, 177, 192.
+
+  358 No. 15: _Denn du wirst meine Seele nichfc in der Hölle lassen._
+
+  359 The intimate personal note of the opening words of the
+      Recitative—“Mein Jesus ware tot”—reveals him.
+
+  360 Spitta, i. 231.
+
+  361 Schweitzer, i. 103.
+
+  362 No. 131: _Aus der Tiefe rufe ich, Herr, zu dir._
+
+  363 No. 71: _Gott ist mein Küonig._
+
+  364 No. 196: _Dorr Herr denket an uns._
+
+  365 See Spitta, i. 359 ff.
+
+  366 Ibid., i. 374.  On the other hand, Baoh’s art was visibly affected
+      by Pietistic influences, as Schweitzer, i. 169, shows.
+
+  367 Eilmar died in 1715 (Spitta, i. 361).
+
+  368 No. 189: _Meine Seele rühmt und preist._
+
+  369 No. 150: _Nach dir, Herr, verlanget mich._
+
+  370 Vol. i. 456.
+
+_  371 J.S. Bach,_ p. 87.
+
+  372 The conclusion is based on letters printed by Spitta, i. 517.
+
+  373 Nos. 18, 61, 142, 160, and 69.  See Table.
+
+  374 He was born May 12, 1671 (Spitta, i. 470).
+
+  375 The volume is entitled _Erdmann Neumeisters Geistliche Cantaten
+      statt einer Kirchen-Musik.  Die zweyte Auflage._
+
+  376 Entitled _Herrn Erdmann Neumeisters Fünffache Kirchen-Andachten,_
+      Leipzig, 1716.
+
+  377 Spitta, i. 474.
+
+  378 Vol. i. 466 ff.
+
+  379 See the Aria (Duetto) of Cantata No. 28.
+
+  380 See particularly the Litanei in Cantata No. 18.
+
+  381 Telemann was Carl Philipp Emmanuel Bach’s godfather (Spitta, i.
+      486).
+
+  382 Nos. 24, 28, 69, 61.
+
+  383 No. 18.
+
+  384 Nos. 142, 160.
+
+  385 See Spitta, i. 630.
+
+  386 His influence is also detected in Nos. 27, 56, 199.
+
+  387 Telemann also set the libretti of Bach’s Nos. 18 and 142. See
+      Spitta, i. 487.
+
+  388 Vol. i. 530.
+
+  389 Wustmann, _Joh. Seb. Bach’s Kantaten-Texte_ (1913), p. xxii n. The
+      cycle is entitled _Evangelisches Andachts-Opffer._
+
+  390 Only Nos. 70, 147, and 186 are taken from it.
+
+  391 Entitled _Evangelische Sonn- und Fest-Tages Andachten._
+
+  392 Vol. ii. 131.
+
+  393 For instance, the Aria in Cantata No. 168, beginning:
+
+
+          Kapital und Interessen Meiner Schulden gross und klein,
+          Mussen einst verrechnet sein.
+
+
+  394 Spitta, ii. 5; Schweitzer, i. 106.
+
+  395 Spitta, ii. 3.
+
+  396 The two Cantatas are Nos. 47 and 141.
+
+  397 Wustmann, p. xxiii.
+
+  398 Spitta, ii. 12 n.
+
+  399 The Choral is absent from No. 141.  It should be “Christe, du Lamm
+      Gotten.”
+
+  400 Schweitzer, ii. 147.  The Cantata is No. 47, _Wer sich selbst
+      erhöhet._
+
+  401 Vol. ii. 13.
+
+  402 Vol. ii. 147.
+
+  403 No. 141: _Das ist je gewisslich wahr._
+
+  404 Vol. ii. 15.
+
+  405 Vol. ii. 148.
+
+_  406 Johann Sebastian Bach,_ p. 108.
+
+  407 Op. cit., Note 195.
+
+  408 Spitta, ii. 147.
+
+  409 Nos. 134 and 173.
+
+  410 No. 134: _Ein Herz, das seinen Jesum lebend weiss._
+
+  411 No. 173: _Erhötes Fleisch und Blut._
+
+  412 No. 75: _Die Elenden sollen essen,_ sung on May 30, the day
+      preceding Bach’s formal induction.
+
+  413 For instance, Nos. 67 and 102.
+
+  414 Wustmann, by implication, only associates eight libretti (Cantatas
+      Nos. 37, 44, 75, 76, 86, 104, 166, 179) with Weiss.  All of them
+      belong to the early years, 1723-27.
+
+  415 See Nos. 75 and 105.
+
+  416 See Nos. 25, 42, 77.  As an extreme illustration, the first
+      Recitative of No. 25 begins with the words, _Die ganze Welt ist nur
+      ein Hospital._
+
+  417 Vol. ii. 388.
+
+  418 Cantata No. 65: _Sie werden aus Saba Alle kommen._
+
+  419 Vol. i. 361.
+
+  420 Wustmann, p. xxiv.
+
+  421 Ibid.
+
+  422 See the Table.
+
+  423 They ore Nos. 6, 17, 22, 43, 48, 57, 144, 148, 157, 159,171,
+      190,195, and the incomplete Cantata, _Ehre sei Gott in der Höhe._
+
+  424 Nos. 16, 23, 63, 81, 83, 153, 154, 184, 194.  See the Table.
+
+  425 No. 4: _Christ lag in Todesbanden._
+
+  426 Vol. ii. 393.
+
+  427 See the Table: No. 112, _Derr herr ist mein getreuer Hirt._
+
+  428 Nos. 8, 20, 93.
+
+  429 No. 148: _Bringet dem Herrn Ehre seines Namens._
+
+  430 No. 8: _Liebster Gott, wann werd’ ich sterben._
+
+  431 No. 181: _Leichtgesinnte Flattergeister._
+
+  432 Vol. ii. 340 ff.
+
+  433 The volume is entitled _Sammlung Erbaulicher Gedancken, Bey und über
+      gewohnlichen Sonn- und Festtags-Evangelien,_ Leipzig.
+
+_  434 Cantaten auf die Sonn- und Fest-Tage durch das gantze Jahr,_
+      Leipzig, 1728.  He reprinted them in 1732 in his _Satyrische
+      Gedichte._
+
+  435 But see Cantata No. 148 and Spitta, ii. 693.  Also No. 19.
+
+  436 Cantatas Nos. 145, 156, 159, 171, 174, 188, 190 (one version), and
+      the Cantata _Ehre sei Gott._
+
+  437 No. 157.
+
+  438 Nos. 19, 30, 36, 84, 148, 197.
+
+  439 Vol. ii. 346.
+
+  440 Nos. 32, 48, 67, 90, 144, 181.
+
+  441 Nos. 16, 22, 23, 27, 35, 51, 56, 58, 63, 66, 81, 82, 83, 153, 154,
+      194, 195. No. 184 is an adaptation. See also Nos. 19, 36, 84, 144,
+      145, 148, for Bach’s collaboration with Picander.
+
+  442 Besides No. 80, a Choral Cantata.
+
+  443 Schweitzer, ii. 332 ff.
+
+  444 Entitled _Versuch in gebundener Schreibart._
+
+  445 Vol. iii. 71.
+
+  446 Vol. ii. 331 n.
+
+  447 No. 85: _Ich bin ein guter Hirt._
+
+  448 Note 60.
+
+  449 Vol. ii. 331 n.
+
+  450 No. 33: _Gott färet auf mit Jauchzen._
+
+  451 See Table.
+
+  452 No. 74.
+
+  453 Op. cit., p. 377.
+
+  454 See Table.
+
+  455 Nos. 100 and 107, both of them c. 1735.
+
+  456 No. 8, for the Sixteenth Sunday after Trinity.
+
+  457 No. 93, for the Fifth Sunday after Trinity (1728).
+
+  458 Nos. 9 (? 1731), 99 (c. 1733).
+
+  459 No. 122.
+
+  460 No. 80.
+
+  461 Nos. 1, 2, 5, 8, 20, 26, 62, 78, 91, 92, 93, 96, 115, 121, 124, 127,
+      138, 140.
+
+  462 Nos. 7, 9, 10, 14, 33, 41, 94, 99, 101, 111, 113, 114, 116, 125,
+      126, 130, 139, 178, 180.
+
+  463 Nos. 4, 97, 100, 107, 112, 117, 129, 137, 177, 192.
+
+  464 Nos. 3, 38, 123, 133, 135.
+
+  465 P. xxiv.
+
+  466 Nos. 3, 123, 133, 135.
+
+  467 See supra, p. 180.
+
+  468 Nos. 17, 34, 43, 151, 197, and _Herr Gott, Beherrsoher aller Dinge._
+
+  469 Nos. 30, 32, 48, 57, 90.
+
+  470 Nos. 45, 79, 110, 143.
+
+  471 No. 28.
+
+  472 No. 50.
+
+  473 No. 118.
+
+  474 Nos. 6, 11, 13, 146, 193.
+
+  475 See _Bach’s Chorals,_ Part II., Introduction.
+
+  476 The above article and the Table that follows were communicated
+      originally to the Musical Association on March 28, 1918.
+
+  477 General mourning for the Queen lasted from Sept. 7, 1727, to Jan. 6,
+      1728. No Cantatas were sung in the period.
+
+  478 The Church Cantatas are published by Peters and also by Breitkopf
+      and Haertel.  A prefixed asterisk indicates that an English edition
+      of the Cantata or Oratorio is published by Novello or Breitkopf and
+      Haertel.
+
+      The Organ music is published by Novello, to whose edition references
+      are given (N.), Peters, and Breitkopf and Haertel.   collation of
+      the Peters and Novello editions is given in Appendix V.
+
+      The Clavier and Instrumental music is published by Peters, to whose
+      edition references are given (P.).
+
+  479 A Variant of the first Invention is on p. 342 of the volume.  A
+      Variant of Sinfonia ix. is on p. vi. of the Nachtrag.
+
+  480 A Variant is in B.G. XI.
+
+  481 A Variant is in P. bk. 244 p. 109.
+
+  482 “If genuine, the Sonata is a youthful work,” remarks Schweitzer, i.
+      401 n.
+
+  483 Additional movements of the second, third, and fourth Suites are in
+      Appendix II. of B.G. XXXVI.
+
+  484 The volume contains an Appendix of Variants, etc. See also B.G. XLV.
+      (1) Appendix. Variants of Nos. 1, 3, 6 of Part II. are in Appendix
+      I. of B.G. XXXVI.
+
+  485 See publications of the N.B.G. xiv. (2) no. 5.
+
+  486 See publications of the N.B.G. vii. (3) no. 3.
+
+  487 For this work, in its original form as a Violin Concerto, see N.B.G.
+      XVIII. (1 and     2).
+
+  488 The D major (No. 3) and G minor (No. 7) Concertos are identical with
+      the Violin Concertos in E major and A minor. See B.G. XXI. (1). No.
+      6 (F. major) is the fourth Brandenburg Concerto (in G.). See B.G.
+      XIX. no. 4.
+
+  489 In a shortened form this work appears also as a Sinfonia in F major.
+      See B.G. XXXI. (1) no. 5, and N.B.G. X. (2).
+
+  490 Identical with the G minor Clavier Concerto. See B.G. XVII. no. 7,
+      and also B.G. XLV. (1), Appendix, p. 233.
+
+  491 Identical with the D major Clavier Concerto. See B.G. XVII. no. 3,
+      and N.B.G. VIII. (1)
+
+  492 Identical with the Concerto for two Claviers in C minor. See B.G.
+      XXI. (2) no. 3.
+
+  493 The movement is described as being from “einer unbekannten
+      Kirchencantate” for four voices and Orchestra. The Autograph is
+      incomplete. The movement is not published elsewhere than in the B.G.
+      edition.
+
+  494 Identical with the Concerto for 2 Violins, in D minor. See B.G. XXI.
+      (1) no. 3. Also pp. 131, 158, 160, supra.
+
+  495 Also in N.B.G. XVII. (1 and 2).
+
+  496 For an exposition of Bach’s design in the “Orgelbüchlein,” see the
+      present writer’s articles in “The Musical Times” for January_March
+      1917, and “Bach’s Chorals,” Part III. See N.B.G. II. (1) for an
+      arrangement of the Preludes for two pianofortes.
+
+  497 See B.G. XLII. for a Clavier version.
+
+  498 See B.G. XLII. for a Clavier version.
+
+  499 Boosey and Co. also publish an English edition.
+
+  500 This is a shortened form of the first Brandenberg Concerto (see B.G.
+      XIX. no. 1).  It consists of the Allegro, Adagio, Minuet, Trio I.
+      and Trio II. of the latter, and omits its second Allegro and
+      Polacca.
+
+  501 The Appendix contains Joh. Philipp Kernberger’s solutions of the
+      Canons and his expansion of the figured bass of the Clavier part of
+      the Sonata.
+
+  502 See publications of the N.B.G. XIV. (2) no. 2.
+
+  503 See publications of the N.B.G. XIV. (2) no. 2.
+
+  504 Text and music are identical with the version in B.G. XX. (2).
+
+  505 Another Allemande to the Suite is in B.G. XXXVI. 217 (also in P.).
+
+  506 The subject of the Fughetta is the same as that of Fugue No. 17 in
+      the second part of the “Well-tempered Clavier.”
+
+  507 The Prelude is No. 11 in Peters (B.G. xxxvi. 220). The Fughetta is
+      his No. 10. It is the same subject an that of Fugue 16 in the second
+      part of the “Well-tempered Clavier.” An alternative Prelude (P. 214
+      p. 78) is in the Appendix (p. 220).
+
+  508 They are described as “zur vierten französischen Suite.” The Prelude
+      is in P. bk. 1959 p. 67.
+
+  509 Written respectively for the second and third French Suites (not in
+      P.).
+
+  510 A fingered exercise.
+
+  511 The Appendices of the volume contain variant readings of movements
+      elsewhere contained in it, and of the first, third, and sixth
+      Preludes and Fugues in the second part of the “Well-tempered
+      Clavier.”
+
+  512 See B.G. XLV. (1) Appendix.
+
+  513 Only nos. 2 and 3 are derived from Vivaldi.
+
+  514 A variant text is in B.G. XLII. 282.
+
+  515 Vivaldi’s text of the first movement is in the Appendix (p. 229).
+
+  516 See B.G. XLIII. (2) sec. 1 no. 2.
+
+  517 The fugal subject is taken from the Allabreve.
+
+  518 Bach’s instrumental accompaniments are in the Appendix (p. 143).
+
+  519 C. P. E. Bach’s collection of his father’s Choral settings was
+      published by Immanuel Breitkopf in four volumes between the years
+      1784-87.  They are all inoluded in Breitkopf and Haertel’s edition
+      (1898) of Bach s “Choralgesänge”; the numerals in brackets in the
+      above list indicate the position of each Choral in that collection.
+      The latter includes also the simple four-part Chorals from the
+      Oratorios and Cantatas; hence the numeration of that volume and B.G.
+      XXXIX. is not uniform.
+
+  520 The bracket states the title by which the tune is better known.
+
+  521 The Chorals are taken from two sources, Anna Magdalena Bach’s
+      “Notenbuch” (1726; see B.G. XLIII. (2)), and Schemelli’s
+      “Musicalisches Gesang-Buch” (1736), of which Bach was the musical
+      editor.  The latter contains sixty-nine melodies (with figured
+      bass), the former seven: one melody (No. 14) is in both collections.
+      The Schemelli tunes are indicated by an S within a bracket after the
+      numeral.  One melody (No. 71) is indubitably by Bach himself.  It,
+      and others, which may be attributed to him on good evidence, are
+      marked by an asterisk.  The seventy-five settings are published in
+      practicable form by the N.B.G. I. (1) and I. (2).
+
+  522 Nos. 22 and 23 are the same tune.
+
+  523 For a discussion of Bach’s original hymn-tunes see the present
+      writer’s “Bach’s Chorals,” Part II. Introduction, pp. 67 ff. Six
+      more of Bach’s original hymn-tunes are printed there.
+
+  524 The first three Arias are published by Novello, and also by the
+      N.B.G. I. (1).
+
+  525 In the Royal Library, Berlin.  Kirnberger was a pupil of Bach.  See
+      section on Variants infra.
+
+  526 Novello omits the concluding four-part Choral.
+
+  527 The Prelude is also attributed to J. L. Krebs, a pupil of Bach.
+
+  528 See section on Variants infra.:
+
+  529 Variant, P. bk. 245 p. 106.
+
+  530 Ernst Naumann remarks, “Das Stück kann recht gut von Seb. Baoh
+      herrühren.” The text is complete, and the omission of the Prelude
+      from the Novello edition is to be regretted.
+
+  531 A transcription of the second Sonata for Solo Violin, in A minor,
+      See B.G. XXVII. (1).
+
+  532 A transcription of the third Partita, in E major, for Solo Violin.
+      See ibid.
+
+  533 From the third Sonata for Solo Violin, in C major. See ibid.
+
+  534 Both Sonatas are arrangements of instrumental Sonatas in J. A.
+      Reinken’s “Hortus Musicus.” See Spitta, i. 430.
+
+  535 Both Sonatas are arrangements of instrumental Sonatas in J. A.
+      Reinken’s “Hortus Musicus.” See Spitta, i. 430.
+
+  536 After a Sonata movement by J. A. Reinken.
+
+  537 After a Fugue by J. C. Erselius. The original is given in Anhang II.
+      of the volume.
+
+  538 Only Nos. 1, 2, 4, 5, 7, 9, 14 are derived from Vivaldi. The others
+      are founded on Benedetto Marcello (No. 3), Duke Johann Ernst of
+      Weimar (Nos. 11, 16, and perhaps 13).
+
+  539 The Toccata is by Henry Purcell. See Grove, vol. iii. p. 857.
+
+  540 The volume also contains a Variant of the first Organ Concerto (B.G.
+      XXXVIII.).
+
+  541 The Concerto is an arrangement of one by Antonio Vivaldi for four
+      Violins, the original of which (in B minor) is given in the Appendix
+      to the volume.
+
+  542 Omitting the vocal numbers, movements printed elsewhere, and the
+      “Menuet fait par Mons. Böhm,” Peters’ Bk. 1959 contains the
+      remaining twenty numbers of the Notebook. They are indicated in the
+      above index by a P in a bracket.
+
+  543 A separate Preface to the reprinted Suites is by Ernst Naumann. It
+      is dated 1895.
+
+  544 Perhaps an arrangement of an orchestral piece. See Schweitzer, i.
+      342 n.
+
+  545 The Appendix to the volume contains addenda to the Violin Concerto
+      in A minor (see B.G. XXL. (1)) and Cantata 188 (see B.G. XXXVII.).
+      Also the Zurich and London texts of the “Welltempered Clavier” (B.G.
+      XIV.), with critical notes.
+
+  546 The Preface is dated 1899. The volume was issued in 1900.
+
+  547 The original words are “Die Schätzbarkeit der weiten Erden.”
+
+  548 The title-page is dated 1913 and the Preface “Im Advent auf 1914.”
+
+  549 The Aria is no. 20 of A. M. Bach’s “Notenbuch” for 1725. See E.G.
+      XLII. (2) no. 20.
+
+  550 This publication, announced for 1916, appears under a different
+      title as the third issue for 1917. See infra, XVII. (3).
+
+
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK JOHANN SEBASTIAN BACH
+***
+
+
+
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+
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+The Project Gutenberg EBook of Johann Sebastian Bach by Johann Nikolaus
+Forkel and Charles Sanford Terry
+
+
+
+This eBook is for the use of anyone anywhere at no cost and with almost no
+restrictions whatsoever. You may copy it, give it away or re-use it under
+the terms of the Project Gutenberg License included with this eBook or
+online at http://www.gutenberg.org/license
+
+
+
+Title: Johann Sebastian Bach
+
+
+Author: Johann Nikolaus Forkel and Charles Sanford Terry
+
+Release Date: January 24, 2011 [Ebook #35041]
+
+Language: English
+
+Character set encoding: ISO 8859-1
+
+
+***START OF THE PROJECT GUTENBERG EBOOK JOHANN SEBASTIAN BACH
+***
+
+
+
+
+
+                         [Johann Sebastian Bach]
+
+  _Johann Sebastian Bach.  About 1720. (From the picture by Johann Jakob
+                  Ihle, in the Bach Museum, Eisenach)._
+
+
+
+
+
+Johann Sebastian Bach
+
+His Life, Art and Work.  Translated from the German of Johann Nikolaus
+Forkel.  With notes and appendices by Charles Sanford Terry, Litt.D.
+Cantab.
+
+
+Johann Nikolaus Forkel and Charles Sanford Terry
+
+
+
+Harcourt, Brace and Howe, New York
+1920
+
+
+
+
+
+CONTENTS
+
+
+Introduction
+FORKEL'S PREFACE
+CHAPTER I. THE FAMILY OF BACH
+Chapter II. THE CAREER OF BACH
+CHAPTER IIA. BACH AT LEIPZIG, 1723-1750
+CHAPTER III. BACH AS A CLAVIER PLAYER
+CHAPTER IV.  BACH THE ORGANIST
+CHAPTER V. BACH THE COMPOSER
+CHAPTER VI. BACH THE COMPOSER (continued)
+CHAPTER VII. BACH AS A TEACHER
+CHAPTER VIII.  PERSONAL CHARACTERISTICS
+CHAPTER IX. BACH'S COMPOSITIONS
+CHAPTER X.  BACH'S MANUSCRIPTS
+CHAPTER XI. THE GENIUS OF BACH
+APPENDIX I. CHRONOLOGICAL CATALOGUE OF BACH'S COMPOSITIONS
+APPENDIX II. THE CHURCH CANTATAS ARRANGED CHRONOLOGICALLY
+APPENDIX III.  THE BACHGESELLSCHAFT EDITIONS OF BACH'S WORKS
+APPENDIX IV. BIBLIOGRAPHY OF BACH LITERATURE
+APPENDIX V.  A COLLATION OF THE NOVELLO AND PETERS EDITIONS OF THE ORGAN
+WORKS
+APPENDIX VI. GENEALOGY OF THE FAMILY OF BACH
+Footnotes
+
+
+
+
+
+ILLUSTRATIONS
+
+
+_Johann Sebastian Bach.  About 1720. (From the picture by Johann Jakob
+Ihle, in the Bach Museum, Eisenach)._
+Bach's Home at Eisenach
+The Church and School of St. Thomas, Leipzig, in 1723.
+Johann Sebastian Bach, circa 1746. _From the picture by Haussmann._
+Divided Harmony, Bach treatment
+Divided Harmony, conventional treatment
+The Bach Statue at Eisenach
+Johann Sebastian Bach. _From the picture discovered by Professor Fritz
+Volbach_
+The Bach Statue at Leipzig
+Genealogy Table, p. 303
+Genealogy Table, p. 304
+Genealogy Table, p. 305
+Genealogy Table, p. 306
+Genealogy Table, p. 307
+Genealogy Table, p. 308
+Genealogy Table, p. 309
+Genealogy Table, p. 310
+
+
+
+
+
+INTRODUCTION
+
+
+Johann Nikolaus Forkel, author of the monograph of which the following
+pages afford a translation, was born at Meeder, a small village in
+Saxe-Coburg, on February 22, 1749, seventeen months before the death of
+Johann Sebastian Bach, whose first biographer he became.  Presumably he
+would have followed the craft of his father, the village shoemaker, had
+not an insatiable love of music seized him in early years.  He obtained
+books, and studied them with the village schoolmaster. In particular he
+profited by the "Vollkommener Kapellmeister" of Johann Mattheson, of
+Hamburg, the sometime friend of Handel.  Like Handel, he found a derelict
+Clavier in the attic of his home and acquired proficiency upon it.
+Forkel's professional career, like Bach's half a century earlier, began at
+L�neburg, where, at the age of thirteen (1762), he was admitted to the
+choir of the parish church.  Thence, at the age of seventeen (1766), he
+proceeded to Schwerin as "Chorpr�fect," and enjoyed the favour of the
+Grand Duke.  Three years later he betook himself (1769), at the age of
+twenty, to the University of G�ttingen, which he entered as a law student,
+though a slender purse compelled him to give music lessons for a
+livelihood.  He used his opportunity to acquire a knowledge of modern
+languages, which stood him in good stead later, when his researches
+required him to explore foreign literatures. Concurrently he pursued his
+musical activities, and in 1774 published at G�ttingen his first work,
+_Ueber die Theorie der Musik,_ advocating the foundation of a music
+lectureship in the University. Four years later (1778) he was appointed
+its Director of Music, and from 1779 to 1815 conducted the weekly concerts
+of the Sing-Akademie. In 1780 he received from the University the
+doctorate of philosophy.  The rest of his life was spent at G�ttingen,
+where he died on March 17, 1818, having just completed his sixty-ninth
+year.
+
+That Forkel is remembered at all is due solely to his monograph on Bach.
+Written at a time when Bach's greatness was realised in hardly any
+quarter, the book claimed for him pre-eminence which a tardily enlightened
+world since has conceded him.  By his generation Forkel was esteemed
+chiefly for his literary activity, critical ability, and merit as a
+composer.  His principal work, _Allgemeine Geschichte der Musik,_ was
+published in two volumes at Leipzig in 1788 and 1801.  Carl Friedrich
+Zelter, Goethe's friend and correspondent, dismissed the book
+contemptuously as that of an author who had "set out to write a history of
+music, but came to an end just where the history of music begins."
+Forkel's work, in fact, breaks off at the sixteenth century. But the
+curtailed _ History_ cleared the way for the monograph on Bach, a more
+valuable contribution to the literature of music.  Forkel already had
+published, in three volumes, at Gotha in 1778, his _Musikalisch-kritische
+Bibliothek,_ and in 1792 completed his critical studies by publishing at
+Leipzig his _Allgemeine Literatur der Musik._
+
+Forkel was also a student of the music of the polyphonic school.  He
+prepared for the press the scores of a number of sixteenth century Masses,
+Motets, etc., and fortunately received proofs of them from the engraver.
+For, in 1806, after the Battle of Jena, the French impounded the plates
+and melted them down.  Forkel's proofs are still preserved in the Berlin
+Royal Library.  He was diligent in quest of Bach's scattered MSS., and his
+friendship with Bach's elder sons, Carl Philipp Emmanuel and Wilhelm
+Friedemann, enabled him to secure precious relics which otherwise might
+have shared the fate of too many of Bach's manuscripts. He took an active
+interest in the proposal of Messrs. Hoffmeister and K�hnel, predecessors
+of C. F. Peters at Leipzig, to print a "kritisch-korrecte" edition of
+Bach's Organ and Clavier works.  Through his friend, Johann Gottfried
+Schicht, afterwards Cantor at St. Thomas's, Leipzig, he was also
+associated with Breitkopf and Haertel's publication of five of Bach's six
+extant Motets in 1802-3.
+
+As a composer Forkel has long ceased to be remembered.  His works include
+two Oratorios, _ Hiskias_ (1789) and _Die Hirten bey der Krippe_; four
+Cantatas for chorus and orchestra; Clavier Concertos, and many Sonatas and
+Variations for the Harpsichord.
+
+In 1802, for reasons which he explains in his Preface, Forkel published
+from Hoffmeister and K�hnel's "Bureau de Musique" his _Ueber Johann
+Sebastian Bachs Leben, Kunst und Kunstwerke. F�r patriotische Verehrer
+echter musikalischer Kunst,_ of which a new edition was issued by Peters
+in 1856.  The original edition bears a dedication to Gottfried Baron van
+Swieten(1) (1734-1803), Prefect of the Royal Library, Vienna, and sometime
+Austrian Ambassador in Berlin, a friend of Haydn and Mozart, patron of
+Beethoven, a man whose age allowed him to have seen Bach, and whose career
+makes the association with Bach that Forkel's dedication gives him not
+undeserved. It was he, an ardent Bach enthusiast, who introduced the
+youthful Mozart to the music of the Leipzig Cantor. "I go every Sunday at
+twelve o'clock to the Baron van Swieten," Mozart writes in 1782, "where
+nothing is played but Handel and Bach, and I am now making a collection of
+the Fugues of Bach."  The merit and limitations of Forkel's book will be
+considered later.  For the moment the fact deserves emphasis that,
+inadequate as it is, it presented a fuller picture of Bach than so far had
+been drawn, and was the first to render the homage due to his genius.
+
+In an illuminating chapter (xii.), _Death and Resurrection_, Schweitzer
+has told the story of the neglect that obscured Bach's memory after his
+death in 1750.  Isolated voices, raised here and there, acclaimed his
+genius.  With Bach's treatise on _The Art of Fugue_ before him, Johann
+Mattheson (1681-1664), the foremost critic of the day, claimed that
+Germany was "the true home of Organ music and Fugue."  Friedrich Wilhelm
+Marpurg (1718-95), the famous Berlin theorist, expressed the same opinion
+in his preface to the edition of that work published shortly after Bach's
+death.  But such appreciations were rare.  Little of Bach's music was in
+print and available for performance or critical judgment.  Even at St.
+Thomas's, Leipzig, it suffered almost complete neglect until a generation
+after Forkel's death. The bulk of Bach's MSS. was divided among his
+family, and Forkel himself, with unrivalled opportunity to acquaint
+himself with the dimensions of Bach's industry, knew little of his music
+except the Organ and Clavier compositions.
+
+In these circumstances it is not strange that Bach's memory waited for
+more than half a century for a biographer.  Forkel, however, was not the
+first to assemble the known facts of Bach's career or to assert his place
+in the music of Germany.
+
+Putting aside Johann Gottfried Walther's brief epitome in his _Lexikon_
+(1732), the first and most important of the early notices of Bach was the
+obituary article, or "Nekrolog," contributed by his son, Carl Philipp
+Emmanuel, and Johann Friedrich Agricola, one of Bach's most distinguished
+pupils, to the fourth volume of Mizler's _Musikalische Bibliothek,_
+published at Leipzig in 1754.  The authors of this appreciation give it an
+intimacy which renders it precious.  But Mizler's periodical was the organ
+of a small Society, of which Bach had been a member, and outside its
+associates can have done little to extend a knowledge of the subject of
+the memoir.
+
+Johann Friedrich Agricola contributed notes on Bach to Jakob Adlung's
+_Musica mechanica Organoedi,_ published in two volumes at Berlin in 1768.
+The article is valuable chiefly for Agricola's exposition of Bach's
+opinions upon Organ and Clavier building.
+
+With the intention to represent him as "the coryphaeus of all organists,"
+Johann Adam Hiller, who a few years later became Cantor at St. Thomas's,
+Leipzig, published there in 1784 a brief account of Bach in his
+_Lebensbeschreibungen ber�hmter Musikgelehrten und Tonk�nstler neuerer
+Zeit._
+
+Four years after Hiller's notice, Ernst Ludwig Gerber published at
+Leipzig, in two volumes, 1790-92, his _Historisch-biographische Lexikon
+der Tonk�nstler._  As in Hiller's case, Gerber, whose father had been
+Bach's pupil, was chiefly interested in Bach as an organist.
+
+Coincidently with Gerber, another of Bach's pupils, Johann Martin
+Schubart, who succeeded him at Weimar in 1717, sketched his
+characteristics as a performer in the _Aesthetik der Tonkunst_, published
+at Berlin by his son in the _Deutschen Monatsschrift_ in 1793.
+
+In 1794 appeared at Leipzig the first volume of a work which Spitta
+characterises as fantastic and unreliable, so far as it deals with Bach,
+Friedrich Carl Gottlieb Hirsching's _Historisch-literarisches Handbuch_ of
+notable persons deceased in the eighteenth century.
+
+Last of Forkel's forerunners, A. E. L. Siebigke published at Breslau in
+1801 his _Museum deutscher Tonk�nstler,_ a work which adds nothing to our
+knowledge of Bach's life, but offers some remarks on his style.
+
+Little, if any, information of value, therefore, had been added to the
+_Nekrolog_ of 1754 when Forkel, in 1802, produced his monograph on Bach
+and his music.  Nor, viewed as a biography, does Forkel much enlarge our
+knowledge of the conditions of Bach's life.  He had the advantage of
+knowing Bach's elder sons, but appears to have lacked curiosity regarding
+the circumstances of Bach's career, and to have made no endeavour to add
+to his imperfect information, even regarding his hero's life at Leipzig,
+upon which it should have been easy for him to obtain details of utmost
+interest.  His monograph, in fact, is not a "Life" in the biographic
+sense, but a critical appreciation of Bach as player, teacher, and
+composer, based upon the Organ and Clavier works, with which alone Forkel
+was familiar.
+
+It would be little profitable to weigh the value of Forkel's criticism.
+We are tempted to the conclusion that Bach appealed to him chiefly as a
+supreme master of technique, and our hearts would open to him more widely
+did not his appreciation of Bach march with a narrow depreciation of
+Haydn, Mozart, and Beethoven, the last of whom, he declared ex cathedra,
+had not produced "a single work which can be called a masterpiece." Gluck
+he frankly detested.
+
+But Forkel's monograph is notable on other grounds.  It was the first to
+claim for Bach a place among the divinities.  It used him to stimulate a
+national sense in his own people. Bach's is the first great voice from out
+of Germany since Luther.  Of Germany's own Kisorgimento, patently
+initiated by Goethe a generation after Johann Sebastian's death, Bach
+himself is the harbinger.  In his assertion of a distinctive German
+musical art he set an example followed in turn by Mozart, Weber, and
+Wagner.  "With Bach," wrote Wagner, "the German Spirit was born anew."  It
+is Forkel's perpetual distinction that he grasped a fact hidden from
+almost all but himself.  In his Preface, and more emphatically in the
+closing paragraph of his last Chapter, he presents Bach as the herald of a
+German nation yet unformed.
+
+It is a farther distinction of Forkel's monograph that it made converts.
+With its publication the clouds of neglect that too long had obscured
+Bach's grandeur began to melt away, until the dizzy altitude of his genius
+stood revealed.  The publication of the five Motets (1803) was followed by
+that of the Magnificat in 1811, and of the Mass in A in 1818.  A beginning
+was made with the Cantatas in 1821, when Breitkopf and Haertel published
+"Ein' feste Burg" (No. 80), commended in an article written (1822) by
+Johann Friedrich Rochlitz (1769-1842), the champion of Beethoven, as now
+of Bach.  Another enthusiastic pioneer was Carl Friedrich Zelter
+(1758-1832), conductor of the Berlin Sing-Akademie, who called Bach "a
+sign of God, clear, yet inexplicable." To him in large measure was due the
+memorable revival of the _St. Matthew Passion_ at Berlin, which the
+youthful Mendelssohn, Zelter's pupil, conducted in March 1829, exactly one
+hundred years after the first production of the mighty work at Leipzig.
+In the following years it was given at Dresden and many other German
+towns. Leipzig heard it again after a barren interval in 1841, and did
+tardy homage to its incomparable composer by erecting (1843) the statue
+that stands in the shadow of St. Thomas's Church, hard by the Cantor's
+home for a quarter of a century.
+
+Meanwhile, in 1830 and 1831 the _St. Matthew Passion_ and _St. John
+Passion_ had been engraved, and by 1845 the B minor Mass was in print.
+The credit of having revived it belongs to Johann Nepomuk Schelble
+(1789-1837), conductor of the Frankfort Caecilienverein, though the Berlin
+Sing-Akademie was the first to give a performance, considerably curtailed,
+of the whole work in 1835. A little later, in the middle of the forties,
+Peters began to issue his "kritisch-korrecte" edition of the Organ works,
+which at length made Bach widely known among organists.  But the
+publication of the Cantatas proceeded slowly.  Only fourteen of them were
+in print in 1850, when the foundation of the Bachgesellschaft, on the
+centenary of Bach's death, focused a world-wide homage. When it dissolved
+in 1900 its mission was accomplished, the entire works(2) of Bach were
+published, and the vast range of his genius was patent to the world.
+
+It remains to discuss the first English version of Forkel's monograph,
+published in 1820, with the following title-page:
+
+
+    LIFE OF JOHN SEBASTIAN BACH; with a Critical View of his
+    Compositions. By J. N. Forkel, Author of The Complete History of
+    Music, etc., etc. Translated from the German.  London: Printed for
+    T. Boosey and Co., Holles-Street, Cavendish-Square. 1820.
+
+
+The book was published in February 1820; it was announced, with a slightly
+differently worded title-page, in the _New Monthly Magazine and Universal
+Register_ for March 1820 (p. 341), and the _Scots Magazine_ for the same
+month ( vol. lxxxv. p. 263).  The _New Monthly_ states the price as 5s.,
+the _Quarterly Review_ (vol. xxiii. p. 281) as 6s.  The book contains
+xi+116+3 pages of Music Figures, crown octavo, bound in dark unlettered
+cloth.  It has neither Introduction, notes (other than Forkel's), nor
+indication of the translator's identity.  Much of the translation is so
+bad as to suggest grave doubts of the translator's comprehension of the
+German original; while his rendering of Forkel's critical chapters rouses
+a strong suspicion that he also lacked technical equipment adequate to his
+task.  It is, in fact, difficult to understand how such an unsatisfactory
+piece of work found its way into print.
+
+The character of the 1820 translation has a close bearing upon its
+authorship.  In the article on Bach in the new _Grove_ it is attributed to
+Samuel Wesley (1766-1837), an attractive suggestion, since Wesley was as
+enthusiastic a Bach pioneer in this country as Forkel himself was in
+Germany. But the statement is not correct.  In Samuel Wesley's _Letters to
+Mr. Jacobs relating to the Introduction into this Country of the Works of
+J. S. Bach_ (London, 1875) we find the clue.  On October 17, 1808, Wesley
+writes: "We are (in the first place) preparing for the Press an authentic
+and accurate Life of Sebastian, which Mr. Stephenson the Banker (a most
+zealous and scientific member of our Fraternity) has translated into
+English from the German of Forkel."
+
+Unfortunately, it is impossible to identify Stephenson precisely, or to
+detect his activities in the musical circle in which Wesley includes him.
+In 1820 there was in Lombard Street a firm of bankers under the style of
+"Remington, Stephenson, Remington, and Toulmin," the active partner being
+Mr. Rowland Stephenson, a man of about forty in that year.  The firm was
+wound up in bankruptcy in 1829, Stephenson having absconded to America the
+previous year.  He appears to have been the only banker of that name
+holding such a recognised position as Wesley attributes to him, though it
+remains no more than a conjecture that he was the author of the
+translation issued in 1820.(3) But whoever "Stephenson the Banker" may
+have been, the poverty of his work fails to support Wesley's commendation
+of his "scientific" equipment, and suggests that his purse rather than his
+talents were serviceable to Wesley's missionary campaign.
+
+For the facts of Bach's life, and as a record of his artistic activities,
+Forkel admittedly is inadequate and often misleading.  Stephenson
+necessarily was without information to enable him to correct or supplement
+his author.  Recent research, and particularly the classic volumes of
+Spitta and Schweitzer, have placed the present generation in a more
+instructed and therefore responsible position.  The following pages,
+accordingly, have been annotated copiously in order to bring Forkel into
+line with modern scholarship. His own infrequent notes are invariably
+indicated by a prefixed asterisk.  It has been thought advisable to write
+an addendum to Chapter II. in order to supplement Forkel at the weakest
+point of his narrative.
+
+Readers of Spitta's first volume probably will remember the effort to
+follow the ramifications of the Bach pedigree unaided by a genealogical
+Table.  It is unfortunate that Spitta did not set out in that form the
+wealth of biographical material his pages contain.  To supply the
+deficiency, and to illustrate Forkel's first Chapter, a complete
+Genealogical Table is provided in Appendix VI., based mainly upon the
+biographical details scattered over Spitta's pages.
+
+In Chapter IX. Forkel gives a list of Bach's compositions known to him.
+It is, necessarily, incomplete.  For that reason Appendices I. and II.
+provide a full catalogue of Bach's works arranged under the periods of his
+career.  In the case of the Oratorios, Cantatas, Motets, and "Passions,"
+it is not difficult to distribute them upon a chronological basis.  The
+Clavier works also can be dated with some approximation to closeness.  The
+effort is more speculative in the case of the Organ music.
+
+In his Preface Forkel suggests the institution of a Society for the
+publication and study of Bach's works.  The proposal was adopted after
+half a century's interval, and in Appendix III. will be found a complete
+and detailed catalogue of the publications of the Old and New
+Bachgesellschaft from 1850 to 1918 inclusive.  The Society's issues for
+1915-18 have not yet reached this country. The present writer had an
+opportunity to examine them in the Library of the Cologne Conservatorium
+of Music in the spring of this year.
+
+In this Introduction will be found a list of works bearing on Bach, which
+preceded Forkel's monograph.  Appendix IV. provides a bibliography of Bach
+literature published subsequently to it.
+
+Grateful acknowledgment is made to Mr. Ivor Atkins, of Worcester
+Cathedral, and to Mr. W. G. Whittaker, of Newcastle-upon-Tyne, who have
+read these pages in proof, and improved them by their criticism.
+
+                                                                  C. S. T.
+October 1, 1919.
+
+
+
+
+
+FORKEL'S PREFACE
+
+
+Many years ago I determined to give the public an account of the life of
+Johann Sebastian Bach, with some reflections upon his genius and his
+works.  The brief article by Carl Philipp Emmanuel Bach(4) and Herr
+Agricola,(5) formerly composer to the Court of Prussia, contributed to the
+fourth volume of Mizler's _Musical Library,_(6) can hardly be deemed
+adequate by Bach's admirers and, but for the desire to complete my
+_General History of Music,_(7) I should have fulfilled my purpose long
+ago.  As Bach, more than any other artist, represents an era in the
+history of music, it was my intention to devote to the concluding volume
+of that work the materials I had collected for a history of his career.
+But the announcement that Messrs. Hoffmeister and K�hnel, the Leipzig
+music-sellers and publishers, propose to issue a complete and critical
+edition of Bach's works has induced me to change my original plan.(8)
+
+Messrs. Hoffmeister and K�nel's project promises at once to advance the
+art of music and enhance the honour of the German name.  For Bach's works
+are a priceless national patrimony; no other nation possesses a treasure
+comparable to it.  Their publication in an authoritative text will be a
+national service and raise an imperishable monument to the composer
+himself.  All who hold Germany dear are bound in honour to promote the
+undertaking to the utmost of their power.  I deem it a duty to remind the
+public of this obligation and to kindle interest in it in every true
+German heart.  To that end these pages appear earlier than my original
+plan proposed; for they will enable me to reach a larger number of my
+fellow countrymen.  The section on Bach in my _History of Music_ probably
+would have been read by a handful of experts or musical artists.  Here I
+hope to speak to a larger audience. For, let me repeat, not merely the
+interests of music but our national honour are concerned to rescue from
+oblivion the memory of one of Germany's greatest sons.
+
+One of the best and most effective means of popularising musical
+masterpieces is to perform them in public.  In that way works of merit
+secure a widening audience.  People listen to them with pleasure in the
+concert room, church, or theatre, remember the agreeable impression they
+created, and purchase them when published, even though they cannot always
+play them.  But Bach's works unfortunately are rarely heard nowadays; for
+the number of persons capable of playing them adequately is at best
+inconsiderable. It would have been otherwise had Bach given touring
+performances of his music,(9) a labour for which he had neither time nor
+liking. Many of his pupils did so, and though their skill was inferior to
+their master's, the admiration and astonishment they excited revealed the
+grandeur of his compositions.  Here and there, too, were found persons who
+desired to hear on their own instrument pieces which the performer had
+played best or gave them most pleasure. They could do so more easily for
+having heard how the piece ought to sound.
+
+But, to awaken a wide appreciation of musical masterpieces depends upon
+the existence of good teachers.  The want of them is our chief difficulty.
+In order to safeguard their credit, the ignorant and incompetent of their
+number are disposed to decry good music, lest they should be asked to play
+it.  Consequently, their pupils, condemned to spend time, labour, and
+money on second-rate material, will not after half a dozen years, perhaps,
+show themselves farther advanced in sound musical appreciation than they
+were at the outset.  Whereas, under a good teacher, half the time, labour,
+and money produces progressive improvement.  Time will show whether this
+obstacle can be surmounted by making Bach's works accessible in the music
+shops and by forming a Society among the admirers of his genius to make
+them known and promote their study.(10)
+
+At any rate, if music is really an art, and not a mere pastime, its
+masterpieces must be more widely known and performed than in fact they
+are.  And here Bach, prince of classic composers, can render yeoman
+service.(11) For his music is so well calculated to educate the student to
+distinguish what is trivial from what is good, and to comport himself as
+an artist in whatever branch of the art he makes his own.  Moreover, Bach,
+whose influence pervades every musical form, can be relied on more than
+any other composer to correct the superficiality which is the bane of
+modern taste.  Neglect of the classics is as prejudicial to the art of
+music as it would be fatal to the interests of general culture to banish
+Greek and Latin writers from our schools.  Modern taste exhibits no shame
+in its preference for agreeable trifles, in its neglect of everything that
+makes a demand, however slight, upon its attention.  To-day we are menaced
+by a proposal to banish the classics from our schoolrooms. Equally
+short-sighted vision threatens to extinguish our musical classics as well.
+And is it surprising?  Modern art displays such poverty and frivolity that
+it well may shrink from putting itself in context with great literature,
+particularly with Bach's mighty and creative genius, and seek rather to
+proscribe it.
+
+I fain would do justice to the sublime genius of this prince of musicians,
+German and foreign! Short of being such a man as he was, dwarfing all
+other musicians from the height of his superiority, I can conceive no
+greater distinction than the power to comprehend and interpret him to
+others.(12) The ability to do so must at least connote a temperament not
+wholly alien from his own. It may even hint the flattering prospect that,
+if circumstances had opened up the same career, similar results might have
+been forthcoming.  I am not presumptuous to suggest such a result in my
+own case.  On the contrary I am convinced that there are no words adequate
+to express the thoughts Bach's transcendent genius stirs one to utter.
+The more intimately we are acquainted with it the greater must be our
+admiration.  Our utmost eulogy, our deepest expressions of homage, must
+seem little more than well-meant prattle. No one who is familiar with the
+work of other centuries will contradict or hold my statement exaggerated,
+that Bach cannot be named except in tones of rapture, and even of devout
+awe, by those who have learnt to know him.  We may discover and lay bare
+the secrets of his technique. But his power to inspire into it the breath
+of genius, the perfection of life and charm that moves us so powerfully,
+even in his slightest works, must always remain extraordinary and
+insoluble.
+
+I do not choose to compare Bach with other artists.  Whoever is interested
+to measure him with Handel will find a just and balanced estimate of their
+relative merits, written by one fully informed for the task, in the first
+number of the eighty-first volume of the _Universal German Library,_ pages
+295-303.(13)
+
+So far as it is not derived from the short article in Mizler's _Library_
+already mentioned,(14) I am indebted for my information to the two eldest
+sons of Bach himself.(15) Not only was I personally acquainted with them,
+but I corresponded regularly for many years with both,(16) particularly
+Carl Philipp Emmanuel.  The world knows them as great artists.  But
+probably it is not aware that to the last moment of their lives they spoke
+of their father's genius with enthusiastic admiration.(17) From my early
+youth I have been inspired by an appreciation no less deep than theirs. It
+was a frequent theme of conversation and correspondence between us.
+
+Thus, having been in a position to inform myself on all matters relating
+to Bach's life, genius, and work, I may fairly hold myself competent to
+communicate to the public what I have learnt and to offer useful
+reflections upon it.  I take advantage of my opportunity the more readily
+because it permits me to draw attention to an enterprise(18) that promises
+to provide a worthy monument to German art, a gallery of most instructive
+models to the sincere artist, and to afford music lovers an inexhaustible
+source of sublimest pleasure.
+
+
+
+
+
+
+CHAPTER I. THE FAMILY OF BACH
+
+
+If there is such a thing as inherited aptitude for art it certainly showed
+itself in the family of Bach. For six successive generations scarcely two
+or three of its members are found whom nature had not endowed with
+remarkable musical talent, and who did not make music their
+profession.(19)
+
+Veit Bach,(20) ancestor of this famous family, gained a livelihood as a
+baker at Pressburg in Hungary.  When the religious troubles of the
+sixteenth century broke out he was driven to seek another place of abode,
+and having got together as much of his small property as he could, retired
+with it to Thuringia, hoping to find peace and security there.  He settled
+at Wechmar, a village near Gotha,(21) where he continued to ply his trade
+as a baker and miller.(22) In his leisure hours he was wont to amuse
+himself with the lute,(23) playing it amid the noise and clatter of the
+mill.  His taste for music descended to his two sons(24) and their
+children, and in time the Bachs grew to be a very numerous family of
+professional musicians, Cantors, Organists, and Town Musicians,(25)
+throughout  Thuringia.
+
+Not all the Bachs, however, were great musicians. But every generation
+boasted some of them who were more than usually distinguished.  In the
+first quarter of the seventeenth century three of Veit Bach's
+grandchildren showed such exceptional talent that the Count of
+Schwarzburg-Arnstadt thought it worth while to send them at his expense to
+Italy, then the chief school of music, to perfect themselves in the
+art.(26)
+
+We do not know whether they rewarded the expectations of their patron, for
+none of their works has survived. The fourth generation(27) of the family
+produced musicians of exceptional distinction, and several of their
+compositions, thanks to Johann Sebastian Bach's regard for them, have come
+down to us. The most notable of these Bachs are:
+
+   1. Johann Christoph Bach, Court and Town Organist at Eisenach.(28) He
+      was particularly happy in his beautiful melodies and in setting
+      words to music. In the _Archives of the Bachs,_(29) which was in
+      Carl Philipp Emmanuel's possession at Hamburg, there is a Motet by
+      Johann Christoph in which he boldly uses the augmented sixth, a
+      proceeding considered extremely daring in his day.(30) He was also
+      an uncommon master of harmony, as may be inferred from a Cantata
+      composed by him for Michaelmas, to the words "Es erhub sich ein
+      Streit," etc., which has twenty-two obbligato parts in correct
+      harmony.(31) Yet another proof of his rare skill is in the alleged
+      fact that he never played the Organ or Clavier in less than five
+      parts.(32) Carl Philipp Emmanuel had a particularly warm regard for
+      him.(33) I remember the old man playing some of his compositions to
+      me on the Clavier at Hamburg, and how quizzically he looked at me
+      when one of these daring passages occurred.(34)
+   2. Johann Michael Bach, Organist and Town Clerk at Gehren.(35) He was
+      the younger brother of Johann Christoph, and like him, a
+      particularly good composer.  The Archives already mentioned(36)
+      contain several of his Motets, including one for eight voices in
+      double chorus,(37) and many compositions for Church use.
+   3. Johann Bernhard Bach, Musician in the Prince's Kapelle and Organist
+      at Eisenach.(38)He is said to have composed remarkably fine Suites,
+      or Overtures, in the French style.(39)
+
+Besides these three men, the Bachs boasted several able composers in the
+generations preceding Johann Sebastian,(40) men who undoubtedly would have
+obtained higher positions, wider reputation, and more brilliant fortune if
+they could have torn themselves from their native Thuringia to display
+their gifts elsewhere in Germany or abroad. But none of the Bachs seems to
+have felt an inclination to migrate. Modest in their needs, frugal by
+nature and training, they were content with little, engrossed in and
+satisfied by their art, and wholly indifferent to the decorations which
+great men of that time were wont to bestow on artists as special marks of
+honour. The fact that others who appreciated them were thus distinguished
+did not rouse the slightest envy in the Bachs.
+
+The Bachs not only displayed a happy contentedness, indispensable for the
+cheery enjoyment of life, but exhibited a clannish attachment to each
+other.  They could not all live in the same locality.  But it was their
+habit to meet once a year at a time and place arranged beforehand.  These
+gatherings generally took place at Erfurt, Eisenach, and sometimes at
+Arnstadt.  Even after the family had grown very large, and many of its
+members had left Thuringia to settle in Upper and Lower Saxony and
+Franconia, the Bachs continued their annual meetings.  On these occasions
+music was their sole recreation.  As those present were either Cantors,
+Organists, or Town Musicians, employed in the service of the Church and
+accustomed to preface the day's work with prayer, their first act was to
+sing a Hymn.  Having fulfilled their religious duty, they spent the rest
+of the time in frivolous recreations.  Best of all they liked to
+extemporise a chorus out of popular songs, comic or jocular, weaving them
+into a harmonious whole while declaiming the words of each. They called
+this hotch-potch a "Quodlibet," laughed uproariously at it, and roused
+equally hearty and irrepressible laughter in their audience.(41) It is
+suggested that German Comic Opera has its origin in these trifles.  But
+the "Quodlibet" was a familiar institution in Germany at a much earlier
+period.  I possess a collection of them printed and published at Vienna in
+1542.(42)
+
+But these light-hearted Thuringians, and even those of their family who
+treated their art more seriously and worthily, would not have escaped
+oblivion had there not emerged in the fulness of time one whose genius and
+renown reflected their splendour and brilliancy on his forbears.  This
+man, the glory of his family, pride of his countrymen, most gifted
+favourite of the Muse of Music, was Johann Sebastian Bach.
+
+                        [Bach's Home at Eisenach]
+
+                         Bach's Home at Eisenach
+
+
+
+
+
+CHAPTER II. THE CAREER OF BACH
+
+
+Johann Sebastian Bach was born on March 21, 1685,(43) at Eisenach, where
+his father, Johann Ambrosius Bach, was Court and Town Musician.(44) Johann
+Ambrosius had a twin brother, Johann Christoph, Musician to the Court and
+Town of Arnstadt,(45) who so exactly resembled him that even their wives
+could distinguish them only by their dress.  The twins appear to have been
+quite remarkable.  They were deeply attached, alike in disposition, in
+voice, and in the style of their music.  If one was ill, so was the other.
+They died within a short time of each other, and were objects of wondering
+interest to all who knew them.(46)
+
+In 1695, when Johann Sebastian was not quite ten years old, his father
+died. He lost his mother at an earlier period.(47) So, being left an
+orphan, he became dependent on his eldest brother, Johann Christoph,
+Organist at Ohrdruf,(48) from whom he received his earliest lessons on the
+Clavier.(49) His inclination and talent for music must already have been
+pronounced.  For his brother no sooner had given him one piece to learn
+than the boy was demanding another more difficult.  The most renowned
+Clavier composers of that day were Froberger,(50) Fischer,(51) Johann
+Caspar Kerl,(52) Pachelbel,(53) Buxtehude,(54) Bruhns,(55) and B�hm.(56)
+Johann Christoph possessed a book containing several pieces by these
+masters, and Bach begged earnestly for it, but without effect.  Refusal
+increasing his determination, he laid his plans to get the book without
+his brother's knowledge.  It was kept on a book-shelf which had a latticed
+front.  Bach's hands were small.  Inserting them, he got hold of the book,
+rolled it up, and drew it out.  As he was not allowed a candle, he could
+only copy it on moonlight nights, and it was six months before he finished
+his heavy task.  As soon as it was completed he looked forward to using in
+secret a treasure won by so much labour.  But his brother found the copy
+and took it from him without pity, nor did Bach recover it until his
+brother's death soon after.(57)
+
+Being once more left destitute,(58) Johann Sebastian set out for L�neburg
+with one of his Ohrdruf schoolfellows, named Erdmann(59) (afterwards
+Russian Resident at Danzig), and entered the choir of St. Michael's
+Convent.  His fine treble voice procured him a fair livelihood. But
+unfortunately he soon lost it and did not at once develop another. (60)
+
+Meanwhile his ambition to play the Organ and Clavier remained as keen as
+ever, and impelled him to hear and practise everything that promised him
+improvement.  For that purpose, while he was at L�eburg, he several times
+travelled to Hamburg to hear the famous organist,(61) Johann Adam
+Reinken.(62) Often, too, he walked to Celle to hear the Duke's French band
+play French music, which was a novelty in those parts.(63)
+
+The date and circumstances of his removal from L�neburg to Weimar are not
+precisely known.(64) He certainly became Court Musician there in 1703,
+when he was just over eighteen years of age.(65) But in the following year
+he gave up the post on his appointment as Organist to the new Church at
+Arnstadt, probably desiring to develop his taste for the Organ and
+realising that he would have better opportunities to do so at Arnstadt
+than at Weimar, where he was engaged simply to play the Violin.(66) At
+Arnstadt he set himself assiduously to study the works of the celebrated
+organists of the period, so far as his modest means permitted him, and in
+order to improve himself in composition(67) and Organ playing,(68) walked
+the whole way to L�beck to hear Dietrich Buxtehude, Organist of St. Mary's
+Church in that city, with whose compositions he was acquainted already. He
+remained there about three months,(69) listening to the celebrated
+Organist, but without making himself known to him, and returned to
+Arnstadt with his experience much increased.
+
+Bach's zeal and persevering diligence had already drawn attention to him,
+as is evident from the fact that he received in succession several offers
+of vacant organistships, one of which, at the Church of St. Blasius,
+M�hlhausen, he accepted in 1707.(70) Barely a year after he entered upon
+his duties there(71) he again visited Weimar and played to the Duke, who
+was so pleased with his performance that he offered him the post of Court
+Organist, which he accepted.(72) Weimar promised him a particularly
+agreeable atmosphere in which to cultivate his genius.(73) He applied
+himself closely to his work, and probably at this period achieved the
+mastery of the Organ that he ever afterwards possessed.  At Weimar also he
+wrote his great compositions for that instrument.(74) In 1717(75) the Duke
+appointed him Concertmeister, a post which gave him further opportunity to
+develop his art, since it required him to compose and direct Church music.
+
+It was about this time that Zachau, Handel's master, died at Halle, where
+he was Organist.(76) Bach, who by now had acquired a great reputation, was
+invited to succeed him.(77) He visited Halle and composed a work as a
+specimen of his skill But for some reason unknown he did not obtain the
+post.  It was given to a clever pupil of Zachau, named Kirchhoff.(78)
+
+Johann Sebastian was now thirty-two years old. He had made good use of his
+opportunities, had studied hard as a player and composer, and by tireless
+enthusiasm had so completely mastered every branch of his art, that he
+towered like a giant above his contemporaries. Both amateurs and
+professional musicians already regarded him with admiration when, in 1717,
+Marchand, the French virtuoso, a celebrated Clavier and Organ player,
+visited Dresden.  He played before the King-Elector(79) and won such
+approbation that he was offered a large salary to enter His Majesty's
+service.(80) Marchand's chief merit was his finished technique.  Like
+Couperin,(81) his musical ideas were weak to the point of banality, as we
+may judge from his compositions.(82) Bach was an equally finished player,
+and so rich in ideas that Marchand's head would have swollen had he been
+equally gifted.  Volumier, Concertmeister at Dresden,(83) was aware of
+these circumstances, and knowing that the young German had his instrument
+and his imagination under the fullest control, determined to arrange a
+contest between the two men in order to give his sovereign the
+satisfaction of judging their merits.  With the King's approbation, a
+message was dispatched to Bach at Weimar(84) inviting him to a contest
+with Marchand.  Bach accepted the invitation and set out at once on his
+journey.  Upon his arrival at Dresden Volumier procured him an opportunity
+to hear Marchand secretly.  Far from being discouraged by what he heard,
+Bach wrote a polite note to the French artist challenging him to a trial
+of skill, and offering to play at sight anything Marchand put before him,
+provided the Frenchman submitted himself to a similar test.  Marchand
+accepted the challenge, a time and place for the contest were fixed, and
+the King gave his approval.  At the appointed hour a large and
+distinguished company assembled in the house of Marshal Count
+Flemming.(85) Bach arrived punctually; Marchand did not appear.  After
+considerable delay he was sought at his lodging, when it was discovered,
+to the astonishment of all, that he had left Dresden that morning without
+taking leave of anybody.  Bach therefore performed alone, and excited the
+admiration of all who heard him, though Volumier was cheated of his
+intention to exhibit the inferiority of French to German art.  Bach was
+overwhelmed with congratulations; but the dishonesty of a Court official
+is said to have intercepted a present of one hundred louis d'or sent to
+him by the King.(86)
+
+Bach had not long returned to Weimar when Prince Leopold of Anhalt-C�then,
+a good judge of music and a first-rate amateur,(87) offered him the post
+of Kapellmeister.  He entered at once upon his new office(88) and held it
+for about six years.(89) At this period, about 1722,(90) he visited
+Hamburg, played the Organ there, and excited general admiration.  The
+veteran Reinken--he was nearly one hundred years old--was particularly
+impressed by Bach's performance.  After he had treated the Choral _An
+Wasserfl�ssen Babylon_ for half an hour in variation after variation in
+the true Organ style,(91) Reinken paid him the compliment of saying, "I
+thought this art was dead, but I see that it survives in you."  Reinken
+had treated the same Choral in a similar manner some years before and had
+had his work engraved, showing that he thought highly of it.  His praise
+therefore was particularly flattering to Bach.(92)
+
+On the death of Kuhnau in 1723(93) Bach was appointed Director of Music
+and Cantor to St. Thomas' School, Leipzig,(94) a position which he
+occupied until his death.  Prince Leopold of Anhalt-C�then had great
+regard for him and Bach left his service with regret.(95) But he saw the
+finger of Providence in the event; for the Prince died shortly
+afterwards.(96) The loss of his patron affected him deeply, and moved him
+to compose a funeral Cantata containing remarkably fine double choruses
+which he himself conducted at C�then.(97) While he was at St. Thomas' he
+was appointed honorary Kapellmeister to the Duke of Weissenfels(98) and,
+in the following year (1736), received the title of Court Composer to the
+King-Elector of Poland-Saxony.(99) The two compliments are not of great
+consequence, and the second was to some degree corollary to Bach's
+position as Cantor of St. Thomas' School.(100)
+
+Carl Philipp Emmanuel, Bach's second son, entered the service of Frederick
+the Great of Prussia in 1740.  So widely was Bach's skill recognised by
+this time that the King, who often heard him praised, was curious to meet
+so great an artist.  More than once he hinted to Carl Philipp Emmanuel
+that it would be agreeable to welcome his father to Potsdam, and as Bach
+did not appear, desired to know the reason.  Carl Philipp did not fail to
+acquaint his father with the King's interest.  But for some time Bach was
+too occupied with his duties to accede to the invitation.  However, as
+Carl Philipp continued to urge him, he set out for Potsdam towards the end
+of 1747, in company with his eldest son, Wilhelm Friedemann.(101) It was
+the King's custom to hold a private concert every evening, and to take
+part on the flute in a Concerto or two. One evening,(102) when he had got
+out his flute and the musicians were at their desks, an official brought
+him a list of the strangers newly arrived at Potsdam.  Flute in hand the
+King ran through the names, and suddenly turning to the waiting musicians,
+said with considerable excitement, "Gentlemen, Old Bach has arrived."  The
+flute was put away for the evening, and Bach, who had alighted at his
+son's lodging, was summoned immediately to the Palace.  Wilhelm
+Friedemann, who accompanied his father, often told me the story.  Nor am I
+likely to forget the racy manner in which he related it.  The courtesy of
+those days demanded rather prolix compliments, and the first introduction
+of Bach to so illustrious a monarch, into whose presence he had hurried
+without being allowed time to change his travelling dress for a Cantor's
+black gown, obviously invited ceremonial speeches on both sides.  I will
+not dwell on them; Wilhelm Friedemann related a lengthy and formal
+conversation between the King and the Cantor.(103)
+
+More worthy of record is the fact that the King gave up his concert for
+that evening and invited Bach, already known as "Old Bach," to try the
+Silbermann pianofortes(104) which stood in various parts of the
+Palace.(105) Accompanied from room to room by the King and the musicians,
+Bach tried the instruments and improvised upon them before his illustrious
+companion.  After some time he asked the King to give him a subject for a
+Fugue, that he might treat it extempore.  The King did so, and expressed
+his astonishment at Bach's profound skill in developing it.  Anxious to
+see to what lengths the art could be carried, the King desired Bach to
+improvise a six-part Fugue.  But as every subject is not suitable for
+polyphonic treatment, Bach himself chose a theme and, to the astonishment
+of all who were present, developed it with the skill and distinction he
+had shown in treating the King's subject.  His Majesty expressed a wish to
+hear him on the Organ also. Accordingly, next day, Bach inspected all the
+Organs in Potsdam,(106) as the evening before he had tried the Silbermann
+pianofortes. On his return to Leipzig he developed the King's theme in
+three and six parts, added Canones diversi upon it, engraved the whole
+under the title _Musikalisches Opfer_ and dedicated it to the royal author
+of the theme.(107)
+
+His visit to Potsdam was Bach's last journey.  The indefatigable diligence
+he had shown all his life, and particularly in his younger years, when
+successive days and nights were given to study, seriously affected his
+eye-sight.  The weakness grew with age and became very distressing in
+character.  On the advice of friends who placed great confidence in the
+skill of a London oculist lately come to Leipzig,(108) Bach submitted to
+an operation, which twice failed.  He lost his sight completely in
+consequence, and his hitherto vigorous constitution was undermined by the
+drugs administered to him.  He sank gradually for full half a year, and
+expired on the evening of July 30, 1760, in the sixty-sixth year of his
+age.(109) Ten days before his death(110) he was suddenly able to see again
+and to bear the light.  A few hours later he was seized by an apoplexy and
+inflammatory fever, and notwithstanding all possible medical aid, his
+weakened frame succumbed to the attack.
+
+Such was the career of this remarkable man.  I will only add that he was
+twice married, and that he had by his first wife seven, and by his second
+wife thirteen children; in all, eleven sons and nine daughters.(111) All
+of his sons had an admirable talent for music, but only the elder ones
+fully developed it.(112)
+
+         [The Church and School of St. Thomas, Leipzig, in 1723.]
+
+          The Church and School of St. Thomas, Leipzig, in 1723.
+
+
+
+
+
+CHAPTER IIA.(113) BACH AT LEIPZIG, 1723-1750
+
+
+Bach was inducted into his office as Cantor of St. Thomas' School at nine
+o'clock on the morning of Monday, May 31, 1723.  He died in his official
+residence there at a quarter to nine on the evening of Tuesday, July 28,
+1750.  He was buried early on the morning of Friday, July 31, in the
+churchyard of St. John's, Leipzig.
+
+The announcement of his death, made from the pulpit of St. Thomas' on the
+day of his funeral, described him as "Court Composer to His Majesty the
+King of Poland and Electoral and Serene Highness of Saxony, Kapellmeister
+to His Highness the Prince of Anhalt-Cothen, and Cantor to St. Thomas'
+School of this town."  Bach usually designated himself "Director Chori
+Musici Lipsiensis," or shortly, "Director Musices."  Circumstances led him
+to emphasise a title which asserted a musical prerogative not confined to
+the School and the churches it served.
+
+The Cantor of St. Thomas' was charged formerly with the musical direction
+of four Leipzig churches: St. Thomas', St. Nicolas', St. Peter's, and the
+New Church.  He was also responsible for the music in the University
+Church of St. Paul, the so-called "old service," held originally on the
+Festivals of Easter, Whit, Christmas, and the Reformation, and once during
+each University quarter. On high days music also had to be provided at St.
+John's Church.
+
+Bach, as Cantor, succeeded to a more restricted responsibility, which
+dated from the early years of the eighteenth century.  The New Church,
+originally the Church of the Franciscans, had been restored to use in
+1699.  In 1704 Georg Philipp Telemann, who came to Leipzig as a law
+student three years before, was appointed Organist there. He also founded
+the Collegium Musicum, or University Musical Society, a farther slight
+upon the Cantor's position.  Not until 1729 did the Society pass under
+Bach's direction and its members become available as auxiliaries in the
+church choirs under his charge.  Notwithstanding that Bach's predecessor
+Kuhnau had protested against Telemann's independence, the direction of the
+New Church's music passed out of the Cantor's control, though the School
+continued to provide the choristers.  Six years later the University
+Church of St. Paul also began an independent course.  In 1710 the
+authorities resolved to hold a University service in the church every
+Sunday. Kuhnau asserted his prerogative as Cantor. But he was only able to
+maintain it by offering to provide the music for the "new service" as well
+as for the "old service" at the fee of twelve thalers which the University
+so far had paid for the latter.  After his death the University appointed
+(April 3, 1723) Johann Gottlieb G�rner, already Organist of St. Nicolas'
+since 1721, to control the music both of the "old" and "new" services, for
+which the University provided the choir.  Not until after a direct appeal
+to the King did Bach succeed, in 1726, in compelling the University to
+restore to the Cantor his emoluments in regard to the "old service," the
+conduct of which had been restored to him on his appointment as Cantor.
+The "new service" remained under G�rner's direction.  As to St. Peter's,
+its services, which had entirely ceased, were revived in 1711. The music,
+however, was simple, and consisted only of hymns.
+
+Thus Bach, as Cantor, was responsible for the music in the two principal
+churches, St. Thomas' and St. Nicolas'.  The School also provided the
+choir for St. Peter's and the New Church.  The junior and least competent
+singers sang at St. Peter's.  The rest were pretty equally distributed
+between the other three churches.  At the New Church the music was
+performed under the direction of a Chorpr�fect.  At St. Thomas' and St.
+Nicolas' Bach personally directed the concerted music.  On ordinary
+Sundays a Cantata or Motet was performed in each church alternately.  At
+the great Festivals, New Year, Epiphany, Ascension Day, Trinity Sunday,
+and the Annunciation, Cantatas were sung at both churches, the two choirs
+singing at Vespers in the second church the Cantata performed by them in
+the morning at the other church.  On these occasions the second choir was
+conducted by a Chorpr�fect. The principal Sunday service in both churches
+began at seven in the morning, ended at eleven, and observed the following
+order:
+
+      1. Organ Prelude.
+      2. Motet, related to the Gospel for the Day; (omitted in Lent and
+      replaced by the Benedictus).
+      3. Introit.
+      4. Kyrie, sung alternately, in German and Latin.
+      5. The Lord's Prayer, intoned at the altar.
+      6. Gloria, intoned at the altar and answered either by the Choir's
+      Et in terra pax hominibus, or by the congregation with the Hymn,
+      Allein Gott in der H�h' sei Ehr, the German version of the Gloria.
+      7. Collect, intoned in Latin; preceded by the preces Dominus
+      vobiscum and Et cum spiritu tuo.
+      8. Epistle.
+      9. Litany, in Advent and Lent only; intoned by four boys, the Choir
+      responding.
+      10. Hymn, appropriate to the Gospel.
+      11. Gospel.
+      12. Credo, intoned; (in Lent, last three Sundays of Advent, and
+      Festivals of Apostles, the Nicene Creed, sung in Latin).
+      13. Prelude, followed by a Cantata, lasting about twenty minutes; on
+      alternate Sundays in each church.
+      14. The Creed in German, Wir glauben all' an einen Gott, sung by the
+      congregation.
+      15. Sermon, lasting one hour (8-9 A.M.).
+      16. Hymn, Herr Jesu Christ, dich zu uns wend, followed by the
+      reading of the Gospel, on which the Sermon had been based.
+      17. General Confession, prayers, and Lord's Prayer.
+      18. Blessing.
+      19. Hymn.
+      20. Communion Service; Hymns and Organ extemporisation.
+      21. Benediction.
+
+Vespers began at a quarter past one and was a comparatively simple
+service; the music consisted of Hymns, a Motet, and the Magnificat. On the
+last three Sundays in Advent and throughout Lent neither Cantatas nor
+Motets were sung. The Organ was silent. On the three great Festivals the
+appointed Hymn for the season was sung at the beginning of the principal
+service, before the Organ Prelude: at Christmas, Puer natus in Bethlehem;
+at Easter, Heut' triumphiret Gottes Sohn; at Whitsuntide, Spiritus Sancti
+gratia.  During the Communion service the Sanctus and concerted music were
+sung.  A festal hymn followed the Benediction.  The three great Festivals
+were each observed for three consecutive days, on the first and second of
+which Cantatas were sung at both churches.  On the third day concerted
+music was sung at only one of the two churches.
+
+The other week-day Festivals for which Cantatas were provided were the
+Feast of the Circumcision (New Year's Day), Epiphany, Ascension Day,
+Purification of the B.V.M., Annunciation of the B.V.M., Visitation of the
+B.V.M., Feast of St. John Baptist (Midsummer Day), Feast of St. Michael
+the Archangel. The Reformation Festival was kept on October 31, or if that
+date was a Saturday or Monday, on the previous or following Sunday.
+
+On Good Friday the Passion was performed in the two principal churches
+alternately. Leipzig adopted no official Hymn-book.  The compilation from
+which the Hymns were chosen by Bach was the eight-volumed Gesangbuch of
+Paul Wagner, published at Leipzig for Dresden use in 1697.  It contained
+over five thousand Hymns but no music, merely the name of the tune being
+stated above the Hymn.  For the most part the Hymns for special, and even
+for ordinary, occasions were prescribed by custom. Otherwise the power of
+selection was in the hands of the Cantor, and Bach's exercise of it caused
+some friction with the clergy in 1728.
+
+The provision and direction of the music at weddings and funerals was in
+the Cantor's hands. He arranged the choirs and the music sung at the
+scholars' annual processions and perambulations of the town, which took
+place at Michaelmas, New Year, and on St. Martin's and St. Gregory's Days.
+
+Augmenting the School's choristers, the Town Musicians took part in the
+Church services and were under the Cantor's direction. Their numbers and
+efficiency were inadequate.
+
+Upon the staff of the School the Cantor ranked third after the Rector and
+Sub-Rector, and took a share in the general instruction of the scholars.
+Class III. went to Bach for Latin lessons, a duty which the Council
+eventually permitted him to fulfil by deputy.  Singing classes were held
+by the Cantor on three days of the week, Mondays, Tuesdays, and
+Wednesdays, at nine and noon, and on Fridays at noon.  His instruction in
+singing was given to the four upper classes only.  On Saturday afternoons
+the Cantata was rehearsed. Once in four weeks the Cantor took his turn to
+inspect the scholars.  Like the other masters, he was required to conform
+to the regulations of the School House, in which he lived.  He rose at
+five in summer, at six in winter, dined at ten and supped at five in the
+afternoon.
+
+Holidays were numerous.  A week's vacation was given at the Easter,
+Michaelmas, and New Year Fairs.  At Midsummer the School had a month of
+half-holidays.  Whole holidays were given on the birthdays of the four
+upper masters. There were no morning lessons on Saints' Days, on the
+occasion of funeral orations in the University Church, and on the
+quarterly Speech Days. Hence, though Bach's office carried large
+responsibility, it left him considerable leisure for composition.
+
+As Cantor Bach had an official residence in the left wing of the School
+House.  In 1723, the Cantor's wing was of two storeys only, dwarfed by the
+greater elevation of the main edifice and under the shadow of the church.
+Bach brought to Leipzig four children of his first marriage, and his
+second wife, Anna Magdalena, presented him with a son or daughter annually
+from 1723 to 1729.  The accommodation of the Cantor's lodging therefore
+rapidly became inadequate.  In the spring of 1731 Bach found a house
+elsewhere while an additional storey was added to it, which provided a new
+music-room, a good-sized apartment whence a passage led to the big
+schoolroom in the main building.  The new wing was formally opened and
+dedicated on June 5, 1732, when Bach's secular Cantata Froher Tag,
+verlangte Stunden was performed; the libretto being by his colleague
+Winkler.  From thenceforward till his death eighteen years later Bach's
+occupancy was not disturbed.  The wing continued to be the official
+residence of the Cantor until the School moved to the suburbs of the city
+in 1877.
+
+In addition to his residence, which he occupied rent free, the Cantor
+enjoyed a revenue from various and fluctuating sources, amounting in gross
+to 700 thalers (=�106 per annum).  His fixed stipend was only 100 thalers
+(=�15).  About 12 thalers came to him from endowments.  In kind he was
+entitled to 16 bushels of corn and 2 cords of firelogs, together with 2
+measures of wine at each of the three great Festivals.  From the
+University, after his successful protest, he received 12 thalers for
+directing the "old service." By far the larger part of Bach's income was
+derived from fluctuating sources.  They were of three kinds: (1) School
+monies, (2) funeral fees, (3) wedding fees.  The School monies represented
+perquisites derived from funds obtained by the scholars, partly by their
+weekly collections from the public, partly from the four annual
+processions or perambulations of the city.  From the weekly collections a
+sum of six pfennigs multiplied by the number of the scholars was put aside
+for the four upper masters, among whom the Cantor ranked third.  From the
+money collected at the New Year, Michaelmas, and St. Martin's Day
+processions the Rector took a thaler, the Cantor and the Sub-Rector each
+took one-eleventh of the balance, sixteen thirty-thirds went to the
+singers, and one-quarter of what remained fell to the Cantor.  Out of the
+money collected on St. Gregory's Day (March 12) the Rector took one-tenth
+for the entertainment of the four upper masters, and the Cantor took
+one-third of the residue.  For funerals one thaler 15 groschen was paid
+when the whole school accompanied the procession and a Motet was sung at
+the house of the deceased.  When no Motet was sung the Cantor's fee was 15
+groschen. For weddings he received two thalers.
+
+Reckoned in modern currency, and judged by the standard of the period, the
+Cantor's income was not inadequate and served to maintain Bach's large
+family in comfort.  When he died in 1750, in addition to a mining share
+valued at 60 thalers, he possessed in cash or bonds about 360 thalers,
+silver plate valued at 251 thalers, instruments valued at 371 thalers,
+house furniture valued at 29 thalers, and books valued at 38 thalers.  His
+whole estate was declared at 1158 thalers, or somewhat less than the
+savings of two years' income.  But for the inequitable distribution of his
+property, owing to his intestacy, which left Anna Magdalena only about 400
+thalers and the mining share, Bach's widow and unmarried daughters ought
+not to have been afflicted with excessive poverty, as in fact they were.
+
+At the beginning of his Cantorate Bach worked amid discouraging and
+unsatisfactory conditions. The Rector, Johann Heinrich Ernesti, was over
+seventy years of age in 1723.  The School was badly managed, its
+discipline was relaxed, the better-to-do citizens withheld their sons from
+it, and its numbers were seriously diminished.  In 1717 the junior classes
+contained only 53 as against 120 in Ernesti's earlier years.  The
+proximity and operatic traditions of Dresden and Weissenfels also had a
+bad effect; the St. Thomas' boys, after attaining musical proficiency,
+were apt to become restless, demanding release from their indentures, and
+even running away to more attractive and lucrative occupations.  Moreover,
+the governors of the School were the Town Council, a body which had little
+sympathy with or appreciation of Bach's artistic aims and temperament. To
+these difficulties must be added another.  The Town Musicians, on whom
+Bach relied for the nucleus of his orchestra, were few in number and
+inefficient.
+
+So long as Ernesti lived, there was little prospect of reform.  But, after
+his death, in October 1729, Bach made vigorous representations to the Town
+Council.  Already he had remonstrated with the Council for presenting to
+foundation scholarships boys who lacked musical aptitude.  The Council
+retaliated by accusing Bach of neglecting his singing classes, absenting
+himself without leave, and of other irregularities.  He was declared to be
+"incorrigible" and it was resolved (August 2, 1730) to sequestrate the
+Cantor's income, in other words, to withhold from him the perquisites to
+which he was entitled for the conduct of the Church services.(114)
+
+Bach was not deterred from offering, three weeks later (August 23, 1730),
+a "sketch of what constitutes well-appointed Church music, with a few
+impartial reflections on its present state of decay" in Leipzig.  The
+document reveals the conditions amid which Bach worked.  Its
+representations may be summarised:
+
+The foundation scholars of St. Thomas' are of four classes: Trebles,
+Altos, Tenors, Basses.
+
+A choir needs from four to eight "concertists" ( solo singers) and at
+least two "ripienists" to each chorus part, i.e. a minimum of twelve
+voices.
+
+The foundation scholars number fifty-five, by whom the choirs of the four
+Churches, St. Thomas', St. Nicolas', St. Peter's, and the New Church are
+provided.  For the instrumental accompaniments at least twenty players are
+required: viz., 2 or 3 first Violins, 2 or 3 second Violins, 4 Violas, 2
+Violoncelli, 1 Contrabasso, 2 or more Flutes, 2 or 3 Oboi, 1 or 2 Fagotti,
+3 Trombe, 1 Timpani.  To fill these places there are eight Town Musicians,
+and at the moment there are no players available for third Tromba,
+Timpani, Viola, Violoncello, Contrabasso, third Oboe (or Taille).
+
+To augment the Town Musicians the Cantor has been wont in the past to
+employ University students and instrumental players in the School. Upon
+the former "at all times" he relies for Viola, Violoncello, and
+Contrabasso, and "generally" for the second Violins.  But the Council, by
+its recent resolution, no longer affords the Cantor the means to employ
+them.  To place the scholars in the orchestra weakens the choir, to which
+they naturally belong.
+
+By presenting to foundation scholarships boys unskilled and ignorant of
+music, the resources at the Cantor's disposal are still farther lessened.
+
+Hence, Bach concludes, "in ceasing to receive my perquisites I am deprived
+of the power of putting the music into a better condition."
+
+No answer was made to Bach's memorial, and he contemplated resigning his
+position.  But with the advent of Johann Matthias Gesner as Rector in
+September 1730 a happier period dawned upon the "incorrigible" Cantor.  In
+1732 Gesner procured the withdrawal of the Council's ban on Bach's
+perquisites.  The fallen fortunes of the School revived, and Bach did not
+again make an effort to leave Leipzig.  In 1736 the grant of the post of
+Hof-Componist to the Saxon Court gave him at length a title which
+compelled the deference of his civic masters.
+
+Bach's early misunderstanding with the University cut him off from
+association with the most dignified, if not the most important,
+institution in Leipzig, and deprived him of opportunity to display his
+genius beyond the radius of his Church duties.  The situation changed in
+1729, when he became director of the University Society, and he held the
+post for about ten years.  The Society gave weekly concerts on Fridays,
+from 8 to 10, and an extra concert, during the Fair season, on Thursdays
+at the same hour.  It performed vocal and instrumental music and was the
+medium through which Bach presented his secular Cantatas, Clavier and
+Violin Concertos, and Orchestral Suites to the public.  The proficiency of
+his elder sons and pupils, and his wife's talent as a singer, were a
+farther source of strength to the Society, whose direction undoubtedly
+made these years the happiest in Bach's life.  He took his rightful place
+in the musical life of the city, and relegated to a position of
+inferiority the smaller fry, such as G�rner, who had presumed on Bach's
+aloofness from the University and Municipality to insinuate themselves.
+His increasing reputation as an organist, gained in his annual autumn
+tours, also enlightened his fellow-townsmen regarding the superlative
+worth of one whom at the outset they were disposed to treat as a
+subordinate official.
+
+The Leipzig of Bach's day offered various opportunities for musical
+celebration; official events in the University, "gratulations" or
+"ovations" of favourite professors by their students, as well as patriotic
+occasions in which town and gown participated. The recognised fee for
+piec�s d'occasion of a public character was fifty thalers.  Bach's
+conductorship of the University Society enabled him to perform festival
+works with the resources they required, and to augment the band and chorus
+needed for their adequate performance.
+
+Even before he undertook the direction of the University Society, Bach
+more than once provided the music for University celebrations.  On August
+3, 1725, his secular Cantata, _Der zufried-engestellte Aeolus,_ was
+performed at the students' celebration of Doctor August Friedrich M�ller's
+name-day.  In 1726 he revived an old Cantata(115) to celebrate the
+birthday of another of the Leipzig teachers.  In the same year the
+appointment of Dr. Gottlieb Kortte as Professor of Roman Law was
+celebrated by Bach's Cantata _Vereinigte Zwietracht der wechselnden
+Saiten._ In 1733 the birthday of another Professor was marked by the
+performance of the C�then Cantata to yet another text (_Die Freude reget
+sich_). On November 21, 1734, the lost Cantata _Thomana sass annoch
+betr�bt_ was sung at the induction of Gesner's successor, Johann August
+Ernesti, as Rector of St. Thomas' School.
+
+But Bach's activity as a secular composer at Leipzig was chiefly expended
+on patriotic celebrations. His compositions of this character are
+particularly numerous during the years 1733-36, while he was seeking from
+the Dresden Court the post of Hof-Componist.  The first of these
+celebrations took place on May 12, 1727, the birthday of Augustus II. of
+Poland-Saxony, when Bach's Cantata, _Entfernet euch, ihr heitern Sterne,_
+was performed in the Market Place by the University Society.  The King was
+present and listened to the performance from a convenient window.  The
+music is lost.  Six years elapsed before Bach was invited to collaborate
+in another celebration of the royal House.  On September 5, 1733, less
+than two months after his application for the post of Hof-Componist, the
+University Society celebrated the eleventh birthday of the Electoral
+Prince by performing Bach's dramma per musica, _Die Wahl des Herkules,_ or
+_Herkules auf dem Scheidewege._ Barely three months later, on December 8,
+1733, Bach produced another Cantata in honour of the royal family, _T�net,
+ihr Pauken, erschallet Trompeten,_ of which he was both author and
+composer.  On no less than three occasions in 1734 Bach did homage to his
+unheeding sovereign.  In January the University Society, under Bach's
+direction, performed his Cantata _Blast Larmen, ihr Feinde_ to celebrate
+the coronation of Augustus III.  The music had already done duty in Dr.
+M�ller's honour in 1725.  On the following October 5, 1734, when the King
+visited Leipzig, Bach's hurriedly written Cantata, _Preise dein Gl�cke,
+gesegnetes Sachsen,_ whose first chorus became the Osanna of the B minor
+Mass, was performed in the Market Place.  Two days later, on October 7,
+1734, the King's birthday was celebrated by another Bach Cantata,
+_Schleicht spielende Wellen,_ performed by the Collegium Musicum. In 1738,
+having received the coveted title of Hof-Componist in the interval (1736),
+Bach performed a work--_Willkommen, ihr herrschenden G�tter der Erden_--now
+lost, in honour of the marriage of the Princess Maria Amalia of Saxony to
+Charles of Sicily, afterwards Charles III. of Spain.
+
+Apart from his musical activities and the house in which he lived there is
+little that permits us to picture Bach's life at Leipzig.  Association
+with his friends Johann Christian Hoffmann, Musical Instrument Maker to
+the Court, Marianne von Ziegler, J. C. Gottsched and his musical wife,
+Johann Abraham Birnbaum, among the Professoriate, Picander and Christian
+Weiss, Bach's regular librettists, suggests the amenities of an academic
+and literary circle. But the claims of his art and the care of his large
+family had the first call upon Bach's interest.  And few men had a happier
+home life.  While his elder sons were at home the family concerts were
+among his most agreeable experiences.  As his fame increased, his house
+became the resort of many seeking to know and hear the famous organist.
+Late in the thirties he resigned his directorship of the University
+Society.  His sons were already off his hands and out of his house, and he
+turned again to the Organ works of his Weimar period.  Their revision
+occupied the last decade of his life, and the hitherto constant flow of
+Church Cantatas ceased. Pupils resorted to him and filled his empty house,
+to one of whom, Altnikol, he gave a daughter in marriage.
+
+A man of rigid uprightness, sincerely religious; steeped in his art,
+earnest and grave, yet not lacking naive humour; ever hospitable and
+generous, and yet shrewd and cautious; pugnacious when his art was
+slighted or his rights were infringed; generous in the extreme to his wife
+and children, and eager to give the latter advantages which he had never
+known himself; a lover of sound theology, and of a piety as deep as it was
+unpretentious--such were the qualities of one who towers above all other
+masters of music in moral grandeur.
+
+Four, perhaps only three, contemporary portraits of Bach are known.  One
+is in the possession of the firm of Peters at Leipzig and once belonged to
+Carl Philipp Emmanuel's daughter, who with inherited impiety sold it to a
+Leipzig flute player.  The second hung in St. Thomas' School and is
+reproduced at p. 48 of this volume.  It was painted in 1746 and restored
+in 1913.  Both portraits are by Elias Gottlieb Haussmann, Court Painter at
+Dresden. The third portrait belonged to Bach's last pupil, Kittel, and
+used to hang on the Organ at Erfurt, whence it disappeared after 1809,
+during the Napoleonic wars.  Recently Professor Fritz Volbach of Mainz has
+discovered a fourth portrait, which is printed at p. 92 of the present
+volume. He supposes it to be none other than the Erfurt portrait, as
+indeed it well may be, since it represents a man of some sixty years,
+austere in countenance, but of a dignity that is not so apparent in
+Haussmann's portraiture.(116)
+
+Bach left no will.  In consequence his widow, Anna Magdalena, burdened
+with the charge of a step-daughter and two daughters, was entitled to only
+one-third of her husband's estate.  Neither Carl Philipp Emmanuel nor
+Wilhelm Friedemann was her own child.  But the fact cannot excuse gross
+neglect of their father's widow. Her own sons were in a position to make
+such a contribution to her income as would at least have kept want from
+her door.  In fact she was permitted to become dependent on public
+charity, and died, an alms-woman, on February 27, 1760, nearly ten years
+after her great husband.  The three daughters survived her.  One died in
+1774, the second in 1781.  The third, Regine Susanna, survived them, her
+want relieved by gifts from a public that at last was awakening to the
+grandeur of her father.  Beethoven contributed generously.  Regine Susanna
+died in December 1809, the last of Bach's children.  In 1845 her nephew,
+Johann Christoph Friedrich's son, also died.  With him the line of Johann
+Sebastian Bach expired.
+
+   [Johann Sebastian Bach, circa 1746. From the picture by Haussmann.]
+
+   Johann Sebastian Bach, circa 1746. _From the picture by Haussmann._
+
+
+
+
+
+CHAPTER III. BACH AS A CLAVIER PLAYER
+
+
+As a Clavier player Bach was admired by all who had the good fortune to
+hear him and was the envy of the virtuosi of his day.  His method greatly
+differed from that of his contemporaries and predecessors, but so far no
+one has attempted to explain in what the difference consisted. The same
+piece of music played by ten different performers equally intelligent and
+competent will produce a different effect in each case.  Each player will
+emphasise this or that detail.  This or that note will stand out with
+differing emphasis, and the general effect will vary consequently.  And
+yet, if all the players are equally competent, ought not their
+performances to be uniform?  The fact that they are not so is due to
+difference of touch, a quality which to the Clavier stands as enunciation
+to human speech.  Distinctness is essential for the enunciation of vowels
+and consonants, and not less so for the articulation of a musical phrase.
+But there are gradations of distinctness.  If a sound is emitted
+indistinctly it is comprehensible only with effort, which occasions us to
+lose much of the pleasure we should otherwise experience. On the other
+hand, over-emphasis of words or notes is to be avoided.  Otherwise the
+hearer's attention will be diverted from the tout ensemble. To permit the
+general effect to be appreciated every note and every vowel must be
+sounded with balanced distinctness.
+
+I have often wondered why Carl Philipp Emmanuel Bach's _Essay on the Right
+Manner of playing the Clavier_(117) does not elucidate the qualities that
+constitute a good touch.  For he possessed in high degree the technique
+that made his father pre-eminent as a player.  True, in his chapter on
+"Style in Performance," he writes, "Some persons play as if their fingers
+were glued together; their touch is so deliberate, and they keep the keys
+down too long; while others, attempting to avoid this defect, play too
+crisply, as if the keys burnt their fingers.  The right method lies
+between the two extremes." But it would have been more useful had he told
+us how to reach this middle path.  As he has not done so, I must try to
+make the matter as clear as is possible in words.
+
+Bach placed his hand on the finger-board so that his fingers were bent and
+their extremities poised perpendicularly over the keys in a plane parallel
+to them.(118) Consequently none of his fingers was remote from the note it
+was intended to strike, and was ready instantly to execute every command.
+Observe the consequences of this position.  First of all, the fingers
+cannot _fall_ or (as so often happens) be _thrown_ upon the notes, but are
+_placed_ upon them in full control of the force they may be called on to
+exert.  In the second place, since the force communicated to the note
+needs to be maintained with uniform pressure, the finger should not be
+released perpendicularly from the key, but can be withdrawn gently and
+gradually towards the palm of the hand.  In the third place, when passing
+from one note to another, a sliding action instinctively instructs the
+next finger regarding the amount of force exerted by its predecessor, so
+that the tone is equally regulated and the notes are equally distinct.  In
+other words, the touch is neither too long nor too short, as Carl Philipp
+Emmanuel complains, but is just what it ought to be.(119) Many advantages
+arise from holding the hand in Bach's position and from adopting his
+touch, on the Clavichord and Harpsichord,(120) and on  the Organ as well.
+I point out merely the most important of them.   To begin with, if the
+fingers are bent, their movements are free.  The notes are struck without
+effort and with less risk of missing or hitting too hard, a frequent fault
+with people who play with their fingers elongated or insufficiently bent.
+In the second place, the sliding finger-tip, and the consequently rapid
+transmission of regulated force from one finger to another, tend to bring
+out each note clearly and to make every passage sound uniformly brilliant
+and distinct to the hearer without exertion.  In the third place, stroking
+the note with uniform pressure permits the string to vibrate freely,
+improves and prolongs the tone, and though the Clavichord is poor in
+quality, allows the player to sustain long notes upon it.  And the method
+has this advantage: it prevents over-expenditure of strength and excessive
+movement of the hand. We gather that the action of Bach's fingers was so
+slight as to be barely perceptible.  Only the top joint seemed to move.
+His hand preserved its rounded shape even in the most intricate passages.
+His fingers rested closely upon the keys, very much in the position
+required for a "shake."  An unemployed finger remained in a position of
+repose.  It is hardly necessary to say that that other limbs of his body
+took no part in his performance, as is the case with many whose hands lack
+the requisite agility.(121)
+
+A man may possess all these qualities, however, and remain an indifferent
+performer on the Clavier, just as clear and agreeable enunciation does not
+necessarily make a good speaker.  To be a first-rate performer many other
+qualities are needed, and Bach possessed them all in a notable degree.
+
+Some fingers are longer and stronger than others. Hence players are
+frequently seduced to use the stronger whenever they can readily do so.
+Consequently successive notes become unequal in tone, and passages which
+leave no choice as to the finger to be used may become impossible to play.
+Bach recognised this fact very early in his career.  To get over the
+difficulty he invented exercises for his own use in which the fingers of
+both hands were made to practise passages in every conceivable position.
+By this means every finger on both hands equally became strong and
+serviceable, so that he could play a rapid succession of chords, single
+and double "shakes," and running passages with the utmost finish and
+delicacy, and was equally fluent in passages where some fingers play a
+"shake" while the others on the same hand continue the melody.
+
+Besides these improvements, Bach invented a new system of fingering.(122)
+Before his time, and even in his early years, it was usual for the player
+to pay attention to harmony rather than counterpoint. Even so it was not
+customary to use every one of the twenty-four major and minor keys.  The
+Clavichord was still what we term "gebunden"; that is, several keys struck
+the same string, which, therefore, could not be accurately tuned.(123)
+Consequently it was usual to employ only those keys whose notes were tuned
+with some approximation to accuracy.  Again, good players in those days
+hardly ever used the thumb, except when a large interval had to be
+stretched.  But when Bach began to melodise harmony so that his middle
+parts not merely filled in but had a tune of their own, when, too, he
+began to deviate from the Church modes then in general vogue in secular
+music, using the diatonic and chromatic scales indifferently, and tuning
+the Clavier in all the twenty-four keys, he found himself compelled to
+introduce a system of fingering better adapted to his innovations than
+that in use, and in particular, to challenge the convention which
+condemned the thumb to inactivity. It is held by some writers that
+Couperin forestalled Bach's method of fingering, in his _L'Art de toucher
+le Clavecin,_ published in 1716.  But that is not the case.  In the first
+place, Bach was above thirty years old in 1716, and had already developed
+a distinctive method of his own.  And in the second place, Couperin's
+system differs materially from Bach's, though both made more frequent use
+of the thumb than was so far customary.  When I say "more frequent use" I
+do so advisedly; for whereas in Bach's system the thumb is the principal
+finger--for the difficult keys, as they are called, are unplayable without
+it--it is not equally indispensable with Couperin, whose thematic material
+was not so intricate as Bach's, nor did he compose or play in such
+difficult keys.  Consequently Couperin had not an equally urgent need to
+use the thumb. We need only compare Couperin's with Bach's system of
+fingering, as Carl Philipp Emmanuel explains it,(124) to discover that
+Bach's permits every passage, however intricate and polyphonic, to be
+played with ease, whereas Couperin's is hardly effective even for his own
+compositions.  Bach was acquainted with Couperin's works and highly
+esteemed them,(125) as he did those of other French Clavier composers, for
+their finish and brilliance. But he considered them affected in their
+excessive use of ornaments, scarcely a single note being free from them.
+He held them, also, superficial in matter.
+
+Bach's easy, unconstrained use of the fingers, his musical touch, the
+clearness and precision of every note he struck, the resourcefulness of
+his fingering, his thorough training of every finger of both hands, the
+luxuriance of his thematic material and his original method of stating it,
+all contributed to give him almost unlimited power over his instrument, so
+easily did he surmount the difficulties of its keyboard.  Whether he
+improvised or played his compositions from notes, he systematically
+employed every finger of each hand, and his fingering was as uncommon as
+the compositions themselves, yet so accurate that he never missed a note.
+Moreover, he read at sight other people's compositions (which, to be sure,
+were much easier than his own) with the utmost facility.  Indeed, he once
+boasted to a friend at Weimar that he could play at sight and without a
+mistake anything put before him.  But he was mistaken, as his friend
+convinced him before the week was out.  Having invited Bach to breakfast
+one morning, he placed on the Clavier, among other music, a piece which,
+at a first glance, seemed perfectly easy.  On his arrival, Bach, as was
+his custom, sat down at the Clavier to play or look through the music.
+Meanwhile his friend was in the next room preparing breakfast.  In a short
+time Bach took up the piece of music destined to change his opinion and
+began to play it.  He had not proceeded far before he came to a passage at
+which he stopped.  After a look at it he began again, only to stop at the
+same place. "No," he called out to his friend, who was laughing heartily
+in the next room, "the man does not exist who can play everything at
+sight.  It can't be done." With that he got up from the Clavier in some
+annoyance.(126)
+
+Bach also could read scores with remarkable facility and play them on the
+Clavier. He found no more difficulty in piecing together the separate
+parts when laid side by side before him.(127) He often did so when a
+friend brought him a new Trio or Quartet for Strings and wished to hear
+how it sounded.  If a Continuo part, however badly figured, was put before
+him he could improvise a Trio or Quartet upon it.  Nay, when he was in the
+mood and at the height of his powers, he would convert a Trio into a
+Quartet by extemporising a fourth part.  On such occasions he used a
+Harpsichord with two manuals and pedal attachment.
+
+Bach preferred the Clavichord to the Harpsichord, which, though
+susceptible of great variety of tone, seemed to him lacking in soul.  The
+Pianoforte was still in its infancy and too coarse.(128) Both for practice
+and intimate use he regarded the Clavichord as the best instrument and
+preferred to express on it his finest thoughts.  He held the Harpsichord,
+or Clavicembalo, incapable of the gradations of tone obtainable on the
+Clavichord, an instrument which, though feeble in quality, is extremely
+flexible.
+
+No one could adjust the quill plectrums of his Harpsichord to Bach's
+satisfaction; he always did it himself.  He tuned his Harpsichord and
+Clavichord, and was so skilful in the operation that it never took him
+more than a quarter of an hour.  It enabled him to play in any key he
+preferred, and placed the whole twenty-four of them at his disposal, so
+that he could modulate into the remoter as easily and naturally as into
+the more nearly related keys.  Those who heard him frequently could hardly
+detect the fact that he had modulated into a distant key, so smooth were
+his transitions.  In chromatic movements his modulation was as easy and
+sequent as in diatonic.  His _Chromatic Fantasia,_ which is now
+published,(129) bears out my statement.  In his extemporisation he was
+even freer, more brilliant and expressive.
+
+When he played his own music Bach usually adopted a brisk pace.  He
+contrived to introduce so much variety that every piece became a sort of
+conversation between its parts.  If he wished to express deep emotion he
+did not strike the notes with great force, as many do, but expressed his
+feeling in simple melodic and harmonic figures,(130) relying rather on the
+internal resources of his art than external dynamics.  Therein he was
+right. True emotion is not suggested by hammering the Clavier. All that
+results is that the notes cannot be heard distinctly, much less be
+connected coherently.
+
+
+
+
+
+CHAPTER IV.  BACH THE ORGANIST
+
+
+What has been said regarding Bach's admirable Clavier playing applies
+generally to his skill as an organist.  The Clavier and Organ have points
+in common, but in style and touch are as different as their respective
+uses.  What sounds well on the Clavier is ineffective on the Organ, and
+vice versa.  The most accomplished Clavier player may be, and usually is,
+a bad organist unless he realises the differing natures of the two
+instruments and the uses they serve.  I have come across only two men who
+can be regarded as exceptions to this general rule--Bach and his eldest
+son, Wilhelm Friedemann.  Both were finished Clavier performers, but no
+trace of the Clavier style was apparent when they played the Organ.
+Melody, harmony, and pace were carefully selected with due regard to the
+nature and distinctive use of each instrument.  When Wilhelm Friedemann
+played the Clavier his touch was elegant, delicate, agreeable.  When he
+played the Organ he inspired a feeling of reverent awe. On the one he was
+charming.  On the other he was solemn, impressive. So also was his father,
+and to an even greater degree.  Wilhelm Friedemann was a mere child to him
+as an organist, and frankly admitted the fact.(131) The music that
+extraordinary man wrote for the Organ is full of dignity, awe-inspiring,
+saturated with the atmosphere of devotion.  His improvisation was even
+more inspired, dignified, and impressive: for then his imagination was
+untrammelled by the irksomeness of expressing himself on paper.  What is
+the essence of this art? Let me, though imperfectly, attempt an answer.
+
+When we compare Bach's Clavier compositions with those written for the
+Organ it is at once apparent that they differ essentially in melodic and
+harmonic structure.  Hence we conclude that a good organist must select
+fitting themes for his instrument, and let himself be guided by its
+character and that of the place in which it stands and by the objects of
+its use.  Its great body of tone renders the Organ ill-adapted to light
+and jaunty music.  Its echoes must have liberty to rise and fall in the
+dim spaces of the church, otherwise the sound becomes confused, blurred,
+and unintelligible.  What is played upon it must be suited to the place
+and the instrument, in other words, must be congruous to a solemn and
+majestic fabric.  Occasionally and exceptionally a solo stop may be used
+in a Trio, etc.  But the proper function of the Organ is to support church
+singing and to stimulate devotional feeling.  The composer therefore must
+not write music for it which is congruous to secular surroundings.  What
+is commonplace and trite can neither impress the hearer nor excite
+devotional feeling.  It must therefore be banished from the Organ-loft.
+How clearly Bach grasped that fact!  Even his secular music disdained
+trivialities.  Much more so his Organ music, in which he seems to soar as
+a spirit above this mortal planet.
+
+Of the means by which Bach attained to such an altitude as a composer for
+the Organ we may notice his harmonic treatment of the old Church modes,
+his use of the obbligato pedal, and his original registration.  The
+remoteness of the ecclesiastical modes from our twenty-four major and
+minor keys renders them particularly appropriate to the service of
+religion.  Any one who looks at Bach's simple four-part Hymn tunes
+(Choralges�nge) will at once convince himself of the fact.  But no one can
+realise how the Organ sounds under a similar system of harmonic treatment
+unless he has heard it.  It becomes a choir of four or five parts, each in
+its natural compass.  Compare the following chords in divided harmony:
+
+                    [Divided Harmony, Bach treatment]
+
+with these:
+
+                [Divided Harmony, conventional treatment]
+
+which is the more usual form organists employ. We realise instantly the
+effect when music in four or more parts is played in the same manner. Bach
+always played the Organ so, adding the obbligato pedal, which few
+organists know how to use properly.  He employed it not only to sound the
+low notes which organists usually play with the left hand, but he gave it
+a regular part of its own, often so complicated that many organists would
+find it difficult to play with their five fingers.
+
+To these qualities must be added the exquisite art Bach displayed in
+combining the stops of the Organ.  His registration frequently astonished
+organists and Organ builders, who ridiculed it at first, but were obliged
+in the end to admit its admirable results and to confess that the Organ
+gained in richness and sonority.(132)
+
+Bach's peculiar registration was based on his intimate knowledge of Organ
+building and of the properties of each individual stop.  Very early in his
+career he made a point of giving to each part of the Organ the utterance
+best suited to its qualities, and this led him to seek unusual
+combinations of stops which otherwise would not have occurred to him.
+Nothing escaped his notice which had the slightest bearing on his art or
+promised to advance it.  For instance, he made a point of observing the
+effect of large musical compositions in different surroundings.  The
+practised ear, which enabled him to detect the slightest error in music
+even of the fullest and richest texture, and the art and rapidity with
+which he tuned his instrument, alike attest his intuitive skill and
+many-sidedness.  When he was at Berlin in 1747 he was shown the new Opera
+House.  He took in its good and bad qualities at a glance, whereas others
+had done so only after experience. He was shown the large adjoining Saloon
+and went up into the gallery that runs round it. Merely glancing at the
+roof he remarked, "The architect has secured a novel effect which,
+probably, neither himself nor any one else suspected." The Saloon, in
+fact, is a parallelogram. If a person puts his face to the wall in one
+corner of it and whispers a few words, another person at the corner
+diagonally opposite can hear them distinctly, though to others between
+them the words are inaudible.  The effect arises from the span of the
+arches in the roof, as Bach saw at a glance.  These and similar
+observations suggested to him striking and unusual combinations of Organ
+stops.
+
+Bach brought the methods I have indicated to bear upon Church music, and
+they help to explain his extraordinarily dignified and inspired playing,
+which was at once so appropriate and filled the listener with deep awe and
+admiration.  His profound knowledge of harmony, unfailing originality,
+freedom from a secular style, his complete command of the instrument, both
+manuals and pedals, whence flowed a generous stream of the richest and
+most abundant fancy, the infallible and swift judgment which allowed him
+always to select from the treasury of his mind precisely the musical ideas
+best suited to the occasion immediately before him, his intuitive grasp of
+every detail, and his power to make it serve his artistic ends--in a word,
+his transcendent genius brought the art of Organ playing to a degree of
+perfection which, till then, it had never attained and hardly will attain
+again.  Quantz(133) has expressed the same opinion. "The admirable Johann
+Sebastian Bach," he writes, "brought the art of Organ playing to its
+highest perfection.  It is to be hoped that when he dies it will not be
+suffered to decline or be lost, as is to be feared from the small number
+of people who nowadays bestow pains upon it."(134)
+
+Strangers often asked Bach to play to them between the hours of divine
+service.  On those occasions he was wont to select and treat a theme in
+various ways, making it the subject of each extemporisation even if he
+continued playing for two hours.  As a beginning he played a Prelude and
+Fugue on the Great Organ.  Then he developed it with solo stops in a Trio
+or Quartet.  A Hymn-tune followed, whose melody he interrupted in the
+subtlest fashion with fragments of the theme in three or four parts.  Last
+came a Fugue, with full Organ, in which he treated the subject alone or in
+association with one or more accessory themes. Here we have the art which
+old Reinken of Hamburg considered to be lost, but which, as he afterwards
+found, not only survived but attained its greatest perfection in Bach.
+
+Bach's pre-eminent position and his high reputation often caused him to be
+invited to examine candidates for vacant organistships, and to report on
+new Organs.  In both cases he acted so conscientiously and impartially
+that he generally made enemies.  Scheibe, late Director of Music at the
+Danish Court, who as a young man was examined by Bach on such an occasion,
+was so incensed by Bach's unfavourable verdict that he afterwards avenged
+himself in his "Critical Musician" by violently attacking his
+examiner.(135) In his examination of Organs Bach equally exposed himself
+to trouble.  He could as little prevail on himself to praise a bad
+instrument as to recommend a bad organist.  He was, therefore, severe,
+though always fair, in the tests he applied, and as he was thoroughly
+acquainted with the construction of the instrument it was hopeless to
+attempt to deceive him.  First of all he drew out all the stops, to hear
+the Full Organ.  He used to say jokingly, that he wanted to find out
+whether the instrument had good lungs!  Then he gave every part of it a
+most searching test.  But his sense of fairness was so strong that, if he
+found the work really well done, and the builder's remuneration too small,
+so that he was likely to be a loser, Bach endeavoured, and often
+successfully, to procure for him an adequate addition to the purchase
+price.
+
+When the examination was over, especially if the instrument pleased him,
+Bach liked to exhibit his splendid talent, both for his own pleasure and
+the gratification of those who were present.  Such demonstrations of his
+powers invariably invited the verdict, that he was conclusively "the
+prince of Clavier and Organ players," a title which Sorge, the late
+highly-esteemed organist at Lobenstein,(136) once gave him in a dedicatory
+Preface.
+
+
+
+
+
+CHAPTER V. BACH THE COMPOSER
+
+
+Bach's first attempts at composition, like all early efforts, were
+unsatisfactory.  Lacking special instruction to direct him towards his
+goal, he was compelled to do what he could in his own way, like others who
+have set out upon a career without a guide.  Most youthful composers let
+their fingers run riot up and down the keyboard, snatching handfuls of
+notes, assaulting the instrument in wild frenzy, in hope that something
+may result from it.  Such people are merely Finger Composers--in his riper
+years Bach used to call them Harpsichord Knights--that is to say, their
+fingers tell them what to write instead of being instructed by the brain
+what to play.(137) Bach abandoned that method of composition when he
+observed that brilliant flourishes lead nowhere.  He realised that musical
+ideas need to be subordinated to a plan and that the young composer's
+first need is a model to instruct his efforts.  Opportunely Vivaldi's
+Concertos for the Violin,(138) then recently published, gave him the
+guidance he needed.  He had often heard them praised as admirable works of
+art, and conceived the happy idea of arranging them for the Clavier.(139)
+Hence he was led to study their structure, the musical ideas on which they
+are built, the variety of their modulations, and other characteristics.
+Moreover, in adapting to the Clavier ideas and phrases originally written
+for the Violin Bach was compelled to put his brain to work, and so freed
+his inspiration from dependence on his fingers.  Henceforth he was able to
+draw ideas out of his own storehouse, and having placed himself on the
+right road, needed only perseverance and hard work to succeed. And how
+persevering he was!  He even robbed himself of sleep to practise in the
+night what he had written during the day!  But the diligence he bestowed
+upon his own compositions did not hinder him from studying the works of
+Frescobaldi,(140) Froberger, Kerl, Pachelbel, Fischer, Strungk,(141)
+Buxtehude, Reinken, Bruhns, B�hm, and certain French organists who were
+famed in those days as masters of harmony and fugue.(142)
+
+The models he selected--Church musicians for the most part--and his own
+disposition inclined him to serious and exalted subjects.  But in that
+kind of music little can be accomplished with inadequate technique.
+Bach's first object, therefore, was to develop his power of expressing
+himself before he attempted to realise the ideal that beckoned him.  Music
+to him was a language, and the composer a poet who, whatever the idiom he
+affects, must first of all have at his disposal the means of making
+himself intelligible to others. But the technique of his period Bach found
+limited in variety and insufficiently pliable.  Therefore he set himself
+at the outset to refashion the accepted harmonic system.  He did so in a
+manner characteristically individual and bearing the impress of his
+personality.
+
+If the language of music is merely the utterance of a melodic line, a
+simple sequence of musical notes, it can justly be accused of poverty.
+The addition of a Bass puts it upon a harmonic foundation and clarifies
+it, but defines rather than gives it added richness.  A melody so
+accompanied--even though all the notes are not those of the true Bass--or
+treated with simple embellishments in the upper parts, or with simple
+chords, used to be called "homophony."  But it is a very different thing
+when two melodies are so interwoven that they converse together like two
+persons upon a footing of pleasant equality.  In the first case the
+accompaniment is subordinate, and serves merely to support the first or
+principal part.  In the second case the two parts are not similarly
+related.  New melodic combinations spring from their interweaving, out of
+which new forms of musical expression emerge.  If more parts are
+interwoven in the same free and independent manner, the apparatus of
+language is correspondingly enlarged, and becomes practically
+inexhaustible if, in addition, varieties of form and rhythm are
+introduced.  Hence harmony becomes no longer a mere accompaniment of
+melody, but rather a potent agency for augmenting the richness and
+expressiveness of musical conversation.  To serve that end a simple
+accompaniment will not suffice.  True harmony is the interweaving of
+several melodies, which emerge now in the upper, now in the middle, and
+now in the lower parts.
+
+From about the year 1720, when he was thirty-five, until his death in
+1750, Bach's harmony consists in this melodic interweaving of independent
+melodies, so perfect in their union that each part seems to constitute the
+true melody. Herein Bach excels all the composers in the world.(143) At
+least, I have found no one to equal him in music known to me.  Even in his
+four-part writing we can, not infrequently, leave out the upper and lower
+parts and still find the middle parts melodious and agreeable.
+
+But in harmony of this kind each part must be highly plastic; otherwise it
+cannot play its role as an actual melody and at the same time combine with
+the other parts.  To produce it Bach followed a course of his own, upon
+which the textbooks of his day were silent, but which his genius suggested
+to him.  Its originality consists in the freedom of his part writing, in
+which he transgresses, seemingly, at any rate, rules long established and
+to his contemporaries almost sacred. Bach, however, realised their object,
+which was simply to facilitate the flow of pure melody on a sound harmonic
+basis, in other words, successive and coexistent euphony, and he succeeded
+with singular success though by unfamiliar means.  Let me explain my
+meaning more closely.
+
+Between simple intervals there is little difficulty in deciding whether
+the second note must rise or fall.  And in regard to phrases, or sections
+of a phrase, if we analyse their structure and follow out their harmonic
+tendency, their resolution is equally clear.  But this sense of
+destination may be provoked in each part by different intervals.  As we
+have observed already, every one of the four parts must flow melodically
+and freely.  But to secure that result it will be necessary to introduce
+between the notes which begin a phrase and establish its general
+atmosphere other notes which often are not consonant with those employed
+in the other parts and whose incidence is governed by the accent.  This is
+what we call a transitus regularis et irregularis.(144) Each part starts
+from a fixed point, and returns to it, but travels freely between them.
+No one has made more use of such progressions than Bach in order to colour
+his parts and give them a characteristic melodic line.  Hence, unless his
+music is played with perfect fluency, occasional passages will sound
+harshly and we may be tempted to accuse him of exaggeration.  But the
+charge is ill founded. Once we play them as Bach intended them, such
+passages reveal their full beauty and their attractive though bizarre
+dissonance opens up new vistas in the realm of sound.
+
+But, to speak in detail of Bach's transgression of recognised rules.  To
+begin with, he admitted octaves and fifths provided they sounded well;
+that is, when the cause of their being forbidden did not arise.(145)
+Everybody knows that there are positions in which they sound well, and
+others when they should be avoided, owing to the harsh effect or thin
+harmony they produce.  Bach's octaves and fifths never produce bad or thin
+harmony, and he was very definite as to when they could and could not be
+used.  In certain circumstances he would not permit hidden fifths and
+octaves even between the middle parts, though we exclude them only between
+the outer parts.  Yet, on occasion he used them in such a barefaced manner
+as to puzzle the beginner in composition.  But their use very soon
+commends itself.  Even in the last revision of his early compositions we
+find him altering passages, which at first sight appear impeccable, with
+the object of enriching their harmony and without scrupling to use hidden
+octaves.  A remarkable instance occurs in the first part of the
+_Well-tempered Clavier,_ in the E major Fugue, between the fifth and
+fourth bars from the end.(146) I regret to this hour that, on looking over
+the later text, from which Hoffmeister and K�hnel's edition of that work
+is printed,(147) I was so foolish as to reject Bach's amended reading
+there, merely because the harmony is unorthodox though more pleasing.  I
+stupidly preferred the older, more correct, and harsher reading, though in
+the later text the three parts run easily and smoothly. And what more can
+one demand?
+
+Again, there is a rule that every note raised by an accidental cannot be
+doubled in the chord, because the raised note must, from its nature,
+resolve on the note above.  If it is doubled, it must rise doubled in both
+parts and, consequently, form consecutive octaves.  Such is the rule.  But
+Bach frequently doubles not only notes accidentally raised elsewhere in
+the scale but actually the semitonium modi or leading-note itself.  Yet he
+avoids consecutive octaves.  His finest works yield examples of this.
+
+Again, Bach's statement that "over a pedal point all intervals are
+permissible that occur in the three scales"(148) should be regarded rather
+an expansion than a violation of the recognised rule.  In general what is
+called an Organ point is merely a retarded close.  Bach, however, did not
+hesitate to employ it in the middle of a piece; a striking example occurs
+in the last Gigue of the _English Suites._(149) On a first hearing this
+Gigue, imperfectly rendered, may not sound well.  But it grows more
+beautiful as it becomes more familiar, and what seemed harsh is found to
+be smooth and agreeable, until one never tires of playing and hearing it.
+
+Bach's modulation was as original and characteristic as his harmony, and
+as closely related to it.  But the two things, though closely associated,
+are not the same.  By harmony we mean the concordance of several parts; by
+modulation, their progression through keys.  Modulation can take place in
+a single part.  Harmony requires more than one.  I will endeavour to make
+my meaning clearer.
+
+Most composers stick closely to their tonic key and modulate out of it
+with deliberation.  In music that requires a large number of performers,
+and in a building, for instance a church, where the large volume of sound
+dies away slowly, such a habit shows good sense in the composer who wishes
+his work to produce the best possible effect.  But in chamber or
+instrumental music it is not always a proof of wisdom, but rather of
+mental poverty. Bach saw clearly that the two styles demand different
+treatment.  In his large choral compositions he bridles his exuberant
+fancy.  In his instrumental works he lets himself go.  As he never courted
+popularity, but always pursued his ideal, Bach had no reason to suppress
+the nobility of his inspirations, or to lower their standard for public
+consumption.  Nor did he ever do so.  Therefore every modulation in his
+instrumental work is a new thought, a constantly progressive creation in
+the plane of the chosen keys and those related to them.  He holds fast to
+the essentials of harmony, but with every modulation introduces a new
+suggestion and glides so smoothly to the end of a piece that no creaking
+of machinery is perceptible; yet no single bar--I might almost say no part
+of a bar--is like another.  Every modulation bears a strict relationship to
+the key from which it proceeds, and springs naturally from it.  Bach
+ignored, or rather despised, the sudden sallies by which many composers
+seek to surprise their hearers.  Even in his chromatic passages his
+progressions are so smooth and easy that we are hardly conscious of them,
+however extreme they may be.  He makes us feel that he has not stepped
+outside the diatonic scale, so quick is he to seize upon the consonances
+common to dissonant systems and combine them to his sure purpose.
+
+                      [The Bach Statue at Eisenach]
+
+                       The Bach Statue at Eisenach
+
+
+
+
+
+CHAPTER VI. BACH THE COMPOSER (CONTINUED)
+
+
+Bach's treatment of harmony and modulation powerfully influenced his
+melody.  The strands of his harmony are really concurrent melodies. They
+flow easily and expressively, never engross the hearer's attention, but
+divide his interest, as now one now the other becomes prominent. Even when
+they are noticeable they seem obscured by the melodic parts that accompany
+them--I say "seem obscured," for if the hearer is sufficiently instructed
+to distinguish the several melodies in the ensemble he will discover them
+to be more clearly defined by their accompaniment.
+
+The combination of several melodic lines obliges the composer to use
+devices which are unnecessary in homophonic music.  A single melody can
+develop as it pleases.  But when two or more are combined each must be so
+delicately and cleverly fashioned that it can be interwoven with the
+others in this direction and in that.  And here we detect one at least of
+the reasons why Bach's melodies are so strangely original, and his tunes
+so clearly distinguishable from those of other composers.  Provided that
+novelty does not degenerate into eccentricity or extravagance, and that
+clearness and facility of expression march with agreeableness, a
+composer's meritoriousness is proclaimed in his originality.(150) The one
+drawback is that the ordinary hearer cannot appreciate melodic beauties
+which are patent only to the expert.
+
+But Bach's melodies are not invariably so handicapped. They are always
+original, it is true. But in his free compositions the melodies are so
+natural and spontaneous that, while they sound differently from those of
+other composers, their naturalness, and the sincerity of feeling that
+inspires them, make them intelligible to every listener.  Most of the
+Preludes in the _Well-tempered Clavier_ as well as a number of movements
+in the Suites are of this character.
+
+Bach's melody, then, bears the unmistakable stamp of originality.  And so
+does his passage work, as it is called.  Such novelty, originality, and
+brilliancy are not found in any other composer. Examples are to be found
+in all Bach's Clavier works. But the most striking and original are in the
+_Great Variations,_(151) in the first Part of the _Clavier�bung,_(152) in
+the _English Suites,_(153) and the _Chromatic Fantasia._(154) In the last
+particularly Bach's fertility impresses us.  The greater part of its
+passage work is in the form of harmonic arpeggios whose richness and
+originality match the chords they represent.
+
+In order to realise the care and skill Bach expended on his melody and
+harmony, and how he put the very best of his genius into his work, I need
+only instance his efforts to construct a composition incapable of being
+harmonised with another melodic part.  In his day it was regarded as
+imperative to perfect the harmonic structure of part-writing.
+Consequently the composer was careful to complete his chords and leave no
+door open for another part.  So far the rule had been followed more or
+less closely in music for two, three, and four parts, and Bach observed it
+in such cases.  But he applied it also to compositions consisting of a
+single part, and to a deliberate experiment in this form we owe the six
+Violin and the six Violoncello Solo Suites,(155) which have no
+accompaniment and do not require one.  So remarkable is Bach's skill that
+the solo instrument actually produces all the notes required for complete
+harmony, rendering a second part unnecessary and even impossible.
+
+Bach's melody never palls on us, because of the presence in it of those
+qualities to which I have referred.  It remains "ever fair and young,"
+like Nature herself.  In his earlier works, in which we find him still in
+bondage to the prevailing mode, there is a good deal that to-day seems
+antiquated.  But when, as in his later works, he draws his melody from the
+living wells of inspiration and cuts himself adrift from convention, all
+is as fresh and new as if it had been written yesterday.  Of how many
+compositions of that period can the same be said?  Even the works of
+ingenious composers like Reinhard Keiser(156) and Handel have become
+old-fashioned sooner than we or their composers might have supposed. Like
+other caterers for the public, they were obliged to pander to its taste,
+and such music endures no longer than the standard which produced it.
+Nothing is more inconstant and fickle than popular caprice and, in
+general, what is called fashion.  It must be admitted, however, that
+Handel's Fugues are not yet out of date, though there are probably few of
+his Arias that we now find agreeable.(157)
+
+Bach's melody and harmony are rendered still more distinctive by their
+inexhaustible rhythmic variety.  Hitherto we have discussed his music
+merely subjectively as harmony and melody.  But to display vivacity and
+variety music needs to be uttered with rhythmic point and vigour.  More
+than those of any other period composers of Bach's time found no
+difficulty in this, for they acquired facility in the management of rhythm
+in the "Suite," which held the place of our "Sonata." Between the initial
+Prelude and closing Gigue the Suite includes a number of characteristic
+French dance measures, whose rhythm is their distinguishing
+characteristic.  Composers of Bach's day, therefore, were familiar with
+measures and rhythms which are now obsolete.  Moreover skilful treatment
+was necessary in order that each dance might exhibit its own distinctive
+character and swing.  Herein Bach exceeded his predecessors and
+contemporaries.  He experimented with every kind of key and rhythm in
+order to give variety and colour to each movement.  Out of his experience
+he acquired such facility that, even in Fugue, with its complex
+interweaving of several parts, he was able to employ a rhythm as easy as
+it was striking, as characteristic as it was sustained from beginning to
+end, as natural as a simple Minuet.
+
+The source of Bach's astonishing pre-eminence is to be sought in his
+facile and constant application of the methods we have discussed.  In
+whatever form he chose to express himself, easy or difficult, he was
+successful and seemingly effortless.(158) There is not a note in his music
+that does not suggest consummate ease of workmanship. What he sets out to
+do he concludes triumphantly. The result is complete and perfect; no one
+could wish for a single note to be other than it is.  Some illustrations
+will make my point clearer.
+
+Carl Philipp Emmanuel, in the preface to his father's _Vierstimmige
+Choralges�nge_ ("Four-part Hymn-tunes"), which he edited,(159) says that
+the world was accustomed to look for nothing but masterpieces from Bach.
+Some reviewers thought this praise exaggerated.  But if the term
+"masterpiece" is restricted to works written during the years of Bach's
+maturity(160) it is nothing less than the truth.  Others have produced
+masterpieces in various forms which may be placed honourably by the side
+of his.  For instance, certain Allemandes, Courantes, etc., by Handel and
+others are not less beautiful, though less richly wrought, than Bach's.
+But in Fugue, Counterpoint, and Canon he stands alone, in a grandeur so
+isolated that all around him seems desert and void.  No one ever wrote
+Fugues to compare with his; indeed, persons unacquainted with them cannot
+imagine what a Fugue is and ought to be.  The ordinary Fugue follows a
+rule of thumb development.  It takes a theme, puts another beside it,
+passes them into related keys, and writes other parts round them over a
+Continuo.  Certainly this is Fugue: but of what merit?  Persons who know
+no other not unnaturally hold the whole species in little esteem, and the
+player who hopes to make such commonplace material convincing will need
+all his skill and imagination.
+
+Bach's Fugue is of quite another kind.  It presents all the
+characteristics we are accustomed to in freer musical forms: a flowing and
+distinctive melody, ease, clarity, and facility in the progression of the
+parts, inexhaustible variety of modulation, purest harmony, the exclusion
+of every jarring or unnecessary note, unity of form and variety of style,
+rhythm, and measure, and such superabundant animation that the hearer may
+well ask himself whether every note is not actually alive.  Such are the
+properties of Bach's Fugues, properties which excite the admiration and
+astonishment of all who can appreciate the intellectual calibre their
+composition demands. How great a tribute of homage is due to work of this
+kind, which exhibits all the qualities which lend distinction to
+compositions in other musical forms!  Moreover, while all Bach's Fugues of
+his mature period have the foregoing properties in common, each is endowed
+with peculiar excellencies of its own, has its own distinctive
+individuality, and displays a melodic and harmonic scheme in keeping with
+it.  The man who can play one of Bach's Fugues is familiar with, and can
+play, one only; whereas knowing one, we can perform portfolios of Fugues
+by other performers of Bach's period.
+
+To what a height was the art of Counterpoint carried by Bach's genius!  It
+enabled him to develop out of a given subject a whole family of related
+and contrasted themes, of every form and design.  It taught him to develop
+an idea logically from the beginning to the end.  It gave him such a
+command of harmony and its infinite combinations that he could invert
+whole themes, note by note, in every part, without impairing in the least
+the flow of melody or purity of his harmony.  It taught him to write in
+canon at all intervals and in movements of all kinds so easily and
+naturally that the workmanship is not perceptible and the composition
+sounds as smoothly as though it were in the free style. Lastly, it has
+given to posterity a legacy of works immensely various, which are, and
+will remain, models of contrapuntal form as long as music endures.(161)
+
+I have written exclusively so far of Bach's Clavier and Organ work.  But
+in its expression music has two branches, instrumental and vocal, and as
+Bach excels in both of them, the reader will desire to hear somewhat
+respecting his vocal writings.
+
+It was at Weimar that Bach first had occasion to write for the voice,(162)
+upon his appointment to the Kapelle, which imposed on him the provision of
+music for the ducal chapel.  His church music, like his Organ works, is
+devout and serious, and in every respect what church music ought to be. He
+makes a point also of not elaborating individual words, which leads to
+mere trifling, but interprets the text as a whole.(163) His choruses
+invariably are magnificent and impressive, and he frequently introduces
+Chorals into them,(164) making the other parts accompany their Cantus
+fugally, as was the practice in a Motet.  As elsewhere in his works, the
+harmonic structure of his voice parts and instrumental accompaniment is
+rich.  The declamation of the recitatives is expressive, and the latter
+have fine Continuo parts.(165) In his Arias, hardly one of which is not
+beautiful and expressive, Bach seems to have been handicapped by the
+inefficiency of his singers and instrumentalists, who constantly
+complained of the difficulty of his music.  If he had been fortunate
+enough to have capable performers the merits of his church music would
+have been established and, like his other works, they would still be sung
+and admired; for they contain treasures which deserve immortality.(166)
+
+Among the works composed at Leipzig I single out two Cantatas, one of
+which was performed at C�then at the funeral of Bach's beloved Prince
+Leopold, and the other in St. Paul's Church, Leipzig, on the occasion of
+the funeral sermon in honour of Christiana Eberhardine, Queen of Poland
+and Electress of Saxony.(167) The first contains double choruses of
+uncommon magnificence and most affecting sentiment.(168) The second has
+only four-part choruses, but they are so delightful and fresh that he who
+begins the work will not pause till he has reached the end of it. It was
+written in October 1727.
+
+Bach also composed a great number of Cantatas, chiefly for the choir of
+St. Thomas' School, Leipzig.(169) The choir ordinarily numbered fifty
+singers, and sometimes more, over whose musical training Bach presided
+like a father.  He practised them so hard in Cantatas for single and
+double chorus that they became excellent singers.  Among these works are
+some which, in profundity of conception, magnificence, richness of harmony
+and melody, and animation, surpass everything of their kind. But, like all
+Bach's works, and in common with other masterpieces, they are difficult to
+perform and need a numerous orchestra to produce their full effect.
+
+Such are Bach's most important vocal compositions. (170) In minor forms of
+the art, morceaux for social entertainments and the like, he wrote
+little,(171) though he was of a most sociable disposition. For instance,
+he is said never to have composed a song.(172) And why should he?  They
+produce themselves so spontaneously that there is little call for genius
+to aid their gestation.
+
+  [Johann Sebastian Bach. From the picture discovered by Professor Fritz
+                                 Volbach]
+
+  Johann Sebastian Bach. _From the picture discovered by Professor Fritz
+                                 Volbach_
+
+
+
+
+
+CHAPTER VII. BACH AS A TEACHER
+
+
+It not infrequently happens that talented composers and players are
+incapable of imparting their skill to others.  Either they have never
+troubled to probe the mechanism of their own facility, or, through the
+excellence of their instructors, have taken the short cut to proficiency
+and allowed their teacher and not their own judgment to decide how a thing
+should be done.  Such people are useless to instruct beginners.  True,
+they may succeed in teaching the rudiments of technique, assuming that
+they have been properly taught themselves.  But they are certainly
+unqualified to teach in the full sense of the word.  There is, in fact,
+only one way to become a good teacher, and that is to have gone through
+the discipline of self-instruction, a path along which the beginner may go
+astray a thousand times before attaining to perfection. For it is just
+this stumbling effort that reveals the dimensions of the art. The man who
+has adventured it learns the obstacles that obstruct his path, and how to
+surmount them. To be sure, it is a lengthy method. But if a man has
+patience to persevere he will reap a sure reward after an alluring
+pilgrimage.  No musician ever founded a school of his own who has not
+followed such a course, and to his experience his teaching has owed its
+distinctive character.
+
+This is so with Bach, who, only gradually discovering his full stature,
+was thirty years old before unremitting application raised him above the
+difficulties of his art.  But he reaped his reward.  Self-discipline set
+him on the fairest and most alluring path that it has ever been given to a
+musician to tread.
+
+To teach well a man needs to have a full mind. He must have discovered how
+to meet and have overcome the obstacles in his own path before he can be
+successful in teaching others how to avoid them.  Bach united both
+qualities.  Hence, as a teacher he was the most instructive, clear, and
+definite that has ever been.  In every branch of his art he produced a
+band of pupils who followed in his footsteps, without, however, equalling
+his achievement.
+
+First of all let me show how he taught the Clavier.(173) To begin with,
+his pupils were made to acquire the special touch of which I have already
+spoken.(174) To that end for months together he made them practise nothing
+but simple exercises for the fingers of both hands, at the same time
+emphasising the need for clearness and distinctness. He kept them at these
+exercises for from six to twelve months, unless he found his pupils losing
+heart, in which case he so far met them as to write short studies which
+incorporated a particular exercise.  Of this kind are the _Six Little
+Preludes for Beginners,_(175) and the _Fifteen Two-part Inventions,_(176)
+both of which Bach wrote during the lesson for a particular pupil and
+afterwards improved into beautiful and expressive compositions.  Besides
+this finger practice, either in regular exercises or in pieces composed
+for the purpose, Bach introduced his pupils to the use of the various
+ornaments in both hands.
+
+Not until this stage was reached did Bach allow his pupils to practise his
+own larger works, so admirably calculated, as he knew, to develop their
+powers.  In order to lessen their difficulty, it was his excellent habit
+to play over to them the pieces they were to study, with the remark,
+"That's how it ought to sound."(177) It would be difficult to exaggerate
+the helpfulness of this method. The pupil's interest was roused by hearing
+the piece properly played. But that was not the sole result.  Without the
+help thus given the pupil could only hope to overcome the difficulties of
+the piece after considerable effort, and would find it much less easy to
+realise a proper rendering of it.  As it was, he received at once an ideal
+to aim at and was taught how to surmount the difficulties the piece
+presented.  Many a young performer, still imperfect after a year's
+practice, probably would master his music in a month if he once had it
+played over to him.
+
+Bach's method of teaching composition was equally sure and effective.(178)
+He did not begin with the dry details of counterpoint, as was the custom
+of other teachers in his day.  Still less did he burden his pupils with
+the physical properties of sound, which he held to be matter for the
+theorist and instrument-maker rather than the composer.  He started them
+off at once on four-part harmony over a figured Bass, making his pupils
+write each part on a separate stave in order to impress on them the need
+for accurate harmonic progression.  Then he passed to Hymn tunes, setting
+the Bass himself and making his pupils write the Tenor and Alto parts.  In
+time he let them write the Bass also.  He insisted on correct harmony and
+on each part having a real melodic line.  Every musician knows what models
+Bach has left us in this form.  The inner parts of his four-part
+Hymn-tunes are so smooth and melodious that often they might be taken for
+the melody.  He made his pupils aim at similar tunefulness, and until they
+showed a high standard of merit did not permit them to write compositions
+of their own.  Meanwhile he aimed at cultivating their feeling for pure
+harmony and for the order and connection of ideas and parts by
+familiarising them with the compositions of others.  Until they had
+acquired facility in those qualities he neither permitted them nor held
+them competent to put pen to paper.
+
+Bach required his pupils in composition to work out their musical ideas
+mentally.  If any of them lacked this faculty he admonished him not to
+compose and discountenanced even his sons from attempting to write until
+they had first given evidence of genuine musical gifts.  Having completed
+their elementary study of harmony, Bach took his pupils on to the theory
+of Fugue, beginning with two-part writing.  In these and other exercises
+he insisted on the pupil composing away from the Clavier.(179) Those who
+did otherwise he ridiculed as "Harpsichord Knights."  In the second place
+he required rigorous attention to each part and its relation to the
+concurrent parts, permitting none, not even an inner one, to break off
+before it had finished what it had to say.  He insisted upon a correct
+relation between each note and its predecessor.  If he came upon one whose
+derivation or destination was not perfectly clear he struck it out as
+faulty.  It is, indeed, a meticulous exactitude in each individual part
+that makes Bach's harmony really multiple melody.  Confused part-writing,
+where a note that belongs to the Tenor is given to the Alto, or vice
+versa, or the haphazard addition of extraneous parts to a chord which
+suddenly shows an increase of notes as if fallen from the sky, to vanish
+as suddenly as they came, are faults found neither in his own nor his
+pupils' writing.  He regarded his musical parts as so many persons engaged
+in conversation. If there are three, each of them on occasion may be
+silent and listen to the others until it finds something relevant to say
+itself.  But if, at an interesting point of the conversation, an
+interloping voice intervened, Bach regarded it as an intruder and let his
+pupils understand that it could not be admitted.
+
+Notwithstanding his strictness on this point, Bach allowed his pupils
+considerable licence in other respects.  In their use of certain
+intervals, as in their treatment of harmony and melody, he let them
+experiment within the limits of their ability, taking care to
+discountenance ugliness and to insist on their giving appropriate
+expression to the character of the composition.  Beauty of expression, he
+postulated, was only attainable on a foundation of pure and accurate
+harmony.  Having experimented in every form himself, he liked to see his
+pupils equally adventurous. Earlier teachers of composition, for instance,
+Berardi,(180) Buononcini,(181) and Fux,(182) did not allow such liberty.
+They were afraid to trust their pupils to encounter difficulties, and
+short-sightedly prevented them from learning how to overcome them.  Bach's
+system was wiser, for it took his pupils farther, since he did not limit
+their attention, as his predecessors did, to the harmonic structure, but
+extended it to the qualities that constitute good writing, namely,
+consistency of expression, variety of style, rhythm, and melody.  Those
+who would acquaint themselves with Bach's method of teaching composition
+will find it fully set forth in Kirnberger's _Correct Art of
+Composition._(183)
+
+As long as his pupils were under his instruction Bach did not allow them
+to study any but his own works and the classics.  The critical sense,
+which permits a man to distinguish good from bad, develops later than the
+aesthetic faculty and may be blunted and even destroyed by frequent
+contact with bad music.  The best way to instruct youth is to accustom it
+early to consort with the best models.  Time brings experience and an
+instructed judgment to confirm the pupil's early attraction to works of
+true art.
+
+Under this admirable method of teaching all Bach's pupils became
+distinguished musicians, some more so than others, according as they came
+early or late under his influence, and had opportunity and encouragement
+to perfect and apply the instruction they received from him.  His two
+eldest sons, Wilhelm Friedemann and Carl Philipp Emmanuel, were his most
+distinguished pupils, not because he gave them better instruction than the
+rest, but because from their earliest youth they were brought up amid good
+music at home.  Even before they began their lessons they knew what was
+good.  On the other hand, others, before they became Bach's pupils, either
+had heard no good music or their taste had been already vitiated by
+contact with bad.  It at least attests the excellence of Bach's method
+that even his pupils thus handicapped took high rank in their profession
+and distinguished themselves in one or other of its branches.(184)
+
+Bach's first pupil was JOHANN CASPAR VOGLER, who received instruction from
+him in his early days at Amstadt and Weimar and, on Bach's testimony, was
+an exceedingly able player.  He became organist, and later burgomaster, at
+Weimar, retaining his professional position.  Some Choral Preludes by him
+for a two-manualed Organ with pedals were engraved about 1737.(185)
+
+Other pupils of Bach who became famous were:
+
+      1. HOMILIUS, of Dresden.  He was not only an excellent organist but
+      a distinguished composer of church music as well.(186)
+      2. TRANSCHEL, of Dresden. He was a fine musician and performer on
+      the Clavier. There exist in MS. six Polonaises by him which perhaps
+      are superior to those of any composer but Wilhelm Friedemann
+      Bach.(187)
+      3. GOLDBERG, of K�nigsberg. He was a very finished player on the
+      Clavier, but without any marked talent for composition.(188)
+      4. KREBS, Organist at Altenburg. He was not only a player of the
+      first rank, but also a prolific composer for the Organ, Clavier, and
+      of church music. He was fortunate in having Bach's instruction for
+      nine years.(189)
+      5. ALTNIKOL, Organist at Naumburg.  He was Bach's son-in-law and is
+      said to have been a very competent player and composer.(190)
+      6. AGRICOLA, Court Composer at Berlin.(191) He is less known as a
+      composer than as a theorist. He translated Tosi's(192) _II canto
+      figurato_ from Italian into German and provided the work with an
+      instructive commentary.
+      7. M�THEL, of Riga.  He was a good Clavier player and wrote for that
+      instrument.  His Sonatas and a Duet for two Claviers attest his
+      ability as a composer.(193)
+      8. KIRNBERGER,(194) Court Musician at Berlin to the Princess Amalia
+      of Prussia.(195) He was one of the most distinguished of Bach's
+      pupils, full of genuine enthusiasm for his art and eager to assure
+      its interests.  Besides his exposition of Bach's system of teaching
+      composition, we are indebted to him for the first logical treatise
+      on harmony, in which he sets forth his master's teaching and
+      practice.  The first work is entitled _Kunst des reinen Satzes,_ and
+      the second, _Wahre Grunds�tze zum Gebrauch der Harmonie._(196) He
+      served the interests of his art also by other writings and
+      compositions, and was an excellent teacher. The Princess Amalia was
+      his pupil.
+      9. KITTEL, Organist at Erfurt.  He is a sound, though not a
+      finished, player, and is distinguished as a composer by several
+      Organ Trios, so excellent that Bach himself might have written them.
+      He is the sole survivor (1802) of Bach's pupils.(197)
+      10. VOIGT, of Anspach,(198) and an organist named SCHUBART(199) were
+      mentioned to me by Carl Philipp Emmanuel as having been Bach's
+      pupils.  He knew nothing about them except that they entered his
+      father's house after he left it.(200)
+
+I have said already that Bach's sons were his most distinguished pupils.
+The eldest, WILHELM FRIEDEMANN BACH, came nearest to his father in the
+originality of his genius.  His melodies have quite a different character
+from those of other composers.  They are exceedingly clever, elegant, and
+spontaneous.  When performed with delicacy, as he played them, they cannot
+fail to charm every hearer.  It is greatly to be regretted that he
+preferred to follow his fancy in extemporisation and to expend his genius
+on fugitive thoughts rather than to work them out on paper.  The number of
+his compositions therefore is small, but all are beautiful.
+
+CARL PHILIPP EMMANUEL BACH, who comes next, went out into the world
+sufficiently early to discover that it is a good thing for a composer to
+have a large public behind him.  Hence, in the clearness and easy
+intelligibility of his compositions, he approaches the popular style,
+though he scrupulously avoids the commonplace.(201) Both he and his elder
+brother admitted that they were driven to adopt a style of their own by
+the wish to avoid comparison with their incomparable father.
+
+JOHANN CHRISTOPH FRIEDRICH BACH, Concertmeister at the Court of B�ckeburg,
+imitated Carl Philipp's style, but was not his equal. According to Wilhelm
+Friedemann, he was the best player among the brothers, and the most
+effective performer of their father's Clavier compositions.
+
+JOHANN CHRISTIAN BACH, called "Bach of Milan," and afterwards "Bach of
+London," was the youngest son of Bach's second marriage and of too tender
+an age when his father died ever to have had lessons from him.  Hence,
+perhaps, the absence of Bach's style in his music.  He was, in fact, a
+popular composer universally admired in his day.(202)
+
+
+
+
+
+CHAPTER VIII.  PERSONAL CHARACTERISTICS
+
+
+Distinguished as a player, composer, and teacher, Bach was also an
+indulgent father, a good friend, and a loyal citizen.  His paternal
+devotion is shown by his care for his children's education, and he was
+equally assiduous in the performance of his civil and social duties.  His
+acquaintance was agreeable to everybody.  Every lover of music, whatever
+his nationality, was sure of a friendly reception at his house, and his
+sociability and reputation caused him to be seldom without visitors.
+
+As an artist Bach was exceptionally modest. Notwithstanding his
+pre-eminence in his profession, a superiority of which he could not but be
+conscious, and in spite of the admiration and respect daily shown him, he
+never gave himself airs.  If he was asked the secret of his mastership he
+would answer, "I was made to work; if you are equally industrious you will
+be equally successful,"(203) a remark which made no allowance for his own
+exceptional genius.  His opinion of other composers and their work was
+invariably fair and generous.  Naturally, much of their work struck him as
+somewhat trivial, viewed from his own altitude.  But he never uttered a
+harsh criticism, unless it were to a pupil, to whom he held himself bound
+to say what he thought.  Still less did he presume on his acknowledged
+superiority to indulge in braggadocio, as often happens with performers
+brought into touch with those whom they regard as their inferiors.  Herein
+Bach's modesty went so far that he never spoke voluntarily of his
+frustrated contest with Marchand, though the latter was the
+challenger.(204) Many absurd stories are told of Bach; for instance that,
+dressed up as a village schoolmaster, he liked to enter a church and ask
+the organist to let him play a Choral, in order to enjoy the astonishment
+excited by his playing, or to hear the Organist declare, "This must be
+Bach or the Devil."(205) He always ridiculed such stories, and indeed had
+too much respect for his art to make it cloak his vanity.
+
+At musical parties where Quartet or other instrumental music was
+performed, Bach liked to play the Viola, an instrument which put him, as
+it were, in the middle of the harmony in a position from which he could
+hear and enjoy it on both sides.  On those occasions he would sometimes
+join in a Trio or other piece on the Harpsichord. If he was in the mood
+and the composer was agreeable, he would, as has been told already,
+extemporise a new Trio from the Continuo part, or, adding a new part,
+convert the Trio into a Quartet. But these were the only occasions on
+which he was ready to display his great powers before others.  One
+Hurlebusch, of Brunswick,(206) a conceited and arrogant Clavier player,
+once visited Bach at Leipzig, not to hear him play, but to play to him.
+Bach received him politely and listened patiently to his very indifferent
+performance. On taking leave Hurlebusch made Bach's eldest sons a present
+of his published Sonatas, exhorting them to study them diligently. Bach,
+knowing the kind of music his sons were wont to play, smiled at
+Hurlebusch's na�vet� but did not permit him to suspect his amusement.(207)
+
+Bach was fond of listening to the music of other composers. If he and one
+of his elder sons happened to be in church when a Fugue was played,
+directly the subject had been stated he always pointed out how it ought to
+be developed.  If the composer knew his business and fulfilled Bach's
+anticipations, he was pleased and nudged his son to draw his attention to
+the fact.  Is this not evidence of his impartial interest in other
+people's compositions?
+
+I have mentioned already the composers whom in his youth Bach esteemed,
+loved, and studied. Later, when experience ripened his critical faculty,
+he had other favourites, among them Imperial Kapellmeister Fux, Handel,
+Caldara,(208) Reinhard Keiser, Hasse,(209) the two Grauns,(210)
+Telemann,(211) Zelenka,(212) Benda,(213) etc., and, in general, the
+distinguished musicians at Dresden and Berlin.  He was acquainted with all
+except the first four of those I mention.  In his youth Bach was intimate
+with Telemann.(214) He also had a very warm regard for Handel and often
+expressed a desire to know him.  As Handel, like himself, was a famous
+performer on the Organ and Clavier, many in Leipzig and its neighbourhood
+wished to bring the two great men together.  But Handel, then living in
+London, never found time for a meeting during the visits he paid to Halle,
+his native town.  On his first visit in 1719, Bach was at C�then, only
+some twenty miles distant.  As soon as he was informed of Handel's arrival
+he lost not a moment in setting out to visit him, but on his arrival found
+that Handel had returned to England.  At the time of Handel's second
+visit, between 1730 and 1740,(215) Bach was prevented from leaving Leipzig
+by indisposition.  But no sooner was he advised of Handel's arrival at
+Halle than he sent his eldest son, Wilhelm Friedemann, to beg him to visit
+Leipzig, an invitation which Handel was unable to accept.  In 1752 or
+1753, when Handel paid his third visit to Germany,(216) Bach was dead. He
+had always expressed the strongest desire to know Handel, and the Leipzig
+people were disappointed in their wish to hear the two great men together.
+
+While Hasse was Kapellmeister at Dresden both the Opera and Kapelle
+flourished.  Bach had many friends at Dresden, who held him in high
+regard.  Among them may be mentioned Hasse and his wife, the celebrated
+Faustina.(217) They often visited Leipzig and were admirers of the
+Cantor's rare talents.  Hence, at Dresden he was always received in the
+most respectful manner and often visited the Opera, generally accompanied
+by his eldest son.  When the time for their journey approached Bach would
+say in fun, "Well, Friedemann, shall we go to Dresden to hear the pretty
+tunes(218) again?" Innocent as the jest was, I am sure Bach would not have
+uttered it to any but his son, who already could distinguish between great
+music and agreeable trifles.
+
+Bach was never in a position to make what is called a brilliant
+fortune.(219) He held a fairly lucrative office, but his income had to
+maintain and educate a large family.  He neither possessed nor sought
+other means of livelihood, and was too absorbed in his art and work to
+think of accepting engagements which, in those days, and to a man of his
+genius, certainly would have brought riches. Had he possessed a taste for
+travel he would, as even one of his detractors admits, have "drawn upon
+himself the admiration of the whole world." But he preferred a quiet
+domestic life, constant occupation in his work, with contentment and a
+moderate competence, like his forbears. His modesty, however, did hot
+prevent him from receiving manifold proofs of regard and affection and
+marks of honourable distinction. Prince Leopold of C�then, Duke Ernst
+August of Weimar,(220) and Duke Christian of Weissenfels, all showed
+sincere regard for him, which must have been the more agreeable to him
+seeing that they were all sound judges of music.  At Berlin, as at
+Dresden, he was universally honoured and respected. If we add to these
+testimonies the fact that he captured the admiration of all who heard him
+play or were acquainted with his music, then we may be sure that Bach,
+"singing for himself and the Muses," received at the hands of Fame the
+recognition he valued most, and cherished it far more than the trivial
+honour of a ribbon or gold chain.
+
+I add that, in 1747, Bach became a member of the "Society of the Musical
+Sciences," founded by Mizler, only because we owe to the circumstance his
+admirable Choral Variations on _Vom Himmel hoch._(221) He presented them
+to the Society on his admission and they were engraved subsequently.(222)
+
+
+
+
+
+CHAPTER IX. BACH'S COMPOSITIONS
+
+
+To have produced so many great works in all forms of musical expression
+Bach necessarily must have been a prolific writer.  For if a composer be
+the greatest genius in the world, unless he constantly exercises his art
+he cannot hope to produce real masterpieces.  Superlative excellence is
+the fruit of indefatigable application.  Yet in Bach's case we should be
+wrong to acclaim as masterpieces all the products of his great activity
+just because masterpieces at length were the fruit of it.  Already in his
+early compositions we find undeniable evidence of genius.  But they are
+blemished by faults, passages poor in quality, extravagant, insipid, that
+are hardly worth preserving, though of interest to the student who wishes
+to trace from its source the development of Bach's genius.
+
+It is not difficult to distinguish with exactitude those of Bach's early
+compositions which are of the first excellence; for he has been at pains
+to give us the clue.  As he did not publish his first work until he was
+about forty years old (223) we are justified in assuming the merit of
+what, at so mature an age, he thought worthy to put into print, and in
+concluding generally that all his engraved works are of first-rate
+merit.(224)
+
+With respect to his unpublished compositions, and they are by far the most
+numerous, we must in order to distinguish their merit rely partly on a
+critical examination of their texts, partly on Bach's own judgment.  Like
+all great composers, he was continually working on his compositions with a
+view to making them still more finished.  Indeed, he actually attempted to
+improve some of them that were already perfect.  Any that were susceptible
+of improvement he improved, even those already engraved.  Such is the
+origin of the variant readings of his works found in older and more recent
+texts.  By constantly retouching his compositions Bach aimed at making
+them indisputable masterpieces.  In this category I place most of what he
+wrote before the year 1725, as I show in detail in the following
+catalogue.  A great many compositions subsequent to 1725, which for
+reasons easily understood are still in MS., bear too evidently the stamp
+of perfection to leave us in doubt whether to class them as early essays
+or as the finished work of an accomplished master.
+
+The following are those of Bach's works which have been engraved:
+
+      1. _Clavier�bung_, or "Exercises for the Clavier, consisting of
+      Preludes, Allemandes, Courantes, Sarabandes, Gigues, Minuets, etc.,
+      for the Diversion of Amateurs. Opus I. Published by the Composer,
+      1731."  This was Bach's first published work and contains six
+      Suites.  The first of them came out in 1726;(225) the others
+      followed in successive years until all were engraved together in
+      1731.(226) The work was much noticed at the time.  Such compositions
+      for the Clavier had not been seen or heard before, and the man who
+      could play them was sure of a success.  Our young players to-day
+      would profit by the study of them, so brilliant, agreeable,
+      expressive, and original are they. In the new edition(227) they are
+      entitled, "Exercises for the Clavier."
+      2. _Clavier�bung_, or "Exercises for the Clavier, Part II.,
+      consisting of a Concerto in the Italian style and an Overture in the
+      French manner(228) for a Clavier with two manuals.  Published by
+      Christopher Weigel, Junior, in N�rnberg."(229)
+      3. _Clavier�bung_, or "Exercises for the Clavier, Part III.,
+      consisting of various Organ Preludes to the Catechism and other
+      Hymns, composed for the diversion of amateurs and particularly of
+      competent judges of such works.  Published by the Composer."
+      Besides the Preludes and Fugues for the Organ, all of which are
+      masterly, the book contains four Duetti for the Clavier,(230) models
+      of their kind.
+      4. _Sechs Chor�le_, or "Six Choral Melodies of different kinds, for
+      an Organ with two manuals and pedal.  Zella, in the Thuringian
+      Forest.  Published by Johann G. Sch�bler."(231) They are full of
+      dignity and religious feeling.  In some of them, too, we have
+      instances of Bach's original management of the stops.(232) Thus, in
+      the second Choral, _Wo soll ich fliehen hin,_ he gives to the first
+      manual an 8 foot, to the second a 16 foot, and to the pedal a 4 foot
+      stop.  The pedal has the cantus firmus.(233)
+      5. _Clavier�bung_, or "Exercises for the Clavier, consisting of an
+      Aria with several Variations, for a Clavier with two manuals.
+      Published by Balthasar Schmidt at N�rnberg."(234) This admirable
+      work consists of thirty Variations, some in canon, in a variety of
+      movements and at all intervals from the unison to the ninth, with
+      easy flowing melody.  It includes a regular fourpart Fugue,(235)
+      several extremely brillant Variations for two Claviers,(236) and
+      concludes with a Quodlibet, as it is called, which alone would
+      render its composer immortal, though it is not the best thing in the
+      volume.(237)
+
+      The Variations are models of what such compositions ought to be,
+      though no one has been so rash as to attempt to follow Bach's
+      footsteps. We owe them to Count Kaiserling, formerly Russian
+      Ambassador at the Saxon Electoral Court, who frequently visited
+      Leipzig with Goldberg, already mentioned(238) among Bach's pupils.
+      The Count was a great invalid and suffered from insomnia.  Goldberg
+      lived in the Ambassador's house, and slept in an adjoining room, to
+      be ready to play to him when he was wakeful.  One day the Count
+      asked Bach to write for Goldberg some Clavier music of a soothing
+      and cheerful character, that would relieve the tedium of sleepless
+      nights.  Bach thought a set of Variations most likely to fulfil the
+      Count's needs, though, on account of the recurrence of the same
+      basic harmony throughout, it was a form to which he had hitherto
+      paid little attention.  Like all his compositions at this period,
+      however, the Variations are a masterpiece, and are the only example
+      he has left us of this form.(239) The Count always called them "my
+      Variations" and was never weary of hearing them.  For long
+      afterwards, when he could not sleep, he would say, "Play me one of
+      my Variations, Goldberg." Perhaps Bach was never so well rewarded
+      for any composition as for this.  The Count gave him a golden goblet
+      containing one hundred louis d'ors, though, as a work of art, Bach
+      would not have been overpaid had the present been a thousand times
+      as large.  It may be observed, that in the engraved copy of the
+      Variations there are serious mistakes, which the composer has
+      corrected in his own copy.(240)
+
+      6. _Einige kanonische Verd�derungen,_ "Canonic Variations on the
+      Christmas Hymn 'Vom Himmel hoch da komm ich her,' for an Organ with
+      two manuals and pedal. Published at N�rnberg by Balthasar Schmidt."
+      The work contains five canonic variations of the utmost
+      ingenuity.(241)
+      7. _Musikalisches Opfer_, or "A Musical Offering," dedicated to
+      Frederick II., King of Prussia.  The theme received by Bach from the
+      King(242) is treated first as a three-part Fugue under the acrostic
+      title "Ricercare" (Regis iussu cantio et reliqua canonica arte
+      resoluta). There follows a six-part "Ricercare" and Thematis regii
+      elaborationes canonicae of various kinds.(243) The work includes a
+      Trio for Flute, Violin, and Clavier upon the same subject.(244)
+      8. _Die Kunst der Fuge_, or "The Art of Fugue."  This work, unique
+      of its kind, did not appear till about 1752, after Bach's death,
+      though the greater part of it had been engraved by his sons during
+      his lifetime.(245) Marpurg,(246) the leading German musical critic
+      of that day, contributed a preface to this edition which contains
+      many just observations on the value and utility of such
+      treatises.(247) But, being too good for the general public, the work
+      found only a small circulation among those who discerned its merit
+      and eagerly bought copies. The plates were never used again and
+      eventually were sold(248) by Bach's heirs at the price of old
+      copper.  Written by a man of Bach's transcendent genius, and
+      commended as a masterpiece by a critic so highly regarded as
+      Marpurg, a work of this kind, if published in any other country than
+      Germany, would have passed through at least ten editions by now, if
+      only at the bidding of patriotism.  But in Germany not a sufficient
+      number of copies was sold to pay for the plates used in engraving
+      the work!
+
+      The work consists of fugal Variations planned on the most elaborate
+      scale.(249) The composer's intention was to show in what a variety
+      of ways the same theme can be treated fugally.  The Variations (here
+      called "Contrapunctus")(250) are complete Fugues upon the same
+      theme.  The last Fugue of all has three subjects, in the third of
+      which the composer signs his name, B A C H.(251) Bach was prevented
+      from finishing it by the disorder of his eyes, and as an operation
+      brought no relief the movement was never completed.  It is said that
+      Bach intended to introduce four themes into it and to bring it to an
+      impressive conclusion by inverting them all. All the Fugues in the
+      work are equally smooth and melodious.
+
+      To make up for the unfinished Fugue Bach concluded the work with a
+      Choral Prelude upon the tune "Wenn wir in h�chsten N�then sein,"
+      which he dictated to his son-in-law, Altnikol, a few days before his
+      death.(252) Of the extraordinary skill it displays I do not speak,
+      save to remark that even in his last illness it proclaims Bach's
+      skill undiminished.  The pious resignation and devotion that
+      characterise it move me deeply whenever I play it.  Nor should I
+      find it easy to say which I had rather had been omitted, the Choral
+      Prelude, or the conclusion of the unfinished Fugue.
+
+      9. Lastly, after Bach's death, his four-part Chorals were collected
+      by his son, Carl Philipp Emmanuel, and were published by Birnstiel
+      (Berlin and Leipzig), Part I. in 1765, Part II. in 1769.(253) Each
+      Part contains one hundred Chorals, mostly taken from the composer's
+      church Cantatas.
+
+      More recently Kirnberger edited, in four volumes, a collection of
+      Bach's Chorals. They are published by Breitkopf.(254)
+
+      Bach's works, still in MS., consist of compositions for the Clavier,
+      Organ, with and without other instruments, Strings, and the voice.
+      I will enumerate them in that order.
+
+
+
+
+                     I. Compositions For The Clavier
+
+
+      1. _Six Little Preludes far Beginners_.(255)
+      2. _Fifteen Two-part Inventions_.  An Invention is a musical theme
+      so constructed that by imitation and inversion a whole movement can
+      be evolved from it.  The subject having been first stated, the rest
+      develops naturally out of it.  For the instruction of a young
+      Clavier player these fifteen Inventions are of great value, seeing
+      that the composer has been careful not only to provide exercises for
+      both hands but for every finger as well.  They were composed at
+      C�then in 1723, with a long title which begins: "An honest Guide, in
+      which lovers of the Clavier are shown a clear method of playing
+      correctly in two parts," etc.(256)
+
+      It cannot be denied that, among other blemishes, the Inventions
+      occasionally exhibit melodic poverty and roughness.  But finding
+      them useful to his pupils, Bach eventually revised them and removed
+      from them everything that offended his maturer taste, so that they
+      now stand as masterpieces of pure music.  Moreover they are
+      invaluable exercises for the fingers and hands and are sound
+      instructors of taste.  There is no better introduction to Bach's
+      larger works than they afford.
+
+      3. _Fifteen three-part Inventions_, also called Symphonies.  They
+      were written for the same purpose as the Inventions, but are more
+      advanced.(257)
+      4. _The Well-tempered Clavier_, or, Preludes and Fugues in all tones
+      and semitones, composed for the profit and use of young musicians
+      desirous of knowledge, as also for those who are skilled already in
+      this studio.  Part I. was finished in 1722.  Part II., like Part I.,
+      contains twenty-four Preludes and twenty-four Fugues in every key,
+      and was composed at a later period.(258) Every number of it, from
+      first to last, is a masterpiece.  In Part I., however, certain
+      Preludes and Fugues bear marks of immaturity and are included
+      probably only in order to complete the series.  But here again Bach
+      eventually corrected whatever seemed to him lacking in finish.  He
+      altered or rewrote entire passages, so that in the later texts few
+      movements are not perfect.  Among these few I reckon the Fugues in A
+      minor,(259) G major and G minor,(260) C major,(261) F major and F
+      minor.(262) The rest are excellent, some of them so superlatively
+      good as to be not inferior to those in Part II.(263) Even Part II.,
+      for all its original perfection, has been improved by the composer,
+      as may be observed by comparing the original and later texts.  Both
+      Parts contain treasures of art not to be found outside Germany.
+      5. _Chromatic Fantasia and Fugue._(264) I have taken considerable
+      pains to discover a similar piece of music by Bach, but without
+      success.  The Fantasia is unique and unequalled.  Wilhelm Friedemann
+      sent it to me from Brunswick inscribed with these words by a mutual
+      friend. "Anbey kommt an etwas Musik von Sebastian, sonst genannt:
+      Fantasia chromatica; bleibt sch�n in alle Saecula."
+
+      It is remarkable that this piece, for all its technical skill,
+      appeals to the most unpractised hearer, if it is performed at all
+      tolerably.
+
+      6. A _Fantasia in C minor_.  It is not of the same character as the
+      preceding work, but resembles rather the Allegro of a Sonata.  It is
+      divided into two parts, but must be played as a single movement.  It
+      is an excellent work, and in old copies an unfinished Fugue follows,
+      which, however, cannot belong to it.(265) The first thirty bars
+      certainly are by Bach, for they are marked by an extremely bold use
+      of augmented and diminished intervals and their inversions, in
+      three-part harmony.  None but Bach attempted such things. The rest
+      of the movement seems to have been added by another hand and bears
+      no trace of Bach's style.
+      7. _Six large Suites_, consisting of Preludes, Allemandes,
+      Courantes, Sarabandes, etc.  They are known as the "English Suites,"
+      because the composer wrote them for an Englishman of rank.(266)  All
+      of them are of great merit as works of art, and some movements, in
+      particular the Gigues of the fifth and sixth Suites, are perfect
+      masterpieces of harmony and melody.
+      8. _Six small Suites_, consisting of Allemandes, Courantes, etc.
+      They are generally called the "French Suites," because they are
+      written in the French style.(267) The composer is intentionally less
+      academic in them than in his larger Suites, and their melodies are
+      more than usually pleasant and agreeable.  In particular the fifth
+      Suite deserves to be noticed: all its movements are most melodious,
+      and in the concluding Gigue only consonant intervals, especially
+      thirds and sixths, are used.
+
+These are Bach's principal works for the Clavier which can be considered
+classics.(268) A great number of single Suites,(269)Toccatas and
+Fugues,(270) besides those already mentioned, have great and varying
+merit, but are youthful works.(271) At the most, ten or twelve of them
+seem to me worth preserving, some of them because they would be useful as
+finger exercises, for which their author originally intended them, others
+because they are at least better than similar works by other composers.
+As an exercise for the fingers of both hands I particularly single out a
+Fugue in A minor,(272) in which the composer has been at great pains to
+write florid passages in order to give equal strength and suppleness to
+both hands.  For beginners a little two-part Fugue(273) should also prove
+useful.  It is melodious, flowing, and not at all old-fashioned.
+
+
+
+
+             II. Music For The Clavier With Other Instruments
+
+
+      1. _Six Sonatas for Clavier with Violin obbligato_.  Composed at
+      C�then, they are among Bach's masterpieces in this form and display
+      fugal and canonic writing which is both natural and full of
+      character.  The Violin part needs a master to play it; for Bach knew
+      the capabilities of the instrument and spared it as little as the
+      Clavier.  The six Sonatas are in the keys of B minor, A major, E
+      major, C minor, F minor, and G major.(274)
+      2. _Several Sonatas for Harpsichord and Violin_,(275) _Harpsichord
+      and Flute_,(276) _Harpsichord and Viol da Gamba_.(277) They are
+      admirably written and most of them are pleasant to listen to even
+      today.(278)
+      3. _Several Concertos for the Clavier and other instruments_.  They
+      contain real gems of art but are antiquated in form.(279)
+      4. _Two Concertos for two Claviers_, with an accompaniment of two
+      Violins, Viola, and Violoncello.  The first, in C minor,(280) has an
+      antique flavour. But the second, in C major,(281) is as fresh as if
+      it had been written yesterday.(282) It may be played without the
+      String quartet and still sounds admirable.  The final Allegro is a
+      majestic movement and strictly fugal.  Compositions of this form
+      were first perfected, indeed, we may conjecture, were first
+      attempted, by Bach.  At least, I have met with only a single example
+      by another composer that may perhaps be older--namely, Pachelbel of
+      N�rnberg's Toccata, as he called it.  Pachelbel, however, was a
+      contemporary of Bach and may have taken the idea from him.  However,
+      his work is not worth considering.  One instrument merely repeats
+      the other's phrases without being at all concertante.  It almost
+      seems as if Bach at this period had made up his mind to discover
+      what could be done with any number of parts. Having already written
+      for a single solo instrument music which required no accompaniment,
+      he next experimented in dividing his material between as large a
+      number of solo instruments as possible.  Hence the Concertos for two
+      Claviers were followed by
+      5. _Two Concertos for three Claviers_ with an accompaniment of
+      Strings.(283) These Concertos present a remarkable characteristic:
+      besides the concertante combination of three Claviers, the stringed
+      instruments also have concertante parts distinct from the
+      accompaniment.  It is difficult to realise the art involved in this
+      achievement.  For, in spite of their technical skill, the two works
+      are so delicate, full of character, and expressive, that the
+      composer might be treating a simple melody (note particularly the
+      Concerto in D minor).  Words are inadequate to express the
+      admiration they arouse.  But Bach was not satisfied.  Hence he wrote
+      6. _A Concerto for four Claviers_ and four stringed
+      instruments.(284) I cannot judge the effect of this composition, for
+      I have never been able to get together the four instruments and four
+      performers it requires.  But that it is admirably written can be
+      seen from the parts.
+
+
+
+
+                     III. Compositions For The Organ
+
+
+The pedal is the distinctive feature of the Organ which places it above
+all other instruments, and gives it its magnificence, sonority, and
+majesty.  Deprive it of the pedal and you take from it the solemn and
+imposing tones which are its distinctive utterance, reducing it to the
+level of a "positiv," or Chamber-organ, an instrument relatively
+insignificant.
+
+But an Organ equipped with a pedal must be able to employ it in its full
+compass,(285) and both composer and organist must know the proper use of
+it.  No one excelled Bach in this knowledge.  Not only is his rich harmony
+and melody singularly adapted to the instrument, but he gave the pedal a
+part of its own, even in his early compositions.  Yet it was only
+gradually that he mastered its technique; for his Organ masterpieces
+belong to the period in which those for the Clavier began to be classics.
+His early and immature Organ works are widely dispersed; for as soon as a
+composer begins to be distinguished everybody is anxious to possess a
+specimen of his art.  Public curiosity, however, generally dies down long
+before a composer comes to maturity, particularly if his work is over the
+heads of the public.  And this seems to have been Bach's fortune.
+Consequently his mature Organ works are less familiar than his early
+efforts.  The latter, however, cannot possibly be admitted to a "correct
+and critical" edition of his works, and I mention here only those whose
+merit is as incontestable as that of the Clavier works enumerated in the
+preceding paragraphs.
+
+Bach's finest Organ music falls into three groups:
+
+      1. _The Great Preludes and Fugues_, with obbligato pedal.  Their
+      number cannot be stated, but I believe it not to exceed a
+      dozen.(286) At least, after prolonged search I have not been able to
+      collect more than that number.(287) To these I must add a very
+      clever and original Passacaglia, which, however, seems suitable
+      rather for a two-manual Clavicembalo and pedal than for the
+      Organ.(288)
+      2. _Preludes on Choral Melodies_. It was at Arnstadt that Bach began
+      to compose Variations on Choral melodies, under the title _Partite
+      diverse._(289) Most of them can be played on the manuals alone.
+      Those which I include here are an exception and require the
+      obbligato pedal.  Their number may amount to one hundred.  I myself
+      possess above seventy, and more survive elsewhere.(290) No other
+      Choral Preludes approach them in religious feeling, dignity, and
+      sublimity of expression.  I cannot notice them individually; they
+      are too numerous. Besides the larger, there is a great number of
+      shorter and easier ones, particularly useful for young players.
+      MSS. of them exist in considerable number.(291)
+      3. _Six Sonatas_, or Trios, for two manuals and an obbligato
+      pedal.(292) Bach wrote them for his eldest son, Wilhelm Friedemann,
+      whom they helped to become the great performer he was when I knew
+      him.  It is impossible to overpraise their beauty.  Bach composed
+      them when he was in the full vigour of his powers, and they may be
+      considered his chef d'oeuvre in this form.(293) He also wrote other
+      Organ Sonatas, the MSS. of which are in various collections.  They
+      are fine compositions, though they do not equal the Six in
+      merit.(294)
+
+
+
+
+                          IV. Instrumental Music
+
+
+There are few instruments for which Bach did not write.  In his day it was
+usual to play a Concerto or instrumental Solo during the Communion
+office.(295) Bach composed many of these pieces himself, and always with a
+view to their improving the technique of the player.  Most of them are
+lost.  But two important works of another kind survive and to some extent
+compensate us.  They are:
+
+      1. Six Solos for Violin, unaccompanied.(296)
+      2. Six Solos for Violoncello, unaccompanied.(297) The Violin Solos
+      have long been considered by the finest players to be the best
+      instructor for the instrument. The Violoncello Solos are equally
+      effective.(298)
+
+
+
+
+                              V. Vocal Music
+
+
+      1. Five complete sets of church Cantatas for the Sundays and
+      Festivals of the year.(299)
+      2. Five compositions for Holy Week, one of which is for double
+      chorus.(300)
+      3. Several Oratorios,(301) Masses,(302) a _Magnificat,_ settings of
+      the Sanctus,(303) compositions for birthdays and Saints' Days,(304)
+      funerals,(305) marriages,(306) and some Italian Cantatas.(307)
+      4. Several Motets for single and double chorus.(308)
+
+Most of these works are now dispersed.  The Church Cantatas were divided
+between his elder sons after their composer's death.  Wilhelm Friedemann
+had the larger share because, being organist at Halle, he could make use
+of them.  Later, circumstances compelled him to part with them gradually.
+I know of no other collection of Bach's larger choral works.  There exist,
+however, eight or ten Motets for double chorus, but they are dispersed in
+various hands.(309) In the collection bequeathed by the Princess Amalia of
+Prussia to the Joachimsthal Gymnasium at Berlin there are some of Bach's
+vocal compositions.(310)  Their number is not considerable, but among them
+are the following:
+
+      1. Twenty-one Church Cantatas.(311) In one of them, set to the
+      words, _Schlage doch, gew�nschte Stunde,_(312) the composer
+      introduces a bell obbligato.  From that fact we may conclude that
+      the Cantata was not composed in the period of Bach's maturity,(313)
+      for the use of bells is of doubtful taste.
+      2. Two Masses for five voices with instrumental accompaniment.(314)
+      3. A Mass for double chorus, the first being accompanied by Strings
+      and the second by wind instruments.(315)
+      4. A _Passion,_ for double Chorus,(316) the text by Picander.(317)
+      5. A _Sanctus,_ for four voices and instrumental accompaniment.(318)
+      6. A Motet, for four voices, _Aus tiefer Noth schrei ich zu
+      dir._(319)
+      7. A Motet for five voices, _Jesu, meine Freude._
+      8. Four Motets, for eight voices in double chorus:
+
+            (a) _F�rchte dich nicht, ich bin dei dir._
+            (b) _Der Geist hilft unserer Schwachheit auf._
+            (c) _Komm, Jesu, komm._
+            (d) _Singet dem Herrn ein neues Lied._(320)
+
+      9. A detached four-part fugal chorus, _Nimm was dein ist, und gehe
+      hin._(321)
+      10. A bucolic Cantata, with Recitatives, Aria, Duet, and Chorus.  A
+      note is prefixed to it.(322)
+
+      On the MS. of the last-named Cantata and of the Mass for double
+      chorus (No. 3 supra) there is a note by Kirnberger analysing the
+      skill and merit of the compositions.
+
+
+
+
+
+CHAPTER X.  BACH'S MANUSCRIPTS
+
+
+It has been remarked more than once that Bach, throughout his life,
+devoted much thought to the improvement of his compositions.  I have had
+frequent occasion to compare the original and subsequent texts of his
+works, and confess to have experienced both surprise and pleasure in
+observing his care to improve whatever he thought faulty, to make good
+better, and better perfect.  Nothing is more instructive than a collation
+of this kind, whether to the experienced musician or the instructed
+amateur.  I should like to see a supplement to the complete edition of
+Bach's works showing these variant readings.(323) The collation would be
+in the highest degree instructive, and to attempt it is as appropriate to
+the works of the composer, a poet in sound, as to those of the poet in
+words.
+
+In Bach's early texts he often repeats a phrase to other words with some
+melodic variety, in a lower or even in the same octave.  In his riper
+experience he could not tolerate such poverty of workmanship, and cut out
+these passages remorselessly, without regard for the number and quality of
+the persons who had approved them in their original state.  There occur to
+me two good examples of this, the C major and C sharp minor Preludes in
+the first part of the _Well-tempered Clavier._ Bach revised them so
+drastically as to cut them down by one-half, sacrificing passages that he
+thought redundant.(324)
+
+In other places Bach tends to be over-concise; he expresses an idea, but
+does not fully develop it.  The best illustration that occurs to me is the
+D minor Prelude in the second part of the _Well-tempered Clavier._  I
+possess several texts of it.  In the oldest the first transposition of the
+theme in the Bass and several other details essential to a complete
+development of the idea are wanting.  A second MS. gives the theme to the
+Bass wherever the latter is in a key nearly related to that of the tonic.
+In a third MS. these addenda are developed more fully and are joined more
+skilfully.  But melodic details are present of doubtful relevance to the
+rest of the composition.  In a fourth MS. these disappear or are amended,
+so that, as we have it, the Prelude stands as one of the most beautiful
+and least faulty in the _Well-tempered Clavier._ Many people, no doubt,
+preferred the movement in its original form.  But Bach was not a man to be
+influenced by approbation or criticism.  He went on correcting until he
+satisfied himself.
+
+In the early part of the seventeenth century it was the fashion in
+instrumental music to overload single notes with ornaments and add florid
+runs.  Lately it has become the fashion to do so in vocal music as well.
+That Bach shared this disposition may be inferred from certain pieces that
+he wrote in this style.  An instance is the Prelude in E minor in the
+first part of the _Well-tempered Clavier._  But he soon returned to his
+natural better taste, and altered the movement to the form in which it is
+engraved.(325)
+
+Every decade has its own style of melody, distinctive of itself and
+evanescent.  A composer must carefully avoid it if he hopes to be listened
+to by posterity.  In his young days even Bach ran upon this rock.  His
+early compositions for the Organ, and the two-part _Inventions_ in their
+original form, are full of fiorituri such as the taste of his period
+approved.  His Organ compositions remain comparatively untouched, but the
+_Inventions_ he closely revised.  The public will soon be able to compare
+them in their first and later forms, as the publishers, with admirable
+spirit, have resolved to discontinue the present edition and to send out
+to subscribers a revised one based on Bach's corrected text.
+
+Bach's processes of revision so far mentioned, however, merely correct
+faults of form, that is, diffuseness or incomplete development of a
+musical thought.  But Bach employed other methods which are less easy to
+describe because they are more subtle.  He often rivets the style and
+character of a piece by changing a single note, strictly correct
+grammatically and yet disagreeable to an artist such as himself.  Even
+commonplace passages he could convert into phrases of beauty by the
+addition or alteration of a single note.  Only the most sensitive taste
+and trained experience can decide in such cases, and Bach possessed both
+in the highest perfection.  He developed them to such a pitch, indeed,
+that his brain eventually rejected any idea which, in all its properties
+and relations, did not accord inevitably and naturally with the whole
+composition.  Consequently his later works display such consistency of
+merit that all of them seem to have been cast complete in a mould, so
+smooth, facile and abundant is the flow of his rich fancy.  It is on the
+highest summits of the art that harmony and melody find their ideal union,
+and as yet Bach dwells there in majestic isolation.
+
+
+
+
+
+CHAPTER XI. THE GENIUS OF BACH
+
+
+It is surely unnecessary to ask whether that artist is a genius who, in
+every form of his art, has produced masterpiece after masterpiece, of an
+originality which sets them above the achievements of all other ages,
+distinguished also by a wealth of originality and agreeableness that
+enslaves every hearer.  The most fertile fancy, invention inexhaustible, a
+judgment so nice as to reject intuitively every irrelevant and jarring
+detail, unerring ingenuity in employing the most delicate and minute
+resources of his art, along with an unrivalled technique--these qualities,
+whose expression demands the outpouring of a man's whole soul, are the
+signboards of genius.  The man who cannot find them in Bach's music either
+is not acquainted with it at all or knows it imperfectly.  One needs to be
+steeped in it thoroughly to appreciate the genius of its author.  For the
+greater the work the closer study is demanded for its apprehension.  The
+butterfly method, a sip here and there, is of little use.  But admirable
+as were the gifts Bach received from nature, he could never have become an
+accomplished genius had he not learned betimes to avoid the rocks on which
+many artists, some of them perhaps not less gifted than he, too often
+founder.  I will communicate to the reader some scattered thoughts on the
+subject and conclude this essay with an indication of the characteristics
+of Bach's genius.
+
+Even the largest natural gifts, coupled with the strongest propensity for
+a particular art, offer no more than fruitful soil on which that art may
+thrive by patient cultivation.  Industry, the true begetter of every art
+and science, is an indispensable factor.  Not only does it enable genius
+to master technique, but it stimulates the critical and reflective
+faculties also.  The very ease with which genius acquires and applies the
+apparatus of musical composition frequently entices it to leap over root
+principles in its plunge into deeper waters, or to fly before its wings
+are grown.  In such a case, unless genius is guided back to neglected
+fundamentals and forced to build itself upon the great examples of the
+past, it will inevitably expend its treasure uselessly and never attain to
+its promised dimensions.  For it is an axiom, that real progress can never
+be made, nor the highest perfection be attained, if the foundations are
+insecure.  If arduous heights are to be achieved, the easier obstacles
+must first be approached and overcome.  Guided by his own inexperience no
+one ever can hope to become great.  He must profit by the practice and
+example of others.
+
+Bach did not founder on this rock.  His soaring genius attended an equally
+ardent industry which incessantly impelled him, whenever he found his own
+equipment insufficient, to seek guidance from others.  Vivaldi and his
+Concertos were the first from whom he sought counsel.  From them he turned
+to the principal Organ and Clavier composers of the period.  Nothing is
+more intellectually stimulating than counterpoint, and the composers Bach
+studied were distinguished by their mastery of it, as their fugal writing
+attests.  Hence Bach's diligent study and imitation of them pointed his
+taste and imagination to perceive wherein himself was lacking and what
+steps were needed to take him farther in his art.
+
+A second rock upon which genius often comes to grief is the public's
+undiscriminating applause.  To be sure, I do not undervalue public
+approval or commend without reserve the remark of a Greek teacher to his
+pupil, "You performed badly, otherwise the audience would not have
+applauded you."  Yet it is none the less true that many artists are thrown
+off their balance by exaggerated and often unmerited plaudits,
+particularly in their early careers before they have acquired
+self-discipline and sound judgment.  The public merely asks for what it
+can understand, whereas the true artist ought to aim at an achievement
+which cannot be measured by popular standards.  How, then, can popular
+applause be reconciled with the true artist's aspirations towards the
+ideal?  Bach never sought applause, and held with Schiller:
+
+
+    Kannst du nicht allen gefallen durch deine That und dein
+    Kunstwerk,
+    Mach' es wenigen recht; vielen gefallen ist schlimm.(326)
+
+
+Like every true artist, Bach worked to please himself in his own way,
+obeying the summons of his own genius, choosing his own subjects, and
+finding satisfaction only in the approval of his own judgment.  He could
+count on the applause of all who understood good music, and never failed
+to receive it.  Under what other conditions can sound works of art emerge?
+The composer who debases his muse to the popular mood either lacks real
+genius or, having it, abuses it.  For to catch the ear of the public is
+not a difficult task and merely connotes an agreeable facility.  Composers
+of that class are like artisans who frankly fashion their goods to suit
+their market.  But Bach never condescended to such artifices.  The artist,
+in his judgment, is the dictator of public taste, not its slave.  If, as
+often happened, he was asked to write something simple for the Clavier he
+would answer, "I will do what I can."  He would choose an easy theme.  But
+when he began to develop it he always found so much to say that the piece
+soon became anything but simple.  If his attention was drawn to the fact,
+he would answer smilingly, "Practise it well and you will find it quite
+easy.  You have as many good fingers on each hand as I have."  Nor was he
+prompted in this by mere contradictoriness, but exhibited the true artist
+spirit.
+
+It was, in fact, the artist temperament that led Bach to make the great
+and sublime his goal.  For that reason his music is not merely agreeable,
+like other composers', but transports us to the regions of the ideal.  It
+does not arrest our attention momentarily but grips us the stronger the
+oftener we listen to it, so that after a thousand hearings its treasures
+are still unexhausted and yield fresh beauties to excite our wonder.  Even
+the beginner who knows but the A B C of his art warms with pleasure when
+he hears Bach's music and can open his ear and heart to it.  It was the
+true artist spirit, too, that guided Bach to unite majesty and grandeur of
+design with meticulous care for detail and the most refined elegance,
+characteristics which we rather seek, perhaps, in works whose object is
+merely to give pleasure.  Bach held strongly that if the strands are
+imperfect, the whole design is faulty.  His genius is sublime and
+impressive, and he never condescends to be frivolous even when he touches
+the lighter forms of art.
+
+To conclude: it was the union of astounding genius and indefatigable
+application that enabled Bach to widen at every point the domain of
+musical expression.  His successors have failed to maintain the art at the
+level to which he raised it.  If Bach was more successful, if he was able
+to produce great work of convincing beauty and imperishable as a model for
+those who came after him, we owe it as much to his application as to his
+genius.
+
+This man, the greatest orator-poet that ever addressed the world in the
+language of music, was a German!  Let Germany be proud of him!  Yes, proud
+of him, but worthy of him too!
+
+                       [The Bach Statue at Leipzig]
+
+                        The Bach Statue at Leipzig
+
+
+
+
+
+
+APPENDIX I. CHRONOLOGICAL CATALOGUE OF BACH'S COMPOSITIONS
+
+
+
+
+I. CATALOGUE OF BACH'S COMPOSITIONS PRIOR TO HIS APPOINTMENT TO WEIMAR IN
+                JUNE 1708, in his twenty-fourth year.(327)
+
+
+
+VOCAL:--
+
+
+Motet: Lobet den Herrn, alle Heiden.
+
+
+
+CLAVIER(328):--
+
+
+      Capriccio sopra la lontananza del suo fratello dilettissimo (bk. 208
+      p. 62) (1704).
+      Capriccio in honorem Joh. Christoph Bachii, Ohrdruf (bk. 216 p. 34)
+      (c. 1704).
+      Sonata in D major (bk. 215 p. 44) (c. 1704).(329)
+
+B.G. XXXVI. prints a number of pieces which, in general, may be assigned
+to Bach's immature years. They are reproduced in Peters' edition:
+
+      Book 200:
+
+            Fughetta in C minor (p. 10).
+            Prelude and Fughetta in D minor (p. 40).
+            Prelude and Fughetta in E minor (p. 42).
+            Prelude and Fughetta in A minor (p. 47).
+            Fugue in C major (p. 54).
+            Fugue in C major (p. 56).
+
+      Book 207:
+
+            Fantasia in C minor (p. 50).
+
+      Book 212:
+
+            Fantasia in C minor (p. 58).
+            Fugue in D minor (p. 59).
+            Fugue in D minor (p. 61).
+            Fugue in E minor (p. 68).
+
+      Book 214:
+
+            Prelude and Fughetta in F major (p. 76).
+            Prelude and Fughetta in G major (p. 78).
+            Prelude in G major (p. 80).
+
+      Book 215: Three Minuets (p. 62).
+
+To these may be added (? authentic) from B.G. XLII.:
+
+      Book 212:
+
+            Fantasia and Fughetta in B flat major (p 58).
+            Do. do. D major (p. 60).
+
+
+
+Organ(330):--
+
+
+      Prelude and Fugue in C minor (bk. 2 p. 48) (c. 1704).
+      Do. do. C major (bk. 8 p. 88) (? 1707).(331)
+      Do. do. the "Short," A minor (bk. 10 p. 208).
+      Fugue in C minor (bk. 12 p. 95) (c. 1704).
+      Do. C minor, on a theme by Legrenzi (bk. 10 p. 230) (c. 1708).
+      Do. B minor, on a theme by Corelli (bk. 3 p. 60).
+      Do. D major (bk. 12 p. 83).
+      Do. G major (bk. 12 p. 55).
+      Do. G major (bk. 12 p. 86).
+      Do. G minor (bk. 2 p. 41).
+      Prelude in A minor (bk. 10 p. 238) (by 1706).
+      Do. C major (bk. 12 p. 94).
+      Fantasia and Fugue in A minor (bk. 12 p. 60).
+      Fantasias in 6 major (bk. 9 p. 168; bk. 12 p. 75).
+      Pastorale in F major (bk. 12 p. 102).
+      Choral Partita: Christ, der du bist der helle Tag (bk. 19 p. 36).
+      Do. O Gott, du frommer Gott (bk. 19 p. 44).
+      Do. Sei gegr�sset, Jesu g�tig (bk. 19 p. 55).
+
+Generally speaking, the Choral Preludes, other than those in the maturer
+collections made by Bach himself, may be regarded as youthful works (bks.
+18, 19).
+
+
+
+
+    II. Catalogue Of Bach's Compositions At Weimar, 1708-17, from his
+                 twenty-fourth to his thirty-third year.
+
+
+
+Vocal:--
+
+
+      Secular Cantata: Was mir behagt (1716), _or_, Verlockender
+      G�tterstreit.
+
+
+
+Clavier:--
+
+
+      Sixteen Concertos after Vivaldi (bk. 217) (c. 1708-12).
+      Toccatas in D major (bk. 211 p. 28), G major (bk. 215 p. 19), D
+      minor (bk. 210 p. 68), G minor (bk. 211 p. 4),  E minor (bk. 210 p.
+      23) (c. 1708-12).
+      Aria variata alia maniera Italiana (bk. 215 p. 12) (c. 1708-12).
+      Prelude and Fugue in A minor (bk. 211 p. 14) (c. 1715).
+      Fugues in A major (bk. 215 pp. 52, 57).
+      Do. B minor (bk. 214 p. 48).
+      Do. A major (bk. 212 p. 66).
+      Do. A minor (bk. 212 p. 70).
+      Fantasia in G minor (bk. 215 p. 32).
+      Do. B minor (bk. 215 p. 41). (For Organ, N. bk. 12 p. 71.)
+      Do. D major (bk. 211 p. 28).
+      Do. A minor (bk. 215 p. 5) (c. 1710).
+
+
+
+Organ:--
+
+
+      Passacaglia and Fugue in C minor (bk. 10 p. 214).
+      Four Concertos after Vivaldi (bk. 11).
+      Eight Short Preludes and Fugues (bk. 1).
+      Orgelb�chlein (bk. 15) (1717).
+      Aria in F major (bk. 12 p. 112).
+      Fantasia con Imitazione (bk. 12 p. 71).
+      Do. C major (bk. 12 p. 92).
+      Do. C minor (bk. 3 p. 57).
+      Trio in C minor (bk. 12 p. 108).
+      Do. D minor (bk. 2 p. 54).
+      Canzona in D minor (bk. 2 p. 34) (c. 1714).
+      Allabreve in D major (bk. 2 p. 26).
+      Prelude and Fugue in C major (bk. 7 p. 74).
+      Do. do. the "Short," E minor (bk. 2 p. 44).
+      Do. do. D major (bk. 6 p. 10).
+      Do. do. the "Great," A minor (bk. 7 p. 42).
+      Do. do. A major (bk. 3 p. 64).
+      Do. do. the "Great," C minor (bk. 7 p. 64).
+      Do. do. F minor (bk. 6 p. 21).
+      Do. do. G major (bk. 7 p. 80).
+      Do. do. G minor (bk. 8 p. 120) (c. 1712).
+      Toccata and Fugue in D minor (bk. 6 p. 2).
+      Do. do. the "Great," C major (bk. 9 p. 137).
+      Do. do. the "Great," F major (bk. 9 p. 176).
+      Do. do. the Dorian, D minor (bk. 10 p. 196).
+      Fantasia and Fugue in C minor (bk. 3 p. 76).
+      Prelude in G major (bk. 2 p. 30).
+      Do. C major (bk. 12 p. 91).
+      Fugue, the "Short," in G minor (bk. 3 p. 84).
+      Do. C major (bk. 12 p. 100).
+
+
+
+
+    III. Catalogue Of Bach's Compositions At C�then, 1717-23, from his
+                  thirty-third to his thirty-ninth year.
+
+
+
+Vocal:--
+
+
+      Secular Cantata: Durchlaucht'ster Leopold (1717).
+      Do. Mit Gnaden bekr�ne der Himmel die Zeiten
+      (?1721). Do. Weichetnur, betr�bte Schatten (?1717-23).(332)
+
+
+
+Clavier:--
+
+
+      Clavier-B�chlein vor Wilhelm Friedemann Bach (1720).
+      Chromatic Fantasia and Fugue (bk. 207 p. 4) (c. 1720-23).
+      Clavier-B�chlein vor A. M. Bachin (bk 1959) (1722).
+      The Well-tempered Clavier (Part i.) (bk. 2790a) (1722).
+      Six French Suites (bks. 202 and 2793) (c. 1722).
+      Six English Suites (bks. 203-4 and 2794-95) (before 1726).
+      Fantasia and Fugue in A minor (bk. 208 p. 50).
+      Fugue in A minor (bk. 207 p. 16) (B.G. III. p. 334).
+      Twelve Little Preludes and Six Preludes for Beginners (bks. 200 and
+      2791) (c. 1722).
+      Inventions and Symphonies (bks. 201 and 2792) (1723).
+      Toccatas in F sharp minor and C minor (bk. 210 pp. 30 and 40).
+      Suites in A minor, E flat major, E minor, F major, and F minor
+      (fragment) (bk. 214 pp. 54,62, 68; bk. 215 p. 27; bk. 212 p. 84).
+      Prelude and Fugue in E flat major (bk. 214 p. 40).
+
+
+
+Chamber(333):--
+
+
+      Six Sonatas (Suites) for Violin Solo (bk. 228) (c. 1720).(334)
+      Six Sonatas (Suites) for Violoncello Solo (bk. 238a) (c. 1720).
+      Six Sonatas for Violin and Clavier (bks. 232-33-232a-33a).
+      Suite in A major for Violin and Clavier (bk. 236).
+      Four Inventions for Violin and Clavier (bk. 2957).
+      Sonata in E minor and Fugue in G minor for Violin and  Clavier (bk.
+      236) (?early work).
+      Six Sonatas for Flute and Clavier (bks. 234-35).
+      Sonata in C major for two Violins and Clavier (bk. 237).
+      Three Sonatas for Viol da Gamba and Clavier (bk. 239).
+      Sonata in G major for two Flutes and Clavier (bk. 239 p. 2).
+      Sonata in G major for Violin, Flute, and Clavier (bk. 237).
+
+
+
+Orchestral:(335)--
+
+
+      Six Brandenburg Concertos (bks. 261-66) (1721).
+      Four Suites (Overtures) (bks. 267-69, 2068).(336)
+      Three Concertos for Violin and Orchestra (bks. 229, 230).(337)
+      Concerto in D minor for two Violins and Orchestra (bk. 231).(338)
+
+
+
+Organ:--
+
+
+      Prelude (Fantasia) and Fugue, the "Great," in G minor (bk. 8 p. 127)
+      (?1720).
+
+
+
+
+    IV. Catalogue Of Bach's Compositions At Leipzig, 1723-34, from his
+                    thirty-ninth to his fiftieth year.
+
+
+
+Vocal:--
+
+
+      Magnificat in D (?1723).(339)
+      Sanctus in C major, D major (c. 1723), D minor, and G major (P. bk.
+      29b).(340)
+      St. John Passion (1723).
+      Trauer-Ode (1727).
+      St. Matthew Passion (1729).
+      Mass in B minor (1733-?1738).
+      Christmas Oratorio (1734).
+      Three Wedding Chorals (P. bk. 1654).
+      Motet: Jesu, meine Freude (1723).
+      Do. Der Geist hilft unsrer Schwachheit auf (1729).
+      Do. f�rchte dich nicht.
+      Do. Singet dem Herrn ein neues Lied.
+      Motet: Komm, Jesu, komm.
+      Secular Cantata: Der zufriedengestellte Aeolus (1725); also entitled
+      Blast Larmen, ihr Feinden (1734).
+      Do. Vereinigte Zwietracht der wechselnden Saiten (1726), or, Auf
+      schmetternde T�ne der muntern Trompeten (after 1733).
+      Do. Schwingt freudig euch empor; _also entitled_ Die Freude reget
+      sich, _or_ Steigt freudig in die Luft (1726).
+      Do Entfernet euch, ihr heitern Sterne (1727; music lost).
+      Do. Vergn�gte Pleissenstadt (1728; music lost).
+      Do. Von der Vergn�gsamkeit, _or_ Ich bin in mir vergn�gt (c. 1730).
+      Do. Weichet nur, betr�bte Schatten (c. 1730).
+      Do. Der Streit zwischen Phoebus und Pan 1731).
+      Do. Froher Tag, verlangte Stunden (1732; music lost).
+      Do. Schweigt stille (Coffee Cantata) (c. 1732).
+      Do. Herkules auf dem Scheidewege, _or_ Die Wahl des Herkules (1733).
+      Do. T�net, ihr Pauken!  Erschallet, Trompeten (1733).
+      Do. Preise dein Gl�cke, gesegnetes Sachsen (1734).
+      Do. Schleicht, spielende Wellen (1734).
+      Do. Thomana sass annoch betr�bt (1734; music lost).
+      Graduation Cantata: Siehe, der H�ter Israels (music lost).
+
+
+
+Clavier:--
+
+
+      Notenbuch vor Anna Magdalena Bach (bk. 1959) (1725).
+      Clavier�bung, Part I. containing the six Partitas, or German Suites
+      (bks. 205-6 or 2796-97) (1731).
+
+
+
+Orchestral:--
+
+
+      Concertos in C major, C minor, and C minor for two Claviers and
+      Orchestra (bks. 256, 257, 257b) (1727-36).(341)
+      Seven Concertos for Clavier and Orchestra (bks. 248-54) (1729-36).
+      Concerto in A minor for Violin, Flute, Clavier, and Orchestra (bk.
+      255) (c. 1730).(342)
+      Concerto in A minor for four Claviers and Orchestra (bk. 260) (c.
+      1733).
+      Concertos in D minor and C major for three Claviers and Orchestra
+      (bks. 258, 259) (c. 1733).
+
+
+
+Organ:--
+
+
+      Prelude and Fugue, the Great, in G major (bk. 8 p. 112) (1724 or
+      1725).(343)
+      Six Sonatas in E flat major, C minor, D minor, E minor, C major, G
+      major (bks. 4 and 5) (1727-33).(344)
+      Prelude and Fugue in C major (bk. 3 p. 70) (c. 1730).
+      Do. do. D minor (bk. 9 p. 150).
+
+
+
+
+    V. Catalogue Of Bach's Compositions At Leipzig, 1735-50, from his
+                      fifty-first year to his death.
+
+
+
+Vocal:--
+
+
+      Ascension Oratorio (Cantata 11) (c. 1735).
+      Schemelli's Hymn-book (1736).
+      Easter Oratorio (c. 1736).
+      Four Masses, in P major, A major (c. 1739), G minor, G major (c.
+      1739).
+      Secular Cantata: Angenehmes Wiederau (1737).
+      Do. Willkommen, ihr herrschenden G�tter der Erden (1738) (music
+      lost).
+      Do. Mer hahn en neue Oberkeet (Peasant Cantata) (1742).
+      Do. O holder Tag (?1749), _or_, O angenehme Melodei.
+      Italian Cantata: Amore traditore.
+      Do. Andro dall' colle al prato (lost).
+      Do. Non sa che sia dolore.
+
+
+
+Clavier:--
+
+
+      Clavier�bung, Part II. containing the Italian Concerto (bk. 207) and
+      Partita in B minor (bk. 208) (1735).
+      Fantasia and Fugue in C minor (bk. 207 p. 50 and bk. 212 p. 88) (c.
+      1738).
+      Clavier�bung, Part III. containing the four Duetti (bk. 208) (1739).
+      Clavier�bung, Part IV. containing the Goldberg Variations (bk. 209)
+      (c. 1742).
+      The Well-tempered Clavier, Part II. (bk. Ib or 2790b) (1744).
+
+
+
+Chamber:--
+
+
+      Sonata for Violin, Flute, and Clavier, in C minor (in the "Musical
+      Offering") (bk. 237 p. 3) (1747).
+      Three Partitas for the Lute (?1740).(345)
+
+
+
+Organ:--
+
+
+      The Catechism Choral Preludes (in Clavier�bung, Part III.)  (bk. 16)
+      (1739).
+      Fugue in D minor (in ditto) (bk. 16 p. 49) (1739).
+      Prelude and Fugue in E flat major (in ditto) (bk. 6 p. 28) (1739).
+      Do. do. the "Great," in C major (bk. 9 p. 156).
+      Do. do. the "Great," in B minor (bk. 7 p. 52) (1727-36).
+      Do. do. the "Great," in E minor (bk. 8 p. 98).
+      Canonic Variations on "Vom Himmel hoch" (bk. 19) (1746).
+      The Sch�bler Choral Preludes (bk. 16) (c. 1747-50).
+      The Eighteen Choral Preludes (bk. 17) (c. 1747-50).
+      The Musical Offering (P. bk. 219) (1747).
+      The Art of Fugue (P. bk. 218) (1749).
+
+
+
+
+
+APPENDIX II. THE CHURCH CANTATAS ARRANGED CHRONOLOGICALLY
+
+
+We have the statement of Carl Philipp Emmanuel Bach,(346) confirmed by
+Forkel,(347) Bach's earliest biographer, that his father composed five
+Cantatas for every Sunday and Festival of the ecclesiastical year.
+Concerted music was sung at Leipzig annually on forty-three Sundays and
+sixteen week-days.(348) Bach therefore must have written at least 295
+Cantatas.  Of this number he composed at least thirty before 1723.  Hence
+approximately 265 were written at Leipzig.  But Bach's fertility does not
+appear to have outlived the year 1744.  We have reason, therefore, to
+conclude that the 265 Leipzig Cantatas were written in the course of
+twenty-one years, that is, between 1723 and 1744.  To complete that number
+Bach must have composed a new Cantata every month, a surprising but
+demonstrable conclusion.
+
+Of the 295 Cantatas only 202 have come down to us, three of them in an
+incomplete state.(349) Of those written before 1723 the survivors are too
+scanty to indicate a rate of productivity.  But thereafter we have fuller
+materials for a calculation.  Bach, as Cantor, conducted his first Leipzig
+Cantata on May 30, 1723, and in the following sixteen months produced
+twenty-four Cantatas, at the rate of more than one a month.(350) Beginning
+at the New Year of 1725 he wrote eighteen Cantatas in nine months, some of
+which, however, may belong to the years 1726-7-8-9.  But even so, his
+monthly average seems to have been maintained.  For 1730 we have, perhaps,
+ten Cantatas.  For 1731 about twenty survive, of which half a dozen may
+belong to 1732, a deduction which still preserves Bach's steady average.
+In 1735 he produced actually nineteen Cantatas between the New Year and
+the following November, though not all of them are positively dated.
+Thereafter his activity is less certainly measured.  But from 1736 till
+the end of 1744 he composed fifty-three Cantatas, at the rate, that is, of
+at least six every year, without making allowance for Cantatas written and
+lost.
+
+There are few phenomena in the record of art more extraordinary than this
+unflagging cataract of inspiration, in which masterpiece followed
+masterpiece with the monotonous periodicity of a Sunday sermon.  Its
+musical significance has been presented with illuminating exegesis by more
+than one commentator.  But its literary apparatus has captured little
+attention.  Yet Bach's task must have been materially eased or aggravated
+according as the supply of libretti was regular or infrequent, while the
+flow of his inspiration must have been governed by their quality.
+Moreover, the libretto was the medium through which he offered the homage
+of his art to the service of God.  The subject therefore deserves
+attention.  However trivial, measured against the immensities of Bach's
+genius, the study will at least provide a platform from which to
+contemplate it.
+
+At the outset the opinion may be hazarded that the provision of his weekly
+libretti caused Bach greater anxiety than the setting of them to music, a
+task which he accomplished with almost magical facility. It is true that
+from the early part of the 18th century cycles of Cantata texts for the
+Church's year were not infrequently published.  Bach was in more or less
+intimate touch with the authors of four, perhaps five, printed collections
+of the kind.  But he used them with surprising infrequency.  Neumeister's
+published cycles provided him with seven libretti,(351) Franck's with
+sixteen,(352) Picander's with ten,(353) Marianne von Ziegler's with
+nine,(354) and Helbig's with two.(355) He took three libretti from the
+Bible,(356) and the hymn-book furnished him with eleven more.(357) But all
+these published sources together only account for fifty-eight texts.  Bach
+possessed only one book that could assist his own efforts at
+authorship--Paul Wagner's eight-volumed Hymn-book--whence he took the
+stanzas which decorate his Cantatas like jewels in the rare settings he
+gave them.  It was, therefore, mainly upon writers with whom he was
+brought into occasional or official contact that Bach depended for his
+texts.
+
+At the beginning of his career Bach was thrown upon his inexperience.  His
+earliest libretti, consequently, are tentative and transitory in their
+construction.  His first Cantata was written at Arnstadt for the Easter
+Festival of 1704.(358) The core of the libretto is a seven-stanzaed Easter
+song by an unknown poet, eked out by two passages of Scripture, a
+Excitativo, Aria, and a verse of a congregational hymn.  The Aria and
+Recitativo are the only original numbers of the libretto, and there is
+little doubt that Bach wrote them himself.(359) But the whole libretto is
+stamped by his personality, and reveals the inveterate subjectivity of his
+religion.  For, disregarding the general message of the Festival, the
+libretto opens on the soul's personal longing for immortality and closes
+on its song of victory over death.  In construction it is archaic, a
+survival of traditions acquired from central and northern Germany through
+Bach's earlier residence at L�neburg and intercourse with Hamburg.(360)
+
+Three years passed before Bach produced his next extant Cantata. In the
+interval, on 29th June 1707, he resigned his Arnstadt appointment to
+become organist of the Church of St. Blasius at M�hlhausen.(361) Here,
+within the space of ten months, he produced three Cantatas, the uniform
+character of whose libretti points to local and transitory influence upon
+the composer.  The first of them,(362) written in August 1707, is a
+setting of Psalm 130, with the addition of two hymn-stanzas.  The
+second(363) was performed on 4th February 1708, at the inauguration of the
+M�hlhausen Town Council, and consists of Old Testament passages, a verse
+of a hymn, and three original stanzas.  The third,(364) a wedding Cantata,
+was performed at Dornheim, near Arnstadt, on 5th June 1708, at the
+marriage of Pastor Johann Lorenz Stauber to Frau Bach's aunt, and is set
+to four verses of Psalm 115.
+
+We can have little doubt regarding the authorship of these singularly
+austere libretti, so far removed in atmosphere from those of Bach's
+subsequent periods.  In fact, the clue is furnished by Bach himself.  A
+note in his handwriting on the score of the first of the three Cantatas
+(No. 131) states that he composed it at the request of Georg Christian
+Eilmar.  The man was a close friend, godfather of Bach's eldest daughter,
+Katharina Dorothea (b. 1708), chief pastor of the Church of the Blessed
+Virgin, and Consistorial Assessor, at M�hlhausen.  He was, moreover, an
+aggressive foe of Pietism, of which M�hlhausen was the citadel, and Bach's
+minister, Frohne, the protagonist.  Indeed, the two men waged so public
+and wordy a warfare(365) that Bach's social relations with the one and
+official connection with the other must have been rendered difficult.  To
+his settled convictions regarding the fellowship of music and worship
+Pietism offered Puritan opposition.  In fact, its lack of sympathy
+eventually drove him from M�hlhausen, in hope, in his own words, "to
+realise my views upon the right ordering of Church music without vexation
+from others."(366) Eilmar, on the other hand, though he admitted the
+aesthetic value of music, conspicuously lacked the warmth and emotionalism
+of Bach's religious temperament.  To him undoubtedly we must attribute the
+cold austerity of the three M�hlhausen libretti and the suppression of the
+personal note already sounded in Bach's Arnstadt Cantata.  Nor did
+Eilmar's influence pass with Bach's departure from M�hlhausen.(367) It is
+to be traced in the early libretti of the Weimar period.
+
+The Weimar Cantatas are twenty-two in number, of which all but three were
+written subsequently to Bach's appointment as Concertmeister early in
+1714. He had been organist to the Ducal Court of Weimar since June 1708, a
+position which did not require him to compose for the Ducal Chapel. On the
+other hand, three Cantatas are attributed to the early Weimar years. But
+they cannot be positively dated, and their libretti bear such clear traces
+of Eilmar's influence that their composition may belong rather to the
+M�hlhausen period.  Their texts display Eilmar's preference for strictly
+Biblical material and a disinclination to employ secular forms.  The first
+of them(368) is a paraphrase of the Magnificat. The second(369) consists
+of four verses of Psalm 25, along with three simple rhymed stanzas which
+we have no difficulty in attributing to Bach himself.  The third, _Gottes
+Zeit ist die allerbeste Zeit_ (No. 106), was composed, Spitta
+conjectures,(370) for the funeral of Philipp Grossgebauer, Rector of
+Weimar School, in 1711.  But more recently, and more probably, Pirro(371)
+has expressed the opinion that Bach wrote it for the funeral of his uncle,
+Tobias Lammerhirt, who was buried at Erfurt in September 1707.  The theory
+accords with the suggestion that all three Cantatas belong to the
+M�hlhausen period.  If so, it is probable that the libretto, a very
+ingenious mosaic of Scripture texts, was written by Eilmar for the
+occasion.  It is the last in which we detect his influence.
+
+Bach's appointment as Ducal Concertmeister at Weimar can be placed between
+14th January and 19th March 1714(372) and, it is probable, was nearer the
+former date.  He seems to have produced the first Cantata his new post
+required him to write on Sexagesima Sunday, which fell on 4th February in
+that year.  From thence to the end of 1716 he produced nineteen Cantatas
+and collaborated with a writer whose libretti at length gave him a
+satisfactory literary medium.
+
+The new poet, Erdmann Neumeister, four of whose libretti Bach set to music
+immediately after his appointment, and a fifth a year later,(373) was
+considerably Bach's senior.(374) As far back as 1700 he had begun to write
+a cycle of Cantata texts for the Ducal Chapel at Weissenfels, and pubushed
+it in 1704, with an explanatory Preface referred to later.(375) In 1708 he
+issued a second cycle for the Court of Rudolstadt, while in 1711 and 1714
+third and fourth cycles were written for the Ducal Chapel at Eisenach.
+All four cycles were reissued in 1716,(376) with the addition of a fifth
+and a Preface, which lauded Neumeister as "the first German to give sacred
+music its fitting position by introducing and perfecting the Church
+Cantata."(377)
+
+Spitta has dealt exhaustively(378) with the evolution and construction of
+the Neumeister libretto.  It need only be remarked that it adapted a
+secular or operatic apparatus to the service of religion, and that the
+innovation, hateful to many, triumphed because of Neumeister's delicate
+handling of it.  He perfected the new form, however, in stages.  "A
+Cantata," he insisted in his 1704 Preface, "is simply a fragment of Opera
+made up of Aria and Recitativo."  But the restriction excluded from the
+Cantata its most appropriate material.  In his 1708 cycle he found a place
+for the chorus.  Finally, he admitted the Bible stanza and congregational
+hymn.  With their inclusion the Cantata libretto assumed the form familiar
+to us in Bach's use.  It represents a combination of secular Opera and
+ecclesiastical Motet.  The free Arias and Recitativi are derived from the
+one, the Bible stanzas and congregational hymns perpetuate the traditions
+of the other. Unity of design is stamped on the whole by its general
+subordination to the Gospel for the Day.  Thus, at the moment when Bach
+was about to devote his genius to the Cantata, Neumeister opportunely
+provided him with a libretto singularly adapted to the end Bach had in
+view, and appropriate to the musical expression by which he proposed to
+secure it.  He adhered to it almost to the end of his life, and found
+unfailing inspiration in Neumeister's sincerity, delicacy, and uniformly
+religious outlook.  Neumeister's Arias, with a single exception,(379) are
+hymn-like in mood and metre.  His Recitativi are reflective and prayerful,
+rarely oratorical or pictorial, simple communings upon the Gospel themes
+which the libretto handles.(380)
+
+Bach's early introduction to Neumeister's texts is explained by the close
+relations between the Courts of Weimar and Eisenach, by his associations
+with his own birthplace, and his intimacy with Georg Philipp Telemann,
+Kapellmeister there, for whose use Neumeister's third and fourth cycles
+were written.(381) Bach set, in all, seven of the libretti--four from the
+fourth cycle,(382) one from the third,(383) and two from the first,(384)
+one of which (No. 142) differs so much from the published version as to
+raise the question whether Bach did not receive it direct from Neumeister
+in the form in which he set it.(385)
+
+That Bach should have set no more than seven of Neumeister's texts(386) is
+strange.  He shrank, perhaps, from appropriating libretti on which his
+friend Telemann had a prior claim.(387) But the reason is found rather in
+the fact that at Weimar Bach discovered in 1715 a local poet of first-rate
+ability who, with perhaps but one exception, wrote the libretti of all the
+Cantatas he composed during the last two years of his Weimar appointment.
+
+Salomo Franck, Bach's new collaborator, was Curator of the Ducal Museum of
+Coins and Medals at Weimar.  He was twenty-six years older than Bach.  But
+Spitta's conjecture,(388) that the two men were not acquainted, is hardly
+tenable.  Both resided in the same small provincial town, both were in the
+Duke's service, and throughout 1715 and 1716 collaborated in at least ten
+Cantatas performed in the Ducal Chapel.  Moreover, though the Preface of
+Franck's first cycle is dated 4th June 1715,(389) Bach had already set one
+of its libretti for Easter of that year. A second cycle of texts, of which
+Bach made little use,(390) was published by Franck in 1717.(391)
+
+Schweitzer, no doubt, is correct in his conclusion(392) that Bach was
+drawn to Franck by his poetic insight, his mysticism, and innate feeling
+for nature.  It must be remembered, too, that his libretti were, in some
+degree, official.  On the other hand, Franck was Neumeister's inferior in
+ability to conceive a picture fit to express Bach's larger moods, and on
+occasion could descend to sheer bathos.(393) But his texts have a rhythmic
+swing and melody which Bach found agreeable.  He set at least sixteen of
+them, and returned to them even after he settled at Leipzig.
+
+The circumstances which terminated Bach's service at Weimar are familiar,
+and need not be restated.  He received a new appointment at C�then on 1st
+August 1717, and took up his duties there, probably at Christmas, that
+year.(394) His position was that of Capellmeister to the princely Court.
+He never styles himself Court Organist,(395) and his duties severed him
+for five years from the service of the Church, to which he had declared
+his particular dedication in 1708.  The C�then Court was unpretentious.
+The Prince was a Calvinist.  Figurate music was not permitted in the Court
+Chapel, and its Organ was small and inadequate.  Hence Bach devoted
+himself chiefly to chamber music, and only two genuine Church Cantatas
+belong to this period of his career.  Both must have been written for
+performance elsewhere, possibly in connection with Bach's frequent Autumn
+tours as a performer.(396)
+
+For both Cantatas Bach employed a librettist, otherwise little known,
+named Johann Friedrich Helbig, State Secretory to the Eisenach Court. In
+March 1720,(397) more than two years after Bach's arrival at C�then,
+Helbig published a cycle of "Musical Texts on the Sunday and Saints' Day
+Gospels throughout the year," for performance "in God's honour by the
+Prince's Kapelle at Eisenach."(398) How they came into Bach's hands we do
+not know, but can readily conjecture.  They are indifferent poetry,
+judging them by the two specimens Bach made use of, and are uniform in
+construction.  The first movement invariably is a Chorus upon a text from
+the Gospel for the Day, or a Scripture passage closely related to it.  Two
+Arias separated by a Recitative follow. A Choral brings the libretto to an
+end.(399)
+
+The first of the two Cantatas written to Helbig's words was designed for
+the Seventeenth Sunday after Trinity, which fell in 1720 on September
+22.(400) Spitta conjectures(401) that Bach intended it for performance at
+Hamburg.  In fact, his wife's death postponed Bach's visit to that town
+until November, by which date the Sunday appropriate to the Cantata had
+passed. Spitta holds that the Cantata may have been performed, after all,
+during the visit. Schweitzer is sceptical.(402) But Bach certainly
+expended great pains upon the score.
+
+The second Helbig Cantata(403) is for the Third Sunday in Advent, and the
+date of it would appear to have been 1721.  It is one of the least
+agreeable of Bach's works.  Spitta (404) declares it a juvenile
+composition hastily adapted to a new libretto. Schweitzer(405) expresses
+the same opinion, and Sir Hubert Parry(406) finds the work "rather
+commonplace."  Its genuineness is discussed by Max Schreyer in the
+"Bach-Jahrbuch" for 1912, and more recently Rudolf Wustmann has insisted
+that it does not bear the stamp of Bach's genius.(407) If it actually was
+composed in 1721, its production must have coincided with Bach's second
+marriage on December 3 of that year.(408) In that case, his resort to old
+material is explicable.
+
+Only these two Cantatas were composed at C�then.  But later, at Leipzig,
+two others were manufactured out of secular material written there.(409)
+It is unnecessary to refer to them, except to remark that in each case
+Bach appears to have been the author of the new libretto.  In the first of
+them(410) it is clear that he was handicapped by the frankly secular metre
+of the original stanzas.  The second of them,(411) originally a Birthday
+Ode to Prince Leopold of Anhalt-C�then, is a masterly conversion into a
+Whit-Monday text which, assuming that Bach wrote it, puts his literary
+facility beyond question.
+
+Bach made the last move in his professional career on May 31, 1723, when
+he was inducted Cantor of St. Thomas' School at Leipzig, with particular
+charge of the Churches of St. Thomas and St. Nicolas.  Here by far the
+greater number of his Cantatas appeared, and 172 of them survive.  They
+are too numerous to be considered individually, and their classification
+is rendered difficult by the fact that the authorship of most of their
+libretti is conjectural and not ascertained.  They fall, however, into two
+large categories, each of which exhibits characteristics of its own.
+
+The dividing year, clearly but not arbitrarily, is 1734.  Before it and
+after it Bach was aided by new writers.  But the earlier period
+pre-eminently was one of experiment, out of which emerged the glorified
+hymn-libretto, or Choral Cantata, of Bach's last years.  That it sprang,
+in some degree, from the difficulty of finding good original texts in
+sufficient number may be granted.  That it was adopted as an avenue of
+escape from Picander's coarser work is a conjecture based, apparently,
+upon a prevalent exaggeration of Bach's dependence on that writer.  The
+fundamental reason which led Bach to the hymn-libretto undoubtedly was the
+fact that it most closely fulfilled the ideals which informed his work.
+
+The first Cantata performed during Bach's Cantorship(412) reveals a new
+author, whose assistance, if the conclusion is well grounded, was at
+Bach's disposal throughout the whole of the earlier Leipzig period.
+Spitta's keen insight failed him in this instance.  He betrays no
+recognition of the new writer, and occasionally(413) attributes his
+libretti to Picander.  The credit of the discovery belongs to Rudolf
+Wustmann, though he fails to work it out to its fullest conclusions.(414)
+
+No one can read the early Leipzig libretti without being struck by the
+number of them that are not only uniform in structure, but similar in tone
+and point.  They all begin with a Bible text, chosen frequently, but not
+invariably, from the Gospel for the Day.  Every one of them ends with a
+hymn-stanza.  Their Arias, with hardly an exception,(415) are written in
+what, compared with Picander's rollicking dactyls, may be held
+hymn-metres.  Their Recitativi, almost invariably, are didactic or
+exegetical.(416) They do not display the vapid rhetoric of Picander.  Nor
+do they express the reflective or prayerful mood that reveals Bach.  They
+are essentially expositive and, it is noticeable, are studded with direct
+or veiled references to Bible passages which expand or enforce the lesson
+of the initial text.  In a word, they suggest the work of a preacher
+casting his sermon notes into lyrical form, an impression which is
+strengthened by the fact that the libretto invariably opens with a
+Scripture passage and frequently blends the Gospel and Epistle for the Day
+in one harmonious teaching.  Spitta detected this characteristic.  But he
+failed to follow up the clue.  He speaks(417) of one of these texts(418)
+as a "moralising homily," a phrase concisely appropriate to them all.
+Moreover, a remark of his,(419) pointing the significance of the
+god-parents chosen by Bach for his children--Eilmar, for instance--as
+revealing Bach's intimate associates at the moment, affords another clue
+to the personality of the new writer.
+
+Among the clergy of St. Thomas' during Bach's Cantorate were two men,
+father and son, each of whom bore the name Christian Weiss.  The elder was
+Pastor of the Church from 1714 till his death in 1737.  He was a cultured
+man, in touch with the University, and possibly formed a link between it
+and Bach, to whom he showed greater cordiality than the Cantor received
+from other clerical colleagues.  In 1732 his daughter, Dorothea Sophia
+stood godmother to Bach's son, Johann Christoph Friedrich, afterwards
+famous as the "B�ckeburg Bach."(420) In 1737 his son stood sponsor to
+Bach's daughter, Johanna Caroline.(421) Nor can it be altogether without
+significance that the names Dorothea, Sophia, Christian, are borne by
+others of Bach's children by his second marriage.  There is sufficient
+evidence, therefore, that Bach's relations with the elder Weiss were
+intimate enough to support a literary partnership.  Moreover,
+circumstances lend weight to the inference.  For some years before Bach's
+arrival in Leipzig, Weiss suffered from an affection of the throat which
+kept him from the pulpit.  But, during the first year of Bach's Cantorate,
+he was able to resume his preaching.  If he was, in fact, the author of
+the libretti, we can have little difficulty in concluding that they and
+his sermons were built on the same text.
+
+So far as they can be identified--the attempt is somewhat speculative--Weiss
+provided Bach with at least thirty-three libretti.  He set five of them in
+1723, three in 1724, nine in or about 1725, one in 1727, two in 1730, six
+in 1731, three in 1732, and four in the later Leipzig period.(422)
+Fourteen others bear a constructional resemblance to Weiss's texts,(423)
+but their character refers them rather to Bach or Picander.  Even so, if
+we do not exaggerate his activity, Weiss seems to have written at least
+one-sixth of the Leipzig libretti and more than a quarter of those of the
+earlier period.  Without a doubt he eased a difficult situation in Bach's
+experience before his regular association with Picander began.
+
+Apart from their revelation of Christian Weiss, the libretti of Bach's
+first year at Leipzig do not call for comment.  Franck and Neumeister
+appear among them, and we trace Bach's hand in nine.(424) But at Easter,
+1724, he broke new ground with a libretto whence developed the Cantata
+form of his latest period.
+
+The Cantata for Easter Day 1724,(425) is Bach's earliest setting of an
+entire congregational hymn.  Spitta suggests(426) that he felt the fitness
+of giving the libretto an antique character to match the hymn's melody.
+However that may be, Bach would appear already to have been groping
+towards the Choral Cantata of the late '30's.  And though he did not
+repeat the experiment until the Easter of 1731,(427) he treated three
+hymn-libretti in the interval in a manner which shows him already to have
+worked out the essentials of the Choral Cantata form.(428)
+
+Another landmark meets us a year and a half after the Easter experiment.
+On September 23, 1725(?)--the Seventeenth Sunday after Trinity--Bach
+produced a Cantata(429) whose Arias are set to words which had appeared in
+print in the preceding year.  Their author was a hack writer named
+Christian Friedrich Henrici, or, as he preferred to style himself,
+Picander.  His hand probably is also traced in the libretto used by Bach
+on the preceding Sunday(430) and again in that for Sexagesima in the same
+year.(431) But the evidence is only inferential.  That he collaborated
+with Bach on September 23, 1725 (?), is incontestable, and the work
+defines the beginning of a long and fruitful partnership.
+
+Spitta,(432) who tells us all that is known of Picander, has sufficiently
+exposed his superficial literary facility.  He commenced to write sacred
+poetry in 1724, and on Advent Sunday of that year began a cycle of
+"Profitable Thoughts," so he termed them, upon the Sunday and Saints' Day
+Gospels.  He published them in 1725, when the cycle was complete.(433)
+Three years later he issued a cycle of Cantata texts for 1728-29 in the
+Neumeister form.(434) That he intended them for Bach's use is apparent in
+the fact that he expressly dedicated them to the service of "our
+incomparable Capellmeister."  But Bach made the sparest use of them and of
+the earlier "Profitable Thoughts" alike.  From the latter he took not one
+libretto.(435) Of the 1728-29 cycle he used only eight texts.(436) One
+more libretto can be referred to Picander's later publications,(437) and
+of six others we can be sure that they are based upon his texts.(438) In
+other words, of the original libretti of the Leipzig period we can trace
+Picander's hand positively in no more than fifteen.
+
+It is necessary to emphasise this point. For Spitta(439) has stated
+positively that Picander wrote "most" of the Leipzig libretti, and his
+opinion has been generally accepted.  But its correctness may be
+contested.  It is suspicious, to begin with, that Picander never published
+the texts which Spitta asserts him to have poured out in such profusion.
+"He placed no value," Spitta answers readily, "on these manufactured
+compositions, put together hastily to please his friend."  But the
+argument cannot stand.  Why should Picander have thought less of libretti
+actually used by his "incomparable Capellmeister" than of those published
+for and rejected by him?--for Spitta does not venture to declare that as
+literature the rejected were superior to the accepted texts.  If out of a
+published cycle of libretti expressly written for him Bach chose only
+eight texts, are Picander's "manufactured compositions," as Spitta calls
+them, likely to have attracted him to a greater degree?  We can detect his
+hand perhaps in six Cantatas(440) besides those already mentioned, and
+Bach relied on him exclusively for his secular texts.  One concludes, none
+the less, that Bach rarely accepted an original Cantata libretto from
+Picander, and employed him chiefly on the Choral Cantatas of his latest
+period.  Excluding them, and adding the probable to the actual original
+Picander texts, they total only twenty-one, a fraction inadequate to
+support Spitta's sweeping statement.
+
+From the advent of Picander in 1725, to the end of the first Leipzig
+period nine years later, Bach does not seem to have gone outside the
+circle of familial authors for his regular Cantata texts.  On October 17,
+1727, however, he produced a funeral Cantata, or "Trauer-Musik," in memory
+of the late Queen of Poland, the libretto of which was written by
+Professor J. C. Gottsched.  The partnership, in fact, was accidental: the
+libretto was supplied to Bach with the commission to set it to music, and,
+so far as is known, Gottsched and he did not collaborate again.
+
+So, reviewing Bach's activities during his first eleven years at Leipzig,
+we find that of the hundred libretti set by him to music Christian Weiss
+heads the list as the presumed author of twenty-nine.  Bach follows him
+with eighteen.(441) Picander's hand appears in fifteen, Franck's in
+eight,(442) Neumeister's and Gottsched's in one each.  Fifteen libretti
+are congregational hymns in their original or paraphrased form.  One is
+the _Gloria in Excelsis_ of the B minor Mass adapted as a Christmas
+Cantata (No. 190).  Twelve are by authors not identified.
+
+Passing to the later Leipzig period, seventy-two surviving Cantatas are
+attributed to the years 1735-50.  They reveal one, perhaps two, new
+writers.  The first of them, Marianne von Ziegler, was identified by
+Spitta in 1892.  She was the widow of an officer, resident in Leipzig, a
+cultured woman, in touch with University life, her house a salon for music
+and musicians.(443) There is no reason to suppose Bach to have been of her
+circle, or that he was acquainted with her literary gifts.  Indeed the
+contrary is to be inferred from the fact that, though she published her
+poems in 1728,(444) he does not seem to have known them until seven years
+later, when he used them for nine consecutive Sundays and Festivals in
+1735, beginning on the Third Sunday after Easter, and ending on Trinity
+Sunday.
+
+In addition to these nine libretti, both Spitta(445)and Schweitzer(446)
+attribute to her the text of Bach's Cantata for the Second Sunday after
+Easter in the same year.(447) It is uniform in construction with the
+authentic nine, but is not among the authoress's published works.
+Wustmann(448) finds the tone of the libretto less ardent and its rhythm
+rougher than those published under her name.  Admitting the soundness of
+Wustmann's criticism, one hazards the opinion that the challenged text was
+written at the period when Bach set it, namely, in 1735, eight years after
+the poetess published her earlier texts.  The difference of time may
+account for the difference of texture to which Wustmann draws attention,
+but leaves undecided the question whether Bach was drawn to the earlier
+through the later and unpublished texts or vice versa.  It is quite
+probable that he set other libretti by the same writer, though
+Schweitzer's(449) attribution to her of a second text for Ascension Day,
+1735, must be rejected.(450)
+
+It is worth noticing, since it certainly reveals Bach's preference, that
+Marianne von Ziegler's libretti are constructed almost invariably in the
+Weiss form.  Every one of them but three(451) opens with a Bible passage,
+invariably taken from St. John's Gospel, which provides the Gospel for the
+Day from the First Sunday after Easter down to Trinity Sunday, excepting
+Ascension Day.  All but one (No. 68) of the libretti conclude with a
+Choral, and their Arias are hymn-like in metre.  The tone of them,
+however, is warmer, more personal, less didactic than the Weiss texts.
+That Bach regarded them with particular favour is apparent in the
+circumstance that he took the trouble to revise all but one of them.(452)
+That they stirred his genius deeply is visible in the settings he gave
+them.
+
+After 1735 the chronology of the Cantatas is not certainly ascertained.
+Of those that fall after the Ziegler year, as we may term it, the majority
+can only be dated approximately as circa 1740, that is, anywhere between
+1735 and 1744.  Nor, except rarely, can we detect in their libretti the
+work of those on whom Bach elsewhere relied.  Weiss, who died late in
+1737, is only an occasional contributor.  The texts of this period, in
+fact, are the outcome of Bach's own experiments in libretto form.
+Thirty-three of them are Choral Cantatas, whose evolution it remains to
+trace concisely.
+
+That Bach should have turned to Lutheran hymnody, chiefly of the fifteenth
+and sixteenth centuries, and that the Cantatas built upon it should be his
+most perfect religious work is not surprising.  The hymns and their
+melodies were the foundations upon which the temple of German
+Protestantism had been reared.  They appealed vividly and powerfully to
+Bach's spiritual nature, and profoundly influenced his musical utterance.
+His whole career, as Sir Hubert Parry points out,(453) was an effort to
+widen his means for self-expression.  And the Choral Cantata, in effect,
+was the reconciliation or blending of this self-discipline.  It was the
+supreme achievement of Bach's genius to assert the faith and idealism of
+Lutheran hymnody with the fullest resources of his technique.
+
+It is not our task to consider the hymn libretto in its relation to the
+structure of Bach's latest Cantatas.  Necessarily it tied him to a
+stereotyped design, which he clung to with greater persistency because it
+exactly fulfilled his devotional purpose.  But experience compelled him,
+after a brief trial, to discard the simple hymn libretto.  In the earlier
+Leipzig years as many as eight Choral Cantatas(454) are set to the
+unaltered text of a congregational hymn.  In the later Leipzig period only
+two(455) libretti are of that character.  Bach, in fact, soon realised
+that, while the unaltered hymn-stanza, with its uniform metre and balanced
+rhyme, was appropriate to the simple Choral or elaborate Fantasia, it was
+unmalleable for use as an Aria or Recitative.  Hence, retaining the
+unaltered Hymn-stanza for the musical movements congruous to it, he was
+led to paraphrase, in free madrigal form, those stanzas which he selected
+for the Arias and Recitativi.
+
+As early as September 16, 1725,(456) Bach was moving towards this
+solution.  And it is significant that Picander's hand is visible in the
+libretto.  The next example(457) occurs three years later, and again
+reveals Picander's authorship.  Two other instances also occur in the
+early Leipzig period.(458) To that point, however, it is clear that Bach
+was not satisfied as to the most effective treatment of the hymn-libretto.
+But in the second Leipzig period, after his collaboration with Marianne
+von Ziegler, he arrived at and remained constant to a uniform design.  Of
+the thirty-nine Choral Cantatas of the whole period only two exhibit the
+earlier form.  Of all the others the libretto consists partly of unaltered
+hymn-stanzas--invariably used for the first and last movements, and
+occasionally elsewhere--but chiefly of paraphrased stanzas of the hymn,
+whose accustomed melody, wherever else it may be introduced, is associated
+invariably with the hymn when the text is used in its unaltered form.  We,
+to whom both words and melody are too frequently unfamiliar, may view the
+perfections of the Choral Cantata with some detachment.  But Bach's
+audience listened to hymns and tunes which were in the heart of every
+hearer and a common possession of them all.  The appeal of his message was
+the more arresting because it spoke as directly to himself as to those he
+addressed.
+
+It would be satisfactory and interesting to point positively to Bach's own
+handiwork in these libretti, of which he set fifty-four in the period
+1724-44.  Unfortunately it is impossible to do so, except, perhaps, in a
+single case,(459) where we can reasonably infer that the libretto is his.
+Of the rest, one is by Franck.(460) In eighteen of them the hand of
+Picander is more or less patent.(461) Nineteen(462) we can only venture to
+mark "anonymous," though Picander is probably present in most of them.
+Ten are unaltered congregational hymns.(463) There remain, however,
+five(464) in which, perhaps, we detect another, and the last, of Bach's
+literary helpers.
+
+Wustmann draws attention(465) to the libretto of Cantata No. 38, a
+paraphrase of Luther's Psalm 130.  He finds in it, and reasonably, an
+expression of "Jesus religion" very alien to Picander's muse, and suggests
+the younger Christian Weiss as the author of it.  Like his father, he was
+Bach's colleague, the godfather of his daughter, and undoubtedly on terms
+of close friendship with him.  But if he wrote the libretto of Cantata No.
+38, probably it is not the only one.  The same note rings in four more of
+the Choral Cantatas,(466) which may be attributed tentatively to Weiss,
+though their ascription to Bach would be equally congruous.
+
+Returning, however, to the seventy-two libretti of the later Leipzig
+period we reach this result: More than half of them (thirty-nine) are
+congregational hymns, all but two of which are of the paraphrased type in
+which we detect the work of Picander, Bach himself, and perhaps the
+younger Weiss.  Of the remaining thirty-three original libretti Marianne
+von Ziegler heads the list with nine, and perhaps ten.(467)  Bach follows
+with a problematical six,(468) Picander with five,(469) the elder Weiss
+with four,(470) Neumeister with one.(471) One text is taken from the
+Bible.(472) Another consists of a single stanza of a hymn by Martin
+Behm.(473) Five are by authors unknown or undetected.(474)
+
+But, as was said at the outset, the attribution of particular libretti to
+individual writers is conjectural, except in comparatively few cases.
+Yet, unsatisfying as it is, this guess-work reveals with approximate
+correctness the extent to which Bach drew upon his own and other people's
+abilities for the texts he needed.  Summarising our conclusions, we
+discover that about one-quarter (fifty-four) of the 202 libretti set by
+Bach between the years 1704 and 1744 were provided by the hymn-book.  It
+is shown elsewhere(475) that all but eleven of them are taken from Paul
+Wagner's volumes.  The elder Weiss comes next with thirty-three libretti.
+Bach follows with thirty, Salomo Franck with twenty-one, Picander with
+twenty (exclusive of his arrangements of Choral Cantata texts).  Marianne
+von Ziegler contributes ten, Neumeister seven, Eilmar and Helbig two each,
+Gottsched and Martin Behm one each.  Three libretti are taken from the
+Bible or Church liturgy.  Eighteen remain anonymous.
+
+The literary qualities of the libretti are not under discussion here.
+They have a characteristic, however, on which one cannot forbear from
+remarking.  Indifferent literature as, for the most part, they
+are--children of their period and blemished with its imperfections--they
+enshrine an extraordinarily interesting anthology of the religious poetry
+of the sixteenth, seventeenth, and eighteenth centuries.  They expose the
+evangelical thought of Germany from the age of Luther to that of Bach, and
+are particularly rich in the lyrical fervour of the Reformation itself.
+Of the seventy-seven hymn-writers whom Bach includes in his collection, so
+many as forty-four belong to the sixteenth century.  Only thirteen of them
+touch Bach's own period.  And a similar bias to the Reformation epoch is
+observable in his choice of the tunes of the Chorals, which are absent
+from only twenty-one of the Cantatas.  By far the greater number of them
+are coeval with the hymns themselves; that is, they date from the
+Reformation and behind it.
+
+Here clearly is the source of Bach's inspiration, the master-key of his
+art.  He touches Luther, is in a sense his complement, his art builded on
+the foundations Luther laid, consecrated to the ends Luther vindicated,
+inspired by a dedication of himself to God's service not less exalted--a
+great artist, a great Protestant, a great man.(476)
+
+NOTE.--Cantatas distinguished by an asterisk (*) are for Soli voices only
+(S.A.T.B. unless the particular voices are stated); those marked ({~DAGGER~})
+include, in addtion, simple four-part Chorals: the rest contain concerted
+Choruses.
+
+
+
+
+            (1) COMPOSED AT ARNSTADT (see also Nos. 150, 189.)
+
+
+
+
+           (2) COMPOSED AT M�LHAUSEN (see also Nos. 150, 189.)
+
+
+
+
+    (3) COMPOSED AT WEIMAR. (See also Nos. 12, 72, 80, 164, 168, 186.)
+
+
+
+
+            (4) COMPOSED AT C�THEN. (See also Nos. 22 and 23.)
+
+
+
+
+ (5) COMPOSED AT LEIPZIG. 1723-34. (See also Nos. 31, 70, 134, 147,  158,
+                                  173.)
+
+
+
+
+                     (6) COMPOSED AT LEIPZIG: 1735-50
+
+
+
+
+
+APPENDIX III.  THE BACHGESELLSCHAFT EDITIONS OF BACH'S WORKS
+
+
+The Bachgesellschaft was founded on December 15, 1850, issued its first
+volume in 1851, and was dissolved on January 27, 1900, upon the
+publication of its sixtieth and concluding volume.  The Society had
+fulfilled its fundamental purpose--the publication of Bach's works--and on
+the very date of its dissolution the Neue Bachgesellschaft was founded
+with the object of popularising Bach's music by publishing it in
+practicable form and by holding Bach Festivals.  A secondary object, the
+foundation of a Bach Museum at Eisenach, in the house in which Bach was
+born, already has been achieved.  Bach Festivals have been held at regular
+intervals--at Berlin in 1901, Leipzig in 1904, Eisenach--in connection with
+the opening of the Museum--in 1907, at Chemnitz in 1908, Duisburg in 1910,
+Breslau in 1912, Vienna in 1914.  The publications of the new Society
+necessarily are unimportant by the side of those of its predecessor.  It
+has, however, brought to light and published a Cantata overlooked by the
+old Bachgesellschaft.  (See New B.G. XIII. (2).)
+
+The publications of both Societies are quoted here by their year of
+issue--I., II., III., and so forth.  When more than one volume has been
+published in a single year they are differentiated thus: XV.(1), XV.(2).
+When a volume appeared upon a date subsequent to the Vereinsjahr it bears,
+the date of the Preface is indicated in a bracket, e.g. 1872[1876].
+
+The editorial work of the original Bachgesellschaft was undertaken, in
+unequal proportions, by ten editors during fifty years.  Of the Society's
+sixty volumes three were edited by Moritz Hauptmann (1851-58), one by Carl
+F. Becker (1853), two by Julius Rietz (1854-56), twenty-seven by Wilhelm
+Rust (1855-81), one by Franz Kroll (1866), eleven by Alfred D�rffel
+(1876-98), six by Paul Graf Waldersee (1881-94), five by Ernst Naumann
+(1886-94), two by Franz W�llner (1887-92), and two by Hermann Kretzschmar
+(1895-1900).
+
+
+
+
+                 (A) PUBLICATIONS OF THE BACHGESELLSCHAFT
+
+
+   I. 1851. Kirchencantaten. Erster Band. Ed. Moritz Hauptmann.(478)
+
+            No. *1. Wie sch�n leuchtet der Morgenstern.
+            No. *2. Ach Gott, vom Himmel sieh darein.
+            No. *3. Ach Gott, wie manches Herzeleid (c. 1740).
+            No. *4. Christ lag in Todesbanden.
+            No.  5. Wo soll ich fliehen hin.
+            No. *6. Bleib' bei uns, denn es will Abend werden.
+            No.  7. Christ unser Herr zura Jordan kam.
+            No. *8. Liebster Gott, warm werd' ich sterben?
+            No.  9. Es ist das Heil uns kommen her.
+            No. *10. Meine Seel' erhebt den Herren!
+            Frontispiece: G. Haussmann's portrait of Bach, in the
+            possession of St. Thomas' School, Leipzig.
+
+  II. 1852. Kirchencantaten. Zweiter Band. Ed. Moritz Hauptmann.
+
+            *No. 11. Lobet Gott in seinen Reichen.
+            No. *12. Weinen, Klagen, Sorgen, Zagen.
+            No. 13. Meine Seufzer, meine Thr�nen.
+            No. 14. War' Gott nicht mit uns diese Zeit.
+            No. 15. Denn du wirst meine Seele nicht in der H�lle lassen.
+            No. 16. Herr Gott dich loben wir.
+            No. 17. Wer Dank opfert, der preiset mich.
+            No. 18. Gleich vie der Begen uud Schnee vom Himmel fallt.
+            No. 19. Es erhub sich ein Streit.
+            No. 20. O Ewigkeit, du Donnerwort (c. 1725).
+
+ III. 1853. Clavierwerke. Erster Band. Ed. Carl F. Becker.
+
+        (1) Fifteen Inventions and Fifteen Symphonies (Sinfonie) (P. bk.
+            201).(479)
+        (2) Clavier�bung, Part I.:--
+
+                  Partiten 1-6 (P. bka. 205, 206).
+
+        (3) Clavier�bung, Part II.:--
+
+                  Concerto, in F major, in the Italian style (P bk. 207).
+                  Partita (Overture) in B minor (P. bk. 208).
+
+        (4) Clavier�bung, Part III.:--
+
+                  Organ Prelude and Fugue in E flat major (N. bk. 16 pp.
+                  19, 83).
+                  Four Duetti (P. bk. 208 p. 78).
+                  Catechism Choral Preludes (Organ):--
+
+                              Kyrie, Gott Vater in Ewigkeit (N. bk. 16 p.
+                              28).
+                              Christe, aller Welt Trost (ib. p. 30).
+                              Kyrie, Gott heiliger Geist (ib. p. 33).
+
+                              Kyrie, Gott Vater in Ewigkeit (alio modo)
+                              (   2. ib.   1. p. 36).
+                              Christe, aller Welt Trost (ib. p. 37).
+                              Kyrie, Gott heiliger Geist (ib. p. 38).
+
+                     3. Allein Gott in der Hoh' sei Ehr' (ib. p. 39).
+                     4. Ditto (ib. p. 40*).(480)
+                     5. Allein Gott in der Hoh' sei Ehr' (Fughetta) (N.
+                        bk. 16 p. 41).
+                     6. Dies sind die heil'gen zehn Gebot' (ib. p. 42).
+                     7. Ditto (Fughetta) (ib. p. 47).
+                     8. Wir glauben all' an einen Gott (ib. p. 49).
+                     9. Ditto (Fughetta) (ib. p. 52).
+                    10. Vater unser im Himmelreich (ib. p. 53).
+                    11. Ditto (ib. p. 61).(481)
+                    12. Christ unser Herr zum Jordan kam (ib. p. 62).
+                    13. Ditto (ib. p. 67).
+                    14. Aus tiefer Noth schrei ich zu dir (ib. p. 68).
+                    15. Ditto (ib. p. 72).
+                    16. Jesus Christus unser Heiland (ib. p. 74).
+                    17. Ditto (Fugue) (ib. p. 80).
+
+        (5) Clavier�bung, Part IV.:--
+
+                  Aria and thirty Variations (Goldberg) (P. bk. 209).
+
+                  Toccata in F sharp minor (P. bk. 210 p. 30).
+                  Ditto. C minor (P. bk. 210 p. 40).
+                  Fugue (with Fantasia) in A minor (P. bk. 207 p. 16).
+
+  IV. 1854. *Passionsmusik nach dem Evangelisten Matth�us.  Ed. Julius
+      Rietz.
+V(1). 1855. Kirchencantaten. Dritter Band. Ed. Wilhelm Rust.
+
+            *21. Ich hatte viel Bek�mmerniss.
+            22. Jesus nahm zu sich die Zw�lfe.
+            *23. Du wahrer Gott und Davids Sohn.
+            24. Ein ungef�rbt Gem�the.
+            *25. Es ist nichts Gesundes an meinem Leibe.
+            26. Ach wie fl�chtig, ach wie nichtig.
+            *27. Wer weiss, wie nahe mir mein Ende.
+            *28. Gottlob! nun geht das Jahr zu Ende.
+            29. Wir danken dir, Gott, wir danken dir.
+            *30. Freue dich, erl�ste Schaar.
+
+V(2). 1855 [1856]. Weinachts-Oratorium. Ed. Wilhelm Rust.
+  VI. 1856. *Messe. H moll. Ed. Julius Rietz.
+  VI. VII. 1857. Kirchencantaten. Vierter Band. Ed. Wilhelm Rust.
+
+            No. 31. Der Himmel lacht, die Erde jubiliret.
+            *32. Liebster Jesu, mein Verlangen.
+            33. Allein zu dir, Herr Jesu Christ.
+            *34. O ewiges Feuer, O Ursprung der Liebe.
+            35. Geist und Seele wird verwirrt.
+            36. Schwingt freudig euch empor.
+            37. Wer da glaubet und getauft wird.
+            *38. Aus tiefer Noth schrei ich zu dir.
+            *39. Brich dem Hungrigen dein Brod.
+            *40. Dazu ist erschienen der Sohn Gottes.
+
+VIII. 1858. Vier Messen. F dur, *A dur, G moll, G dur. Ed. Moritz
+      Hauptmann.
+  IX. 1859 [I860]. Kammermusik. Erster Band. Ed. Wilhelm Rust.
+
+            Three Sonatas, in B minor, E flat major, A minor (and
+            Variant), for Clavier and Flute (P. bk. 234).
+            Suite in A major, for Clavier and Violin (P. bk. 236).
+            Six Sonatas, in B minor, A major, E major, C minor, F minor
+            (and Variant), G major (and Variants), for Clavier and Violin
+            (P. bks. 232, 233).
+            Three Sonatas, in G major (or 2 Flutes), D major, G minor for
+            Clavier and Viola da Gamba (P. bk. 239).
+            Sonata in G major, for Flute, Violin, and Clavier (P. bk.
+            237).
+            Sonata in C major, for two Violins and Clavier (P. bk. 237).
+            Sonata in G minor, for Clavier and Violin (not in P.).(  (6)
+            482)
+
+   X. 1860. Kirchencantaten. F�nfter Band. Ed. Wilhelm Rust.
+
+            No. *41. Jesu, nun sei gepreiset.
+            42. Am Abend aber desselbigen Sabbaths.
+            *43. Gott fahret auf mit Jauchzen.
+            *44. Sie werden euch in den Bann thun (c. 1725).
+            45. Es ist dir gesagt, Mensch, was gut ist.
+            46. Schauet doch und sehet, etc.
+            47. Wer sich selbst erh�het, der soll emiedriget werden
+            48. Ich elender Mensch, wer wird mich erl�sen?
+            49. Ich geh' und suche mit Verlangen.
+            *50. Nun ist das Heil und die Kraft.
+
+XI (1). 1861 [1862]. *Magnificat, D dur, und vier Sanctus, C dur, D dur, D
+      moll, G dur. Ed. Wilhelm Rust.
+
+            The Appendix contains four additional numbers which are found
+            in one of the two Autograph scores of the Magnificat.
+
+XI (2). 1861 [1862]. Kammermusik f�r Gesang. Erster Band. Ed. Wilhelm
+      Rust.
+
+            Secular Cantata: *Phoebus und Pan.
+            Secular Cantata: Weichet nur, betr�bte Schatten.
+            Secular Cantata: Amore traditore.
+            Secular Cantata: Von der Vergn�gsamkeit, or, Ich bin in mir
+            vergn�gt.
+            Secular Cantata: Der zufriedengestellte Aeolus, or, Zer
+            reisset, zersprenget, zertr�mmert die Gruft.
+
+XII (1). 1862 [1863]. *Passionsmusik nach dem Evangelisten Johannes. Ed.
+      Wilhelm Rust.
+XII (2). 1862 [1863]. Kirchencantaten. Sechster Band. Ed. Wilhelm Rust.
+
+            No. 51. Jauchzet Gott in allen Landen.
+            52. Falsche Welt, dir trau ich nicht.
+            *53. Schlage doch, gew�nschte Stunde.
+            *54. Widerstehe doch der S�nde.
+            55. Ich armer Mensch, ich S�ndenknecht.
+            *56. Ich will den Kreuzstab gerne tragen.
+            57. Selig ist der Mann.
+            58. Ach Gott, wie manches Herzeleid (1733).
+            59. Wer mich liebet, der wird mein Wort halten (1716).
+            60. O Ewigkeit, du Donnerwort (1732).
+
+XIII (1). 1863 [1864]. Trauungs-Cantaten. Ed. Wilhelm Rust.
+
+            No. *195. Dem Gerechten muss das Licht.
+            196. Der Herr denket an uns.
+            197.
+
+                  Gott ist uns're Zuversicht.
+                  Drei Chorale zu Trauungen : (1) Was Gott thut, (2) Sei
+                  Lob und Ehr', (3) Nun danket alle Gott.
+
+XIII (2). 1863. Clavierwerke. Zweiter Band. Ed. Wilhelm Rust.
+
+            Six Great Suites, in A major, A minor, G minor, F major, E
+            minor, D minor, known as the "English Suites" (P. bks.
+            203,204).
+            Six Small Suites, in D minor, C minor, B minor, E flat major,
+            G major, E major, known as the "French Suites" (P. bk.
+            202).(483)
+
+XIII (3). 1863 [1865]. *Trauer-Ode. Ed. Wilhelm Rust.
+ XIV. 1864 [1866]. Clavierwerke. Dritter Band. Das wohltemperirte Clavier
+      (P. bks. 2790 a-b.). Ed. Franz Kroll.(484)
+
+            Erster Theil, 1722.
+            Zweiter Theil, 1744.
+
+  XV. 1865 [1867]. Orgelwerke. Erster Band. Ed. Wilhelm Rust.
+
+            Six Sonatas, in E flat major, C minor, D minor, E minor, C
+            major, G major (N. bks. 4, 5), for 2 Claviers and Pedal.
+            Eighteen Preludes and Fugues:--
+
+                  Prelude and Fugue in C major (N. bk. 7 p. 74).
+                  Prelude and Fugue in D major (N. bk. 6 p. 10).
+                  Prelude and Fugue in E minor (N. bk. 2 p. 44).
+                  Prelude and Fugue in F minor (N. bk. 6 p. 21).
+                  Prelude and Fugue in G minor (N. bk. 8 p. 120).
+                  Prelude and Fugue in A major (N. bk. 3 p. 64).
+                  Prelude (Fantasia) and Fugue in C minor (N. bk. 3 p.
+                  76).
+                  Prelude (Toccata) in D minor (N. bk. 10 p. 196).
+                  Prelude and Fugue in D minor (N. bk. 9 p. 150).
+                  Prelude and Fugue (Toccata) in F major (N. bk. 9 p.
+                  176).
+                  Prelude and Fugue the Great, in G major (N. bk. 8 p.
+                  112).
+                  Prelude (Fantasia) and Fugue in G minor (N. bk. 8 p.
+                  127).(485)
+                  Prelude (Fantasia) and Fugue in A minor (N. bk. 7 p.
+                  42).(486)
+                  Prelude (Fantasia) and Fugue in B minor (N. bk. 7 p.
+                  52).
+                  Prelude (Fantasia) and Fugue in C minor (N. bk. 7 p.
+                  64).
+                  Prelude (Fantasia) and Fugue in C major (N. bk. 9 p.
+                  156).
+                  Prelude (Fantasia) and Fugue in E minor (N. bk. 8 p.
+                  98).
+                  Prelude and Fugue in C major (N. bk. 3 p. 70).
+
+                  Three Toccatas and Fugues, in C major, the       "Great"
+                  (N. bk. 9 p. 137).
+                  Toccata and Fugue D minor (N. bk. 6 p. 2).
+                  Toccata and Fugue E major (N. bk. 8 p. 88, as Prelude
+                  and Fugue in C major)
+
+            Passacaglia, in C minor (N. bk. 10 p. 214).
+
+ XVI. 1866 [1868]. Kirchencantaten. Siebenter Band. Ed. Wilhelm Rust.
+
+            No. *61. Nun komm, der Heiden Heiland (1714).
+            62. Nun komm, der Heiden Heiland (c. 1740).
+            63. Christen, �tzet diesen Tag.
+            64. Sehet, welch' eine Liebe.
+            *65. Sie werden aus Saba Alle kommen.
+            66. Erfreut euch, ihr Herzen.
+            *67. Halt' im Gedachtniss Jesum Christ.
+            *68. Also hat Gott die Welt geliebt.
+            69. Lobe den Herren, meine Seele.
+            *70. Wachet, betet, seid bereit allezeit.
+
+XVII. 1867 [1869]. Kammermusik. Zweiter Band. Ed. Wilhelm Rust.
+
+            Seven Concertos, in D minor (and Variant),(487) E major (and
+            Variant), D major (and Variant), A major (and Variant), F
+            minor, F major, G minor, for Clavier and Orchestra (Strings;
+            two flutes added in Concerto VI. (P. bks. 248-254).(488)
+            Triple Concerto in A minor, for Flute, Violin, Clavier, and
+            Orchestra (Strings). (P. bk. 255).
+
+XVIII. 1868 [1870]. Kirchencantaten. Achter Band. Ed. Wilhelm Rust.
+
+            No. 71. Gott ist mem K�onig.
+            72. Alles nur nach Gottes Willen.
+            73. Herr, wie du willt, so schick's mit mir.
+            74. Wer mich liebet, der wird mein Wort halten (? 1735).
+            75. Die Elenden sollen essen.
+            76. Die Himmel erzahlen die Ehre Gottes.
+            77. Du sollst Gott, deinen Herren, lieben.
+            78. Jesu, der du meine Seele.
+            *79. Gott, der Herr, ist Sonn' und Schild.
+            *80. Ein' feste Burg ist unser Gott.
+
+ XIX. 1869 [1871]. Kammermusik. Dritter Band. Ed. Wilhelm Rust.
+
+      Six Concertos ("Brandenburg") for Orchestra and Continuo:--
+
+            No. I. in F major (Strings, 3 Ob., Fag., 2 Cor. (P. bk.
+            261).(489)
+            No. II. in F major (Strings, Flute, Oboe, Tromba) (P. bk.
+            262).
+            No. III. in G major (Strings) (P. bk. 263). [N.B.G. IX. (3)].
+            No. IV. in G major (Strings and 2 Flutes) (P. bk. 264).
+            No. V. in D major (Strings, Flute, Clavier) (P. bk. 265).
+            No. VI. in B flat major (2 Violas, 2 Violas da Gamba,
+            Violoncello, Contrabasso) (P. bk. 266).
+
+XX (1). 1870 [1872]. Kirchencantaten. Neunter Band. Ed. Wilhelm Rust.
+
+            No. *81. Jesus schl�ft, was soll ich hoffen?
+            *82. Ich habe genug.
+            83. Erf route Zeit im neuen Bunde.
+            84. Ich bin vergn�gt mit meinem Gl�cke.
+            85. Ich bin ein guter Hirt. [Score, N.B.G. IX. (1)].
+            86. Wahrlich, wahrlich, ich sage euch.
+            87. Bisher habt ihr nichts gebeten in meinem Namen.
+            88. Siehe, ich will viel Fischer aussenden. [Score, N.B.G.
+            VII. (1)].
+            89. Was soll ich aus dir machen, Ephraim?
+            90. Es reifet euch ein schrecklich Ende.
+
+XX (2). 1870 [1873]. Kammermusik f�r Gesang. Zweiter Band. Ed. Wilhelm
+      Rust.
+
+            Secular Cantata: Schleicht, spielende Wellen.
+            Secular Cantata: Vereinigte Zwietracht der wechsehiden Saiten.
+            Secular Cantata: Auf, schmetternde Tone der muntern Trompeten.
+            [See B.G. XXXIV].
+
+XXI (1). 1871 [1874]. Kammermusik. Vierter Band. Ed. Wilhelm Rust.
+
+            Three Concertos for Violin and Orchestra (Strings):--
+
+                  No. I. in A minor (P. bk. 229).(490)
+                  No. II. in E major (P. bk. 230).(491)
+                  No. III. in D minor (two Violins) (P. bk. 231).(492)
+
+            Symphonic movement, in D major, for Violin and Orchestra
+            (Strings, 2 Ob., 3 Trombe, Timp.).(493)
+
+XXI (2). 1871 [1874]. Kammermusik. F�nfter Band. Ed. Wilhelm Rust.
+
+            Three Concertos for two Claviers and Orchestra (Strings):--
+            No. I. in C minor (P. bk. 257).
+            No. II. in C major (P. bk. 256).
+            No. III. in C minor (P. bk. 257b).(494)
+
+XXI (3). 1871 [1874]. *0ster-0ratorium: "Kommt, eilet und laufet." Ed.
+      Wilhelm Rust.
+XXII. 1872 [1875]. Kirchencantaten. Zehnter Band. Ed. Wilhelm Rust.
+
+            No. 91. Gelobet seist du, Jesu Christ.
+            92. Ich hab' in Gottes Herz und Sinn.
+            *93. Wer nur den lieben Gott l�sst walten.
+            94. Was frag ich nach der Welt.
+            95. Christus, der ist mein Leben.
+            96. Herr Christ, der ein'ge Gottes-Sohn.
+            97. In allen meinen Thaten.
+            98. Was Gott thut, das ist wohlgethan, in B major (c. 1732).
+            99. Was Gott thut, das ist wohlgethan, in G major (c. 1733).
+            100. Was Gott thut, das ist wohlgethan, in G major (c. 1735).
+
+XXIII. 1873 [1876]. Kirchencantaten. Elfter Band. Ed. Wilhelm Rust.
+
+            No. 101. Nimm von uns, Herr, du treuer Gott.
+            102. Herr, deine Augen sehen nach dem Glauben.
+            103. Ihr werdet weinen und heulen.
+            *104. Du Hirte Israel, h�re.
+            105. Herr, gehe nicht in's Gericht.
+            *106. Gottes Zeit ist die allerbeste Zeit (Actus tragicus).
+            107. Was willst du dich betr�ben.
+            108. Es ist euch gut, dass ich hingehe.
+            109. Ich glaube, lieber Herre.
+            110. Unser Mund sei voll Lachens.
+
+XXIV. 1874 [1876]. Kirchencantaten. Zw�lfter Band. Ed. Alfred D�rffel.
+
+            No. 111. Was mein Gott will, das g'scheh' allzeit.
+            *112. Der Herr ist mein getreuer Hirt.
+            113. Herr Jesu Christ, du h�chstes Gut.
+            114. Ach, lieben Christen, seid getrost.
+            *115. Mache dich, mem Geist, bereit.
+            *116. Du Friedef�rst, Herr Jesu Christ.
+            117. Sei Lob und Ehr' dem h�chsten Gut.
+            118. O Jesu Christ, mein's Lebens Licht.(495)
+            *119. Preise, Jerusalem, den Herrn.
+            120. Gott, man lobet dich in der Stille.
+
+XXV (1). 1875 [1878]. Die Kunst der Fuge: 1749-1750 Ed. Wilhelm Rust. (P.
+      bk. 218)
+
+            Contrapunctus 1-14
+            Four Canons I
+            Two Fugues for two Claviers)
+            Fugue on three subjects )
+
+XXV (2) 1875 [1878], Orgelwerke. Zweiter Band. Ed. Wilhelm Rust.
+
+            (1) Orgelb�chlein (N. bk. 15), containing Preludes on the
+            following melodies:(496)
+
+            _      Advent--_
+
+                     1. Nun komm der Heiden Heiland.
+                     2. Gott, durch deine G�te, or, Gottes Sohn ist
+                        kommen.
+                     3. Herr Christ, der ein'ge Gottes-Sohn, or, Herr
+                        Gott, nun sei gepreiset.
+                     4. Lob sei dem allm�chtigen Gott.
+
+            _      Christmas--_
+
+                     5. Puer natus in Bethlehem.
+                     6. Gelobet seist du, Jesu Christ.
+                     7. Der Tag, der ist so freudenreich.
+                     8. Vom Himmel hoch, da komm' ich her.
+                     9. Vom Himmel kam der Engel Schaar.
+                    10. In dulci jubilo.
+                    11. Lobt Gott, ihr Christen, allzugleich.
+                    12. Jesu, meine Freude.
+                    13. Christum wir sollen loben schon.
+                    14. Wir Christenleut'.
+
+            _      New Year--_
+
+                    15. Helft mir Gottes G�te preisen.
+                    16. Das alte Jahr vergangen ist.
+                    17. In dir ist Freude.
+
+            _      Feast of the Purification of the B.V.M.--_
+
+                    18. Mit Fried' und Freud' ich fahr' dahin.
+                    19. Herr Gott, nun schleuss den Himmel auf.
+
+            _      Passiontide--_
+
+                    20. O Lamm Gottes, unschuldig.
+                    21. Christe, du Lamm Gottes.
+                    22. Christ us, der uns selig macht.
+                    23. Da Jesus an dem Kreuze stund.
+                    24. O Mensch, bewein' dein' S�nde gross.
+                    25. Wir danken dir, Herr Jesu Christ.
+                    26. Hilf Gott, dass mir's gelinge.
+
+            _      Easter--_
+
+                    27. Christ lag in Todesbanden.
+                    28. Jesus Christus, unser Heiland, der den Tod.
+                    29. Christ ist erstanden (three verses).
+                    30. Erstanden ist der heil'ge Christ.
+                    31. Erschienen ist der herrliche Tag.
+                    32. Heut' triumphiret Gottes Sohn.
+
+            _      Whitsunday--_
+
+                    33. Komm, Gott, Sch�pfer, heiliger Geist.
+
+            _      Trinity Sunday--_
+
+                    34. Herr Jesu Christ, dich zu uns wend'.
+                  35-6. Liebster Jesu, wir sind hier (two settings).
+
+            _      The Catechism--_
+
+                    37. Dies sind die heil'gen zehn Gebot.
+                    38. Vater unser im Himmelreich.
+
+            _      Penitence and Amendment--_
+
+                    39. Durch Adam's Fall ist ganz verderbt.
+                    40. Es ist das Heil uns kommen her.
+
+            _      Christian Conduct and Experience--_
+
+                    41. Ich ruf' zu dir, Herr Jesu Christ.
+
+            _      In Time of Trouble--_
+
+                    42. In dich hab' ich gehoffet, Herr.
+                    43. Wenn wir in h�chsten Nothen sein.
+                    44. Wer nur den lieben Gott l�sst walten.
+
+            _      Death and the Grave--_
+
+                    45. Alle Menschen m�ssen sterben.
+
+            _      The Life Eternal--_
+
+                    46. Ach wie nichtig, ach wie fl�chtig.
+
+            (2) Six Chorals (Sch�bler) (N. bk. 16) on the following
+            melodies:
+
+                  Wachet auf, ruft uns die Stimme.
+                  Wo soll ich fliehen hin, _or_, Auf meinen lieben Gott.
+                  Wer nur den lieben Gott l�sst walten.
+                  Meine Seele erhebt den Herren.
+                  Ach bleib bei uns, Herr Jesu Christ.
+                  Kommst du nun, Jesu, vom Himmel herunter.
+
+            (3) Eighteen Chorals (N. bk. 17) on the following melodies:
+
+            1., 2. Komm, heiliger Geist, Herre Gott (two settings).
+               3. An Wasserfl�ssen Babylon.
+               4. Schm�cke dich, O liebe Seele.
+               5. Herr Jesu Christ, dich zu uns wend'.
+               6. O Lamm Gottes unschuldig (three verses).
+               7. Nun danket Alle Gott.
+               8. Von Gott will ich nicht lassen.
+            9, 10, 11. Nun komm der Heiden Heiland (three settings).
+            12, 13, 14. Allein Gott in der H�h' sei Ehr' (three settings).
+            15, 16. Jesus Christus, unser Heiland, der von uns (two
+                  settings).
+              17. Komm, Gott, Sch�pfer, heiliger Geist.
+              18. Vor deinen Thron tret' ich, or, Wenn wir in h�chsten
+                  N�then sein.
+
+            (4) Older texts of the "Orgelb�lein" and "Eighteen" Chorals:
+
+               1. Christus, der uns selig macht (Orgelb�lein No. 22) (P.
+                  bk. 244 p. 108).
+               2. Komm, Gott, Sch�pfer, heiliger Geist (Orgelb�lein No.
+                  33) (P. bk. 246 p. 86A).
+               3. Komm, heiliger Geist, Herre Gott (Eighteen No. 1) (P.
+                  bk. 246 p. 86).
+               4. Ditto (Eighteen No. 2) (P. bk. 246 p. 88).
+               5. An Wasserfl�ssen Babylon (Eighteen No. 3) (P. bk. 245 p.
+                  103).
+               6. Herr Jesu Christ, dich zu uns wend' (Eighteen No. 5) (P.
+                  bk. 245 pp. 107, 108 prints two of the three Variants).
+               9. O Lamm Gottes unschuldig (Eighteen No. 6)(P. bk. 246 p.
+                  97).
+              10. Von Gott will ich nicht lassen (Eighteen No. 8) (P. bk.
+                  246 p. 102).
+              11. Nun komm der Heiden Heiland (Eighteen No. 9) (P. bk. 246
+                  p. 92).
+              12. Ditto (Eighteen No. 10) (P. bk. 246 pp. 93, 94).
+              14. Ditto (Eighteen No. 11) (P. bk. 246 p. 96).
+              15. Allein Gott in der H�h' sei Ehr' (Eighteen No. 13) (P.
+                  bk. 245 p. 100).
+              16. Allein Gott in der H�' sei Ehr' (Eighteen No. 14) (P.
+                  bk. 245 p. 97).
+              17. Jesus Christus unser Heiland (Eighteen No. 15) (P. bk.
+                  245 p. 112).
+
+XXVI. 1876 [1878]. Kirchencantaten. Dreizehnter Band. Ed. Alfred D�rffel.
+
+       121. Christum wir sollen loben schon.
+       122. Das neugebor'ne Kindelein.
+       123. Liebster Immanuel, Herzog der Frommen.
+       124. Meinen Jesum lass' ich nicht.
+       125. Mit Fried' und Freud' ich fahr' dahin.
+       126. Erhalt' uns, Herr, bei deinem Wort.
+       127. Herr Jesu Christ, wahr'r Mensch und Gott.
+       128. Auf Christi Himmelfahrt allein.
+       129. Gelobet sei der Herr.
+       130. Herr Gott, dich loben alle wir.
+
+XXVII (1). 1877 [18791. Kammermusik. Sechster Band. Ed. Alfred D�rffel.
+
+            Three Sonatas (Suites), in G minor, A minor,(497) C
+            major,(498) for Violin Solo (Nos. 1, 3, 5 in P. bk. 228).
+            Three Partitas (Suites, Sonatas), in B minor, D minor, E
+            major,1 for Violin Solo (Nos. 2, 4, 6 in P. bk. 228).
+            Six Suites (Sonatas), in G major, D minor, C major, E flat
+            major, C minor, D major, for Violoncello Solo (P. bks. 238a,
+            238).
+
+XXVII (2). 1877 [1878]. Thematisches Verzeichniss der Kirchencantaten No.
+      1-120. Ed. Alfred D�rffel.
+
+      [Note.--The Thematic Catalogue is completed in B.G. XLVI. (P. bk.
+      270b).]
+
+XXVIII. 1878 [1881]. Kirchencantaten. Vierzehnter Band Ed. Wilhelm Rust.
+
+       131. Aus der Tiefe rufe ich, Herr, zu dir.
+       132. Bereitet die Wege, bereitet die Bahn.
+       133. Ich freue mich in dir.
+       134. Ein Herz, das seinen Jesum lebend weiss [and Variant].
+       135. Ach Herr, mich armen Sunder.
+       136. Erforsche mich, Gott.
+       137. Lobe den Herren, den m�chtigen K�onig.
+       138. Warum betr�bst du dich, mein Herz?
+       139. Wohl dem, der sioh auf seinen Gott.
+      *140. Wachet auf, ruft uns die Stimme.(499) Mit Gnaden bekrone der
+            Himmel die Zeiten (No. 134 adapted).
+
+XXIX. 1879 [1881]. Kammermusik f�r Gesang, Dritter Band. Ed. Paul Graf
+      Waldersee.
+
+            Secular Cantata: Was mir behagt, ist nur die muntre Jagd.
+            Secular Cantata: Non sa che sia dolore.
+            Secular Cantata: O holder Tag, erw�nschte Zeit (Wedding).
+            Church Cantata No. 194: Hochsterw�nschtes Freudenfest.
+            Secular Cantata: Schweigt stille, plaudert nicht.
+            Secular Cantata: Mer hahn en neue Oberkeet.
+            Secular Cantata: Mit Gnaden bekr�ne der Himmel die Zeiten.
+            Secular Cantata: O angenehme Melodei.
+            Instrumental Piece for Violin, Flute, and Continuo. (Not in
+            P.).
+
+ XXX. 1880 [1884]. Kirchencantaten. F�nfzehnter Band. Ed. Paul Graf
+      Waldersee.
+
+            141. Das ist je gewisslich wahr.
+            142. Uns ist ein Kind geboren.
+            143. Lobe den Herren, meine Seele.
+            144. Nimm, was dein ist, und gehe hin.
+            145. So du mit deinem Munde bekennest Jesum.
+            146. Wir m�ssen durch viel Tr�bsal in das Reich Gottes
+            eingehen.
+            147. Herz und Mund und That und Leben.
+            148. Bringet dem Herrn Ehre seines Namens.
+            *149. Man singet mit Freuden vom Sieg.
+            150. Nach dir, Herr, verlanget mich.
+
+XXXI (1). 1881 [1885] Orchesterwerke. Ed. Alfred D�rffel. (P. bk. 219)
+
+            Overture in C major (Strings, Ob. 1 and 2, Fagotto) (P. bk.
+            267).
+            Overture B minor (Strings, Flauto traverso) (P. bk. 268).
+            Overture D major (Strings, Ob. 1 and 2, Trombe 1, 2, 3,
+            Timpani) (P. bk. 269).
+            Overture D major (Strings, Ob. 1, 2, 3, Fagotto, Trombe 1, 2,
+            3, Timpani) (P. bk. 2068).
+            Sinfonia in F major (Strings, Ob. 1, 2, 3, Fagotto, Corno da
+            caccia 1 and 2).(500)
+
+XXXI (2). 1881 [1885] Musikalisches Opfer. 1747. Ed. Alfred D�rffel.
+
+            Ricercare a tre voci.
+            Canon perpetuus super thema regium.
+            Canones diversi 1-5.
+            Fuga canonica in Epidiapente.
+            Ricercare a sei voci.
+            Two Canons.
+            Sonata in C minor, for Flute, Violin, Clavier
+            Canone perpetuo (Flute, Violin, Clavier)(501)
+
+XXXI (3). 1881 [1885]. Kammermusik. Siebenter Band. Ed. Paul Graf
+      Waldersee.
+
+            Two Concertos for three Claviers and Orchestra (Strings): No.
+            1 in D minor (P. bk. 258).(502)
+            No. 2 in C major (P. bk. 259).).(503)
+
+XXXII. 1882 [1886]. Kirchencantaten. Sechzehnter Band. Ed. Ernst Naumann.
+
+            151. S�sser Trost, mein Jesus kommt.
+            *152. Tritt auf die Glaubensbahn.
+            153. Schau', lieber Gott, wie meine Feind'.
+            154. Mein liebster Jesus ist verloren.
+            155. Mein Gott, wie lang', ach lange.
+            156. Ich steh' mit einem Fuss im Grabe.
+            157. Ich lasse dich nicht.
+            158. Der Friede sei mit dir.
+            159. Sehet, wir geh'n binauf gen Jerusalem.
+            160. Ich weiss, das mein Erl�ser lebt.
+
+XXXIII. 1883 [1887]. Kirchencantaten. Siebzehnter Band: Ed. Franz W�lner.
+
+            161. Komm, du s�sse Todesstunde.
+            162. Ach, ich sehe, jetzt da ich zur Hochzeit gehe.
+            163. Nur Jedem das Seine.
+            164. Ihr, die ihr euch von Christo nennet.
+            165. O heil'ges Geist- und Wasserbad.
+            166. Wo gehest du bin?
+            *167. Ihr Menschen, r�hmet Gottes Liebe.
+            168. Thue Rechnung! Donnerwort.
+            169. Gott soll allein mein Herze haben.
+            170. Vergn�gte Ruh', beliebte Seelenlust.
+
+XXXIV. 1884 [1887]. Kammermusik f�r Gesang. Vierter Band. Ed. Paul Graf
+      Waldersee.
+
+            Secular Cantata: Durchlaucht'ster Leopold.
+            Secular Cantata: Schwingt freudig euch empor, _or_, Die Freude
+            reget sich.
+            Secular Cantata: Hercules auf dem Scheidewege, _or_, Lasst uns
+            sorgen, lasst uns wachen.
+            Secular Cantata: T�net, ihr Pauken! Erschallet, Trompeten.
+            Secular Cantata: Preise dein Gl�cke, gesegnetes Sachsen.
+            Secular Cantata: Angenehmes Wiederau.
+            Secular Cantata: Auf, schmetternde T�ne der muntern
+            Trompeten.(504)
+
+XXXV. 1885 [1888]. Kirchencantaten. Achtzehnter Band. Ed. Alfred D�rffel.
+
+            171. Gott, wie dein Name, so ist auch dein Ruhm.
+            172. Erschallet, ihr Lieder.
+            173. Erh�tes Fleisch und Blut.
+            174. Ich liebe den H�chsten von ganzem Gem�the.
+            175. Er rufet seinen Schafen mit Namen.
+            176. Es ist ein trotzig und verzagt Ding.
+            177. Ich ruf' zu dir, Herr Jesu Christ.
+            178. Wo Gott der Herr nicht bei uns h�lt.
+            179. Siehe zu, dass deine Gottesfurcht nicht Heuchelei sei.
+            *180. Schm�cke dich, O liebe Seele.
+
+XXXVI. 1886 [1890]. Clavierwerke. Vierter Band. Ed. Ernst Naumann.
+
+         1. Suite in A minor (Appendix version in P. bk. 214).
+         2. Suite in E flat major (P. bk. 214).(505)
+         3. Suite (Overture), in F major (P. bk. 215).
+         4. Sonata in D major (P. bk. 215).
+        10. Chromatic Fantasia and Fugue in D minor (P. bk. 207).
+        11. Fantasia and Fugue in A minor (P. bk. 208).
+        12. Prelude and Fugue in E flat major (not in P.).
+        13. Prelude and Fugue in A minor (P. bk. 211).
+        14. Prelude and Fugue in A minor (P. bk. 200).
+        15. Prelude and Fughetta in D minor (P. bk. 200).
+        16. Prelude and Fughetta in E minor (P. bk. 200).
+        17. Prelude and Fughetta in F major (P. bk. 214).(506)
+        18. Do. do. G major (P. bk. 214).(507)
+        19. Twelve Preludes for Beginners (P. bk. 200). 20 Six Little
+            Preludes (P. bk. 200).
+        21. Prelude in C major (for Organ, N. bk. 12 p. 94).
+        22. Do. (Fantasia) in C minor (not in P.).
+        23. Do. do. in A minor (P. bk. 215).
+        24. Fantasia in G minor (P. bk. 215).
+        25. Do. C minor (P. bk. 207).
+        26. Do. (on a Rondo), in C minor (not in P.).
+        27. Do. C minor (P. bk. 212).
+        28. Fughetta in C minor (two-parte) (P. bk. 200).
+        29. Fugue in E minor (P. bk. 212).
+        30. Do. A major (P. bk. 212).
+        31. Do. C major (for Organ, N. bk. 12 p. 100).
+        32. Do. A minor (P. bk. 212).
+        33. Do. D minor (P. bk. 212 p. 61).
+        34. Do. A major (P. bk. 215 p. 52).
+        35. Do. A major (P. bk. 215 p. 57).
+        36. Do. B minor (Theme by Albinoni) (P. bk. 214).
+        37. Do. C major (P. bk. 200 p. 54).
+        38. Do. C major (P. bk. 200 p. 56).
+        39. Do. D minor (P. bk. 212 p. 59).
+        40. Capriccio in B flat major, sopra la lontananza del suo
+            fratello dilettissimo (P. bk. 208).
+        41. Do. E major, in honorem J.C.Bach (P. bk. 215).
+        42. Aria variata in A minor (P. bk. 215).
+        43. Three Minuets, in G major, G minor, G major (P. bk. 215).
+        44. Fragment of a Suite in F minor (P. bk. 212).
+        45. Do. do. A major (P. bk. 1959, p. 3).
+        46. Prelude, Gavotte II, and Minuet in E flat major.(508)
+        47. Two Minuet-Trios, in C minor and B minor.(509)
+        48. "Applicatio" in C major.(510)
+        49. Prelude in A minor (not in P.).
+        50. Do. (unfinished) in E minor (not in P.).
+        51. Fugue (unfinished) in C minor (P. bk. 212 p. 88). (511)
+
+XXXVII. 1887 [1891]. Kirchencantaten. Neunzehnter Band. Ed. Alfred
+      D�rffel.
+
+       181. Leichtgesinnte Flattergeister.
+       182. Himmelsk�nig, sei willkommen.
+       183. Sie werden euch in den Bann thun (?1735).
+       184. Erw�nschtes Freudenlicht.
+       185. Barmherziges Herze der ewigen Liebe.
+       186. Aergre dich, 0 Seele, nicht.
+       187. Es wartet Alles auf dich.
+       188. Ich habe meine Zuversicht.(512)
+       189. Meine Seele r�hmt und preist.
+      *190. Singet dem Herrn ein neues Lied.
+
+XXXVIII. 1888 [1891]. Orgelwerke. Dritter Band. Ed. Ernst Naumann.
+
+         1. Prelude and Fugue in C minor (N. bk. 2 p. 48).
+         2. Prelude and Fugue in G major (N. bk. 7 p. 80).
+         3. Prelude and Fugue in A minor (N. bk. 10 p. 208).
+         4. Eight Short Preludes and Fugues in C major, D minor, E minor,
+            F major, G major, G minor, A minor, B flat major (N. bk. 1).
+         5. Fantasia and Fugue in A minor (N. bk. 12 p. 60).
+         6. Fantasia con Imitazione in B minor (N. bk. 12 p. 71).
+         7. Fantasia in C major (N. bk. 12 p. 92).
+         8. Fantasia in C minor (N. bk. 3 p. 57).
+         9. Fantasia in G major (N. bk. 12 p. 75).
+        10. Fantasia in G major (N. bk. 9 p. 168).
+        11. Prelude in C major (N. bk. 12 p. 91).
+        12. Prelude in G major (N. bk. 2 p. 30).
+        13. Prelude in A minor (N. bk. 10 p. 238).
+        14. Fugue (Theme by Legrenzi) in C minor (and Variant) (N. bk. 10
+            p. 230).
+        15. Fugue in C minor (N. bk. 12 p. 95). 16� Do. G major (N. bk. 12
+            p. 86).
+        17. Fugue G major (N. bk. 12 p. 55).
+        18. Fugue G minor (N. bk. 3 p. 84).
+        19. Fugue B minor (Theme by Corelli) (N. bk. 3 p. 60).
+        20. Canzona in D minor (N. bk. 2 p. 34).
+        21. Allabreve in D major (N. bk. 2 p. 26).
+        22. Pastorale in F major (N. bk. 12 p. 102).
+        23. Trio in D minor (N. bk. 2 p. 54).
+        24. Four Concertos after Antonio Vivaldi:(513)
+
+                  No. 1, in G major (N. bk. 11 no. I).(514)
+                  No. 2, in A minor (N. bk. 11 no. 2).(515)
+                  No. 3, in C major (N. bk. 11 no. 3).
+                  No. 4, in C major (N. bk. 11 no. 4).
+
+        25. Fantasia (incomplete) in C major (not in N. or P.).(516)
+        26. Fugue (incomplete) in C minor (not in N. or P.).
+        27. Pedal Exercise in G minor (not in N. or P.).
+        28. Fugue (authenticity doubtful) in C major (not in N. or P.).
+        29. Fugue (authenticity doubtful) in D major (N. bk. 12 p.
+            83).(517)
+        30. Fugue (authenticity doubtful) in G minor (N. bk. 2 p. 41).
+        31. Trio in C minor (N. bk. 12 p. 108).
+        32. Aria in F major (N. bk. 12 p. 112).
+        33. Kleinea harmonisches Labyrinth (authenticity doubtful) (P. bk.
+            2067 p. 16) (not in N.).
+
+XXXIX. 1889 [1892]. Motetten, Chor�le und Lieder. Ed. Franz W�llner.
+
+        (1) Motets:
+
+                  Motet: *Singet dem Herrn ein neues Lied.
+                  Motet: *Der Geist hilft unsrer Schwachheit auf.(518)
+                  Motet: *Jesu, meine Freude.
+                  Motet: *F�rchte dich nicht, ich bin bei dir.
+                  Motet: *Komm, Jesu, komm.
+                  Motet: * Lobet den Herrn, alle Heiden.
+                  Motet: *Ich lasse dich nicht, du segnest mich denn (by
+                  Johann Christoph Bach).
+                  Motet: *Sei Lob und Preis mit Ehren (the second number,
+                  Nun lob' mein' Seel' den Herrn, of Cantata 28).
+
+        (2) 185 Chorals harmonised by Bach, from the collection made by
+            Carl Philipp Emmanuel Bach:(519)
+
+            1 (1). Ach bleib' bei uns, Herr Jesu Christ.
+            2 (2). Ach Gott, erh�r' mein Seufzen und Wehklagen.
+            3 (3). Ach Gott und Herr, wie gross und schwer.
+            4 (385). Ach lieben Christen, seid getrost (Wo Gott der Herr
+                  nicht bei uns h�lt).
+            5 (388). W�r' Gott nicht mit uns diese Zeit (Wo Gott der Herr
+                  nicht bei uns h�lt).(520)
+            6 (383). Wo Gott der Herr nicht bei uns h�lt.
+            7(10). Ach, was soll ich S�nder machen.
+            8 (12). Allein Gott in der H�h' sei Ehr.
+            9 (15). Allein zu dir, Herr Jesu Christ.
+            10 (17). Alle Menschen m�ssen sterben.
+            11 (19). Alles ist an Gottes Segen.
+            12(20). Als der g�tige Gott.
+            13 (21). Als Jesus Christus in der Nacht.
+            14 (22). Als vierzig Tag' nach Ostern war'n.
+            15 (23). An Wassern�ssen Babylon.
+            16(24). Auf, auf mein Herz.
+            17 (30). Aus meines Herzens Grunde.
+            18 (157). Befiehl du deine Wege (Herzlich thut mich
+                  verlangen).
+            19 (158). Ditto.
+            20 (32). Befiehl du deine Wege.
+            21 (33). Christ, der du bist der helle Tag.
+            22 (34). Christe, der du bist Tag und Licht.
+            23 (35). Christe, du Beistand deiner Kreuzgemeinde.
+            24 (36). Christ ist erstanden.
+            25 (38). Christ lag in Todesbanden.
+            26(39). Ditto.
+            27 (43). Christ, unser Herr, zum Jordan kam.
+            28 (46). Christus, der ist mein Leben.
+            29 (47). Ditto.
+            30 (48). Christus, der uns selig macht.
+            31 (51). Christus ist erstanden.
+            32 (52). Da der Herr zu Tische sass.
+            33 (53). Danket dem Herren, denn er ist sehr freundlich.
+            34 (54). Dank sei Gott in der H�he.
+            35 (55). Das alte Jahr vergangen ist.
+            36 (56). Ditto.
+            37 (57). Das walt' Gott Vater und Gott Sohn.
+            38 (58). Das walt' mein Gott, Vater, Sohn.
+            39 (59). Den Vater dort oben.
+            40 (60). Der du bist drei in Einigkeit.
+            41 (61). Der Tag, der ist so freudenreich.
+            42 (62). Des heil'gen Geistes reiche Gnad'.
+            43 (63). Die Nacht ist kommen.
+            44 (64). Die Sohn' hat sich mit ihrem Glanz.
+            45 (65). Dies sind die heil'gen zehn Gebot.
+            46 (67). Dir, dir, Jehovah, will ich singen (Bach's   melody).
+            47 (70). Du grosser Schmerzensmann.
+            48 (71). Du, 0 sch�nes Weltgeb�ude.
+            49 (74). Ein' feste Burg ist unser Gott.
+            50 (75). Ditto.
+            51 (77). Eins ist noth, ach Herr, dies Eine.
+            52 (78). Erbarm' dich mein, 0 Herre Gott.
+            53 (85). Erstanden ist der heil'ge Christ.
+            54 (262). Est ist gewisslich an der Zeit (Nun freut euch,
+                  lieben Christen g'mein).
+            55 (92). Es spricht der Unweisen Mund wohl.
+            56 (93). Es steh'n vor Gottes Throne.
+            57 (94). Es wird schier der letzte Tag herkommen.
+            58 (95). Es wol' uns Gott gen�dig sein.
+            59 (96). Ditto.
+            60 (106). F�r Freuden lasst uns springen.
+            61 (107). Gelobet seist du, Jesu Christ.
+            62 (111). Gieb dich zufrieden und sei stille (Bach's melody).
+            63 (112). Gott, der du selber bist das Licht.
+            64 (113). Gott der Vater wohn' uns bei.
+            65 (115). Gottes Sohn ist kommen.
+            66 (116). Gott hat das Evangelium.
+            67 (117). Gott lebet noch.
+            68 (118). Gottlob, es geht nunmehr zum Ende.
+            69 (119). Gott sei gelobet und gebenedeiet.
+            70 (120). Gott sei uns gn�dig und barmherzig.
+            71 (121). Meine Seele erhebet den Herrn.
+            72 (123a). Heilig, Heilig, Heilig!
+            73 (129). Herr Gott, dich loben alle wir.
+            74 (132). F�r deinen Thron tret' ich hiermit (Herr Gott dich
+                  loben alle wir).
+            75 (133). Herr Gott dich loben wir.
+            76 (136). Herr, ich denk' an jene Zeit.
+            77 (137). Herr, ich habe missgehandelt.
+            78 (138). Ditto.
+            79 (139). Herr Jesu Christ, dich zu uns wend'.
+            80 (140). Herr Jesu Christ, du hast bereit't.
+            81 (141). Herr Jesu Christ, du h�chstes Gut.
+            82 (145). Herr Jesu Christ, mein's Lebens Licht.
+            83 (146). Herr Jesu Christ, wahr' Mensch und Gott.
+            84 (148). Herr, nun lass in Friede.
+            85 (149). Herr, straf' mich nicht in deinem Zorn.
+            86 (151). Herr, wie du willst, so Schick's mit mir.
+            87 (152). Herzlich lieb hab' ich dich, 0 Herr.
+            88 (170). Heut' ist, O Mensch, ein grosser Trauertag.
+            89 (171). Heut' triumphiret Gottes Sohn.
+            90 (172). Hilf, Gott, dass mir's gelinge.
+            91 (173). Hilf, Herr Jesu, lass gelingen.
+            92 (174). Ich bin ja, Herr, in deiner Macht (Bach's melody).
+            93 (175). Ich dank' dir, Gott, f�r all' Wohlthat.
+            94 (176). Ich dank' dir, lieber Herre.
+            95 (177). Ditto.
+            96 (179). Ich dank' dir schon durch deinen Sohn.
+            97 (180). Ich danke dir, O Gott, in deinem Throne.
+            98 (182). Ich hab' mein' Sach' Gott heimgestellt.
+            99 (185). Jesu, der du meine Seele.
+            100 (186). Ditto.
+            101 (187). Ditto.
+            102 (189). Jesu, der du selbst so wohl.
+            103 (190). Jesu, du mein liebstes Leben.
+            104 (191). Jesu, Jesu, du bist mein (Bach's melody).
+            105 (195). Jesu, meine Freude.
+            106 (363). Jesu, meiner Seelen Wonne (Werde munter, mein
+                  Gem�the).
+            107 (364). Ditto.
+            108 (202). Jesu, meines Herzens Freud'.
+            109 (203). Jesu, nun sei gepreiset.
+            110 (206). Jesus Christus, unser Heiland, der von uns.
+            111 (207). Jesus Christus, unser Heiland, der den Tod.
+            112 (208). Jesus, meine Zuversicht.
+            113 (210). Ihr Gestirn', ihr hohlen L�fte.
+            114 (211). In allen meinen Thaten.
+            115 (215). In dulci jubilo.
+            116 (217). Keinen hat Gott verlassen.
+            117 (218). Komm, Gott, Sch�pfer, heiliger Geist.
+            118 (225). Kyrie! Gott Vater in Ewigkeit.
+            119 (226). Lass, O Herr, dein Ohr sich neigen.
+            120 (228). Liebster Jesu, wir sind hier.
+            121 (232). Lobet den Herren, denn er ist sehr freundlich.
+            122 (233). Lobt Gott, ihr Christen allzugleich.
+            123 (234). Ditto.
+            124 (237). Mach's mit mir, Gott, nach deiner G�t.'
+            125 (240). Mein' Augen schliess' ich jetzt.
+            126 (241). Meinen Jesum lass' ich nicht, Jesus.
+            127 (242). Meinen Jesum lass' ich nicht, weil.
+            128 (248). Meines Lebens letzte Zeit.
+            129 (249). Mit Fried' und Freud' ich fahr' dahin.
+            130 (252). Mitten wir im Leben sind.
+            131 (253). Nicht so traurig, nicht so sehr (Bach's melody).
+            132 (254). Nun bitten wir den heiligen Geist.
+            133 (257). Nun danket Alle Gott.
+            134 (260). Nun freut euch, Gottes Kinder all.
+            135 (261). Nun freut euch, lieben Christen g'mein.
+            136 (269). Nun lob', mein' Seel', den Herren.
+            137 (270). Ditto.
+            138 (273). Nun preiset alle Gottes Barmherzigkeit.
+            139 (298). Nun ruhen alle W�lder (0 Welt, ich muss dich
+                  lassen)
+            140 (289). 0 Welt, sieh' hier dein Leben (O Welt, ich muss
+                  dich lassen).
+            141 (290). Ditto.
+            142 (291). Ditto.
+            143 (274). Nun sich der Tag geendet hat.
+            144 (275). O Ewigkeit, du Donnerwort.
+            145 (277). O Gott, du frommer Gott (1679 tune).
+            146(282). Ditto (1693 tune).
+            147 (284). O Herzensangst, O Bangigkeit und Zagen (Bach's
+                  melody).
+            148 (285). 0 Lamm Gottes, unschuldig.
+            149 (286). O Mensch, bewein' dein S�nde gross.
+            150 (287). 0 Mensch, schau' Jesum Christum an.
+            151 (288). 0 Traurigkeit, 0 Herzeleid.
+            152 (299). O wie selig seid ihr doch, ihr Frommen (1649).
+            153 (300). Ditto (1566).
+            154 (301). O wir armen S�nder.
+            155 (303). Schaut, ihr S�nder.
+            156(306). Seelenbr�utigam, Jesu, Gottes Lamm.
+            157 (307). Sei gegr�sset, Jesu g�tig.
+            158 (309). Singt dem Herrn ein neues Lied.
+            159 (310). So giebst du nun, mein Jesu, gute Nacht.
+            160 (311). Sollt' ich meinem Gott nicht singen.
+            161 (313). Uns ist ein Kindlein heut' gebor'n.
+            162 (314). Valet will ich dir geben.
+            163 (316). Vater unser im Himmelreich.
+            164 (324). Von Gott will ich nicht lassen.
+            165 (325). Ditto.
+            166 (326). Ditto.
+            167 (331). Warum betr�bst du dich, mein Herz.
+            168 (332). Ditto.
+            169 (334). Warum sollt' ich mich denn gr�men.
+            170 (336). Was betr�bst du dich, mein Herze (Bach's melody).
+            171 (337). Was bist du doch, 0 Seele, so betr�bet.
+            172 (349). Was willst du dich, 0 meine Seele.
+            173 (351). Weltlich Ehr' und zeitlich Gut.
+            174 (352). Wenn ich in Angst und Noth.
+            175 (353). Wenn mein St�ndlein vorhanden ist.
+            176 (354). Ditto.
+            177 (355). Ditto.
+            178 (358). Wenn wir in h�chsten N�then sein.
+            179 (359). Ditto.
+            180 (366). Wer Gott vertraut, hat wohlgebaut.
+            181 (367). Wer nur den lieben Gott l�sst walten.
+            182 (374). Wie bist du, Seele, in mir so gar betr�bt.
+            183 (375). Wie sch�n leuchtet der Morgenstern.
+            184 (382). Wir glauben all' an einen Gott, Sch�pfer.
+            185 (389). Wo Gott zum Haus nicht gibt sein' Gunst.
+
+        (3) Seventy-five Chorals harmonised by Bach:(521)
+
+               *1 (S). Ach, dass ich nicht die letzte Stunde.
+            2 (S). Auf, auf! die rechte Zeit ist hier.
+            3 (S). Auf, auf! mein Herz, mit Freuden.
+            4 (S). Begl�ckter Stand getreuer Seelen.
+            *5 (S). Beschr�nkt, ihr Weisen dieser Welt.
+            6 (S). Brich entzwei, mein armes Herze.
+            7 (S). Brunnquell aller G�ter.
+            8 (S). Der lieben Sonne Lacht und Pracht.
+            9 (S). Der Tag ist hin, die Sonne gehet nieder.
+            10 (S). Der Tag mit seinem Lichte.
+            *11 (S). Dich bet' ich an, mein h�chster Gott.
+            12 (S). Die bitt're Leidenszeit beginnet.
+            13 (S). Die gold'ne Sonne, voll Freud' und Wonne.
+            *14 (S). Dir, dir, Jehova, will ich singen.
+            *15 (S). Eins ist noth, ach Herr, dies Eine.
+            16 (S). Ermuntre dich, mein schwacher Geist.
+            17 (S). Erw�rgtes Lamm, das die verwahrten Siegel.
+            18 (S). Es gl�nzet der Christen inwendiges Leben.
+            19 (S). Es ist nun aus mit meinem Leben.
+            20 (S). Es ist vollbracht! Vergiss ja nicht dies Wort.
+            21 (S). Es kostet viel, ein Christ zu sein.
+             *22. Gieb dich zufrieden und sei stille (erste Composition).
+             *23. Ditto. (zweite Composition).(522)
+            24 (S). Ditto. (dritte Composition).
+            25 (S). Gott lebet noch! Seele, was verzagst du doch?
+            *26 (S). Gott, wie gross ist deine G�te.
+            27 (S). Herr, nicht schricke deine Rache.
+            *28 (S). Ich bin ja, Herr, in deiner Macht.
+            29 (S). Ich freue mich in dir.
+            *30 (S). Ich halte treulich still.
+            31 (S). Ich lass' dich nicht.
+            32 (S). Ich liebe Jesum alle Stund'.
+            *33 (8). Ich steh' an deiner Krippen hier.
+            *34 (8). Jesu, Jesu, du bist mein.
+            35 (S). Jesu, deine Liebeswunden.
+            36 (8). Jesu, meines Glaubens Zier.
+            37 (8). Jesu, meines Herzens Freud'.
+            38 (8). Jesus ist das sch�nste Licht.
+            39 (8). Jesus, unser Trost und Leben.
+            40 (8). Ihr Gestirn', ihr hohlen L�fte.
+            41 (8). Kein St�ndlein geht dahin.
+            *42 (8). Komm, s�sser Tod, komm, sel'ge Ruh'!
+            *43 (8). Kommt, Seelen, dieser Tag.
+            *44 (8). Kommt wieder aus der finst'ren Gruft.
+            46 (8). Lasset uns mit Jesu ziehen.
+            46 (S). Liebes Herz, bedenke doch.
+            47 (8). Liebster Gott, wann werd' ioh sterben.
+            *48 (S). Liebeter Herr Jesu, wo bleibst du so lange.
+            49 (S). Laebster Immanuel.
+            60 (S). Mein Jesu, dem die Seraphinen.
+            *61 (S). Mein Jesu, was f�r Seelenweh.
+            62 (S). Meines Lebens letzte Zeit.
+            *63 (S). Nicht so traurig, nicht so sehr.
+            64 (S). Nur mein Jesus 1st mein Leben.
+            66 (S). O du Liebe, meiner Liebe.
+              66. O Ewigkeit, du Donnerwort.
+            *67 (S). O finst're Nacht, wann wirst du doch vergehen.
+            68 (S). O Jesulein s�ss, O Jesulein mild.
+            *69 (S). O liebe Seele, zieh' die Sinnen.
+            60 (8). O wie selig seid ihr doch.
+             *61. Schaffs mit mir, Gott, naoh deinem Willen.
+            62 (8). Seelenbr�utigam, Jesu, Gottes Lamm.
+            63 (8). Seelenweide, meine Freude.
+            64 (S). Selig, wer an Jesum denkt.
+            66 (8). Sei gegr�sset, Jesu g�tig.
+            66 (8). So gehest du nun, mein Jesu, hin.
+            67 (8). So giebst du nun, mein Jesu, gute Nacht.
+            68 (8). So w�nsch' ich mir zu guter Letzt.
+            69 (S). Steh' ioh bei meinein Gott.
+            70 (8). Vergiss  mein  nioht,  date  ich  dein  nicht
+                  vergesse.
+            *71 (S). Vergiss mein nicht, mein allerliebster Gott.
+             *72. Warum betr�bst du dich und beugest.
+            73 (S). Was bist du doch, 0 Seele, so betr�bet.
+             *74. Wie wohl ist mir, 0 Freund der Seelen.
+            75 (S). Wo ist mein Sch�flein, das ich liebe.(523)
+
+        (4) Five Arias from Anna Magdalena Bach's "Notenbuch" (1725)"(524)
+
+              *1. So oft ich meine Tabakspfeife.
+              *2. Bist bu bei mir.
+              *3. Gedenke doch, mein Geist, zur�cke.
+               4. Gieb dich zufrieden und sei stille.
+               5. Willst du dein Herz mir schenken (Aria di Giovannini).
+
+  XL. 1890 [1893]. Orgelwerke. Vierter Band. Ed. Ernst Naumann.
+
+        (1) Choral Preludes, from Kirnberger's collection.(525)
+
+               1. Wer nur den lieben Gott l�sst walten (N. bk. 19 p. 21).
+               2. Ditto (N. bk. 19 p. 22).
+               3. Ach Gott und Herr (N. bk. 18 p. 1).
+               4. Ditto (N. bk. 18 p. 2).
+               5. Wo soll ich fliehen hin (N. bk. 19 p. 32).
+               6. Christ lag in Todesbanden (Fantasia) (N. bk. 18 p. 16).
+               7. Christum wir sollen loben schon, _or_, Was f�rcht'st du,
+                  Feind Herodes, sehr (N. bk. 18 p. 23).
+               8. Gelobet seist du, Jesu Christ (Fughetta) (N. bk. 18 p.
+                  38).
+               9. Herr Christ, der ein'ge Gottes-Sohn (Fughetta) (N. bk.
+                  18 p. 43).
+              10. Nun komm der Heiden Heiland (Fughetta) (N.bk. 18 p. 83).
+              11. Vom Himmel hoch da komm ich her (N. bk. 19 p. 16).
+              12. Ditto. (Fughetta) (N. bk. 19 p. 14).
+              13. Das Jesulein soll doch mein Trost (Fughetta) (N. bk. 18
+                  p. 24).
+              14. Gottes Sohn ist kommen (Fughetta) (N. bk. 18 p. 41).
+              15. Lob sei dem allm�chtigen Gott (Fughetta) (N. bk. 18 p.
+                  73).
+              16. Durch Adams Fall ist ganz verderbt (N. bk. 18 p. 28).
+              17. Liebster Jesu wir sind hier (N. bk. 18 p. 72a).
+              18. Ditto. (N. bk. 18 p. 72b).
+              19. Ich hab' mein' Sach' Gott hergestellt (N. bk. 18 p.
+                  54)(526)
+              20. Ditto. (N. bk. 18 p. 58a).
+              21. Herr Jesu Christ, dich zu uns wend' (N. bk. 18 p. 50).
+              22. Wir Christenleut' (N. bk. 19 p. 28b).(527)
+              23. Allein Gott in der H�h' sei Ehr (Bicinium) (N. bk. 18 p.
+                  5).
+              24. In dich hab' ich gehoffet, Herr (N. bk. 18 p. 59).
+              25. Jesu, meine Freude (Fantasia) (N. bk. 18 p. 64).
+
+        (2) Twenty-eight other Choral Preludes(528)
+
+               1. Ach Gott und Herr (Canon) (N. bk. 18 p. 3).
+               2. Allein Gott in der H�h' sei Ehr' (N. bk. 18 p. 4).
+               3. Ditto. (Fuga) (N. bk. 18 p. 7).
+               4. Ditto. (N. bk. 18 p. 11).
+               5. An Wasserfl�ssen Babylon (N. bk. 18 p. 13).
+               6. Christ lag in Todesbanden (N. bk. 18 p. 19).
+               7. Der Tag der ist so freudenreich (N. bk. 18 p. 26).
+               8. Ein' feste Burg ist unser Gott (N. bk. 18 p. 30).
+               9. Erbarm' dich mein, 0 Herre Gott (N. bk. 18 p. 35).
+              10. Gelobet seist du, Jesu Christ (N. bk. 18 p. 37).
+              11. Gelobet seist du, Jesu Christ (N. bk. 18 p. 39).
+              12. Gottes Sohn ist kommen (N. bk. 18 p. 42).
+              13. Herr Gott, dich loben wir (N. bk. 18 p. 44).
+              14. Herr Jesu Christ, dich zu uns wend' (N. bk. 18 p. 52).
+              15. Herzlich thut mich verlangen (N. bk. 18 p. 53).
+              16. Jesus, meine Zuversicht (N. bk. 18 p. 69).
+              17. In dulci jubilo (N. bk. 18 p. 61).
+              18. Liebster Jesu, wir sind hier (N. bk. 18 p. 70).
+              19. Ditto. (N. bk. 18 p. 71).
+              20. Lobt Gott, ihr Christen allzugleich (N. bk. 18 p. 74).
+              21. Meine Seele erhebt den Herren (Magnificat) (Fuga) (N.
+                  bk. 18 p. 75).
+              22. Nun freut euch, lieben Christen g'mein, _or_, Es ist
+                  gewisslich an der Zeit (N. bk. 18 p. 80).
+              23. Valet will ich dir geben (Fantasia) (N. bk. 19 p. 2).
+              24. Ditto. (N. bk. 19 p. 7).
+              25. Vaterunser im Himmelreich (N. bk. 19 p. 12).
+              26. Vom Himmel hoch da komm ich her (N. bk. 19 p. 19).
+              27. Wie sch�n leuchtet der Morgenstern (N. bk. 19 p. 23).
+              28. Wir glauben all' an einen Gott (N. bk. 19 p. 30).
+
+        (3) Choral Variations:
+
+               1. Christ, der du bist der helle Tag (N. bk. 19 p. 36).
+               2. 0 Gott, du frommer Gott (N. bk. 19 p. 44).
+               3. Sei gegr�sset, Jesu g�tig (N. bk. 19 p. 55).
+               4. Vom Himmel hoch da komm ich her (N. bk. 19 p. 73).
+
+        (4) Variant texts and fragments:
+
+               1. Variant of Kirnberger's No. 2 (P. bk. 244 p. 111).
+               2. Variant of Kirnberger's No. 3 (not in N. or P.).
+               3. Ich hab' mein' Sach' Gott heimgestellt (N. bk. 18 p.
+                  58b).
+               4. Variant of Kirnberger's No. 6 (P. bk. 245 p. 104).
+               5. Variant of Kirnberger's No. 25 (P. bk. 245 p. 110).
+               6. Variant of No. 10 of the Twenty-eight supra (not in N.
+                  or P.).
+               7. Variant of No. 17 (not in N. or P.).
+               8. Variant of No. 20 (not in N. or P.).
+               9. Variant of No. 26 (not in N. or P.).
+              10. Variant of No. 22 (P. bk. 246 p. 91).
+              11. Variant of No. 23 (P. bk. 246 p. 100).
+              12. Jesu, meine Freude (fragment) (P. bk. 244 p. 112).
+              13. Wie sch�n leuchtet der Morgenstern (fragment) (not in N.
+                  or P.).
+
+        (5) Choral Preludes and Variations of faulty text or doubtful
+            authenticity:
+
+               1. Ach Gott vom Himmel sieh' darein (P. bk. 2067 p.44).
+               2. Auf meinen lieben Gott (P. bk. 2067 p. 39).
+               3. Aus der Tiefe rufe ich (P. bk. 2067 p. 64).
+               4. Christ ist erstanden (not in N. or P.).
+               5. Christ lag in Todesbanden (P. bk. 2067 p. 56).
+               6. Gott der Vater wohn' uns bei (P. bk. 245 p. 62) (by J.
+                  G. Walther).(529)
+               7. O Vater, allm�chtiger Gott (not in N. or P.).
+               8. Schm�cke dich, O liebe Seele (not in N. or P.) (also
+                  attributed to G. A. Homilius).
+               9. Vater unser im Himmelreich (not in N. or P.) (also
+                  attributed to G. B�hm).
+              10. Ditto.
+              11. Wir glauben all' an einen Gott, Sch�pfer (P. bk. 2067 p.
+                  40).(530)
+              12. Variations on Ach, was soll ich S�nder machen (not in N.
+                  or P.).
+              13. Variations on Allein Gott in der H�h' sei Ehr' (not in
+                  N. or P.).
+
+        (6) Addendum to B.G. III.:
+
+                  Allein Gott in der H�h' sei Ehr' (an early version of N.
+                  bk. 16 p. 40*) (P. bk. 245 p. 96).
+
+ XLI. 1891 [1894]. Kirchenmusikwerke. Erganzungsband. Ed. Alfred D�ffel.
+
+            Cantata No. 191: Gloria in excelsis (the B minor Mass
+            "Gloria").
+            Cantata No. 192: Nun danket Alle Gott (incomplete).
+            Cantata No.193: Ihr Pforten zu Zion (incomplete).
+            Ehre sei Gott in der Hone (incomplete).
+            Wedding Cantata: O ewiges Feuer, O Ursprung der Liebe
+            (incomplete).
+            Wedding Cantata: Herr Gott, Beherrscher aller Dinge
+            (incomplete).
+            Sanctus in D major.
+            Kyrie eleison (Christe, du Lamm Gottes).
+            Christe eleison (Johann Ludwig Bach).
+            Jesum lass' ich nicht von mir (the original concluding Choral
+            of the first Part of the "St. Matthew Passion" (Breitkopf and
+            Haertel's "Choralgesange," No. 247).
+            Four Cantatas of doubtful authenticity:
+
+                  Gedenke, Herr, wie es uns gehet.
+                  Gott der Hoffnung erfulle euch.
+                  Siehe, es hat iiberwunden der Lowe.
+                  Lobt ihn mit Herz und Munde.
+
+XLII. 1892 [1894]. Clavierwerke. Funfter Band. Ed. Ernst Naumann.
+
+            Sonata in D minor (P. bk. 213 p. 24).(531)
+            Suite in E major (not in P.).(532)
+            Adagio in G major (P. bk. 213 p. 1).(533)
+            Sonata in A minor (P. bk. 213 p. 2).(534)
+            Sonata in C major (P. bk. 213 p. 16).(535)
+            Fugue in B flat major (P. bk. 1959 p. 75).(536)
+            Fugue in B flat major (P. bk. 1959 p. 90).(537)
+            Sixteen Concertos after Antonio Vivaldi (P. bk. 217).(538)
+            Fifteen Compositions of probable authenticity :
+
+               1. Prelude and Fugue in A minor (P. bk. 1959 p. 84).
+               2. Fantasia and Fugue in D minor (P. bk. 1959 p. 80).
+               3. Fantasia in G minor (P. bk. 1959 p. 94).
+               4. Concerto and Fugue in C minor (not in P.).
+               5. Fugato in E minor (P. bk. 1959 p. 24).
+               6. Fugue in E minor (P. bk. 1959 p. 72).
+               7. Fugue in G major (P. bk. 1959 p. 68).
+               8. Fugue in A minor (not in P.).
+               9. Fugue in A minor (not in P.).
+              10. Prelude in B minor (and Variant) (not in P.).
+              11. Suite in B flat major (P. bk. 1959 p. 54).
+              12. Andante in G minor (P. bk. 1959 p. 63).
+              13. Scherzo in D minor (and Variant) (P. bk. 1959 p. 62).
+              14. Sarabande con Partite in C major (P. bk. 1959 p. 26).
+              15. Passacaglia in D minor (P. bk. 1959 p. 40).
+
+            Ten Compositions of doubtful authenticity :
+
+               1. Fantasia in C minor (not in P.).
+               2. Toccata quasi Fantasia con Fuga in A major (not in
+                  P.).(539)
+               3. Partie in A major (not in P.).
+               4. Allemande in C minor (not in P.).
+               5. Gigue in F minor (not in P.).
+               6. Allemande and Courante in A major (not in P.).
+               7. Allemande in A minor (not in P.).
+               8. Fantasia and Fughetta in B flat major (P. bk. 212 p.
+                  58).
+               9. Do. D major (P. bk. 212 p. 60).
+              10. Fugue (unfinished) in E minor (not in P.).
+
+            Concerto in G major by Antonio Vivaldi (original of the second
+            Clavier Concerto supra).(540)
+
+XLIII(l). 1893 [1894]. Kammermusik. Achter Band. Ed. Paul Graf Waldersee.
+
+            Three Sonatas for Flute and Clavier:
+
+                  1. In C major (P. bk. 235 p. 33).
+                  2. In E minor (ib. p. 39).
+                  3. In E major (ib. p. 51).
+
+            Sonata in E minor, for Violin and Clavier (P. bk. 236).
+            Fugue in G minor for Violin and Clavier (P. bk. 236).
+            Sonata in F major for two Claviers (by Wilhelm Friedemann
+            Bach).
+            Concerto in A minor for four Claviers and Orchestra (Strings)
+            (P. bk. 260 p. 3).(541)
+
+XLIII (2). 1893 [1894]. Musikst�cke in den Notenb�chen der Anna Magdalena
+      Bach. Ed. Paul Graf Waldersee.
+
+        (1) The Notebook of the year 1722 contains:
+
+               1. The French Suites (incomplete) (see B.G. an. (2)).
+               2. Fantasia in C major for the Organ (see B.G. XXXVIII. No.
+                  25).
+               3. Air (unfinished) in C minor (not in P.).
+               4. Choral Prelude, ' Jesus, meine Zuversicht' (see B.G. XL.
+                  sec. 2 No. 16).
+               5. Minuet in G major (see B.G. xxxvi. and P. bk. 215 p.
+                  62).
+
+        (2) The Notebook of the year 1725 contains:(542)
+
+               1. Partita III. (A minor) from the "Clavier�bung," Part I.
+                  (see B.G. III.).
+               2. Partita VI. (E minor) from the same (see B.G. III.).
+            3 (P). Minuet in F major.
+            4 (P). Minuet in G major.
+            5 (P). Minuet in G minor.
+            6 (P). Rondeau in B flat major (by Couperin).
+            7 (P). Minuet in G major.
+            8 (P). Polonaise in F major (two versions).
+            9 (P). Minuet in B flat major.
+            10 (P). Polonaise in G minor.
+              11. Choral Prelude, "Wer nur den lieben Gott l�sst alten"
+                  (see B.G. XL., Kirnberger's Collection, no. 2).
+              12. Choral, "Gieb dich zufrieden und sei stille" see B.G.
+                  XXXIX. see. 4 no. 4).
+              13. Aria, "Gieb dich zufrieden un sei stille" (see B.G.
+                  XXXIX. sec. 2 no. 62).
+            14 (P). Minuet in A minor.
+            15 (P). Do. C minor.
+            16 (P). March in D major.
+            17 (P). Polonaise in G minor.
+            18 (P). March in A major.
+            19 (P). Polonaise in G minor.
+              20. Aria, "So oft ich meine Tabakspfeife" (see B.G. XXXIX.
+                  sec. 4 no. 1).
+              21. Minuet in G major, "fait par M�ns. B�hm."
+            22 (P). Musette in D major.
+            23 (P). March in E flat major.
+            24 (P). Polonaise in D minor.
+              25. Aria, "Bist du bei mir" (see B.G. XXIX. sec. 4 no. 2).
+              26. Aria in G major (the Aria of the Goldberg Variations.
+                  See B.G. III.).
+            27 (P). Solo per il Cembalo in E flat major.
+            28 (P). Polonaise in G major.
+              29. Prelude in C major (Prelude i. of the first Part of the
+                  "Well-tempered Clavier." See B.G. XIV.).
+              30. Suite in D minor (the first of the French Suites. See
+                  B.G. XIII (2)).
+              31. Suite in C minor (the first three movements of the
+                  second French Suite. See B.G. XIII (2)).
+              32. Choral (wordless) in F. major.
+              33. Aria, "Warum betr�bst du dich" (see B.G. XXXIX. sec. 3
+                  no. 72).
+              34. Recitativo and Aria, "Ich habe genug," and "Schlummert
+                  ein," for Basso (from Cantata 82, nos. 2 and 3),
+                  transposed.
+              35. Aria, "Schaff's mit mir, Gott, nach deinem Willen" (see
+                  B.G. xxxrx. sec. 3 no. 61).
+            36 (P). Minuet in D minor.
+              37. Aria, "Willst du dein Herz mir schenken" (di Giovannini)
+                  (see B.G. XXXIX. sec. 4 no. 5).
+              38. Aria, No. 34 supra.
+              39. Choral, "Dir, dir Jehovah, will ich singen" (see B.G.
+                  XXXIX. sec. 2 no. 46).
+              40. Aria, "Wie wohl ist mir, 0 Freund der Seelen" (see B.G.
+                  XXXIX. sec. 3 no. 74).
+              41. Aria, "Gedenke doch, mein Geist, zurticke" (see B.G.
+                  XXXIX. sec. 4 no. 3).
+              42. Choral, "O Ewigkeit, du Donnerwort" (see B.G. XXXIX.
+                  sec. 2 no. 144).
+
+XLIV. 1894 [1895]. Handschrift in zeitlich geordneten Nachbildungen. Ed.
+      Hermann Kretzschmar. Contains facsimiles of Bach's handwriting and
+      autograph MSS.
+XLV(1). 1895 [1897]. Clavierwerke. Zweiter Band (neue berichtigte
+      Ausgabe). Ed. Alfred D�ffel.(543)
+
+            The Six English Suites (see B.G. XIII. (2)). (P. bks. 2794,
+            2795.)
+            The Six French Suites (see B.G. XIII. (2)). (P. bk. 2793.)
+            Five Canons in 4, 6, 7, 8 parts.
+            Prelude and Fugue in E flat major (P. bk. 214 p. 40).
+            Suite in E minor (P. bk. 214 p. 68).
+            Suite in C minor (not in P.).
+            Sonata (first movement) in A minor (not in P.).(544)
+            Four Inventions, in B minor, B flat major, C minor, D major,
+            for Violin and Clavier (P. bk. 2957).
+            Overture in G minor for Strings and Clavier (not in P.).
+            The "Clavier-B�chlein" of Wilhelm Friedemann Bach contains:
+
+               1. Applicatio in C major (see B.G. XXXVI. no. 48).
+               2. Prelude in C major (the first of the Twelve Little
+                  Preludes) (see B.G. XXXVI. no. 19).
+               3. Choral Prelude, "Wer nur den lieben Gott l�sst walten"
+                  (see B.G. XL., Kirnberger's Collection, no. 2).
+               4. Prelude in D minor (the fifth of the Little Preludes)
+                  (see B.G. XXXVI. no. 19).
+               5. Choral Prelude, "Jesu meine Freude" (fragment) (see B.G.
+                  XL. sec 4 no. 12).
+               6. Allemande in G minor (not in P.).
+               7. Allemande (fragment) in G minor (not in P.).
+               8. Prelude in F major (the eighth of the Little Preludes)
+                  (see B.G. XXXVI. no. 19).
+               9. Prelude in G minor (the eleventh of the Little Preludes)
+                  (see B.G. XXXVI. no. 19).
+              10. Prelude in F major (the ninth of the Little Preludes)
+                  (see B.G. XXXVI. no. 19).
+              11. Minuet in G major (the first of the three Minuets) (see
+                  B.G. XXXVI. no. 43).
+              12. Minuet in G minor (the second of the three Minuets) (see
+                  B.G. XXXVI. no. 43).
+              13. Minuet in G major (the third of the three Minuets) (see
+                  B.G. XXXVI. no. 43).
+              14. Prelude in C major (the first Prelude of the first Part
+                  of the "Well-tempered Clavier." See B.G. XIV.).
+              15. Do. C minor (the second Prelude of the first Part of the
+                  same. See B.G. XIV.).
+              16. Do. D minor (the sixth Prelude of the first Part of the
+                  same. See B.G. XIV.).
+              17. Do. D major (the fifth Prelude of the first Part of the
+                  same. See B.G. XIV.).
+              18. Prelude in E minor (the tenth Prelude of the first Part
+                  of the same. See B.G. XIV.).
+              19. Prelude in E major (the ninth Prelude of the first Part
+                  of the same. See B.G. XIV.).
+              20. Prelude in F major (the eleventh Prelude of the first
+                  Part of the same. See B.G. XIV.).
+              21. Prelude in C sharp major (the third Prelude of the first
+                  Part of the same. See B.G. XIV.).
+              22. Prelude in C sharp minor (the fourth Prelude of the
+                  first Part of the same. See B.G. XIV.).
+              23. Prelude in E flat minor (the eighth Prelude of the first
+                  Part of the same. See B.G. XIV.).
+              24. Prelude in F minor (the twelfth Prelude of the first
+                  Part of the same. See B.G. XIV.)
+              25. Allemande and Courante in C major, by J. C. Richter.
+              26. Prelude in C major (first of the Little Preludes. See
+                  B.G. XXXVI. no. 19).
+              27. Prelude in D major (fourth of the Little Preludes. See
+                  B.G. XXXVI. no. 19).
+              28. Prelude in E minor (see B.G. xxxvi. no. 50).
+              29. Prelude in A minor (B.G. xxxvi. no. 49).
+              30. Prelude in G minor (not in P.).
+              31. Fugue in C major (see B.G. xxxvi. no. 38).
+              32. Prelude in C major (Invention i. See B.G. m.).
+              33. Prelude in D minor (Invention iv. See B.G. m.).
+              34. Prelude in E minor (Invention vii. See B.G. m.).
+              35. Prelude in F major (Invention viii. See B.G. m.).
+              36. Prelude in G major (Invention x. See B.G. in.).
+              37. Prelude in A minor (Invention xiii. See B.G. m.).
+              38. Prelude in B minor (Invention xv. See B.G. m.).
+              39. Prelude in B flat major (Invention xiv. See B.G. III.).
+              40. Prelude in A major (Invention xii. See B.G. III.).
+              41. Prelude in G minor (Invention xi. See B.G. III.).
+              42. Prelude in F minor (Invention ix. See B.G. III.).
+              43. Prelude in E major (Invention vi. See B.G. III.).
+              44. Prelude in E flat major (Invention v. See B.G. III.).
+              45. Prelude in D major (Invention iii. See B.G. III.).
+              46. Prelude in C minor (Invention ii. See B.G. III.).
+              47. Suite in A major (fragment) (see B.G. XXXVI. no. 45).
+              48. Partita in G minor by Steltzel, including a Minuet Trio
+                  by J. S. B. (Minuet in P. bk. 1959 p. 8).
+              49. Fantasia in C major (Sinfonia i. See B.G. III.).
+              50. Fantasia inD minor (Sinfonia iv. See B.G. III.).
+              51. Fantasia in E minor (Sinfonia vii. See B.G. III.).
+              52. Fantasia in F major (Sinfonia viii. See B.G. III.).
+              53. Fantasia in G major (Sinfonia x. See B.G. III.).
+              54. Fantasia in A minor (Sinfonia xiii. See B.G. III.).
+              55. Fantasia in B minor (Sinfonia xv. See B.G. III.).
+              56. Fantasia in B flat major (Sinfonia xiv. See B.G. III.).
+              57. Fantasia in A major (Sinfonia xii. See B.G. III.).
+              58. Fantasia in G minor (Sinfonia xi. See B.G. III.).
+              59. Fantasia in F minor (Sinfonia ix. See B.G. III.).
+              60. Fantasia in E major (Sinfonia vi. See B.G. III.).
+              61. Fantasia in E flat major (Sinfonia v. See B.G. III.).
+              62. Fantasia in D major (Sinfonia iii. See B.G. III.).(545)
+
+XLV (2). 1895 [1898]. Passionsmusik nach dem Evangelisten Lucas. Ed.
+      Alfred D�ffel.
+
+      Though the Score is in Bach's autograph, the work is generally held
+      not to be his.
+
+XLVI. 1896 [1899].(546) Schlussband. Bericht und Verzeichnisse. Ed.
+      Hermann Kretzschmar.
+
+      The volume contains:--
+
+            Historical retrospect of the Society and its activities.
+            Thematic Index to Cantatas 121-191 (see B.G. XXVII (2)),
+            unfinished Cantatas, Cantatas of doubtful authenticity,
+            Christmas Oratorio, Easter Oratorio, St. Matthew Passion, St.
+            John Passion, St. Luke Passion, Mass in B minor, the four
+            Masses in F major, A major, G minor, G major, the four Sanctus
+            in C major, D major, D minor, G major, Magnificat in D major,
+            the "Trauer-Ode" Wedding Cantatas and Chorals, Motets, Secular
+            Cantatas (P. bk. 270b).
+            Alphabetical Index of the movements throughout the vocal
+            works.
+            Thematic Index to the Clavier music.
+            Thematic Index to the Chamber music.
+            Thematic Index to the Orchestral music.
+            Thematic Index to the Organ music.
+            Thematic Index to the "Musikalisches Opfer".
+            Thematic Index to the "Kunst der Fuge"
+            Index to the several movements throughout the instrumental
+            works.
+            Index of names and places occurring in the Prefaces of the
+            B.G. volumes.
+            Bach's vocal and instrumental works arranged (1) in the order
+            of the yearly volumes, (2) in groups.
+
+
+
+
+               (B) PUBLICATIONS OF THE NEW BACHGESELLSCHAFT
+
+
+1(1). 1901. Lieder und Arien. Fur eine Singstimme mit Pianoforte (Orgel
+      oder Harmonium). Ed. Ernst Naumann
+
+      The seventy-eight Songs are those contained in B.G. XXXIX. secs. 3
+      and 4 (first three only) supra.
+
+I (2). 1901. Lieder und Arien. Furvierstimmigen gemischten Chor. Ed. Franz
+      W�llner.
+
+      The seventy-five Songs are those contained in I (1), omitting those
+      in sec. 4 of B.G. XXXIX. supra.
+
+1(3). 1901. Erstes deutsches Bach-Fest in Berlin 21 bis 23 Marz 1901.
+      Festschrift.
+
+      The frontispiece is Carl Seffner's bust of Bach.
+
+II (1). 1902. Orgelb�chlein. 46 k�rzere Choralbearbeitungen f�r Klavier zu
+      vier Handen. Ed. Bernhard Fr. Richter.
+
+      The original forty-six Organ Preludes, here arranged for two
+      pianofortes (see B.G. XXV (2), sec. 1).
+
+II(2). 1902. Kirchen-Kantaten. Klavierauszug. Erstes Heft. Ed. Gustav
+      Schreck and Ernst Naumann.
+
+      Contains Breitkopf and Haertel's vocal scores of--
+
+            Cantata 61: Nun komm, der Heiden Heiland.
+            Cantata 64: Sehet, welch' eine Liebe.
+            Cantata 28: Gottlob! nun geht das Jahr zu Ende.
+            Cantata 65: Sie werden aus Saba Alle kommen.
+            Cantata 4: Christ lag in Todesbanden.
+
+III (1). 1903. Kirchen-Kantaten. Klavierauszug. Zweites Heft. Ed. Ernst
+      Naumann.
+
+      Contains Breitkopf and Haertel's vocal scores of--
+
+            Cantata 104: Du Hirte Israel, h�re.
+            Cantata 11: Lobet Gott in seinen Reichen.
+            Cantata 34: O ewiges Feuer.
+            Cantata 45: Es ist dir gesagt.
+            Cantata 80: Bin' feste Burg.
+
+III(2). 1903. Drei Sonaten f�r Klavier und Violine. Ed. Ernst Naumann.
+
+            Sonata I. in B minor.
+            Sonata II. in A major. (See B.G. IX.)
+            Sonata III. in E major.)
+
+IV (1). 1904. Drei Sonaten f�r Klavier und Violine. Ed. Ernst Naumann.
+
+            Sonata IV. in C minor.
+            Sonata V. in F minor (See BG. IX)
+            Sonata VI. in G major.
+
+IV (2). 1904. Joh. Seb. Bach, Bildnis in Heliogravure.
+
+      A print of the portrait discovered by Dr. Fritz Volbach reproduced
+      at p. 92 of this present volume.
+
+IV (3). 1904. Zweites deutsches Bach-Fest in Leipzig 1 bis 3 Oktober 1904.
+      Festschrift.
+V (1). 1905. Fest-Gottesdienst zum deutschen Bachfeste in der Thomaskirche
+      zu Leipzig. Ed. Georg Rietschel.
+
+      Contains the order of service and music sung on the occasion.
+
+V (2). 1905. Ausgewahlte Arien und Duette mit einem obligaten Instrument
+      und Klavier- oder Orgelbegleitung.
+
+      I Abteilung: Arien f�r Sopran Ed. Eusebius Mandyczewski.
+
+         1. Auch mit ged�mpften schwachen Stimmen (Cantata 36: Violin).
+         2. Die Armen will der Herr unarmen (Cantata 186: Violin).
+         3. Es halt' es mit der blinden Welt (Cantata 94: Oboe d'amore).
+         4. Gerechter Gott, ach, rechnest du (Cantata 89 : Oboe).
+         5. Gott versorget alles Leben (Cantata 187 : Oboe).
+         6. Hochster, was ich habe, ist nur deine Gabe (Cantata 39:
+            Flauto).
+         7. H�rt, ihr Augen, auf zu weinen (Cantata 98 : Oboe).
+         8. Ich bin vergn�gt in meinem Leiden (Cantata 58: Violin).
+         9. Ich ende behende mein irdisches Leben (Cantata 57: Violin).
+        10. Ich nehme mein Leiden mit Freuden auf mich (Cantata 75: Oboe
+            d'amore).
+        11. Ich will auf den Herren schau'n (Cantata 93: Oboe).
+        12. Seufzer, Thranen, Kummer, Noth (Cantata 21 : Oboe).
+
+V(3). 1905. Bach-Jahrbuch 1904. Herausgegeben von der Neuen
+      Bachgesellschaft.
+
+      In addition to sermons and addresses on the occasion of the second
+      Bach Festival at Leipzig in 1904, the volume contains the following
+      articles:
+
+         1. Bach und der evangelische Gottesdienst. By Karl Greulich.
+         2. Praktische Bearbeitungen Bachscher Kompositionen. By Max
+            Seiffert.
+         3. Bachs Rezitativbehandlung mit besonderer Ber�ck sichtigung der
+            Passionen. By Alfred Heuss.
+         4. Verschwundene Traditionen des Bachzeit alters. By Arnold
+            Schering.
+
+VI (1). 1906. Ausgewahlte Arien und Duette mit einem obligaten Instrument
+      und Klavier- oder Orgelbegleitung. II Abteilung: Arien f�r Alt. Ed.
+      Eusebius Mandyczewski.
+
+         1. Ach, bleibe doch, mein liebstes Leben (Cantata 11: Violin).
+         2. Ach, es bleibt in meiner Liebe (Cantata 77: Tromba).
+         3. Ach Herr! was ist ein Menschenkind (Cantata 110: Oboe
+            d'amore).
+         4. Ach, unaussprechlich ist die Noth (Cantata 116: Oboe d'amore).
+         5. Christen m�ssen auf der Erden (Cantata 44: Oboe).
+         6. Christi Glieder, ach, bedenket (Cantata 132: Violin).
+         7. Es kommt ein Tag (Cantata 136: Oboe d'amore).
+         8. Gelobet sei der Herr, mein Gott (Cantata 129: Oboe d'amore).
+         9. Ich will doch wohl Rosen brechen (Cantata 86: Violin).
+        10. Jesus macht mich geistlich reich (Cantata 75: Violin).
+        11. Kein Arzt ist ausser dir zu finden (Cantata 103: Flauto).
+        12. Was Gott thut, das ist wohlgethan (Cantata 100: Oboe d'amore).
+
+VI (2). 1906. Ausgewahlte Arien und Duette mit einem obligaten Instrument
+      und Klavier- odor Orgelbegleitung. III Abteilung: Duette f�r Sopran
+      und Alt. Ed. Eusebius Mandyczewski.
+
+         1. Die Armuth, so Gott auf sich nimmt (Cantata 91: Violin).
+         2. Wenn Sorgen auf mich dringen (Cantata 3: Violin or Oboe
+            d'amore).
+         3. Er kennt die rechten Freudenstunden (Cantata 93: Violin).
+
+VI (3). 1906. Bach-Jahrbuch 1905. Herausgegeben von der Neuen
+      Bachgesellschaft.
+
+      Contains the following articles:
+
+         1. Johann Sebastian Bachs Kapelle zu C�then und deren
+            nachgelassene Instrumente. By Rudolf Bunge.
+         2. Geleitwort. By Arnold Sobering.
+         3. Die Wahl Joh. Seb. Bachs zum Kantor der Thomaschule i. J.
+            1723. By Bernhard Fr. Richter.
+         4. Ein' feste Burg ist unser Gott. Kantata von Joh. Seb. Bach. By
+            Fritz Volbach.
+         5. Verzeichnis der bisher erschienenen Literatur �ber Johann
+            Sebastian Bach. By Max Schneider.
+         6. Reviews of books.
+
+VII (1). 1907. Kantate No. 88: "Siehe, ich will viel Fischer aussenden."
+      Partitur. Ed. Max Seiffert.
+VII (2). 1907. Kantate No. 88: "Siehe, ich will viel Fischer aussenden."
+      Klavierauszug mit Text. Ed. Max Seiffert und Otto Taubmann.
+VII (3). 1907. Bach-Jahrbuch 1906. Herausgegeben von der Neuen
+      Bachgesellschaft.
+
+      Contains the following articles:
+
+         1. Erfahrungen und Ratschl�ger bez�glich der Auff�hrung Bachscher
+            Kirchenkantaten. By Wilhelm Voigt.
+         2. �ber die Schickssle der der Thomasschule zu Leipzig
+            angehorenden Kantaten Joh. Seb. Bachs. By Bernhard Fr.
+            Richter.
+         3. Die grosse A-moll Fuge f�r Orgel [Novello bk. 7 p. 42] und
+            ihre Vorlage. By Reinhardt Oppel.
+         4. Zur Rritik der Gesamtausgabe von Bachs Werken. By Max
+            Seiffert.
+         5. Verzeichnis der bis zum Jahre 1851 gedruckten (und der
+            geschrieben im Handel gewesenen) Werke von Johann Sebastian
+            Bach. By Max Schneider.
+         6. �bersicht der Auff�hrungen J. S. Bachscher Werke von Ende 1904
+            bis Anfang 1907.
+         8. Notes.
+
+VII (4). 1907. Drittes deutsches Bach-Fest zur Einweihung von Johann
+      Sebastian Bachs Geburtshaus als BachMuseum [at Eisenach]. Fest- und
+      Programmbuch [26-28 May 1907].
+
+      The frontispiece is Carl Seffner's bust of Bach.
+
+VIII (1). 1908. Violinkonzert No. 2 in E dur. Partitur. Ed. Max Seiffert.
+
+      See B.G. XXI (1) no. 2.
+
+VIII (2). 1908. Violinkonzert No. 2 in E dur fur Violine und Klavier. Ed.
+      Max Seiffert and A. Saran.
+VIII (3). 1908. Bach-Jahrbuch. 4 Jahrgang 1907: Im Auftrage der Neuen
+      Bachgesellschaft herausgegeben von Arnold Schering.
+
+      In addition to a sermon by Professor Georg Rietschel and an obituary
+      notice of Joseph Joachim, the volume contains the following
+      articles:
+
+         1. Sebastian Bach und Paul Gerhardt. By Wilhelm Nolle.
+         2. Stadtpfeifer und Alumnen der Thomasschule in Leipzig zu Bachs
+            Zeit. By Bernhard Fr. Richter.
+         3. Angeblich von J. S. Bach komponierte Oden von Chr. H.
+            Hoffmannswaldau. By --. Landmann.
+         4. Die neuen deutschen Ausgaben der zwei- und dreistimmigen
+            Inventionen [Peters bk. 2792]. By Reinhardt Oppel.
+         5. Thematisches Verzeichnis der musikalischen Werke der Familie
+            Bach. I. Theil. By Max Schneider.
+         6. Notes and Reviews of books.
+
+IX (1). 1909. Kantate No. 85: "Ich bin ein guter Hirt." Partitur. Ed. Max
+      Seiffert.
+IX (2). 1909. Kantate No. 85: "Ich bin ein guter Hirt." Klavierauszug mit
+      Text. Ed. Max Seiffert and Max Schneider.
+IX (3). 1909. Brandenburgisches Konzert No. 3. Partitur. Ed. Max Seiffert.
+
+      See B.G. XIX. no. 3.
+
+IX (4). 1909. Brandcnburgisches Konzert No. 3 f�r Klavier zu vier H�nden.
+      Ed. Max Seiffert and Max Schneider.
+IX (5). 1909. Viertes deutsches Bach-Fest in Chemnitz 3-5 Oktober 1908.
+      Fest- und Programmbuch.
+
+      The frontispiece is a photograph of Carl Seffner's statue of Bach,
+      unveiled at Leipzig May 17, 1908.
+
+IX (6). 1909. Bach-Jahrbuch. 5 Jahrgang 1908: Im Auftrage der Neuen
+      Bachgesellschaft herausgegeben von Arnold Schering.
+
+      Contains the following articles:
+
+         1. Zu Bachs Weihnachtsoratorium, Theil 1 bis 3. By Woldemar
+            Voigt.
+         2. �ber Seb. Bachs Kantaten mit obligater Pedal. By Bernhard Fr.
+            Richter.
+         3. Cembalo oder Pianoforte? By Richard Buchmayer.
+         4. Bearbeitung Bachscher Kantaten. By Max Schneider.
+         5. Nachrichten �ber das Leben Georg B�hms mit spezieller
+            Ber�cksichtigung seiner Beziehungen zur Bachschen Familie. By
+            Richard Buchmayer.
+         6. Ein interessantes Beispiel Bachscher Textauffassung. By Alfred
+            Heuss.
+         7. Edgar Tinel �ber Seb. Bach.
+         8. Notes.
+
+X (I). 1910. Ausgewahlte Arien und Duette mit einem obligaten Instrument
+      und Klavier- oder Orgelbegleitung. IV Abteilung: Arien f�r Tenor.
+      Ed. Eusebius Mandyczewski.
+
+         1. Dein Blut, so meine Schuld durchstreit (Cantata 78: Flauto).
+         2. Die Liebe zieht mit sanften Schritten (Cantata 36: Oboe
+            d'amore).
+         3. Ergiesse dich reichlich, du gottliche Quelle (Cantata 5:
+            Viola).
+         4. Handle nicht nach deiuen Bechten mit uns (Cantata 101:
+            Violin).
+         5. Ich will an den Himmel denken (Cantata 166 : Oboe).
+         6. Ja, tausendmal Tausend (Cantata 43 : Violin).
+         7. Mich kann kein Zweifel st�ren (Cantata 108 : Violin).
+         8. Seht, was die Liebe thut! (Cantata 85 : Violin or Viola).
+         9. Tausendfaches Ungl�ck, Schrecken, Tr�bsal (Cantata 143:
+            Violin).
+        10. Wir waren schon zu tief gesunken (Cantata 9 : Violin).
+        11. Woferne du den edlen Frieden (Cantata 41 : Violoncello).
+        12. Wo wird in diesem Jammerthale (Cantata 114: Flauto).
+
+X (2). 1910. Brandenburgisches Konzert No. 1. Partitur. Ed. Max Seiffert.
+
+      See B.G. XIX. no. 1.
+
+X(3). 1910. Brandenburgisches Konzert No. 1 fur Klavier zu vier Handen.
+      Ed. Max Seiffert and Max Schneider.
+X(4). 1910. Bach-Jahrbuch. 6 Jahrgang 1909: Im Auftrage der Neuen
+      Bachgesellschaft herausgegeben von Arnold Schering.
+
+      The volume contains the following articles:
+
+         1. Zum Linearprinzip J. S. Bachs. By Robert Handke.
+         2. Bachs Verh�ltnis zur Klaviermusik. By Karl Nes.
+         3. Zur Tenorarie ["Ich will an den Himmel denken": See X (1) no.
+            5, supra] der Kantate 166. By Reinhard Oppel.
+         4. Die Verzierungen in den Werken von J. S. Bach. By E.
+            Dannreuther.
+         5. Konnte Bachs Gemeinde bei seinen einfachen Choral-s�tzen
+            mitsingen? By Rudolf Wustmann.
+         6. Buxtehudes musikalischer Nachrnf heim Tode seines Vaters (mit
+            einer Notenbeilage). By Reinhard Oppel.
+         7. "Matthauspassion," erster Theil. By Rudolf Wustmann.
+         8. Zu den Beschl�ssen des Dessauer Kirchengesangver einstages. By
+            Arnold Schering.
+         9. Notes.
+
+X (5). 1910. F�nftes deutsches Bach-Fest in Duisburg 4 bis 7 Juni 1910.
+      Fest- und Programmbuch.
+
+      Frontispiece, St. Thomas' Church and School, Leipzig, in 1723.
+      Reproduced at p. 28 of the present volume.
+
+XI (1). 1911. Ausgewahlte Arien und Duetto mit einem obligaten Instrument
+      und Klavier- oder Orgelbegleitung V Abteilung: Arien f�r Bass, Ed.
+      Eusebius Mandyczewski.
+
+         1. Achzen und erb�rmlich Weinen (Cantata 13: Violin or Flute).
+         2. Die Welt mit allen K�nigreichen (Cantata 59: Violin).
+         3. Endlicb, endlich wird niein Joch (Cantata 56: Oboe).
+         4. Erleucht' auch meine finstre Sinnen ("Christmas Oratorio,"
+            Part V. no. 5: Oboe d'amore).
+         5. Gleichwie die wilden Meeres-Wellen (Cantata 178: Violin or
+            Viola).
+         6. Greifet zu, fasst das Heil (Cantata 174: Violin or Viola).
+         7. Herr, nun l�ssest du deinen Diener (Cantata 83: Violin or
+            Viola).
+         8. Hier, in meines Vatera St�tte (Cantata 32: Violin).
+         9. Komm, s�sses Kreuz ("St. Matthew Passion," no. 57:
+            Violoncello).
+        10. Lass', O Welt, mich aus Verachtung (Cantata 123: Flauto).
+        11. Tritt auf die Glaubensbahn (Cantata 152: Oboe d'amore).
+        12. Wenn Trost und H�lf' ermangeln muss (Cantata 117: Violin).
+
+XI (2). 1911. Bach-Jahrbuch. 7 Jahrgang 1910: Im Auftrage der Neuen
+      Bachgesellschaft herausgegeben von Arnold Sobering.
+
+      The volume contains the following articles:
+
+         1. Die Diatonik in ihrem Einfluss auf die thematische Gestaltung
+            des Fugenbaues. By Robert Handke.
+         2. Bach und die franzosische Klaviermusik. By Wanda Landowska.
+         3. Sebastian Bachs Kirchenkantatentexte. By Rudolf Wustmann.
+         4. Uber Joh. Kasp. Fred. Fischers Einfluss auf Joh. Seb. Bach. By
+            Reinhard Oppel.
+         5. Hans Bach, der Spielmann. By Werner Wolffheim.
+         6. Vom Rhythmus des evangelischen Chorals. By Rudolf Wustmann.
+         7. W. Friedemann Bach und seine hallische Wirksamkeit. By C.
+            Zehler.
+         8. Neues Material zum Verzeichnis der bisher erschienenen
+            Literatur �ber Johann Sebastian Bach. By Max Schneider.
+         9. Reviews of books.
+
+XII (1). 1912. Ausgewahlte Arien und Duette mit einem obligaten Instrument
+      und Klavier- oder Orgelbegleitnng. VI Abteilung: Arien fur Sopran. 2
+      Heft. Ed. Eusebius Mandyczewski.
+
+         1. Bereite dir, Jesu, noch itzo die Bahn (Cantata 147: Violin).
+         2. Eilt, ihr Stunden, kommt herbei (Cantata 30: Violin).
+         3. Erf�llet, ihr bimmlischen, g�ttlichen Flammen (Cantata 1: Oboe
+            da caccia).
+         4. Gen�gsamkeit ist ein Schatz in diesem Leben (Cantata 144: Oboe
+            d'amore).
+         5. H�rt, ihr V�lker, Gottes Stimme (Cantata 76: Violin).
+         6. Ich folge dir gleichfalls ("St. John Passion," no. 9: Flauto).
+         7. Jesus soll mein erstes Wort (Cantata 171: Violin).
+         8. Liebster Jesu, mein Verlangen (Cantata 32: Oboe).
+         9. Meinem Hirten bleib' ich treu (Cantata 92: Oboe d'amore).
+        10. Seele, deine Spezereien sollen nicht ("Easter Oratorio," no.
+            4: Flauto or Violin).
+        11. Was Gott thut, das ist wohlgethan (Cantata 100: Flauto).
+        12. Wie zittern und wanken der S�nder Gedanken (Cantata 105:
+            Oboe).
+
+XII (2). 1912. Bach-Jahrbuch. 8 Jaargang 1911: Im Auftrage der Neuen
+      Bachgesellschaft herausgegeben von Arnold Schering. Mit 2 Bildnissen
+      und 8 Faksimiles.
+
+      The volume contains the following articles:
+
+         1. "Mein Herze schwimmt im Blut" [see infra XIII (2)]. By Werner
+            Wolffheim.
+         2. Das sogensante Orgelkonzert D-moll, von Wilhelm Friedemann
+            Bach [Peters bk. 3002]. By Max Schneider.
+         3. Bachiana. By Werner Wolffheim.
+         4. Zur Geschichte der Passionsauff�hrungen in Leipzig. By
+            Bernhard Fr. Richter.
+         5. Tonartensymbolik zu Bachs Zeit. By Rudolf Wustmann.
+         6. �ber die Viola da Gamba und ihre Verwendung bei Joh. Seb.
+            Bach. By Christian Dobereiner.
+         7. Carl Philipp Emanuel Bach und Joh. Gottl. Im. Breitkopf. By
+            Hermann von Hase.
+         8. Zur "Lukaspassion." By Max Schneider.
+         9. Verzeichnis der Sammlung alter Musikinstrumente im Bachhaus zu
+            Eisenach. By G. Bornemann.
+
+      The illustrations are, portraits of W. Friedemann Bach (aet. 72) and
+      Johann Sebastian Bach (son of Carl P. E. Bach); facsimiles of Bach's
+      arrangement of the D minor Vivaldi Organ Concerto (attributed to W.
+      F. Bach) and "Lukaspassion," and of a letter written to J. G. I.
+      Breitkopf by C. P. E. Bach, dated 28th February 1786.
+
+XII (3). 1912. Sechstes Deuteches Bach-Fest in Breslau 15 bis 17 Juni
+      1912. Fest- und Frogrammbuch.
+
+      Frontispiece, J. S. Bach after the oil-painting by G. Haussmann in
+      possession of St. Thomas' School, Leipzig (see Spitta, vol. i.
+      frontispiece and XVI (1) infra).
+
+XIII (1). 1913. Ausgewahlte Arien mit obligaten Instrumenten und
+      Klavierbegleitung. VII Abteilung: Arien fur Sopran. 3 Heft.
+      Weltliche Arien. Ed. Eusebius Mrmdyczewski.
+
+         1. Wenn die Fruhlingsl�fte streichen ("Weichet nur betr�bte
+            Schatten": Violin).
+         2. Sich �ben im Lieben ("Weichet nur betr�bte Schatten": Oboe).
+         3. Des Reichtums Glanz ("Ich bin in mir vergn�gt": Violin).(547)
+         4. Meine Seele, sei vergn�gt ("Ich bin in mir vergn�gt": Flauto).
+         5. Angenehmer Zephryus ("Der zufnedengestellte Aeolus": Violin).
+         6. Schweigt, ihr Fl�ten ("O holder Tag": Flauto).
+         7. Ei! wie schmeckt der Coffee s�sse ("Schweigt stille, plaudert
+            nicht": Flauto).
+         8. Ruhig und in sich zufrieden ("Ich bin in mir vergn�gt": 2
+            Oboi).
+         9. Schafe k�nnen sicher weiden ("Was mir behagt": 2 Flauti).
+        10. Ruhet hie, matte T�ne ("O holder Tag": Violin and Oboe
+            d'amore).
+        11. Jagen ist die Lust der G�tter ("Was mir behagt": 2 Horns).
+        12. H�rt doch! der sanften Fl�ten Chor ("Schleicht, spielende
+            Wellen": 3 Flauti).
+
+XIII (2). 1913. Solo-Kantate f�r Sopran, "Mein Herze schwimmt im Blut,"
+      ausgefunden und herausgegeben von C. A. Martiensen. Partitur.
+XIII (3). 1913. Solo-Kantate f�r Sopran, "Mein Herze schwimmt im Blut."
+      Klavierauszug mit Text von Max Schneider.
+XIII (4). 1913. Bach-Jahrbuch. 9 Jahrgang 1912: Im Auftrage der Neuen
+      Bachgesellschaft herausgegeben von Arnold Schering. Mit 2
+      Noten-Anh�ngen.
+
+      The volume contains the following articles:
+
+         1. Uber die Motetten Seb. Bachs. By Bernhard Ft. Richter.
+         2. Uber die F-dur Toccata [N. bk. 9 p. 176] von J. S. Bach. By
+            Woldemar Voigt.
+         3. Die M�llersche Handschrift. Ein unbekanntes Gegenst�ck zum
+            Andreas-Bach-Buche (mit einem Notenanhange). By Werner
+            Wolffheim.
+         4. Bachs Bearbeitungen und Umarbeitungen eigener und fremder
+            Werke. By Karl Grunsky.
+         5. �ber die Kirchenkantaten vorbachischer Thomaskantoren (mit
+            einem Notenanhange). By Arnold Sobering.
+         6. Beitr�ge zur Bachkritik. By Arnold Sobering.
+         7. Auff�hrungen von Joh. Seb. Bachs Kompositionen. By Th.
+            Biebrich.
+         8. Notes.
+
+XIV (1). 1914.(548) Joh. Seb. Bachs Kantatentexte. Im Auftrage der Neuen
+      Bachgesellsehaft herausgegeben von Rudolf Wustmann.
+
+      Contains the literary texts of the Church Cantatas, with critical
+      notes.
+
+      XIV (2). 1914. Bach-Jahrbuch. 10 Jahrgang 1913. Im Auftrage der
+      Neuen Bachgesellsehaft herausgegeben von Arnold Sobering. Mit einem
+      Titelbilde und einer Beilage.
+
+      The volume contains the following articles:
+
+         1. Studien zu J. S. Bachs Klavierkonzerten. By Adolf Aber.
+         2. �ber Joh. Seb. Bachs Konzerte fur drei Klaviere. By Hans Boas.
+         3. Die Kantata Nr. 150, "Nach dir, Herr, verlanget mich." By
+            Arnold Sobering.
+         4. �ber die C-dur-Fuge aus dem I. Theil des "Wohltemperierten
+            Klaviers." By Wanda Landowska.
+         5. Die Varianten der grossen G-moll-Fuge f�r Orgel [Novello bk. 8
+            p. 127]. By Hermann Keller.
+         6. Ein Bachkonzert in Kamenz. By Hermann Kretzschmar.
+         7. Breitkopfsche Textdrucke zu Leipziger Musikauff�hrungen zu
+            Bachs Zeiten. By Hermann von Hase.
+         8. J. S. Bachs Aria, "Erbauliche Gedanken ernes Tabakrauchers."
+            By Alfred Heuss.(549)
+         9. Johann Seb. Bachs und Christoph Graupners Kompositionen zur
+            Bewerbung um das Thomaskantorat in Leipzig 1722-23. By
+            Bernhard Fr. Richter.
+        10. Register zu den ersten 10 Jahrgangen des Bach Jahrbuchs
+            1904-13. By Arnold Schering.
+
+      The frontispiece is a portrait of Bach, about thirty-five years old,
+      after the original in the Eisenach Museum by Job. Jak. Ihle. See
+      frontispiece of this volume.
+
+XIV (3). 1914. Fest- und Programmbuch zum 7 Deutschen Bachfest der Neuen
+      Bachgesellschaft. Wien. 9 bis 11 May 1914.
+
+      The frontispiece is a picture of St. Thomas' Church and School in
+      1723 (see p. 28 supra).
+
+XV (1). 1914. Ausgew�hlte Arien und Duette mit einem obligaten Instrument
+      und Klavier- oder Orgelbegleitung. VIII Abteilung: Arien f�r Alt. 2
+      Heft. Ed. Eusebius Mandyczewski.
+
+         1. Beth�rte Welt (Cantata 94: Flauto).
+         2. Ein ungef�rbt Gem�te (Cantata 24: Violin or Viola).
+         3. Ermuntert euch (Cantata 176: Oboe).
+         4. Gott ist unser Sonn' und Schild (Cantata 79: Oboe or Flauto).
+         5. In Jesu Demuth (Cantata 151: Oboe d'amore or Violin).
+         6. Jesus ist ein guter Hirt (Cantata 85: Violin or Violoncello).
+         7. Kreuz und Krone (Cantata 12: Oboe).
+         8. Sch�me dich, O Seele, nicht (Cantata 147: Oboe d'amore).
+         9. Von der Welt verlang' ich nichts (Cantata 64: Oboe d'amore).
+        10. Weh der Seele (Cantata 102 : Oboe).
+        11. Willkommen! will ich sagen (Cantata 27: Cor Anglais).
+        12. Zum reinen Wasser (Cantata 112: Oboe d'amore).
+
+XV (2). 1915. Bach-Jahrbuch. 11 Jahrgang 1914: Im Anftrage der Neuen
+      Bachgesellschaft herausgegeben von Arnold Schering (Leipzig). Mit
+      einem Titelbilde und einer Bilderbeilage.
+
+      The volume contains the following articles:
+
+         1. Neues �ber das Bachbildnis der Thomasschule und andere
+            Bildnisse Johann Sebastian Bachs. By Albrecht Kurzwelly.
+         2. Zur Geschichte der Bachbewegung. Bericht �ber eine bisher
+            unbekannte fr�he Auff�hrung der Mattha�uspassion. By Karl
+            Anton.
+         3. Johann Christoph Friedrich Bach. By Georg Sch�nemann.
+         4. Die Wiederbelebung der Kurrende in Eisenach. By W. Nicolai.
+         5. Auff�hrungen von Joh. Seb. Bachs Kompositionen in der Zeit vom
+            Oktober 1912 bis Juli 1914. By Th. Biebrich.
+         6. Bachauff�hrungen im ersten Jahre des deutschen Krieges. By Th.
+            Biebrich.
+         7. Mitgliederversammlung der Neuen Bachgesellschaft. Montag, den
+            11 Mai 1914.
+         8. Reviews.
+
+      The frontispiece is a picture of Bach by Daniel Greiner.
+
+XVI (1). 1916. Das Bachbildnis der Thomasschule zu Leipzig, nach seiner
+      Wiederherstellung im Jahre 1913. Gemalt von E. G. Haussmanu 1746.
+
+      A print of the renovated picture is at p. 48 of this volume.
+
+XVI (2). 1916. Bach-Genealogie mit zwei Briefen von Carl Philipp Emanuel
+      Bach. Herausgegeben von Professor Max Schneider in Breslau.(550)
+XVI (3). 1916. Bach-Jahrbuch. 12 Jahrgang 1915. Im Auftrage der Neuen
+      Bachgesellschaft herausgegeben von Arnold Sobering (Leipzig). Mit
+      dem Bildnisse J. S. Bachs nach der Gedenkb�ste in der Walhalla.
+
+      The volume contains the following articles:
+
+         1. Johann Sebastian Bach im Gottesdienst der Thomaner. By
+            Bernhard Friedrich Richter.
+         2. Karl Philipp Emanuel Bach und der Dresdner Kreuz kantor
+            Gottfried August Homilius im Musikleben ihrer Zeit. Ein
+            Beitrag zur Geschichte der Stilwandlung des 18 Jahrhunderts.
+            By Rudolf Steglich.
+         3. Eine Umdichtung des "Zufriedengestellten Aeolus" (Mit einem
+            Anhang �ber die Kantata "Schleicht, spielende Wellen"). By
+            Woldemar Voigt.
+         4. Eine alte, unbekannte Skizze von Sebastian Bachs Leben. By
+            Arthur Pr�fer.
+         5. Bachauffuhrungen im zweiten Jahre des deutschen Krieges. By
+            Th. Biebrich.
+         6. Reviews.
+
+      The frontispiece is a photograph of Professor F. Behn's bust of Bach
+      in the Walhalla.
+
+XVII (1). 1916. Motette "O Jesu Christ, mein's Lebens Licht." Nach Bachs
+      Handschrift zum ersten Male herausgegeben von Max Schneider.
+      Partitur, [See E.G. XXIV.]
+XVII (2). 1916. Motette "O Jesu Christ, mein's Lebens Licht."
+      Klavierauszug mit Text von Max Schneider. [See B.G. XXIV.]
+XVII (3). 1917. Bach-Urkunden. Ursprung der musikalisch-Bachischen
+      Familie. Nachrichten �ber Johann Sebastian Bach von Carl Philipp
+      Emanuel Bach. Herausgegeben von Max Schneider.
+
+      The volume contains a facsimile of the Bach Genealogy compiled by
+      Joh. Seb. Bach and formerly in Carl Philipp Emanuel's possession,
+      and two letters from the latter to J. N. Forkel.
+
+XVII (4). 1917. Bach-Jahrbuch. 13 Jahrgang 1916. Im Auftrage der Neuen
+      Bachgesellschaft herausgegeben von Arnold Schering (Leipzig).
+
+      The volume contains the following articles:
+
+         1. Die F.-Trompete im 2 Brandenburgischen Konzert von Joh. Seb.
+            Bach. By Richard Hofmann.
+         2. Zur Frage der Ausf�hrung der Ornamente bei Bach. Z�hlzeit oder
+            Notenwert? By Hans Joachim  Moser.
+         3. Friedrich Bachs Briefwechsel mit Gerstenberg und Breitkopf. By
+            Georg Schunemann.
+         4. Bachauff�hrurgen im dritten Jahre des deutschen Krieges. By
+            Th. Biebrich.
+         5. Laterarische Beigabe: "Der Thomaskantor." Ein Gem�th-erfreuend
+            Spiel von deme Herren Cantori Sebastian Bachen, vorgestellt in
+            zween Auffz�gen durch Bernhard Christoph Breitkopfen seel.
+            Erben: Breitkopf und Hartel 1917. By Arnold Schering.
+
+XVIII (1). 1917. Konzert in D moll nach der urspr�nglichen Fassung fur
+      Violine wiederhergestellt von Robert Reitz. Partitur. [See B.G.
+      XVII.]
+XVIII (2). 1917. Konzert in D moll nach der urspr�nglichen Fassung f�r
+      Violine wiederhergestellt von Robert Reitz. Ausgabe fur Violine und
+      Klavier. [See B.G. XVII.]
+XVIII (3). 1918. Bach-Jahrbuch. 14 Jahrgang 1917: Im Auftrage der Neuen
+      Bachgesellschaft herausgegeben von Arnold Schering (Leipzig). Mit
+      einem Eildnis.
+
+      The volume contains the following articles :
+
+         1. Gustav Schreck [d. 22 Jan. 1918].
+         2. Das dritte kleine Bachfest zu Eisenach:
+
+               I. Der Festgottesdienst in der St. Georgenkirche zu
+                  Eisenach am 30 September 1917.
+              II. Vortrage und Verhandlungen der Mitgliederversammlung des
+                  dritten kleinen Bachfestes in Eisenach am 29 September
+                  1917.
+
+         3. Seb. Bachs Stellung zur Choralrhythmik der Lutherzeit. By Hans
+            Joachim Moser.
+         4. Zur Motivbildung Bachs. Kin Beitrag zur Stilpsychologie. By
+            Ernst Kurth.
+         5. Ein Programmtrio Karl Philipp Emanuel Bachs. By Hans Mersmann.
+         6. Hermann Kretzschmar [b. 19 Jan. 1848].
+         7. Review.
+
+      The frontispiece is a copy of the oil portrait of Bach after
+      Haussmann, copied by J. M. David in 1746.
+
+
+
+
+
+APPENDIX IV. BIBLIOGRAPHY OF BACH LITERATURE
+
+
+The following list does not include magazine articles or technical works.
+A comprehensive bibliography, compiled by Max Schneider, will be found in
+the Bach-Jahrbuch for 1905 and 1910.  Shorter lists are in C. F. Abdy
+Williams' _Bach_ (1900) and Andre Pirro's _J.-S. Bach_ (1906).  Titles
+within square brackets in the following list are inserted upon the
+authority of the _Bach-Jahrbuch,_ but are not discoverable in the annual
+Book Catalogues.  Since the absence of an Italian section may be remarked,
+it should be said that the _Catalogo generate della Libreria Italiana,
+1847-1899_ (published in 1910) contains no reference to Bach.  Nor does
+the Supplement of 1912.
+
+
+
+
+                                I. Germany
+
+
+      Johann Christoph W. K�hnau, _Die blinden Tonk�stler._ Berlin. 1810.
+      J. E. Grosser, _Lebensbeschreibung des Kapellmeisters Johann
+      Sebastian Bach._ Breslau. 1834.
+      Albert Schiffner, _Sebastian Bachs geistige Nachkommenschaft._
+      Leipzig. 1840.
+      Johann T. Mosewius, _Johann Sebastian Bach in seinen Kirch-Kantaten
+      und Choralges�ngen._ Berlin. 1846.
+      Johann Carl Schauer, _Johann Sebastian Bachs Lebensbild: Eine
+      Denkschrift auf seinen 100j�hringen Todestag._ Jena. 1850.
+      C. L. Hilgenfeldt, _Johann Sebastian Bachs Leben, Wirken und Werke._
+      Leipzig. 1850.
+      [W. Naumann, _Johann Sebastian Bach. Eine Biographie._ Cassell.
+      1855.]
+      [Anon., _Biographien und Charakteristiken der grossen Meister: Bach,
+      H�ndel, Gluck, Haydn, Mozart, Beethoven, mit Portrats._ 2nd ed.
+      Leipzig. 1860.]
+      C. H. Bitter, _Johann Sebastian Bach._ 2 vols. Berlin. 1865. 2nd ed.
+      1880.
+      C. Albert Ludwig, _Johann Sebastian Bach in seiner Bedeutung f�r
+      Cantoren, Organisten, und Schullehrer._ Bleichroder. 1865.
+      Alfred D�rffel, _Thematisches Verzeichniss der Instrumentalwerke von
+      Joh. Seb. Bach._ Auf Grund der Gesammtausgabe von C. P. Peters.
+      Leipzig. 1867. 2nd ed. 1882.
+      Carl Tamme, _Thematisches Verzeichniss der Vocalwerke von Joh. Seb.
+      Bach. Auf Grund der Gesammtausgaben von F. Peters und der
+      Bach-Gesellschaft._ Leipzig, n.d.
+      C. H. Bitter, _C. P. E. und W. F. Bach und deren Br�der._ 2 vols.
+      Berlin. 1868. New ed. 1880.
+      [Anon., _J. S. Bach. Biographie._ Leipzig. 1869.]
+      L. Ramann, _Bach und Handel._ Leipzig. 1869.
+      W. Junghans, _Johann Sebastian Bach als Schuler der Partikularschule
+      zu St. Michaelis in L�neburg._ L�neburg. 1870.
+      Emil Naumann, _Deutsche Tondichter von Sebastian Bach bis auf die
+      Gegenwart._ Berlin. 1871. 5th ed. 1882.
+      M. Schick, _J. S. Bach: ein musikalisches Lebensbild._ Reutlingen.
+      1873.
+      Philipp Spitta, _Johann Sebastian Bach._ 2 vols. Leipzig. 1873-1880.
+      E. Frommel, _H�ndel und Bach._ Berlin. 1878.
+      Elise Polko, _Unsere Musikklassiker. Sechs biographische
+      Lebensbilder_ [Bach, etc.]. Leipzig. 1880.
+      [Anon., _J. S. Bach. Biographie._ [In _Meister der Tonkunst,_ no.
+      2.] Leipzig. 1880.]
+      August Reissmann, _Johann Sebastian Bach. Sein Leben und seine
+      Werke._ Berlin and Leipzig. 1881.
+      Otto Gumprecht, _Warum treiben wir Musik?_ [Bach and others.]
+      Leipzig. 1883.
+      C. H. Bitter, _Die S�hne Seb. Bachs._ Leipzig. 1883.
+      Jul. Sch�mann, _Joh. Seb. Bach, der Kantor der Thomas-schule zu
+      Leipzig._ Leipzig. 1884.
+      A. L. Gr�bner, _Johann Sebastian Bach._ Dresden. 1885.
+      Fr. Spitta, _Haendel und Bach. Zwei Festreden._ Bonn. 1884.
+      E. Heinrich, _Johann Sebastian Bach. Ein kurzes Lebensbild._ Berlin.
+      1885.
+      E. Naumann, _Deutsche Tondichter von J. S. Bach bis Richard Wagner._
+      Leipzig. 1886. 6th ed. 1896.
+      Paul Meyer, _Joh. Seb. Bach. Vortrag._ Basel. 1887.
+      Ludwig Ziemssen, _Johann Sebastian Bach. Lebensbild._ Glogau. 1889.
+      Richard Batka, _J. S. Bach._ Leipzig. 1893.
+      Wilhelm His, _Johann Sebastian Bach. Forschungen �ber dessen
+      Grabst�tte, Gebeine und Antlitz._ Leipzig. 1895.
+      Wilhelm His, _Anatomisches Forschungen �ber J. S. Bach's Gebeine und
+      Antlitz, nebst Bemerkungen �ber dessen Bilder._ Leipzig. 1895.
+      Armin Stein, _J. S. Bach. Ein K�ntstlerleben._ Halle. 1896.
+      Hans von Wolzogen, _Bach_ [In _Grossmeister deutscher Musik_].
+      Berlin. 1897.
+      [W. Kleefeld, _Bach und Graupner._ Leipzig. 1898.]
+      [Fr. Thomas, _Der Stammbaum des Ohrdruffer Zweigs der Familie von J.
+      S. Bach._ Ohrdruf. 1899.]
+      [Fr. Thomas, _Einige Ergebnisse �ber J. S. Bachs Ohrdruffer
+      Schulzeit._ Ohrdruf. 1900.]
+      B. Stein, _Johann Sebastian Bach und die Familie der _"Bache."
+      Bielefeld. 1900.
+      Fr. von Hausegger, _Unsere deutschen Meister_ [Bach and others].
+      Munich. 1901.
+      Arnold Sobering, _Bachs Textbehandlung._ Leipzig. 1901.
+      [W. Tappert, _Sebastian Bachs Kompositionen f�r die Laute._ Berlin.
+      1901.]
+      K. S�hle, _Sebastian Bach in Arnstadt_ Berlin. 1902. 2nd ed. 1904.
+      Arthur Pr�fer, _Sebastian Bach und die Tonkunst des XIX.
+      Jahrhunderts._ Leipzig. 1902.
+      H. Barth, _Joh. Sebastian Bach: Lebensbild._ Berlin. 1902.
+      Gustav H�cker, _Johann Sebastian Bach._ Gotha. 1903.
+      Paul von Bojanowski, _Das Weimar Johann Sebastian Bachs._ Weimar.
+      1903.
+      Jul. Schumann, _Bach, H�ndel, Mendelssohn. Die protestantische
+      Kirchenmusik in Lebensbildern._ Calw and Stuttgart. 1903.
+      [--. Weissgerber, _J. S. Bach in Arnstadt._ Arnstadt. 1904.]
+      [K. Storck, _J. S. Bach: Charakter und Lebensgang._ Berlin. 1905.]
+      [A. Pischinger, _J. S. Bach._ Munich. 1905.]
+      Philipp Wolfrum, _Joh. Seb. Bach._ Berlin. 1906.
+      Albert Schweitzer, _J. S. Bach._ Berlin. 1908.
+      Friedrich Hashagen, _Joh. Sebastian Bach als S�nger und Musiker des
+      Evangeliums._ Wismar. 1909.
+      Max Tr�mpelmann, _Joh. Sebastian Bach und seine Bedeutung f�r die
+      Choralkomposition unserer Zeit._ Magdeburg. 1909.
+      August Wildenhahn, _Joh. Sebastian Bach._ Eisenach. 1909.
+      Philipp Wolfrum, _Johann Sebastian Bach._ 2 vols. Leipzig. 1910.
+      Andr� Pirro, _Johann Sebastian Bach. Sein Leben und seine Werke._
+      [Translated from the French by Bernhard Engelke.] Berlin. 1910.
+      Johannes Schreyer, _Beitr�ge zur Bach-Kritik._ Leipzig. 1911.
+      Martin Falck, _Wilhelm Friedemann Bach. Sein Leben und seine Werke,
+      mit thematischem Verzeichnis seiner Kompositionen und zwei Bildern._
+      Leipzig, c. 1911-14.
+      K. Glebe, _Johann Sebastian Bach._ Halle. 1912.
+      La Mara, _Johann Sebastian Bach._ 5th edition. Leipzig. 1912.
+      H. Reimann, _Johann Sebastian Bach._ 1912.
+      Armin Stein, _Johann Sebastian Bach._ Halle. 1912.
+      Rudolf Wustmann, _Joh. Seb. Bachs Kantatentexte._ Leipzig. 1914.
+      Max Bitter, _Der Stil Joh. Seb. Bachs in seinem Choralsatze._
+      Bremen. 1913.
+      Ernst Kurth, _Grundlagen des linearen Kontrapunkts. Einf�hrung in
+      Stil und Technik von Bachs melodischer Polyphonie._ Bern. 1917.
+
+
+
+
+                                II. France
+
+
+      Johann Nikolaus Forkel, _Vie, talents et travaux de Jean S�bastien
+      Bach._ [Translated from the German by Fel�x Grenier.] Paris. 1876.
+      Ernest David, _La vie et les oeuvres de J.-S. Bach, sa famille, ses
+      �l�ves, ses contemporains._ [An abridged translation of Spitta.]
+      Paris. 1882.
+      William Cart, _Un maitre deux fois centenaire: �tude sur J.-S. Bach,
+      1685-1750._ Paris. 1884. New ed. 1898.
+      Andr� Pirro, _L'Orgue de Jean-S�bastien Bach._ Paris. 1895.
+      [G. Fink, _�tude biographique sur Jean-S�bastien Bach._ Angoul�me.
+      1899.]
+      [--. Daubresse, _Haendel et Bach._ Paris. 1901.]
+      Albert Schweitzer, _J. S. Bach, le musicien-po�te._ Leipzig. 1905.
+      Andr� Pirro, _J.-S. Bach._ Paris. 1906. 4th edition. 1913.
+      Andr� Pirro, _L'Esth�tique de Jean-S�bastien Bach._ Paris. 1907.
+
+
+
+
+                            III. Great Britain
+
+
+      Johann Nikolaus Forkel, _Life of John Sebastian Bach. Translated
+      from the German_ [by -- Stephenson]. London. 1820.
+      C. H. Bitter, _The Life of J. Sebastian Bach. An abridged
+      translation from the German._ [By Janet Elizabeth Kay Shuttleworth.]
+      London. 1873.
+      R. Lane Poole, _Sebastian Bach._ London. 1881.
+      Sedley Taylor, _The Life of J. S. Bach in relation to his work as a
+      Church musician and composer._ Cambridge. 1897.
+      Philipp Spitta, _Johann Sebastian Bach: His work and influence on
+      the music of Germany, 1685-1750._ Translated from the German by
+      Clara Bell and J. A. Fuller Maitland. 3 vols. London. 1899.
+      C. F. Abdy Williams, _Bach._ London. 1900.
+      A. Maczewski and F. G. Edwards, art. _Bach_ in _Grove's
+      Dictionary,_ vol. i. 1904.
+      E. H. Thome, _Bach._ London. 1904.
+      C. H. H. Parry, _Johann Sebastian Bach._ London and New York. 1909.
+      Donald F. Tovey, art. _J. S. Bach,_ in _Encyclopaedia Britannica._
+      Vol. iii. 1910.
+      Albert Schweitzer, _J. S. Bach. With a Preface by C. M. Widor.
+      English translation by Ernest Newman._ 2 vols. London. 1911.
+      C. Sanford Terry, _Bach's Chorals._ 3 vols. Cambridge. 1915, 1917,
+      1920.
+      W. G. Whittaker, _Fugitive Notes on certain Cantatas and Motets by
+      J. S. Bach._ London. 1920.
+
+
+
+
+                       IV. United States Of America
+
+
+      Andr� Pirro, _Johann Sebastian Bach, the Organist, and his works._
+      [Translated from the French by Wallace Goodrich.] New York. 1902.
+      Elbert Hubbard, _Little voyages to the homes of great musicians._
+      New York. 1902.
+      Ludwig Ziemssen, _Johann Sebastian Bach._ [Translated from the
+      German by G. Putnam Upton.] Chicago. 1905.
+      Rutland Boughton, _Bach._ New York. 1907.
+
+
+
+
+                                V. Holland
+
+
+      A. M. Oordt, _Een koort woord over Bach._ Leiden. 1873.
+
+
+
+
+                               VI. Belgium
+
+
+      Charles Martens, _Un livre nouveau sur J.-S. Bach._ Brussels. 1905.
+      Victor Hallut, _Les Ma�tres classiques du dix-huiti�me siecle._
+      [Bach and others.] Brussels. 1909.
+
+
+
+
+                               VII. Russia
+
+
+      [Kuschenaw Dmitrevsky, _Das lyrische Museum_ (no. 25)]. [The oldest
+      Russian biography of Bach.] Petrograd. 1831].
+      [W. Th. Odoewsky, _Sebastian Bach._ Petrograd. 1890.]
+      [G. M. Bazunow, _J. S. Bach._ Petrograd. 1894.]
+      [S. M. Haljutin, _J. S. Bach._ Minsk. 1894.]
+      [Adolf Chybinski, _J. S. Bach._ Warsaw. 1910.]
+
+
+
+
+
+APPENDIX V.  A COLLATION OF THE NOVELLO AND PETERS EDITIONS OF THE ORGAN
+WORKS
+
+
+      Novello: Book I. Eight Short Preludes And Fugues.
+
+            Page 2. Prelude and Fugue in C major (P. bk. 247 p. 48).
+            Page 5. Do. do. D minor (ib. 51).
+            Page 8. Do. do. E minor (ib. 54).
+            Page 11. Do. do. F major (ib. 57).
+            Page 14. Do. do. Q major (ib. 60).
+            Page 17. Do. do. G minor (ib. 63).
+            Page 20. Do. do. A minor (ib. 66).
+            Page 23. Do. do. B flat major (ib. 69).
+
+      Novello: Book II. Preludes, Fugues, And Trio.
+
+            Page 26. Allabreve in D major (P. bk. 247 p. 72).
+            Page 30. Prelude in G major (ib. 82).
+            Page 34. Canzona in D minor (P. bk. 243 p. 54).
+            Page 38. Fugue (The Giant) in D minor (P. bk. 246 p. 78).
+            Page 41. Fugue in G minor (P. bk. 247 p. 85).
+            Page 44. Prelude and Fugue (the Short) in E minor (P. bk. 242
+            p. 88).
+            Page 48. Prelude and Fugue in C minor (P. bk. 243 p. 32).
+            Page 54. Trio in D minor (ib. 72).
+
+      Novello: Book III. Fantasias, Preludes, And Fugues.
+
+            Page 57. Fantasia in C minor (5 parts) (P. bk. 243 p. 66).
+            Page 60. Fugue in B minor (on a theme by Corelli) (ib. 46).
+            Page 64. Prelude and Fugue in A major (P. bk. 241 p. 14)
+            Page 70. Do. do. C major (ib. p. 2).
+            Page 76. Fantasia and Fugue in C minor (P. bk. 242 p. 55).
+            Page 84. Fugue (the Short) in G minor (P. bk. 243 p. 42).
+
+      Novello: Book IV. Sonatas Or Trios For Two Manuals And Pedal.
+
+            Page 88. Sonata in E flat major (P. bk. 240 p. 2).
+            Page 97. Do. C minor (ib. 11).
+            Page 110. Do. D minor (ib. 24).
+
+      Novello: Book V. Sonatas Or Trios For Two Manuals And Pedal
+      (IV.-VI.).
+
+            Page 124. Sonata in E minor (P. bk. 240 p. 36).
+            Page 134. Do. C major (ib. 46).
+            Page 151. Do. G major (ib. 63).
+
+      Novello: Book VI. Toccata, Preludes, And Fugues.
+
+            Page 2. Toccata and Fugue in D minor (P. bk. 243 p. 24).
+            Page 10. Prelude and Fugue in D major (ib. p. 14).
+            Page 21. Do. do. F minor (P. bk. 241 p. 29).
+            Page 28. Do. do. E flat major (P. bk. 242 p. 2).
+
+      Novello: Book VII. Preludes And Fugues.
+
+            Page 42. Prelude and Fugue (the Great) in A minor (P. bk. 241
+            p. 54).
+            Page 52. Do. do. B minor (ib. 78).
+            Page 64. Do. do. C minor (ib. 36).
+            Page 74. Prelude and Fugue in C major (P. bk. 243 p. 2).
+            Page 80. Do. do. G major (ib. 8).
+
+      Novello: Book VIII. Preludes And Fugues.
+
+            Page 88. Prelude and Fugue in C major (P. bk. 242 p. 62).
+            Page 98. Do. (the Great) in E minor (P. bk. 241 p. 64).
+            Page 112. Do. do. G major (ib p. 7).
+            Page 120. Do. in G minor (P. bk. 242 p. 48).
+            Page 127. Fantasia and Fugue (the Great) in G minor (P. bk.
+            241 p. 20).
+
+      Novello: Book IX. Preludes And Fugues.
+
+            Page 137. Toccata and Fugue (the Great) in C major (P. bk. 242
+            p. 72).
+            Page 150. Prelude and Fugue in D minor (ib. 42).
+            Page 156. Do. (the Great) in C major (P. bk. 241 p. 46).
+            Page 168. Fantasia in G major (P. bk. 243 p. 58).
+            Page 176. Toccata and Fugue (the Great) in F major (P. bk. 242
+            p. 16).
+
+      Novello: Book X. Toccata, Preludes, And Fugues.
+
+            Page Page 196. Toccata and Fugue (the Dorian) in D minor (P.
+            bk. 242 p. 30.)
+            Page 208. Prelude and Fugue (the Short) in A minor (ib. 84).
+            Page 214. Passacaglia in C minor (P. bk. 240 p. 75).
+            Page 230. Fugue in C minor (P. bk. 243 p. 36).
+            Page 238. Prelude in A minor (ib. 68).
+
+      Novello: Book XI. Four Concertos [after Antonio Vivaldi].
+
+            Page 1. Concerto in G major (P. bk. 247 p. 2).
+            Page 10. Do. A minor (ib. 10).
+            Page 24. Do. C major (ib. 22).
+            Page 49. Do. C major (ib. 44).
+
+      Novello: Book XII. Preludes, Fantasias, Fugues, Trios, Etc.
+
+            Page 55. Fugue in G major (P. bk. 2067 p. 18).
+            Page 60. Fantasia and Fugue in A minor (ib. 3).
+            Page 71. Fantasia with Imitation in B minor (P. bk. 215 p.
+            41).
+            Page 75. Fantasia in G major (P. bk. 2067 p. 25).
+            Page 83. Fugue in D major (P. bk. 2067 p. 22).
+            Page 86. Do. G major (ib. 12).
+            Page 91. Prelude in C major (P. bk. 247 p. 77).
+            Page 92. Fantasia in C major (ib. 78).
+            Page 94. Prelude in C major (ib. 76).
+            Page 95. Fugue in C minor (P. bk. 243 p. 50).
+            Page 100. Fugue in C major (P. bk. 247 p. 80).
+            Page 102. Pastorale in F major (P. bk. 240 p. 86).
+            Page 108. Trio in C minor (P. bk. 2067 p. 30).
+            Page 112. Aria in F major (ib. 34).
+
+      [Novello's Books XIII. and XIV. (Choral Preludes and Variations) are
+      superseded by Books XV.-XIX.]
+      Novello: Book XV. Orgelb�chlein (little Organ Book).
+
+            Page 3. Nun komm, der Heiden Heiland (P. bk. 244 p. 44).
+            Page 5. Gott durch deine G�te, or, Gottes Sohn ist Kommen (ib.
+            20).
+            Page 9. Herr Christ, der ein'ge Gottes-Sohn, or, Herr Gott,
+            nun sei gepreiset (ib. 24).
+            Page 11. Lob sei dem allm�chtigen Gott (ib. 40).
+            Page 13. Puer natus in Bethlehem (ib. 50).
+            Page 15. Gelobet seist du, Jesu Christ (ib. 19).
+            Page 18. Der Tag, der ist so freudenreich (ib. 13).
+            Page 21. Vom Himmel hoch, da komm ich her (ib. 53).
+            Page 23. Vom Himmel kam der Engel Schaar (ib. 54).
+            Page 26. In dulci jubilo (ib. 38).
+            Page 29. Lobt Gott, ihr Christen, allzugleich (ib. 42).
+            Page 31. Jesu, meine Freude (ib. 34).
+            Page 33. Christum wir sollen loben schon (ib. 8).
+            Page 36. Wir Christenleut' (ib. 58).
+            Page 39. Helft mir Gottes G�te preisen (ib. 23).
+            Page 43. Das alte Jahr vergangen ist (ib. 12).
+            Page 45. In dir ist Freude (ib. 36).
+            Page 50. Mit Fried' und Freud' ich fahr' dahin (ib. 42).
+            Page 53. Herr Gott, nun schleuss den Himmel auf (ib. 26).
+            Page 58. O Lamm Gottes unschuldig (ib. 46).
+            Page 61. Christe, du Lamm Gottes (ib. 3).
+            Page 64. Christus, der uns selig macht (ib. 10).
+            Page 67. Da Jesus an dem Kreuze stund (ib. 11).
+            Page 69. O Mensch, bewein' dein' S�nde gross (ib. 48).
+            Page 73. Wir danken dir, Herr Jesu Christ (ib. 59).
+            Page 76. Hilf Gott, dass mir's gelinge (ib. 32).
+            Page 79. Christ lag in Todesbanden (ib. 7). 81. Jesus
+            Christus, unser Heiland (ib. 34).
+            Page 83. Christ ist eratanden (ib. 4).
+            Page 89. Erstanden ist der heil'ge Christ (P. bk. 244 p. 16).
+            Page 91. Erschienen ist der herrliche Tag (ib. 17).
+            Page 94. Heut' triumphiret Gottes Sohn (ib. 30).
+            Page 97. Komm, Gott, Sch�pfer, heiliger Geist (P. bk. 246 p.
+            86).
+            Page 99. Herr Jesu Christ, dich zu uns wend' (P. bk. 244 p.
+            28).
+            Page 101. Liebster Jesu, wir sind hier (ib. 40).
+            Page 103. Dies sind die heil'gen zehn Gebot' (ib. 14).
+            Page 105. Vater unser im Himmelreich (ib. 52).
+            Page 107. Durch Adams Fall ist ganz verderbt (ib. 15).
+            Page 109. Es ist das Heil uns kommen her (ib. 18).
+            Page 111. Ich ruf' zu dir, Herr Jesu Christ (ib. 33).
+            Page 113. In dich hab' ich gehoffet, Herr (ib. 35).
+            Page 115. Wenn wir in h�chsten Nothen sein (ib. 55).
+            Page 117. Wer nur den lieben Gott l�sst walten (ib. 57).
+            Page 119. Alle Menschen m�ssen sterben (ib. 2).
+            Page 121. Ach wie nichtig, ach wie fl�chtig (ib. 2).
+
+      Novello: Book XVI. The Six "Sch�bler Chorale Preludes" And The
+      "Clavier�bung," Part III.
+
+            (a) The Sch�bler Preludes.
+
+                  Page 1. Wachet auf, ruft uns die Stimme (P. bk. 246p.
+                  72).
+                  Page 4. Wo soll ich fliehen hin, or, Auf meinen lieben
+                  Gott (ib. 84).
+                  Page 6. Wer nur den lieben Gott l�sst walten (ib. 76).
+                  Page 8. Meine Seele erhebt den Herren (Hi. 33).
+                  Page 10. Ach bleib bei uns, Herr Jesu Christ (P. bk. 245
+                  p. 4).
+                  Page 14. Kommst du nun, Jesu, vom Himmel herunter (P.
+                  bk. 246 p. 16).
+                  (b) The "Clavier�bung," Part III.
+                  Page 19. Prelude in E flat major (P. bk. 242 p. 2).
+                  Page 28. Kyrie, Gott Vater in Ewigkeit (P. 246 p. 18).
+                  Page 30. Christe, aller Welt Trost (ib. 20).
+                  Page 33. Kyrie, Gott heiliger Geist (ib. 23).
+                  Page 36. Kyrie, Gott Vater in Ewigkeit (ib. 26).
+                  Page 37. Christe, aller Welt Trost (ib. 27).
+                  Page 38. Kyrie, Gott heiliger Geist (P. 246 p. 28).
+                  Page 39. Allein Gott in der H�h' sei Ehr' (Pk. b. 245 p.
+                  10).
+                  Page 40. Do. do. do (ib. 12).
+                  Page 41. Do. do. do. (ib. 29).
+                  Page 42. Dies sind die heil'gen zehn Gebot' (ib. 50).
+                  Page 47. Do. do. do (ib. 54).
+                  Page 49. Wir glauben all' an einen Gott, Sch�pfer (P.
+                  bk. 246 p. 78).
+                  Page 52. Do. do. do. (ib. 81).
+                  Page 53. Vater unser im Himmelreich (ib. 60).
+                  Page 61. Do. do. (P. bk. 244 p. 51).
+                  Page 62. Christ, unser Herr, zum Jordan kam (P. bk. 245
+                  p. 46).
+                  Page 67. Do. do. do. (ib. 49).
+                  Page 68. Aus tiefer Noth schrei' ich zu dir (ib. 36).
+                  Page 72. Do. do. do. (ib. 38).
+                  Page 74. Jesus Christus unser Heiland (ib. 82).
+                  Page 80. Do. do. (ib. 92).
+                  Page 83. Fugue in E flat major (P. bk. 242 p. 10).
+
+      Novello: Book XVII. The Eighteen Chorale Preludes.
+
+            Page 1. Komm, heiliger Geist, Herre Gott (P. bk. 246 p.4).
+            Page 10. Do. do. do. (ib. 10).
+            Page 18. An Wasserfl�ssen Babylon (P. bk. 245 p. 34).
+            Page 22. Schm�cke dich, O liebe Seele (P. bk. 246 p. 50).
+            Page 26. Herr Jesu Christ, dich zu uns wend' (P. bk. 245 p.
+            70).
+            Page 32. O Lamm Gottes unschuldig (P. bk. 246 p. 45).
+            Page 40. Nun danket alle Gott (ib. 34).
+            Page 43. Von Gott will ich nicht lassen (ib. 70).
+            Page 46. Nun komm, der Heiden Heiland (ib. 38).
+            Page 49. Do. do. do. (ib. 40).
+            Page 52. Do. do. do. (ib. 42).
+            Page 56. Allein Gott in der H�h' sei Ehr' (P. bk. 245 p. 26).
+            Page 60. Do. do. do (ib. 22).
+            Page 66. Do. do. do. (ib. 17).
+            Page 74. Jesus Christus, unser Heiland, der von uns (ib. 87).
+            Page 79. Do. do. do. (ib. 90).
+            Page 82. Komm, Gott, Sch�pfer, heiliger Geist (P. bk. 246 p.
+            2).
+            Page 85. Wenn wir in h�chsten N�then sein, or, Vor deinen
+            Thron tret' ich allhier (ib. 74).
+
+      Novello: Book XVIII. Miscellaneous Chorale Preludes (Part I.).
+
+            Page 1. Ach Gott und Herr (P. bk. 2067 p. 38).
+            Page 2. Do. do. (P. bk. 245 p. 3).
+            Page 3. Do. do. (P. bk. 2067 p. 39).
+            Page 4. Allein Gott in der H�h' sei Ehr' (not in P.).
+            Page 5. Do. do. do. (P. bk. 245 p. 6)
+            Page 7. Do. do. do. (ib. 30).
+            Page 11. Do. do. do. (ib. 8).
+            Page 13. An Wasserfl�ssen Babylon (ib. 32).
+            Page 16. Christ lag in Todesbanden (ib. 43).
+            Page 19. Do. do. (ib. 40).
+            Page 23. Christum wir sollen loben schon, or, Was f�rcht'st
+            du, Feind Herodes, sehr (P. bk. 244 p. 9).
+            Page 24. Das Jesulein soll doch mein Trost (P. bk. 2067 p.
+            47).
+            Page 26. Der Tag der ist so freudenreich (not in P.).
+            Page 28. Durch Adams Fall ist ganz verderbt (P. bk. 245 p.
+            66).
+            Page 30. Ein' feste Burg ist unser Gott (ib. 68).
+            Page 35. Erbarm' dich mein, O Herre Gott (not in P.).
+            Page 37. Gelobet seist du, Jesu Christ (P. bk. 244 p. 102).
+            Page 38. Do. do. do. (ib. 20).
+            Page 39. Do. do. do. (P. bk. 245 p. 61).
+            Page 41. Gottes Sohn ist kommen (P. bk. 244 p. 22).
+            Page 42. Do. do. (P. bk. 245 p. 64).
+            Page 43. Herr Christ, der ein'ge Gottes-Sohn (P. bk. 244 p.
+            25).
+            Page 44. Herr Gott, dich loben wir (Te Deum Laudamus) (P. bk.
+            245 p. 65).
+            Page 60. Herr Jesu Christ, dich zu uns wend' (P. bk. 244 p.
+            28).
+            Page 52. Do. do. do. (not in P.).
+            Page 53. Herzlich thut mich verlangen (P. bk. 244 p. 30).
+            Page 54. Ich hab' mein' Sach Gott heimgestellt (P. bk. 245 p.
+            74).
+            Page 58. Do. do. do. (not in P.).
+            Page 59. In dich hab' ich gehoffet, Herr (P. bk. 245 p. 94).
+            Page 61. In dulci jubilo (P. bk. 244 p. 103).
+            Page 64. Jesu, meine Freude (P. bk. 245 p. 78).
+            Page 69. Jesus, meine Zuversicht (P. bk. 244 p. 103).
+            Page 70. Liebster Jesu, wir sind hier (ib. 105).
+            Page 71. Do. do. (ib. 105).
+            Page 72. Do. do. (ib. 39).
+            Page 73. Lob sei dem allm�chtigen Gott (ib. 41).
+            Page 74. Lobt Gott, ihr Christen, allzugleich (ib. 106).
+            Page 75. Meine Seele erhebt den Herren (Magnificat) (P. bk.
+            246 p. 29).
+            Page 80. Nun freut euch, lieben Christen g'mein, or, Es ist
+            gewisslich an der Zeit (ib. 36).
+            Page 83. Nun komm, der Heiden Heiland (P. bk. 244 p. 45).
+
+      Novello: Book XIX. Miscellaneous Chorale Preludes (part II.) And
+      Variations.
+
+      (a) Preludes.
+
+            Page 2. Valet will ich dir geben (P. bk. 246 p. 53).
+            Page 7. Do. do. (ib. 56).
+            Page 12. Vater unser im Himmelreich (ib. 66).
+            Page 14. Vom Himmel hoch, da komm ich her (ib. 67).
+            Page 16. Do. do. do. (ib 68).
+            Page 19. Do. do. do. (P. bk. 244 p. 106).
+            Page 21. Wer nur den lieben Gott l�sst walten (ib. 56).
+            Page 22. Do. do. do. (ib. 56).
+            Page 23. Wie sch�n leuchtet der Morgenstern (not in P.).
+            Page 28. Wir Christenleut' (P. bk. 2067 p. 52).
+            Page 30. Wir glauben all' an einen Gott, Vater (P. bk. 246 p.
+            82).
+            Page 32. Wo soll ich fliehen hin (P. bk. 2067 p. 48). (6)
+            Variations.
+            Page 36. Christ, der du bist der helle Tag (P. bk. 244 p. 60).
+            Page 44. O Gott, du frommer Gott (P. bk. 244 p. 68).
+            Page 55. Sei gegr�sset, Jesu g�tig (ib. 76).
+            Page 73. Vom Himmel hoch, da komm ich her (ib. 92).
+
+The Peters volumes 244, 245, 246, 2067 contain movements excluded from the
+Novello edition, viz.:--
+
+      Book 244: the figured Choral (Herr Christ, der ein'ge Gottes-Sohn)
+      on p. 107, and the Variant texts on pp. 108-112.
+      Book 245: the Variant texts on pp. 96-113.
+      Book 246: the Variant texts on pp. 86-103 (excepting the B version
+      of "Komm, Gott, Sch�pfer, heiliger Geist").
+      Book 2067: the Choral Preludes on pp. 39 (Auf meinen lichen Gott),
+      40 (Wir glauben all' an einen Gott), 42 (Jesu Leiden, Pein und Tod),
+      44 (Ach Gott, vom Himmel sieh darein), 54 (Aus der Tiefe ruf ich),
+      56 (Christ lag in Todesbanden), and the "Kleines harmonisches
+      Labyrinth" on p. 16.
+
+
+
+
+
+APPENDIX VI. GENEALOGY OF THE FAMILY OF BACH
+
+
+                        [Genealogy Table, p. 303]
+                        [Genealogy Table, p. 304]
+                        [Genealogy Table, p. 305]
+                        [Genealogy Table, p. 306]
+                        [Genealogy Table, p. 307]
+                        [Genealogy Table, p. 308]
+                        [Genealogy Table, p. 309]
+                        [Genealogy Table, p. 310]
+
+
+
+
+
+FOOTNOTES
+
+
+    1 "Seiner Excellenz dem Freyheren van Swieten ehrerbietigst gewidmet
+      von dem Verfasser."
+
+    2 So far the New Bachgesellschaft has published only a single Cantata
+      overlooked by the old Society. See infra, p. 280.
+
+    3 In _The News_ of January 4, 1829, he is described as the second son
+      of the late John Stephenson of Great Ormonde Street, Queen Square,
+      whom he had succeeded in the partnership of the firm.  His wife was
+      dead, and of his eight children the eldest was also in the Bank.
+
+    4 Carl Philipp Emmanuel Bach, third son of Johann Sebastian Bach, b.
+      1714; Kammermusikus to Frederick the Great of Prussia (1746),
+      Kapellmeister at Hamburg (1768); d. 1788.
+
+    5 Johann Friedrich Agricola, of Dobitsch, b. 1720; studied composition
+      with Bach at Leipzig; Court Composer (1751) and, after Carl Heinrich
+      Graun's death (1759), Kapellmeister to Frederick the Great of
+      Prussia; d. 1774. See Spitta, _Johann Sebastian Bach,_ iii. 243 ff.
+
+    6 Lorenz Christoph Mizler (1711-78), a pupil of Bach, founded at
+      Leipzig in 1738 the "Sozietat der musikalischen Wissenschaften," of
+      which Bach and Handel were members.  Mizler's journal, the
+      _Neuer�ffneter Musikalischer Bibliothek,_ was its organ.  It
+      appeared from 1736 to 1754.  In Part I. of vol. iv. (1754) C. P. E.
+      Bach and Agricola collaborated in the obituary notice, or
+      "Nekrolog," which is almost the earliest literary authority for
+      Bach's life.  It covered less than twenty pages.  (See Schweitzer,
+      _J. S. Bach_ (trans. Ernest Newman), i. 189 ff. and Spitta, i.
+      Pref.)  Agricola's association with Bach's son in the preparation of
+      the obituary notice is explained by the fact that for the last ten
+      years of Sebastian's life Agricola was in closer relations with him
+      than Carl Philipp Emmanuel, who no longer was resident in Leipzig.
+
+    7 Forkel's _Allgemeine Geschichte der Musik_ (2 vols. 1788-1801) had
+      only come down to the sixteenth century when its author diverted his
+      pen to a biography of Bach.
+
+    8 The firm of Hoffmeister and K�hnel was founded at Leipzig in 1800 by
+      Franz Anton Hoffmeister, who started, in 1801, a subscription for
+      the publication of Bach's works, to which Forkel alludes.  The
+      scheme failed to mature, and its accomplishment was reserved to C.
+      F. Peters, who purchased Hoffmeister's "Bureau de Musique" in 1814.
+      See articles on Hoffmeister and Peters in Grove's _Dictionary._
+
+    9 Though Bach never ventured upon such tours as Mozart or Berlioz, for
+      instance, undertook, he loved travelling, and his artistic journeys
+      made him famous throughout Germany, at least as an organist.  Forkel
+      himself describes (infra, pp. 19, 23) his notable visits to the
+      Courts of Berlin and Dresden.
+
+   10 In 1802, it must be remembered, not a note of Bach's concerted
+      Church music was in print except the tunes he wrote for Schemelli's
+      Hymn-book (1736) and the vocal parts of an early Cantata (No. 71).
+      Of his instrumental works engraved by 1802 Forkel gives a list
+      infra, p. 137.  It was hardly until the foundation of the
+      Bachgesellschaft in 1850, to celebrate the centenary of Bach's
+      death, that the systematic publication of his concerted Church music
+      began.  Before that date, however, Peters of Leipzig had taken in
+      hand the abandoned scheme of Hoffmeister and K�hnel, to which Forkel
+      alludes, and in which he participated.
+
+   11 It is notable that Forkel makes no mention of Haydn, Mozart, or
+      Handel, whose English domicile had divorced him from Germany's
+      service.  Forkel's pessimism is the more curious, seeing that
+      Beethoven was already thirty years old, and that Mozart in 1786,
+      after giving him a subject to extemporise upon, had remarked,
+      "Listen to that young man; he will some day make a noise in the
+      world" (Holmes, _Life of Mozart,_ Dent's ed., p. 223).  Forkel, in
+      fact, appreciated neither Mozart nor Beethoven and thoroughly
+      detested Gluck.
+
+   12 As has been pointed out in the Introduction, Forkel stood almost
+      alone in 1802 in his opinion of Bach's pre-eminence.  Even Beethoven
+      placed Bach after Handel and Mozart, but knew little of his music on
+      which to found a decision.
+
+   13 The anonymous article in the _Allgemeine deutsche Bibliothek,_ to
+      which Forkel alludes, deals with Bach's Clavier and Organ works and
+      upon them asserts Bach's superiority over Handel.  The judgment was
+      unusual.  Bach's fame was gravely prejudiced by German
+      Handel-worship, which the first performance of the _Messiah_ at
+      Leipzig in 1786 stimulated.  Johann Adam Hiller, Bach's third
+      successor in the Cantorate of St. Thomas', was largely responsible.
+      He neglected, and even belittled, the treasures of Bach's art which
+      the library of St. Thomas' contained.  See Schweitzer, i. 231.
+
+   14 The _Nekrolog._ See supra, p. xxiv.
+
+   15 Carl Philipp Emmanuel and Wilhelm Friedemann.  The latter was born
+      in 1710, and after holding Organistships at Halle and Dresden, died
+      at Berlin in 1784, leaving his widow and daughter in great poverty.
+      The former received a grant from the receipts of the _Messiah_
+      performance alluded to in note 1, supra.  A man of brilliant musical
+      attainments, Wilhelm Friedemann's character was dissolute and
+      unsteady. See Schweitzer, i. 146 ff.
+
+   16 Two letters written by C. P. E. Bach to Forkel in 1775, conveying a
+      good deal of information reproduced by Forkel in this monograph, are
+      printed in facsimile by Dr. Max Schneider in his _Bach-Urkunden_
+      (N.B.G., XVII. (3)).
+
+   17 Forkel's statement is entitled to respect. On the other hand there
+      is nothing in the recorded careers of either of Bach's sons that
+      bears him out on this point. Schweitzer (i. 229) endorses Elinor's
+      judgment: "Bach's sons were the children of their epoch, and never
+      understood their father; it was only from piety that they looked at
+      him with childlike admiration." Dr. Charles Burney spent several
+      days with Carl Philipp Emmanuel at Hamburg in 1772, but during the
+      whole time the son never played to him a note of his father's music.
+
+   18 i.e. Hoffmeister and K�hnel's project.
+
+   19 The accuracy of this statement is apparent from the Genealogy
+      appended to this volume.  Bach's sons represented the sixth
+      generation from Veit Bach, the sixteenth century ancestor of the
+      family. Veit himself was not a professional musician; one of his
+      sons was a Spielmann; thereafter for the next 150 years all but
+      seven of his descendants, whose professions are known, were
+      Organists or Cantors or Town Musicians.  Many of them, moreover,
+      were men of the highest attainments in their profession.
+
+   20 He took his name from St. Vitus (Guy), patron saint of the church of
+      Wechmar, a fact which sufficiently disproves Forkel's statement that
+      his original domicile was in Hungary.  The Bachs were settled in
+      Wechmar as early as circ. 1520.  Veit migrated thence to Hungary,
+      though there is no adequate foundation for the statement that he
+      settled at Pressburg.  He returned to Wechmar during the beginning
+      of the Counter-Reformation under the Emperor Rudolph II. (1576-
+      1612), and died at Wechmar, March 8, 1619.  See Spitta, i. 4.
+
+      Apart from church and town registers, laboriously consulted by
+      Spitta in tracing the Bach genealogy, we owe our knowledge of it to
+      an MS. drawn up by Bach in 1735 which is now in the Berlin Royal
+      Library after being successively in the possession of Carl Philipp
+      Emmanuel, Forkel, and G. P�lchau, the Hamburg teacher of music.
+
+      The original entries in it are stated by Carl P. Emmanuel to be by
+      his father. Forkel also owned a Bach genealogical tree, given him by
+      Carl Philipp Emmanuel; it has disappeared. Traces of it exist in a
+      work published at Pressburg by Johann Matthias Korabinsky in 1784,
+      its insertion being due to the assumption that the Bachs were a
+      Hungarian family.  Forkel shared that error.  See Spitta's Preface
+      on the whole question.  The MS. genealogy of 1735 is published by
+      the New Bachgesellschaft (XVIII. 3) in facsimile.
+
+   21 Veit, in fact, returned to his native village. His name, as has been
+      pointed out, implies a connection with Wechmar that must have dated
+      from infancy.  Moreover, there was living there in 1561 one Hans
+      Bach, an official of the municipality, who may be regarded
+      confidently as Veit's father.
+
+   22 It has been suggested that the name Bach is the sole authority for
+      the statement that Veit was a baker.  But Spitta points out that the
+      vowel in the name is pronounced long and was frequently written
+      BAACH in the seventeenth century, a fact which makes it difficult to
+      associate the word with "Backer" (Baker).
+
+   23 In the Genealogy Johann Sebastian calls the instrument a Cythringen.
+
+   24 Hans Bach (d. Dec. 26, 1626) and (?) Lips Bach (d. Oct. 10, 1620).
+      See infra, Genealogical Tables I. and II. and note to the latter.
+
+   25 The "Stadt Pfeiferei," or official town musical establishment,
+      descended from the musicians' guilds of the Middle Ages and was
+      presided over by the Stadt Musiker, who enjoyed certain ancient
+      privileges and the monopoly of providing the music at open-air
+      festivities. Johann Jakob Brahms, the father of Johannes, was a
+      member of such a corporation at Hamburg, after having served his
+      apprenticeship for five years elsewhere.  See Florence May,
+      _Johannes Brahms,_ vol. i. pp. 48 ff.
+
+   26 See Genealogical Table II.  The three young Bachs were the sons of
+      Lips Bach and, presumably, nephews of Hans the "Spielmann." The
+      youngest of them was named Jonas; the name of another was certainly
+      Wendel.  It is remarkable, in a period in which Italy was regarded
+      as the Mecca of musicians, that exceedingly few of the Bach family
+      found their way thither.  Besides the three sons of Lips Bach, only
+      Johann Nikolaus, 1669-1753 (see Table VI.), Johann Sebastian Bach's
+      son Johann Christian, 1735-82 (see Table VIII.), and Carl P. E.
+      Bach's son Sebastian (see Table VII.) seem to have visited Italy.
+
+   27 i.e. from Veit Bach.  Of the three names Forkel mentions the first
+      two were a generation before Johann Sebastian; the third, Johann
+      Bombard, was of the same generation as Johann Sebastian; none of the
+      three belonged to Johann Sebastian's branch.
+
+   28 Eldest  son of Heinrich Bach (see Table VI.).  Whether he was Court
+      as well as Town Organist at Eisenach cannot be stated positively.
+
+   29 The _Alt-Bachische Archive_ is a collection of the compositions of
+      various members of the family, before and after Johann Sebastian,
+      formed largely by the latter.  From C. P. E. Bach it passed to G.
+      P�lchau and from him to the Berlin Royal Library.
+
+   30 Johann Christoph composed several Motets (see them discussed in
+      Spitta, i. 75 ff.).  The daring work to which Forkel alludes was
+      written about 1680 and is lost.  Though the augmented sixth was then
+      and remained unusual, Johann Christoph's is not the earliest use of
+      it.  Spitta finds it in Giacomo Carissimi (1604-74).
+
+   31 The Cantata ("And there was war in heaven") is analysed by Spitta
+      (i. 44).  The score is unusually full: two five-part choirs; Vn. 1
+      and 2, 4 Violas, Contrabasso, Fagotto, 4 Trombe, Timpani, Organ.  In
+      1726 Johann Sebastian Bach wrote a Cantata for Michaelmas on the
+      same text (Rev. xii. 7).
+
+   32 Spitta (i. 101 n.) characterises the statement as "a mythical
+      exaggeration." In a chapter devoted to the instrumental works of
+      Johann Christoph and his brother he instances a collection of
+      forty-four Organ Chorals by the former, not one of which is in five
+      parts.
+
+   33 In the Bach genealogy already referred to C. P. E. Bach designates
+      Johann Christoph a "great and impressive composer."
+
+   34 A _Lamento_ published under Johann Christoph's name seems actually
+      to have been composed by his father Heinrich (see Pirro, _J.-S.
+      Bach,_ 9 n.). Johann Christoph, however, is the composer of the
+      Motet _Ich lasse dich nicht,_ so often attributed to Johann
+      Sebastian.
+
+   35 See Table VI. He was the father of Johann Sebastian's first wife.
+
+   36 See note, p. 4 supra.
+
+   37 Spitta (i. 59 ff.) mentions twelve Motets by Michael Bach. Several
+      of them are for eight voices.  Forkel probably refers to the most
+      remarkable of Michael's Motets, in which he detects the romantic
+      spirit of Johann Sebastian.  It is set to the words _Unser Leben ist
+      ein Schatten,_ (_Life on earth is but a shadow_).  The first choir
+      consists of 2 S., A., 2 T., B., and the second choir of A. T. B.
+      only. Spitta analyses the work closely (i. 70-72). Novello publishes
+      his five- part Motet _Christ is risen_ with an English text.
+
+   38 He succeeded his cousin Johann Christoph at Eisenach in 1703.
+
+   39 Spitta (i. 24 ff.) mentions four Suites, or Overtures, Clavier
+      pieces, and Organ Chorals as being by him.  That Johann Sebastian
+      Bach highly esteemed the Suites is proved by the fact that he copied
+      the parts of three of them with his own hand at Leipzig.
+
+   40 It is a curious fact that, prior to the career of Johann Sebastian
+      Bach, the composers of the Bach family occur invariably in other
+      branches than his.  With two exceptions, the gift of composition
+      appears to have been possessed, or exercised, solely by Heinrich
+      Bach (see Table VI.), his two sons Johann Christoph and Johann
+      Michael, already discussed, and his grandson, Johann Nikolaus (son
+      of Johann Christoph).  Heinrich Bach was a very productive composer
+      in all forms of musical art employed at that time in church (Sp. i.
+      36).  His grandson, Johann Nikolaus, composed a Mass and a comic
+      operetta (ib., 132 ff.). The only other Bach composer known to
+      Spitta is Georg Christoph, founder of the Franconian Bachs (see
+      Table IV.) and Cantor at Themar and Schweinfurt (ib. 155). The other
+      Bach composer outside Heinrich Bach's branch is Johann Bornhard,
+      already mentioned by Forkel.
+
+   41 In the Quodlibet different voices sang different well-known
+      melodies, sacred and profane, and sought to combine them to form a
+      harmonious whole.  For an example see Variation 30 of the _Aria mit
+      30 Veranderungen_ (Peters' ed., bk. 209 p. 83).  In it Bach combines
+      two popular songs of his period.
+
+   42 See article "Quodlibet" in Grove.
+
+   43 The date is conjectural, and is deduced from the fact that the
+      infant was baptized on March 23.  The Gregorian Calendar was not
+      adopted in Germany until 1701.  Had it been in use in 1685 Bach's
+      birthday would be March 31.
+
+   44 Johann Ambrosius' Court appointment is to be inferred from the fact
+      that in 1684 the Duke refused him permission to return to Erfurt.
+
+   45 See Table IV.
+
+   46 Johann Ambrosius survived his brother by nearly eighteen months.
+
+   47 His mother died in May 1694, and his father in January 1695.  At the
+      latter date Johann Sebastian was three months short of his tenth
+      year.
+
+   48 Excepting Johann Jakob, a lad of thirteen years, Johann Christoph
+      was Bach's only surviving brother, and the only one of the family in
+      a position to look after him.  Johann Jakob accompanied Sebastian to
+      Ohrdruf (Pirro, p. 13) and afterwards apprenticed himself to his
+      father's successor as Town Musician at Eisenach. One of the
+      daughters was already married.  What became of the other is not
+      stated. See Table V.
+
+   49 It is difficult to believe this statement.  That the boy was
+      destined for a musical career by his father hardly can be doubted.
+      That he was of unusual precocity, the story told by Forkel in the
+      text proves.  His father's asserted neglect to instruct him is
+      therefore hardly credible.
+
+   50 Johann Jakob Froberger, born at Halle (date unknown); Court Organist
+      at Vienna, 1637-57; d. 1667.
+
+   51 Johann Caspar Ferdinand Fischer, c. 1660-1738 (actual dates of his
+      birth and death unknown); Kapellmeister to Markgraf Ludwig of Baden
+      at Schloss Schlackenwerth in Bohemia. His _Ariadne Musica
+      Neo-Organoedum_ (1702) was the precursor of Bach's _Das
+      wohltemperirte Clavier._
+
+   52 Johann Caspar Kerl, b. 1628; Kapellmeister in Munich, 1656-74; Court
+      Organist at Vienna, 1677-92; d. 1693.
+
+   53 Johann Pachelbel, b. 1653, d. 1706.  In 1695 he was Organist of St.
+      Sebald's Church, N�rnberg.  His influence upon the organ playing of
+      his generation was enormous.  Bach's brother, Johann Christoph, was
+      his pupil.
+
+   54 Dietrich Buxtehude, b. 1637, d. 1707; Organist (1668) of the
+      Marienkirche, L�beck, and the chief musical influence in North
+      Germany.
+
+   55 Nikolaus Bruhns, b. circ. 1665, d. 1697; a. pupil of Buxtehude;
+      Organist at Husum; the greatest organist of his time after
+      Buxtehude.
+
+   56 Georg B�hm, b. 1661; date of death uncertain (c. 1739); from 1698
+      Organist of the Johanniskirche, L�neburg.
+
+   57 In fact, Johann Christoph did not die until 1721, more than twenty
+      years after Sebastian ceased to be under his roof.
+
+   58 The fact that Johann Christoph survived till 1721 disproves Forkel's
+      statement. The youthful Bach, aged fifteen in 1700, no doubt seized
+      the earliest opportunity to relieve his brother of the charge of
+      him.  Moreover, Johann Christoph's family was increasing (see Table
+      V.).  In spite of the story of Bach's midnight copying, it cannot be
+      questioned that he owed a good deal to his brother, who not only
+      taught him but, presumably, maintained him at the Ohrdruf Lyceum,
+      where Bach acquired a sound education and a considerable knowledge
+      of Latin.  See Pirro, pp. 14-16, on Bach's education at Ohrdruf.  He
+      left the Lyceum in March 1700.
+
+   59 Georg Erdmann, Bach's fellow-pupil at the Lyceum.
+
+   60 Bach's entry into the choir of St. Michael's Convent, L�neburg, took
+      place about Easter 1700.  The step was taken upon the advice of
+      Elias Herda, Cantor at the Ohrdruf Lyceum, himself a former member
+      of St. Michael's.  Bach remained at St. Michael's for three years,
+      till 1703.  The choir library was particularly rich in the best
+      church music of the period, both German and Italian.  Spitta is of
+      opinion that Bach's talents as a violinist and Clavier player were
+      also laid under contribution.  His voice, as Forkel states, soon
+      ceased to be serviceable.  His maximum pay was one thaler (three
+      shillings) a month and free commons.
+
+   61 Probably Georg B�hm, who had relations with the Convent choir,
+      inspired Bach to make the pilgrimage.  B�hm, then at St. John's,
+      L�neburg, was a pupil of Reinken of Hamburg.  Spitta (i. 196)
+      suggests that Bach's cousin, Johann Ernst (see Table IV.), was at
+      this time completing his musical education at Hamburg, a fact which
+      may have contributed to draw Bach thither.  He made more than one
+      visit, on foot, to Hamburg.  F. W. Marpurg published, in 1786, the
+      story, which he received from Bach himself, that on one of his
+      journeys from Hamburg, Bach sat down outside an inn and hungrily
+      sniffed the savours from its kitchen.  His pockets were empty and
+      there seemed little prospect of a meal, when a window was opened and
+      two herring heads were thrown out.  Bach picked them up eagerly, and
+      found in each of them a Danish ducat.  Who was his benefactor he
+      never discovered; the gift enabled him to satisfy his hunger and pay
+      another visit to Hamburg.
+
+   62 Johann Adam Reinken, b. 1623, became Organist of St. Catherine's
+      Church, Hamburg, in 1664, and held the post until his death in 1722.
+
+   63 His introduction to French music marked another step in Bach's
+      progressive education.  The reigning Duke of Celle (father-in-law of
+      George I. of Great Britain and Ireland) had married a Frenchwoman.
+      See Pirro, _J. S. Bach,_ pp. 24-27.
+
+   64 He entered the Weimar service on April 8, 1703 (Pirro, p. 29).
+
+   65 Bach's engagement was in the private band of the younger brother of
+      the Duke.  He remained in his new post only a few months.  He was
+      engaged as a Violin player, and since his interests were towards the
+      Organ and Clavier, it is clear that he accepted the engagement as a
+      temporary means of livelihood.
+
+   66 He is, however, described in July 1703 as Court Organist (Pirro, p.
+      30).  Bach was drawn to Arnstadt chiefly by the fact that the New
+      Church recently had been equipped with a particularly fine Organ
+      (specification in Spitta, i. 224), which existed until 1863.  Bach
+      inaugurated it on July 13, 1703, and entered on his duties as
+      Organist of the church in the following month (Pirro, p. 30).
+
+   67 His earliest Church Cantata (No. 15) was composed here in 1704.  To
+      the Arnstadt period (1703-7) also must be attributed the Capriccio
+      written on the departure of his brother, Johann Jakob (Peters bk.
+      208 p. 62), the Capriccio in honour of his Ohrdruf brother, Johann
+      Christoph (Peters bk. 215, p. 34), the Sonata in D major (Peters bk.
+      215, p. 44), the Organ Prelude and Fugue in C minor (Novello bk. 2
+      p. 48), and the Organ Fugue in C minor (Novello bk. 12 p. 95).
+
+   68 In the _Nekrolog_ C. P. E. Bach and Agricola remark of the Arnstadt
+      period, that Bach then "really showed the first-fruits of his
+      industry in the art of Organ-playing and composition, which he had
+      in great measure learnt only from the study of the works of the most
+      famous composers of the time, and from his own reflections on them"
+      (quoted in Spitta, i. 235).
+
+   69 Bach's stipend at Arnstadt was not inconsiderable, and his duties
+      engaged him only at stated hours on Sundays, Mondays, and Thursdays.
+      He, therefore, had leisure and the means to employ it.  In October
+      1705 he obtained four weeks' leave of absence and set off on foot to
+      L�beck, after leaving an efficient deputy behind him.  He stayed
+      away until February 1706.  On his return the Consistory demanded an
+      explanation of his absence, and took the opportunity to remonstrate
+      with him on other matters.  They charged him "with having been
+      hitherto in the habit of making surprising variationes in the
+      Chorals, and intermixing divers strange sounds, so that thereby the
+      congregation were confounded."  They charged him with playing too
+      long preludes, and after this was notified to him, of making them
+      too short.  They reproached him "with having gone to a wineshop last
+      Sunday during sermon," and cautioned him that, "for the future he
+      must behave quite differently and much better than he has done
+      hitherto" (see the whole charge in Spitta, i. 315 ff.).  Bach also
+      was on bad terms with the choir, whose members had got out of hand
+      and discipline.  Before his L�beck visit he engaged in a street
+      brawl with one of the scholars.  Then, as later, he was a choleric
+      gentleman.  In November 1706 he got into further trouble for having
+      "made music" in the church with a "stranger maiden," presumably his
+      cousin Maria Barbara Bach, then on a visit to Arnstadt; he married
+      her a year later.  Clearly the relations between the Consistory and
+      the brilliant young Organist were becoming difficult, and Bach's
+      migration to M�hlhausen no doubt was grateful to both.  His
+      resignation was made formally on June 29, 1707.
+
+   70 Bach was appointed on June 15, 1707, to succeed Johann Georg Able.
+      M�hlhauson prided itself upon its musical traditions.  Bach's
+      Cantata, No. 71, written in February 1708 for the inauguration of
+      the M�hlhausen Town Council, was engraved (the parts only), the only
+      one of the 206 Cantatas which have come down to us which was printed
+      during Bach's lifetime.  He also composed Cantatas 131 and 196 at
+      Muhlhausen, and perhaps three others. See infra, p. 188.
+
+   71 Bach's petition to the M�hlhausen Consistory for permission to
+      resign his post is dated June 25, 1708, and is printed in full by
+      Spitta, i. 373.  Bach mentions the Weimar post as having been
+      offered to him, but bases his desire to resign the organ of St.
+      Blasius, partly on the ground that his income was inadequate, partly
+      because, though he had succeeded in improving the organ and the
+      conditions of music generally, he saw "not the slightest appearance
+      that things will be altered" for the better.  M�hlhausen, in fact,
+      was a stronghold of Pietism and unsympathetic to Bach's musical
+      ideals.
+
+   72 He was Court Organist and Kammermusikus.  In the latter post Bach
+      was of use as a Violinist and Clavier player.  The Court band, or
+      Kapelle, on special occasions appeared in Hungarian costume, which
+      Bach presumably donned.  His income began at a sum nearly double
+      that he had received at Arnstadt and M�hlhausen.
+
+   73 The character of his employer, Duke Wilhelm Ernst of Saxe-Weimar,
+      must be reckoned a factor in the development of the youthful Bach.
+      The Duke was not only a cultured artist, but was also a man of
+      genuine piety.
+
+   74 Though Bach retouched them in later years and wrote others, it may
+      be stated in general terms that his Organ works were the fruit of
+      the Weimar period, which lasted from 1708 till 1717.
+
+   75 Bach's promotion to the position of Concertmeister had taken place
+      certainly before March 19, 1714, on which date Spitta (i. 517)
+      prints a letter in which Bach gives himself the title.  The increase
+      in his income early in 1714 also supports the conclusion, while a
+      letter of January 14, 1714, written by Bach, is not signed by him as
+      Concertmeister.  It would seem that his promotion took place in the
+      interval between the two letters.  As Concertmeister it was part of
+      his duty to provide Cantatas for the church services.  Twenty-two
+      were written by him at Weimar.  See infra, p. 188, for a list of
+      them.
+
+   76 Friedrich Wilhelm Zachau died on August 7 or 14, 1712.
+
+   77 Spitta (i. 513) infers that, in the later years of the Weimar
+      period, Bach spent part of the autumn of every year in visits to the
+      Courts and larger towns of Germany in order to give Organ recitals
+      and to conduct performances of his Cantatas. Besides the visit to
+      Halle, in 1713, to which Forkel alludes, Bach performed at Cassel in
+      1713 or 1714 before the future Frederick I. of Sweden, who presented
+      him with a ring which he drew from his finger.  Bach's feet, an
+      admirer recorded, "flew over the pedal-board as if they had wings."
+      In December 1714 he visited Leipzig and performed Cantata No. 61,
+      _Nun komm, der Heiden Heiland._  In 1716 he was again invited to
+      Halle, and at about the same time performed at Meiningen. Forkel
+      records the famous contest with Marchand, the French Organist, at
+      Dresden in 1717.
+
+   78 Forkel's brief account follows the _Nekrolog._  Bach was in Halle in
+      the autumn of 1713, a year after Zachau's death.  The latter's post
+      was still vacant and a new and particularly large Organ (sixty-three
+      speaking stops) was being erected.  The authorities pressed Bach to
+      submit himself to the prescribed tests, and he complied so far as to
+      compose a Cantata and to conduct a performance of it.  On his return
+      to Weimar he received a formal invitation to accept the post.  After
+      some correspondence Bach refused it, partly, perhaps chiefly, on the
+      ground that the income was inadequate.  The refusal was answered by
+      the groundless accusation that he had merely entertained the Halle
+      proposal in order to bring pressure upon Weimar for a rise of
+      salary.  The misunderstanding was cleared away by 1716, when Bach
+      visited Halle again.  In the interval Zachau's post had been given
+      to his pupil, Gottfried Kirchhoff.  The whole matter is discussed at
+      length in Spitta, i. 515 ff.
+
+   79 Frederick Augustus I. of Saxony was elected, as Augustus II., to the
+      throne of Poland in 1697. He died In 1733.
+
+   80 Louis Marchand, b. 1669, d. 1732; Organist to the French Court and
+      later of the Church of St. Honor�, Paris.  His arrival in Dresden
+      was due to his being in disgrace at Versailles. Whether or not he
+      was offered a permanent engagement at the Saxon Court, he was
+      regarded as the champion of the French style, and as such the
+      challenge was issued to him by Bach.
+
+   81 Francois Couperin, b. 1668, d. 1733; Organist of St. Gervais, Paris.
+      Forkel's judgment upon his art is not supported by modern criticism.
+
+   82 Bach, however, admired Marchand's compositions sufficiently to give
+      them to his pupils. See Pirro, p. 52.
+
+   83 Jean-Baptiste Volumier, an acquaintance of Bach, according to Spitta
+      (i. 583). Eitner, _Quellen Lexikon._ says that he was born in Spain
+      and educated in France.  Grove's _Dictionary_ declares him a
+      Belgian.  In 1709 he was appointed Concertmeister to the Saxon
+      Court.  He died at Dresden in 1728.
+
+   84 It is more probable that Bach was at Dresden either expressly to
+      hear Marchand or upon one of his autumn tours.
+
+   85 Some years earlier Flemming had witnessed Handel's triumphant
+      descent on the Saxon Court, but had failed to establish friendly
+      relations with him.  See Streatfield's _Handel_, p. 87.
+
+   86 The article on Marchand in Grove gives a different version of the
+      affair, based upon Joseph F�tis (1784-1871).  According to this
+      story of the event, Bach, summoned from Weimar, attended Marchand's
+      concert incognito, and after hearing Marchand perform, was invited
+      by Volumier to take his seat at the Clavier.  Bach thereupon
+      repeated from memory Marchand's theme and variations, and added
+      others of his own.  Having ended, he handed Marchand a theme for
+      treatment on the Organ and challenged him to a contest.  Marchand
+      accepted it, but left Dresden before the appointed hour.
+
+   87 The Prince was brother-in-law of Duke Ernst August of Saxe-Weimar.
+      Bach was, therefore, already known to him and showed the greatest
+      regard for him both at C�then and after he had left his service.
+
+   88 The reason for Bach's migration from Weimar to C�then was his
+      failure to obtain the post of Kapellmeister at the former Court upon
+      the death of Johann Samuel Drese in 1716. The post was given to
+      Drese's son. On August 1, 1717, just before or after his Marchand
+      triumph, Bach was appointed Kapellmeister to the Court of C�then.
+      Duke Wilhelm Ernst refused to release him from his engagement, and
+      Bach endured imprisonment from November 6 to December 2, 1717, for
+      demanding instant permission to take up his new post.  Probably his
+      last work at Weimar was to put the _Orgelb�chlein_ into the form in
+      which it has come down to us (see articles by the present writer in
+      _The Musical Times_ for January-March 1917).
+
+      With his departure from Weimar in 1718 Bach left behind him the
+      distinctively Organ period of his musical fertility.  Though his
+      compositions were still by no means generally known, as a player he
+      held an unchallenged pre-eminence.
+
+   89 He was appointed to C�then on August 1, 1717, and was inducted at
+      Leipzig on May 31, 1723.
+
+   90 The date actually was November 1720.  At C�then Bach had an inferior
+      Organ and little scope for his attainments; his chief duties were in
+      connection with the Prince's band.  The yearning to get back to the
+      Organ, which eventually took him to Leipzig in 1723, shows itself in
+      his readiness to entertain an invitation to Hamburg in 1720.
+
+   91 Three Organ movements by Bach upon Wolfgang Dachstein's melody, _An
+      Wasserfl�ssen Babylon,_ are extant.  See notes upon them and their
+      relation to the Hamburg extemporisation in Terry, _Bach's Chorals,_
+      Part III.
+
+   92 As at Halle in 1713, Bach does not appear to have gone to Hamburg
+      specially to compete for the post of Organist to the Church of St.
+      James, vacant by the death of Heinrich Friese in September 1720.  He
+      was not able to stay to take part in the final tests, nor was he
+      asked to submit to them, since his visit to Hamburg had given him an
+      opportunity to display his gifts.  In the result the post was given
+      to Johann Joachim Heitmann, who acknowledged his appointment by
+      forthwith paying 4000 marks to the treasury of the Church.  See
+      Spitta, ii. 17 ff.
+
+   93 Johann Kuhnau died on June 25, 1722.
+
+   94 On the title-pages of his published works Bach describes himself as
+      "Capellm. und Direct. Chor. Mus. Lips."
+
+   95 Forkel has practically nothing to say regarding the Leipzig period
+      of Bach's musical life.  That a professed historian of music,
+      setting before the public for the first time the life of one whom he
+      so greatly extolled, and with every inducement to present as
+      complete a picture of him as was possible, should have taken no
+      trouble to carry his investigations beyond the point C. P. E. Bach
+      and Agricola had reached in the _Nekrolog_ of 1754 is almost
+      incredible.  The only reason that can be adduced, apart from the
+      lack of a really scientific impulse, is that Forkel was almost
+      entirely ignorant of the flood of concerted church music which
+      poured from Leipzig from 1723 to 1744.  His criticism of Bach as a
+      composer is restricted practically to Bach's Organ and Clavier
+      works.
+
+   96 On November 19, 1728.  Latterly his interest in music had waned.
+      The fact, along with Bach's concern for the education of his sons
+      and his desire to return to the Organ, explains his abandonment of
+      the more dignified C�then appointment.
+
+   97 The score of this work was in Forkel's possession, but was missing
+      from his library in 1818 and was assumed to be lost until, in 1873,
+      Rust was able to show that Bach used for the occasion certain
+      choruses and Arias from the _St. Matthew Passion,_ which he was then
+      writing, with the first chorus of the _Trauer-Ode_ as an opening of
+      the extemporised work.  See Spitta, ii. 618; Schweitzer, ii. 208.
+
+   98 In 1723 he received the title Hochf�rstlich Weissenfelsische
+      wirkliche Kapellmeister and retained it till his death.  He retained
+      also his C�then appointment.
+
+   99 Augustus III. Bach had petitioned for the appointment in a letter
+      dated July 27, 1733 (Spitta, iii. 38), forwarding a copy of the
+      newly-written Kyrie and Gloria of the B minor Mass.
+
+  100 There does not appear to be any ground for the suggestion that the
+      post of Hofcomponist to the Dresden Court was attached ex officio to
+      the St. Thomas' Cantorate.  Bach applied for it in 1733, taking
+      advantage of the recent accession of the new sovereign, Augustus
+      III., in February 1733.
+
+  101 Friedemann was then at Halle.
+
+  102 May 7, 1747, according to Spitta, quoting Friedrich Wilhelm
+      Marpurg's _Historisch-kritische Beytr�ge zur Aufnahme der Musik,_
+      which appeared in 5 vols. between 1754-1778.  On the other hand,
+      Spener, who first records the event, states briefly: "May 11,1747.
+      His Majesty was informed that Kapellmeister Bach had arrived in
+      Potsdam, and that he was in the King's ante-chamber, waiting His
+      Majesty's gracious permission to enter, and hear the music.  His
+      Majesty at once commanded that he should be admitted" (Spitta, iii.
+      231 n.).  If the Marpurg and Spener dates are reliable, it looks as
+      though Friedemann's story of his father, travel-stained and weary,
+      being hurried incontinent into the presence of the King is a piece
+      of picturesque embroidery.
+
+  103 Clearly this was a story that Wilhelm Friedemann prided himself on
+      the telling, and Forkel's remark suggests the need for caution in
+      accepting all its details.  Frederick's courtesy to Bach, however,
+      tends to discredit the story that ten years earlier (1737) Handel
+      deliberately refused to meet the King at Aix-la-Chapelle owing to
+      the peremptoriness of his summons.  Mr. Streatfleld (p. 145) also
+      shows that Frederick was not at Aix until 1741, when Handel was
+      writing the _Messiah_ in London.
+
+  104 Gottfried Silbermann, a pioneer of the modern pianoforte.  Bach was
+      already familiar with his Claviers with hammer action, and indeed
+      had offered useful criticism of which Silbermann had taken
+      advantage. See Spitta, ii. 46.
+
+  105 * The pianofortes manufactured by Silbermann, of Freiberg, pleased
+      the King so much, that he resolved to buy them all.  He collected
+      fifteen.  I hear that they all now stand, unfit for use, in various
+      corners of the Royal Palace.  [Robert Eitner, in 1873, found one of
+      the pianos in Frederick the Great's room at Potsdam.]
+
+  106 According to another account, which Spitta (iii. 232) follows, Bach
+      played before a large congregation in the Church of the Holy Spirit,
+      Potsdam. The King does not appear to have been present. The
+      extemporisation of the six-part Fugue took place in Frederick's
+      presence on the evening of that day.
+
+  107 Bach's letter to Frederick accompanying the gift is dated 7th July
+      1747. He calls it "a musical offering, of which the noblest portion
+      is the work of Your Majesty's illustrious hand."  In addition to
+      Forkel's analysis it contains a Sonata for Flute, Violin, and
+      Clavier, and a canon perpetuus for the same three instruments.
+
+  108 John Taylor (1703-72), oculist to George II.  The operation took
+      place in the winter of 1749-50. Taylor is said to have operated on
+      Handel in 1751 (see the article on him in the _Dict. Nat.
+      Biography._).  Streatfield (_Handel,_ p. 212), however, does not
+      mention Taylor, and his account suggests that Samuel Sharp, of Guy's
+      Hospital, was the operator in Handel's case.
+
+  109 The actual date was July 28, at 8.45 P.M. Bach was working to the
+      very moment of his collapse on July 18.  Probably his last work was
+      the Choral Prelude (Novello bk. xvii. 85) on the melody _Wenn wir in
+      h�chsten N�then sein._  Facing eternity, he bade his son-in-law,
+      Altnikol, inscribe the movement with the title of the Hymn, _Vor
+      deinen Thron tret ich hiemit,_ whose first stanza filled his mind:
+
+      Before Thy throne, my God, I stand,
+      Myself, my all, are in Thy hand.
+
+      An addendum to the Genealogy, in C. P. E. Bach's hand, gives July 30
+      as the date of his father's death.
+
+  110 July 18.
+
+  111 See Genealogical Tables VII. and VIII.
+
+  112 The statement is misleading.  Of the five sons of the first
+      marriage, two were famous, two died in infancy, and the fifth
+      abandoned a promising musical career for the law. Of the six sons of
+      the second marriage, one was imbecile, three died in infancy, two
+      were famous.
+
+  113 See Introduction, p. XXI, supra.
+
+  114 In view of Bach's memorial of August 23, 1730 (infra), this seems to
+      be  the meaning of the resolution.
+
+_  115 Steigt freudig in die Luft,_ first performed at C�then, set to a
+      new text, _Schwingt freudig euch empor._
+
+  116 The well-known portrait by C. F. Rr. Liszewski in the Joachimsthal
+      Gymnasium, Berlin, was painted in 1772, twenty-two years after
+      Bach's death.  It represents him at a table with music-paper before
+      him and an adjacent Clavier.  Pirro uses for his frontispiece a
+      portrait by Geber, which bears no resemblance whatever to the
+      Haussmann or Volbach pictures.  Mention must also be made of a
+      singularly engaging picture of Bach at the age of thirty-five.  It
+      hangs in the Eisenach Bach Museum and is by Johann Jak. Ihle.  It is
+      reproduced as the frontispiece of this volume.
+
+  117 His _Versuch �ber die wahre Art des Klavier zu spielen_ was
+      published (Part I.) in 1753.
+
+  118 Forkel's meaning can be made clear in the following manner: place
+      the thumb and fingers of either hand upon the notes C D E F G of the
+      pianoforte so that the three middle fingers lie more or less flat
+      upon the keys; then draw back the three middle fingers until they
+      form an arch having their tips approximately in a straight line with
+      the tips of the thumb and little finger upon the keys.
+
+  119 It must be remembered that Forkel is speaking of the Clavier and not
+      of the Pianoforte.
+
+  120 The Harpsichord, as its name implies, was an instrument whose
+      strings were plucked by a plectrum. Bach preferred the older
+      Clavier, or Clavichord, which could be regulated, as the other could
+      not, by nicety of touch. See note, p. 68, infra.
+
+  121 Schweitzer (i. 208) points out that Bach's touch was modern, in that
+      he realised that "singing tone" depends not only upon the manner in
+      which the keys are struck, but, to a great extent, on the regulation
+      of their ascent.
+
+      Of Handel's touch, Burney writes (quoted by Rockstro, p. 349): "His
+      touch was so smooth, and the tone of the instrument so much
+      cherished, that his fingers seemed to grow to the keys.  They were
+      so curved and compact when he played, that no motion, and scarcely
+      the fingers themselves, could be discovered."
+
+  122 At the beginning of the seventeenth century, as Spitta points out
+      (ii. 34), the art of fingering had not developed.  Speaking
+      generally, neither thumb nor little finger was employed.  It was not
+      until the beginning of the eighteenth century that a scientific
+      method emerged, a development rendered necessary by the advance in
+      the modes of musical expression.  C. P. E. Bach, quoted by
+      Schweitzer (i. 206), puts this concisely: "My late father told me
+      that in his youth he had heard great men who never used the thumb
+      except when it was necessary to make big stretches.  But he lived in
+      an epoch when there came about gradually a most remarkable change in
+      musical taste, and therefore found it necessary to work out for
+      himself a much more thorough use of the fingers, and especially of
+      the thumb, which, besides performing other good services, is quite
+      indispensable in the difficult keys, where it must be used as nature
+      intends."
+
+  123 According to Mr. Arnold Dolmetsch, Clavichords with special strings
+      for each note (bundfrei) were known in Bach's time.
+
+  124 In the _Essay_ already referred to.  For a discussion of Couperin's
+      method see Spitta, ii. 37 ff.
+
+  125 For instance, the Rondeau in B flat in Anna Magdalena's _Noten-
+      buch_ (No. 6) (1725) is by Couperin.
+
+  126 No doubt the friend who prepared this trap for Bach was Johann
+      Gottfried Walther.  His compositions frequently were characterised
+      by intricacy.
+
+  127 Mozart had the same gift.  When visiting St. Thomas' School in 1789,
+      he heard with astonishment a performance of Bach's Motet, _ Singet
+      dem Herrn ein neues Lied._ "At the conclusion he expressed his
+      delight, and said, 'Now that is something from which a man may
+      learn.'  On being informed that Bach was Cantor to this school, and
+      that his Motets were venerated there as reliques, he was eager to
+      see them.  No score being to be obtained, they handed him the
+      separate parts, and it was interesting to observe his manner of
+      reading them, holding some in his hands, some on his knees, placing
+      some on chairs around him; seeming thoroughly lost to everything,
+      and not rising till he had thoroughly satisfied his curiosity"
+      (Holmes, _Life of Mozart,_ ed. Dent, p. 251).
+
+  128 There were in Bach's time three "Clavier" instruments in use. The
+      oldest, the Clavichord, as a rule, had two strings to every note,
+      set in motion by a "tangent" striking them from below.  Its
+      advantage was that it permitted the tone to be regulated by the
+      touch.  For that reason, though its tone was weak, Bach preferred
+      it.  The Clavicembalo, or Harpsichord, as it is called in the text,
+      was in general known as the "Fl�gel," the strings being plucked, or
+      flipped by a quill or metal pin, after the manner of the modern
+      mandoline. The third instrument was the "piano e forte," or
+      Hammerclavier. The Clavicembalo was also built with two keyboards,
+      like an Organ, and a pedal-board provided with strings.  It was for
+      this instrument that the so-called Organ Sonatas of Bach were
+      written.  He possessed five Clavicembali, but not a single
+      Clavichord at the time of his death. For that reason it has been
+      questioned whether Forkel is accurate in stating that Bach preferred
+      the latter instrument. See Schweitzer, i. 200 ff.
+
+  129 Peters bk. 207 p. 4.
+
+  130 The truth of this remark is very evident in the _Orgelb�chlein._
+
+  131 Forkel writes as though he were in a position by personal knowledge
+      to compare the gifts of Bach and his son.  In fact he was born in
+      1749 and was less than two years old when Bach died.
+
+  132 On Bach's use of the stops see Spitta, i. 394 ff., and Pirro's
+      _L'Orgue de J.-S. Bach._
+
+  133 Johann Joachim Quantz, b. 1697; flute player and composer; taught
+      Frederick the Great the flute; settled at Berlin as Kammer-musikus
+      and Court Composer; d. 1773.
+
+  134 The _Nekrolog_ sums up more briefly than Forkel, in a judgment
+      which, without doubt, is the very truth: "Bach was the greatest
+      Organ player that had yet been known."
+
+  135 Johann Adolph Scheibe, a native of Leipzig, was an unsuccessful
+      candidate for the Organistship of St. Thomas' Church in 1729.  Bach
+      was one of the judges.  In 1737 Scheibe published in the "Kritische
+      Musikus" a criticism of Bach which, while doing justice to his
+      powers as an organist, characterised his compositions as "turgid and
+      confused in character."  Bach was incensed by the criticism and
+      asked his friend, Professor Birnbaum of Leipzig, to answer it.
+      Scheibe replied in 1739, with a wholly unjustified challenge of
+      Bach's general education and culture. In his "Phoebus and Pan,"
+      performed in 1731, Bach had already had the satisfaction of
+      representing Scheibe as "Midas" and calling him an ass.  On the
+      whole matter see Schweitzer, i. 178 ff. and Spitta, iii. 252.
+      Scheibe conducted the Court orchestra at Copenhagen from 1742-49 and
+      died there in 1776.
+
+  136 Georg Andreas Sorge, "Court and Town Organist to the Count of Reuss
+      and Plau at Lobenstein," in his dedication thus commended Bach: "The
+      great musical virtue that Your Excellency possesses is embellished
+      with the excellent virtue of affability and unfeigned love of your
+      neighbour." See Schweitzer, i. 155.
+
+  137 The following passage from the Autobiography of Hector Berlioz (ed.
+      Dent, p. 11) is relevant: "My father would never let me learn the
+      piano; if he had, no doubt I should have joined the noble army of
+      piano thumpers{~HORIZONTAL ELLIPSIS~}Sometimes I regret my ignorance, yet, when I think of
+      the ghastly heap of platitudes for which that unfortunate piano is
+      made the daily excuse--insipid, shameless productions, that would be
+      impossible if their perpetrators had to rely, as they ought, on
+      pencil and paper alone--then I thank the fates for having forced me
+      to compose silently and freely by saving me from the tyranny of
+      finger-work, that grave of original thought."
+
+  138 Antonio Vivaldi, A. 1743; a master of form.  That fact turned the
+      attention of German composers to him; while the popularity of his
+      Violin Concertos also attracted musicians, like Bach, whose work at
+      C�then was in close association with the Court Kapelle or band.
+
+  139 Bach re-wrote sixteen Vivaldi Violin Concertos for the Clavier, four
+      of them for the Organ, and developed one into a Concerto for four
+      Claviers and a quartet of strings which Forkel enumerates ( infra,
+      p. 132) as a composition of Bach's (Peters bk. 260). Bach learnt
+      from Vivaldi "clearness and plasticity of musical structure." See
+      article _Vivaldi_ in Grove; Spitta, i. 411 ff; Schweitzer, i. 192
+      ff.  The Vivaldi Clavier Concertos are in Peters bk. 217; the Organ
+      Concertos in Novello bk. 11. Not all these transcriptions are based
+      on Vivaldi. See Schweitzer, i. 193.
+
+  140 Girolamo Frescobaldi, b. 1583, d. 1644; Organist of St. Peter's,
+      Rome.
+
+  141 Delphin Strungk, b. 1601, d. 1694; Organist of St. Martin's,
+      Brunswick; composed for the Organ.
+
+  142 Purcell should be added to those whom Forkel mentions as Bach's
+      models. See infra, p. 261.
+
+  143 * See Kirnberger's "Kunst des reinen Satzes," p. 157. [The work was
+      published in two volumes at Berlin in 1771, 1776.]
+
+  144 Transitus regularis= a passing note on the unaccented portions of
+      the bar; transitut irregularis=a passing note on the accented part
+      of the bar.
+
+  145 Spitta (iii. 315 ff. ) prints a treatise by Bach, _Rules and
+      Instructions for playing Thorough-bass or Accompaniment in Four
+      Parts,_ dated 1738. Rule 3 of chap. vi. states: "Two fifths or two
+      octaves must not occur next one another, for this is not only a
+      fault, but it sounds wrong.  To avoid this there is an old rule,
+      that the hands must always go against one another, so that when the
+      left goes up the right must go down, and when the right goes up the
+      left must go down."
+
+  146 Actually the third beat of the fourth bar from the end. P. bk. 1 p.
+      37 Fugue no. 9.
+
+  147 Forkel edited the _Wohltemperirte Clavier_ for Hoffmeister in 1801.
+
+  148 The rule is not in the _Rules and Instructions_ already referred to.
+
+  149 Suite No. 6, in D minor (P. bk. 204 p. 84).
+
+  150 * Many people hold the opinion that the best melody is one which the
+      largest number of persons can understand and sing.  But this cannot
+      be admitted, for if it were true, popular airs which are sung up and
+      down the country by all classes, even the lowest, must be accounted
+      the finest and best.  I should be inclined to state the proposition
+      conversely: a melody which attracts everybody is invariably of the
+      most ordinary kind.  In that form the statement might, perhaps, pass
+      as a principle.
+
+  151 Forkel alludes to the _Goldberg Variations_ (P. bk. 209).
+
+  152 P. bks. 205, 206.
+
+  153 P. bks. 203, 204.
+
+  154 P. bk. 207.
+
+  155 Bach wrote three Suites (Partita) and three Sonatas for Solo Violin.
+      They date from about 1720 and are in the keys of G minor, B minor, A
+      minor, D minor, C major, and E major (P. bk. 228).  The six
+      Violoncello Suites date from the same period and are in G major, D
+      minor, C major, E flat major, C minor, and D major (P. bks. 238a,
+      238b).
+
+  156 Reinhard Keiser, b. 1673, d. 1739; scholar of the Leipzig
+      Thomas-schule; settled at Hamburg, 1694; composed a number of
+      Operas, and for a time had a great vogue.
+
+  157 It was precisely his agreeable operatic Arias that expressed
+      Handel's genius in the eyes of his generation.  With rare exceptions
+      that branch of his work is obsolete and his cult survives mainly in
+      the _Messiah,_ which supports his quite posthumous reputation as
+      "musician in ordinary to the Protestant religion." See Mr. R. A.
+      Streatfield's _Handel,_ Introduction.
+
+  158 Schweitzer advances the opinion, which may perhaps be challenged,
+      that inevitable and natural as Bach's melodies are, they do not give
+      the impression of "effortless invention."  Bach, he holds, worked
+      like a mathematician, who sees the whole of a problem at once, and
+      has only to realise it in definite values.  Hence, he agrees with
+      Spitta, Bach's way of working was quite different from Beethoven's.
+      With Beethoven the work developed by means of episodes that are
+      independent of the theme.  With Bach everything springs with
+      mathematical certainty from the theme itself. See Schweitzer (i.
+      211) on Bach's methods of working.
+
+  159 Johann Sebastian Bach's _Vierstimmige Choralges�nge_ were published
+      in 1765 and 1769.  C. P. E. Bach was concerned only with the first
+      volume.  Forkel perhaps refers to an edition of the _Choralges�nge _
+      issued by Breitkopf in four parts at Leipzig in 1784, 1785, 1786,
+      and 1787, and edited by C. P. E. Bach.
+
+  160 Forkel indicates the period 1720-1750.  But in 1720 Bach had already
+      completed the _Orgelb�chlein_ and the greater part of his Organ
+      works.
+
+  161 * There are people who conclude that Bach merely perfected harmony.
+      But if we realise what harmony is, a means to extend and emphasise
+      musical expression, we cannot imagine it apart from melody.  And
+      when, as in Bach's case, harmony is actually an association of
+      melodies, such a view becomes the more ridiculous.  It might perhaps
+      be reasonable to say of a composer that his influence was restricted
+      to the sphere of melody, because we may get melody without harmony.
+      But there cannot be real harmony without melody.  Hence the composer
+      who has perfected harmony has influenced the whole, whereas the
+      melodist has left his mark only on a fraction of his art.
+
+  162 As has been pointed out already (supra, p. 14) Bach's earliest
+      church Cantatas date from the Arnstadt period.
+
+  163 The statement certainly needs a caveat.  No composer of his period
+      studied his text more closely or reverently than Bach.  No one, on
+      the other hand, was more readily fired by a particular word or image
+      in his text to give it sometimes irrelevant expression.
+
+  164 Of Bach's church Cantatas 206 have survived.  In only 22 of them
+      does Bach fail to introduce movements based upon the Lutheran
+      Chorals.
+
+  165 We must attribute to Forkel's general ignorance of Bach's concerted
+      church music his failure to comment upon a much more remarkable
+      feature of the recitatives, namely, their unique treatment of the
+      human voice as a declamatory medium, a development as remarkable as
+      Wagner's innovations in operatic form a century later.
+
+  166 It was not the imperfections of the choir but the indifference of
+      Bach's successors at St. Thomas', Leipzig, that was chiefly
+      responsible for the neglect of his Cantatas in the latter half of
+      the eighteenth century.  Johann Friedrich Doles (1716-89) was the
+      only Cantor who realised the greatness of his predecessor's
+      concerted church music.
+
+  167 The _Trauer-Ode_ was performed on October 17, 1727.  Bach finished
+      the score two days before the performance!  A parallel case is that
+      of Mozart, who finished the overture of _Don Giovanni_ on the
+      morning of the first performance of the Opera, and actually played
+      it unrehearsed that evening.
+
+  168 It has been pointed out already that Bach used the _St. Matthew
+      Passion_ music, set to other words, for the occasion. No. 26 ("I
+      would beside my Lord be watching") was sung to the words "Go,
+      Leopold, to thy rest"!
+
+  169 Of the 206 surviving Cantatas, 172 were written for the Leipzig
+      choir.
+
+  170 Forkel's knowledge is very incomplete.
+
+  171 Elsewhere Forkel mentions only one of the secular Cantatas.
+
+  172 There is a tradition that Bach wrote a comic song, _Ihr Sch�nen,
+      h�ret an,_ which was widely current about the time of his death
+      (Spitta, iii. 181 n.). The Aria, _So oft ich meine Tabakspfeife,_ in
+      A. M. Bach's _Notenbuch_ of 1725, should be mentioned.  See B. G.
+      xxxix. sec. 4.
+
+  173 Bach's method has come down to us in treatises by two of his pupils,
+      C. P. E. Bach's _Essay_ and Kirnberger's _Die Kunst des reinen
+      Satzes in der Musik,_ to which reference has been made already.
+
+  174 Supra, p. 60.
+
+  175 Bach wrote eighteen Preludes for Beginners.  They are all in P. bk.
+      200.
+
+  176 Most of these movements, which Bach called indifferently
+      "Inventions" (ideas) and "Praeambula" (Preludes), were written in
+      1723. They are in P. bk. 201.
+
+  177 Heinrich Nikolaus Gerber, who was Bach's pupil from 1724 to 1727,
+      particularly emphasises this feature of Bach's teaching.
+
+  178 See on the whole matter Spitta, iii. 117 ff. Bach's method is
+      illustrated by his _Rules and Instructions_ (1738) printed by
+      Spitta, iii. 315 ff., and also by the _Einige h�chst n�thinge
+      Regeln_ at the end of A. M. Bach's _Notenbuch_ (1725).
+
+  179 Mozart wrote as follows to a correspondent who asked him what his
+      method of composition was: "I can really say no more on this subject
+      than the following; for I myself know no more about it, and cannot
+      account for it. When I am, as it were, completely myself, entirely
+      alone, and of good cheer--say, travelling in a carriage, or walking
+      after a good meal, or during the night when I cannot sleep; it is on
+      such occasions that my ideas flow best and most abundantly. _Whence_
+      and _how_ they come, I know not; nor can I force them. Those ideas
+      that please me I retain in memory, and am accustomed, as I have been
+      told, to hum them to myself.  If I continue in this way, it soon
+      occurs to me how I may turn this or that morsel to account, so as to
+      make a good dish of it, that is to say, agreeably to the rules of
+      counterpoint, to the peculiarities of the various instruments, etc.
+      All this fires my soul, and, provided I am not disturbed, my subject
+      enlarges itself, becomes methodised and defined, and the whole,
+      though it be long, stands almost complete and finished in my mind,
+      so that I can survey it, like a fine picture or a beautiful statue,
+      at a glance.  Nor do I hear in my imagination the parts
+      successively, but I hear them, as it were, all together.  What a
+      delight this is I cannot tell!{~HORIZONTAL ELLIPSIS~}When I proceed to write down my
+      ideas, I take out of the bag of my memory, if I may use that phrase,
+      what has previously been collected into it in the way I have
+      mentioned.  For this reason the committing to paper is done quickly
+      enough, for everything is, as I said before, already finished; and
+      it rarely differs on paper from what it was in my imagination"
+      (Life, ed. Dent, p. 255).
+
+      Wagner, writing in 1851 to Uhlig, who could not understand how the
+      libretto of _Young Siegfried_ could be set to music, expresses the
+      same idea as Mozart: "What you cannot possibly imagine is a-making
+      of itself!  I tell you, the musical phrases build themselves on
+      these verses and periods without my having to trouble at all;
+      everything springs as if wild from the ground" (Life, trans. Ellis,
+      iii. p. 243).
+
+      Schumann writes in 1839: "I used to rack my brains for a long time,
+      but now I scarcely ever scratch out a note.  It all comes from
+      within, and I often feel as if I could go on playing without ever
+      coming to an end" (Grove, vol. iv. p. 353).
+
+  180 Angela Berardi's _Documenti armonici. Nelli quali con varii
+      discorsi, regole, ed essempii si dimonstrano gli studii arteficiosi
+      della musica_ was published at Bologna in 1687.
+
+  181 Giovanni Maria Buononcini, b. c. 1640, d. 1678; Maestro di Capella
+      at Modena; published his _Musico prattico_ at Bologna in 1673, 1688.
+
+  182 Johann Joseph Fux, b. 1660, d. 1741; Kapellmeister at Vienna;
+      published his _Gradus ad Parnassum_ at Vienna in 1725.
+
+  183 See supra, p. 74.
+
+  184 * I speak here only of those pupils who made music their profession.
+      But, besides these, Bach had a great many other pupils.  Every
+      dilettante in the neighbourhood desired to boast of the instruction
+      of so great and celebrated a man.  Many gave themselves out to have
+      been his pupils who had never been taught by him.
+
+  185 See Spitta, i. 522; Schweitzer, i. 214 for farther details regarding
+      Vogler, who died circ. 1765.
+
+  186 Gottfried August Homilius, b. 1714, d. 1785; pupil of Bach, circ.
+      1735.  Cantor of the Kreuzschule, Dresden.
+
+  187 Christoph Transchel (1721-1800) taught music at Leipzig and Dresden;
+      Bach's pupil and friend, circ. 1742.  See Spitta, iii. 245.
+
+  188 Johann Gottlieb (or Theophilus) Goldberg, clavicenist to Count
+      Kaiserling (infra, p. 119) for whom Bach wrote the so-called
+      _Goldberg Variations._ He was born circ. 1720 and was a pupil of
+      Bach from 1733-46.
+
+  189 Johann Ludwig Krebs, b. 1713, d. 1780; Bach's pupil, 1726-35. Bach
+      said of him that he was "the best crab (Krebs) in the brook (Bach)."
+
+  190 Johann Christoph Altnikol, d. 1759.
+
+  191 Johann Friedrich Agricola, b. 1720, d. 1774; pupil of Bach circ.
+      1738-41; Director of the Royal Chapel, Berlin.
+
+  192 Pier Francesco Tosi, b. circ. 1650; singing master in London. His
+      _Opinioni de' canton antichi e moderni, o sieno osservazioni sopra
+      il canto figurato_ was published at Bologna in 1723.
+
+  193 Johann Gottfried M�thel, b. circ. 1720, d. circ. 1790; pupil of Bach
+      in 1750 and resident in his house at the time of his death; organist
+      of the Lutheran Church, Riga.
+
+  194 Johann Philipp Kirnberger, b. 1721, d. 1783; Bach's pupil, 1739-41.
+
+  195 Louisa Amalia, of Brunswick-Wolfenb�ttel, wife of Frederick the
+      Great's brother, and mother of his successor, Frederick William II.
+      (1786-97).
+
+  196 The second work was published in 1773 at Berlin. For the first, see
+      supra, p. 74.
+
+  197 Johann Christian Kittel, b. 1732, d. 1809; one of Bach's latest
+      pupils; Organist of the Predigerkirche, Erfurt.  He is said to have
+      possessed a portrait of his master and to have rewarded his pupils
+      for good playing by drawing the curtain which usually covered the
+      picture and permitting them to look upon it.  It is, perhaps, the
+      portrait, recently discovered by Dr. Fritz Volbach, which is
+      reproduced at p. 92 of this volume.
+
+  198 Nothing seems to be known of him.
+
+  199 Johann Martin Schubart succeeded Bach at Weimar in 1717.  He was
+      born in 1690 and died in 1721. See Spitta, i. 343.
+
+  200 In addition to those mentioned by Forkel, the following pupils of
+      Bach are known: Johann Gotthilf Ziegler, of St. Ulrich's Church,
+      Halle; J. Bernhard Bach, of Ohrdruf; Heinrich Nikolaus Gerber,
+      Organist at Sondershausen; Samuel Anton Bach, of Meiningen; Johann
+      Ernst Bach, of Saxe-Weimar; Johann Elias Bach, Cantor at
+      Schweinfurt; Johann Tobias Krebs, organist at Buttelst�dt, and his
+      sons, Johann Ludwig, Johann Tobias, and Johann Carl; Johann
+      Schneider, organist of St. Nicolas', Leipzig; Georg Friedrich
+      Einicke, Cantor at Frankenhausen; Johann Friedrich Doles, Bach's
+      second successor in the Cantorate of St. Thomas'; Rudolph Straube,
+      who afterwards settled in England; Christoph Nichelmann, cembalist
+      to Frederick the Great; Christian Gr�bner, and Carl Hartwig.
+
+      For full information upon Bach's pupils see Spitta, i. 522 ff., ii.
+      47 ff., iii. 116 ff., 239 ff., and the relative articles in Grove's
+      _Dictionary._
+
+  201 Forkel does not do justice to his friend.  C. P. E. Bach is
+      recognised as the immediate precursor of Haydn and as the link
+      between the latter and J. S. Bach.
+
+  202 Mozart had a very particular regard for him.  See Schweitzer i. 220
+      on his brothers' abilities as composers.
+
+  203 Spitta (iii. 262) quotes a characteristic anecdote.  To some one who
+      praised his skill on the Organ Bach replied: "There is nothing
+      wonderful about it.  You merely strike the right note at the right
+      moment and the Organ does the rest."
+
+  204 See supra, p. 19.  Bach himself certainly was the challenger.
+
+  205 When Handel was at Venice in 1708, Domenico Scarlatti, hearing a
+      stranger touching the Harpsichord at a masquerade, exclaimed, "That
+      must either be the famous Saxon or the Devil" (Rockstro's _George
+      Frederick Handel,_ p. 48).  Streatfield (p. 145) mentions a similar
+      event which took place in 1737.  Hearing a stranger playing a Fugue
+      in one of the Flemish churches, the organist embraced him, saying,
+      "You can be no other but the great Handel."
+
+  206 Heinrich Lorenz Hurlebusch was organist of three churches in
+      Brunswick.  His visit to Bach took place in 1730, seemingly.  See
+      Schweitzer, i. 154.
+
+  207 Schweitzer prints an appreciation of Hurlebusch which suggests that
+      he was a man of distinct ability and "a paragon of politeness."
+
+  208 Antonio Caldara, b. circ. 1670; vice-Kapellmeister at Vienna,
+      1716-36; d. 1736.
+
+  209 Johann Adolph Hasse, b. 1699, d. 1783; Kapellmeister and Director of
+      the Opera, Dresden.
+
+  210 Johann Gottlieb Graun, b. circ. 1698, d. 1771; conductor of the
+      royal Kapelle, Berlin.
+
+      Carl Heinrich Graun, b. 1701, d. 1759; like his brother, in
+      Frederick the Great's service.
+
+  211 Georg Philipp Telemann, b. 1681, d. 1767; Cantor and Musik-direktor
+      in Hamburg.
+
+  212 Johann Dismas Zelenka, b. 1679 or 1681, d. 1745; Court Composer at
+      Dresden.
+
+  213 Franz Benda, b. 1709, d. 1786; Concertmeister to Frederick the Great
+      upon the death of J. G. Graun.
+
+  214 On Telemann's influence on Bach see Spitta, ii. 437.
+
+  215 Handel's second visit to Halle took place in June 1729.  His
+      mother's illness detained him.  See Streatfield, p. 110.
+
+  216 Handel's third visit took place in July-August 1760.  He was laid up
+      by a severe accident in the course of it, and appears to have not
+      recovered from it at the time of Bach's death.
+
+  217 Faustina Bordoni, b. 1693, d. 1783; m. Hasse in 1730.  She was one
+      of the most famous singers of the day.
+
+  218 The original has "Liederchen."
+
+  219 See supra, p. 37.  Compare Handel's case.  He received a royal
+      pension of �600 per annum, and though he was twice a bankrupt, left
+      �20,000.
+
+  220 The Duke was the nephew of, and succeeded, Duke Wilhelm Ernst in
+      1728.
+
+  221 The Canonic Variations on the melody are published by Novello bk.
+      19, p. 73. For the Mizler Society, see supra, p. xxiv.
+
+  222 Spitta (iii. 294) regards the statement as incorrect and holds that
+      the work was engraved before Bach joined Mizler's Society in June
+      1747.  Pirro (p. 215) supports Spitta and regards the Variations as
+      having been engraved at N�rnberg "vers 1746."
+
+  223 The first of Bach's works to be engraved was the M�hlhausen Cantata,
+      _Gott ist mein K�nig,_ (parts only).  It was published in 1708, when
+      Bach was twenty-three years old.  Forkel refers to Partita I. in the
+      first Part of the _Clavier�bung_ (P. bk. 205 p. 4).  It was engraved
+      in 1726, when Bach was forty-one years old.  In 1731 he republished
+      it, with five others that had appeared in the interval, in the first
+      Part of the _Clavier�bung_ (P. bks. 205, 206).
+
+  224 Forkel's rather casual critical axioms seem to be as follows:
+      "Publication postulates excellence"; "An amended MS. implies that
+      the original text was not a finished work of art."
+
+  225 It was the first work engraved by Bach himself, though the parts of
+      the Cantata  _Gott ist mein K�nig_ had been published by the Town
+      Council at M�hlhausen in 1708.
+
+  226 The work was published at Leipzig "in Commission bey Boetii Seel,
+      hinderlassenen Tochter, unter den Rath-hause."  The Suites, or
+      Partitas (P. bks. 205, 206), are in B flat major, C minor, A minor,
+      D major, G major, E minor.
+
+  227 In 1801 Hoffmeister and K�hnel unsuccessfully attempted to publish
+      Bach's works by subscription.
+
+  228 The Partita in B minor (P. bk. 208 p. 20).
+
+  229 The work was published in 1735.  The Italian Concerto in F major is
+      published by Novello and P. bk. 207.
+
+  230 The work appeared in 1739.  It was intended to contain works for the
+      Organ only; the four Duetti are incongruous and seem to have crept
+      in by mistake.  See the scheme of the work discussed in Terry,
+      _Bach's Chorals,_ Part III.  The Choral Preludes are in Novello's
+      ed., bk. xvi.
+
+  231 The work was published circ. 1747-50.  Five of the six movements
+      certainly, and the sixth with practical certainty, are adaptations
+      to the Organ of movements out of Bach's Church Cantatas.  See Parry,
+      _Bach,_ p. 535.  The Chorals are in Novello's ed., bk. xvi.
+
+  232 See supra, p. 65.
+
+  233 Thus the pedal sounds above the part given to the second manual and
+      is often the topmost part.  See Novello's ed., bk. xvi. 4.
+
+  234 Published circ. 1742; the so-called "Goldberg Variations." They are
+      in P. bk. 209.
+
+  235 Variation No. 10 is a Fughetta in four parts.
+
+  236 Ten of the Variations are marked "a 2 Clav.," that is, for two
+      keyboards or manuals: Nos. 8, 11, 13, 14, 17, 20, 23, 25, 26, 28.
+      Nos. 5, 7, 29 are marked "a 1 ovvero 2 Clav."
+
+  237 The movement is constructed upon two merry folk-songs, _Kraut and
+      R�ben haben mich vertrieben,_ and _Ich bin so lang nicht bei dir
+      gewirt_.
+
+  238 See supra, p. 101.
+
+  239 In fact Bach wrote the early _Aria variata alla maniera Italiana_
+      (Peters bk. 215, p. 12) for the Clavier.  For the Organ he wrote
+      four sets of Variations upon as many Choral melodies (Novello bk.
+      xix.).  But all except the Goldberg Variations are youthful works,
+      and in his maturity Bach clearly had no liking for the form.  The
+      theme of the Goldberg Variations, moreover, is itself a youthful
+      idea; at least it dates back to as early as 1725, and is found in A.
+      M. Bach's _Notenbuch_ (No. 26, Aria in G major).
+
+  240 There is no reference to these corrigenda in the B. G. edition.
+
+  241 The work has been referred to already in connection with Bach's
+      membership of Mizler's Society (supra, p. 112).  It was composed
+      presumably circ. 1746 and in point of technical skill is the most
+      brilliant of Bach's instrumental works.  Forkel states that it was
+      engraved after June 1747, when Bach joined Mizler's Society.  Spitta
+      (iii. 295) is of opinion that it was already engraved by then.  It
+      is in bk. xix. of Novello's edition.
+
+  242 Supra, p. 25.
+
+  243 The presentation copy of the work, which Bach sent to Frederick
+      along with a dedicatory letter (July 7, 1747), is in the Berlin
+      Amalienbibliothek and proves that only the first third of the work,
+      as far as the "Ricercare a sei voci" (see B.G. XXXI. (2)) was sent
+      then.  The latter and the remaining canons were dispatched
+      subsequently probably by the hand of C. P. E. Bach.  The six-part
+      Ricercare was a particular compliment to the King.  Frederick had
+      desired Bach on his visit to play a Fugue in six parts but left it
+      to the player to select his theme.  Bach now employed the thema
+      regium for the purpose.  The first reissue of the work was by
+      Breitkopf and Haertel in 1832. Peters (bk. 219) brought it out in
+      1866. See Schweitzer, i. 417 IV. and Spitta, iii. 191 ff. and 292.
+
+  244 In C minor (P. bk. 237 p. 3).
+
+  245 The statement is inaccurate.  The work was written for the most part
+      in 1749 and the greater part of it was prepared for engraving by
+      Bach himself during his last illness.  None of his elder sons was
+      with him at his death, and the blunders that disfigure the engraved
+      copy show that they clumsily finished their father's work.  It is in
+      P. bk. 218.
+
+  246 Friedrich Wilhelm Marpurg, b. 1718, d. 1795.
+
+  247 The work was published shortly after Bach's death, but had no sale.
+      C. P. E. Bach then commissioned Marpurg to write a preface, and the
+      new edition was published at the Leipzig Fair, Easter, 1762.  In
+      four years only about thirty copies were sold. See Spitta, iii. 197
+      ff. and Schweitzer, i. 423 ff.
+
+  248 In 1756.  See C. P. E. Bach's advertisement in Felix Grenier, p.
+      232.
+
+  249 The work contains six Fugues and four canons upon the same theme; an
+      unfinished Fugue "a tre soggetti," the first four notes of the third
+      of which spell B A C H; and the Choral Prelude "Wenn wir in h�chsten
+      N�then sein."
+
+  250 Schweitzer explains: "His purpose in this work being a purely
+      theoretical one, Bach writes the Fugues out in score, and calls them
+      'counterpoints' "
+
+                [  251 B A C H in German musical notation]
+
+  252 Supra, p. 27.  The movement is in N. bk. 17 p. 85.  It is not
+      certain that Bach intended the Prelude or the unfinished Fugue to be
+      included.
+
+  253 C. P. E. Bach was only concerned with the first volume.  Erk, in his
+      edition of the _Choralges�nge,_ conjectures that Kirnberger was
+      responsible for the second.
+
+  254 The four volumes were published at Leipzig between 1784-87.  Spitta
+      states that C. P. E. Bach was the editor.  Erk joins Kirnberger with
+      him in that position.  As C. P. E. Bach died in 1788 Kirnberger's
+      association with the work is probable, especially if he had already
+      been responsible for the 1769 volume.
+
+  255 Bach's Clavier school consisted of eighteen Preludes for beginners
+      (all in B.G. XXXVI.); the two-part and three-part Inventions; and
+      the _Well-tempered Clavier._  The six Preludes mentioned by Forkel,
+      and which alone he knew, were published by him for the first time.
+      Seven more are found in Wilhelm Friedemann's _Clavierb�chlein_ (B.G.
+      XLV. (1)), and the remaining five have survived in texts handed down
+      by others of Bach's pupils.  The eighteen are in P. bk. 200.
+
+  256 The Autograph was written at C�then and is dated 1723.  It also
+      contains the fifteen Symphonies, or three-part Inventions mentioned
+      in paragraph 3.  Both Inventions and Symphonies are in F. bk. 201.
+      According to Spitta (ii. 57 n.) the Inventions were published at
+      Leipzig in 1763.  See also Schweitzer, i. 328 ff.
+
+  257 See the previous note.
+
+  258 The second Part was compiled in 1744 and Bach's Autograph of it,
+      though not the earliest Autograph, is in the British Museum.  See
+      Schweitzer, i. 331 ff. and Spitta, ii. 161 ff.  The whole work is in
+      P. bks. 1, 2; or 1a, 1b; or 2790a, 2790b.
+
+  259 No. 20. Spitta (ii. 164) attributes it to the years 1707 or 1708.
+      Schweitzer (i. 332) also regards it as a youthful piece written,
+      moreover, for the pedal Clavicembalo.
+
+  260 Nos. 15 and 16.  Spitta, admitting that the two do not rank with the
+      most interesting in the collection, finds no indication of their
+      being of different date from the best movements.
+
+  261 No. 1. Here Spitta (ii. 165 n.) challenges Forkel.
+
+  262 Nos. 11 and 12.  In regard to No. 12 (F minor) Spitta holds Forkel
+      to be in error.  As to No. 11, he expresses the same opinion as in
+      note 3, supra.
+
+  263 The date 1744 places the second Part among Bach's latest
+      compositions.  On the other hand, like the first Part, it contained
+      work of earlier date.
+
+  264 Chromatic Fantasia and Fugue in D minor (P. bk. 207 p. 4).  It
+      probably dates from circ. 1720-23.
+
+  265 The MS. was discovered in 1876 and is now at Dresden. It was written
+      circ. 1738 and disproves Forkel's conjecture that the fugue did not
+      belong to the Fantasia and is only partially by Bach.  The Fugue
+      contains forty-seven bars.  As the Autograph is a fair copy the
+      Fugue cannot be called unfinished.  See Spitta, iii. 182.  The
+      Fantasia is in P. bk. 207 p. 50; the Fugue in P. bk. 212 p. 88. See
+      B.C. xxxvi., xxxviii., and xlii. for other Clavier Fantasias.
+
+  266 The true explanation seems to be that the Prelude of the first Suite
+      (A major) is based upon a Gigue by Charles Dieupart (d. circ. 1740),
+      a popular teacher and composer in England.  The words fait pour les
+      Anglois, which head the A major Suite in an early MS., have been
+      wrongly interpreted as applying to the whole set of six.  They
+      merely indicate Dieupart's borrowed Gigue. See Grove, vol. i. 701,
+      and Parry, _J. S. Bach,_ p. 463.  A copy of the work exists, of date
+      1724-27, made by one of Bach's pupils.  But the composition of the
+      Suites may certainly be assigned to the C�then period.  They are
+      published in P. bks. 203, 204.
+
+  267 The French Suites undoubtedly date back to the C�then period, since
+      they figure, though incomplete, in the _Notenbuch_ of A. M. Bach
+      (1722). They are published in P. bk. 202.
+
+  268 Forkel's incomplete catalogue may be compared with the
+      Bachgesellschaft volumes III., XIV., XXV. (1), XXXI. (2), XXXVI.,
+      XLIL, XLIII. (1 and 2), XLV. (1).  See generally Schweitzer, ch. 15,
+      and Pirro, pp. 218 ff.
+
+  269 P. bks. 205, 206, 208, 212 (fragment in F minor), 214, 215, 1959.
+
+  270 P. bks. 200, 210, 211, 212, 214, 215, 1959.
+
+  271 For the most part these youthful works will be found in B.G. XXXVI.
+
+  272 P. bk. 207 p. 16.
+
+  273 In C minor (P. bk. 200 p. 10).
+
+  274 In P. bks. 232, 233.
+
+  275 Suite in A major (P. bk. 236), Sonata in E minor (P. bk. 236), Fugue
+      in G minor (P. bk. 236), four Inventions (P. bk. 2957), Sonata in G
+      minor (BG. ix. 274; not in P.), Sonata in C major for 2 Violins and
+      Clavier (P. bk. 237).
+
+  276 There are six Sonatas for Flute and Clavier, in B minor, E flat
+      major, A minor, C major, E minor, E major (P. bks. 234, 235).
+
+  277 There are three Sonatas for Clavier and Gamba, in G major, D major,
+      G minor (P. bk. 239).
+
+  278 Forkel omits two Sonatas for Violin, Flute, and Clavier, in G major
+      and C minor (both in P. bk. 237).
+
+  279 As Forkol mentions in secs. 4, 5, 6 the Concertos for two, three,
+      and four Claviers, perhaps he had in mind here seven Concertos for
+      Clavier and Orchestra (P. bks. 248-254).  A Concerto for Clavier,
+      Violin, Flute, and Orchestra (P. bk. 255 p. 4) in A minor also
+      should be mentioned.  Also an Overture, in G minor, for Clavier and
+      Strings (B.G. XLV. (1) p. 190; not in P.)
+
+  280 P. bk. 257 p. 4.
+
+  281 P. bk. 256 p. 4.
+
+  282 There are, in fact, three Concertos for two Claviers and Orchestra:
+      two in C minor and one in C major.  Forkel refers to only one of the
+      former and regards it as antiquated by comparison with the one in C
+      major.  Spitta (iii. 144) attributes the C major to 1730.  Forkel's
+      C minor in its original form was a Concerto for two Violins, now
+      lost.  The other C minor Concerto is identical with the Concerto in
+      D minor for two Violins and is in P. 257b. Spitta (iii. 138) dates
+      it 1736. See Schweitzer, i. 413.
+
+  283 In D minor and C major (P. bks. 258, 259).  The tradition is that
+      Bach wrote these two Concertos in order to play them with his elder
+      sons.  Spitta (iii. 144) finds the tradition trustworthy.  Hence the
+      two works must have been written by c. 1733 at latest, before the
+      sons left home.  See also Schweitzer, i. 414.
+
+  284 In A minor (P. bk. 260).  This is not an original composition, but
+      is an arrangement by Bach of a Vivaldi Concerto for four Violins.
+      Spitta (iii. 149) assigns it to the same period as the Concertos for
+      three Claviers, c. 1733.  See B.G. XLIII. (1) infra.
+
+  285 The pedal on the small German Organ had only the compass of an
+      octave.
+
+  286 The Great Preludes and Fugues are, with one exception, in B.G. XV.
+      The Prelude and Fugue in E flat was published by Bach in the third
+      Part of the _Clavier�bung._  Its Fugue is known as the "St. Anne's."
+
+  287 From the figures printed by Forkel the twelve can be identified as
+      follows (the references in parentheses are to the Novello edition of
+      Bach's Organ works):
+
+            Prelude and Fugue in C minor, the "Great" (bk. vii. 64).
+            Prelude and Fugue in A minor, (bk. vii. 42).
+            Prelude and Fugue in G major, (bk. viii. 112).
+            Prelude and Fugue in E minor, (bk. viii. 98).
+            Prelude and Fugue in B minor, (vii. 52).
+            Prelude and Fugue in C major, (bk. ix. 156).
+            Prelude and Fugue in D minor, (bk. ix. 150).
+            Prelude and Fugue in C major (bk iii. 70).
+            Tocatta and Fugue in D minor (bk. x. 196).
+            Tocatta and Fugue in F major (bk. ix. 176).
+            Prelude and Fugue in G minor (bk. viii. 120).
+            Prelude and Fugue in E minor (bk. ii. 44).
+
+  288 The Passacaglia in C minor (Novello bk. 10 p. 214) was written
+      originally for the Clavicembalo and pedal.  It belongs to the later
+      Weimar period, i.e. circ. 1715.  See Spitta, i. 588 and Schweitzer,
+      i. 280.
+
+  289 They are all printed in Novello bk. 19, and are three in number, on
+      the melodies "Christ, der du bist der helle Tag", "O Gott, du
+      frommer Gott," and "Sei gegr�sset, Jesu g�tig."  The pedal is only
+      required in one movement of the first, in none of the second, and
+      considerably in the third.  Without question all three date from
+      Bach's earliest period, but whether they were written at Arnstadt or
+      L�neburg cannot be stated.
+
+  290 The fullest collection of these miscellaneous Organ Choral Preludes
+      is in B.G. XL. Not counting variant readings they number fifty-two,
+      besides two fragments and thirteen of doubtful authenticity, of
+      which two are sets of Variations.  The Novello edition contains
+      fifty-two in bks. 18 and 19.  To these must be added the "Eighteen"
+      Preludes on Choral Melodies, which Forkel nowhere mentions, as well
+      as the third Part of the _Clavier�bung,_ the _Sch�bler Chorals,_ and
+      the Variations on _Vom Himmel hoch,_ to which he has already made
+      reference in the first section of this chapter.  As he does not
+      mention it specifically, it is to be inferred that Forkel was
+      ignorant of the existence of the _Orgelb�chlein_; otherwise he could
+      hardly have failed to introduce it in this section.  All Bach's
+      Choral Preludes, miscellaneous and in collections made by himself,
+      are in Novello's edition, bks. 15-19.  A useful key to their
+      melodies is provided by bk. 20.  For more detailed information see
+      Terry, _Bach's Chorals,_ Part III.
+
+  291 The large number of MSS. of many of the miscellaneous Preludes is
+      made evident in the introduction to B.G. XL.
+
+  292 The Sonatas in E flat major, C minor, and D minor are in N. bk. 4; E
+      minor, C major, G major in N. bk. 5.
+
+  293 The so-called "Sonatas" were actually written for a Clavicembalo
+      with two manuals and a pedal.  Bach's Autograph of them belonged to
+      his second son and an earlier copy of them to Wilhelm Friedemann.
+      Both are now in the Berlin Royal Library.  Friedemann went to
+      Dresden as Organist in 1733 and Spitta is of opinion that the whole
+      of the six Sonatas were in existence by or soon after 1727.  If so,
+      they must be regarded as the outcome of Bach's early years at
+      Leipzig.  See Spitta, iii. 212 ff. and Schweitzer, i. 278.
+
+  294 None are extant.  Spitta, iii. 213 n., conjectures that Forkel
+      refers to the Trios in D minor and C minor (N. bks. 2 p. 54, 12 p.
+      108) and the Pastorale in F major (N. bk. 12 p. 102.) His incomplete
+      knowledge of the Organ works is revealed by Appendix V. infra.
+
+  295 This is a pure conjecture and Schweitzer scouts it (i. 416 n.).
+
+  296 The oldest copy of them dates from circ. 1720; they belong therefore
+      to the late C�then period.  The 1720 MS. is in A. M. Bach's
+      handwriting and was discovered in 1814 at Petrograd among old papers
+      about to be sent away to a butter dealer.  The Sonatas are in P. bk.
+      228.
+
+  297 They also date from the C�then period and are in P. bk. 238a, 238b.
+
+  298 Forkel omits to mention the Brandenburg Concertos (P. bks. 261-266);
+      the Overtures in C major (P. bk. 267), B minor (P. bk. 268), D major
+      (P. bk. 269), D major (P. bk. 2068); and the Violin Concertos in A
+      minor (P. bk. 229), E major (P. bk. 230), and (for two Violins) in D
+      minor (P. bk. 231). In B.G. XXI. (1) is a Symphonic movement, in D
+      major, for Violin and orchestra.  A Sinfonia in F major (B.G. XXXI.
+      96) is another version of the first Brandenburg Concerto.  The
+      Clavier Concertos have been mentioned supra.
+
+  299 The set of five is complete only for Christmas Day, Feast of the
+      Circumcision, Whitsunday (one of the five is of doubtful
+      authenticity), Purification of the B.V.M., and Feast of St. Michael
+      the Archangel.  See Terry, _Bach's Chorals,_ Part II. 2 ff.
+
+  300 In giving the number of _Passions_ as five, Forkel repeats the
+      statement of the _Nekrolog._  The number corresponds with the five
+      sets of Church Cantatas which Bach is known to have written.  It is,
+      however, exceedingly doubtful whether Bach wrote more than four
+      _Passions._  Only those according to St. Matthew and St. John have
+      come down to us from C. P. E. Bach, who was left the Autographs of
+      both by his father.  The _St. John Passion_ was first performed in
+      1724 and the _St. Matthew Passion_ in 1729. Picander, Bach's
+      librettist, certainly wrote two other Passion texts, one of which
+      was written for Good Friday 1725, and the second, based on St.
+      Mark's Gospel, was actually performed at St. Thomas', Leipzig, on
+      Good Friday 1731.  Spitta (ii. 505) gives good reason to hold that
+      Bach's music for this Passion was adapted from the _Trauer-Ode,_
+      which he had written in 1727 in memory of Queen Christiane
+      Eberhardine.  But of the 1725 _Passion_ there is no trace.  If it
+      ever existed, its loss probably may be assigned to Wilhelm
+      Friedemann's carelessness, to whom presumably it was assigned in the
+      division of Bach's property after his death.  But even so, we have
+      no more than four _Passions._ There exists, however, a fifth
+      _Passion according to St. Luke,_ which is undoubtedly in Bach's
+      Autograph, and which Spitta is inclined to attribute to Bach
+      himself.  It is published by Breitkopf and Haertel, but is generally
+      regarded as being by another composer than Bach, who probably copied
+      it for use at Leipzig.  On the whole matter see Spitta, ii. 504 ff.,
+      Schweitzer, chap. xxvi., and the Bach-Jahrbuch for 1911
+      (Publications of the New Bachgesellschaft XII. (2)).
+
+  301 Other than the _Passions,_ the only Oratorios are the _Christmas
+      Oratorio_, (1734), the _Easter Oratorio_ (c. 1736), and _Ascension
+      Oratorio_ (c. 1735).
+
+  302 Besides the B minor Mass (1733-? 38) Bach wrote four miscalled
+      "short" Masses, in F major, A major, G minor, and G major.  They all
+      belong to the Leipzig period (c. 1739).
+
+  303 Besides the setting of the Sanctus in the B minor Mass there are
+      four detached settings, in C major, D major, D minor, and G major.
+      Of these only that in D major is probably by Bach (c. 1723).
+
+  304 The music for Saints' Days is included in the church Cantatas.  For
+      the Birthday Odes see supra, Chap. IIA.
+
+  305 Besides the _Trauer-Ode,_ three or four of the church Cantatas and
+      certainly three of the Motets were written for funerals.  See Terry,
+      op. cit., pp. 24, 44.
+
+  306 Among the church Cantatas there are at least five for use at
+      weddings.  Bach wrote also three secular wedding Cantatas: _Weichet
+      nur, betr�bte Schatten_ (c. 1730); _O holder Tag_ (11749); the third
+      (1728) has disappeared.
+
+  307 Two Italian Cantatas--_Amore traditore_ and _Non sa che sia
+      dolore_--have come down to us.  A third, _Andro dall colle al prato,_
+      is lost.  See B.G. XI. (ii.), XXIX.
+
+  308 Only six are genuine. See infra, p. 141.
+
+  309 Of the Motets that have come down to us as his, only six are Bach's.
+      Forkel mentions five of them in secs. 7 and 3 of the next paragraph;
+      he omits _Lobet den Herrn, alle Heiden._  In 1802-3 Breitkopf and
+      Haertel published six Motets--the five mentioned by Forkel and
+      another, _Ich lasse dich nicht,_ of which Bach made a copy, but
+      whose composer actually was Johann Christoph Bach.  We know that
+      Bach composed at least one Latin Motet for double chorus, and
+      Friedemann's share of his father's autographs may have contained it
+      and others known to Forkel but no longer extant.
+
+  310 The Amalienbibliothek of the Joachimsthal Gymnasium, Berlin,
+      contains one of the most important Bach collections, but it has long
+      been superseded by the Royal Library there as the chief repository
+      of Bach's Autographs.
+
+  311 The Amalienbibliothek has only one Autograph, namely, Cantata 34, _O
+      ewiges Feuer._ The rest are early copies.
+
+  312 Cantata 53.  No Autograph of this Cantata exists, and the copies
+      from which the B.G. edition was printed are in the
+      Amalienbibliothek.
+
+  313 On the contrary, the Cantata belongs to the Leipzig period, 1723-34.
+
+  314 None of the four "short" Masses is in five parts.  All have
+      instrumental accompaniments.  The autograph scores of the Masses in
+      A major and G major are in Messrs. Breitkopf and Haertel's
+      possession.  Copies of the other two scores, in Altnikol's
+      handwriting, are in the Berlin Royal Library.  See Introduction to
+      B.G. VIII.
+
+  315 An eight-part Mass in G was performed at a Leipzig Gewandhaus
+      Concert on March 7, 1805, and was published later in the year by
+      Breitkopf and Haertel.  The score is admittedly, for the greater
+      part of the work, in Bach's hand and is in the Berlin Royal Library.
+      The publication of the work was under consideration by the
+      Bachgesellschaft in 1858.  That it is not by Bach is generally held.
+      It has been attributed to Johann Ludwig Bach (d. 1741).  See
+      Genealogical Table II.
+
+  316 The _St. Matthew Passion._
+
+  317 A nom de plume for Christian Friedrich Henrici (1700-64), who wrote
+      a large number of Bach's Leipzig texts.
+
+  318 Perhaps Forkel indicates the short _Sanctus_ in Richter's edition of
+      the _Choralges�nge_, No. 123, or that in B.G. XLI. p. 177.
+
+  319 This is the first Chorus of Cantata No. 38.  It is printed as a
+      separate Motet in Erk, No. 150.
+
+  320 Forkel's list is complete except for _Lobet den Herrn, alle Heiden._
+
+  321 The opening Chorus of Cantata 144.
+
+  322 Forkel refers to the _Peasant Cantata,_ or _Mer hahn en neue
+      Oberkeet,_ performed on August 30, 1742.  Forkel clearly was not
+      familiar with Bach's other secular Cantatas.  See B.G. XI. (ii.),
+      XX. (ii.), XXIX.  The Autograph score of the Peasant Cantata is in
+      the Berlin Royal Library.
+
+  323 Forkel's suggestion was carried out, with varying thoroughness, in
+      the Bachgesellschaft edition.
+
+  324 Forkel's judgment is at fault.  See Schweitzer, i. 336.
+
+  325 Also in Wilhelm Friedemann's _Clavierb�chlein._  See Schweitzer, i.
+      279; Spitta, ii. 166.
+
+  326 "Since you cannot please everybody by your actions and work, strive
+      at least to satisfy a few; popular appreciation encourages bad
+      art."--Schiller's _ Votiftafeln_
+
+  327 The Cantatas are classified under Appendix II.
+
+  328 The references are to Peters' edition.  Excepting bk. 1959, which
+      contains pieces of doubtful authenticity, every number printed by
+      Peters is entered in the Chronological Catalogue.
+
+  329 There are three other Sonatas, in A minor, C major, D minor, none of
+      which is an original composition.  They are printed in P. bk. 213.
+      The first and second are adaptations of material in Reinken's
+      _Hortus Musicus._  The third is a transcription of the second Solo
+      Sonata for Violin.
+
+  330 The references are to Novello's twelve Books of Bach's Organ Works,
+      edited by J. F. Bridge and J. Higgs.  The edition is complete, and
+      contains every movement included in Alfred Dorffel's "Thematisohos
+      Verzeichniss" (second edition, 1882) except his No. 24 on p. 72;
+      Nos. 6 and 8 on page 85; the "Kleines harmonisches Labyrinth"
+      (D�rffel, p. 88, tigs. 131-33), the genuineness of which is
+      questioned by Spitta (ii. 43); and figs. 136-37 on p. 88.  The
+      Novello edition also follows Rust, against Spitta's judgment, in
+      printing the "Fantasia con Imitazione" (bk. 12 p. 71) as an Organ
+      instead of as a Clavier piece.  Books 15-19 print the Choral
+      Preludes.  See the Peters and Novello editions collated in Appendix
+      V.
+
+  331 Printed as a "Toccata" in E major in B.G. XV. p. 276.
+
+  332 Spitta (ii. 620, 718) mentions a Birthday Cantata written in
+      1717-1721(?), the title of which is lost.
+
+  333 The references are to Peters' edition.
+
+  334 The D minor contains the famous Chaconne.
+
+  335 The references are to Peters' edition. In the B.G. edition the
+      Orchestral music is included in the Chamber Music volumes.
+
+  336 Pirro, p. 228, holds that the first two (C major and B minor) were
+      written at C�then and the last two (D major and D major) at Leipzig.
+      Schweitzer (i. 402) regards it as not clear in which period the
+      Overtures were written.
+
+  337 In A minor, E major, G major. The G major figures as the fourth
+      Brandenburg (bk. 264) and as the Clavier Concerto in F major (bk.
+      248). The A minor and E major were also converted into Clavier
+      Concerti (G minor and D major) (bks. 249, 251). The D minor Clavier
+      Concerto (bk. 264) preserves a lost Violin Concerto in the same key,
+      and the one in F minor (bk. 250) corresponds with a lost Violin
+      Concerto in G minor (bks. 3068, 3069).
+
+  338 Also arranged as a Concerto for two Claviers (C minor) in P. bk.
+      257b.
+
+  339 Bach wrote another Magnificat, the music of which is lost. See
+      Spitta, ii. 374.
+
+  340 All except the Sanctus in D major are of doubtful authenticity. See
+      Schweitzer, ii. 328 and Spitta, iii. 41 n.
+
+  341 The Concerto in C minor (P. bk. 257) is an arrangement of one for
+      two Violins now lost. The third, also in C minor, is identical with
+      the D minor Concerto for two Violins and is published in that key in
+      the Peters edition.  The remaining Concerto, in C major, is the only
+      one originally written for the Clavier.  See Schweitzer, i. 413.
+
+  342 The work is an amplification of the Prelude and Fugue in A minor,
+      already catalogued among the Clavier works of the C�then period.
+      Schweitzer (i. 340) concludes that it was rearranged as an
+      orchestral Concerto early in the thirties, when Bach needed
+      Concertos for the Telemann Society's Concerts.
+
+  343 The scheme of the G major and C major Preludes and Fugues dates back
+      to the Weimar period. See Spitta, iii. 208; Parry, p. 67.
+
+  344 These so-called "Organ" Sonatas were written for the Pedal
+      Clavicembalo.
+
+  345 The Clavier Suites in E minor, E major, and C minor are arrangements
+      of these, otherwise lost, Lute Partitas. See Schweitzer, i. 344.
+
+  346 In Mizler's _Nekrolog._
+
+  347 Supra, p. 138.
+
+  348 See the present writer's _Bach's Chorals,_ Part II. p. 1.
+
+  349 Ibid., p. 4.  Four more Cantatas, of doubtful authenticity, are
+      published by the Bachgesellschaft, Jahrgang XLI.
+
+  350 See the Table of Cantatas set out in chronological order.
+
+  351 Nos. 18, 24, 28, 59, 61, 142, 160.
+
+  352 Nos. 31, 70, 72, 80, 132, 147, 152, 155, 161, 162, 163, 164, 166,
+      168, 185, 186 (part).
+
+  353 Nos. 145, 148 (part), 156, 157, 159, 171, 174, 188, 190 (one
+      version), _Ehre sei Gott_ (incomplete).
+
+  354 Nos. 68, 74, 87, 103, 108, 128, 175, 176, 183.
+
+  355 Nos. 47, 141.
+
+  356 Nos. 50, 191, 196.
+
+  357 Nos. 4, 97, 100, 107, 112, 117, 118, 129, 137, 177, 192.
+
+  358 No. 15: _Denn du wirst meine Seele nichfc in der H�lle lassen._
+
+  359 The intimate personal note of the opening words of the
+      Recitative--"Mein Jesus ware tot"--reveals him.
+
+  360 Spitta, i. 231.
+
+  361 Schweitzer, i. 103.
+
+  362 No. 131: _Aus der Tiefe rufe ich, Herr, zu dir._
+
+  363 No. 71: _Gott ist mein K�onig._
+
+  364 No. 196: _Dorr Herr denket an uns._
+
+  365 See Spitta, i. 359 ff.
+
+  366 Ibid., i. 374.  On the other hand, Baoh's art was visibly affected
+      by Pietistic influences, as Schweitzer, i. 169, shows.
+
+  367 Eilmar died in 1715 (Spitta, i. 361).
+
+  368 No. 189: _Meine Seele r�hmt und preist._
+
+  369 No. 150: _Nach dir, Herr, verlanget mich._
+
+  370 Vol. i. 456.
+
+_  371 J.S. Bach,_ p. 87.
+
+  372 The conclusion is based on letters printed by Spitta, i. 517.
+
+  373 Nos. 18, 61, 142, 160, and 69.  See Table.
+
+  374 He was born May 12, 1671 (Spitta, i. 470).
+
+  375 The volume is entitled _Erdmann Neumeisters Geistliche Cantaten
+      statt einer Kirchen-Musik.  Die zweyte Auflage._
+
+  376 Entitled _Herrn Erdmann Neumeisters F�nffache Kirchen-Andachten,_
+      Leipzig, 1716.
+
+  377 Spitta, i. 474.
+
+  378 Vol. i. 466 ff.
+
+  379 See the Aria (Duetto) of Cantata No. 28.
+
+  380 See particularly the Litanei in Cantata No. 18.
+
+  381 Telemann was Carl Philipp Emmanuel Bach's godfather (Spitta, i.
+      486).
+
+  382 Nos. 24, 28, 69, 61.
+
+  383 No. 18.
+
+  384 Nos. 142, 160.
+
+  385 See Spitta, i. 630.
+
+  386 His influence is also detected in Nos. 27, 56, 199.
+
+  387 Telemann also set the libretti of Bach's Nos. 18 and 142. See
+      Spitta, i. 487.
+
+  388 Vol. i. 530.
+
+  389 Wustmann, _Joh. Seb. Bach's Kantaten-Texte_ (1913), p. xxii n. The
+      cycle is entitled _Evangelisches Andachts-Opffer._
+
+  390 Only Nos. 70, 147, and 186 are taken from it.
+
+  391 Entitled _Evangelische Sonn- und Fest-Tages Andachten._
+
+  392 Vol. ii. 131.
+
+  393 For instance, the Aria in Cantata No. 168, beginning:
+
+
+          Kapital und Interessen Meiner Schulden gross und klein,
+          Mussen einst verrechnet sein.
+
+
+  394 Spitta, ii. 5; Schweitzer, i. 106.
+
+  395 Spitta, ii. 3.
+
+  396 The two Cantatas are Nos. 47 and 141.
+
+  397 Wustmann, p. xxiii.
+
+  398 Spitta, ii. 12 n.
+
+  399 The Choral is absent from No. 141.  It should be "Christe, du Lamm
+      Gotten."
+
+  400 Schweitzer, ii. 147.  The Cantata is No. 47, _Wer sich selbst
+      erh�het._
+
+  401 Vol. ii. 13.
+
+  402 Vol. ii. 147.
+
+  403 No. 141: _Das ist je gewisslich wahr._
+
+  404 Vol. ii. 15.
+
+  405 Vol. ii. 148.
+
+_  406 Johann Sebastian Bach,_ p. 108.
+
+  407 Op. cit., Note 195.
+
+  408 Spitta, ii. 147.
+
+  409 Nos. 134 and 173.
+
+  410 No. 134: _Ein Herz, das seinen Jesum lebend weiss._
+
+  411 No. 173: _Erh�tes Fleisch und Blut._
+
+  412 No. 75: _Die Elenden sollen essen,_ sung on May 30, the day
+      preceding Bach's formal induction.
+
+  413 For instance, Nos. 67 and 102.
+
+  414 Wustmann, by implication, only associates eight libretti (Cantatas
+      Nos. 37, 44, 75, 76, 86, 104, 166, 179) with Weiss.  All of them
+      belong to the early years, 1723-27.
+
+  415 See Nos. 75 and 105.
+
+  416 See Nos. 25, 42, 77.  As an extreme illustration, the first
+      Recitative of No. 25 begins with the words, _Die ganze Welt ist nur
+      ein Hospital._
+
+  417 Vol. ii. 388.
+
+  418 Cantata No. 65: _Sie werden aus Saba Alle kommen._
+
+  419 Vol. i. 361.
+
+  420 Wustmann, p. xxiv.
+
+  421 Ibid.
+
+  422 See the Table.
+
+  423 They ore Nos. 6, 17, 22, 43, 48, 57, 144, 148, 157, 159,171,
+      190,195, and the incomplete Cantata, _Ehre sei Gott in der H�he._
+
+  424 Nos. 16, 23, 63, 81, 83, 153, 154, 184, 194.  See the Table.
+
+  425 No. 4: _Christ lag in Todesbanden._
+
+  426 Vol. ii. 393.
+
+  427 See the Table: No. 112, _Derr herr ist mein getreuer Hirt._
+
+  428 Nos. 8, 20, 93.
+
+  429 No. 148: _Bringet dem Herrn Ehre seines Namens._
+
+  430 No. 8: _Liebster Gott, wann werd' ich sterben._
+
+  431 No. 181: _Leichtgesinnte Flattergeister._
+
+  432 Vol. ii. 340 ff.
+
+  433 The volume is entitled _Sammlung Erbaulicher Gedancken, Bey und �ber
+      gewohnlichen Sonn- und Festtags-Evangelien,_ Leipzig.
+
+_  434 Cantaten auf die Sonn- und Fest-Tage durch das gantze Jahr,_
+      Leipzig, 1728.  He reprinted them in 1732 in his _Satyrische
+      Gedichte._
+
+  435 But see Cantata No. 148 and Spitta, ii. 693.  Also No. 19.
+
+  436 Cantatas Nos. 145, 156, 159, 171, 174, 188, 190 (one version), and
+      the Cantata _Ehre sei Gott._
+
+  437 No. 157.
+
+  438 Nos. 19, 30, 36, 84, 148, 197.
+
+  439 Vol. ii. 346.
+
+  440 Nos. 32, 48, 67, 90, 144, 181.
+
+  441 Nos. 16, 22, 23, 27, 35, 51, 56, 58, 63, 66, 81, 82, 83, 153, 154,
+      194, 195. No. 184 is an adaptation. See also Nos. 19, 36, 84, 144,
+      145, 148, for Bach's collaboration with Picander.
+
+  442 Besides No. 80, a Choral Cantata.
+
+  443 Schweitzer, ii. 332 ff.
+
+  444 Entitled _Versuch in gebundener Schreibart._
+
+  445 Vol. iii. 71.
+
+  446 Vol. ii. 331 n.
+
+  447 No. 85: _Ich bin ein guter Hirt._
+
+  448 Note 60.
+
+  449 Vol. ii. 331 n.
+
+  450 No. 33: _Gott f�ret auf mit Jauchzen._
+
+  451 See Table.
+
+  452 No. 74.
+
+  453 Op. cit., p. 377.
+
+  454 See Table.
+
+  455 Nos. 100 and 107, both of them c. 1735.
+
+  456 No. 8, for the Sixteenth Sunday after Trinity.
+
+  457 No. 93, for the Fifth Sunday after Trinity (1728).
+
+  458 Nos. 9 (? 1731), 99 (c. 1733).
+
+  459 No. 122.
+
+  460 No. 80.
+
+  461 Nos. 1, 2, 5, 8, 20, 26, 62, 78, 91, 92, 93, 96, 115, 121, 124, 127,
+      138, 140.
+
+  462 Nos. 7, 9, 10, 14, 33, 41, 94, 99, 101, 111, 113, 114, 116, 125,
+      126, 130, 139, 178, 180.
+
+  463 Nos. 4, 97, 100, 107, 112, 117, 129, 137, 177, 192.
+
+  464 Nos. 3, 38, 123, 133, 135.
+
+  465 P. xxiv.
+
+  466 Nos. 3, 123, 133, 135.
+
+  467 See supra, p. 180.
+
+  468 Nos. 17, 34, 43, 151, 197, and _Herr Gott, Beherrsoher aller Dinge._
+
+  469 Nos. 30, 32, 48, 57, 90.
+
+  470 Nos. 45, 79, 110, 143.
+
+  471 No. 28.
+
+  472 No. 50.
+
+  473 No. 118.
+
+  474 Nos. 6, 11, 13, 146, 193.
+
+  475 See _Bach's Chorals,_ Part II., Introduction.
+
+  476 The above article and the Table that follows were communicated
+      originally to the Musical Association on March 28, 1918.
+
+  477 General mourning for the Queen lasted from Sept. 7, 1727, to Jan. 6,
+      1728. No Cantatas were sung in the period.
+
+  478 The Church Cantatas are published by Peters and also by Breitkopf
+      and Haertel.  A prefixed asterisk indicates that an English edition
+      of the Cantata or Oratorio is published by Novello or Breitkopf and
+      Haertel.
+
+      The Organ music is published by Novello, to whose edition references
+      are given (N.), Peters, and Breitkopf and Haertel.   collation of
+      the Peters and Novello editions is given in Appendix V.
+
+      The Clavier and Instrumental music is published by Peters, to whose
+      edition references are given (P.).
+
+  479 A Variant of the first Invention is on p. 342 of the volume.  A
+      Variant of Sinfonia ix. is on p. vi. of the Nachtrag.
+
+  480 A Variant is in B.G. XI.
+
+  481 A Variant is in P. bk. 244 p. 109.
+
+  482 "If genuine, the Sonata is a youthful work," remarks Schweitzer, i.
+      401 n.
+
+  483 Additional movements of the second, third, and fourth Suites are in
+      Appendix II. of B.G. XXXVI.
+
+  484 The volume contains an Appendix of Variants, etc. See also B.G. XLV.
+      (1) Appendix. Variants of Nos. 1, 3, 6 of Part II. are in Appendix
+      I. of B.G. XXXVI.
+
+  485 See publications of the N.B.G. xiv. (2) no. 5.
+
+  486 See publications of the N.B.G. vii. (3) no. 3.
+
+  487 For this work, in its original form as a Violin Concerto, see N.B.G.
+      XVIII. (1 and     2).
+
+  488 The D major (No. 3) and G minor (No. 7) Concertos are identical with
+      the Violin Concertos in E major and A minor. See B.G. XXI. (1). No.
+      6 (F. major) is the fourth Brandenburg Concerto (in G.). See B.G.
+      XIX. no. 4.
+
+  489 In a shortened form this work appears also as a Sinfonia in F major.
+      See B.G. XXXI. (1) no. 5, and N.B.G. X. (2).
+
+  490 Identical with the G minor Clavier Concerto. See B.G. XVII. no. 7,
+      and also B.G. XLV. (1), Appendix, p. 233.
+
+  491 Identical with the D major Clavier Concerto. See B.G. XVII. no. 3,
+      and N.B.G. VIII. (1)
+
+  492 Identical with the Concerto for two Claviers in C minor. See B.G.
+      XXI. (2) no. 3.
+
+  493 The movement is described as being from "einer unbekannten
+      Kirchencantate" for four voices and Orchestra. The Autograph is
+      incomplete. The movement is not published elsewhere than in the B.G.
+      edition.
+
+  494 Identical with the Concerto for 2 Violins, in D minor. See B.G. XXI.
+      (1) no. 3. Also pp. 131, 158, 160, supra.
+
+  495 Also in N.B.G. XVII. (1 and 2).
+
+  496 For an exposition of Bach's design in the "Orgelb�chlein," see the
+      present writer's articles in "The Musical Times" for January_March
+      1917, and "Bach's Chorals," Part III. See N.B.G. II. (1) for an
+      arrangement of the Preludes for two pianofortes.
+
+  497 See B.G. XLII. for a Clavier version.
+
+  498 See B.G. XLII. for a Clavier version.
+
+  499 Boosey and Co. also publish an English edition.
+
+  500 This is a shortened form of the first Brandenberg Concerto (see B.G.
+      XIX. no. 1).  It consists of the Allegro, Adagio, Minuet, Trio I.
+      and Trio II. of the latter, and omits its second Allegro and
+      Polacca.
+
+  501 The Appendix contains Joh. Philipp Kernberger's solutions of the
+      Canons and his expansion of the figured bass of the Clavier part of
+      the Sonata.
+
+  502 See publications of the N.B.G. XIV. (2) no. 2.
+
+  503 See publications of the N.B.G. XIV. (2) no. 2.
+
+  504 Text and music are identical with the version in B.G. XX. (2).
+
+  505 Another Allemande to the Suite is in B.G. XXXVI. 217 (also in P.).
+
+  506 The subject of the Fughetta is the same as that of Fugue No. 17 in
+      the second part of the "Well-tempered Clavier."
+
+  507 The Prelude is No. 11 in Peters (B.G. xxxvi. 220). The Fughetta is
+      his No. 10. It is the same subject an that of Fugue 16 in the second
+      part of the "Well-tempered Clavier." An alternative Prelude (P. 214
+      p. 78) is in the Appendix (p. 220).
+
+  508 They are described as "zur vierten franz�sischen Suite." The Prelude
+      is in P. bk. 1959 p. 67.
+
+  509 Written respectively for the second and third French Suites (not in
+      P.).
+
+  510 A fingered exercise.
+
+  511 The Appendices of the volume contain variant readings of movements
+      elsewhere contained in it, and of the first, third, and sixth
+      Preludes and Fugues in the second part of the "Well-tempered
+      Clavier."
+
+  512 See B.G. XLV. (1) Appendix.
+
+  513 Only nos. 2 and 3 are derived from Vivaldi.
+
+  514 A variant text is in B.G. XLII. 282.
+
+  515 Vivaldi's text of the first movement is in the Appendix (p. 229).
+
+  516 See B.G. XLIII. (2) sec. 1 no. 2.
+
+  517 The fugal subject is taken from the Allabreve.
+
+  518 Bach's instrumental accompaniments are in the Appendix (p. 143).
+
+  519 C. P. E. Bach's collection of his father's Choral settings was
+      published by Immanuel Breitkopf in four volumes between the years
+      1784-87.  They are all inoluded in Breitkopf and Haertel's edition
+      (1898) of Bach s "Choralges�nge"; the numerals in brackets in the
+      above list indicate the position of each Choral in that collection.
+      The latter includes also the simple four-part Chorals from the
+      Oratorios and Cantatas; hence the numeration of that volume and B.G.
+      XXXIX. is not uniform.
+
+  520 The bracket states the title by which the tune is better known.
+
+  521 The Chorals are taken from two sources, Anna Magdalena Bach's
+      "Notenbuch" (1726; see B.G. XLIII. (2)), and Schemelli's
+      "Musicalisches Gesang-Buch" (1736), of which Bach was the musical
+      editor.  The latter contains sixty-nine melodies (with figured
+      bass), the former seven: one melody (No. 14) is in both collections.
+      The Schemelli tunes are indicated by an S within a bracket after the
+      numeral.  One melody (No. 71) is indubitably by Bach himself.  It,
+      and others, which may be attributed to him on good evidence, are
+      marked by an asterisk.  The seventy-five settings are published in
+      practicable form by the N.B.G. I. (1) and I. (2).
+
+  522 Nos. 22 and 23 are the same tune.
+
+  523 For a discussion of Bach's original hymn-tunes see the present
+      writer's "Bach's Chorals," Part II. Introduction, pp. 67 ff. Six
+      more of Bach's original hymn-tunes are printed there.
+
+  524 The first three Arias are published by Novello, and also by the
+      N.B.G. I. (1).
+
+  525 In the Royal Library, Berlin.  Kirnberger was a pupil of Bach.  See
+      section on Variants infra.
+
+  526 Novello omits the concluding four-part Choral.
+
+  527 The Prelude is also attributed to J. L. Krebs, a pupil of Bach.
+
+  528 See section on Variants infra.:
+
+  529 Variant, P. bk. 245 p. 106.
+
+  530 Ernst Naumann remarks, "Das St�ck kann recht gut von Seb. Baoh
+      herr�hren." The text is complete, and the omission of the Prelude
+      from the Novello edition is to be regretted.
+
+  531 A transcription of the second Sonata for Solo Violin, in A minor,
+      See B.G. XXVII. (1).
+
+  532 A transcription of the third Partita, in E major, for Solo Violin.
+      See ibid.
+
+  533 From the third Sonata for Solo Violin, in C major. See ibid.
+
+  534 Both Sonatas are arrangements of instrumental Sonatas in J. A.
+      Reinken's "Hortus Musicus." See Spitta, i. 430.
+
+  535 Both Sonatas are arrangements of instrumental Sonatas in J. A.
+      Reinken's "Hortus Musicus." See Spitta, i. 430.
+
+  536 After a Sonata movement by J. A. Reinken.
+
+  537 After a Fugue by J. C. Erselius. The original is given in Anhang II.
+      of the volume.
+
+  538 Only Nos. 1, 2, 4, 5, 7, 9, 14 are derived from Vivaldi. The others
+      are founded on Benedetto Marcello (No. 3), Duke Johann Ernst of
+      Weimar (Nos. 11, 16, and perhaps 13).
+
+  539 The Toccata is by Henry Purcell. See Grove, vol. iii. p. 857.
+
+  540 The volume also contains a Variant of the first Organ Concerto (B.G.
+      XXXVIII.).
+
+  541 The Concerto is an arrangement of one by Antonio Vivaldi for four
+      Violins, the original of which (in B minor) is given in the Appendix
+      to the volume.
+
+  542 Omitting the vocal numbers, movements printed elsewhere, and the
+      "Menuet fait par Mons. B�hm," Peters' Bk. 1959 contains the
+      remaining twenty numbers of the Notebook. They are indicated in the
+      above index by a P in a bracket.
+
+  543 A separate Preface to the reprinted Suites is by Ernst Naumann. It
+      is dated 1895.
+
+  544 Perhaps an arrangement of an orchestral piece. See Schweitzer, i.
+      342 n.
+
+  545 The Appendix to the volume contains addenda to the Violin Concerto
+      in A minor (see B.G. XXL. (1)) and Cantata 188 (see B.G. XXXVII.).
+      Also the Zurich and London texts of the "Welltempered Clavier" (B.G.
+      XIV.), with critical notes.
+
+  546 The Preface is dated 1899. The volume was issued in 1900.
+
+  547 The original words are "Die Sch�tzbarkeit der weiten Erden."
+
+  548 The title-page is dated 1913 and the Preface "Im Advent auf 1914."
+
+  549 The Aria is no. 20 of A. M. Bach's "Notenbuch" for 1725. See E.G.
+      XLII. (2) no. 20.
+
+  550 This publication, announced for 1916, appears under a different
+      title as the third issue for 1917. See infra, XVII. (3).
+
+
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK JOHANN SEBASTIAN BACH
+***
+
+
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+<div id="pgheader" class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"><div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em"><p class="tei tei-p" style="margin-bottom: 2.00em">The Project Gutenberg EBook of Johann Sebastian Bach
+ by Johann Nikolaus Forkel and Charles Sanford Terry</p></div><div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em"><p class="tei tei-p" style="margin-bottom: 1.00em">This eBook is for the use of anyone anywhere at no cost
+          and with almost no restrictions whatsoever. You may copy it,
+          give it away or re-use it under the terms of the Project
+          Gutenberg License <a href="#pglicense" class="tei tei-ref">included with this
+          eBook</a> or online at <a href="http://www.gutenberg.org/license" class="tei tei-xref">http://www.gutenberg.org/license</a></p></div><pre class="pre tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em">Title: Johann Sebastian Bach
+
+
+Author: Johann Nikolaus Forkel and Charles Sanford Terry
+
+Release Date: January 24, 2011 [Ebook #35041]
+
+Language: English
+
+Character set encoding: UTF-8
+
+
+***START OF THE PROJECT GUTENBERG EBOOK JOHANN SEBASTIAN BACH
+***
+</pre></div>
+</div>
+<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  
+</div>
+
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+<a name="fig1" id="fig1"></a><div class="tei tei-figure" style="text-align: center"><img src="images/frontisp.jpg" alt="Johann Sebastian Bach" title="Johann Sebastian Bach. About 1720. (From the picture by Johann Jakob Ihle, in the Bach Museum, Eisenach)." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Johann Sebastian Bach.  About 1720. (From the picture by Johann Jakob Ihle, in the Bach Museum, Eisenach).</span></em></div></div>
+<p class="tei tei-p" style="margin-bottom: 1.00em"></p>
+</div>
+
+<hr class="doublepage" /><div class="tei tei-titlePage">
+ <span class="tei tei-docTitle"><span class="tei tei-titlePart"><span style="font-size: 144%">Johann Sebastian Bach</span></span><br /><br />
+</span>
+<span class="tei tei-titlePart">His Life, Art and Work.  Translated from the German of Johann Nikolaus Forkel.  With notes and appendices by Charles Sanford Terry, Litt.D. Cantab.</span>
+
+ <div class="tei tei-byline"><br /><br /><br /><span class="tei tei-docAuthor">Johann Nikolaus Forkel and Charles Sanford Terry</span><br /><br /><br /><br /></div>
+
+<span class="tei tei-docImprint">Harcourt, Brace and Howe, New York</span><br />
+<span class="tei tei-docDate">1920</span>
+</div>
+
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+<a name="pdf2" id="pdf2"></a>
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Contents</span></h1>
+<ul class="tei tei-index tei-index-toc"><li><a href="#toc3">Introduction</a></li><li><a href="#toc5">FORKEL'S PREFACE</a></li><li><a href="#toc7">CHAPTER I. THE FAMILY OF BACH</a></li><li><a href="#toc10">Chapter II. THE CAREER OF BACH</a></li><li><a href="#toc13">CHAPTER IIA.
+BACH AT LEIPZIG, 1723-1750</a></li><li><a href="#toc16">CHAPTER III. BACH AS A CLAVIER PLAYER</a></li><li><a href="#toc18">CHAPTER IV.  BACH THE ORGANIST</a></li><li><a href="#toc22">CHAPTER V. BACH THE COMPOSER</a></li><li><a href="#toc25">CHAPTER VI. BACH THE COMPOSER (continued)</a></li><li><a href="#toc28">CHAPTER VII. BACH AS A TEACHER</a></li><li><a href="#toc30">CHAPTER VIII.  PERSONAL CHARACTERISTICS</a></li><li><a href="#toc32">CHAPTER IX. BACH'S COMPOSITIONS</a></li><li><a href="#toc34">CHAPTER X.  BACH'S MANUSCRIPTS</a></li><li><a href="#toc36">CHAPTER XI. THE GENIUS OF BACH</a></li><li><a href="#toc39">APPENDIX I. CHRONOLOGICAL CATALOGUE OF BACH'S COMPOSITIONS</a></li><li><a href="#toc41">APPENDIX II. THE CHURCH CANTATAS ARRANGED CHRONOLOGICALLY</a></li><li><a href="#toc43">APPENDIX III.  THE BACHGESELLSCHAFT EDITIONS OF BACH'S WORKS</a></li><li><a href="#toc45">APPENDIX IV. BIBLIOGRAPHY OF BACH LITERATURE</a></li><li><a href="#toc47">APPENDIX V.  A COLLATION OF THE NOVELLO AND PETERS EDITIONS OF THE ORGAN WORKS</a></li><li><a href="#toc49">APPENDIX VI. GENEALOGY OF THE FAMILY OF BACH</a></li><li><a href="#toc59">Footnotes</a></li></ul>
+</div>
+
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Illustrations</span></h1>
+<ul class="tei tei-index tei-index-fig"><li><a href="#fig1"><span style="font-style: italic">Johann Sebastian Bach.  About 1720. (From the picture by Johann Jakob Ihle, in the Bach Museum, Eisenach).</span></a></li><li><a href="#fig9">Bach's Home at Eisenach</a></li><li><a href="#fig12">The Church and School of St. Thomas, Leipzig, in 1723.</a></li><li><a href="#fig15">Johann Sebastian Bach, circa 1746. <span style="font-style: italic">From the picture by Haussmann.</span></a></li><li><a href="#fig20">Divided Harmony, Bach treatment</a></li><li><a href="#fig21">Divided Harmony, conventional treatment</a></li><li><a href="#fig24">The Bach Statue at Eisenach</a></li><li><a href="#fig27">Johann Sebastian Bach. <span style="font-style: italic">From the picture discovered by Professor Fritz Volbach</span></a></li><li><a href="#fig38">The Bach Statue at Leipzig</a></li><li><a href="#fig51">Genealogy Table, p. 303</a></li><li><a href="#fig52">Genealogy Table, p. 304</a></li><li><a href="#fig53">Genealogy Table, p. 305</a></li><li><a href="#fig54">Genealogy Table, p. 306</a></li><li><a href="#fig55">Genealogy Table, p. 307</a></li><li><a href="#fig56">Genealogy Table, p. 308</a></li><li><a href="#fig57">Genealogy Table, p. 309</a></li><li><a href="#fig58">Genealogy Table, p. 310</a></li></ul>
+</div>
+
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  <a name="toc3" id="toc3"></a>
+  <a name="pdf4" id="pdf4"></a>
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Introduction</span></h1>
+<span class="tei tei-pb" id="pageix">[pg ix]</span>
+
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Johann Nikolaus Forkel, author of the monograph 
+of which the following pages afford a translation, 
+was born at Meeder, a small village in Saxe-Coburg, on February 22, 1749, seventeen months 
+before the death of Johann Sebastian Bach, whose 
+first biographer he became.  Presumably he would 
+have followed the craft of his father, the village 
+shoemaker, had not an insatiable love of music 
+seized him in early years.  He obtained books, 
+and studied them with the village schoolmaster. 
+In particular he profited by the <span class="tei tei-q">“Vollkommener
+Kapellmeister”</span> of Johann Mattheson, of Hamburg, 
+the sometime friend of Handel.  Like Handel, 
+he found a derelict Clavier in the attic of his home 
+and acquired proficiency upon it.  
+Forkel's professional career, like Bach's half a 
+century earlier, began at Lüneburg, where, at the 
+age of thirteen (1762), he was admitted to the choir 
+of the parish church.  Thence, at the age of 
+seventeen (1766), he proceeded to Schwerin as <span class="tei tei-q">“Chorpräfect,”</span> and enjoyed the favour of the 
+Grand Duke.  Three years later he betook himself (1769), at the age of twenty, to the University
+<span class="tei tei-pb" id="pagex">[pg x]</span>
+of Göttingen, which he entered as a law student, 
+though a slender purse compelled him to give 
+music lessons for a livelihood.  He used his opportunity 
+to acquire a knowledge of modern languages, 
+which stood him in good stead later, when his 
+researches required him to explore foreign literatures.  
+Concurrently he pursued his musical activities, 
+and in 1774 published at Göttingen his first 
+work, <span class="tei tei-title"><span style="font-style: italic">Ueber die Theorie der Musik,</span></span> advocating 
+the foundation of a music lectureship in the University.  
+Four years later (1778) he was appointed 
+its Director of Music, and from 1779 to 1815 conducted 
+the weekly concerts of the Sing-Akademie.  
+In 1780 he received from the University the 
+doctorate of philosophy.  The rest of his life was 
+spent at Göttingen, where he died on March 17, 
+1818, having just completed his sixty-ninth 
+year.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+That Forkel is remembered at all is due solely 
+to his monograph on Bach.  Written at a time 
+when Bach's greatness was realised in hardly any 
+quarter, the book claimed for him pre-eminence 
+which a tardily enlightened world since has conceded 
+him.  By his generation Forkel was esteemed 
+chiefly for his literary activity, critical ability, and 
+merit as a composer.  His principal work, <span class="tei tei-title"><span style="font-style: italic">Allgemeine Geschichte der Musik,</span></span> was published in 
+two volumes at Leipzig in 1788 and 1801.  Carl 
+Friedrich Zelter, Goethe's friend and correspondent, 
+dismissed the book contemptuously as that of
+<span class="tei tei-pb" id="pagexi">[pg xi]</span>
+an author who had <span class="tei tei-q">“set out to write a history of 
+music, but came to an end just where the history 
+of music begins.”</span>  Forkel's work, in fact, breaks 
+off at the sixteenth century. But the curtailed <span class="tei tei-title"><span style="font-style: italic">
+History</span></span> cleared the way for the monograph on 
+Bach, a more valuable contribution to the literature 
+of music.  Forkel already had published, in 
+three volumes, at Gotha in 1778, his <span class="tei tei-title"><span style="font-style: italic">Musikalisch-kritische Bibliothek,</span></span> and in 1792 completed his 
+critical studies by publishing at Leipzig his <span class="tei tei-title"><span style="font-style: italic">Allgemeine Literatur der Musik.</span></span>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Forkel was also a student of the music of the 
+polyphonic school.  He prepared for the press the 
+scores of a number of sixteenth century Masses, 
+Motets, etc., and fortunately received proofs of 
+them from the engraver.  For, in 1806, after the 
+Battle of Jena, the French impounded the plates 
+and melted them down.  Forkel's proofs are still 
+preserved in the Berlin Royal Library.  He was 
+diligent in quest of Bach's scattered MSS., and his 
+friendship with Bach's elder sons, Carl Philipp 
+Emmanuel and Wilhelm Friedemann, enabled him 
+to secure precious relics which otherwise might 
+have shared the fate of too many of Bach's manuscripts.  
+He took an active interest in the proposal 
+of Messrs. Hoffmeister and Kühnel, predecessors of C. F. 
+Peters at Leipzig, to print a <span class="tei tei-q">“kritisch-korrecte”</span> edition of Bach's Organ and Clavier 
+works.  Through his friend, Johann Gottfried 
+Schicht, afterwards Cantor at St. Thomas's,
+<span class="tei tei-pb" id="pagexii">[pg xii]</span>
+Leipzig, he was also associated with Breitkopf and 
+Haertel's publication of five of Bach's six extant 
+Motets in 1802-3.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+As a composer Forkel has long ceased to be 
+remembered.  His works include two Oratorios, <span class="tei tei-title"><span style="font-style: italic">
+Hiskias</span></span> (1789) and <span class="tei tei-title"><span style="font-style: italic">Die Hirten bey der Krippe</span></span>; 
+four Cantatas for chorus and orchestra; Clavier 
+Concertos, and many Sonatas and Variations for 
+the Harpsichord.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In 1802, for reasons which he explains in his 
+Preface, Forkel published from Hoffmeister and 
+Kühnel's <span class="tei tei-q">“Bureau de Musique”</span> his <span class="tei tei-title"><span style="font-style: italic">Ueber Johann 
+Sebastian Bachs Leben, Kunst und Kunstwerke.  
+Für patriotische Verehrer echter musikalischer 
+Kunst,</span></span> of which a new edition was issued by 
+Peters in 1856.  The original edition bears a dedication 
+to Gottfried Baron van Swieten<a id="noteref_1" name="noteref_1" href="#note_1"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">1</span></span></a>
+ (1734-1803), Prefect of the Royal Library, Vienna, and 
+sometime Austrian Ambassador in Berlin, a friend 
+of Haydn and Mozart, patron of Beethoven, a 
+man whose age allowed him to have seen Bach, 
+and whose career makes the association with Bach 
+that Forkel's dedication gives him not undeserved.  
+It was he, an ardent Bach enthusiast, who introduced 
+the youthful Mozart to the music of the 
+Leipzig Cantor. <span class="tei tei-q">“I go every Sunday at twelve 
+o'clock to the Baron van Swieten,”</span> Mozart writes 
+in 1782, <span class="tei tei-q">“where nothing is played but Handel and 
+<span class="tei tei-pb" id="pagexiii">[pg xiii]</span>
+Bach, and I am now making a collection of the 
+Fugues of Bach.”</span>  The merit and limitations of 
+Forkel's book will be considered later.  For the 
+moment the fact deserves emphasis that, inadequate 
+as it is, it presented a fuller picture of Bach 
+than so far had been drawn, and was the first to 
+render the homage due to his genius.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In an illuminating chapter (xii.), <span class="tei tei-title"><span style="font-style: italic">Death and 
+Resurrection</span></span>, Schweitzer has told the story of 
+the neglect that obscured Bach's memory after 
+his death in 1750.  Isolated voices, raised here 
+and there, acclaimed his genius.  With Bach's 
+treatise on <span class="tei tei-title"><span style="font-style: italic">The Art of Fugue</span></span> before him, Johann 
+Mattheson (1681-1664), the foremost critic of the 
+day, claimed that Germany was <span class="tei tei-q">“the true home 
+of Organ music and Fugue.”</span>  Friedrich Wilhelm 
+Marpurg (1718-95), the famous Berlin theorist, 
+expressed the same opinion in his preface to the 
+edition of that work published shortly after Bach's 
+death.  But such appreciations were rare.  Little 
+of Bach's music was in print and available for 
+performance or critical judgment.  Even at St.
+Thomas's, Leipzig, it suffered almost complete 
+neglect until a generation after Forkel's death.  
+The bulk of Bach's MSS. was divided among his 
+family, and Forkel himself, with unrivalled opportunity 
+to acquaint himself with the dimensions 
+of Bach's industry, knew little of his 
+music except the Organ and Clavier compositions.
+</p>
+<span class="tei tei-pb" id="pagexiv">[pg xiv]</span>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In these circumstances it is not strange that 
+Bach's memory waited for more than half a 
+century for a biographer.  Forkel, however, was 
+not the first to assemble the known facts of 
+Bach's career or to assert his place in the music of 
+Germany.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Putting aside Johann Gottfried Walther's brief 
+epitome in his <span class="tei tei-title"><span style="font-style: italic">Lexikon</span></span> (1732), the first and most 
+important of the early notices of Bach was the 
+obituary article, or <span class="tei tei-q">“Nekrolog,”</span> contributed by his 
+son, Carl Philipp Emmanuel, and Johann Friedrich 
+Agricola, one of Bach's most distinguished pupils, 
+to the fourth volume of Mizler's <span class="tei tei-title"><span style="font-style: italic">Musikalische 
+Bibliothek,</span></span> published at Leipzig in 1754.  The 
+authors of this appreciation give it an intimacy 
+which renders it precious.  But Mizler's periodical 
+was the organ of a small Society, of which Bach 
+had been a member, and outside its associates 
+can have done little to extend a knowledge of the 
+subject of the memoir.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Johann Friedrich Agricola contributed notes 
+on Bach to Jakob Adlung's <span class="tei tei-title"><span style="font-style: italic">Musica mechanica 
+Organoedi,</span></span> published in two volumes at Berlin in 
+1768.  The article is valuable chiefly for Agricola's 
+exposition of Bach's opinions upon Organ and 
+Clavier building.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+With the intention to represent him as <span class="tei tei-q">“the 
+coryphaeus of all organists,”</span> Johann Adam Hiller, 
+who a few years later became Cantor at St.
+Thomas's, Leipzig, published there in 1784 a
+<span class="tei tei-pb" id="pagexv">[pg xv]</span>
+brief account of Bach in his <span class="tei tei-title"><span style="font-style: italic">Lebensbeschreibungen berühmter Musikgelehrten und Tonkünstler neuerer Zeit.</span></span>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Four years after Hiller's notice, Ernst Ludwig 
+Gerber published at Leipzig, in two volumes, 
+1790-92, his <span class="tei tei-title"><span style="font-style: italic">Historisch-biographische Lexikon 
+der Tonkünstler.</span></span>  As in Hiller's case, Gerber, 
+whose father had been Bach's pupil, was chiefly 
+interested in Bach as an organist.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Coincidently with Gerber, another of Bach's 
+pupils, Johann Martin Schubart, who succeeded 
+him at Weimar in 1717, sketched his characteristics 
+as a performer in the <span class="tei tei-title"><span style="font-style: italic">Aesthetik der Tonkunst</span></span>, 
+published at Berlin by his son in the <span class="tei tei-title"><span style="font-style: italic">Deutschen 
+Monatsschrift</span></span> in 1793. 
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In 1794 appeared at Leipzig the first volume of a 
+work which Spitta characterises as fantastic and 
+unreliable, so far as it deals with Bach, Friedrich 
+Carl Gottlieb Hirsching's <span class="tei tei-title"><span style="font-style: italic">Historisch-literarisches 
+Handbuch</span></span> of notable persons deceased in the 
+eighteenth century.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Last of Forkel's forerunners, A. E. L. Siebigke 
+published at Breslau in 1801 his <span class="tei tei-title"><span style="font-style: italic">Museum 
+deutscher Tonkünstler,</span></span> a work which adds 
+nothing to our knowledge of Bach's life, but 
+offers some remarks on his style.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Little, if any, information of value, therefore, 
+had been added to the <span class="tei tei-title"><span style="font-style: italic">Nekrolog</span></span> of 1754 when 
+Forkel, in 1802, produced his monograph on Bach 
+and his music.  Nor, viewed as a biography, does
+<span class="tei tei-pb" id="pagexvi">[pg xvi]</span>
+Forkel much enlarge our knowledge of the conditions 
+of Bach's life.  He had the advantage of 
+knowing Bach's elder sons, but appears to have 
+lacked curiosity regarding the circumstances of 
+Bach's career, and to have made no endeavour to 
+add to his imperfect information, even regarding 
+his hero's life at Leipzig, upon which it should have 
+been easy for him to obtain details of utmost 
+interest.  His monograph, in fact, is not a <span class="tei tei-q">“Life”</span>
+in the biographic sense, but a critical appreciation 
+of Bach as player, teacher, and composer, based 
+upon the Organ and Clavier works, with which 
+alone Forkel was familiar.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It would be little profitable to weigh the value 
+of Forkel's criticism.  We are tempted to the conclusion 
+that Bach appealed to him chiefly as a 
+supreme master of technique, and our hearts would 
+open to him more widely did not his appreciation 
+of Bach march with a narrow depreciation 
+of Haydn, Mozart, and Beethoven, the last of 
+whom, he declared <span lang="la" class="tei tei-foreign" xml:lang="la">ex cathedra</span>, had not produced <span class="tei tei-q">“a single work which can be called a masterpiece.”</span>
+Gluck he frankly detested.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+But Forkel's monograph is notable on other 
+grounds.  It was the first to claim for Bach a 
+place among the divinities.  It used him to 
+stimulate a national sense in his own people.  
+Bach's is the first great voice from out of Germany 
+since Luther.  Of Germany's own Kisorgimento, 
+patently initiated by Goethe a generation after
+<span class="tei tei-pb" id="pagexvii">[pg xvii]</span>
+Johann Sebastian's death, Bach himself is the 
+harbinger.  In his assertion of a distinctive German 
+musical art he set an example followed in 
+turn by Mozart, Weber, and Wagner.  <span class="tei tei-q">“With 
+Bach,”</span> wrote Wagner, <span class="tei tei-q">“the German Spirit was born 
+anew.”</span>  It is Forkel's perpetual distinction that 
+he grasped a fact hidden from almost all but 
+himself.  In his Preface, and more emphatically 
+in the closing paragraph of his last Chapter, he 
+presents Bach as the herald of a German nation 
+yet unformed.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It is a farther distinction of Forkel's monograph 
+that it made converts.  With its publication the 
+clouds of neglect that too long had obscured Bach's 
+grandeur began to melt away, until the dizzy 
+altitude of his genius stood revealed.  The publication 
+of the five Motets (1803) was followed by 
+that of the Magnificat in 1811, and of the Mass 
+in A in 1818.  A beginning was made with the 
+Cantatas in 1821, when Breitkopf and Haertel 
+published <span class="tei tei-q">“Ein' feste Burg”</span> (No. 80), commended 
+in an article written (1822) by Johann Friedrich Rochlitz (1769-1842), the champion of Beethoven, 
+as now of Bach.  Another enthusiastic 
+pioneer was Carl Friedrich Zelter (1758-1832), 
+conductor of the Berlin Sing-Akademie, who 
+called Bach <span class="tei tei-q">“a sign of God, clear, yet inexplicable.”</span>   
+To him in large measure was due the memorable 
+revival of the <span class="tei tei-title"><span style="font-style: italic">St. Matthew Passion</span></span> at Berlin, 
+which the youthful Mendelssohn, Zelter's pupil,
+<span class="tei tei-pb" id="pagexviii">[pg xviii]</span>
+conducted in March 1829, exactly one hundred 
+years after the first production of the mighty work 
+at Leipzig.  In the following years it was given 
+at Dresden and many other German towns.  
+Leipzig heard it again after a barren interval in 
+1841, and did tardy homage to its incomparable 
+composer by erecting (1843) the statue that 
+stands in the shadow of St. Thomas's Church, 
+hard by the Cantor's home for a quarter of a 
+century.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Meanwhile, in 1830 and 1831 the <span class="tei tei-title"><span style="font-style: italic">St. Matthew 
+Passion</span></span> and <span class="tei tei-title"><span style="font-style: italic">St. John Passion</span></span> had been engraved, 
+and by 1845 the B minor Mass was in 
+print.  The credit of having revived it belongs to 
+Johann Nepomuk Schelble (1789-1837), conductor 
+of the Frankfort Caecilienverein, though the Berlin 
+Sing-Akademie was the first to give a performance, 
+considerably curtailed, of the whole work in 1835.  
+A little later, in the middle of the forties, Peters 
+began to issue his <span class="tei tei-q">“kritisch-korrecte”</span> edition of 
+the Organ works, which at length made Bach 
+widely known among organists.  But the publication 
+of the Cantatas proceeded slowly.  Only 
+fourteen of them were in print in 1850, when the 
+foundation of the Bachgesellschaft, on the centenary 
+of Bach's death, focused a world-wide homage.  
+When it dissolved in 1900 its mission was accomplished, 
+the entire works<a id="noteref_2" name="noteref_2" href="#note_2"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">2</span></span></a>
+of Bach were published, 
+<span class="tei tei-pb" id="pagexix">[pg xix]</span>
+and the vast range of his genius was patent to the 
+world.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It remains to discuss the first English version of 
+Forkel's monograph, published in 1820, with the 
+following title-page:
+</p>
+<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"><span style="font-size: 90%">LIFE OF JOHN SEBASTIAN BACH; with a Critical View 
+of his Compositions. By J. N. Forkel, Author of The Complete 
+History of Music, etc., etc. Translated from the 
+German.  London: Printed for T. Boosey and Co., Holles-Street,
+Cavendish-Square. 1820.
+</span></div>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The book was published in February 1820; 
+it was announced, with a slightly differently 
+worded title-page, in the <span class="tei tei-title"><span style="font-style: italic">New Monthly Magazine 
+and Universal Register</span></span> for March 1820 (p. 341), 
+and the <span class="tei tei-title"><span style="font-style: italic">Scots Magazine</span></span> for the same month (
+vol. lxxxv. p. 263).  The <span class="tei tei-title"><span style="font-style: italic">New Monthly</span></span> states the 
+price as 5s., the <span class="tei tei-title"><span style="font-style: italic">Quarterly Review</span></span> (vol. xxiii. 
+p. 281) as 6s.  The book contains xi+116+3 pages 
+of Music Figures, crown octavo, bound in dark 
+unlettered cloth.  It has neither Introduction, 
+notes (other than Forkel's), nor indication of the 
+translator's identity.  Much of the translation 
+is so bad as to suggest grave doubts of the translator's 
+comprehension of the German original; 
+while his rendering of Forkel's critical chapters 
+rouses a strong suspicion that he also lacked 
+technical equipment adequate to his task.  It is, 
+in fact, difficult to understand how such an unsatisfactory 
+piece of work found its way into 
+print.
+</p>
+<span class="tei tei-pb" id="pagexx">[pg xx]</span>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The character of the 1820 translation has a close 
+bearing upon its authorship.  In the article on 
+Bach in the new <span class="tei tei-title"><span style="font-style: italic">Grove</span></span> it is attributed to Samuel 
+Wesley (1766-1837), an attractive suggestion, 
+since Wesley was as enthusiastic a Bach pioneer 
+in this country as Forkel himself was in Germany.  
+But the statement is not correct.  In Samuel 
+Wesley's <span class="tei tei-title"><span style="font-style: italic">Letters to Mr. Jacobs relating to the 
+Introduction into this Country of the Works of J. S. 
+Bach</span></span> (London, 1875) we find the clue.  On 
+October 17, 1808, Wesley writes: <span class="tei tei-q">“We are (in 
+the first place) preparing for the Press an authentic 
+and accurate Life of Sebastian, which Mr. Stephenson the Banker (a most zealous and scientific 
+member of our Fraternity) has translated into 
+English from the German of Forkel.”</span>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em"> 
+Unfortunately, it is impossible to identify 
+Stephenson precisely, or to detect his activities 
+in the musical circle in which Wesley includes him.  
+In 1820 there was in Lombard Street a firm of 
+bankers under the style of <span class="tei tei-q">“Remington, Stephenson, Remington, and Toulmin,”</span> the active partner 
+being Mr. Rowland Stephenson, a man of about 
+forty in that year.  The firm was wound up in 
+bankruptcy in 1829, Stephenson having absconded 
+to America the previous year.  He appears to 
+have been the only banker of that name holding 
+such a recognised position as Wesley attributes to 
+him, though it remains no more than a conjecture 
+that he was the author of the translation issued in
+<span class="tei tei-pb" id="pagexxi">[pg xxi]</span>
+1820.<a id="noteref_3" name="noteref_3" href="#note_3"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">3</span></span></a>
+But whoever <span class="tei tei-q">“Stephenson the Banker”</span> 
+may have been, the poverty of his work fails to 
+support Wesley's commendation of his <span class="tei tei-q">“scientific”</span>
+equipment, and suggests that his purse rather 
+than his talents were serviceable to Wesley's 
+missionary campaign.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+For the facts of Bach's life, and as a record of 
+his artistic activities, Forkel admittedly is inadequate 
+and often misleading.  Stephenson necessarily 
+was without information to enable him to 
+correct or supplement his author.  Recent research, 
+and particularly the classic volumes of 
+Spitta and Schweitzer, have placed the present 
+generation in a more instructed and therefore 
+responsible position.  The following pages, accordingly, 
+have been annotated copiously in order to 
+bring Forkel into line with modern scholarship.  
+His own infrequent notes are invariably indicated 
+by a prefixed asterisk.  It has been thought 
+advisable to write an addendum to Chapter II. 
+in order to supplement Forkel at the weakest 
+point of his narrative.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Readers of Spitta's first volume probably will 
+remember the effort to follow the ramifications of 
+the Bach pedigree unaided by a genealogical 
+Table.  It is unfortunate that Spitta did not
+<span class="tei tei-pb" id="pagexxii">[pg xxii]</span>
+set out in that form the wealth of biographical 
+material his pages contain.  To supply the deficiency, 
+and to illustrate Forkel's first Chapter, 
+a complete Genealogical Table is provided in 
+Appendix VI., based mainly upon the biographical 
+details scattered over Spitta's pages.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In Chapter IX. Forkel gives a list of Bach's 
+compositions known to him.  It is, necessarily, 
+incomplete.  For that reason Appendices I. and 
+II. provide a full catalogue of Bach's works 
+arranged under the periods of his career.  In the 
+case of the Oratorios, Cantatas, Motets, and
+<span class="tei tei-q">“Passions,”</span> it is not difficult to distribute them 
+upon a chronological basis.  The Clavier works 
+also can be dated with some approximation to 
+closeness.  The effort is more speculative in the 
+case of the Organ music.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In his Preface Forkel suggests the institution of 
+a Society for the publication and study of Bach's 
+works.  The proposal was adopted after half a 
+century's interval, and in Appendix III. will be 
+found a complete and detailed catalogue of the 
+publications of the Old and New Bachgesellschaft 
+from 1850 to 1918 inclusive.  The Society's issues 
+for 1915-18 have not yet reached this country.   
+The present writer had an opportunity to examine 
+them in the Library of the Cologne Conservatorium 
+of Music in the spring of this year.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In this Introduction will be found a list of 
+works bearing on Bach, which preceded Forkel's
+<span class="tei tei-pb" id="pagexxiii">[pg xxiii]</span>
+monograph.  Appendix IV. provides a bibliography 
+of Bach literature published subsequently 
+to it.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Grateful acknowledgment is made to Mr. Ivor 
+Atkins, of Worcester Cathedral, and to Mr. W. G. 
+Whittaker, of Newcastle-upon-Tyne, who have 
+read these pages in proof, and improved them by 
+their criticism.
+</p>
+<div class="tei tei-closer">
+<div class="tei tei-signed" style="text-align: right">C. S. T.</div>
+<div class="tei tei-dateline">October 1, 1919.</div>
+</div>
+</div>
+
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  <a name="toc5" id="toc5"></a>
+  <a name="pdf6" id="pdf6"></a>
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">FORKEL'S PREFACE</span></h1>
+
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Many years ago I determined to give the public 
+an account of the life of Johann Sebastian Bach, 
+with some reflections upon his genius and his 
+works.  The brief article by Carl Philipp 
+Emmanuel Bach<a id="noteref_4" name="noteref_4" href="#note_4"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">4</span></span></a>
+and Herr Agricola,<a id="noteref_5" name="noteref_5" href="#note_5"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">5</span></span></a>
+formerly 
+composer to the Court of Prussia, contributed to 
+the fourth volume of Mizler's <span class="tei tei-title"><span style="font-style: italic">Musical Library,</span></span><a id="noteref_6" name="noteref_6" href="#note_6"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">6</span></span></a> 
+can hardly be deemed adequate by Bach's admirers 
+and, but for the desire to complete my
+<span class="tei tei-pb" id="pagexxv">[pg xxv]</span>
+<span class="tei tei-title"><span style="font-style: italic">General History of Music,</span></span><a id="noteref_7" name="noteref_7" href="#note_7"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">7</span></span></a>
+I should have fulfilled my purpose 
+long ago.  As Bach, more than any other 
+artist, represents an era in the history of music, 
+it was my intention to devote to the concluding 
+volume of that work the materials I had collected 
+for a history of his career.  But the announcement 
+that Messrs. Hoffmeister and Kühnel, the Leipzig 
+music-sellers and publishers, propose to issue a 
+complete and critical edition of Bach's works has 
+induced me to change my original plan.<a id="noteref_8" name="noteref_8" href="#note_8"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">8</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Messrs. Hoffmeister and Künel's project promises 
+at once to advance the art of music and 
+enhance the honour of the German name.  For 
+Bach's works are a priceless national patrimony; 
+no other nation possesses a treasure comparable 
+to it.  Their publication in an authoritative text 
+will be a national service and raise an imperishable 
+monument to the composer himself.  All who 
+hold Germany dear are bound in honour to promote 
+the undertaking to the utmost of their 
+power.  I deem it a duty to remind the public of 
+this obligation and to kindle interest in it in every 
+true German heart.  To that end these pages
+<span class="tei tei-pb" id="pagexxvi">[pg xxvi]</span>
+appear earlier than my original plan proposed; for they 
+will enable me to reach a larger number 
+of my fellow countrymen.  The section on Bach 
+in my <span class="tei tei-title"><span style="font-style: italic">History of Music</span></span> probably would have 
+been read by a handful of experts or musical 
+artists.  Here I hope to speak to a larger audience.  
+For, let me repeat, not merely the interests of 
+music but our national honour are concerned to 
+rescue from oblivion the memory of one of 
+Germany's greatest sons.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+One of the best and most effective means of 
+popularising musical masterpieces is to perform 
+them in public.  In that way works of merit 
+secure a widening audience.  People listen to 
+them with pleasure in the concert room, church, 
+or theatre, remember the agreeable impression 
+they created, and purchase them when published, 
+even though they cannot always play them.  But 
+Bach's works unfortunately are rarely heard 
+nowadays; for the number of persons capable 
+of playing them adequately is at best inconsiderable.  
+It would have been otherwise had 
+Bach given touring performances of his music,<a id="noteref_9" name="noteref_9" href="#note_9"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">9</span></span></a> 
+a labour for which he had neither time nor liking.  
+Many of his pupils did so, and though their skill 
+was inferior to their master's, the admiration
+<span class="tei tei-pb" id="pagexxvii">[pg xxvii]</span> 
+and astonishment they excited revealed the 
+grandeur of his compositions.  Here and there, 
+too, were found persons who desired to hear on 
+their own instrument pieces which the performer 
+had played best or gave them most pleasure.  
+They could do so more easily for having heard 
+how the piece ought to sound.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+But, to awaken a wide appreciation of musical 
+masterpieces depends upon the existence of good 
+teachers.  The want of them is our chief difficulty.  
+In order to safeguard their credit, the 
+ignorant and incompetent of their number are 
+disposed to decry good music, lest they should be 
+asked to play it.  Consequently, their pupils, condemned 
+to spend time, labour, and money on 
+second-rate material, will not after half a dozen 
+years, perhaps, show themselves farther advanced 
+in sound musical appreciation than they were 
+at the outset.  Whereas, under a good teacher, 
+half the time, labour, and money produces progressive 
+improvement.  Time will show whether 
+this obstacle can be surmounted by making 
+Bach's works accessible in the music shops and by 
+forming a Society among the admirers of his 
+genius to make them known and promote their 
+study.<a id="noteref_10" name="noteref_10" href="#note_10"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">10</span></span></a>
+</p>
+<span class="tei tei-pb" id="pagexxviii">[pg xxviii]</span>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+At any rate, if music is really an art, and not a 
+mere pastime, its masterpieces must be more 
+widely known and performed than in fact they 
+are.  And here Bach, prince of classic composers, 
+can render yeoman service.<a id="noteref_11" name="noteref_11" href="#note_11"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">11</span></span></a>
+For his music is 
+so well calculated to educate the student to distinguish 
+what is trivial from what is good, and to 
+comport himself as an artist in whatever branch 
+of the art he makes his own.  Moreover, Bach, 
+whose influence pervades every musical form, can 
+be relied on more than any other composer to 
+correct the superficiality which is the bane of 
+modern taste.  Neglect of the classics is as prejudicial 
+to the art of music as it would be fatal to 
+the interests of general culture to banish Greek 
+and Latin writers from our schools.  Modern 
+taste exhibits no shame in its preference for 
+agreeable trifles, in its neglect of everything that 
+makes a demand, however slight, upon its 
+attention.  To-day we are menaced by a proposal
+<span class="tei tei-pb" id="pagexxix">[pg xxix]</span>
+to banish the classics from our schoolrooms.  
+Equally short-sighted vision threatens to extinguish 
+our musical classics as well.  And is it 
+surprising?  Modern art displays such poverty and 
+frivolity that it well may shrink from putting 
+itself in context with great literature, particularly 
+with Bach's mighty and creative genius, and seek 
+rather to proscribe it.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+I fain would do justice to the sublime genius 
+of this prince of musicians, German and foreign!  
+Short of being such a man as he was, dwarfing 
+all other musicians from the height of his superiority, 
+I can conceive no greater distinction than 
+the power to comprehend and interpret him to 
+others.<a id="noteref_12" name="noteref_12" href="#note_12"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">12</span></span></a>
+The ability to do so must at least connote 
+a temperament not wholly alien from his own.  
+It may even hint the flattering prospect that, if 
+circumstances had opened up the same career, 
+similar results might have been forthcoming.  I 
+am not presumptuous to suggest such a result in 
+my own case.  On the contrary I am convinced 
+that there are no words adequate to express the 
+thoughts Bach's transcendent genius stirs one to 
+utter.  The more intimately we are acquainted 
+with it the greater must be our admiration.  Our 
+utmost eulogy, our deepest expressions of homage, 
+<span class="tei tei-pb" id="pagexxx">[pg xxx]</span>
+must seem little more than well-meant prattle.   
+No one who is familiar with the work of other 
+centuries will contradict or hold my statement 
+exaggerated, that Bach cannot be named except 
+in tones of rapture, and even of devout awe, by 
+those who have learnt to know him.  We may 
+discover and lay bare the secrets of his technique.  
+But his power to inspire into it the breath of 
+genius, the perfection of life and charm that 
+moves us so powerfully, even in his slightest 
+works, must always remain extraordinary and 
+insoluble.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+I do not choose to compare Bach with other 
+artists.  Whoever is interested to measure him 
+with Handel will find a just and balanced estimate 
+of their relative merits, written by one fully informed 
+for the task, in the first number of the 
+eighty-first volume of the <span class="tei tei-title"><span style="font-style: italic">Universal German 
+Library,</span></span> pages 295-303.<a id="noteref_13" name="noteref_13" href="#note_13"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">13</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+So far as it is not derived from the short article 
+in Mizler's <span class="tei tei-title"><span style="font-style: italic">Library</span></span> already mentioned,<a id="noteref_14" name="noteref_14" href="#note_14"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">14</span></span></a>
+I am indebted for my information to the two eldest
+<span class="tei tei-pb" id="pagexxxi">[pg xxxi]</span>
+sons of Bach himself.<a id="noteref_15" name="noteref_15" href="#note_15"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">15</span></span></a>
+Not only was I personally 
+acquainted with them, but I corresponded 
+regularly for many years with both,<a id="noteref_16" name="noteref_16" href="#note_16"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">16</span></span></a>
+ particularly 
+Carl Philipp Emmanuel.  The world knows them 
+as great artists.  But probably it is not aware 
+that to the last moment of their lives they spoke 
+of their father's genius with enthusiastic admiration.<a id="noteref_17" name="noteref_17" href="#note_17"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">17</span></span></a>
+From my early youth I have been inspired 
+by an appreciation no less deep than theirs.  
+It was a frequent theme of conversation and 
+correspondence between us.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Thus, having been in a position to inform myself 
+on all matters relating to Bach's life, genius, and 
+work, I may fairly hold myself competent to communicate 
+to the public what I have learnt and to 
+offer useful reflections upon it.  I take advantage
+<span class="tei tei-pb" id="pagexxxii">[pg xxxii]</span>
+of my opportunity the more readily because it permits me 
+to draw attention to an enterprise<a id="noteref_18" name="noteref_18" href="#note_18"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">18</span></span></a>
+that promises to provide a worthy monument to 
+German art, a gallery of most instructive models 
+to the sincere artist, and to afford music lovers an 
+inexhaustible source of sublimest pleasure. 
+</p>
+</div>
+
+</div>
+
+<hr class="doublepage" /><div class="tei tei-body" style="margin-bottom: 6.00em; margin-top: 6.00em">
+
+<span class="tei tei-pb" id="page1">[pg 1]</span>
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  <a name="toc7" id="toc7"></a>
+  <a name="pdf8" id="pdf8"></a>
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">CHAPTER I. THE FAMILY OF BACH</span></h1>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+If there is such a thing as inherited aptitude for 
+art it certainly showed itself in the family of Bach.  
+For six successive generations scarcely two or three 
+of its members are found whom nature had not 
+endowed with remarkable musical talent, and who 
+did not make music their profession.<a id="noteref_19" name="noteref_19" href="#note_19"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">19</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Veit Bach,<a id="noteref_20" name="noteref_20" href="#note_20"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">20</span></span></a>
+ ancestor of this famous family, 
+<span class="tei tei-pb" id="page2">[pg 2]</span>
+gained a livelihood as a baker at Pressburg in 
+Hungary.  When the religious troubles of the 
+sixteenth century broke out he was driven to seek 
+another place of abode, and having got together 
+as much of his small property as he could, retired 
+with it to Thuringia, hoping to find peace and 
+security there.  He settled at Wechmar, a village 
+near Gotha,<a id="noteref_21" name="noteref_21" href="#note_21"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">21</span></span></a>
+ where he continued to ply his trade 
+as a baker and miller.<a id="noteref_22" name="noteref_22" href="#note_22"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">22</span></span></a>
+In his leisure hours he 
+was wont to amuse himself with the lute,<a id="noteref_23" name="noteref_23" href="#note_23"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">23</span></span></a>
+playing it amid the noise and clatter of the mill.  His 
+taste for music descended to his two sons<a id="noteref_24" name="noteref_24" href="#note_24"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">24</span></span></a>
+and their children, and in time the Bachs grew to be 
+a very numerous family of professional musicians,
+<span class="tei tei-pb" id="page3">[pg 3]</span>
+Cantors, Organists, and Town Musicians,<a id="noteref_25" name="noteref_25" href="#note_25"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">25</span></span></a>
+throughout  Thuringia.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Not all the Bachs, however, were great musicians.  
+But every generation boasted some of them who 
+were more than usually distinguished.  In the 
+first quarter of the seventeenth century three 
+of Veit Bach's grandchildren showed such exceptional 
+talent that the Count of Schwarzburg-Arnstadt thought it worth while to send them at 
+his expense to Italy, then the chief school of 
+music, to perfect themselves in the art.<a id="noteref_26" name="noteref_26" href="#note_26"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">26</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+We do 
+not know whether they rewarded the expectations 
+of their patron, for none of their works has survived. 
+The fourth generation<a id="noteref_27" name="noteref_27" href="#note_27"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">27</span></span></a>
+of the family 
+produced musicians of exceptional distinction,
+<span class="tei tei-pb" id="page4">[pg 4]</span>
+and several of their compositions, thanks to Johann Sebastian Bach's 
+regard for them, have 
+come down to us. The most notable of these 
+Bachs are:
+</p>
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item"> Johann Christoph Bach, Court and Town 
+Organist at Eisenach.<a id="noteref_28" name="noteref_28" href="#note_28"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">28</span></span></a>
+ He was particularly happy 
+in his beautiful melodies and in setting words to 
+music. In the <span class="tei tei-title"><span style="font-style: italic">Archives of the Bachs,</span></span><a id="noteref_29" name="noteref_29" href="#note_29"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">29</span></span></a>
+which 
+was in Carl Philipp Emmanuel's possession at 
+Hamburg, there is a Motet by Johann Christoph 
+in which he boldly uses the augmented sixth, a 
+proceeding considered extremely daring in his day.<a id="noteref_30" name="noteref_30" href="#note_30"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">30</span></span></a> 
+He was also an uncommon master of harmony, 
+as may be inferred from a Cantata composed by 
+him for Michaelmas, to the words <span class="tei tei-q">“Es erhub sich 
+ein Streit,”</span> etc., which has twenty-two obbligato 
+parts in correct harmony.<a id="noteref_31" name="noteref_31" href="#note_31"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">31</span></span></a>
+Yet another proof 
+of his rare skill is in the alleged fact that he never
+<span class="tei tei-pb" id="page5">[pg 5]</span>
+played the Organ or Clavier in less than five parts.<a id="noteref_32" name="noteref_32" href="#note_32"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">32</span></span></a>
+Carl Philipp Emmanuel had a particularly 
+warm regard for him.<a id="noteref_33" name="noteref_33" href="#note_33"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">33</span></span></a> I remember the old man 
+playing some of his compositions to me on the 
+Clavier at Hamburg, and how quizzically he 
+looked at me when one of these daring passages 
+occurred.<a id="noteref_34" name="noteref_34" href="#note_34"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">34</span></span></a>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item">
+Johann Michael Bach, Organist and Town 
+Clerk at Gehren.<a id="noteref_35" name="noteref_35" href="#note_35"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">35</span></span></a> He was the younger brother 
+of Johann Christoph, and like him, a particularly 
+good composer.  The Archives already mentioned<a id="noteref_36" name="noteref_36" href="#note_36"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">36</span></span></a>
+contain several of his Motets, including one for 
+eight voices in double chorus,<a id="noteref_37" name="noteref_37" href="#note_37"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">37</span></span></a> and many compositions 
+for Church use.
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item">
+Johann Bernhard Bach, Musician in the Prince's Kapelle and Organist at Eisenach.<a id="noteref_38" name="noteref_38" href="#note_38"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">38</span></span></a>He is said to have composed remarkably fine Suites, 
+or Overtures, in the French style.<a id="noteref_39" name="noteref_39" href="#note_39"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">39</span></span></a>
+</td></tr></tbody></table>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Besides these three men, the Bachs boasted 
+several able composers in the generations preceding 
+Johann Sebastian,<a id="noteref_40" name="noteref_40" href="#note_40"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">40</span></span></a> men who undoubtedly 
+would have obtained higher positions, wider 
+reputation, and more brilliant fortune if they 
+could have torn themselves from their native 
+Thuringia to display their gifts elsewhere in 
+Germany or abroad. But none of the Bachs 
+seems to have felt an inclination to migrate. 
+Modest in their needs, frugal by nature and training, 
+they were content with little, engrossed in 
+and satisfied by their art, and wholly indifferent 
+<span class="tei tei-pb" id="page7">[pg 7]</span>
+to the decorations which great men of that time were wont to bestow on artists as special marks of honour. The fact that others who appreciated them were thus distinguished did not rouse the slightest envy in the Bachs.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Bachs not only displayed a happy contentedness, indispensable for the cheery enjoyment of life, but exhibited a clannish attachment to each other.  They could not all live in the same locality.  But it was their habit to meet once a year at a time and place arranged beforehand.  These gatherings generally took place at Erfurt, Eisenach, and sometimes at Arnstadt.  Even after the family had grown very large, and many of its members had left Thuringia to settle in Upper and Lower Saxony and Franconia, the Bachs continued their annual meetings.  On these occasions music was their sole recreation.  As those present were either Cantors, Organists, or Town Musicians, employed in the service of the Church and accustomed to preface the day's work with prayer, their first act was to sing a Hymn.  Having fulfilled their religious duty, they spent the rest of the time in frivolous recreations.  Best of all they liked to extemporise a chorus out of popular songs, comic or jocular, weaving them into a harmonious whole while declaiming the words of each. They called this hotch-potch a <span class="tei tei-q">“Quodlibet,”</span> laughed uproariously at it, and roused equally hearty and irrepressible laughter 
+<span class="tei tei-pb" id="page8">[pg 8]</span>
+in their audience.<a id="noteref_41" name="noteref_41" href="#note_41"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">41</span></span></a> It is suggested that German Comic Opera has its origin in these trifles.  But the <span class="tei tei-q">“Quodlibet”</span> was a familiar institution in Germany at a much earlier period.  I possess a collection of them printed and published at Vienna in 1542.<a id="noteref_42" name="noteref_42" href="#note_42"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">42</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+But these light-hearted Thuringians, and even those of their family who treated their art more seriously and worthily, would not have escaped oblivion had there not emerged in the fulness of time one whose genius and renown reflected their splendour and brilliancy on his forbears.  This man, the glory of his family, pride of his countrymen, most gifted favourite of the Muse of Music, was Johann Sebastian Bach.
+</p>
+
+<a name="fig9" id="fig9"></a><div class="tei tei-figure" style="text-align: center"><img src="images/eisenach.jpg" alt="Bach's Home at Eisenach" title="Bach's Home at Eisenach" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Bach's Home at Eisenach</div></div>
+
+</div>
+
+
+<span class="tei tei-pb" id="page9">[pg 9]</span>
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  <a name="toc10" id="toc10"></a>
+  <a name="pdf11" id="pdf11"></a>
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Chapter II. THE CAREER OF BACH</span></h1>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Johann Sebastian Bach was born on March 21, 1685,<a id="noteref_43" name="noteref_43" href="#note_43"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">43</span></span></a> at Eisenach, where his father, Johann Ambrosius Bach, was Court and Town Musician.<a id="noteref_44" name="noteref_44" href="#note_44"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">44</span></span></a> Johann Ambrosius had a twin brother, Johann Christoph, Musician to the Court and Town of Arnstadt,<a id="noteref_45" name="noteref_45" href="#note_45"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">45</span></span></a> who so exactly resembled him that even their wives could distinguish them only by their dress.  The twins appear to have been quite remarkable.  They were deeply attached, alike in disposition, in voice, and in the style of their music.  If one was ill, so was the other.  They died within a short time of each other, and were objects of wondering interest to all who knew them.<a id="noteref_46" name="noteref_46" href="#note_46"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">46</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In 1695, when Johann Sebastian was not quite ten years old, his father died. He lost his mother at an earlier period.<a id="noteref_47" name="noteref_47" href="#note_47"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">47</span></span></a> So, being left an orphan,
+<span class="tei tei-pb" id="page10">[pg 10]</span>
+he became dependent on his eldest brother, Johann Christoph, Organist at Ohrdruf,<a id="noteref_48" name="noteref_48" href="#note_48"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">48</span></span></a> from whom he received his earliest lessons on the Clavier.<a id="noteref_49" name="noteref_49" href="#note_49"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">49</span></span></a> His inclination and talent for music must already have been pronounced.  For his brother no sooner had given him one piece to learn than the boy was demanding another more difficult.  The most renowned Clavier composers of that day were Froberger,<a id="noteref_50" name="noteref_50" href="#note_50"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">50</span></span></a> Fischer,<a id="noteref_51" name="noteref_51" href="#note_51"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">51</span></span></a> Johann Caspar Kerl,<a id="noteref_52" name="noteref_52" href="#note_52"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">52</span></span></a> Pachelbel,<a id="noteref_53" name="noteref_53" href="#note_53"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">53</span></span></a> Buxtehude,<a id="noteref_54" name="noteref_54" href="#note_54"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">54</span></span></a> Bruhns,<a id="noteref_55" name="noteref_55" href="#note_55"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">55</span></span></a>
+<span class="tei tei-pb" id="page11">[pg 11]</span> and Böhm.<a id="noteref_56" name="noteref_56" href="#note_56"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">56</span></span></a> Johann Christoph possessed a book containing several pieces by these masters, and Bach begged earnestly for it, but without effect.  Refusal increasing his determination, he laid his plans to get the book without his brother's knowledge.  It was kept on a book-shelf which had a latticed front.  Bach's hands were small.  Inserting them, he got hold of the book, rolled it up, and drew it out.  As he was not allowed a candle, he could only copy it on moonlight nights, and it was six months before he finished his heavy task.  As soon as it was completed he looked forward to using in secret a treasure won by so much labour.  But his brother found the copy and took it from him without pity, nor did Bach recover it until his brother's death soon after.<a id="noteref_57" name="noteref_57" href="#note_57"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">57</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Being once more left destitute,<a id="noteref_58" name="noteref_58" href="#note_58"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">58</span></span></a> Johann Sebastian set out for Lüneburg with one of his Ohrdruf schoolfellows, named Erdmann<a id="noteref_59" name="noteref_59" href="#note_59"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">59</span></span></a> (afterwards Russian Resident at Danzig), and entered the choir of St. Michael's Convent.  His fine treble voice procured him a fair livelihood. But unfortunately he soon lost it and did not at once develop another.
+<a id="noteref_60" name="noteref_60" href="#note_60"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">60</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Meanwhile his ambition to play the Organ and Clavier remained as keen as ever, and impelled him to hear and practise everything that promised him improvement.  For that purpose, while he was at Lüeburg, he several times travelled to Hamburg to hear the famous organist,<a id="noteref_61" name="noteref_61" href="#note_61"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">61</span></span></a> Johann
+<span class="tei tei-pb" id="page13">[pg 13]</span>
+Adam Reinken.<a id="noteref_62" name="noteref_62" href="#note_62"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">62</span></span></a> Often, too, he walked to Celle to hear the Duke's French band play French music, which was a novelty in those parts.<a id="noteref_63" name="noteref_63" href="#note_63"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">63</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The date and circumstances of his removal from Lüneburg to Weimar are not precisely known.<a id="noteref_64" name="noteref_64" href="#note_64"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">64</span></span></a> He certainly became Court Musician there in 1703, when he was just over eighteen years of age.<a id="noteref_65" name="noteref_65" href="#note_65"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">65</span></span></a> But in the following year he gave up the post on his appointment as Organist to the new Church at Arnstadt, probably desiring to develop his taste for the Organ and realising that he would have better opportunities to do so at Arnstadt than at Weimar, where he was engaged simply to play the Violin.<a id="noteref_66" name="noteref_66" href="#note_66"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">66</span></span></a> At Arnstadt he set himself assiduously to study the works of the celebrated organists of the period, so far as his modest means permitted him, and in order to improve himself 
+<span class="tei tei-pb" id="page14">[pg 14]</span>
+in composition<a id="noteref_67" name="noteref_67" href="#note_67"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">67</span></span></a> and Organ playing,<a id="noteref_68" name="noteref_68" href="#note_68"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">68</span></span></a> walked the whole way to Lübeck to hear Dietrich Buxtehude, Organist of St. Mary's Church in that city, with whose compositions he was acquainted already. He remained there about three months,<a id="noteref_69" name="noteref_69" href="#note_69"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">69</span></span></a> listening
+<span class="tei tei-pb" id="page15">[pg 15]</span>
+to the celebrated Organist, but without making himself known to him, and returned to Arnstadt with his experience much increased.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach's zeal and persevering diligence had already drawn attention to him, as is evident from the fact that he received in succession several offers of vacant organistships, one of which, at the Church of St. Blasius, Mühlhausen, he accepted in 1707.<a id="noteref_70" name="noteref_70" href="#note_70"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">70</span></span></a> Barely a year after he entered upon his duties there<a id="noteref_71" name="noteref_71" href="#note_71"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">71</span></span></a> he again visited Weimar and played to the Duke, who was so pleased with his performance that he offered him the post of Court Organist, which he accepted.<a id="noteref_72" name="noteref_72" href="#note_72"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">72</span></span></a> Weimar promised
+<span class="tei tei-pb" id="page16">[pg 16]</span>
+him a particularly agreeable atmosphere in which to cultivate his genius.<a id="noteref_73" name="noteref_73" href="#note_73"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">73</span></span></a> He applied himself closely to his work, and probably at this period achieved the mastery of the Organ that he ever afterwards possessed.  At Weimar also he wrote his great compositions for that instrument.<a id="noteref_74" name="noteref_74" href="#note_74"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">74</span></span></a> In 1717<a id="noteref_75" name="noteref_75" href="#note_75"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">75</span></span></a> the Duke appointed him Concertmeister, a post which gave him further opportunity to develop his art, since it required him to compose and direct Church music.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It was about this time that Zachau, Handel's master, died at Halle, where he was Organist.<a id="noteref_76" name="noteref_76" href="#note_76"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">76</span></span></a> Bach, who by now had acquired a great reputation, was invited to succeed him.<a id="noteref_77" name="noteref_77" href="#note_77"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">77</span></span></a> He visited Halle
+<span class="tei tei-pb" id="page17">[pg 17]</span>
+and composed a work as a specimen of his skill But for some reason unknown he did not obtain the post.  It was given to a clever pupil of Zachau, named Kirchhoff.<a id="noteref_78" name="noteref_78" href="#note_78"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">78</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Johann Sebastian was now thirty-two years old. He had made good use of his opportunities, had studied hard as a player and composer, and by tireless enthusiasm had so completely mastered every branch of his art, that he towered like a giant above his contemporaries. Both amateurs and professional musicians already regarded him with admiration when, in 1717, Marchand, the French virtuoso, a celebrated Clavier and
+<span class="tei tei-pb" id="page18">[pg 18]</span>
+Organ player, visited Dresden.  He played before the King-Elector<a id="noteref_79" name="noteref_79" href="#note_79"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">79</span></span></a> and won such approbation that he was offered a large salary to enter His Majesty's service.<a id="noteref_80" name="noteref_80" href="#note_80"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">80</span></span></a> Marchand's chief merit was his finished technique.  Like Couperin,<a id="noteref_81" name="noteref_81" href="#note_81"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">81</span></span></a> his musical ideas were weak to the point of banality, as we may judge from his compositions.<a id="noteref_82" name="noteref_82" href="#note_82"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">82</span></span></a> Bach was an equally finished player, and so rich in ideas that Marchand's head would have swollen had he been equally gifted.  Volumier, Concertmeister at Dresden,<a id="noteref_83" name="noteref_83" href="#note_83"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">83</span></span></a> was aware of these circumstances, and knowing that the young German had his instrument and his imagination under the fullest control, determined to arrange a contest between the two men in order to give his sovereign the satisfaction of judging their merits.  With the King's approbation, a message was dispatched
+<span class="tei tei-pb" id="page19">[pg 19]</span>
+to Bach at Weimar<a id="noteref_84" name="noteref_84" href="#note_84"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">84</span></span></a> inviting him to a contest with Marchand.  Bach accepted the invitation and set out at once on his journey.  Upon his arrival at Dresden Volumier procured him an opportunity to hear Marchand secretly.  Far from being discouraged by what he heard, Bach wrote a polite note to the French artist challenging him to a trial of skill, and offering to play at sight anything Marchand put before him, provided the Frenchman submitted himself to a similar test.  Marchand accepted the challenge, a time and place for the contest were fixed, and the King gave his approval.  At the appointed hour a large and distinguished company assembled in the house of Marshal Count Flemming.<a id="noteref_85" name="noteref_85" href="#note_85"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">85</span></span></a> Bach arrived punctually; Marchand did not appear.  After considerable delay he was sought at his lodging, when it was discovered, to the astonishment of all, that he had left Dresden that morning without taking leave of anybody.  Bach therefore performed alone, and excited the admiration of all who heard him, though Volumier was cheated of his intention to exhibit the inferiority of French to German art.  Bach was overwhelmed with congratulations; but the dishonesty of a Court official is said to have
+<span class="tei tei-pb" id="page20">[pg 20]</span>
+intercepted a present of one hundred louis d'or sent to him by the King.<a id="noteref_86" name="noteref_86" href="#note_86"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">86</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach had not long returned to Weimar when Prince Leopold of Anhalt-Cöthen, a good judge of music and a first-rate amateur,<a id="noteref_87" name="noteref_87" href="#note_87"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">87</span></span></a> offered him the post of Kapellmeister.  He entered at once upon his new office<a id="noteref_88" name="noteref_88" href="#note_88"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">88</span></span></a> and held it for about six years.<a id="noteref_89" name="noteref_89" href="#note_89"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">89</span></span></a> At this period, about 1722,<a id="noteref_90" name="noteref_90" href="#note_90"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">90</span></span></a> he visited
+<span class="tei tei-pb" id="page21">[pg 21]</span>
+Hamburg, played the Organ there, and excited general admiration.  The veteran Reinken—he was nearly one hundred years old—was particularly impressed by Bach's performance.  After he had treated the Choral <span class="tei tei-title"><span style="font-style: italic">An Wasserflüssen Babylon</span></span> for half an hour in variation after variation in the true Organ style,<a id="noteref_91" name="noteref_91" href="#note_91"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">91</span></span></a> Reinken paid him the compliment of saying, <span class="tei tei-q">“I thought this art was dead, but I see that it survives in you.”</span>  Reinken had treated the same Choral in a similar manner some years before and had had his work engraved, showing that he thought highly of it.  His praise therefore was particularly flattering to Bach.<a id="noteref_92" name="noteref_92" href="#note_92"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">92</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+On the death of Kuhnau in 1723<a id="noteref_93" name="noteref_93" href="#note_93"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">93</span></span></a> Bach was appointed Director of Music and Cantor to St. Thomas' School, Leipzig,<a id="noteref_94" name="noteref_94" href="#note_94"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">94</span></span></a> a position which he
+<span class="tei tei-pb" id="page22">[pg 22]</span>
+occupied until his death.  Prince Leopold of Anhalt-Cöthen had great regard for him and Bach left his service with regret.<a id="noteref_95" name="noteref_95" href="#note_95"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">95</span></span></a>
+ But he saw the finger of Providence in the event; for the Prince died shortly afterwards.<a id="noteref_96" name="noteref_96" href="#note_96"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">96</span></span></a>
+ The loss of his patron affected him deeply, and moved him to compose a funeral Cantata containing remarkably fine double choruses which he himself conducted at Cöthen.<a id="noteref_97" name="noteref_97" href="#note_97"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">97</span></span></a>
+ While he was at St. Thomas' he was appointed honorary Kapellmeister to the Duke of Weissenfels<a id="noteref_98" name="noteref_98" href="#note_98"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">98</span></span></a>
+ and, in the following year
+<span class="tei tei-pb" id="page23">[pg 23]</span>
+(1736), received the title of Court Composer to the King-Elector of Poland-Saxony.<a id="noteref_99" name="noteref_99" href="#note_99"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">99</span></span></a>
+ The two compliments are not of great consequence, and the second was to some degree corollary to Bach's position as Cantor of St. Thomas' School.<a id="noteref_100" name="noteref_100" href="#note_100"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">100</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Carl Philipp Emmanuel, Bach's second son, entered the service of Frederick the Great of Prussia in 1740.  So widely was Bach's skill recognised by this time that the King, who often heard him praised, was curious to meet so great an artist.  More than once he hinted to Carl Philipp Emmanuel that it would be agreeable to welcome his father to Potsdam, and as Bach did not appear, desired to know the reason.  Carl Philipp did not fail to acquaint his father with the King's interest.  But for some time Bach was too occupied with his duties to accede to the invitation.  However, as Carl Philipp continued to urge him, he set out for Potsdam towards the end of 1747, in company with his eldest son, Wilhelm Friedemann.<a id="noteref_101" name="noteref_101" href="#note_101"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">101</span></span></a>
+ It was the King's custom to hold a private concert 
+<span class="tei tei-pb" id="page24">[pg 24]</span>
+every evening, and to take part on the flute in a Concerto or two. One evening,<a id="noteref_102" name="noteref_102" href="#note_102"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">102</span></span></a>
+ when he had got out his flute and the musicians were at their desks, an official brought him a list of the strangers newly arrived at Potsdam.  Flute in hand the King ran through the names, and suddenly turning to the waiting musicians, said with considerable excitement, <span class="tei tei-q">“Gentlemen, Old Bach has arrived.”</span>  The flute was put away for the evening, and Bach, who had alighted at his son's lodging, was summoned immediately to the Palace.  Wilhelm Friedemann, who accompanied his father, often told me the story.  Nor am I likely to forget the racy manner in which he related it.  The courtesy of those days demanded rather prolix compliments, and the first introduction of Bach to so illustrious a monarch, into whose presence he had hurried without being allowed time to change his travelling dress for a Cantor's black gown, obviously invited ceremonial speeches on both sides.  I will not dwell on them; Wilhelm Friedemann related
+<span class="tei tei-pb" id="page25">[pg 25]</span>
+a lengthy and formal conversation between the King and the Cantor.<a id="noteref_103" name="noteref_103" href="#note_103"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">103</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+More worthy of record is the fact that the King gave up his concert for that evening and invited Bach, already known as <span class="tei tei-q">“Old Bach,”</span> to try the Silbermann pianofortes<a id="noteref_104" name="noteref_104" href="#note_104"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">104</span></span></a>
+ which stood in various parts of the Palace.<a id="noteref_105" name="noteref_105" href="#note_105"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">105</span></span></a>
+ Accompanied from room to room by the King and the musicians, Bach tried the instruments and improvised upon them before his illustrious companion.  After some time he asked the King to give him a subject for a Fugue, that he might treat it extempore.  The King did so, and expressed his astonishment at Bach's profound skill in developing it.  Anxious to see to what lengths the art could be carried, the King desired Bach to improvise a six-part Fugue.  But as every subject is not suitable for polyphonic
+<span class="tei tei-pb" id="page26">[pg 26]</span>
+treatment, Bach himself chose a theme and, to the astonishment of all who were present, developed it with the skill and distinction he had shown in treating the King's subject.  His Majesty expressed a wish to hear him on the Organ also. Accordingly, next day, Bach inspected all the Organs in Potsdam,<a id="noteref_106" name="noteref_106" href="#note_106"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">106</span></span></a>
+ as the evening before he had tried the Silbermann pianofortes. On his return to Leipzig he developed the King's theme in three and six parts, added <span lang="la" class="tei tei-foreign" xml:lang="la">Canones diversi</span> upon it, engraved the whole under the title <span class="tei tei-title"><span style="font-style: italic">Musikalisches Opfer</span></span> and dedicated it to the royal author of the theme.<a id="noteref_107" name="noteref_107" href="#note_107"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">107</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+ His visit to Potsdam was Bach's last journey.  The indefatigable diligence he had shown all his life, and particularly in his younger years, when successive days and nights were given to study, seriously affected his eye-sight.  The weakness grew with age and became very distressing in character.  On the advice of friends who placed great confidence in the skill of a London oculist lately come to Leipzig,<a id="noteref_108" name="noteref_108" href="#note_108"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">108</span></span></a>
+ Bach submitted to an
+<span class="tei tei-pb" id="page27">[pg 27]</span>
+operation, which twice failed.  He lost his sight completely in consequence, and his hitherto vigorous constitution was undermined by the drugs administered to him.  He sank gradually for full half a year, and expired on the evening of July 30, 1760, in the sixty-sixth year of his age.<a id="noteref_109" name="noteref_109" href="#note_109"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">109</span></span></a>
+ Ten days before his death<a id="noteref_110" name="noteref_110" href="#note_110"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">110</span></span></a>
+ he was suddenly able to see again and to bear the light.  A few hours later he was seized by an apoplexy and inflammatory fever, and notwithstanding all possible medical aid, his weakened frame succumbed to the attack.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Such was the career of this remarkable man.  I will only add that he was twice married, and that he had by his first wife seven, and by his second wife thirteen children; in all, eleven sons and nine daughters.<a id="noteref_111" name="noteref_111" href="#note_111"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">111</span></span></a>
+ All of his sons had an
+<span class="tei tei-pb" id="page28">[pg 28]</span>
+admirable talent for music, but only the elder ones fully developed it.<a id="noteref_112" name="noteref_112" href="#note_112"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">112</span></span></a>
+</p>
+
+<a name="fig12" id="fig12"></a><div class="tei tei-figure" style="text-align: center"><img src="images/stthomas.jpg" alt="The Church and School of St. Thomas, Leipzig, in 1723." title="The Church and School of St. Thomas, Leipzig, in 1723." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">The Church and School of St. Thomas, Leipzig, in 1723.</div></div>
+
+</div>
+
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  <a name="toc13" id="toc13"></a>
+  <a name="pdf14" id="pdf14"></a>
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">CHAPTER IIA.</span><a id="noteref_113" name="noteref_113" href="#note_113"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">113</span></span></a><span style="font-size: 173%">
+BACH AT LEIPZIG, 1723-1750</span></h1>
+<span class="tei tei-pb" id="page28">[pg 28]</span>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach was inducted into his office as Cantor of St. Thomas' School at nine o'clock on the morning of Monday, May 31, 1723.  He died in his official residence there at a quarter to nine on the evening of Tuesday, July 28, 1750.  He was buried early on the morning of Friday, July 31, in the churchyard of St. John's, Leipzig.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The announcement of his death, made from the pulpit of St. Thomas' on the day of his funeral, described him as <span class="tei tei-q">“Court Composer to His Majesty the King of Poland and Electoral and Serene Highness of Saxony, Kapellmeister to His Highness the Prince of Anhalt-Cothen, and Cantor to St. Thomas' School of this town.”</span>  Bach usually designated himself <span class="tei tei-q">“Director Chori Musici Lipsiensis,”</span> or shortly, <span class="tei tei-q">“Director Musices.”</span>  Circumstances led him to emphasise a title which asserted a musical prerogative not confined to the School and the churches it served.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Cantor of St. Thomas' was charged formerly with the musical direction of four Leipzig 
+<span class="tei tei-pb" id="page29">[pg 29]</span>
+churches: St. Thomas', St. Nicolas', St. Peter's, 
+and the New Church.  He was also responsible 
+for the music in the University Church of St. 
+Paul, the so-called <span class="tei tei-q">“old service,”</span> held originally 
+on the Festivals of Easter, Whit, Christmas, and 
+the Reformation, and once during each University 
+quarter. On high days music also had to be 
+provided at St. John's Church. 
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach, as Cantor, succeeded to a more restricted 
+responsibility, which dated from the early years 
+of the eighteenth century.  The New Church, 
+originally the Church of the Franciscans, had been 
+restored to use in 1699.  In 1704 Georg Philipp 
+Telemann, who came to Leipzig as a law student 
+three years before, was appointed Organist there. 
+He also founded the Collegium Musicum, or University 
+Musical Society, a farther slight upon the 
+Cantor's position.  Not until 1729 did the Society 
+pass under Bach's direction and its members 
+become available as auxiliaries in the church 
+choirs under his charge.  Notwithstanding that 
+Bach's predecessor Kuhnau had protested against 
+Telemann's independence, the direction of the 
+New Church's music passed out of the Cantor's 
+control, though the School continued to provide 
+the choristers.  Six years later the University 
+Church of St. Paul also began an independent 
+course.  In 1710 the authorities resolved to hold 
+a University service in the church every Sunday. 
+Kuhnau asserted his prerogative as Cantor. But
+<span class="tei tei-pb" id="page30">[pg 30]</span>
+he was only able to maintain it by offering to 
+provide the music for the <span class="tei tei-q">“new service”</span> as well 
+as for the <span class="tei tei-q">“old service”</span> at the fee of twelve thalers 
+which the University so far had paid for the 
+latter.  After his death the University appointed (April 3, 1723) Johann Gottlieb Görner, already 
+Organist of St. Nicolas' since 1721, to control the 
+music both of the <span class="tei tei-q">“old”</span> and <span class="tei tei-q">“new”</span> services, for 
+which the University provided the choir.  Not 
+until after a direct appeal to the King did Bach 
+succeed, in 1726, in compelling the University to 
+restore to the Cantor his emoluments in regard 
+to the <span class="tei tei-q">“old service,”</span> the conduct of which had 
+been restored to him on his appointment as 
+Cantor.  The <span class="tei tei-q">“new service”</span> remained under 
+Görner's direction.  As to St. Peter's, its services, 
+which had entirely ceased, were revived in 1711. 
+The music, however, was simple, and consisted 
+only of hymns.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Thus Bach, as Cantor, was responsible for the 
+music in the two principal churches, St. Thomas' 
+and St. Nicolas'.  The School also provided the 
+choir for St. Peter's and the New Church.  The 
+junior and least competent singers sang at St. 
+Peter's.  The rest were pretty equally distributed 
+between the other three churches.  At the New 
+Church the music was performed under the direction 
+of a Chorpräfect.  At St. Thomas' and St. 
+Nicolas' Bach personally directed the concerted 
+music.  On ordinary Sundays a Cantata or Motet
+<span class="tei tei-pb" id="page31">[pg 31]</span>
+was performed in each church alternately.  At 
+the great Festivals, New Year, Epiphany, Ascension 
+Day, Trinity Sunday, and the Annunciation, 
+Cantatas were sung at both churches, the two 
+choirs singing at Vespers in the second church 
+the Cantata performed by them in the morning 
+at the other church.  On these occasions the 
+second choir was conducted by a Chorpräfect.  
+The principal Sunday service in both churches 
+began at seven in the morning, ended at eleven, 
+and observed the following order:
+</p>
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">1. Organ Prelude.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">2. Motet, related to the Gospel for the Day; (omitted in Lent and replaced by the Benedictus).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">3. Introit.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">4. Kyrie, sung alternately, in German and 
+Latin.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">5. The Lord's Prayer, intoned at the altar.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">6. Gloria, intoned at the altar and answered 
+either by the Choir's <span lang="la" class="tei tei-foreign" xml:lang="la">Et in terra pax 
+hominibus,</span> or by the congregation with 
+the Hymn, <span lang="de" class="tei tei-foreign" xml:lang="de">Allein Gott in der Höh' sei 
+Ehr,</span> the German version of the Gloria.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">7. Collect, intoned in Latin; preceded by the 
+preces <span lang="la" class="tei tei-foreign" xml:lang="la">Dominus vobiscum</span> and <span lang="la" class="tei tei-foreign" xml:lang="la">Et cum 
+spiritu tuo.</span></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">8. Epistle.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">9. Litany, in Advent and Lent only; intoned 
+by four boys, the Choir responding.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">10. Hymn, appropriate to the Gospel.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">11. Gospel.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">12. Credo, intoned; (in Lent, last three Sundays 
+of Advent, and Festivals of Apostles, the 
+Nicene Creed, sung in Latin).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">13. Prelude, followed by a Cantata, lasting 
+about twenty minutes; on alternate 
+Sundays in each church.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">14. The Creed in German, <span lang="de" class="tei tei-foreign" xml:lang="de">Wir glauben all' 
+an einen Gott,</span> sung by the congregation.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">15. Sermon, lasting one hour (8-9 A.M.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">16. Hymn, <span lang="de" class="tei tei-foreign" xml:lang="de">Herr Jesu Christ, dich zu uns 
+wend</span>, followed by the reading of the 
+Gospel, on which the Sermon had been 
+based.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">17. General Confession, prayers, and Lord's 
+Prayer.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">18. Blessing.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">19. Hymn.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">20. Communion Service; Hymns and Organ 
+extemporisation.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">21. Benediction.</td></tr></tbody></table>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Vespers began at a quarter past one and was a 
+comparatively simple service; the music consisted 
+of Hymns, a Motet, and the Magnificat. 
+On the last three Sundays in Advent and 
+throughout Lent neither Cantatas nor Motets were 
+sung. The Organ was silent. 
+On the three great Festivals the appointed 
+Hymn for the season was sung at the beginning of
+<span class="tei tei-pb" id="page34">[pg 34]</span>
+the principal service, before the Organ Prelude: 
+at Christmas, <span lang="la" class="tei tei-foreign" xml:lang="la">Puer natus in Bethlehem</span>; at 
+Easter, <span lang="de" class="tei tei-foreign" xml:lang="de">Heut' triumphiret Gottes Sohn</span>; at 
+Whitsuntide, <span lang="la" class="tei tei-foreign" xml:lang="la">Spiritus Sancti gratia.</span>  During the 
+Communion service the Sanctus and concerted 
+music were sung.  A festal hymn followed the 
+Benediction.  The three great Festivals were each 
+observed for three consecutive days, on the first 
+and second of which Cantatas were sung at both 
+churches.  On the third day concerted music was 
+sung at only one of the two churches.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The other week-day Festivals for which Cantatas 
+were provided were the Feast of the Circumcision (New Year's Day), Epiphany, Ascension 
+Day, Purification of the B.V.M., Annunciation of 
+the B.V.M., Visitation of the B.V.M., Feast of St. 
+John Baptist (Midsummer Day), Feast of St. 
+Michael the Archangel. The Reformation Festival 
+was kept on October 31, or if that date was a 
+Saturday or Monday, on the previous or following 
+Sunday.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+On Good Friday the Passion was performed in 
+the two principal churches alternately.  
+Leipzig adopted no official Hymn-book.  The 
+compilation from which the Hymns were chosen 
+by Bach was the eight-volumed <span lang="de" class="tei tei-foreign" xml:lang="de">Gesangbuch</span>
+of Paul Wagner, published at Leipzig for Dresden 
+use in 1697.  It contained over five thousand 
+Hymns but no music, merely the name of the 
+tune being stated above the Hymn.  For the
+<span class="tei tei-pb" id="page35">[pg 35]</span>
+most part the Hymns for special, and even for 
+ordinary, occasions were prescribed by custom. 
+Otherwise the power of selection was in the hands 
+of the Cantor, and Bach's exercise of it caused 
+some friction with the clergy in 1728.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The provision and direction of the music at 
+weddings and funerals was in the Cantor's hands.  
+He arranged the choirs and the music sung at the 
+scholars' annual processions and perambulations 
+of the town, which took place at Michaelmas, 
+New Year, and on St. Martin's and St. Gregory's 
+Days.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Augmenting the School's choristers, the Town 
+Musicians took part in the Church services and 
+were under the Cantor's direction. Their numbers 
+and efficiency were inadequate.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Upon the staff of the School the Cantor ranked 
+third after the Rector and Sub-Rector, and took 
+a share in the general instruction of the scholars.  
+Class III. went to Bach for Latin lessons, a duty 
+which the Council eventually permitted him to 
+fulfil by deputy.  Singing classes were held by 
+the Cantor on three days of the week, Mondays, 
+Tuesdays, and Wednesdays, at nine and noon, and 
+on Fridays at noon.  His instruction in singing 
+was given to the four upper classes only.  On 
+Saturday afternoons the Cantata was rehearsed.  
+Once in four weeks the Cantor took his turn to 
+inspect the scholars.  Like the other masters, 
+he was required to conform to the regulations
+<span class="tei tei-pb" id="page36">[pg 36]</span>
+of the School House, in which he lived.  He rose 
+at five in summer, at six in winter, dined at ten 
+and supped at five in the afternoon.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em"> 
+Holidays were numerous.  A week's vacation 
+was given at the Easter, Michaelmas, and New 
+Year Fairs.  At Midsummer the School had a 
+month of half-holidays.  Whole holidays were 
+given on the birthdays of the four upper masters.  
+There were no morning lessons on Saints' Days, 
+on the occasion of funeral orations in the University 
+Church, and on the quarterly Speech Days.  
+Hence, though Bach's office carried large responsibility, 
+it left him considerable leisure for composition.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+As Cantor Bach had an official residence in the 
+left wing of the School House.  In 1723, the 
+Cantor's wing was of two storeys only, dwarfed 
+by the greater elevation of the main edifice and 
+under the shadow of the church.  Bach brought 
+to Leipzig four children of his first marriage, 
+and his second wife, Anna Magdalena, presented 
+him with a son or daughter annually from 1723 
+to 1729.  The accommodation of the Cantor's 
+lodging therefore rapidly became inadequate.  In 
+the spring of 1731 Bach found a house elsewhere 
+while an additional storey was added to it, which 
+provided a new music-room, a good-sized apartment 
+whence a passage led to the big schoolroom 
+in the main building.  The new wing was formally 
+opened and dedicated on June 5, 1732, when
+<span class="tei tei-pb" id="page37">[pg 37]</span>
+Bach's secular Cantata <span lang="de" class="tei tei-foreign" xml:lang="de">Froher Tag, verlangte 
+Stunden</span> was performed; the libretto being by 
+his colleague Winkler.  From thenceforward till 
+his death eighteen years later Bach's occupancy 
+was not disturbed.  The wing continued to be 
+the official residence of the Cantor until the School 
+moved to the suburbs of the city in 1877.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In addition to his residence, which he occupied 
+rent free, the Cantor enjoyed a revenue from 
+various and fluctuating sources, amounting in 
+gross to 700 thalers (=£106 per annum).  His 
+fixed stipend was only 100 thalers (=£15).  About 
+12 thalers came to him from endowments.  In 
+kind he was entitled to 16 bushels of corn and 
+2 cords of firelogs, together with 2 measures of 
+wine at each of the three great Festivals.  From 
+the University, after his successful protest, he 
+received 12 thalers for directing the <span class="tei tei-q">“old service.”</span> 
+By far the larger part of Bach's income was 
+derived from fluctuating sources.  They were 
+of three kinds: (1) School monies, (2) funeral 
+fees, (3) wedding fees.  The School monies represented 
+perquisites derived from funds obtained 
+by the scholars, partly by their weekly collections 
+from the public, partly from the four annual 
+processions or perambulations of the city.  From the 
+weekly collections a sum of six pfennigs multiplied 
+by the number of the scholars was put aside for 
+the four upper masters, among whom the Cantor 
+ranked third.  From the money collected at the
+<span class="tei tei-pb" id="page38">[pg 38]</span>
+New Year, Michaelmas, and St. Martin's Day 
+processions the Rector took a thaler, the Cantor 
+and the Sub-Rector each took one-eleventh of the 
+balance, sixteen thirty-thirds went to the singers, 
+and one-quarter of what remained fell to the 
+Cantor.  Out of the money collected on St. 
+Gregory's Day (March 12) the Rector took one-tenth for the entertainment of the four upper 
+masters, and the Cantor took one-third of the 
+residue.  For funerals one thaler 15 groschen 
+was paid when the whole school accompanied 
+the procession and a Motet was sung at the house 
+of the deceased.  When no Motet was sung the 
+Cantor's fee was 15 groschen. For weddings he 
+received two thalers.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Reckoned in modern currency, and judged by 
+the standard of the period, the Cantor's income 
+was not inadequate and served to maintain 
+Bach's large family in comfort.  When he died 
+in 1750, in addition to a mining share valued at 
+60 thalers, he possessed in cash or bonds about 
+360 thalers, silver plate valued at 251 thalers, 
+instruments valued at 371 thalers, house furniture 
+valued at 29 thalers, and books valued at 38 
+thalers.  His whole estate was declared at 1158 
+thalers, or somewhat less than the savings of two 
+years' income.  But for the inequitable distribution 
+of his property, owing to his intestacy, which 
+left Anna Magdalena only about 400 thalers and 
+the mining share, Bach's widow and unmarried
+<span class="tei tei-pb" id="page39">[pg 39]</span>
+daughters ought not to have been afflicted with 
+excessive poverty, as in fact they were.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+At the beginning of his Cantorate Bach worked 
+amid discouraging and unsatisfactory conditions.  
+The Rector, Johann Heinrich Ernesti, was over 
+seventy years of age in 1723.  The School was 
+badly managed, its discipline was relaxed, the 
+better-to-do citizens withheld their sons from it, 
+and its numbers were seriously diminished.  In 
+1717 the junior classes contained only 53 as 
+against 120 in Ernesti's earlier years.  The 
+proximity and operatic traditions of Dresden 
+and Weissenfels also had a bad effect; the St. 
+Thomas' boys, after attaining musical proficiency, 
+were apt to become restless, demanding release 
+from their indentures, and even running away to 
+more attractive and lucrative occupations.  Moreover, 
+the governors of the School were the Town 
+Council, a body which had little sympathy with 
+or appreciation of Bach's artistic aims and temperament.  
+To these difficulties must be added 
+another.  The Town Musicians, on whom Bach 
+relied for the nucleus of his orchestra, were few 
+in number and inefficient.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+So long as Ernesti lived, there was little prospect 
+of reform.  But, after his death, in October 1729, 
+Bach made vigorous representations to the Town 
+Council.  Already he had remonstrated with the 
+Council for presenting to foundation scholarships 
+boys who lacked musical aptitude.  The Council
+<span class="tei tei-pb" id="page40">[pg 40]</span>
+retaliated by accusing Bach of neglecting his 
+singing classes, absenting himself without leave, 
+and of other irregularities.  He was declared to 
+be <span class="tei tei-q">“incorrigible”</span> and it was resolved (August 2, 
+1730) to sequestrate the Cantor's income, in 
+other words, to withhold from him the perquisites 
+to which he was entitled for the conduct of the 
+Church services.<a id="noteref_114" name="noteref_114" href="#note_114"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">114</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach was not deterred from offering, three 
+weeks later (August 23, 1730), a <span class="tei tei-q">“sketch of what 
+constitutes well-appointed Church music, with a 
+few impartial reflections on its present state of 
+decay”</span> in Leipzig.  The document reveals the 
+conditions amid which Bach worked.  Its representations 
+may be summarised:
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The foundation scholars of St. Thomas' are of 
+four classes: Trebles, Altos, Tenors, Basses. 
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+A choir needs from four to eight <span class="tei tei-q">“concertists”</span> (
+solo singers) and at least two <span class="tei tei-q">“ripienists”</span> to each 
+chorus part, <span lang="la" class="tei tei-foreign" xml:lang="la">i.e.</span> a minimum of twelve voices.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The foundation scholars number fifty-five, by whom the choirs of the four Churches, St. Thomas', St. Nicolas', St. Peter's, and the New Church are provided.  For the instrumental accompaniments at least twenty players are required: viz., 2 or 3 first Violins, 2 or 3 second Violins, 4 Violas, 2 Violoncelli, 1 Contrabasso, 2 or more Flutes, 2 or 3 Oboi,
+<span class="tei tei-pb" id="page41">[pg 41]</span>
+1 or 2 Fagotti, 3 Trombe, 1 Timpani.  To fill 
+these places there are eight Town Musicians, and 
+at the moment there are no players available for 
+third Tromba, Timpani, Viola, Violoncello, Contrabasso, third Oboe (or Taille).
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+To augment the Town Musicians the Cantor has 
+been wont in the past to employ University 
+students and instrumental players in the School.  
+Upon the former <span class="tei tei-q">“at all times”</span> he relies for Viola, 
+Violoncello, and Contrabasso, and <span class="tei tei-q">“generally”</span> for 
+the second Violins.  But the Council, by its recent 
+resolution, no longer affords the Cantor the means 
+to employ them.  To place the scholars in the 
+orchestra weakens the choir, to which they naturally 
+belong.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+By presenting to foundation scholarships boys 
+unskilled and ignorant of music, the resources at 
+the Cantor's disposal are still farther lessened.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em"> 
+Hence, Bach concludes, <span class="tei tei-q">“in ceasing to receive 
+my perquisites I am deprived of the power of 
+putting the music into a better condition.”</span>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em"> 
+No answer was made to Bach's memorial, and 
+he contemplated resigning his position.  But with 
+the advent of Johann Matthias Gesner as Rector 
+in September 1730 a happier period dawned upon 
+the <span class="tei tei-q">“incorrigible”</span> Cantor.  In 1732 Gesner procured 
+the withdrawal of the Council's ban on 
+Bach's perquisites.  The fallen fortunes of the 
+School revived, and Bach did not again make an 
+effort to leave Leipzig.  In 1736 the grant of the
+<span class="tei tei-pb" id="page42">[pg 42]</span>
+post of Hof-Componist to the Saxon Court gave 
+him at length a title which compelled the deference 
+of his civic masters.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach's early misunderstanding with the University 
+cut him off from association with the most 
+dignified, if not the most important, institution 
+in Leipzig, and deprived him of opportunity to 
+display his genius beyond the radius of his Church 
+duties.  The situation changed in 1729, when he 
+became director of the University Society, and he 
+held the post for about ten years.  The Society 
+gave weekly concerts on Fridays, from 8 to 10, 
+and an extra concert, during the Fair season, on 
+Thursdays at the same hour.  It performed vocal 
+and instrumental music and was the medium 
+through which Bach presented his secular Cantatas, 
+Clavier and Violin Concertos, and Orchestral 
+Suites to the public.  The proficiency of his elder 
+sons and pupils, and his wife's talent as a singer, 
+were a farther source of strength to the Society, 
+whose direction undoubtedly made these years the 
+happiest in Bach's life.  He took his rightful place 
+in the musical life of the city, and relegated to a 
+position of inferiority the smaller fry, such as 
+Görner, who had presumed on Bach's aloofness 
+from the University and Municipality to insinuate 
+themselves.  His increasing reputation as an 
+organist, gained in his annual autumn tours, also 
+enlightened his fellow-townsmen regarding the 
+superlative worth of one whom at the outset
+<span class="tei tei-pb" id="page43">[pg 43]</span>
+they were disposed to treat as a subordinate 
+official.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Leipzig of Bach's day offered various opportunities 
+for musical celebration; official events in 
+the University, <span class="tei tei-q">“gratulations”</span> or <span class="tei tei-q">“ovations”</span> of 
+favourite professors by their students, as well as 
+patriotic occasions in which town and gown participated.  
+The recognised fee for <span lang="fr" class="tei tei-foreign" xml:lang="fr">piecès d'occasion</span> 
+of a public character was fifty thalers.  Bach's 
+conductorship of the University Society enabled 
+him to perform festival works with the resources 
+they required, and to augment the band and 
+chorus needed for their adequate performance.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Even before he undertook the direction of the 
+University Society, Bach more than once provided 
+the music for University celebrations.  On 
+August 3, 1725, his secular Cantata, <span class="tei tei-title"><span style="font-style: italic">Der
+zufried-engestellte Aeolus,</span></span> was performed at the students' 
+celebration of Doctor August Friedrich Müller's 
+name-day.  In 1726 he revived an old Cantata<a id="noteref_115" name="noteref_115" href="#note_115"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">115</span></span></a>
+to celebrate the birthday of another of the Leipzig 
+teachers.  In the same year the appointment of 
+Dr. Gottlieb Kortte as Professor of Roman Law 
+was celebrated by Bach's Cantata <span class="tei tei-title"><span style="font-style: italic">Vereinigte 
+Zwietracht der wechselnden Saiten.</span></span> In 1733 the 
+birthday of another Professor was marked by the 
+performance of the Cöthen Cantata to yet another 
+text (<span class="tei tei-title"><span style="font-style: italic">Die Freude reget sich</span></span>). On November 21, 
+<span class="tei tei-pb" id="page44">[pg 44]</span>
+1734, the lost Cantata <span class="tei tei-title"><span style="font-style: italic">Thomana sass annoch 
+betrübt</span></span> was sung at the induction of Gesner's 
+successor, Johann August Ernesti, as Rector of 
+St. Thomas' School.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+But Bach's activity as a secular composer at 
+Leipzig was chiefly expended on patriotic celebrations.  
+His compositions of this character are 
+particularly numerous during the years 1733-36, 
+while he was seeking from the Dresden Court the 
+post of Hof-Componist.  The first of these celebrations 
+took place on May 12, 1727, the birthday 
+of Augustus II. of Poland-Saxony, when 
+Bach's Cantata, <span class="tei tei-title"><span style="font-style: italic">Entfernet euch, ihr heitern 
+Sterne,</span></span> was performed in the Market Place by 
+the University Society.  The King was present 
+and listened to the performance from a convenient 
+window.  The music is lost.  Six years elapsed 
+before Bach was invited to collaborate in 
+another celebration of the royal House.  On 
+September 5, 1733, less than two months after his 
+application for the post of Hof-Componist, the 
+University Society celebrated the eleventh birthday 
+of the Electoral Prince by performing Bach's 
+<span lang="la" class="tei tei-foreign" xml:lang="la">dramma per musica</span>, <span class="tei tei-title"><span style="font-style: italic">Die Wahl des Herkules,</span></span> or  
+<span class="tei tei-title"><span style="font-style: italic">Herkules auf dem Scheidewege.</span></span> Barely three 
+months later, on December 8, 1733, Bach produced 
+another Cantata in honour of the royal 
+family, <span class="tei tei-title"><span style="font-style: italic">Tönet, ihr Pauken, erschallet Trompeten,</span></span> 
+of which he was both author and composer.  On 
+no less than three occasions in 1734 Bach did
+<span class="tei tei-pb" id="page45">[pg 45]</span>
+homage to his unheeding sovereign.  In January 
+the University Society, under Bach's direction, 
+performed his Cantata <span class="tei tei-title"><span style="font-style: italic">Blast Larmen, ihr Feinde</span></span> 
+to celebrate the coronation of Augustus III.  The 
+music had already done duty in Dr. Müller's 
+honour in 1725.  On the following October 5, 
+1734, when the King visited Leipzig, Bach's 
+hurriedly written Cantata, <span class="tei tei-title"><span style="font-style: italic">Preise dein Glücke, 
+gesegnetes Sachsen,</span></span> whose first chorus became the <span lang="la" class="tei tei-foreign" xml:lang="la"> 
+Osanna</span> of the B minor Mass, was performed in 
+the Market Place.  Two days later, on October 7, 
+1734, the King's birthday was celebrated by 
+another Bach Cantata, <span class="tei tei-title"><span style="font-style: italic">Schleicht spielende 
+Wellen,</span></span> performed by the Collegium Musicum.  
+In 1738, having received the coveted title of Hof-Componist in the interval (1736), Bach performed 
+a work—<span class="tei tei-title"><span style="font-style: italic">Willkommen, ihr herrschenden Götter 
+der Erden</span></span>—now lost, in honour of the marriage 
+of the Princess Maria Amalia of Saxony to Charles 
+of Sicily, afterwards Charles III. of Spain.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Apart from his musical activities and the house 
+in which he lived there is little that permits us 
+to picture Bach's life at Leipzig.  Association 
+with his friends Johann Christian Hoffmann, 
+Musical Instrument Maker to the Court, Marianne 
+von Ziegler, J. C. Gottsched and his musical wife, 
+Johann Abraham Birnbaum, among the Professoriate, 
+Picander and Christian Weiss, Bach's 
+regular librettists, suggests the amenities of an 
+academic and literary circle. But the claims of
+<span class="tei tei-pb" id="page46">[pg 46]</span>
+his art and the care of his large family had the 
+first call upon Bach's interest.  And few men had 
+a happier home life.  While his elder sons were 
+at home the family concerts were among his most 
+agreeable experiences.  As his fame increased, 
+his house became the resort of many seeking to 
+know and hear the famous organist.  Late in the 
+thirties he resigned his directorship of the University 
+Society.  His sons were already off his 
+hands and out of his house, and he turned again 
+to the Organ works of his Weimar period.  Their 
+revision occupied the last decade of his life, and the 
+hitherto constant flow of Church Cantatas ceased.  
+Pupils resorted to him and filled his empty house, 
+to one of whom, Altnikol, he gave a daughter in 
+marriage.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+A man of rigid uprightness, sincerely religious; 
+steeped in his art, earnest and grave, yet not 
+lacking naive humour; ever hospitable and 
+generous, and yet shrewd and cautious; pugnacious 
+when his art was slighted or his rights 
+were infringed; generous in the extreme to his 
+wife and children, and eager to give the latter 
+advantages which he had never known himself; 
+a lover of sound theology, and of a piety as deep 
+as it was unpretentious—such were the qualities 
+of one who towers above all other masters of music 
+in moral grandeur.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Four, perhaps only three, contemporary 
+portraits of Bach are known.  One is in the
+<span class="tei tei-pb" id="page47">[pg 47]</span>
+possession of the firm of Peters at Leipzig and 
+once belonged to Carl Philipp Emmanuel's 
+daughter, who with inherited impiety sold it to 
+a Leipzig flute player.  The second hung in 
+St. Thomas' School and is reproduced at p. 48 
+of this volume.  It was painted in 1746 and 
+restored in 1913.  Both portraits are by Elias 
+Gottlieb Haussmann, Court Painter at Dresden.  
+The third portrait belonged to Bach's last pupil, 
+Kittel, and used to hang on the Organ at Erfurt, 
+whence it disappeared after 1809, during the 
+Napoleonic wars.  Recently Professor Fritz 
+Volbach of Mainz has discovered a fourth portrait, 
+which is printed at p. 92 of the present volume.  
+He supposes it to be none other than the Erfurt 
+portrait, as indeed it well may be, since it represents 
+a man of some sixty years, austere in 
+countenance, but of a dignity that is not so 
+apparent in Haussmann's portraiture.<a id="noteref_116" name="noteref_116" href="#note_116"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">116</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach left no will.  In consequence his widow, 
+Anna Magdalena, burdened with the charge of 
+a step-daughter and two daughters, was entitled 
+to only one-third of her husband's estate.  Neither
+<span class="tei tei-pb" id="page48">[pg 48]</span>
+Carl Philipp Emmanuel nor Wilhelm Friedemann was her own 
+child.  But the fact cannot 
+excuse gross neglect of their father's widow.  
+Her own sons were in a position to make such a 
+contribution to her income as would at least have 
+kept want from her door.  In fact she was permitted 
+to become dependent on public charity, 
+and died, an alms-woman, on February 27, 1760, 
+nearly ten years after her great husband.  The 
+three daughters survived her.  One died in 1774, 
+the second in 1781.  The third, Regine Susanna, 
+survived them, her want relieved by gifts from 
+a public that at last was awakening to the 
+grandeur of her father.  Beethoven contributed 
+generously.  Regine Susanna died in December 
+1809, the last of Bach's children.  In 1845 her 
+nephew, Johann Christoph Friedrich's son, also 
+died.  With him the line of Johann Sebastian 
+Bach expired.
+</p>
+
+<a name="fig15" id="fig15"></a><div class="tei tei-figure" style="text-align: center"><img src="images/bach2.jpg" alt="Johann Sebastian Bach, circa 1746. From the picture by Haussmann." title="Johann Sebastian Bach, circa 1746. From the picture by Haussmann." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Johann Sebastian Bach, circa 1746. <em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">From the picture by Haussmann.</span></em></div></div>
+
+</div>
+
+<span class="tei tei-pb" id="page49">[pg 49]</span>
+
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  <a name="toc16" id="toc16"></a>
+  <a name="pdf17" id="pdf17"></a>
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">CHAPTER III. BACH AS A CLAVIER PLAYER</span></h1>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+As a Clavier player Bach was admired by all who 
+had the good fortune to hear him and was the 
+envy of the virtuosi of his day.  His method 
+greatly differed from that of his contemporaries 
+and predecessors, but so far no one has attempted 
+to explain in what the difference consisted.  
+The same piece of music played by ten different 
+performers equally intelligent and competent 
+will produce a different effect in each 
+case.  Each player will emphasise this or that 
+detail.  This or that note will stand out with 
+differing emphasis, and the general effect will 
+vary consequently.  And yet, if all the players 
+are equally competent, ought not their performances 
+to be uniform?  The fact that they 
+are not so is due to difference of touch, a quality 
+which to the Clavier stands as enunciation to 
+human speech.  Distinctness is essential for the 
+enunciation of vowels and consonants, and not less 
+so for the articulation of a musical phrase.  But 
+there are gradations of distinctness.  If a sound 
+is emitted indistinctly it is comprehensible only
+<span class="tei tei-pb" id="page50">[pg 50]</span>
+with effort, which occasions us to lose much of 
+the pleasure we should otherwise experience.  
+On the other hand, over-emphasis of words or 
+notes is to be avoided.  Otherwise the hearer's 
+attention will be diverted from the <span lang="fr" class="tei tei-foreign" xml:lang="fr">tout ensemble</span>.  
+To permit the general effect to be appreciated 
+every note and every vowel must be sounded 
+with balanced distinctness.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+I have often wondered why Carl Philipp 
+Emmanuel Bach's <span class="tei tei-title"><span style="font-style: italic">Essay on the Right Manner 
+of playing the Clavier</span></span><a id="noteref_117" name="noteref_117" href="#note_117"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">117</span></span></a>
+does not elucidate the 
+qualities that constitute a good touch.  For he 
+possessed in high degree the technique that made 
+his father pre-eminent as a player.  True, in his 
+chapter on <span class="tei tei-q">“Style in Performance,”</span> he writes,
+<span class="tei tei-q">“Some persons play as if their fingers were glued 
+together; their touch is so deliberate, and they 
+keep the keys down too long; while others, 
+attempting to avoid this defect, play too crisply, 
+as if the keys burnt their fingers.  The right 
+method lies between the two extremes.”</span> But 
+it would have been more useful had he told us 
+how to reach this middle path.  As he has not 
+done so, I must try to make the matter as clear 
+as is possible in words.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach placed his hand on the finger-board so 
+that his fingers were bent and their extremities 
+poised perpendicularly over the keys in a plane
+<span class="tei tei-pb" id="page51">[pg 51]</span>
+parallel to them.<a id="noteref_118" name="noteref_118" href="#note_118"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">118</span></span></a>
+Consequently none of his 
+fingers was remote from the note it was intended to 
+strike, and was ready instantly to execute every 
+command.  Observe the consequences of this 
+position.  First of all, the fingers cannot <em class="tei tei-emph"><span style="font-style: italic">fall</span></em> 
+or (as so often happens) be <em class="tei tei-emph"><span style="font-style: italic">thrown</span></em> upon the notes, 
+but are <em class="tei tei-emph"><span style="font-style: italic">placed</span></em> upon them in full control of the 
+force they may be called on to exert.  In the 
+second place, since the force communicated to the 
+note needs to be maintained with uniform pressure, 
+the finger should not be released perpendicularly 
+from the key, but can be withdrawn gently and 
+gradually towards the palm of the hand.  In 
+the third place, when passing from one note 
+to another, a sliding action instinctively instructs 
+the next finger regarding the amount of force 
+exerted by its predecessor, so that the tone is 
+equally regulated and the notes are equally 
+distinct.  In other words, the touch is neither 
+too long nor too short, as Carl Philipp Emmanuel 
+complains, but is just what it ought to 
+be.<a id="noteref_119" name="noteref_119" href="#note_119"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">119</span></span></a>
+Many advantages arise from holding the hand 
+in Bach's position and from adopting his touch,
+<span class="tei tei-pb" id="page52">[pg 52]</span>
+on the Clavichord and Harpsichord,<a id="noteref_120" name="noteref_120" href="#note_120"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">120</span></span></a>
+and on  the Organ as well.  I point out merely the most 
+important of them.   To begin with, if the fingers 
+are bent, their movements are free.  The notes 
+are struck without effort and with less risk of 
+missing or hitting too hard, a frequent fault with 
+people who play with their fingers elongated or 
+insufficiently bent.  In the second place, the 
+sliding finger-tip, and the consequently rapid 
+transmission of regulated force from one finger to 
+another, tend to bring out each note clearly and 
+to make every passage sound uniformly brilliant 
+and distinct to the hearer without exertion.  In 
+the third place, stroking the note with uniform 
+pressure permits the string to vibrate freely, improves 
+and prolongs the tone, and though the 
+Clavichord is poor in quality, allows the player 
+to sustain long notes upon it.  And the method 
+has this advantage: it prevents over-expenditure 
+of strength and excessive movement of the hand.  
+We gather that the action of Bach's fingers was 
+so slight as to be barely perceptible.  Only the 
+top joint seemed to move.  His hand preserved 
+its rounded shape even in the most intricate 
+passages.  His fingers rested closely upon the 
+keys, very much in the position required for a 
+<span class="tei tei-q">“shake.”</span>  An unemployed finger remained in a
+<span class="tei tei-pb" id="page53">[pg 53]</span>
+position of repose.  It is hardly necessary to say that
+that other limbs of his body took no part in his 
+performance, as is the case with many whose 
+hands lack the requisite agility.<a id="noteref_121" name="noteref_121" href="#note_121"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">121</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+A man may possess all these qualities, however, 
+and remain an indifferent performer on the 
+Clavier, just as clear and agreeable enunciation 
+does not necessarily make a good speaker.  To be 
+a first-rate performer many other qualities are 
+needed, and Bach possessed them all in a notable 
+degree.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Some fingers are longer and stronger than others. 
+Hence players are frequently seduced to use the 
+stronger whenever they can readily do so.  Consequently 
+successive notes become unequal in tone, 
+and passages which leave no choice as to the finger 
+to be used may become impossible to play.  Bach 
+recognised this fact very early in his career.  To 
+get over the difficulty he invented exercises for 
+his own use in which the fingers of both hands 
+were made to practise passages in every conceivable 
+position.  By this means every finger on 
+both hands equally became strong and serviceable,
+<span class="tei tei-pb" id="page54">[pg 54]</span>
+ so that he could play a rapid succession of 
+chords, single and double <span class="tei tei-q">“shakes,”</span> and running 
+passages with the utmost finish and delicacy, and 
+was equally fluent in passages where some fingers 
+play a <span class="tei tei-q">“shake”</span> while the others on the same hand 
+continue the melody.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Besides these improvements, Bach invented a 
+new system of fingering.<a id="noteref_122" name="noteref_122" href="#note_122"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">122</span></span></a>
+ Before his time, and 
+even in his early years, it was usual for the player 
+to pay attention to harmony rather than counterpoint. 
+Even so it was not customary to use 
+every one of the twenty-four major and minor 
+keys.  The Clavichord was still what we term
+<span class="tei tei-q">“<span lang="de" class="tei tei-foreign" xml:lang="de">gebunden</span>”</span>; that is, several keys struck the 
+same string, which, therefore, could not be 
+accurately tuned.<a id="noteref_123" name="noteref_123" href="#note_123"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">123</span></span></a>
+ Consequently it was usual to 
+employ only those keys whose notes were tuned 
+with some approximation to accuracy.  Again,
+<span class="tei tei-pb" id="page56">[pg 56]</span>
+good players in those days hardly ever used the thumb, 
+except when a large interval had to be 
+stretched.  But when Bach began to melodise 
+harmony so that his middle parts not merely 
+filled in but had a tune of their own, when, 
+too, he began to deviate from the Church modes 
+then in general vogue in secular music, using the 
+diatonic and chromatic scales indifferently, and 
+tuning the Clavier in all the twenty-four keys, he 
+found himself compelled to introduce a system of 
+fingering better adapted to his innovations than 
+that in use, and in particular, to challenge the 
+convention which condemned the thumb to inactivity. 
+It is held by some writers that Couperin 
+forestalled Bach's method of fingering, in his
+<span class="tei tei-title"><span style="font-style: italic">L'Art de toucher le Clavecin,</span></span> published in 
+1716.  But that is not the case.  In the first 
+place, Bach was above thirty years old in 1716, 
+and had already developed a distinctive method 
+of his own.  And in the second place, Couperin's 
+system differs materially from Bach's, though both 
+made more frequent use of the thumb than was 
+so far customary.  When I say <span class="tei tei-q">“more frequent 
+use”</span> I do so advisedly; for whereas in Bach's 
+system the thumb is the principal finger—for the 
+difficult keys, as they are called, are unplayable 
+without it—it is not equally indispensable with 
+Couperin, whose thematic material was not so 
+intricate as Bach's, nor did he compose or play 
+in such difficult keys.  Consequently Couperin
+<span class="tei tei-pb" id="page56">[pg 56]</span>
+had not an equally urgent need to use the thumb.  
+We need only compare Couperin's with Bach's 
+system of fingering, as Carl Philipp Emmanuel 
+explains it,<a id="noteref_124" name="noteref_124" href="#note_124"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">124</span></span></a>
+ to discover that Bach's permits every 
+passage, however intricate and polyphonic, to be 
+played with ease, whereas Couperin's is hardly 
+effective even for his own compositions.  Bach 
+was acquainted with Couperin's works and highly 
+esteemed them,<a id="noteref_125" name="noteref_125" href="#note_125"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">125</span></span></a>
+ as he did those of other French 
+Clavier composers, for their finish and brilliance.  
+But he considered them affected in their excessive 
+use of ornaments, scarcely a single note being free 
+from them.  He held them, also, superficial in 
+matter.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach's easy, unconstrained use of the fingers, 
+his musical touch, the clearness and precision of 
+every note he struck, the resourcefulness of his 
+fingering, his thorough training of every finger 
+of both hands, the luxuriance of his thematic 
+material and his original method of stating it, all 
+contributed to give him almost unlimited power 
+over his instrument, so easily did he surmount 
+the difficulties of its keyboard.  Whether he improvised 
+or played his compositions from notes, 
+he systematically employed every finger of each 
+hand, and his fingering was as uncommon as the 
+compositions themselves, yet so accurate that he 
+<span class="tei tei-pb" id="page57">[pg 57]</span>
+never missed a note.  Moreover, he read at sight 
+other people's compositions (which, to be sure, 
+were much easier than his own) with the utmost 
+facility.  Indeed, he once boasted to a friend at 
+Weimar that he could play at sight and without a 
+mistake anything put before him.  But he was 
+mistaken, as his friend convinced him before the 
+week was out.  Having invited Bach to breakfast 
+one morning, he placed on the Clavier, among 
+other music, a piece which, at a first glance, seemed 
+perfectly easy.  On his arrival, Bach, as was his 
+custom, sat down at the Clavier to play or look 
+through the music.  Meanwhile his friend was in 
+the next room preparing breakfast.  In a short 
+time Bach took up the piece of music destined to 
+change his opinion and began to play it.  He had 
+not proceeded far before he came to a passage at 
+which he stopped.  After a look at it he began 
+again, only to stop at the same place. <span class="tei tei-q">“No,”</span> he 
+called out to his friend, who was laughing heartily 
+in the next room, <span class="tei tei-q">“the man does not exist who 
+can play everything at sight.  It can't be done.”</span>
+With that he got up from the Clavier in some 
+annoyance.<a id="noteref_126" name="noteref_126" href="#note_126"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">126</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach also could read scores with remarkable 
+facility and play them on the Clavier. He 
+found no more difficulty in piecing together the
+<span class="tei tei-pb" id="page58">[pg 58]</span>
+separate parts when laid side by side before him.<a id="noteref_127" name="noteref_127" href="#note_127"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">127</span></span></a>
+He often did so when a friend brought him a new 
+Trio or Quartet for Strings and wished to hear 
+how it sounded.  If a Continuo part, however 
+badly figured, was put before him he could improvise 
+a Trio or Quartet upon it.  Nay, when 
+he was in the mood and at the height of his 
+powers, he would convert a Trio into a Quartet 
+by extemporising a fourth part.  On such occasions 
+he used a Harpsichord with two manuals and 
+pedal attachment.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach preferred the Clavichord to the Harpsichord, 
+which, though susceptible of great variety 
+of tone, seemed to him lacking in soul.  The 
+Pianoforte was still in its infancy and too coarse.<a id="noteref_128" name="noteref_128" href="#note_128"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">128</span></span></a>
+<span class="tei tei-pb" id="page59">[pg 59]</span>
+Both for practice and intimate use he regarded 
+the Clavichord as the best instrument and preferred 
+to express on it his finest thoughts.  He held 
+the Harpsichord, or Clavicembalo, incapable of the 
+gradations of tone obtainable on the Clavichord, 
+an instrument which, though feeble in quality, is 
+extremely flexible.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+No one could adjust the quill plectrums of his 
+Harpsichord to Bach's satisfaction; he always 
+did it himself.  He tuned his Harpsichord and 
+Clavichord, and was so skilful in the operation 
+that it never took him more than a quarter of an 
+hour.  It enabled him to play in any key he 
+preferred, and placed the whole twenty-four of 
+them at his disposal, so that he could modulate 
+into the remoter as easily and naturally as into 
+the more nearly related keys.  Those who heard 
+him frequently could hardly detect the fact that 
+he had modulated into a distant key, so smooth 
+were his transitions.  In chromatic movements 
+his modulation was as easy and sequent as in 
+diatonic.  His <span class="tei tei-title"><span style="font-style: italic">Chromatic Fantasia,</span></span> which is 
+now published,<a id="noteref_129" name="noteref_129" href="#note_129"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">129</span></span></a>
+ bears out my statement.  In 
+his extemporisation he was even freer, more 
+brilliant and expressive. 
+</p>
+<span class="tei tei-pb" id="page60">[pg 60]</span>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+When he played his own music Bach usually 
+adopted a brisk pace.  He contrived to introduce 
+so much variety that every piece became a sort 
+of conversation between its parts.  If he wished 
+to express deep emotion he did not strike the notes 
+with great force, as many do, but expressed his 
+feeling in simple melodic and harmonic figures,<a id="noteref_130" name="noteref_130" href="#note_130"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">130</span></span></a>
+relying rather on the internal resources of his art 
+than external dynamics.  Therein he was right.  
+True emotion is not suggested by hammering 
+the Clavier. All that results is that the notes 
+cannot be heard distinctly, much less be connected 
+coherently. 
+</p>
+</div>
+
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  <a name="toc18" id="toc18"></a>
+  <a name="pdf19" id="pdf19"></a>
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">CHAPTER IV.  BACH THE ORGANIST</span></h1>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+What has been said regarding Bach's admirable 
+Clavier playing applies generally to his skill as 
+an organist.  The Clavier and Organ have points 
+in common, but in style and touch are as different 
+as their respective uses.  What sounds well on 
+the Clavier is ineffective on the Organ, and vice 
+versa.  The most accomplished Clavier player 
+may be, and usually is, a bad organist unless he 
+realises the differing natures of the two instruments 
+and the uses they serve.  I have come across 
+only two men who can be regarded as exceptions 
+to this general rule—Bach and his eldest son, 
+Wilhelm Friedemann.  Both were finished Clavier 
+performers, but no trace of the Clavier style was 
+apparent when they played the Organ.  Melody, 
+harmony, and pace were carefully selected with 
+due regard to the nature and distinctive use of 
+each instrument.  When Wilhelm Friedemann 
+played the Clavier his touch was elegant, delicate, 
+agreeable.  When he played the Organ he inspired 
+a feeling of reverent awe. On the one he was
+<span class="tei tei-pb" id="page62">[pg 62]</span>
+charming.  On the other he was solemn, impressive.  
+So also was his father, and to an even 
+greater degree.  Wilhelm Friedemann was a mere 
+child to him as an organist, and frankly admitted 
+the fact.<a id="noteref_131" name="noteref_131" href="#note_131"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">131</span></span></a>
+ The music that extraordinary man 
+wrote for the Organ is full of dignity, awe-inspiring, 
+saturated with the atmosphere of devotion.  His 
+improvisation was even more inspired, dignified, 
+and impressive: for then his imagination was 
+untrammelled by the irksomeness of expressing 
+himself on paper.  What is the essence of this 
+art? Let me, though imperfectly, attempt an 
+answer.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+When we compare Bach's Clavier compositions 
+with those written for the Organ it is at once 
+apparent that they differ essentially in melodic 
+and harmonic structure.  Hence we conclude 
+that a good organist must select fitting themes for 
+his instrument, and let himself be guided by its 
+character and that of the place in which it stands 
+and by the objects of its use.  Its great body of 
+tone renders the Organ ill-adapted to light and 
+jaunty music.  Its echoes must have liberty to 
+rise and fall in the dim spaces of the church, 
+otherwise the sound becomes confused, blurred, 
+and unintelligible.  What is played upon it
+<span class="tei tei-pb" id="page63">[pg 63]</span>
+must be suited to the place and the instrument, 
+in other words, must be congruous to 
+a solemn and majestic fabric.  Occasionally 
+and exceptionally a solo stop may be used 
+in a Trio, etc.  But the proper function of 
+the Organ is to support church singing and 
+to stimulate devotional feeling.  The composer 
+therefore must not write music for it which 
+is congruous to secular surroundings.  What is 
+commonplace and trite can neither impress the 
+hearer nor excite devotional feeling.  It must 
+therefore be banished from the Organ-loft. How 
+clearly Bach grasped that fact!  Even his secular 
+music disdained trivialities.  Much more so his 
+Organ music, in which he seems to soar as a spirit 
+above this mortal planet.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Of the means by which Bach attained to such 
+an altitude as a composer for the Organ we may 
+notice his harmonic treatment of the old Church 
+modes, his use of the obbligato pedal, and his 
+original registration.  The remoteness of the 
+ecclesiastical modes from our twenty-four major 
+and minor keys renders them particularly appropriate 
+to the service of religion.  Any one who 
+looks at Bach's simple four-part Hymn tunes (<span lang="de" class="tei tei-foreign" xml:lang="de">Choralgesänge</span>) will at once convince himself of 
+the fact.  But no one can realise how the Organ 
+sounds under a similar system of harmonic 
+treatment unless he has heard it.  It becomes 
+a choir of four or five parts, each in its natural
+<span class="tei tei-pb" id="page64">[pg 64]</span>
+compass.  Compare the following chords in 
+divided harmony:
+</p>
+
+<a name="fig20" id="fig20"></a><div class="tei tei-figure" style="text-align: center"><img src="images/harmony1.jpg" alt="Divided Harmony, Bach treatment" /></div>
+
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+with these:
+</p>
+
+<a name="fig21" id="fig21"></a><div class="tei tei-figure" style="text-align: center"><img src="images/harmony2.jpg" alt="Divided Harmony, conventional treatment" /></div>
+
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+which is the more usual form organists employ.  
+We realise instantly the effect when music in four 
+or more parts is played in the same manner.  
+Bach always played the Organ so, adding the 
+obbligato pedal, which few organists know how 
+to use properly.  He employed it not only to 
+sound the low notes which organists usually play 
+with the left hand, but he gave it a regular 
+part of its own, often so complicated that many 
+organists would find it difficult to play with their 
+five fingers.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+To these qualities must be added the exquisite 
+art Bach displayed in combining the stops of the 
+Organ.  His registration frequently astonished 
+organists and Organ builders, who ridiculed it at 
+first, but were obliged in the end to admit its
+<span class="tei tei-pb" id="page65">[pg 65]</span>
+admirable results and to confess that the Organ 
+gained in richness and sonority.<a id="noteref_132" name="noteref_132" href="#note_132"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">132</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach's peculiar registration was based on his 
+intimate knowledge of Organ building and of the 
+properties of each individual stop.  Very early in 
+his career he made a point of giving to each part 
+of the Organ the utterance best suited to its 
+qualities, and this led him to seek unusual combinations 
+of stops which otherwise would not have 
+occurred to him.  Nothing escaped his notice 
+which had the slightest bearing on his art or promised 
+to advance it.  For instance, he made a 
+point of observing the effect of large musical 
+compositions in different surroundings.  The practised 
+ear, which enabled him to detect the slightest 
+error in music even of the fullest and richest 
+texture, and the art and rapidity with which he 
+tuned his instrument, alike attest his intuitive 
+skill and many-sidedness.  When he was at Berlin 
+in 1747 he was shown the new Opera House.  He 
+took in its good and bad qualities at a glance, 
+whereas others had done so only after experience.  
+He was shown the large adjoining Saloon and 
+went up into the gallery that runs round it.  
+Merely glancing at the roof he remarked, <span class="tei tei-q">“The 
+architect has secured a novel effect which, probably, 
+neither himself nor any one else suspected.”</span>  
+The Saloon, in fact, is a parallelogram. If a 
+<span class="tei tei-pb" id="page66">[pg 66]</span>
+person puts his face to the wall in one corner of 
+it and whispers a few words, another person at 
+the corner diagonally opposite can hear them 
+distinctly, though to others between them the 
+words are inaudible.  The effect arises from the 
+span of the arches in the roof, as Bach saw at a 
+glance.  These and similar observations suggested 
+to him striking and unusual combinations of 
+Organ stops.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em"> 
+Bach brought the methods I have indicated to 
+bear upon Church music, and they help to explain 
+his extraordinarily dignified and inspired playing, 
+which was at once so appropriate and filled the 
+listener with deep awe and admiration.  His profound 
+knowledge of harmony, unfailing originality, 
+freedom from a secular style, his complete command 
+of the instrument, both manuals and 
+pedals, whence flowed a generous stream of the 
+richest and most abundant fancy, the infallible 
+and swift judgment which allowed him always to 
+select from the treasury of his mind precisely the 
+musical ideas best suited to the occasion immediately 
+before him, his intuitive grasp of every 
+detail, and his power to make it serve his artistic 
+ends—in a word, his transcendent genius brought 
+the art of Organ playing to a degree of perfection 
+which, till then, it had never attained and hardly 
+will attain again.  Quantz<a id="noteref_133" name="noteref_133" href="#note_133"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">133</span></span></a>
+has expressed the 
+<span class="tei tei-pb" id="page67">[pg 67]</span>
+same opinion. <span class="tei tei-q">“The admirable Johann Sebastian 
+Bach,”</span> he writes, <span class="tei tei-q">“brought the art of Organ playing 
+to its highest perfection.  It is to be hoped that 
+when he dies it will not be suffered to decline or 
+be lost, as is to be feared from the small number 
+of people who nowadays bestow pains upon it.”</span><a id="noteref_134" name="noteref_134" href="#note_134"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">134</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Strangers often asked Bach to play to them 
+between the hours of divine service.  On those 
+occasions he was wont to select and treat a theme 
+in various ways, making it the subject of each 
+extemporisation even if he continued playing for 
+two hours.  As a beginning he played a Prelude and 
+Fugue on the Great Organ.  Then he developed it 
+with solo stops in a Trio or Quartet.  A Hymn-tune followed, whose melody he interrupted in 
+the subtlest fashion with fragments of the theme 
+in three or four parts.  Last came a Fugue, with full 
+Organ, in which he treated the subject alone or 
+in association with one or more accessory themes.  
+Here we have the art which old Reinken of Hamburg 
+considered to be lost, but which, as he 
+afterwards found, not only survived but attained 
+its greatest perfection in Bach.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach's pre-eminent position and his high reputation 
+often caused him to be invited to examine 
+candidates for vacant organistships, and to report 
+on new Organs.  In both cases he acted so conscientiously 
+and impartially that he generally made 
+<span class="tei tei-pb" id="page68">[pg 68]</span>
+enemies.  Scheibe, late Director of Music at the 
+Danish Court, who as a young man was examined 
+by Bach on such an occasion, was so incensed 
+by Bach's unfavourable verdict that he afterwards 
+avenged himself in his <span class="tei tei-q">“Critical Musician”</span> 
+by violently attacking his examiner.<a id="noteref_135" name="noteref_135" href="#note_135"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">135</span></span></a>
+ In his 
+examination of Organs Bach equally exposed 
+himself to trouble.  He could as little prevail on 
+himself to praise a bad instrument as to recommend 
+a bad organist.  He was, therefore, severe, 
+though always fair, in the tests he applied, and as 
+he was thoroughly acquainted with the construction 
+of the instrument it was hopeless to attempt 
+to deceive him.  First of all he drew out all the 
+stops, to hear the Full Organ.  He used to say 
+jokingly, that he wanted to find out whether the 
+instrument had good lungs!  Then he gave every 
+part of it a most searching test.  But his sense 
+of fairness was so strong that, if he found the work 
+really well done, and the builder's remuneration
+<span class="tei tei-pb" id="page69">[pg 69]</span>
+too small, so that he was likely to be a loser, 
+Bach endeavoured, and often successfully, to 
+procure for him an adequate addition to the 
+purchase price.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+When the examination was over, especially if 
+the instrument pleased him, Bach liked to exhibit 
+his splendid talent, both for his own pleasure and 
+the gratification of those who were present.  Such 
+demonstrations of his powers invariably invited 
+the verdict, that he was conclusively <span class="tei tei-q">“the prince 
+of Clavier and Organ players,”</span> a title which Sorge, 
+the late highly-esteemed organist at Lobenstein,<a id="noteref_136" name="noteref_136" href="#note_136"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">136</span></span></a>
+once gave him in a dedicatory Preface.
+</p>
+</div>
+
+<span class="tei tei-pb" id="page70">[pg 70]</span>
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  <a name="toc22" id="toc22"></a>
+  <a name="pdf23" id="pdf23"></a>
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">CHAPTER V. BACH THE COMPOSER</span></h1>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach's first attempts at composition, like all 
+early efforts, were unsatisfactory.  Lacking special 
+instruction to direct him towards his goal, he was 
+compelled to do what he could in his own way, 
+like others who have set out upon a career without 
+a guide.  Most youthful composers let their 
+fingers run riot up and down the keyboard, snatching 
+handfuls of notes, assaulting the instrument 
+in wild frenzy, in hope that something may result 
+from it.  Such people are merely Finger Composers—in his riper years Bach used to call them 
+Harpsichord Knights—that is to say, their fingers 
+tell them what to write instead of being instructed 
+by the brain what to play.<a id="noteref_137" name="noteref_137" href="#note_137"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">137</span></span></a>
+ Bach abandoned that 
+method of composition when he observed that
+<span class="tei tei-pb" id="page71">[pg 71]</span>
+brilliant flourishes lead nowhere.  He realised that 
+musical ideas need to be subordinated to a plan 
+and that the young composer's first need is a 
+model to instruct his efforts.  Opportunely 
+Vivaldi's Concertos for the Violin,<a id="noteref_138" name="noteref_138" href="#note_138"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">138</span></span></a>
+ then recently 
+published, gave him the guidance he needed.  He 
+had often heard them praised as admirable works 
+of art, and conceived the happy idea of arranging 
+them for the Clavier.<a id="noteref_139" name="noteref_139" href="#note_139"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">139</span></span></a>
+ Hence he was led to study 
+their structure, the musical ideas on which they 
+are built, the variety of their modulations, and 
+other characteristics.  Moreover, in adapting to 
+the Clavier ideas and phrases originally written 
+for the Violin Bach was compelled to put his 
+brain to work, and so freed his inspiration from 
+dependence on his fingers.  Henceforth he was 
+able to draw ideas out of his own storehouse, and 
+having placed himself on the right road, needed 
+only perseverance and hard work to succeed.  
+And how persevering he was!  He even robbed
+<span class="tei tei-pb" id="page72">[pg 72]</span>
+himself of sleep to practise in the night what he 
+had written during the day!  But the diligence 
+he bestowed upon his own compositions did not 
+hinder him from studying the works of Frescobaldi,<a id="noteref_140" name="noteref_140" href="#note_140"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">140</span></span></a> Froberger, Kerl, Pachelbel, Fischer, 
+Strungk,<a id="noteref_141" name="noteref_141" href="#note_141"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">141</span></span></a> Buxtehude, Reinken, Bruhns, Böhm, 
+and certain French organists who were famed in 
+those days as masters of harmony and fugue.<a id="noteref_142" name="noteref_142" href="#note_142"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">142</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The models he selected—Church musicians for 
+the most part—and his own disposition inclined 
+him to serious and exalted subjects.  But in that 
+kind of music little can be accomplished with 
+inadequate technique.  Bach's first object, therefore, 
+was to develop his power of expressing himself 
+before he attempted to realise the ideal that 
+beckoned him.  Music to him was a language, and 
+the composer a poet who, whatever the idiom he 
+affects, must first of all have at his disposal the 
+means of making himself intelligible to others.  
+But the technique of his period Bach found limited 
+in variety and insufficiently pliable.  Therefore 
+he set himself at the outset to refashion the 
+accepted harmonic system.  He did so in a 
+manner characteristically individual and bearing 
+the impress of his personality.
+</p>
+<span class="tei tei-pb" id="page73">[pg 73]</span>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+If the language of music is merely the utterance 
+of a melodic line, a simple sequence of musical 
+notes, it can justly be accused of poverty.  The 
+addition of a Bass puts it upon a harmonic foundation 
+and clarifies it, but defines rather than gives 
+it added richness.  A melody so accompanied—even though all the notes are not those of the 
+true Bass—or treated with simple embellishments 
+in the upper parts, or with simple chords, used to 
+be called <span class="tei tei-q">“homophony.”</span>  But it is a very different 
+thing when two melodies are so interwoven that 
+they converse together like two persons upon a 
+footing of pleasant equality.  In the first case 
+the accompaniment is subordinate, and serves 
+merely to support the first or principal part.  In 
+the second case the two parts are not similarly 
+related.  New melodic combinations spring 
+from their interweaving, out of which new 
+forms of musical expression emerge.  If more 
+parts are interwoven in the same free and independent 
+manner, the apparatus of language is 
+correspondingly enlarged, and becomes practically 
+inexhaustible if, in addition, varieties of form 
+and rhythm are introduced.  Hence harmony 
+becomes no longer a mere accompaniment of 
+melody, but rather a potent agency for augmenting 
+the richness and expressiveness of musical 
+conversation.  To serve that end a simple accompaniment 
+will not suffice.  True harmony is 
+the interweaving of several melodies, which
+<span class="tei tei-pb" id="page74">[pg 74]</span>
+emerge now in the upper, now in the middle, 
+and now in the lower parts.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+From about the year 1720, when he was thirty-five, until his death in 1750, Bach's harmony 
+consists in this melodic interweaving of independent 
+melodies, so perfect in their union that 
+each part seems to constitute the true melody.  
+Herein Bach excels all the composers in the world.<a id="noteref_143" name="noteref_143" href="#note_143"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">143</span></span></a> 
+At least, I have found no one to equal him in 
+music known to me.  Even in his four-part 
+writing we can, not infrequently, leave out the 
+upper and lower parts and still find the middle 
+parts melodious and agreeable.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+But in harmony of this kind each part must be 
+highly plastic; otherwise it cannot play its role 
+as an actual melody and at the same time combine 
+with the other parts.  To produce it Bach 
+followed a course of his own, upon which the textbooks 
+of his day were silent, but which his genius 
+suggested to him.  Its originality consists in the 
+freedom of his part writing, in which he transgresses, 
+seemingly, at any rate, rules long established 
+and to his contemporaries almost sacred.  
+Bach, however, realised their object, which was 
+simply to facilitate the flow of pure melody 
+on a sound harmonic basis, in other words, 
+successive and coexistent euphony, and he succeeded 
+with singular success though by
+<span class="tei tei-pb" id="page75">[pg 75]</span>
+unfamiliar means.  Let me explain my meaning 
+more closely.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Between simple intervals there is little difficulty 
+in deciding whether the second note must 
+rise or fall.  And in regard to phrases, or sections 
+of a phrase, if we analyse their structure and 
+follow out their harmonic tendency, their resolution 
+is equally clear.  But this sense of destination 
+may be provoked in each part by different 
+intervals.  As we have observed already, every 
+one of the four parts must flow melodically and 
+freely.  But to secure that result it will be necessary 
+to introduce between the notes which begin 
+a phrase and establish its general atmosphere 
+other notes which often are not consonant with 
+those employed in the other parts and whose 
+incidence is governed by the accent.  This is what 
+we call a <span lang="la" class="tei tei-foreign" xml:lang="la">transitus regularis et irregularis</span>.<a id="noteref_144" name="noteref_144" href="#note_144"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">144</span></span></a>
+ Each 
+part starts from a fixed point, and returns to it, 
+but travels freely between them.  No one has 
+made more use of such progressions than Bach 
+in order to colour his parts and give them a characteristic 
+melodic line.  Hence, unless his music 
+is played with perfect fluency, occasional passages 
+will sound harshly and we may be tempted to 
+accuse him of exaggeration.  But the charge is 
+ill founded. Once we play them as Bach intended 
+<span class="tei tei-pb" id="page76 ">[pg 76 ]</span>
+them, such passages reveal their full beauty and 
+their attractive though bizarre dissonance opens 
+up new vistas in the realm of sound.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+But, to speak in detail of Bach's transgression 
+of recognised rules.  To begin with, he admitted 
+octaves and fifths provided they sounded well; 
+that is, when the cause of their being forbidden 
+did not arise.<a id="noteref_145" name="noteref_145" href="#note_145"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">145</span></span></a> Everybody knows that there are 
+positions in which they sound well, and others 
+when they should be avoided, owing to the harsh 
+effect or thin harmony they produce.  Bach's 
+octaves and fifths never produce bad or thin 
+harmony, and he was very definite as to when 
+they could and could not be used.  In certain 
+circumstances he would not permit hidden fifths 
+and octaves even between the middle parts, 
+though we exclude them only between the outer 
+parts.  Yet, on occasion he used them in such a 
+barefaced manner as to puzzle the beginner in 
+composition.  But their use very soon commends 
+itself.  Even in the last revision of his early compositions 
+we find him altering passages, which at 
+first sight appear impeccable, with the object of 
+enriching their harmony and without scrupling to 
+use hidden octaves.  A remarkable instance occurs
+<span class="tei tei-pb" id="page77">[pg 77]</span>
+in the first part of the <span class="tei tei-title"><span style="font-style: italic">Well-tempered Clavier,</span></span> 
+in the E major Fugue, between the fifth and fourth 
+bars from the end.<a id="noteref_146" name="noteref_146" href="#note_146"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">146</span></span></a> I regret to this hour that, 
+on looking over the later text, from which Hoffmeister and Kühnel's edition of that work is 
+printed,<a id="noteref_147" name="noteref_147" href="#note_147"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">147</span></span></a> I was so foolish as to reject Bach's 
+amended reading there, merely because the harmony 
+is unorthodox though more pleasing.  I 
+stupidly preferred the older, more correct, and 
+harsher reading, though in the later text the 
+three parts run easily and smoothly. And what 
+more can one demand? 
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Again, there is a rule that every note raised 
+by an accidental cannot be doubled in the chord, 
+because the raised note must, from its nature, 
+resolve on the note above.  If it is doubled, it 
+must rise doubled in both parts and, consequently, 
+form consecutive octaves.  Such is the 
+rule.  But Bach frequently doubles not only notes 
+accidentally raised elsewhere in the scale but 
+actually the <span lang="la" class="tei tei-foreign" xml:lang="la">semitonium modi</span> or leading-note 
+itself.  Yet he avoids consecutive octaves.  His 
+finest works yield examples of this.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Again, Bach's statement that <span class="tei tei-q">“over a pedal 
+point all intervals are permissible that occur in 
+the three scales”</span><a id="noteref_148" name="noteref_148" href="#note_148"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">148</span></span></a>
+ should be regarded rather
+<span class="tei tei-pb" id="page78">[pg 78]</span>
+an expansion than a violation of the recognised 
+rule.  In general what is called an Organ point is 
+merely a retarded close.  Bach, however, did not 
+hesitate to employ it in the middle of a piece; a 
+striking example occurs in the last Gigue of the 
+<span class="tei tei-title"><span style="font-style: italic">English Suites.</span></span><a id="noteref_149" name="noteref_149" href="#note_149"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">149</span></span></a>
+ On a first hearing this Gigue, 
+imperfectly rendered, may not sound well.  But 
+it grows more beautiful as it becomes more 
+familiar, and what seemed harsh is found to be 
+smooth and agreeable, until one never tires of 
+playing and hearing it.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach's modulation was as original and characteristic 
+as his harmony, and as closely related to 
+it.  But the two things, though closely associated, 
+are not the same.  By harmony we mean the 
+concordance of several parts; by modulation, their 
+progression through keys.  Modulation can take 
+place in a single part.  Harmony requires more than 
+one.  I will endeavour to make my meaning clearer.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em"> 
+Most composers stick closely to their tonic key 
+and modulate out of it with deliberation.  In 
+music that requires a large number of performers, 
+and in a building, for instance a church, where 
+the large volume of sound dies away slowly, such 
+a habit shows good sense in the composer who 
+wishes his work to produce the best possible 
+effect.  But in chamber or instrumental music 
+it is not always a proof of wisdom, but rather of 
+mental poverty. Bach saw clearly that the two 
+<span class="tei tei-pb" id="page79">[pg 79]</span>
+styles demand different treatment.  In his large
+choral compositions he bridles his exuberant 
+fancy.  In his instrumental works he lets himself 
+go.  As he never courted popularity, but always 
+pursued his ideal, Bach had no reason to suppress 
+the nobility of his inspirations, or to lower their 
+standard for public consumption.  Nor did he 
+ever do so.  Therefore every modulation in his 
+instrumental work is a new thought, a constantly 
+progressive creation in the plane of the chosen 
+keys and those related to them.  He holds fast 
+to the essentials of harmony, but with every 
+modulation introduces a new suggestion and 
+glides so smoothly to the end of a piece that no 
+creaking of machinery is perceptible; yet no 
+single bar—I might almost say no part of a bar—is
+like another.  Every modulation bears a strict 
+relationship to the key from which it proceeds, 
+and springs naturally from it.  Bach ignored, or 
+rather despised, the sudden sallies by which many 
+composers seek to surprise their hearers.  Even 
+in his chromatic passages his progressions are 
+so smooth and easy that we are hardly conscious 
+of them, however extreme they may be.  He 
+makes us feel that he has not stepped outside the 
+diatonic scale, so quick is he to seize upon the 
+consonances common to dissonant systems and 
+combine them to his sure purpose.
+</p>
+
+<a name="fig24" id="fig24"></a><div class="tei tei-figure" style="text-align: center"><img src="images/statue1.jpg" alt="The Bach Statue at Eisenach" title="The Bach Statue at Eisenach" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">The Bach Statue at Eisenach</div></div>
+
+</div>
+
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  <a name="toc25" id="toc25"></a>
+  <a name="pdf26" id="pdf26"></a>
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">CHAPTER VI. BACH THE COMPOSER (continued)</span></h1>
+<span class="tei tei-pb" id="page80">[pg 80]</span>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach's treatment of harmony and modulation 
+powerfully influenced his melody.  The strands 
+of his harmony are really concurrent melodies.  
+They flow easily and expressively, never engross 
+the hearer's attention, but divide his interest, 
+as now one now the other becomes prominent.  
+Even when they are noticeable they seem obscured 
+by the melodic parts that accompany them—I 
+say <span class="tei tei-q">“seem obscured,”</span> for if the hearer is sufficiently 
+instructed to distinguish the several melodies in 
+the ensemble he will discover them to be more 
+clearly defined by their accompaniment.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The combination of several melodic lines obliges 
+the composer to use devices which are unnecessary 
+in homophonic music.  A single melody can 
+develop as it pleases.  But when two or more are 
+combined each must be so delicately and cleverly 
+fashioned that it can be interwoven with the 
+others in this direction and in that.  And here 
+we detect one at least of the reasons why Bach's 
+melodies are so strangely original, and his tunes 
+so clearly distinguishable from those of other
+<span class="tei tei-pb" id="page81">[pg 81]</span>
+composers.  Provided that novelty does not degenerate 
+into eccentricity or extravagance, and 
+that clearness and facility of expression march 
+with agreeableness, a composer's meritoriousness
+is proclaimed in his originality.<a id="noteref_150" name="noteref_150" href="#note_150"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">150</span></span></a>
+ The one 
+drawback is that the ordinary hearer cannot 
+appreciate melodic beauties which are patent 
+only to the expert.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+But Bach's melodies are not invariably so handicapped.  
+They are always original, it is true.  
+But in his free compositions the melodies are so 
+natural and spontaneous that, while they sound 
+differently from those of other composers, their 
+naturalness, and the sincerity of feeling that 
+inspires them, make them intelligible to every 
+listener.  Most of the Preludes in the <span class="tei tei-title"><span style="font-style: italic">Well-tempered Clavier</span></span> as well as a number of movements 
+in the Suites are of this character.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach's melody, then, bears the unmistakable 
+stamp of originality.  And so does his passage 
+work, as it is called.  Such novelty, originality, 
+and brilliancy are not found in any other composer.  
+Examples are to be found in all Bach's Clavier 
+works. But the most striking and original are in
+<span class="tei tei-pb" id="page82">[pg 82]</span>
+the <span class="tei tei-title"><span style="font-style: italic">Great Variations,</span></span><a id="noteref_151" name="noteref_151" href="#note_151"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">151</span></span></a> in the first Part of the 
+<span class="tei tei-title"><span style="font-style: italic">Clavierübung,</span></span><a id="noteref_152" name="noteref_152" href="#note_152"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">152</span></span></a> in the <span class="tei tei-title"><span style="font-style: italic">English Suites,</span></span><a id="noteref_153" name="noteref_153" href="#note_153"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">153</span></span></a> and 
+the <span class="tei tei-title"><span style="font-style: italic">Chromatic Fantasia.</span></span><a id="noteref_154" name="noteref_154" href="#note_154"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">154</span></span></a> In the last particularly 
+Bach's fertility impresses us.  The greater 
+part of its passage work is in the form of harmonic 
+arpeggios whose richness and originality match 
+the chords they represent.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In order to realise the care and skill Bach 
+expended on his melody and harmony, and how 
+he put the very best of his genius into his work, 
+I need only instance his efforts to construct 
+a composition incapable of being harmonised 
+with another melodic part.  In his day it was 
+regarded as imperative to perfect the harmonic 
+structure of part-writing.  Consequently the composer 
+was careful to complete his chords and 
+leave no door open for another part.  So far 
+the rule had been followed more or less closely in 
+music for two, three, and four parts, and Bach 
+observed it in such cases.  But he applied it also 
+to compositions consisting of a single part, and to 
+a deliberate experiment in this form we owe 
+the six Violin and the six Violoncello Solo Suites,<a id="noteref_155" name="noteref_155" href="#note_155"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">155</span></span></a> 
+<span class="tei tei-pb" id="page83">[pg 83]</span>
+which have no accompaniment and do not require 
+one.  So remarkable is Bach's skill that the solo 
+instrument actually produces all the notes required 
+for complete harmony, rendering a second part 
+unnecessary and even impossible.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach's melody never palls on us, because of the 
+presence in it of those qualities to which I have 
+referred.  It remains <span class="tei tei-q">“ever fair and young,”</span>
+like Nature herself.  In his earlier works, in which 
+we find him still in bondage to the prevailing 
+mode, there is a good deal that to-day seems 
+antiquated.  But when, as in his later works, 
+he draws his melody from the living wells of 
+inspiration and cuts himself adrift from convention, 
+all is as fresh and new as if it had been written 
+yesterday.  Of how many compositions of that 
+period can the same be said?  Even the works 
+of ingenious composers like Reinhard Keiser<a id="noteref_156" name="noteref_156" href="#note_156"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">156</span></span></a> 
+and Handel have become old-fashioned sooner 
+than we or their composers might have supposed.  
+Like other caterers for the public, they were 
+obliged to pander to its taste, and such music 
+endures no longer than the standard which 
+produced it.  Nothing is more inconstant and 
+fickle than popular caprice and, in general, what 
+is called fashion.  It must be admitted, however, 
+that Handel's Fugues are not yet out of date,
+<span class="tei tei-pb" id="page84">[pg 84]</span>
+though there are probably few of his Arias that 
+we now find agreeable.<a id="noteref_157" name="noteref_157" href="#note_157"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">157</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach's melody and harmony are rendered still 
+more distinctive by their inexhaustible rhythmic 
+variety.  Hitherto we have discussed his music 
+merely subjectively as harmony and melody.  But 
+to display vivacity and variety music needs to be 
+uttered with rhythmic point and vigour.  More 
+than those of any other period composers of Bach's 
+time found no difficulty in this, for they acquired 
+facility in the management of rhythm in the
+<span class="tei tei-q">“Suite,”</span> which held the place of our <span class="tei tei-q">“Sonata.”</span> 
+Between the initial Prelude and closing Gigue the 
+Suite includes a number of characteristic French 
+dance measures, whose rhythm is their distinguishing 
+characteristic.  Composers of Bach's day, 
+therefore, were familiar with measures and 
+rhythms which are now obsolete.  Moreover skilful 
+treatment was necessary in order that each dance 
+might exhibit its own distinctive character and 
+swing.  Herein Bach exceeded his predecessors 
+and contemporaries.  He experimented with every 
+kind of key and rhythm in order to give variety 
+and colour to each movement.  Out of his experience 
+he acquired such facility that, even in
+<span class="tei tei-pb" id="page85">[pg 85]</span>
+Fugue, with its complex interweaving of several 
+parts, he was able to employ a rhythm as easy 
+as it was striking, as characteristic as it was sustained 
+from beginning to end, as natural as a 
+simple Minuet.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The source of Bach's astonishing pre-eminence 
+is to be sought in his facile and constant application 
+of the methods we have discussed.  In whatever 
+form he chose to express himself, easy or 
+difficult, he was successful and seemingly effortless.<a id="noteref_158" name="noteref_158" href="#note_158"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">158</span></span></a>
+There is not a note in his music that does 
+not suggest consummate ease of workmanship. 
+What he sets out to do he concludes triumphantly.  
+The result is complete and perfect; no one could 
+wish for a single note to be other than it is.  Some 
+illustrations will make my point clearer.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Carl Philipp Emmanuel, in the preface to his 
+father's <span class="tei tei-title"><span style="font-style: italic">Vierstimmige Choralgesänge</span></span>
+(<span class="tei tei-q">“Four-part Hymn-tunes”</span>), which he edited,<a id="noteref_159" name="noteref_159" href="#note_159"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">159</span></span></a> says that 
+<span class="tei tei-pb" id="page86">[pg 86]</span>
+the world was accustomed to look for nothing but 
+masterpieces from Bach.  Some reviewers thought 
+this praise exaggerated.  But if the term <span class="tei tei-q">“masterpiece”</span> 
+is restricted to works written during the 
+years of Bach's maturity<a id="noteref_160" name="noteref_160" href="#note_160"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">160</span></span></a>
+ it is nothing less than 
+the truth.  Others have produced masterpieces 
+in various forms which may be placed honourably 
+by the side of his.  For instance, certain Allemandes, Courantes, etc., by Handel and others are 
+not less beautiful, though less richly wrought, than 
+Bach's.  But in Fugue, Counterpoint, and Canon 
+he stands alone, in a grandeur so isolated that 
+all around him seems desert and void.  No one 
+ever wrote Fugues to compare with his; indeed, 
+persons unacquainted with them cannot imagine 
+what a Fugue is and ought to be.  The ordinary 
+Fugue follows a rule of thumb development.  It 
+takes a theme, puts another beside it, passes 
+them into related keys, and writes other parts 
+round them over a Continuo.  Certainly this is 
+Fugue: but of what merit?  Persons who know 
+no other not unnaturally hold the whole species 
+in little esteem, and the player who hopes to make 
+such commonplace material convincing will need 
+all his skill and imagination.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach's Fugue is of quite another kind.  It presents 
+all the characteristics we are accustomed to 
+<span class="tei tei-pb" id="page87">[pg 87]</span>
+in freer musical forms: a flowing and distinctive 
+melody, ease, clarity, and facility in the progression 
+of the parts, inexhaustible variety of 
+modulation, purest harmony, the exclusion of 
+every jarring or unnecessary note, unity of form 
+and variety of style, rhythm, and measure, and 
+such superabundant animation that the hearer 
+may well ask himself whether every note is not 
+actually alive.  Such are the properties of Bach's 
+Fugues, properties which excite the admiration 
+and astonishment of all who can appreciate the 
+intellectual calibre their composition demands.  
+How great a tribute of homage is due to work of 
+this kind, which exhibits all the qualities which 
+lend distinction to compositions in other musical 
+forms!  Moreover, while all Bach's Fugues of his 
+mature period have the foregoing properties in 
+common, each is endowed with peculiar excellencies 
+of its own, has its own distinctive individuality, 
+and displays a melodic and harmonic 
+scheme in keeping with it.  The man who can 
+play one of Bach's Fugues is familiar with, and can 
+play, one only; whereas knowing one, we can 
+perform portfolios of Fugues by other performers 
+of Bach's period.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em"> 
+To what a height was the art of Counterpoint 
+carried by Bach's genius!  It enabled him to 
+develop out of a given subject a whole family of 
+related and contrasted themes, of every form and 
+design.  It taught him to develop an idea logically
+<span class="tei tei-pb" id="page88">[pg 88]</span>
+from the beginning to the end.  It gave him such 
+a command of harmony and its infinite combinations 
+that he could invert whole themes, note by 
+note, in every part, without impairing in the least 
+the flow of melody or purity of his harmony.  It 
+taught him to write in canon at all intervals and 
+in movements of all kinds so easily and naturally 
+that the workmanship is not perceptible and the 
+composition sounds as smoothly as though it were 
+in the free style. Lastly, it has given to posterity 
+a legacy of works immensely various, which are, 
+and will remain, models of contrapuntal form as 
+long as music endures.<a id="noteref_161" name="noteref_161" href="#note_161"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">161</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+I have written exclusively so far of Bach's 
+Clavier and Organ work.  But in its expression 
+music has two branches, instrumental and vocal, 
+and as Bach excels in both of them, the reader 
+will desire to hear somewhat respecting his vocal 
+writings.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It was at Weimar that Bach first had occasion 
+to write for the voice,<a id="noteref_162" name="noteref_162" href="#note_162"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">162</span></span></a> upon his appointment to
+<span class="tei tei-pb" id="page89">[pg 89]</span>
+the Kapelle, which imposed on him the provision 
+of music for the ducal chapel.  His church music, 
+like his Organ works, is devout and serious, and 
+in every respect what church music ought to be.  
+He makes a point also of not elaborating individual 
+words, which leads to mere trifling, but interprets 
+the text as a whole.<a id="noteref_163" name="noteref_163" href="#note_163"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">163</span></span></a> His choruses invariably are 
+magnificent and impressive, and he frequently 
+introduces Chorals into them,<a id="noteref_164" name="noteref_164" href="#note_164"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">164</span></span></a>
+ making the other 
+parts accompany their <span lang="la" class="tei tei-foreign" xml:lang="la">Cantus</span> fugally, as was the 
+practice in a Motet.  As elsewhere in his works, 
+the harmonic structure of his voice parts and 
+instrumental accompaniment is rich.  The declamation 
+of the recitatives is expressive, and the 
+latter have fine Continuo parts.<a id="noteref_165" name="noteref_165" href="#note_165"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">165</span></span></a> In his Arias, 
+hardly one of which is not beautiful and expressive, 
+Bach seems to have been handicapped by 
+the inefficiency of his singers and instrumentalists, 
+who constantly complained of the difficulty of his 
+music.  If he had been fortunate enough to have 
+capable performers the merits of his church music
+<span class="tei tei-pb" id="page90">[pg 90]</span>
+would have been established and, like his other 
+works, they would still be sung and admired; for 
+they contain treasures which deserve immortality.<a id="noteref_166" name="noteref_166" href="#note_166"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">166</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em"> 
+Among the works composed at Leipzig I single 
+out two Cantatas, one of which was performed at 
+Cöthen at the funeral of Bach's beloved Prince 
+Leopold, and the other in St. Paul's Church, 
+Leipzig, on the occasion of the funeral sermon in 
+honour of Christiana Eberhardine, Queen of 
+Poland and Electress of Saxony.<a id="noteref_167" name="noteref_167" href="#note_167"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">167</span></span></a> The first 
+contains double choruses of uncommon magnificence 
+and most affecting sentiment.<a id="noteref_168" name="noteref_168" href="#note_168"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">168</span></span></a> The second 
+has only four-part choruses, but they are so delightful 
+and fresh that he who begins the work 
+will not pause till he has reached the end of it. 
+It was written in October 1727.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach also composed a great number of Cantatas, 
+chiefly for the choir of St. Thomas' School, Leipzig.<a id="noteref_169" name="noteref_169" href="#note_169"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">169</span></span></a>
+<span class="tei tei-pb" id="page91">[pg 91]</span>
+The choir ordinarily numbered fifty singers, and
+sometimes more, over whose musical training 
+Bach presided like a father.  He practised them 
+so hard in Cantatas for single and double chorus 
+that they became excellent singers.  Among these 
+works are some which, in profundity of conception, 
+magnificence, richness of harmony and melody, 
+and animation, surpass everything of their kind.  
+But, like all Bach's works, and in common with 
+other masterpieces, they are difficult to perform 
+and need a numerous orchestra to produce their 
+full effect.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Such are Bach's most important vocal compositions.
+<a id="noteref_170" name="noteref_170" href="#note_170"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">170</span></span></a> In minor forms of the art, <span lang="fr" class="tei tei-foreign" xml:lang="fr">morceaux </span>
+for social entertainments and the like, he wrote 
+little,<a id="noteref_171" name="noteref_171" href="#note_171"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">171</span></span></a> though he was of a most sociable disposition. 
+For instance, he is said never to have 
+composed a song.<a id="noteref_172" name="noteref_172" href="#note_172"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">172</span></span></a> And why should he?  They 
+produce themselves so spontaneously that there is 
+little call for genius to aid their gestation.
+</p>
+
+<a name="fig27" id="fig27"></a><div class="tei tei-figure" style="text-align: center"><img src="images/bach3.jpg" alt="Johann Sebastian Bach. From the picture discovered by Professor Fritz Volbach" title="Johann Sebastian Bach. From the picture discovered by Professor Fritz Volbach" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">Johann Sebastian Bach. <em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">From the picture discovered by Professor Fritz Volbach</span></em></div></div>
+
+
+</div>
+
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  <a name="toc28" id="toc28"></a>
+  <a name="pdf29" id="pdf29"></a>
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">CHAPTER VII. BACH AS A TEACHER</span></h1>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It not infrequently happens that talented composers 
+and players are incapable of imparting their 
+skill to others.  Either they have never troubled 
+to probe the mechanism of their own facility, or, 
+through the excellence of their instructors, have 
+taken the short cut to proficiency and allowed 
+their teacher and not their own judgment to decide 
+how a thing should be done.  Such people are 
+useless to instruct beginners.  True, they may 
+succeed in teaching the rudiments of technique, 
+assuming that they have been properly taught 
+themselves.  But they are certainly unqualified 
+to teach in the full sense of the word.  There is, 
+in fact, only one way to become a good teacher, 
+and that is to have gone through the discipline 
+of self-instruction, a path along which the beginner 
+may go astray a thousand times before 
+attaining to perfection. For it is just this stumbling 
+effort that reveals the dimensions of the art. 
+The man who has adventured it learns the obstacles 
+that obstruct his path, and how to surmount them. 
+To be sure, it is a lengthy method. But if a man
+<span class="tei tei-pb" id="page93">[pg 93]</span>
+has patience to persevere he will reap a sure reward 
+after an alluring pilgrimage.  No musician ever 
+founded a school of his own who has not followed 
+such a course, and to his experience his 
+teaching has owed its distinctive character.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+This is so with Bach, who, only gradually discovering 
+his full stature, was thirty years old 
+before unremitting application raised him above 
+the difficulties of his art.  But he reaped his 
+reward.  Self-discipline set him on the fairest and 
+most alluring path that it has ever been given to 
+a musician to tread.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+To teach well a man needs to have a full mind.  
+He must have discovered how to meet and have 
+overcome the obstacles in his own path before 
+he can be successful in teaching others how to 
+avoid them.  Bach united both qualities.  Hence, 
+as a teacher he was the most instructive, clear, 
+and definite that has ever been.  In every branch 
+of his art he produced a band of pupils who 
+followed in his footsteps, without, however, 
+equalling his achievement.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+First of all let me show how he taught the 
+Clavier.<a id="noteref_173" name="noteref_173" href="#note_173"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">173</span></span></a>
+ To begin with, his pupils were made to 
+acquire the special touch of which I have already 
+spoken.<a id="noteref_174" name="noteref_174" href="#note_174"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">174</span></span></a>
+To that end for months together he 
+made them practise nothing but simple exercises
+<span class="tei tei-pb" id="page94">[pg 94]</span>
+for the fingers of both hands, at the same time 
+emphasising the need for clearness and distinctness.  
+He kept them at these exercises for from six to 
+twelve months, unless he found his pupils losing 
+heart, in which case he so far met them as to write 
+short studies which incorporated a particular 
+exercise.  Of this kind are the <span class="tei tei-title"><span style="font-style: italic">Six Little Preludes 
+for Beginners,</span></span><a id="noteref_175" name="noteref_175" href="#note_175"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">175</span></span></a> and the <span class="tei tei-title"><span style="font-style: italic">Fifteen
+Two-part Inventions,</span></span><a id="noteref_176" name="noteref_176" href="#note_176"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">176</span></span></a>
+ both of which Bach wrote 
+during the lesson for a particular pupil and afterwards 
+improved into beautiful and expressive 
+compositions.  Besides this finger practice, either 
+in regular exercises or in pieces composed for the 
+purpose, Bach introduced his pupils to the use 
+of the various ornaments in both hands. 
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Not until this stage was reached did Bach allow 
+his pupils to practise his own larger works, so 
+admirably calculated, as he knew, to develop their 
+powers.  In order to lessen their difficulty, it 
+was his excellent habit to play over to them the 
+pieces they were to study, with the remark,
+<span class="tei tei-q">“That's how it ought to sound.”</span><a id="noteref_177" name="noteref_177" href="#note_177"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">177</span></span></a> It would be 
+difficult to exaggerate the helpfulness of this 
+method. The pupil's interest was roused by hearing 
+the piece properly played. But that was not 
+<span class="tei tei-pb" id="page95">[pg 95]</span>
+the sole result.  Without the help thus given 
+the pupil could only hope to overcome the difficulties 
+of the piece after considerable effort, 
+and would find it much less easy to realise a proper 
+rendering of it.  As it was, he received at once an 
+ideal to aim at and was taught how to surmount 
+the difficulties the piece presented.  Many a 
+young performer, still imperfect after a year's 
+practice, probably would master his music in a 
+month if he once had it played over to him.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach's method of teaching composition was 
+equally sure and effective.<a id="noteref_178" name="noteref_178" href="#note_178"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">178</span></span></a> He did not begin 
+with the dry details of counterpoint, as was the 
+custom of other teachers in his day.  Still less 
+did he burden his pupils with the physical properties 
+of sound, which he held to be matter for 
+the theorist and instrument-maker rather than 
+the composer.  He started them off at once on 
+four-part harmony over a figured Bass, making 
+his pupils write each part on a separate stave in 
+order to impress on them the need for accurate 
+harmonic progression.  Then he passed to Hymn 
+tunes, setting the Bass himself and making his 
+pupils write the Tenor and Alto parts.  In time 
+he let them write the Bass also.  He insisted on 
+correct harmony and on each part having a real 
+melodic line.  Every musician knows what models
+<span class="tei tei-pb" id="page96">[pg 96]</span>
+Bach has left us in this form.  The inner parts of 
+his four-part Hymn-tunes are so smooth and 
+melodious that often they might be taken for the 
+melody.  He made his pupils aim at similar tunefulness, 
+and until they showed a high standard 
+of merit did not permit them to write compositions 
+of their own.  Meanwhile he aimed at cultivating 
+their feeling for pure harmony and for the order 
+and connection of ideas and parts by familiarising 
+them with the compositions of others.  Until they 
+had acquired facility in those qualities he neither 
+permitted them nor held them competent to put 
+pen to paper.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach required his pupils in composition to work 
+out their musical ideas mentally.  If any of them 
+lacked this faculty he admonished him not to 
+compose and discountenanced even his sons from 
+attempting to write until they had first given 
+evidence of genuine musical gifts.  Having completed 
+their elementary study of harmony, Bach 
+took his pupils on to the theory of Fugue, beginning 
+with two-part writing.  In these and other exercises 
+he insisted on the pupil composing away 
+from the Clavier.<a id="noteref_179" name="noteref_179" href="#note_179"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">179</span></span></a> Those who did otherwise he ridiculed as <span class="tei tei-q">“Harpsichord Knights.”</span>  In the second place he required rigorous attention to each part 
+and its relation to the concurrent parts, permitting 
+none, not even an inner one, to break off before 
+it had finished what it had to say.  He insisted 
+upon a correct relation between each note and its 
+predecessor.  If he came upon one whose derivation 
+or destination was not perfectly clear he 
+struck it out as faulty.  It is, indeed, a meticulous 
+exactitude in each individual part that makes 
+<span class="tei tei-pb" id="page98">[pg 98]</span>
+Bach's harmony really multiple melody.  Confused 
+part-writing, where a note that belongs to 
+the Tenor is given to the Alto, or <span lang="la" class="tei tei-foreign" xml:lang="la">vice versa</span>, or 
+the haphazard addition of extraneous parts to a 
+chord which suddenly shows an increase of notes 
+as if fallen from the sky, to vanish as suddenly 
+as they came, are faults found neither in his own 
+nor his pupils' writing.  He regarded his musical 
+parts as so many persons engaged in conversation.  
+If there are three, each of them on occasion may 
+be silent and listen to the others until it finds 
+something relevant to say itself.  But if, at an interesting 
+point of the conversation, an interloping 
+voice intervened, Bach regarded it as an intruder 
+and let his pupils understand that it could not be 
+admitted.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Notwithstanding his strictness on this point, 
+Bach allowed his pupils considerable licence in 
+other respects.  In their use of certain intervals, 
+as in their treatment of harmony and melody, he 
+let them experiment within the limits of their 
+ability, taking care to discountenance ugliness and 
+to insist on their giving appropriate expression to 
+the character of the composition.  Beauty of expression, 
+he postulated, was only attainable on a 
+foundation of pure and accurate harmony.  Having 
+experimented in every form himself, he liked to 
+see his pupils equally adventurous. Earlier 
+teachers of composition, for instance, Berardi,<a id="noteref_180" name="noteref_180" href="#note_180"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">180</span></span></a>
+<span class="tei tei-pb" id="page99">[pg 99]</span>
+ Buononcini,<a id="noteref_181" name="noteref_181" href="#note_181"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">181</span></span></a>
+and Fux,<a id="noteref_182" name="noteref_182" href="#note_182"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">182</span></span></a> did not allow such liberty.  They were 
+afraid to trust their pupils to encounter 
+difficulties, and short-sightedly prevented them 
+from learning how to overcome them.  Bach's 
+system was wiser, for it took his pupils farther, 
+since he did not limit their attention, as his predecessors 
+did, to the harmonic structure, but extended 
+it to the qualities that constitute good 
+writing, namely, consistency of expression, variety 
+of style, rhythm, and melody.  Those who would 
+acquaint themselves with Bach's method of teaching 
+composition will find it fully set forth in 
+Kirnberger's <span class="tei tei-title"><span style="font-style: italic">Correct Art of Composition.</span></span><a id="noteref_183" name="noteref_183" href="#note_183"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">183</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+As long as his pupils were under his instruction 
+Bach did not allow them to study any but his 
+own works and the classics.  The critical sense, 
+which permits a man to distinguish good from 
+bad, develops later than the aesthetic faculty and 
+may be blunted and even destroyed by frequent 
+contact with bad music.  The best way to instruct 
+youth is to accustom it early to consort 
+with the best models.  Time brings experience 
+and an instructed judgment to confirm the pupil's 
+early attraction to works of true art.
+</p>
+<span class="tei tei-pb" id="page100">[pg 100]</span>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Under this admirable method of teaching all 
+Bach's pupils became distinguished musicians, 
+some more so than others, according as they came 
+early or late under his influence, and had opportunity 
+and encouragement to perfect and apply 
+the instruction they received from him.  His 
+two eldest sons, Wilhelm Friedemann and Carl 
+Philipp Emmanuel, were his most distinguished 
+pupils, not because he gave them better instruction 
+than the rest, but because from their earliest 
+youth they were brought up amid good music at 
+home.  Even before they began their lessons they 
+knew what was good.  On the other hand, others, 
+before they became Bach's pupils, either had 
+heard no good music or their taste had been 
+already vitiated by contact with bad.  It at least 
+attests the excellence of Bach's method that even 
+his pupils thus handicapped took high rank in 
+their profession and distinguished themselves in 
+one or other of its branches.<a id="noteref_184" name="noteref_184" href="#note_184"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">184</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach's first pupil was JOHANN CASPAR VOGLER, 
+who received instruction from him in his early 
+days at Amstadt and Weimar and, on Bach's 
+testimony, was an exceedingly able player.  He 
+became organist, and later burgomaster, at Weimar, 
+retaining his professional position.  Some Choral 
+<span class="tei tei-pb" id="page101">[pg 101]</span>
+Preludes by him for a two-manualed Organ with 
+pedals were engraved about 1737.<a id="noteref_185" name="noteref_185" href="#note_185"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">185</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Other pupils of Bach who became famous 
+were:
+</p>
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">1. HOMILIUS, of Dresden.  He was not only an 
+excellent organist but a distinguished composer 
+of church music as well.<a id="noteref_186" name="noteref_186" href="#note_186"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">186</span></span></a>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">2. TRANSCHEL, of Dresden. He was a fine 
+musician and performer on the Clavier. There 
+exist in MS. six Polonaises by him which perhaps 
+are superior to those of any composer but Wilhelm 
+Friedemann Bach.<a id="noteref_187" name="noteref_187" href="#note_187"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">187</span></span></a>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">3. GOLDBERG, of Königsberg. He was a very 
+finished player on the Clavier, but without any 
+marked talent for composition.<a id="noteref_188" name="noteref_188" href="#note_188"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">188</span></span></a>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">4. KREBS, Organist at Altenburg. He was not 
+only a player of the first rank, but also a prolific 
+composer for the Organ, Clavier, and of church 
+music. He was fortunate in having Bach's instruction 
+for nine years.<a id="noteref_189" name="noteref_189" href="#note_189"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">189</span></span></a>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">5. ALTNIKOL, Organist at Naumburg.  He was 
+Bach's son-in-law and is said to have been a very 
+competent player and composer.<a id="noteref_190" name="noteref_190" href="#note_190"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">190</span></span></a>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">6. AGRICOLA, Court Composer at Berlin.<a id="noteref_191" name="noteref_191" href="#note_191"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">191</span></span></a> He 
+is less known as a composer than as a theorist. 
+He translated Tosi's<a id="noteref_192" name="noteref_192" href="#note_192"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">192</span></span></a> <span class="tei tei-title"><span style="font-style: italic">II canto figurato</span></span> from 
+Italian into German and provided the work with 
+an instructive commentary.
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">7. MÜTHEL, of Riga.  He was a good Clavier 
+player and wrote for that instrument.  His 
+Sonatas and a Duet for two Claviers attest his 
+ability as a composer.<a id="noteref_193" name="noteref_193" href="#note_193"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">193</span></span></a>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">8. KIRNBERGER,<a id="noteref_194" name="noteref_194" href="#note_194"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">194</span></span></a> Court Musician at Berlin to 
+the Princess Amalia of Prussia.<a id="noteref_195" name="noteref_195" href="#note_195"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">195</span></span></a> He was one of 
+the most distinguished of Bach's pupils, full of 
+genuine enthusiasm for his art and eager to assure 
+its interests.  Besides his exposition of Bach's 
+system of teaching composition, we are indebted 
+to him for the first logical treatise on harmony, 
+in which he sets forth his master's teaching and 
+<span class="tei tei-pb" id="page103">[pg 103]</span>
+practice.  The first work is entitled <span class="tei tei-title"><span style="font-style: italic">Kunst des 
+reinen Satzes,</span></span> and the second, <span class="tei tei-title"><span style="font-style: italic">Wahre Grundsätze zum Gebrauch der Harmonie.</span></span><a id="noteref_196" name="noteref_196" href="#note_196"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">196</span></span></a> He served 
+the interests of his art also by other writings and 
+compositions, and was an excellent teacher. The 
+Princess Amalia was his pupil. 
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">9. KITTEL, Organist at Erfurt.  He is a sound, 
+though not a finished, player, and is distinguished 
+as a composer by several Organ Trios, so excellent 
+that Bach himself might have written them.  He 
+is the sole survivor (1802) of Bach's pupils.<a id="noteref_197" name="noteref_197" href="#note_197"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">197</span></span></a>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">10. VOIGT, of Anspach,<a id="noteref_198" name="noteref_198" href="#note_198"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">198</span></span></a> and an organist named 
+SCHUBART<a id="noteref_199" name="noteref_199" href="#note_199"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">199</span></span></a> were mentioned to me by Carl Philipp 
+Emmanuel as having been Bach's pupils.  He 
+knew nothing about them except that they 
+entered his father's house after he left it.<a id="noteref_200" name="noteref_200" href="#note_200"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">200</span></span></a>
+</td></tr></tbody></table>
+<span class="tei tei-pb" id="page104">[pg 104]</span>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+I have said already that Bach's sons were his 
+most distinguished pupils.  The eldest, WILHELM 
+FRIEDEMANN BACH, came nearest to his father 
+in the originality of his genius.  His melodies 
+have quite a different character from those of 
+other composers.  They are exceedingly clever, 
+elegant, and spontaneous.  When performed with 
+delicacy, as he played them, they cannot fail to 
+charm every hearer.  It is greatly to be regretted 
+that he preferred to follow his fancy in extemporisation 
+and to expend his genius on fugitive thoughts 
+rather than to work them out on paper.  The 
+number of his compositions therefore is small, 
+but all are beautiful.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+CARL PHILIPP EMMANUEL BACH, who comes 
+next, went out into the world sufficiently early 
+to discover that it is a good thing for a composer 
+to have a large public behind him.  Hence, in 
+the clearness and easy intelligibility of his compositions, 
+he approaches the popular style, though 
+he scrupulously avoids the commonplace.<a id="noteref_201" name="noteref_201" href="#note_201"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">201</span></span></a> Both 
+he and his elder brother admitted that they were 
+<span class="tei tei-pb" id="page105">[pg 105]</span>
+driven to adopt a style of their own by the wish 
+to avoid comparison with their incomparable 
+father.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+JOHANN CHRISTOPH FRIEDRICH BACH, Concertmeister at the Court of Bückeburg, imitated 
+Carl Philipp's style, but was not his equal. 
+According to Wilhelm Friedemann, he was the 
+best player among the brothers, and the most 
+effective performer of their father's Clavier compositions.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+JOHANN CHRISTIAN BACH, called <span class="tei tei-q">“Bach of 
+Milan,”</span> and afterwards <span class="tei tei-q">“Bach of London,”</span> was 
+the youngest son of Bach's second marriage and 
+of too tender an age when his father died ever to 
+have had lessons from him.  Hence, perhaps, 
+the absence of Bach's style in his music.  He was, 
+in fact, a popular composer universally admired 
+in his day.<a id="noteref_202" name="noteref_202" href="#note_202"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">202</span></span></a>
+</p>
+</div>
+
+<span class="tei tei-pb" id="page106">[pg 106]</span>
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  <a name="toc30" id="toc30"></a>
+  <a name="pdf31" id="pdf31"></a>
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">CHAPTER VIII.  PERSONAL CHARACTERISTICS</span></h1>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Distinguished as a player, composer, and teacher, 
+Bach was also an indulgent father, a good friend, 
+and a loyal citizen.  His paternal devotion is 
+shown by his care for his children's education, 
+and he was equally assiduous in the performance 
+of his civil and social duties.  His acquaintance 
+was agreeable to everybody.  Every lover of 
+music, whatever his nationality, was sure of a 
+friendly reception at his house, and his sociability 
+and reputation caused him to be seldom without 
+visitors.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+As an artist Bach was exceptionally modest.  
+Notwithstanding his pre-eminence in his profession,
+a superiority of which he could not but be conscious, 
+and in spite of the admiration and respect daily 
+shown him, he never gave himself airs.  If he 
+was asked the secret of his mastership he would 
+answer, <span class="tei tei-q">“I was made to work; if you are equally 
+industrious you will be equally successful,”</span><a id="noteref_203" name="noteref_203" href="#note_203"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">203</span></span></a> a 
+<span class="tei tei-pb" id="page107">[pg 107]</span>
+remark which made no allowance for his own 
+exceptional genius.  His opinion of other composers 
+and their work was invariably fair and 
+generous.  Naturally, much of their work struck 
+him as somewhat trivial, viewed from his own 
+altitude.  But he never uttered a harsh criticism, 
+unless it were to a pupil, to whom he held himself 
+bound to say what he thought.  Still less did 
+he presume on his acknowledged superiority to 
+indulge in braggadocio, as often happens with 
+performers brought into touch with those whom 
+they regard as their inferiors.  Herein Bach's 
+modesty went so far that he never spoke 
+voluntarily of his frustrated contest with 
+Marchand, though the latter was the challenger.<a id="noteref_204" name="noteref_204" href="#note_204"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">204</span></span></a>
+Many absurd stories are told of Bach; for instance 
+that, dressed up as a village schoolmaster, he 
+liked to enter a church and ask the organist to 
+let him play a Choral, in order to enjoy the astonishment 
+excited by his playing, or to hear the Organist 
+declare, <span class="tei tei-q">“This must be Bach or the Devil.”</span><a id="noteref_205" name="noteref_205" href="#note_205"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">205</span></span></a>
+He always ridiculed such stories, and indeed 
+had too much respect for his art to make it cloak 
+his vanity. 
+</p>
+<span class="tei tei-pb" id="page108">[pg 108]</span>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+At musical parties where Quartet or other instrumental 
+music was performed, Bach liked to play 
+the Viola, an instrument which put him, as it 
+were, in the middle of the harmony in a position 
+from which he could hear and enjoy it on both 
+sides.  On those occasions he would sometimes 
+join in a Trio or other piece on the Harpsichord.  
+If he was in the mood and the composer was 
+agreeable, he would, as has been told already, 
+extemporise a new Trio from the Continuo part, 
+or, adding a new part, convert the Trio into a 
+Quartet. But these were the only occasions on 
+which he was ready to display his great powers 
+before others.  One Hurlebusch, of Brunswick,<a id="noteref_206" name="noteref_206" href="#note_206"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">206</span></span></a>
+a conceited and arrogant Clavier player, once 
+visited Bach at Leipzig, not to hear him play, 
+but to play to him.  Bach received him politely 
+and listened patiently to his very indifferent performance. 
+On taking leave Hurlebusch made 
+Bach's eldest sons a present of his published 
+Sonatas, exhorting them to study them diligently. 
+Bach, knowing the kind of music his sons were 
+wont to play, smiled at Hurlebusch's naïveté but 
+did not permit him to suspect his amusement.<a id="noteref_207" name="noteref_207" href="#note_207"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">207</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach was fond of listening to the music of other 
+composers. If he and one of his elder sons 
+<span class="tei tei-pb" id="page109">[pg 109]</span>
+happened to be in church when a Fugue was played, 
+directly the subject had been stated he always 
+pointed out how it ought to be developed.  If the 
+composer knew his business and fulfilled Bach's 
+anticipations, he was pleased and nudged his son 
+to draw his attention to the fact.  Is this not 
+evidence of his impartial interest in other people's 
+compositions? 
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+I have mentioned already the composers whom 
+in his youth Bach esteemed, loved, and studied.  
+Later, when experience ripened his critical faculty, 
+he had other favourites, among them Imperial 
+Kapellmeister Fux, Handel, Caldara,<a id="noteref_208" name="noteref_208" href="#note_208"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">208</span></span></a> Reinhard 
+Keiser, Hasse,<a id="noteref_209" name="noteref_209" href="#note_209"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">209</span></span></a> the two Grauns,<a id="noteref_210" name="noteref_210" href="#note_210"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">210</span></span></a> Telemann,<a id="noteref_211" name="noteref_211" href="#note_211"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">211</span></span></a> 
+Zelenka,<a id="noteref_212" name="noteref_212" href="#note_212"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">212</span></span></a> Benda,<a id="noteref_213" name="noteref_213" href="#note_213"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">213</span></span></a> etc., and, in general, the distinguished 
+musicians at Dresden and Berlin.  He 
+was acquainted with all except the first four of 
+those I mention.  In his youth Bach was intimate 
+with Telemann.<a id="noteref_214" name="noteref_214" href="#note_214"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">214</span></span></a> He also had a very warm regard 
+<span class="tei tei-pb" id="page110">[pg 110]</span>
+for Handel and often expressed a desire to know 
+him.  As Handel, like himself, was a famous performer 
+on the Organ and Clavier, many in Leipzig 
+and its neighbourhood wished to bring the two 
+great men together.  But Handel, then living in 
+London, never found time for a meeting during 
+the visits he paid to Halle, his native town.  On 
+his first visit in 1719, Bach was at Cöthen, only 
+some twenty miles distant.  As soon as he was 
+informed of Handel's arrival he lost not a moment 
+in setting out to visit him, but on his arrival 
+found that Handel had returned to England.  At 
+the time of Handel's second visit, between 1730 
+and 1740,<a id="noteref_215" name="noteref_215" href="#note_215"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">215</span></span></a> Bach was prevented from leaving 
+Leipzig by indisposition.  But no sooner was he 
+advised of Handel's arrival at Halle than he sent 
+his eldest son, Wilhelm Friedemann, to beg him 
+to visit Leipzig, an invitation which Handel was 
+unable to accept.  In 1752 or 1753, when Handel 
+paid his third visit to Germany,<a id="noteref_216" name="noteref_216" href="#note_216"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">216</span></span></a> Bach was dead. 
+He had always expressed the strongest desire to 
+know Handel, and the Leipzig people were disappointed 
+in their wish to hear the two great 
+men together.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+While Hasse was Kapellmeister at Dresden 
+both the Opera and Kapelle flourished.  Bach 
+<span class="tei tei-pb" id="page111">[pg 111]</span>
+had many friends at Dresden, who held him in 
+high regard.  Among them may be mentioned 
+Hasse and his wife, the celebrated Faustina.<a id="noteref_217" name="noteref_217" href="#note_217"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">217</span></span></a>
+They often visited Leipzig and were admirers of 
+the Cantor's rare talents.  Hence, at Dresden he 
+was always received in the most respectful 
+manner and often visited the Opera, generally 
+accompanied by his eldest son.  When the time 
+for their journey approached Bach would say in 
+fun, <span class="tei tei-q">“Well, Friedemann, shall we go to Dresden 
+to hear the pretty tunes<a id="noteref_218" name="noteref_218" href="#note_218"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">218</span></span></a> again?”</span> Innocent as 
+the jest was, I am sure Bach would not have 
+uttered it to any but his son, who already could 
+distinguish between great music and agreeable 
+trifles.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach was never in a position to make what is 
+called a brilliant fortune.<a id="noteref_219" name="noteref_219" href="#note_219"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">219</span></span></a> He held a fairly 
+lucrative office, but his income had to maintain 
+and educate a large family.  He neither possessed 
+nor sought other means of livelihood, and was too 
+absorbed in his art and work to think of accepting 
+engagements which, in those days, and to a man 
+of his genius, certainly would have brought riches.  
+Had he possessed a taste for travel he would, as 
+even one of his detractors admits, have <span class="tei tei-q">“drawn 
+<span class="tei tei-pb" id="page112">[pg 112]</span>
+upon himself the admiration of the whole world.”</span> 
+But he preferred a quiet domestic life, constant 
+occupation in his work, with contentment and 
+a moderate competence, like his forbears.  
+His modesty, however, did hot prevent him 
+from receiving manifold proofs of regard and 
+affection and marks of honourable distinction.  
+Prince Leopold of Cöthen, Duke Ernst August 
+of Weimar,<a id="noteref_220" name="noteref_220" href="#note_220"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">220</span></span></a> and Duke Christian of Weissenfels, 
+all showed sincere regard for him, which must have 
+been the more agreeable to him seeing that they 
+were all sound judges of music.  At Berlin, as at 
+Dresden, he was universally honoured and respected.  
+If we add to these testimonies the fact 
+that he captured the admiration of all who heard 
+him play or were acquainted with his music, then 
+we may be sure that Bach, <span class="tei tei-q">“singing for himself 
+and the Muses,”</span> received at the hands of Fame the 
+recognition he valued most, and cherished it far 
+more than the trivial honour of a ribbon or gold 
+chain.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em"> 
+I add that, in 1747, Bach became a member 
+of the <span class="tei tei-q">“Society of the Musical Sciences,”</span> founded 
+by Mizler, only because we owe to the circumstance 
+his admirable Choral Variations on <span class="tei tei-title"><span style="font-style: italic">Vom 
+Himmel hoch.</span></span><a id="noteref_221" name="noteref_221" href="#note_221"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">221</span></span></a> He presented them to the 
+<span class="tei tei-pb" id="page113">[pg 113]</span>
+Society on his admission and they were engraved 
+subsequently.<a id="noteref_222" name="noteref_222" href="#note_222"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">222</span></span></a>
+</p>
+</div>
+
+<span class="tei tei-pb" id="page114">[pg 114]</span>
+
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  <a name="toc32" id="toc32"></a>
+  <a name="pdf33" id="pdf33"></a>
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">CHAPTER IX. BACH'S COMPOSITIONS</span></h1>
+
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+To have produced so many great works in all forms of musical expression Bach necessarily must have been a prolific writer.  For if a composer be the greatest genius in the world, unless he constantly exercises his art he cannot hope to produce real masterpieces.  Superlative excellence is the fruit of indefatigable application.  Yet in Bach's case we should be wrong to acclaim as masterpieces all the products of his great activity just because masterpieces at length were the fruit of it.  Already in his early compositions we find undeniable evidence of genius.  But they are blemished by faults, passages poor in quality, extravagant, insipid, that are hardly worth preserving, though of interest to the student who wishes to trace from its source the development of Bach's genius.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It is not difficult to distinguish with exactitude those of Bach's early compositions which are of the first excellence; for he has been at pains to give us the clue.  As he did not publish his first work until he was about forty years
+<span class="tei tei-pb" id="page115">[pg 115]</span>
+old <a id="noteref_223" name="noteref_223" href="#note_223"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">223</span></span></a>
+we are justified in assuming the merit of what, at so mature an age, he thought worthy to put into print, and in concluding generally that all his engraved works are of first-rate merit.<a id="noteref_224" name="noteref_224" href="#note_224"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">224</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+With respect to his unpublished compositions, and they are by far the most numerous, we must in order to distinguish their merit rely partly on a critical examination of their texts, partly on Bach's own judgment.  Like all great composers, he was continually working on his compositions with a view to making them still more finished.  Indeed, he actually attempted to improve some of them that were already perfect.  Any that were susceptible of improvement he improved, even those already engraved.  Such is the origin of the variant readings of his works found in older and more recent texts.  By constantly retouching his compositions Bach aimed at making them indisputable masterpieces.  In this category I place most of what he wrote before the year 1725, as I show in detail in the following catalogue.  A great
+<span class="tei tei-pb" id="page116">[pg 116]</span>
+ many compositions subsequent to 1725, which for reasons easily understood are still in MS., bear too evidently the stamp of perfection to leave us in doubt whether to class them as early essays or as the finished work of an accomplished master.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The following are those of Bach's works which have been engraved:
+</p>
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">1. <span class="tei tei-title"><span style="font-style: italic">Clavierübung</span></span>, or <span class="tei tei-q">“Exercises for the Clavier, consisting of Preludes, Allemandes, Courantes, Sarabandes, Gigues, Minuets, etc., for the Diversion of Amateurs. Opus I. Published by the Composer, 1731.”</span>  This was Bach's first published work and contains six Suites.  The first of them came out in 1726;<a id="noteref_225" name="noteref_225" href="#note_225"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">225</span></span></a> the others followed in successive years until all were engraved together in 1731.<a id="noteref_226" name="noteref_226" href="#note_226"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">226</span></span></a> The work was much noticed at the time.  Such compositions for the Clavier had not been seen or heard before, and the man who could play them was sure of a success.  Our young players to-day would profit by the study of them, so brilliant, agreeable, expressive, and original are they. In the new edition<a id="noteref_227" name="noteref_227" href="#note_227"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">227</span></span></a> they are entitled, <span class="tei tei-q">“Exercises for the Clavier.”</span></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">2. <span class="tei tei-title"><span style="font-style: italic">Clavierübung</span></span>, or <span class="tei tei-q">“Exercises for the Clavier, Part II., consisting of a Concerto in the Italian style and an Overture in the French manner<a id="noteref_228" name="noteref_228" href="#note_228"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">228</span></span></a> for a Clavier with two manuals.  Published by Christopher Weigel, Junior, in Nürnberg.”</span><a id="noteref_229" name="noteref_229" href="#note_229"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">229</span></span></a>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">3. <span class="tei tei-title"><span style="font-style: italic">Clavierübung</span></span>, or <span class="tei tei-q">“Exercises for the Clavier, Part III., consisting of various Organ Preludes to the Catechism and other Hymns, composed for the diversion of amateurs and particularly of competent judges of such works.  Published by the Composer.”</span>  Besides the Preludes and Fugues for the Organ, all of which are masterly, the book contains four Duetti for the Clavier,<a id="noteref_230" name="noteref_230" href="#note_230"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">230</span></span></a> models of their kind.
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">4. <span class="tei tei-title"><span style="font-style: italic">Sechs Choräle</span></span>, or <span class="tei tei-q">“Six Choral Melodies of different kinds, for an Organ with two manuals and pedal.  Zella, in the Thuringian Forest.  Published by Johann G. Schübler.”</span><a id="noteref_231" name="noteref_231" href="#note_231"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">231</span></span></a> They are full of dignity and religious feeling.  In some of them, too, we have instances of Bach's original management
+<span class="tei tei-pb" id="page118">[pg 118]</span>
+of the stops.<a id="noteref_232" name="noteref_232" href="#note_232"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">232</span></span></a>
+ Thus, in the second Choral, <span class="tei tei-title"><span style="font-style: italic">Wo soll ich fliehen hin,</span></span> he gives to the first manual an 8 foot, to the second a 16 foot, and to the pedal a 4 foot stop.  The pedal has the cantus firmus.<a id="noteref_233" name="noteref_233" href="#note_233"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">233</span></span></a>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">5.
+<span class="tei tei-title"><span style="font-style: italic">Clavierübung</span></span>, or <span class="tei tei-q">“Exercises for the Clavier, consisting of an Aria with several Variations, for a Clavier with two manuals. Published by Balthasar Schmidt at Nürnberg.”</span><a id="noteref_234" name="noteref_234" href="#note_234"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">234</span></span></a> This admirable work consists of thirty Variations, some in canon, in a variety of movements and at all intervals from the unison to the ninth, with easy flowing melody.  It includes a regular fourpart Fugue,<a id="noteref_235" name="noteref_235" href="#note_235"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">235</span></span></a> several extremely brillant Variations for two Claviers,<a id="noteref_236" name="noteref_236" href="#note_236"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">236</span></span></a> and concludes with a Quodlibet, as it is called, which alone would render its composer immortal, though it is not the best thing in the volume.<a id="noteref_237" name="noteref_237" href="#note_237"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">237</span></span></a>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Variations are models of what such compositions ought to be, though no one has been so rash as to attempt to follow Bach's footsteps.
+<span class="tei tei-pb" id="page119">[pg 119]</span>
+We owe them to Count Kaiserling, formerly Russian Ambassador at the Saxon Electoral Court, who frequently visited Leipzig with Goldberg, already mentioned<a id="noteref_238" name="noteref_238" href="#note_238"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">238</span></span></a> among Bach's pupils.  The Count was a great invalid and suffered from insomnia.  Goldberg lived in the Ambassador's house, and slept in an adjoining room, to be ready to play to him when he was wakeful.  One day the Count asked Bach to write for Goldberg some Clavier music of a soothing and cheerful character, that would relieve the tedium of sleepless nights.  Bach thought a set of Variations most likely to fulfil the Count's needs, though, on account of the recurrence of the same basic harmony throughout, it was a form to which he had hitherto paid little attention.  Like all his compositions at this period, however, the Variations are a masterpiece, and are the only example he has left us of this form.<a id="noteref_239" name="noteref_239" href="#note_239"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">239</span></span></a> The Count always called them <span class="tei tei-q">“my Variations”</span> and was never weary of hearing them.  For long afterwards, when he could not sleep, he would say, <span class="tei tei-q">“Play me one of my
+<span class="tei tei-pb" id="page120">[pg 120]</span>
+Variations, Goldberg.”</span> Perhaps Bach was never so well rewarded for any composition as for this.  The Count gave him a golden goblet containing one hundred louis d'ors, though, as a work of art, Bach would not have been overpaid had the present been a thousand times as large.  It may be observed, that in the engraved copy of the Variations there are serious mistakes, which the composer has corrected in his own copy.<a id="noteref_240" name="noteref_240" href="#note_240"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">240</span></span></a>
+</p>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">6. <span class="tei tei-title"><span style="font-style: italic">Einige kanonische Verdäderungen,</span></span> <span class="tei tei-q">“Canonic Variations on the Christmas Hymn <span class="tei tei-q">‘Vom Himmel hoch da komm ich her,’</span> for an Organ with two manuals and pedal. Published at Nürnberg by Balthasar Schmidt.”</span> The work contains five canonic variations of the utmost ingenuity.<a id="noteref_241" name="noteref_241" href="#note_241"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">241</span></span></a>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">7. <span class="tei tei-title"><span style="font-style: italic">Musikalisches Opfer</span></span>, or <span class="tei tei-q">“A Musical Offering,”</span> dedicated to Frederick II., King of Prussia.  The theme received by Bach from the King<a id="noteref_242" name="noteref_242" href="#note_242"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">242</span></span></a> is treated first as a three-part Fugue under the acrostic title <span class="tei tei-q">“Ricercare”</span> (<span lang="la" class="tei tei-foreign" xml:lang="la">Regis iussu cantio et reliqua canonica arte resoluta</span>). There follows a six-part <span class="tei tei-q">“Ricercare”</span> and <span lang="la" class="tei tei-foreign" xml:lang="la">Thematis regii elaborationes canonicae</span>
+<span class="tei tei-pb" id="page121">[pg 121]</span>
+of various kinds.<a id="noteref_243" name="noteref_243" href="#note_243"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">243</span></span></a> The work includes a Trio for Flute, Violin, and Clavier upon the same subject.<a id="noteref_244" name="noteref_244" href="#note_244"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">244</span></span></a>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">8. <span class="tei tei-title"><span style="font-style: italic">Die Kunst der Fuge</span></span>, or <span class="tei tei-q">“The Art of Fugue.”</span>  This work, unique of its kind, did not appear till about 1752, after Bach's death, though the greater part of it had been engraved by his sons during his lifetime.<a id="noteref_245" name="noteref_245" href="#note_245"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">245</span></span></a> Marpurg,<a id="noteref_246" name="noteref_246" href="#note_246"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">246</span></span></a> the leading German musical critic of that day, contributed a preface to this edition which contains many just observations on the value and utility of such treatises.<a id="noteref_247" name="noteref_247" href="#note_247"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">247</span></span></a> But, being too good for the general public, the work found only a small circulation among those who discerned its merit and eagerly bought copies.
+<span class="tei tei-pb" id="page122">[pg 122]</span>
+The plates were never used again and eventually were sold<a id="noteref_248" name="noteref_248" href="#note_248"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">248</span></span></a> by Bach's heirs at the price of old copper.  Written by a man of Bach's transcendent genius, and commended as a masterpiece by a critic so highly regarded as Marpurg, a work of this kind, if published in any other country than Germany, would have passed through at least ten editions by now, if only at the bidding of patriotism.  But in Germany not a sufficient number of copies was sold to pay for the plates used in engraving the work!
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The work consists of fugal Variations planned on the most elaborate scale.<a id="noteref_249" name="noteref_249" href="#note_249"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">249</span></span></a> The composer's intention was to show in what a variety of ways the same theme can be treated fugally.  The Variations (here called <span class="tei tei-q">“Contrapunctus”</span>)<a id="noteref_250" name="noteref_250" href="#note_250"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">250</span></span></a> are complete Fugues upon the same theme.  The last Fugue of all has three subjects, in the third of which the composer signs his name, B A C H.<a id="noteref_251" name="noteref_251" href="#note_251"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">251</span></span></a>
+<span class="tei tei-pb" id="page123">[pg 123]</span>
+Bach was prevented from finishing it by the disorder of his eyes, and as an operation brought no relief the movement was never completed.  It is said that Bach intended to introduce four themes into it and to bring it to an impressive conclusion by inverting them all. All the Fugues in the work are equally smooth and melodious.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+To make up for the unfinished Fugue Bach concluded the work with a Choral Prelude upon the tune <span class="tei tei-q">“Wenn wir in höchsten Nöthen sein,”</span> which he dictated to his son-in-law, Altnikol, a few days before his death.<a id="noteref_252" name="noteref_252" href="#note_252"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">252</span></span></a> Of the extraordinary skill it displays I do not speak, save to remark that even in his last illness it proclaims Bach's skill undiminished.  The pious resignation and devotion that characterise it move me deeply whenever I play it.  Nor should I find it easy to say which I had rather had been omitted, the Choral Prelude, or the conclusion of the unfinished Fugue.
+</p>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">9. Lastly, after Bach's death, his four-part Chorals were collected by his son, Carl Philipp Emmanuel, and were published by Birnstiel (Berlin and Leipzig), Part I. in 1765, Part II. in 1769.<a id="noteref_253" name="noteref_253" href="#note_253"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">253</span></span></a> Each Part contains one hundred Chorals,
+<span class="tei tei-pb" id="page124">[pg 124]</span>
+mostly taken from the composer's church Cantatas.
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+More recently Kirnberger edited, in four volumes, a collection of Bach's Chorals. They are published by Breitkopf.<a id="noteref_254" name="noteref_254" href="#note_254"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">254</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach's works, still in MS., consist of compositions for the Clavier, Organ, with and without other instruments, Strings, and the voice.  I will enumerate them in that order.
+</p>
+</td></tr></tbody></table>
+
+<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em">
+<h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">I. Compositions For The Clavier</span></h2>
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">1. <span class="tei tei-title"><span style="font-style: italic">Six Little Preludes far Beginners</span></span>.<a id="noteref_255" name="noteref_255" href="#note_255"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">255</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">2. <span class="tei tei-title"><span style="font-style: italic">Fifteen Two-part Inventions</span></span>.  An Invention is a musical theme so constructed that by imitation and inversion a whole movement can be evolved from it.  The subject having been first stated, the rest develops naturally out of it.  For the instruction of a young Clavier player these fifteen Inventions are of great value, seeing that the composer has been careful not only to provide exercises for both hands but for every finger as
+<span class="tei tei-pb" id="page125">[pg 125]</span>
+well.  They were composed at Cöthen in 1723, with a long title which begins: <span class="tei tei-q">“An honest Guide, in which lovers of the Clavier are shown a clear method of playing correctly in two parts,”</span> etc.<a id="noteref_256" name="noteref_256" href="#note_256"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">256</span></span></a>
+
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It cannot be denied that, among other blemishes, the Inventions occasionally exhibit melodic poverty and roughness.  But finding them useful to his pupils, Bach eventually revised them and removed from them everything that offended his maturer taste, so that they now stand as masterpieces of pure music.  Moreover they are invaluable exercises for the fingers and hands and are sound instructors of taste.  There is no better introduction to Bach's larger works than they afford.
+</p>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">3. <span class="tei tei-title"><span style="font-style: italic">Fifteen three-part Inventions</span></span>, also called Symphonies.  They were written for the same purpose as the Inventions, but are more advanced.<a id="noteref_257" name="noteref_257" href="#note_257"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">257</span></span></a>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">4. <span class="tei tei-title"><span style="font-style: italic">The Well-tempered Clavier</span></span>, or, Preludes and Fugues in all tones and semitones, composed for the profit and use of young musicians desirous of knowledge, as also for those who are skilled already in this <span lang="it" class="tei tei-foreign" xml:lang="it">studio</span>.  Part I. was finished in 1722.  Part II., like Part I., contains twenty-four Preludes and twenty-four Fugues in every key,
+<span class="tei tei-pb" id="page126">[pg 126]</span>
+and was composed at a later period.<a id="noteref_258" name="noteref_258" href="#note_258"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">258</span></span></a> Every number of it, from first to last, is a masterpiece.  In Part I., however, certain Preludes and Fugues bear marks of immaturity and are included probably only in order to complete the series.  But here again Bach eventually corrected whatever seemed to him lacking in finish.  He altered or rewrote entire passages, so that in the later texts few movements are not perfect.  Among these few I reckon the Fugues in A minor,<a id="noteref_259" name="noteref_259" href="#note_259"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">259</span></span></a> G major and G minor,<a id="noteref_260" name="noteref_260" href="#note_260"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">260</span></span></a> C major,<a id="noteref_261" name="noteref_261" href="#note_261"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">261</span></span></a> F major and F minor.<a id="noteref_262" name="noteref_262" href="#note_262"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">262</span></span></a> The rest are excellent, some of them so superlatively good as to be not inferior to those in Part II.<a id="noteref_263" name="noteref_263" href="#note_263"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">263</span></span></a> Even Part II., for all its original perfection, has been improved by the composer, as may be observed by comparing the original and later texts.  Both Parts contain treasures of art not to be found outside Germany.
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">5. <span class="tei tei-title"><span style="font-style: italic">Chromatic Fantasia and Fugue.</span></span><a id="noteref_264" name="noteref_264" href="#note_264"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">264</span></span></a> I have taken considerable pains to discover a similar piece of music by Bach, but without success.  The Fantasia is unique and unequalled.  Wilhelm Friedemann sent it to me from Brunswick inscribed with these words by a mutual friend. <span class="tei tei-q">“Anbey kommt an etwas Musik von Sebastian, sonst genannt: <span lang="la" class="tei tei-foreign" xml:lang="la">Fantasia chromatica</span>; bleibt schön in alle Saecula.”</span>
+
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It is remarkable that this piece, for all its technical skill, appeals to the most unpractised hearer, if it is performed at all tolerably.
+</p>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">6. A <span class="tei tei-title"><span style="font-style: italic">Fantasia in C minor</span></span>.  It is not of the same character as the preceding work, but resembles rather the Allegro of a Sonata.  It is divided into two parts, but must be played as a single movement.  It is an excellent work, and in old copies an unfinished Fugue follows, which, however, cannot belong to it.<a id="noteref_265" name="noteref_265" href="#note_265"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">265</span></span></a> The first thirty bars certainly are by Bach, for they are marked by an extremely bold use of augmented and diminished intervals and their inversions, in three-part harmony.  None but Bach attempted such things.
+<span class="tei tei-pb" id="page128">[pg 128]</span>
+  The rest of the movement seems to have been added by another hand and bears no trace of Bach's style.
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">7. <span class="tei tei-title"><span style="font-style: italic">Six large Suites</span></span>, consisting of Preludes, Allemandes, Courantes, Sarabandes, etc.  They are known as the <span class="tei tei-q">“English Suites,”</span> because the composer wrote them for an Englishman of rank.<a id="noteref_266" name="noteref_266" href="#note_266"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">266</span></span></a>  All of them are of great merit as works of art, and some movements, in particular the Gigues of the fifth and sixth Suites, are perfect masterpieces of harmony and melody.
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">8. <span class="tei tei-title"><span style="font-style: italic">Six small Suites</span></span>, consisting of Allemandes, Courantes, etc. They are generally called the <span class="tei tei-q">“French Suites,”</span> because they are written in the French style.<a id="noteref_267" name="noteref_267" href="#note_267"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">267</span></span></a> The composer is intentionally less academic in them than in his larger Suites, and their melodies are more than usually pleasant and agreeable.  In particular the fifth Suite deserves to be noticed: all its movements are most melodious, and in the concluding Gigue
+<span class="tei tei-pb" id="page129">[pg 129]</span>
+only consonant intervals, especially thirds and sixths, are used.
+</td></tr></tbody></table>
+
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+These are Bach's principal works for the Clavier which can be considered classics.<a id="noteref_268" name="noteref_268" href="#note_268"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">268</span></span></a> A great number of single Suites,<a id="noteref_269" name="noteref_269" href="#note_269"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">269</span></span></a>Toccatas and Fugues,<a id="noteref_270" name="noteref_270" href="#note_270"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">270</span></span></a> besides those already mentioned, have great and varying merit, but are youthful works.<a id="noteref_271" name="noteref_271" href="#note_271"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">271</span></span></a> At the most, ten or twelve of them seem to me worth preserving, some of them because they would be useful as finger exercises, for which their author originally intended them, others because they are at least better than similar works by other composers.  As an exercise for the fingers of both hands I particularly single out a Fugue in A minor,<a id="noteref_272" name="noteref_272" href="#note_272"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">272</span></span></a> in which the composer has been at great pains to write florid passages in order to give equal strength and suppleness to both hands.  For beginners a little two-part Fugue<a id="noteref_273" name="noteref_273" href="#note_273"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">273</span></span></a> should also prove useful.  It is melodious, flowing, and not at all old-fashioned.
+</p>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em">
+<span class="tei tei-pb" id="page130">[pg 130]</span>
+<h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">II. Music For The Clavier With Other 
+Instruments</span></h2>
+
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">1. <span class="tei tei-title"><span style="font-style: italic">Six Sonatas for Clavier with Violin obbligato</span></span>.  Composed at Cöthen, they are among Bach's masterpieces in this form and display fugal and canonic writing which is both natural and full of character.  The Violin part needs a master to play it; for Bach knew the capabilities of the instrument and spared it as little as the Clavier.  The six Sonatas are in the keys of B minor, A major, E major, C minor, F minor, and G major.<a id="noteref_274" name="noteref_274" href="#note_274"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">274</span></span></a>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">2. <span class="tei tei-title"><span style="font-style: italic">Several Sonatas for Harpsichord and Violin</span></span>,<a id="noteref_275" name="noteref_275" href="#note_275"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">275</span></span></a> <span class="tei tei-title"><span style="font-style: italic">Harpsichord and Flute</span></span>,<a id="noteref_276" name="noteref_276" href="#note_276"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">276</span></span></a> <span class="tei tei-title"><span style="font-style: italic">Harpsichord and Viol da Gamba</span></span>.<a id="noteref_277" name="noteref_277" href="#note_277"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">277</span></span></a> They are admirably written and most of them are pleasant to listen to even today.<a id="noteref_278" name="noteref_278" href="#note_278"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">278</span></span></a>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">3. <span class="tei tei-title"><span style="font-style: italic">Several Concertos for the Clavier and other instruments</span></span>.  They contain real gems of art but are antiquated in form.<a id="noteref_279" name="noteref_279" href="#note_279"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">279</span></span></a>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">4. <span class="tei tei-title"><span style="font-style: italic">Two Concertos for two Claviers</span></span>, with an accompaniment of two Violins, Viola, and Violoncello.  The first, in C minor,<a id="noteref_280" name="noteref_280" href="#note_280"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">280</span></span></a> has an antique flavour. But the second, in C major,<a id="noteref_281" name="noteref_281" href="#note_281"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">281</span></span></a> is as fresh as if it had been written yesterday.<a id="noteref_282" name="noteref_282" href="#note_282"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">282</span></span></a> It may be played without the String quartet and still sounds admirable.  The final Allegro is a majestic movement and strictly fugal.  Compositions of this form were first perfected, indeed, we may conjecture, were first attempted, by Bach.  At least, I have met with only a single example by another composer that may perhaps be older—namely, Pachelbel of Nürnberg's Toccata, as he called it.  Pachelbel, however, was a contemporary of Bach and may have taken the idea from him.  However, his work is not worth considering.  One instrument merely repeats the other's phrases without being at all concertante.  It almost seems as if Bach at this period had made up his mind to discover what could be done with any number of parts. Having already written for a
+<span class="tei tei-pb" id="page132">[pg 132]</span>
+single solo instrument music which required no accompaniment, he next experimented in dividing his material between as large a number of solo instruments as possible.  Hence the Concertos for two Claviers were followed by
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">5. <span class="tei tei-title"><span style="font-style: italic">Two Concertos for three Claviers</span></span> with an accompaniment of Strings.<a id="noteref_283" name="noteref_283" href="#note_283"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">283</span></span></a> These Concertos present a remarkable characteristic: besides the concertante combination of three Claviers, the stringed instruments also have concertante parts distinct from the accompaniment.  It is difficult to realise the art involved in this achievement.  For, in spite of their technical skill, the two works are so delicate, full of character, and expressive, that the composer might be treating a simple melody (note particularly the Concerto in D minor).  Words are inadequate to express the admiration they arouse.  But Bach was not satisfied.  Hence he wrote
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">6. <span class="tei tei-title"><span style="font-style: italic">A Concerto for four Claviers</span></span> and four stringed instruments.<a id="noteref_284" name="noteref_284" href="#note_284"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">284</span></span></a> I cannot judge the effect of this composition, for I have never been able to get together the four instruments and four performers 
+<span class="tei tei-pb" id="page133">[pg 133]</span>
+it requires.  But that it is admirably written can be seen from the parts.
+</td></tr></tbody></table>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em">
+<h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">III. Compositions For The Organ</span></h2>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The pedal is the distinctive feature of the Organ which places it above all other instruments, and gives it its magnificence, sonority, and majesty.  Deprive it of the pedal and you take from it the solemn and imposing tones which are its distinctive utterance, reducing it to the level of a <span class="tei tei-q">“positiv,”</span> or Chamber-organ, an instrument relatively insignificant.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+But an Organ equipped with a pedal must be able to employ it in its full compass,<a id="noteref_285" name="noteref_285" href="#note_285"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">285</span></span></a> and both composer and organist must know the proper use of it.  No one excelled Bach in this knowledge.  Not only is his rich harmony and melody singularly adapted to the instrument, but he gave the pedal a part of its own, even in his early compositions.  Yet it was only gradually that he mastered its technique; for his Organ masterpieces belong to the period in which those for the Clavier began to be classics.  His early and immature Organ works are widely dispersed; for as soon as a composer begins to be distinguished everybody is anxious to possess a specimen of his art.  Public curiosity, however, generally dies down long before a composer comes to maturity,
+<span class="tei tei-pb" id="page134">[pg 134]</span>
+particularly if his work is over the heads of the public.  And this seems to have been Bach's fortune.  Consequently his mature Organ works are less familiar than his early efforts.  The latter, however, cannot possibly be admitted to a <span class="tei tei-q">“correct and critical”</span> edition of his works, and I mention here only those whose merit is as incontestable as that of the Clavier works enumerated in the preceding paragraphs.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach's finest Organ music falls into three groups:
+</p>
+
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">1. <span class="tei tei-title"><span style="font-style: italic">The Great Preludes and Fugues</span></span>, with obbligato pedal.  Their number cannot be stated, but I believe it not to exceed a dozen.<a id="noteref_286" name="noteref_286" href="#note_286"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">286</span></span></a> At least, after prolonged search I have not been able to collect more than that number.<a id="noteref_287" name="noteref_287" href="#note_287"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">287</span></span></a> To these I must add a very clever and original Passacaglia, which,
+<span class="tei tei-pb" id="page135">[pg 135]</span>
+however, seems suitable rather for a two-manual Clavicembalo and pedal than for the Organ.<a id="noteref_288" name="noteref_288" href="#note_288"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">288</span></span></a>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">2. <span class="tei tei-title"><span style="font-style: italic">Preludes on Choral Melodies</span></span>. It was at Arnstadt that Bach began to compose Variations on Choral melodies, under the title <span class="tei tei-title"><span style="font-style: italic">Partite diverse.</span></span><a id="noteref_289" name="noteref_289" href="#note_289"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">289</span></span></a> Most of them can be played on the manuals alone.  Those which I include here are an exception and require the obbligato pedal.  Their number may amount to one hundred.  I myself possess above seventy, and more survive elsewhere.<a id="noteref_290" name="noteref_290" href="#note_290"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">290</span></span></a> No other Choral Preludes approach them in religious feeling, dignity, and sublimity of expression.  I cannot notice them individually; they are too numerous. Besides the larger, there is a great number of shorter and easier ones, particularly useful for young players.  MSS. of them exist in considerable number.<a id="noteref_291" name="noteref_291" href="#note_291"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">291</span></span></a>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">3. <span class="tei tei-title"><span style="font-style: italic">Six Sonatas</span></span>, or Trios, for two manuals and an obbligato pedal.<a id="noteref_292" name="noteref_292" href="#note_292"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">292</span></span></a> Bach wrote them for his eldest son, Wilhelm Friedemann, whom they helped to become the great performer he was when I knew him.  It is impossible to overpraise their beauty.  Bach composed them when he was in the full vigour of his powers, and they may be considered his <span lang="fr" class="tei tei-foreign" xml:lang="fr">chef d'oeuvre</span> in this form.<a id="noteref_293" name="noteref_293" href="#note_293"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">293</span></span></a> He also wrote other Organ Sonatas, the MSS. of which are in various collections.  They are fine compositions, though they do not equal the Six in merit.<a id="noteref_294" name="noteref_294" href="#note_294"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">294</span></span></a>
+</td></tr></tbody></table>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em">
+<h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">IV. Instrumental Music</span></h2>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+There are few instruments for which Bach did not write.  In his day it was usual to play a Concerto or instrumental Solo during the Communion office.<a id="noteref_295" name="noteref_295" href="#note_295"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">295</span></span></a> Bach composed many of these pieces himself, and always with a view to their improving the technique of the player.  Most of them are lost.  But two important works of another kind survive and to some extent compensate us.  They are:
+</p>
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">1. Six Solos for Violin, unaccompanied.<a id="noteref_296" name="noteref_296" href="#note_296"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">296</span></span></a>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">2. Six Solos for Violoncello, unaccompanied.<a id="noteref_297" name="noteref_297" href="#note_297"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">297</span></span></a> The Violin Solos have long been considered by
+the finest players to be the best instructor for the instrument. The Violoncello Solos are equally effective.<a id="noteref_298" name="noteref_298" href="#note_298"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">298</span></span></a>
+</td></tr></tbody></table>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em">
+<h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">V. Vocal Music</span></h2>
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">1. Five complete sets of church Cantatas for the Sundays and Festivals of the year.<a id="noteref_299" name="noteref_299" href="#note_299"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">299</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">2. Five compositions for Holy Week, one of which is for double chorus.<a id="noteref_300" name="noteref_300" href="#note_300"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">300</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">3. Several Oratorios,<a id="noteref_301" name="noteref_301" href="#note_301"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">301</span></span></a> Masses,<a id="noteref_302" name="noteref_302" href="#note_302"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">302</span></span></a> a <span class="tei tei-title"><span style="font-style: italic">Magnificat,</span></span>
+settings of the Sanctus,<a id="noteref_303" name="noteref_303" href="#note_303"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">303</span></span></a> compositions for birthdays and Saints' Days,<a id="noteref_304" name="noteref_304" href="#note_304"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">304</span></span></a> funerals,<a id="noteref_305" name="noteref_305" href="#note_305"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">305</span></span></a> marriages,<a id="noteref_306" name="noteref_306" href="#note_306"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">306</span></span></a> and some Italian Cantatas.<a id="noteref_307" name="noteref_307" href="#note_307"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">307</span></span></a>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">4. Several Motets for single and double chorus.<a id="noteref_308" name="noteref_308" href="#note_308"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">308</span></span></a>
+</td></tr></tbody></table>
+
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Most of these works are now dispersed.  The Church Cantatas were divided between his elder sons after their composer's death.  Wilhelm Friedemann had the larger share because, being organist at Halle, he could make use of them.  Later, circumstances compelled him to part with them gradually.  I know of no other collection of Bach's larger choral works.  There exist, however, eight or ten Motets for double chorus, but they are dispersed in various hands.<a id="noteref_309" name="noteref_309" href="#note_309"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">309</span></span></a> In the collection
+bequeathed by the Princess Amalia of Prussia to the Joachimsthal Gymnasium at Berlin there are some of Bach's vocal compositions.<a id="noteref_310" name="noteref_310" href="#note_310"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">310</span></span></a>  Their number is not considerable, but among them are the following:
+</p>
+
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">1. Twenty-one Church Cantatas.<a id="noteref_311" name="noteref_311" href="#note_311"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">311</span></span></a> In one of them, set to the words, <span class="tei tei-title"><span style="font-style: italic">Schlage doch, gewünschte Stunde,</span></span><a id="noteref_312" name="noteref_312" href="#note_312"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">312</span></span></a>
+the composer introduces a bell obbligato.  From that fact we may conclude that the Cantata was not composed in the period of Bach's maturity,<a id="noteref_313" name="noteref_313" href="#note_313"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">313</span></span></a> for the use of bells is of doubtful taste.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">2. Two Masses for five voices with instrumental accompaniment.<a id="noteref_314" name="noteref_314" href="#note_314"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">314</span></span></a>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">3. A Mass for double chorus, the first being
+<span class="tei tei-pb" id="page141">[pg 141]</span>
+accompanied by Strings and the second by wind instruments.<a id="noteref_315" name="noteref_315" href="#note_315"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">315</span></span></a>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">4. A <span class="tei tei-title"><span style="font-style: italic">Passion,</span></span> for double Chorus,<a id="noteref_316" name="noteref_316" href="#note_316"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">316</span></span></a> the text by Picander.<a id="noteref_317" name="noteref_317" href="#note_317"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">317</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">5. A <span class="tei tei-title"><span style="font-style: italic">Sanctus,</span></span> for four voices and instrumental accompaniment.<a id="noteref_318" name="noteref_318" href="#note_318"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">318</span></span></a>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">6. A Motet, for four voices, <span class="tei tei-title"><span style="font-style: italic">Aus tiefer Noth schrei ich zu dir.</span></span><a id="noteref_319" name="noteref_319" href="#note_319"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">319</span></span></a>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">7. A Motet for five voices, <span class="tei tei-title"><span style="font-style: italic">Jesu, meine Freude.</span></span></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">8. Four Motets, for eight voices in double chorus:
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">(a) <span class="tei tei-title"><span style="font-style: italic">Fürchte dich nicht, ich bin dei dir.</span></span></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">(b) <span class="tei tei-title"><span style="font-style: italic">Der Geist hilft unserer Schwachheit auf.</span></span></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">(c) <span class="tei tei-title"><span style="font-style: italic">Komm, Jesu, komm.</span></span></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">(d) <span class="tei tei-title"><span style="font-style: italic">Singet dem Herrn ein neues Lied.</span></span><a id="noteref_320" name="noteref_320" href="#note_320"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">320</span></span></a>
+</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">9. A detached four-part fugal chorus, <span class="tei tei-title"><span style="font-style: italic">Nimm was dein ist, und gehe hin.</span></span><a id="noteref_321" name="noteref_321" href="#note_321"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">321</span></span></a>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">10. A bucolic Cantata, with Recitatives, Aria, Duet, and Chorus.  A note is prefixed to it.<a id="noteref_322" name="noteref_322" href="#note_322"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">322</span></span></a>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+On the MS. of the last-named Cantata and of the Mass for double chorus (No. 3 
+<span lang="la" class="tei tei-foreign" xml:lang="la">supra</span>) there is a note by Kirnberger analysing the skill and merit of the compositions.
+</p>
+</td></tr></tbody></table>
+</div>
+
+</div>
+
+<span class="tei tei-pb" id="page143">[pg 143]</span>
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  <a name="toc34" id="toc34"></a>
+  <a name="pdf35" id="pdf35"></a>
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">CHAPTER X.  BACH'S MANUSCRIPTS</span></h1>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It has been remarked more than once that Bach, throughout his life, devoted much thought to the improvement of his compositions.  I have had frequent occasion to compare the original and subsequent texts of his works, and confess to have experienced both surprise and pleasure in observing his care to improve whatever he thought faulty, to make good better, and better perfect.  Nothing is more instructive than a collation of this kind, whether to the experienced musician or the instructed amateur.  I should like to see a supplement to the complete edition of Bach's works showing these variant readings.<a id="noteref_323" name="noteref_323" href="#note_323"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">323</span></span></a> The collation would be in the highest degree instructive, and to attempt it is as appropriate to the works of the composer, a poet in sound, as to those of the poet in words.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In Bach's early texts he often repeats a phrase to other words with some melodic variety, in a 
+<span class="tei tei-pb" id="page144">[pg 144]</span>
+lower or even in the same octave.  In his riper experience he could not tolerate such poverty of workmanship, and cut out these passages remorselessly, without regard for the number and quality of the persons who had approved them in their original state.  There occur to me two good examples of this, the C major and C sharp minor Preludes in the first part of the <span class="tei tei-title"><span style="font-style: italic">Well-tempered Clavier.</span></span> Bach revised them so drastically as to cut them down by one-half, sacrificing passages that he thought redundant.<a id="noteref_324" name="noteref_324" href="#note_324"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">324</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In other places Bach tends to be over-concise; he expresses an idea, but does not fully develop it.  The best illustration that occurs to me is the D minor Prelude in the second part of the <span class="tei tei-title"><span style="font-style: italic">Well-tempered Clavier.</span></span>  I possess several texts of it.  In the oldest the first transposition of the theme in the Bass and several other details essential to a complete development of the idea are wanting.  A second MS. gives the theme to the Bass wherever the latter is in a key nearly related to that of the tonic.  In a third MS. these addenda are developed more fully and are joined more skilfully.  But melodic details are present of doubtful relevance to the rest of the composition.  In a fourth MS. these disappear or are amended, so that, as we have it, the Prelude stands as one of the most beautiful and least faulty in the <span class="tei tei-title"><span style="font-style: italic">Well-tempered Clavier.</span></span> Many people, no doubt, 
+<span class="tei tei-pb" id="page145">[pg 145]</span>
+preferred the movement in its original form.  But Bach was not a man to be influenced by approbation or criticism.  He went on correcting until he satisfied himself.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In the early part of the seventeenth century it was the fashion in instrumental music to overload single notes with ornaments and add florid runs.  Lately it has become the fashion to do so in vocal music as well.  That Bach shared this disposition may be inferred from certain pieces that he wrote in this style.  An instance is the Prelude in E minor in the first part of the <span class="tei tei-title"><span style="font-style: italic">Well-tempered Clavier.</span></span>  But he soon returned to his natural better taste, and altered the movement to the form in which it is engraved.<a id="noteref_325" name="noteref_325" href="#note_325"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">325</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Every decade has its own style of melody, distinctive of itself and evanescent.  A composer must carefully avoid it if he hopes to be listened to by posterity.  In his young days even Bach ran upon this rock.  His early compositions for the Organ, and the two-part <span class="tei tei-title"><span style="font-style: italic">Inventions</span></span> in their original form, are full of <span lang="it" class="tei tei-foreign" xml:lang="it">fiorituri</span> such as the taste of his period approved.  His Organ compositions remain comparatively untouched, but the <span class="tei tei-title"><span style="font-style: italic">Inventions</span></span> he closely revised.  The public will soon be able to compare them in their first and later forms, as the publishers, with admirable spirit, have resolved to discontinue the present edition
+<span class="tei tei-pb" id="page146">[pg 146]</span>
+and to send out to subscribers a revised one based on Bach's corrected text.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach's processes of revision so far mentioned, however, merely correct faults of form, that is, diffuseness or incomplete development of a musical thought.  But Bach employed other methods which are less easy to describe because they are more subtle.  He often rivets the style and character of a piece by changing a single note, strictly correct grammatically and yet disagreeable to an artist such as himself.  Even commonplace passages he could convert into phrases of beauty by the addition or alteration of a single note.  Only the most sensitive taste and trained experience can decide in such cases, and Bach possessed both in the highest perfection.  He developed them to such a pitch, indeed, that his brain eventually rejected any idea which, in all its properties and relations, did not accord inevitably and naturally with the whole composition.  Consequently his later works display such consistency of merit that all of them seem to have been cast complete in a mould, so smooth, facile and abundant is the flow of his rich fancy.  It is on the highest summits of the art that harmony and melody find their ideal union, and as yet Bach dwells there in majestic isolation.
+</p>
+</div>
+
+<span class="tei tei-pb" id="page147">[pg 147]</span>
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  <a name="toc36" id="toc36"></a>
+  <a name="pdf37" id="pdf37"></a>
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">CHAPTER XI. THE GENIUS OF BACH</span></h1>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It is surely unnecessary to ask whether that artist is a genius who, in every form of his art, has produced masterpiece after masterpiece, of an originality which sets them above the achievements of all other ages, distinguished also by a wealth of originality and agreeableness that enslaves every hearer.  The most fertile fancy, invention inexhaustible, a judgment so nice as to reject intuitively every irrelevant and jarring detail, unerring ingenuity in employing the most delicate and minute resources of his art, along with an unrivalled technique—these qualities, whose expression demands the outpouring of a man's whole soul, are the signboards of genius.  The man who cannot find them in Bach's music either is not acquainted with it at all or knows it imperfectly.  One needs to be steeped in it thoroughly to appreciate the genius of its author.  For the greater the work the closer study is demanded for its apprehension.  The butterfly method, a sip here and there, is of little use.  But admirable as were the gifts Bach received
+<span class="tei tei-pb" id="page148">[pg 148]</span>
+from nature, he could never have become an accomplished genius had he not learned betimes to avoid the rocks on which many artists, some of them perhaps not less gifted than he, too often founder.  I will communicate to the reader some scattered thoughts on the subject and conclude this essay with an indication of the characteristics of Bach's genius.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Even the largest natural gifts, coupled with the strongest propensity for a particular art, offer no more than fruitful soil on which that art may thrive by patient cultivation.  Industry, the true begetter of every art and science, is an indispensable factor.  Not only does it enable genius to master technique, but it stimulates the critical and reflective faculties also.  The very ease with which genius acquires and applies the apparatus of musical composition frequently entices it to leap over root principles in its plunge into deeper waters, or to fly before its wings are grown.  In such a case, unless genius is guided back to neglected fundamentals and forced to build itself upon the great examples of the past, it will inevitably expend its treasure uselessly and never attain to its promised dimensions.  For it is an axiom, that real progress can never be made, nor the highest perfection be attained, if the foundations are insecure.  If arduous heights are to be achieved, the easier obstacles must first be approached and overcome.  Guided by his own 
+<span class="tei tei-pb" id="page149">[pg 149]</span>
+inexperience no one ever can hope to become great.  He must profit by the practice and example of others.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach did not founder on this rock.  His soaring genius attended an equally ardent industry which incessantly impelled him, whenever he found his own equipment insufficient, to seek guidance from others.  Vivaldi and his Concertos were the first from whom he sought counsel.  From them he turned to the principal Organ and Clavier composers of the period.  Nothing is more intellectually stimulating than counterpoint, and the composers Bach studied were distinguished by their mastery of it, as their fugal writing attests.  Hence Bach's diligent study and imitation of them pointed his taste and imagination to perceive wherein himself was lacking and what steps were needed to take him farther in his art.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+A second rock upon which genius often comes to grief is the public's undiscriminating applause.  To be sure, I do not undervalue public approval or commend without reserve the remark of a Greek teacher to his pupil, <span class="tei tei-q">“You performed badly, otherwise the audience would not have applauded you.”</span>  Yet it is none the less true that many artists are thrown off their balance by exaggerated and often unmerited plaudits, particularly in their early careers before they have acquired self-discipline and sound judgment.  The public merely asks for what it can understand, whereas the true
+<span class="tei tei-pb" id="page150">[pg 150]</span>
+artist ought to aim at an achievement which cannot be measured by popular standards.  How, then, can popular applause be reconciled with the true artist's aspirations towards the ideal?  Bach never sought applause, and held with Schiller:
+</p>
+<div class="block tei tei-q" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"><span style="font-size: 90%">
+Kannst du nicht allen gefallen durch deine That und dein Kunstwerk,</span><br /><span style="font-size: 90%">
+Mach' es wenigen recht; vielen gefallen ist schlimm.</span><a id="noteref_326" name="noteref_326" href="#note_326"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">326</span></span></a>
+</div>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Like every true artist, Bach worked to please himself in his own way, obeying the summons of his own genius, choosing his own subjects, and finding satisfaction only in the approval of his own judgment.  He could count on the applause of all who understood good music, and never failed to receive it.  Under what other conditions can sound works of art emerge?  The composer who debases his muse to the popular mood either lacks real genius or, having it, abuses it.  For to catch the ear of the public is not a difficult task and merely connotes an agreeable facility.  Composers of that class are like artisans who frankly fashion their goods to suit their market.  But Bach never condescended to such artifices.  The artist, in his judgment, is the dictator of public taste, not its slave.  If, as often happened, he was asked to write something simple for the Clavier
+<span class="tei tei-pb" id="page151">[pg 151]</span>
+he would answer, <span class="tei tei-q">“I will do what I can.”</span>  He would choose an easy theme.  But when he began to develop it he always found so much to say that the piece soon became anything but simple.  If his attention was drawn to the fact, he would answer smilingly, <span class="tei tei-q">“Practise it well and you will find it quite easy.  You have as many good fingers on each hand as I have.”</span>  Nor was he prompted in this by mere contradictoriness, but exhibited the true artist spirit.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It was, in fact, the artist temperament that led Bach to make the great and sublime his goal.  For that reason his music is not merely agreeable, like other composers', but transports us to the regions of the ideal.  It does not arrest our attention momentarily but grips us the stronger the oftener we listen to it, so that after a thousand hearings its treasures are still unexhausted and yield fresh beauties to excite our wonder.  Even the beginner who knows but the A B C of his art warms with pleasure when he hears Bach's music and can open his ear and heart to it.  It was the true artist spirit, too, that guided Bach to unite majesty and grandeur of design with meticulous care for detail and the most refined elegance, characteristics which we rather seek, perhaps, in works whose object is merely to give pleasure.  Bach held strongly that if the strands are imperfect, the whole design is faulty.  His genius is sublime and impressive, and he never 
+<span class="tei tei-pb" id="page152">[pg 152]</span>
+condescends to be frivolous even when he touches the lighter forms of art.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+To conclude: it was the union of astounding genius and indefatigable application that enabled Bach to widen at every point the domain of musical expression.  His successors have failed to maintain the art at the level to which he raised it.  If Bach was more successful, if he was able to produce great work of convincing beauty and imperishable as a model for those who came after him, we owe it as much to his application as to his genius.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+This man, the greatest orator-poet that ever addressed the world in the language of music, was a German!  Let Germany be proud of him!  Yes, proud of him, but worthy of him too!
+</p>
+
+<a name="fig38" id="fig38"></a><div class="tei tei-figure" style="text-align: center"><img src="images/statue2.jpg" alt="The Bach Statue at Leipzig" title="The Bach Statue at Leipzig" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">The Bach Statue at Leipzig</div></div>
+
+</div>
+</div>
+
+<div class="tei tei-back" style="margin-bottom: 2.00em; margin-top: 6.00em">
+<span class="tei tei-pb" id="page153">[pg 153]</span>
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  <a name="toc39" id="toc39"></a>
+  <a name="pdf40" id="pdf40"></a>
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">APPENDIX I. CHRONOLOGICAL CATALOGUE OF BACH'S COMPOSITIONS</span></h1>
+
+<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em">
+<h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">I. CATALOGUE OF BACH'S COMPOSITIONS PRIOR TO HIS APPOINTMENT TO WEIMAR IN JUNE 1708, in his twenty-fourth year.</span><a id="noteref_327" name="noteref_327" href="#note_327"><span class="tei tei-noteref" style="text-align: center"><span style="font-size: 60%; vertical-align: super">327</span></span></a>
+</h2>
+
+<div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em">
+<h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">VOCAL:—</span></h3>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Motet: Lobet den Herrn, alle Heiden. 
+</p>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em">
+<h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">CLAVIER</span><a id="noteref_328" name="noteref_328" href="#note_328"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">328</span></span></a><span style="font-size: 120%">:—</span></h3>
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Capriccio sopra la lontananza del suo fratello dilettissimo (bk. 208 p. 62) (1704).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Capriccio in honorem Joh. Christoph Bachii, Ohrdruf (bk. 216 p. 34) (c. 1704).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Sonata in D major (bk. 215 p. 44) (c. 1704).<a id="noteref_329" name="noteref_329" href="#note_329"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">329</span></span></a>
+</td></tr></tbody></table>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+B.G. XXXVI. prints a number of pieces which, in general, may be assigned to Bach's immature years. They are reproduced in Peters' edition:
+</p>
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Book 200:
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Fughetta in C minor (p. 10).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude and Fughetta in D minor (p. 40).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude and Fughetta in E minor (p. 42).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude and Fughetta in A minor (p. 47).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Fugue in C major (p. 54).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Fugue in C major (p. 56).</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Book 207:
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Fantasia in C minor (p. 50).</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Book 212:
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Fantasia in C minor (p. 58).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Fugue in D minor (p. 59).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Fugue in D minor (p. 61).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Fugue in E minor (p. 68).</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Book 214:
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude and Fughetta in F major (p. 76).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude and Fughetta in G major (p. 78).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude in G major (p. 80). </td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Book 215: Three Minuets (p. 62).</td></tr></tbody></table>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+To these may be added (? authentic) from B.G. XLII.:
+</p>
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Book 212:
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Fantasia and Fughetta in B flat major (p 58).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. do. D major (p. 60).</td></tr></tbody></table>
+</td></tr></tbody></table>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em">
+<h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">Organ</span><a id="noteref_330" name="noteref_330" href="#note_330"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">330</span></span></a><span style="font-size: 120%">:—</span></h3>
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude and Fugue in C minor (bk. 2 p. 48) (c. 1704).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. do. C major (bk. 8 p. 88) (? 1707).<a id="noteref_331" name="noteref_331" href="#note_331"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">331</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. do. the <span class="tei tei-q">“Short,”</span> A minor (bk. 10 p. 208).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Fugue in C minor (bk. 12 p. 95) (c. 1704).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. C minor, on a theme by Legrenzi (bk. 10 p. 230) (c. 1708).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. B minor, on a theme by Corelli (bk. 3 p. 60).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. D major (bk. 12 p. 83).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. G major (bk. 12 p. 55).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. G major (bk. 12 p. 86).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. G minor (bk. 2 p. 41).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude in A minor (bk. 10 p. 238) (by 1706).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. C major (bk. 12 p. 94).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Fantasia and Fugue in A minor (bk. 12 p. 60).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Fantasias in 6 major (bk. 9 p. 168; bk. 12 p. 75).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Pastorale in F major (bk. 12 p. 102).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Choral Partita: Christ, der du bist der helle Tag (bk. 19 p. 36).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. O Gott, du frommer Gott (bk. 19 p. 44).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. Sei gegrüsset, Jesu gütig (bk. 19 p. 55).</td></tr></tbody></table>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Generally speaking, the Choral Preludes, other than those in the maturer collections made by Bach himself, may be regarded as youthful works (bks. 18, 19).
+</p>
+</div>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em">
+<h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">II. Catalogue Of Bach's Compositions At Weimar, 1708-17, from his twenty-fourth to his thirty-third year.</span></h2>
+
+<div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em">
+<h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">Vocal:—</span></h3>
+
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Secular Cantata: Was mir behagt (1716), <em class="tei tei-emph"><span style="font-style: italic">or</span></em>, Verlockender Götterstreit.</td></tr></tbody></table>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em">
+<h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">Clavier:—</span></h3>
+
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Sixteen Concertos after Vivaldi (bk. 217) (c. 1708-12).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Toccatas in D major (bk. 211 p. 28), G major (bk. 215 p. 19), D minor (bk. 210 p. 68), G minor (bk. 211 p. 4),  E minor (bk. 210 p. 23) (c. 1708-12).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Aria variata alia maniera Italiana (bk. 215 p. 12) (c. 1708-12).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude and Fugue in A minor (bk. 211 p. 14) (c. 1715).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Fugues in A major (bk. 215 pp. 52, 57).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. B minor (bk. 214 p. 48).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. A major (bk. 212 p. 66).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. A minor (bk. 212 p. 70).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Fantasia in G minor (bk. 215 p. 32).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. B minor (bk. 215 p. 41). (For Organ, N. bk. 12 p. 71.)</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. D major (bk. 211 p. 28).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. A minor (bk. 215 p. 5) (c. 1710).</td></tr></tbody></table>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em">
+<h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">Organ:—</span></h3>
+
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Passacaglia and Fugue in C minor (bk. 10 p. 214).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Four Concertos after Vivaldi (bk. 11).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Eight Short Preludes and Fugues (bk. 1).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Orgelbüchlein (bk. 15) (1717).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Aria in F major (bk. 12 p. 112).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Fantasia con Imitazione (bk. 12 p. 71).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. C major (bk. 12 p. 92).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. C minor (bk. 3 p. 57).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Trio in C minor (bk. 12 p. 108).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. D minor (bk. 2 p. 54).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Canzona in D minor (bk. 2 p. 34) (c. 1714).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Allabreve in D major (bk. 2 p. 26).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude and Fugue in C major (bk. 7 p. 74).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. do. the <span class="tei tei-q">“Short,”</span> E minor (bk. 2 p. 44).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. do. D major (bk. 6 p. 10).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. do. the <span class="tei tei-q">“Great,”</span> A minor (bk. 7 p. 42).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. do. A major (bk. 3 p. 64).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. do. the <span class="tei tei-q">“Great,”</span> C minor (bk. 7 p. 64).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. do. F minor (bk. 6 p. 21).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. do. G major (bk. 7 p. 80).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. do. G minor (bk. 8 p. 120) (c. 1712).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Toccata and Fugue in D minor (bk. 6 p. 2).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. do. the <span class="tei tei-q">“Great,”</span> C major (bk. 9 p. 137).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. do. the <span class="tei tei-q">“Great,”</span> F major (bk. 9 p. 176).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. do. the Dorian, D minor (bk. 10 p. 196).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Fantasia and Fugue in C minor (bk. 3 p. 76).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude in G major (bk. 2 p. 30).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. C major (bk. 12 p. 91).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Fugue, the <span class="tei tei-q">“Short,”</span> in G minor (bk. 3 p. 84).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. C major (bk. 12 p. 100).</td></tr></tbody></table>
+</div>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em">
+<h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">III. Catalogue Of Bach's Compositions At Cöthen, 1717-23, from his thirty-third to his thirty-ninth year.</span></h2>
+
+<div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em">
+<h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">Vocal:—</span></h3>
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Secular Cantata: Durchlaucht'ster Leopold (1717).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. Mit Gnaden bekröne der Himmel die Zeiten</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">(?1721). Do. Weichetnur, betrübte Schatten (?1717-23).<a id="noteref_332" name="noteref_332" href="#note_332"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">332</span></span></a></td></tr></tbody></table>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em">
+<h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">Clavier:—</span></h3>
+
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Clavier-Büchlein vor Wilhelm Friedemann Bach (1720).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Chromatic Fantasia and Fugue (bk. 207 p. 4) (c. 1720-23).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Clavier-Büchlein vor A. M. Bachin (bk 1959) (1722).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">The Well-tempered Clavier (Part i.) (bk. 2790a) (1722).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Six French Suites (bks. 202 and 2793) (c. 1722).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Six English Suites (bks. 203-4 and 2794-95) (before 1726).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Fantasia and Fugue in A minor (bk. 208 p. 50).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Fugue in A minor (bk. 207 p. 16) (B.G. III. p. 334).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Twelve Little Preludes and Six Preludes for Beginners (bks. 200 and 2791) (c. 1722).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Inventions and Symphonies (bks. 201 and 2792) (1723).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Toccatas in F sharp minor and C minor (bk. 210 pp. 30 and 40).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Suites in A minor, E flat major, E minor, F major, and F minor (fragment) (bk. 214 pp. 54,62, 68; bk. 215 p. 27; bk. 212 p. 84).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude and Fugue in E flat major (bk. 214 p. 40).</td></tr></tbody></table>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em">
+<h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">Chamber</span><a id="noteref_333" name="noteref_333" href="#note_333"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">333</span></span></a><span style="font-size: 120%">:—</span></h3>
+
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Six Sonatas (Suites) for Violin Solo (bk. 228) (c. 1720).<a id="noteref_334" name="noteref_334" href="#note_334"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">334</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Six Sonatas (Suites) for Violoncello Solo (bk. 238a) (c. 1720).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Six Sonatas for Violin and Clavier (bks. 232-33-232a-33a).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Suite in A major for Violin and Clavier (bk. 236).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Four Inventions for Violin and Clavier (bk. 2957).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Sonata in E minor and Fugue in G minor for Violin and  Clavier (bk. 236) (?early work).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Six Sonatas for Flute and Clavier (bks. 234-35).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Sonata in C major for two Violins and Clavier (bk. 237).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Three Sonatas for Viol da Gamba and Clavier (bk. 239).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Sonata in G major for two Flutes and Clavier (bk. 239 p. 2).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Sonata in G major for Violin, Flute, and Clavier (bk. 237).</td></tr></tbody></table>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em">
+<h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">Orchestral:</span><a id="noteref_335" name="noteref_335" href="#note_335"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">335</span></span></a><span style="font-size: 120%">—</span></h3>
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Six Brandenburg Concertos (bks. 261-66) (1721).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Four Suites (Overtures) (bks. 267-69, 2068).<a id="noteref_336" name="noteref_336" href="#note_336"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">336</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Three Concertos for Violin and Orchestra (bks. 229, 230).<a id="noteref_337" name="noteref_337" href="#note_337"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">337</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Concerto in D minor for two Violins and Orchestra (bk. 231).<a id="noteref_338" name="noteref_338" href="#note_338"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">338</span></span></a></td></tr></tbody></table>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em">
+<h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">Organ:—</span></h3>
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude (Fantasia) and Fugue, the <span class="tei tei-q">“Great,”</span> in G minor (bk. 8 p. 127) (?1720).</td></tr></tbody></table>
+</div>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em">
+<h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">IV. Catalogue Of Bach's Compositions At Leipzig, 1723-34, from his thirty-ninth to his fiftieth year.</span></h2>
+
+<div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em">
+<h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">Vocal:—</span></h3>
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Magnificat in D (?1723).<a id="noteref_339" name="noteref_339" href="#note_339"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">339</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Sanctus in C major, D major (c. 1723), D minor, and G major (P. bk. 29b).<a id="noteref_340" name="noteref_340" href="#note_340"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">340</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">St. John Passion (1723).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Trauer-Ode (1727).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">St. Matthew Passion (1729).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Mass in B minor (1733-?1738).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Christmas Oratorio (1734).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Three Wedding Chorals (P. bk. 1654).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Motet: Jesu, meine Freude (1723).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. Der Geist hilft unsrer Schwachheit auf (1729).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. fürchte dich nicht.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. Singet dem Herrn ein neues Lied.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Motet: Komm, Jesu, komm.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Secular Cantata: Der zufriedengestellte Aeolus (1725); also entitled Blast Larmen, ihr Feinden (1734).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. Vereinigte Zwietracht der wechselnden Saiten (1726), or, Auf schmetternde Töne der muntern Trompeten (after 1733).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. Schwingt freudig euch empor; <em class="tei tei-emph"><span style="font-style: italic">also entitled</span></em> Die Freude reget sich, <em class="tei tei-emph"><span style="font-style: italic">or</span></em> Steigt freudig in die Luft (1726).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do Entfernet euch, ihr heitern Sterne (1727; music lost).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. Vergnügte Pleissenstadt (1728; music lost).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. Von der Vergnügsamkeit, <em class="tei tei-emph"><span style="font-style: italic">or</span></em> Ich bin in mir vergnügt (c. 1730).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. Weichet nur, betrübte Schatten (c. 1730).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. Der Streit zwischen Phoebus und Pan 1731).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. Froher Tag, verlangte Stunden (1732; music lost).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. Schweigt stille (Coffee Cantata) (c. 1732).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. Herkules auf dem Scheidewege, <em class="tei tei-emph"><span style="font-style: italic">or</span></em> Die Wahl des Herkules (1733).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. Tönet, ihr Pauken!  Erschallet, Trompeten (1733).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. Preise dein Glücke, gesegnetes Sachsen (1734).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. Schleicht, spielende Wellen (1734).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. Thomana sass annoch betrübt (1734; music lost).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Graduation Cantata: Siehe, der Hüter Israels (music lost).</td></tr></tbody></table>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em">
+<h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">Clavier:—</span></h3>
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Notenbuch vor Anna Magdalena Bach (bk. 1959) (1725).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Clavierübung, Part I. containing the six Partitas, or German Suites (bks. 205-6 or 2796-97) (1731).</td></tr></tbody></table>
+</div>
+<span class="tei tei-pb" id="page160">[pg 160]</span>
+
+<div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em">
+<h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">Orchestral:—</span></h3>
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Concertos in C major, C minor, and C minor for two Claviers and Orchestra (bks. 256, 257, 257b) (1727-36).<a id="noteref_341" name="noteref_341" href="#note_341"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">341</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Seven Concertos for Clavier and Orchestra (bks. 248-54) (1729-36).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Concerto in A minor for Violin, Flute, Clavier, and Orchestra (bk. 255) (c. 1730).<a id="noteref_342" name="noteref_342" href="#note_342"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">342</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Concerto in A minor for four Claviers and Orchestra (bk. 260) (c. 1733).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Concertos in D minor and C major for three Claviers and Orchestra (bks. 258, 259) (c. 1733).</td></tr></tbody></table>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em">
+
+<h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">Organ:—</span></h3>
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude and Fugue, the Great, in G major (bk. 8 p. 112) (1724 or 1725).<a id="noteref_343" name="noteref_343" href="#note_343"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">343</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Six Sonatas in E flat major, C minor, D minor, E minor, C major, G major (bks. 4 and 5) (1727-33).<a id="noteref_344" name="noteref_344" href="#note_344"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">344</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude and Fugue in C major (bk. 3 p. 70) (c. 1730).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. do. D minor (bk. 9 p. 150).</td></tr></tbody></table>
+</div>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em">
+<h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">V. Catalogue Of Bach's Compositions At Leipzig, 1735-50, from his fifty-first year to his death.</span></h2>
+<div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em">
+<h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">Vocal:—</span></h3>
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Ascension Oratorio (Cantata 11) (c. 1735).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Schemelli's Hymn-book (1736).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Easter Oratorio (c. 1736).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Four Masses, in P major, A major (c. 1739), G minor, G major (c. 1739).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Secular Cantata: Angenehmes Wiederau (1737).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. Willkommen, ihr herrschenden Götter der Erden (1738) (music lost).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. Mer hahn en neue Oberkeet (Peasant Cantata) (1742).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. O holder Tag (?1749), <em class="tei tei-emph"><span style="font-style: italic">or</span></em>, O angenehme Melodei.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Italian Cantata: Amore traditore.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. Andro dall' colle al prato (lost).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. Non sa che sia dolore.</td></tr></tbody></table>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em">
+<h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">Clavier:—</span></h3>
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Clavierübung, Part II. containing the Italian Concerto (bk. 207) and Partita in B minor (bk. 208) (1735).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Fantasia and Fugue in C minor (bk. 207 p. 50 and bk. 212 p. 88) (c. 1738).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Clavierübung, Part III. containing the four Duetti (bk. 208) (1739).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Clavierübung, Part IV. containing the Goldberg Variations (bk. 209) (c. 1742).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">The Well-tempered Clavier, Part II. (bk. Ib or 2790b) (1744).</td></tr></tbody></table>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em">
+<h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">Chamber:—</span></h3>
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Sonata for Violin, Flute, and Clavier, in C minor (in the <span class="tei tei-q">“Musical Offering”</span>) (bk. 237 p. 3) (1747).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Three Partitas for the Lute (?1740).<a id="noteref_345" name="noteref_345" href="#note_345"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">345</span></span></a></td></tr></tbody></table>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em">
+<h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">Organ:—</span></h3>
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">The Catechism Choral Preludes (in Clavierübung, Part III.)  (bk. 16) (1739).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Fugue in D minor (in ditto) (bk. 16 p. 49) (1739).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude and Fugue in E flat major (in ditto) (bk. 6 p. 28) (1739).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. do. the <span class="tei tei-q">“Great,”</span> in C major (bk. 9 p. 156).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. do. the <span class="tei tei-q">“Great,”</span> in B minor (bk. 7 p. 52) (1727-36).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Do. do. the <span class="tei tei-q">“Great,”</span> in E minor (bk. 8 p. 98).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Canonic Variations on <span class="tei tei-q">“Vom Himmel hoch”</span> (bk. 19) (1746).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">The Schübler Choral Preludes (bk. 16) (c. 1747-50).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">The Eighteen Choral Preludes (bk. 17) (c. 1747-50).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">The Musical Offering (P. bk. 219) (1747).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">The Art of Fugue (P. bk. 218) (1749).</td></tr></tbody></table>
+</div>
+</div>
+</div>
+
+<span class="tei tei-pb" id="page163">[pg 163]</span>
+
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  <a name="toc41" id="toc41"></a>
+  <a name="pdf42" id="pdf42"></a>
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">APPENDIX II. THE CHURCH CANTATAS ARRANGED CHRONOLOGICALLY</span></h1>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+We have the statement of Carl Philipp Emmanuel Bach,<a id="noteref_346" name="noteref_346" href="#note_346"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">346</span></span></a> confirmed by Forkel,<a id="noteref_347" name="noteref_347" href="#note_347"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">347</span></span></a> Bach's earliest biographer, that his father composed five Cantatas for every Sunday and Festival of the ecclesiastical year.  Concerted music was sung at Leipzig annually on forty-three Sundays and sixteen week-days.<a id="noteref_348" name="noteref_348" href="#note_348"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">348</span></span></a> Bach therefore must have written at least 295 Cantatas.  Of this number he composed at least thirty before 1723.  Hence approximately 265 were written at Leipzig.  But Bach's fertility does not appear to have outlived the year 1744.  We have reason, therefore, to conclude that the 265 Leipzig Cantatas were written in the course of twenty-one years, that is, between 1723 and 1744.  To complete that number Bach must have composed a new Cantata every month, a surprising but demonstrable conclusion.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Of the 295 Cantatas only 202 have come down to us, three of them in an incomplete state.<a id="noteref_349" name="noteref_349" href="#note_349"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">349</span></span></a> Of those written before 1723 the survivors are too scanty to indicate a rate of productivity.  But thereafter we have fuller materials for a calculation.  Bach, as Cantor, conducted his first Leipzig Cantata on May 30, 1723, and in the following sixteen months produced twenty-four Cantatas, at the 
+<span class="tei tei-pb" id="page164">[pg 164]</span>
+rate of more than one a month.<a id="noteref_350" name="noteref_350" href="#note_350"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">350</span></span></a> Beginning at the New Year of 1725 he wrote eighteen Cantatas in nine months, some of which, however, may belong to the years 1726-7-8-9.  But even so, his monthly average seems to have been maintained.  For 1730 we have, perhaps, ten Cantatas.  For 1731 about twenty survive, of which half a dozen may belong to 1732, a deduction which still preserves Bach's steady average.  In 1735 he produced actually nineteen Cantatas between the New Year and the following November, though not all of them are positively dated.  Thereafter his activity is less certainly measured.  But from 1736 till the end of 1744 he composed fifty-three Cantatas, at the rate, that is, of at least six every year, without making allowance for Cantatas written and lost.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+There are few phenomena in the record of art more extraordinary than this unflagging cataract of inspiration, in which masterpiece followed masterpiece with the monotonous periodicity of a Sunday sermon.  Its musical significance has been presented with illuminating exegesis by more than one commentator.  But its literary apparatus has captured little attention.  Yet Bach's task must have been materially eased or aggravated according as the supply of libretti was regular or infrequent, while the flow of his inspiration must have been governed by their quality.  Moreover, the libretto was the medium through which he offered the homage of his art to the service of God.  The subject therefore deserves attention.  However trivial, measured against the immensities of Bach's genius, the study will at least provide a platform from which to contemplate it.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+At the outset the opinion may be hazarded that the provision of his weekly libretti caused Bach greater anxiety than the setting of them to music, a task which he accomplished with almost magical facility. It is 
+<span class="tei tei-pb" id="page165">[pg 165]</span>
+true that from the early part of the 18th century cycles of Cantata texts for the Church's year were not infrequently published.  Bach was in more or less intimate touch with the authors of four, perhaps five, printed collections of the kind.  But he used them with surprising infrequency.  Neumeister's published cycles provided him with seven libretti,<a id="noteref_351" name="noteref_351" href="#note_351"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">351</span></span></a> Franck's with sixteen,<a id="noteref_352" name="noteref_352" href="#note_352"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">352</span></span></a> Picander's with ten,<a id="noteref_353" name="noteref_353" href="#note_353"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">353</span></span></a> Marianne von Ziegler's with nine,<a id="noteref_354" name="noteref_354" href="#note_354"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">354</span></span></a> and Helbig's with two.<a id="noteref_355" name="noteref_355" href="#note_355"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">355</span></span></a> He took three libretti from the Bible,<a id="noteref_356" name="noteref_356" href="#note_356"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">356</span></span></a> and the hymn-book furnished him with eleven more.<a id="noteref_357" name="noteref_357" href="#note_357"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">357</span></span></a> But all these published sources together only account for fifty-eight texts.  Bach possessed only one book that could assist his own efforts at authorship—Paul Wagner's eight-volumed Hymn-book—whence he took the stanzas which decorate his Cantatas like jewels in the rare settings he gave them.  It was, therefore, mainly upon writers with whom he was brought into occasional or official contact that Bach depended for his texts.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+At the beginning of his career Bach was thrown upon his inexperience.  His earliest libretti, consequently, are tentative and transitory in their construction.  His first Cantata was written at Arnstadt for the Easter Festival of 1704.<a id="noteref_358" name="noteref_358" href="#note_358"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">358</span></span></a> The core of the libretto is a seven-stanzaed Easter song by an unknown poet, eked out by two passages of Scripture, a Excitativo, Aria, and a verse of a congregational hymn.  The Aria and Recitativo are the only original numbers of the libretto, and there is little
+<span class="tei tei-pb" id="page166">[pg 166]</span>
+doubt that Bach wrote them himself.<a id="noteref_359" name="noteref_359" href="#note_359"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">359</span></span></a> But the whole libretto is stamped by his personality, and reveals the inveterate subjectivity of his religion.  For, disregarding the general message of the Festival, the libretto opens on the soul's personal longing for immortality and closes on its song of victory over death.  In construction it is archaic, a survival of traditions acquired from central and northern Germany through Bach's earlier residence at Lüneburg and intercourse with Hamburg.<a id="noteref_360" name="noteref_360" href="#note_360"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">360</span></span></a>
+</p>
+
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Three years passed before Bach produced his next extant Cantata. In the interval, on 29th June 1707, he resigned his Arnstadt appointment to become organist of the Church of St. Blasius at Mühlhausen.<a id="noteref_361" name="noteref_361" href="#note_361"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">361</span></span></a> Here, within the space of ten months, he produced three Cantatas, the uniform character of whose libretti points to local and transitory influence upon the composer.  The first of them,<a id="noteref_362" name="noteref_362" href="#note_362"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">362</span></span></a> written in August 1707, is a setting of Psalm 130, with the addition of two hymn-stanzas.  The second<a id="noteref_363" name="noteref_363" href="#note_363"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">363</span></span></a> was performed on 4th February 1708, at the inauguration of the Mühlhausen Town Council, and consists of Old Testament passages, a verse of a hymn, and three original stanzas.  The third,<a id="noteref_364" name="noteref_364" href="#note_364"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">364</span></span></a> a wedding Cantata, was performed at Dornheim, near Arnstadt, on 5th June 1708, at the marriage of Pastor Johann Lorenz Stauber to Frau Bach's aunt, and is set to four verses of Psalm 115.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+We can have little doubt regarding the authorship of these singularly austere libretti, so far removed in atmosphere from those of Bach's subsequent periods.  In fact, the clue is furnished by Bach himself.  A note in his handwriting on the score of the first of the three
+<span class="tei tei-pb" id="page167">[pg 167]</span>
+Cantatas (No. 131) states that he composed it at the request of Georg Christian Eilmar.  The man was a close friend, godfather of Bach's eldest daughter, Katharina Dorothea (b. 1708), chief pastor of the Church of the Blessed Virgin, and Consistorial Assessor, at Mühlhausen.  He was, moreover, an aggressive foe of Pietism, of which Mühlhausen was the citadel, and Bach's minister, Frohne, the protagonist.  Indeed, the two men waged so public and wordy a warfare<a id="noteref_365" name="noteref_365" href="#note_365"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">365</span></span></a> that Bach's social relations with the one and official connection with the other must have been rendered difficult.  To his settled convictions regarding the fellowship of music and worship Pietism offered Puritan opposition.  In fact, its lack of sympathy eventually drove him from Mühlhausen, in hope, in his own words, <span class="tei tei-q">“to realise my views upon the right ordering of Church music without vexation from others.”</span><a id="noteref_366" name="noteref_366" href="#note_366"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">366</span></span></a> Eilmar, on the other hand, though he admitted the aesthetic value of music, conspicuously lacked the warmth and emotionalism of Bach's religious temperament.  To him undoubtedly we must attribute the cold austerity of the three Mühlhausen libretti and the suppression of the personal note already sounded in Bach's Arnstadt Cantata.  Nor did Eilmar's influence pass with Bach's departure from Mühlhausen.<a id="noteref_367" name="noteref_367" href="#note_367"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">367</span></span></a> It is to be traced in the early libretti of the Weimar period.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Weimar Cantatas are twenty-two in number, of which all but three were written subsequently to Bach's appointment as Concertmeister early in 1714. He had been organist to the Ducal Court of Weimar since June 1708, a position which did not require him to compose for the Ducal Chapel. On the other hand, three Cantatas are attributed to the early Weimar years. But they
+<span class="tei tei-pb" id="page168">[pg 168]</span>
+cannot be positively dated, and their libretti bear such clear traces of Eilmar's influence that their composition may belong rather to the Mühlhausen period.  Their texts display Eilmar's preference for strictly Biblical material and a disinclination to employ secular forms.  The first of them<a id="noteref_368" name="noteref_368" href="#note_368"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">368</span></span></a> is a paraphrase of the Magnificat. The second<a id="noteref_369" name="noteref_369" href="#note_369"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">369</span></span></a> consists of four verses of Psalm 25, along with three simple rhymed stanzas which we have no difficulty in attributing to Bach himself.  The third, <span class="tei tei-title"><span style="font-style: italic">Gottes Zeit ist die allerbeste Zeit</span></span> (No. 106), was composed, Spitta conjectures,<a id="noteref_370" name="noteref_370" href="#note_370"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">370</span></span></a> for the funeral of Philipp Grossgebauer, Rector of Weimar School, in 1711.  But more recently, and more probably, Pirro<a id="noteref_371" name="noteref_371" href="#note_371"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">371</span></span></a> has expressed the opinion that Bach wrote it for the funeral of his uncle, Tobias Lammerhirt, who was buried at Erfurt in September 1707.  The theory accords with the suggestion that all three Cantatas belong to the Mühlhausen period.  If so, it is probable that the libretto, a very ingenious mosaic of Scripture texts, was written by Eilmar for the occasion.  It is the last in which we detect his influence.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach's appointment as Ducal Concertmeister at Weimar can be placed between 14th January and 19th March 1714<a id="noteref_372" name="noteref_372" href="#note_372"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">372</span></span></a>
+and, it is probable, was nearer the former date.  He seems to have produced the first Cantata his new post required him to write on Sexagesima Sunday, which fell on 4th February in that year.  From thence to the end of 1716 he produced nineteen Cantatas and collaborated with a writer whose libretti at length gave him a satisfactory literary medium.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The new poet, Erdmann Neumeister, four of whose libretti Bach set to music immediately after his 
+<span class="tei tei-pb" id="page169">[pg 169]</span>
+appointment, and a fifth a year later,<a id="noteref_373" name="noteref_373" href="#note_373"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">373</span></span></a> was considerably Bach's senior.<a id="noteref_374" name="noteref_374" href="#note_374"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">374</span></span></a> As far back as 1700 he had begun to write a cycle of Cantata texts for the Ducal Chapel at Weissenfels, and pubushed it in 1704, with an explanatory Preface referred to later.<a id="noteref_375" name="noteref_375" href="#note_375"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">375</span></span></a> In 1708 he issued a second cycle for the Court of Rudolstadt, while in 1711 and 1714 third and fourth cycles were written for the Ducal Chapel at Eisenach.  All four cycles were reissued in 1716,<a id="noteref_376" name="noteref_376" href="#note_376"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">376</span></span></a> with the addition of a fifth and a Preface, which lauded Neumeister as <span class="tei tei-q">“the first German to give sacred music its fitting position by introducing and perfecting the Church Cantata.”</span><a id="noteref_377" name="noteref_377" href="#note_377"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">377</span></span></a>
+</p>
+
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Spitta has dealt exhaustively<a id="noteref_378" name="noteref_378" href="#note_378"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">378</span></span></a> with the evolution and construction of the Neumeister libretto.  It need only be remarked that it adapted a secular or operatic apparatus to the service of religion, and that the innovation, hateful to many, triumphed because of Neumeister's delicate handling of it.  He perfected the new form, however, in stages.  <span class="tei tei-q">“A Cantata,”</span> he insisted in his 1704 Preface, <span class="tei tei-q">“is simply a fragment of Opera made up of Aria and Recitativo.”</span>  But the restriction excluded from the Cantata its most appropriate material.  In his 1708 cycle he found a place for the chorus.  Finally, he admitted the Bible stanza and congregational hymn.  With their inclusion the Cantata libretto assumed the form familiar to us in Bach's use.  It represents a combination of secular Opera and ecclesiastical Motet.  The free Arias and Recitativi are derived from the one, the Bible stanzas and congregational hymns perpetuate the traditions of the other. Unity of design is stamped on
+<span class="tei tei-pb" id="page170">[pg 170]</span>
+the whole by its general subordination to the Gospel for the Day.  Thus, at the moment when Bach was about to devote his genius to the Cantata, Neumeister opportunely provided him with a libretto singularly adapted to the end Bach had in view, and appropriate to the musical expression by which he proposed to secure it.  He adhered to it almost to the end of his life, and found unfailing inspiration in Neumeister's sincerity, delicacy, and uniformly religious outlook.  Neumeister's Arias, with a single exception,<a id="noteref_379" name="noteref_379" href="#note_379"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">379</span></span></a> are hymn-like in mood and metre.  His Recitativi are reflective and prayerful, rarely oratorical or pictorial, simple communings upon the Gospel themes which the libretto handles.<a id="noteref_380" name="noteref_380" href="#note_380"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">380</span></span></a>
+</p>
+
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach's early introduction to Neumeister's texts is explained by the close relations between the Courts of Weimar and Eisenach, by his associations with his own birthplace, and his intimacy with Georg Philipp Telemann, Kapellmeister there, for whose use Neumeister's third and fourth cycles were written.<a id="noteref_381" name="noteref_381" href="#note_381"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">381</span></span></a> Bach set, in all, seven of the libretti—four from the fourth cycle,<a id="noteref_382" name="noteref_382" href="#note_382"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">382</span></span></a> one from the third,<a id="noteref_383" name="noteref_383" href="#note_383"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">383</span></span></a> and two from the first,<a id="noteref_384" name="noteref_384" href="#note_384"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">384</span></span></a> one of which (No. 142) differs so much from the published version as to raise the question whether Bach did not receive it direct from Neumeister in the form in which he set it.<a id="noteref_385" name="noteref_385" href="#note_385"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">385</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+That Bach should have set no more than seven of Neumeister's texts<a id="noteref_386" name="noteref_386" href="#note_386"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">386</span></span></a> is strange.  He shrank, perhaps, from appropriating libretti on which his friend Telemann had a prior claim.<a id="noteref_387" name="noteref_387" href="#note_387"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">387</span></span></a> But the reason is found rather in the fact that at Weimar Bach discovered in 1715 a local
+<span class="tei tei-pb" id="page171">[pg 171]</span>
+poet of first-rate ability who, with perhaps but one exception, wrote the libretti of all the Cantatas he composed during the last two years of his Weimar appointment.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Salomo Franck, Bach's new collaborator, was Curator of the Ducal Museum of Coins and Medals at Weimar.  He was twenty-six years older than Bach.  But Spitta's conjecture,<a id="noteref_388" name="noteref_388" href="#note_388"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">388</span></span></a> that the two men were not acquainted, is hardly tenable.  Both resided in the same small provincial town, both were in the Duke's service, and throughout 1715 and 1716 collaborated in at least ten Cantatas performed in the Ducal Chapel.  Moreover, though the Preface of Franck's first cycle is dated 4th June 1715,<a id="noteref_389" name="noteref_389" href="#note_389"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">389</span></span></a> Bach had already set one of its libretti for Easter of that year. A second cycle of texts, of which Bach made little use,<a id="noteref_390" name="noteref_390" href="#note_390"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">390</span></span></a> was published by Franck in 1717.<a id="noteref_391" name="noteref_391" href="#note_391"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">391</span></span></a>
+</p>
+
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Schweitzer, no doubt, is correct in his conclusion<a id="noteref_392" name="noteref_392" href="#note_392"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">392</span></span></a> that Bach was drawn to Franck by his poetic insight, his mysticism, and innate feeling for nature.  It must be remembered, too, that his libretti were, in some degree, official.  On the other hand, Franck was Neumeister's inferior in ability to conceive a picture fit to express Bach's larger moods, and on occasion could descend to sheer bathos.<a id="noteref_393" name="noteref_393" href="#note_393"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">393</span></span></a> But his texts have a rhythmic swing and melody which Bach found agreeable.  He set at least sixteen of them, and returned to them even after he settled at Leipzig.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The circumstances which terminated Bach's service at Weimar are familiar, and need not be restated.  He received a new appointment at Cöthen on 1st August 1717, and took up his duties there, probably at Christmas, that year.<a id="noteref_394" name="noteref_394" href="#note_394"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">394</span></span></a> His position was that of Capellmeister to the princely Court.  He never styles himself Court Organist,<a id="noteref_395" name="noteref_395" href="#note_395"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">395</span></span></a> and his duties severed him for five years from the service of the Church, to which he had declared his particular dedication in 1708.  The Cöthen Court was unpretentious.  The Prince was a Calvinist.  Figurate music was not permitted in the Court Chapel, and its Organ was small and inadequate.  Hence Bach devoted himself chiefly to chamber music, and only two genuine Church Cantatas belong to this period of his career.  Both must have been written for performance elsewhere, possibly in connection with Bach's frequent Autumn tours as a performer.<a id="noteref_396" name="noteref_396" href="#note_396"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">396</span></span></a>
+</p>
+
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+For both Cantatas Bach employed a librettist, otherwise little known, named Johann Friedrich Helbig, State Secretory to the Eisenach Court. In March 1720,<a id="noteref_397" name="noteref_397" href="#note_397"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">397</span></span></a> more than two years after Bach's arrival at Cöthen, Helbig published a cycle of <span class="tei tei-q">“Musical Texts on the Sunday and Saints' Day Gospels throughout the year,”</span> for performance <span class="tei tei-q">“in God's honour by the Prince's Kapelle at Eisenach.”</span><a id="noteref_398" name="noteref_398" href="#note_398"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">398</span></span></a>
+How they came into Bach's hands we do not know, but can readily conjecture.  They are indifferent poetry, judging them by the two specimens Bach made use of, and are uniform in construction.  The first movement invariably is a Chorus upon a text from the Gospel for the Day, or a Scripture passage closely related to it.  Two Arias separated by a Recitative follow. A Choral brings the libretto to an end.<a id="noteref_399" name="noteref_399" href="#note_399"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">399</span></span></a>
+</p>
+
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The first of the two Cantatas written to Helbig's words
+<span class="tei tei-pb" id="page173">[pg 173]</span>
+was designed for the Seventeenth Sunday after Trinity, which fell in 1720 on September 22.<a id="noteref_400" name="noteref_400" href="#note_400"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">400</span></span></a> Spitta conjectures<a id="noteref_401" name="noteref_401" href="#note_401"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">401</span></span></a> that Bach intended it for performance at Hamburg.  In fact, his wife's death postponed Bach's visit to that town until November, by which date the Sunday appropriate to the Cantata had passed. Spitta holds that the Cantata may have been performed, after all, during the visit. Schweitzer is sceptical.<a id="noteref_402" name="noteref_402" href="#note_402"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">402</span></span></a> But Bach certainly expended great pains upon the score.
+</p>
+
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The second Helbig Cantata<a id="noteref_403" name="noteref_403" href="#note_403"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">403</span></span></a> is for the Third Sunday in Advent, and the date of it would appear to have been 1721.  It is one of the least agreeable of Bach's works.  Spitta <a id="noteref_404" name="noteref_404" href="#note_404"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">404</span></span></a> declares it a juvenile composition hastily adapted to a new libretto. Schweitzer<a id="noteref_405" name="noteref_405" href="#note_405"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">405</span></span></a> expresses the same opinion, and Sir Hubert Parry<a id="noteref_406" name="noteref_406" href="#note_406"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">406</span></span></a> finds the work <span class="tei tei-q">“rather commonplace.”</span>  Its genuineness is discussed by Max Schreyer in the <span class="tei tei-q">“Bach-Jahrbuch”</span> for 1912, and more recently Rudolf Wustmann has insisted that it does not bear the stamp of Bach's genius.<a id="noteref_407" name="noteref_407" href="#note_407"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">407</span></span></a> If it actually was composed in 1721, its production must have coincided with Bach's second marriage on December 3 of that year.<a id="noteref_408" name="noteref_408" href="#note_408"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">408</span></span></a> In that case, his resort to old material is explicable.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Only these two Cantatas were composed at Cöthen.  But later, at Leipzig, two others were manufactured out of secular material written there.<a id="noteref_409" name="noteref_409" href="#note_409"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">409</span></span></a> It is unnecessary to refer to them, except to remark that in each case Bach appears to have been the author of the new libretto.  In the first of them<a id="noteref_410" name="noteref_410" href="#note_410"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">410</span></span></a> it is clear that he was handicapped by the frankly secular metre of the original stanzas.  The 
+<span class="tei tei-pb" id="page174">[pg 174]</span>
+second of them,<a id="noteref_411" name="noteref_411" href="#note_411"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">411</span></span></a> originally a Birthday Ode to Prince Leopold of Anhalt-Cöthen, is a masterly conversion into a Whit-Monday text which, assuming that Bach wrote it, puts his literary facility beyond question.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach made the last move in his professional career on May 31, 1723, when he was inducted Cantor of St. Thomas' School at Leipzig, with particular charge of the Churches of St. Thomas and St. Nicolas.  Here by far the greater number of his Cantatas appeared, and 172 of them survive.  They are too numerous to be considered individually, and their classification is rendered difficult by the fact that the authorship of most of their libretti is conjectural and not ascertained.  They fall, however, into two large categories, each of which exhibits characteristics of its own.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The dividing year, clearly but not arbitrarily, is 1734.  Before it and after it Bach was aided by new writers.  But the earlier period pre-eminently was one of experiment, out of which emerged the glorified hymn-libretto, or Choral Cantata, of Bach's last years.  That it sprang, in some degree, from the difficulty of finding good original texts in sufficient number may be granted.  That it was adopted as an avenue of escape from Picander's coarser work is a conjecture based, apparently, upon a prevalent exaggeration of Bach's dependence on that writer.  The fundamental reason which led Bach to the hymn-libretto undoubtedly was the fact that it most closely fulfilled the ideals which informed his work.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The first Cantata performed during Bach's Cantorship<a id="noteref_412" name="noteref_412" href="#note_412"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">412</span></span></a> reveals a new author, whose assistance, if the conclusion is well grounded, was at Bach's disposal throughout the whole of the earlier Leipzig period.  Spitta's keen insight failed him in this instance.  He betrays no recognition of 
+<span class="tei tei-pb" id="page175">[pg 175]</span>
+the new writer, and occasionally<a id="noteref_413" name="noteref_413" href="#note_413"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">413</span></span></a> attributes his libretti to Picander.  The credit of the discovery belongs to Rudolf Wustmann, though he fails to work it out to its fullest conclusions.<a id="noteref_414" name="noteref_414" href="#note_414"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">414</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+No one can read the early Leipzig libretti without being struck by the number of them that are not only uniform in structure, but similar in tone and point.  They all begin with a Bible text, chosen frequently, but not invariably, from the Gospel for the Day.  Every one of them ends with a hymn-stanza.  Their Arias, with hardly an exception,<a id="noteref_415" name="noteref_415" href="#note_415"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">415</span></span></a> are written in what, compared with Picander's rollicking dactyls, may be held hymn-metres.  Their Recitativi, almost invariably, are didactic or exegetical.<a id="noteref_416" name="noteref_416" href="#note_416"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">416</span></span></a> They do not display the vapid rhetoric of Picander.  Nor do they express the reflective or prayerful mood that reveals Bach.  They are essentially expositive and, it is noticeable, are studded with direct or veiled references to Bible passages which expand or enforce the lesson of the initial text.  In a word, they suggest the work of a preacher casting his sermon notes into lyrical form, an impression which is strengthened by the fact that the libretto invariably opens with a Scripture passage and frequently blends the Gospel and Epistle for the Day in one harmonious teaching.  Spitta detected this characteristic.  But he failed to follow up the clue.  He speaks<a id="noteref_417" name="noteref_417" href="#note_417"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">417</span></span></a> of one of these texts<a id="noteref_418" name="noteref_418" href="#note_418"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">418</span></span></a> as a <span class="tei tei-q">“moralising homily,”</span> a phrase concisely appropriate to them all.  Moreover, a remark of his,<a id="noteref_419" name="noteref_419" href="#note_419"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">419</span></span></a> pointing the significance
+<span class="tei tei-pb" id="page176">[pg 176]</span>
+of the god-parents chosen by Bach for his children—Eilmar, for instance—as revealing Bach's intimate associates at the moment, affords another clue to the personality of the new writer.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Among the clergy of St. Thomas' during Bach's Cantorate were two men, father and son, each of whom bore the name Christian Weiss.  The elder was Pastor of the Church from 1714 till his death in 1737.  He was a cultured man, in touch with the University, and possibly formed a link between it and Bach, to whom he showed greater cordiality than the Cantor received from other clerical colleagues.  In 1732 his daughter, Dorothea Sophia stood godmother to Bach's son, Johann Christoph Friedrich, afterwards famous as the <span class="tei tei-q">“Bückeburg Bach.”</span><a id="noteref_420" name="noteref_420" href="#note_420"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">420</span></span></a> In 1737 his son stood sponsor to Bach's daughter, Johanna Caroline.<a id="noteref_421" name="noteref_421" href="#note_421"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">421</span></span></a> Nor can it be altogether without significance that the names Dorothea, Sophia, Christian, are borne by others of Bach's children by his second marriage.  There is sufficient evidence, therefore, that Bach's relations with the elder Weiss were intimate enough to support a literary partnership.  Moreover, circumstances lend weight to the inference.  For some years before Bach's arrival in Leipzig, Weiss suffered from an affection of the throat which kept him from the pulpit.  But, during the first year of Bach's Cantorate, he was able to resume his preaching.  If he was, in fact, the author of the libretti, we can have little difficulty in concluding that they and his sermons were built on the same text.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+So far as they can be identified—the attempt is somewhat speculative—Weiss provided Bach with at least thirty-three libretti.  He set five of them in 1723, three in 1724, nine in or about 1725, one in 1727, two in 1730, six in 1731, three in 1732, and four in the later Leipzig period.<a id="noteref_422" name="noteref_422" href="#note_422"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">422</span></span></a> Fourteen others bear a constructional
+<span class="tei tei-pb" id="page177">[pg 177]</span>
+resemblance to Weiss's texts,<a id="noteref_423" name="noteref_423" href="#note_423"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">423</span></span></a> but their character refers them rather to Bach or Picander.  Even so, if we do not exaggerate his activity, Weiss seems to have written at least one-sixth of the Leipzig libretti and more than a quarter of those of the earlier period.  Without a doubt he eased a difficult situation in Bach's experience before his regular association with Picander began.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Apart from their revelation of Christian Weiss, the libretti of Bach's first year at Leipzig do not call for comment.  Franck and Neumeister appear among them, and we trace Bach's hand in nine.<a id="noteref_424" name="noteref_424" href="#note_424"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">424</span></span></a> But at Easter, 1724, he broke new ground with a libretto whence developed the Cantata form of his latest period.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Cantata for Easter Day 1724,<a id="noteref_425" name="noteref_425" href="#note_425"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">425</span></span></a> is Bach's earliest setting of an entire congregational hymn.  Spitta suggests<a id="noteref_426" name="noteref_426" href="#note_426"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">426</span></span></a> that he felt the fitness of giving the libretto an antique character to match the hymn's melody.  However that may be, Bach would appear already to have been groping towards the Choral Cantata of the late '30's.  And though he did not repeat the experiment until the Easter of 1731,<a id="noteref_427" name="noteref_427" href="#note_427"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">427</span></span></a> he treated three hymn-libretti in the interval in a manner which shows him already to have worked out the essentials of the Choral Cantata form.<a id="noteref_428" name="noteref_428" href="#note_428"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">428</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Another landmark meets us a year and a half after the Easter experiment.  On September 23, 1725(?)—the Seventeenth Sunday after Trinity—Bach produced a Cantata<a id="noteref_429" name="noteref_429" href="#note_429"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">429</span></span></a> whose Arias are set to words which had appeared in print in the preceding year.  Their author was a hack writer named Christian Friedrich Henrici, or, as he preferred to style himself, Picander.  His hand probably
+<span class="tei tei-pb" id="page178">[pg 178]</span>
+is also traced in the libretto used by Bach on the preceding Sunday<a id="noteref_430" name="noteref_430" href="#note_430"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">430</span></span></a> and again in that for Sexagesima in the same year.<a id="noteref_431" name="noteref_431" href="#note_431"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">431</span></span></a> But the evidence is only inferential.  That he collaborated with Bach on September 23, 1725 (?), is incontestable, and the work defines the beginning of a long and fruitful partnership.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Spitta,<a id="noteref_432" name="noteref_432" href="#note_432"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">432</span></span></a> who tells us all that is known of Picander, has sufficiently exposed his superficial literary facility.  He commenced to write sacred poetry in 1724, and on Advent Sunday of that year began a cycle of <span class="tei tei-q">“Profitable Thoughts,”</span> so he termed them, upon the Sunday and Saints' Day Gospels.  He published them in 1725, when the cycle was complete.<a id="noteref_433" name="noteref_433" href="#note_433"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">433</span></span></a> Three years later he issued a cycle of Cantata texts for 1728-29 in the Neumeister form.<a id="noteref_434" name="noteref_434" href="#note_434"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">434</span></span></a> That he intended them for Bach's use is apparent in the fact that he expressly dedicated them to the service of <span class="tei tei-q">“our incomparable Capellmeister.”</span>  But Bach made the sparest use of them and of the earlier <span class="tei tei-q">“Profitable Thoughts”</span> alike.  From the latter he took not one libretto.<a id="noteref_435" name="noteref_435" href="#note_435"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">435</span></span></a> Of the 1728-29 cycle he used only eight texts.<a id="noteref_436" name="noteref_436" href="#note_436"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">436</span></span></a> One more libretto can be referred to Picander's later publications,<a id="noteref_437" name="noteref_437" href="#note_437"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">437</span></span></a> and of six others we can be sure that they are based upon his texts.<a id="noteref_438" name="noteref_438" href="#note_438"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">438</span></span></a> In other words, of the original libretti of the Leipzig period we can trace Picander's hand positively in no more than fifteen.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It is necessary to emphasise this point. For Spitta<a id="noteref_439" name="noteref_439" href="#note_439"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">439</span></span></a> has stated positively that Picander wrote <span class="tei tei-q">“most”</span> of the Leipzig libretti, and his opinion has been generally
+<span class="tei tei-pb" id="page179">[pg 179]</span>
+accepted.  But its correctness may be contested.  It is suspicious, to begin with, that Picander never published the texts which Spitta asserts him to have poured out in such profusion. <span class="tei tei-q">“He placed no value,”</span> Spitta answers readily, <span class="tei tei-q">“on these manufactured compositions, put together hastily to please his friend.”</span>  But the argument cannot stand.  Why should Picander have thought less of libretti actually used by his <span class="tei tei-q">“incomparable Capellmeister”</span> than of those published for and rejected by him?—for Spitta does not venture to declare that as literature the rejected were superior to the accepted texts.  If out of a published cycle of libretti expressly written for him Bach chose only eight texts, are Picander's <span class="tei tei-q">“manufactured compositions,”</span> as Spitta calls them, likely to have attracted him to a greater degree?  We can detect his hand perhaps in six Cantatas<a id="noteref_440" name="noteref_440" href="#note_440"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">440</span></span></a> besides those already mentioned, and Bach relied on him exclusively for his secular texts.  One concludes, none the less, that Bach rarely accepted an original Cantata libretto from Picander, and employed him chiefly on the Choral Cantatas of his latest period.  Excluding them, and adding the probable to the actual original Picander texts, they total only twenty-one, a fraction inadequate to support Spitta's sweeping statement.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+From the advent of Picander in 1725, to the end of the first Leipzig period nine years later, Bach does not seem to have gone outside the circle of familial authors for his regular Cantata texts.  On October 17, 1727, however, he produced a funeral Cantata, or <span class="tei tei-q">“Trauer-Musik,”</span> in memory of the late Queen of Poland, the libretto of which was written by Professor J. C. Gottsched.  The partnership, in fact, was accidental: the libretto was supplied to Bach with the commission to set it to music, and, so far as is known, Gottsched and he did not collaborate again.
+</p>
+<span class="tei tei-pb" id="page180">[pg 180]</span>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+So, reviewing Bach's activities during his first eleven years at Leipzig, we find that of the hundred libretti set by him to music Christian Weiss heads the list as the presumed author of twenty-nine.  Bach follows him with eighteen.<a id="noteref_441" name="noteref_441" href="#note_441"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">441</span></span></a> Picander's hand appears in fifteen, Franck's in eight,<a id="noteref_442" name="noteref_442" href="#note_442"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">442</span></span></a> Neumeister's and Gottsched's in one each.  Fifteen libretti are congregational hymns in their original or paraphrased form.  One is the <span class="tei tei-title"><span style="font-style: italic">Gloria in Excelsis</span></span> of the B minor Mass adapted as a Christmas Cantata (No. 190).  Twelve are by authors not identified.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Passing to the later Leipzig period, seventy-two surviving Cantatas are attributed to the years 1735-50.  They reveal one, perhaps two, new writers.  The first of them, Marianne von Ziegler, was identified by Spitta in 1892.  She was the widow of an officer, resident in Leipzig, a cultured woman, in touch with University life, her house a salon for music and musicians.<a id="noteref_443" name="noteref_443" href="#note_443"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">443</span></span></a> There is no reason to suppose Bach to have been of her circle, or that he was acquainted with her literary gifts.  Indeed the contrary is to be inferred from the fact that, though she published her poems in 1728,<a id="noteref_444" name="noteref_444" href="#note_444"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">444</span></span></a> he does not seem to have known them until seven years later, when he used them for nine consecutive Sundays and Festivals in 1735, beginning on the Third Sunday after Easter, and ending on Trinity Sunday.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In addition to these nine libretti, both Spitta<a id="noteref_445" name="noteref_445" href="#note_445"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">445</span></span></a>and Schweitzer<a id="noteref_446" name="noteref_446" href="#note_446"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">446</span></span></a> attribute to her the text of Bach's Cantata for the Second Sunday after Easter in the same year.<a id="noteref_447" name="noteref_447" href="#note_447"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">447</span></span></a> It is uniform in construction with the authentic nine, but is not among the authoress's published works. Wustmann<a id="noteref_448" name="noteref_448" href="#note_448"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">448</span></span></a>
+<span class="tei tei-pb" id="page181">[pg 181]</span>
+finds the tone of the libretto less ardent and its rhythm rougher than those published under her name.  Admitting the soundness of Wustmann's criticism, one hazards the opinion that the challenged text was written at the period when Bach set it, namely, in 1735, eight years after the poetess published her earlier texts.  The difference of time may account for the difference of texture to which Wustmann draws attention, but leaves undecided the question whether Bach was drawn to the earlier through the later and unpublished texts or vice versa.  It is quite probable that he set other libretti by the same writer, though Schweitzer's<a id="noteref_449" name="noteref_449" href="#note_449"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">449</span></span></a> attribution to her of a second text for Ascension Day, 1735, must be rejected.<a id="noteref_450" name="noteref_450" href="#note_450"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">450</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It is worth noticing, since it certainly reveals Bach's preference, that Marianne von Ziegler's libretti are constructed almost invariably in the Weiss form.  Every one of them but three<a id="noteref_451" name="noteref_451" href="#note_451"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">451</span></span></a> opens with a Bible passage, invariably taken from St. John's Gospel, which provides the Gospel for the Day from the First Sunday after Easter down to Trinity Sunday, excepting Ascension Day.  All but one (No. 68) of the libretti conclude with a Choral, and their Arias are hymn-like in metre.  The tone of them, however, is warmer, more personal, less didactic than the Weiss texts.  That Bach regarded them with particular favour is apparent in the circumstance that he took the trouble to revise all but one of them.<a id="noteref_452" name="noteref_452" href="#note_452"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">452</span></span></a> That they stirred his genius deeply is visible in the settings he gave them.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+After 1735 the chronology of the Cantatas is not certainly ascertained.  Of those that fall after the Ziegler year, as we may term it, the majority can only be dated approximately as circa 1740, that is, anywhere between 1735 and 1744.  Nor, except rarely, can we detect in their libretti the work of those on whom Bach elsewhere
+<span class="tei tei-pb" id="page182">[pg 182]</span> relied.  Weiss, who died late in 1737, is only an occasional contributor.  The texts of this period, in fact, are the outcome of Bach's own experiments in libretto form.  Thirty-three of them are Choral Cantatas, whose evolution it remains to trace concisely.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+That Bach should have turned to Lutheran hymnody, chiefly of the fifteenth and sixteenth centuries, and that the Cantatas built upon it should be his most perfect religious work is not surprising.  The hymns and their melodies were the foundations upon which the temple of German Protestantism had been reared.  They appealed vividly and powerfully to Bach's spiritual nature, and profoundly influenced his musical utterance.  His whole career, as Sir Hubert Parry points out,<a id="noteref_453" name="noteref_453" href="#note_453"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">453</span></span></a> was an effort to widen his means for self-expression.  And the Choral Cantata, in effect, was the reconciliation or blending of this self-discipline.  It was the supreme achievement of Bach's genius to assert the faith and idealism of Lutheran hymnody with the fullest resources of his technique.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It is not our task to consider the hymn libretto in its relation to the structure of Bach's latest Cantatas.  Necessarily it tied him to a stereotyped design, which he clung to with greater persistency because it exactly fulfilled his devotional purpose.  But experience compelled him, after a brief trial, to discard the simple hymn libretto.  In the earlier Leipzig years as many as eight Choral Cantatas<a id="noteref_454" name="noteref_454" href="#note_454"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">454</span></span></a> are set to the unaltered text of a congregational hymn.  In the later Leipzig period only two<a id="noteref_455" name="noteref_455" href="#note_455"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">455</span></span></a> libretti are of that character.  Bach, in fact, soon realised that, while the unaltered hymn-stanza, with its uniform metre and balanced rhyme, was appropriate to the simple Choral or elaborate Fantasia, it was unmalleable for use as an Aria or Recitative.  Hence, retaining the unaltered Hymn-stanza for the musical movements
+<span class="tei tei-pb" id="page183">[pg 183]</span>
+congruous to it, he was led to paraphrase, in free madrigal form, those stanzas which he selected for the Arias and Recitativi.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+As early as September 16, 1725,<a id="noteref_456" name="noteref_456" href="#note_456"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">456</span></span></a> Bach was moving towards this solution.  And it is significant that Picander's hand is visible in the libretto.  The next example<a id="noteref_457" name="noteref_457" href="#note_457"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">457</span></span></a> occurs three years later, and again reveals Picander's authorship.  Two other instances also occur in the early Leipzig period.<a id="noteref_458" name="noteref_458" href="#note_458"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">458</span></span></a> To that point, however, it is clear that Bach was not satisfied as to the most effective treatment of the hymn-libretto.  But in the second Leipzig period, after his collaboration with Marianne von Ziegler, he arrived at and remained constant to a uniform design.  Of the thirty-nine Choral Cantatas of the whole period only two exhibit the earlier form.  Of all the others the libretto consists partly of unaltered hymn-stanzas—invariably used for the first and last movements, and occasionally elsewhere—but chiefly of paraphrased stanzas of the hymn, whose accustomed melody, wherever else it may be introduced, is associated invariably with the hymn when the text is used in its unaltered form.  We, to whom both words and melody are too frequently unfamiliar, may view the perfections of the Choral Cantata with some detachment.  But Bach's audience listened to hymns and tunes which were in the heart of every hearer and a common possession of them all.  The appeal of his message was the more arresting because it spoke as directly to himself as to those he addressed.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It would be satisfactory and interesting to point positively to Bach's own handiwork in these libretti, of which he set fifty-four in the period 1724-44.  Unfortunately it is impossible to do so, except, perhaps, in a single case,<a id="noteref_459" name="noteref_459" href="#note_459"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">459</span></span></a>
+<span class="tei tei-pb" id="page184">[pg 184]</span>
+where we can reasonably infer that the libretto is his.  Of the rest, one is by Franck.<a id="noteref_460" name="noteref_460" href="#note_460"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">460</span></span></a> In eighteen of them the hand of Picander is more or less patent.<a id="noteref_461" name="noteref_461" href="#note_461"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">461</span></span></a> Nineteen<a id="noteref_462" name="noteref_462" href="#note_462"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">462</span></span></a> we can only venture to mark <span class="tei tei-q">“anonymous,”</span> though Picander is probably present in most of them.  Ten are unaltered congregational hymns.<a id="noteref_463" name="noteref_463" href="#note_463"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">463</span></span></a> There remain, however, five<a id="noteref_464" name="noteref_464" href="#note_464"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">464</span></span></a> in which, perhaps, we detect another, and the last, of Bach's literary helpers.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Wustmann draws attention<a id="noteref_465" name="noteref_465" href="#note_465"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">465</span></span></a> to the libretto of Cantata No. 38, a paraphrase of Luther's Psalm 130.  He finds in it, and reasonably, an expression of <span class="tei tei-q">“Jesus religion”</span> very alien to Picander's muse, and suggests the younger Christian Weiss as the author of it.  Like his father, he was Bach's colleague, the godfather of his daughter, and undoubtedly on terms of close friendship with him.  But if he wrote the libretto of Cantata No. 38, probably it is not the only one.  The same note rings in four more of the Choral Cantatas,<a id="noteref_466" name="noteref_466" href="#note_466"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">466</span></span></a> which may be attributed tentatively to Weiss, though their ascription to Bach would be equally congruous.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Returning, however, to the seventy-two libretti of the later Leipzig period we reach this result: More than half of them (thirty-nine) are congregational hymns, all but two of which are of the paraphrased type in which we detect the work of Picander, Bach himself, and perhaps the younger Weiss.  Of the remaining thirty-three original libretti Marianne von Ziegler heads the list with nine, and perhaps ten.<a id="noteref_467" name="noteref_467" href="#note_467"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">467</span></span></a>  Bach follows with a problematical
+<span class="tei tei-pb" id="page185">[pg 185]</span>
+six,<a id="noteref_468" name="noteref_468" href="#note_468"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">468</span></span></a> Picander with five,<a id="noteref_469" name="noteref_469" href="#note_469"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">469</span></span></a> the elder Weiss with four,<a id="noteref_470" name="noteref_470" href="#note_470"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">470</span></span></a> Neumeister with one.<a id="noteref_471" name="noteref_471" href="#note_471"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">471</span></span></a> One text is taken from the Bible.<a id="noteref_472" name="noteref_472" href="#note_472"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">472</span></span></a> Another consists of a single stanza of a hymn by Martin Behm.<a id="noteref_473" name="noteref_473" href="#note_473"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">473</span></span></a> Five are by authors unknown or undetected.<a id="noteref_474" name="noteref_474" href="#note_474"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">474</span></span></a>
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+But, as was said at the outset, the attribution of particular libretti to individual writers is conjectural, except in comparatively few cases.  Yet, unsatisfying as it is, this guess-work reveals with approximate correctness the extent to which Bach drew upon his own and other people's abilities for the texts he needed.  Summarising our conclusions, we discover that about one-quarter (fifty-four) of the 202 libretti set by Bach between the years 1704 and 1744 were provided by the hymn-book.  It is shown elsewhere<a id="noteref_475" name="noteref_475" href="#note_475"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">475</span></span></a> that all but eleven of them are taken from Paul Wagner's volumes.  The elder Weiss comes next with thirty-three libretti.  Bach follows with thirty, Salomo Franck with twenty-one, Picander with twenty (exclusive of his arrangements of Choral Cantata texts).  Marianne von Ziegler contributes ten, Neumeister seven, Eilmar and Helbig two each, Gottsched and Martin Behm one each.  Three libretti are taken from the Bible or Church liturgy.  Eighteen remain anonymous.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The literary qualities of the libretti are not under discussion here.  They have a characteristic, however, on which one cannot forbear from remarking.  Indifferent literature as, for the most part, they are—children of their period and blemished with its imperfections—they enshrine an extraordinarily interesting anthology of the religious poetry of the sixteenth, seventeenth, and eighteenth centuries.  They expose the evangelical thought of Germany from the age of Luther to that of Bach,
+<span class="tei tei-pb" id="page186">[pg 186]</span>
+and are particularly rich in the lyrical fervour of the Reformation itself.  Of the seventy-seven hymn-writers whom Bach includes in his collection, so many as forty-four belong to the sixteenth century.  Only thirteen of them touch Bach's own period.  And a similar bias to the Reformation epoch is observable in his choice of the tunes of the Chorals, which are absent from only twenty-one of the Cantatas.  By far the greater number of them are coeval with the hymns themselves; that is, they date from the Reformation and behind it.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Here clearly is the source of Bach's inspiration, the master-key of his art.  He touches Luther, is in a sense his complement, his art builded on the foundations Luther laid, consecrated to the ends Luther vindicated, inspired by a dedication of himself to God's service not less exalted—a great artist, a great Protestant, a great man.<a id="noteref_476" name="noteref_476" href="#note_476"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">476</span></span></a>
+</p>
+
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+NOTE.—Cantatas distinguished by an asterisk (*) are for Soli voices only (S.A.T.B. unless the particular voices are stated); those marked (†) include, in addtion, simple four-part Chorals: the rest contain concerted Choruses.
+</p>
+
+<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em">
+<span class="tei tei-pb" id="page187">[pg 187]</span>
+<h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">(1) COMPOSED AT ARNSTADT (see also Nos. 150, 189.)</span></h2>
+<table summary="This is a table" cellspacing="0" class="rules tei tei-table" style="margin-bottom: 1.00em"><colgroup span="5"></colgroup><tbody><tr class="tei tei-row"><td class="tei tei-cell">
+No.
+</td><td class="tei tei-cell">
+Date.
+</td><td class="tei tei-cell">
+Title.
+</td><td class="tei tei-cell">
+Author of Libretto.
+</td><td class="tei tei-cell">
+Composition of the Text.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+15
+</td><td class="tei tei-cell">
+1704. Easter Day (revised for subsequent performance).
+</td><td class="tei tei-cell">
+Den du wirst meine Seele nicht in der Hülle lassen (Psalm xvi. 10).
+</td><td class="tei tei-cell">
+?Bach
+</td><td class="tei tei-cell">
+<em class="tei tei-emph"><span style="font-style: italic">Part I.</span></em> Psalm xvi. 10; St. Mark xvi. 6; <em class="tei tei-emph"><span style="font-style: italic">Part II.</span></em> seven (six) stanzas of the anonymous hymn, <span class="tei tei-q">“Auf freue dich, Seele, du bist nun getröst”</span>; Stanza iv. of Nikolaus Hermann's hymn <span class="tei tei-q">“Wenn mein Stündlein vorhanden ist.”</span> The rest of the libretto perhaps is by Bach.
+</td></tr></tbody></table>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em">
+<h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">(2) COMPOSED AT MÜLHAUSEN (see also Nos. 150, 189.)</span></h2>
+
+<table summary="This is a table" cellspacing="0" class="rules tei tei-table" style="margin-bottom: 1.00em"><colgroup span="5"></colgroup><tbody><tr class="tei tei-row"><td class="tei tei-cell">
+No.
+</td><td class="tei tei-cell">
+Date.
+</td><td class="tei tei-cell">
+Title.
+</td><td class="tei tei-cell">
+Author of Libretto.
+</td><td class="tei tei-cell">
+Composition of the Text.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+131
+</td><td class="tei tei-cell">
+1707. ? for llth, 19th, 21st, or 22nd S. after Trinity.
+</td><td class="tei tei-cell">
+Aus der Tiefe rufe ich, Herr,   zu   dir   (Psalm cxxx.)
+</td><td class="tei tei-cell">
+Georg Christian Eilmar.
+</td><td class="tei tei-cell">
+Psalm cxxx.; Stanzas ii. and v. of Bartholomäus Ringwaldt's hymn, <span class="tei tei-q">“Herr Jesu Christ, du höchstes Gut.”</span> T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+71
+</td><td class="tei tei-cell">
+1708. Feb. 4. Town Council Inauguration.
+</td><td class="tei tei-cell">
+Gott ist mein Konig (Psalm lxxiv. 12).
+</td><td class="tei tei-cell">
+Bach (or Eilmar).
+</td><td class="tei tei-cell">
+Psalm lxxiv. 12, 16, 17, 19;  2 Sam. xix. 35, 37; Deuteronomy xxxiii. 25; Gen. xxi. 22;   Stanza vi.  of Johann  Heermann's hymn, <span class="tei tei-q">“O Gott, du frommer Gott”</span>;  rest of libretto original.    A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+196
+</td><td class="tei tei-cell">
+1708. June 5. Wedding of Johann Lorenz Stauber (at Dornheim).
+</td><td class="tei tei-cell">
+Der Herr denket an uns (Psalm cxv. 12).
+</td><td class="tei tei-cell">
+Psalm cxv. 12-15.
+</td><td class="tei tei-cell">
+The libretto consists exclusively of the Psalm verses. S. T. B. Soli.
+</td></tr></tbody></table>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em">
+<h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">(3) COMPOSED AT WEIMAR. (See also Nos. 12, 72, 80, 164, 168, 186.)</span></h2>
+
+
+
+
+<table summary="This is a table" cellspacing="0" class="rules tei tei-table" style="margin-bottom: 1.00em"><colgroup span="5"></colgroup><tbody><tr class="tei tei-row"><td class="tei tei-cell">
+No.
+</td><td class="tei tei-cell">
+Date.
+</td><td class="tei tei-cell">
+Title.
+</td><td class="tei tei-cell">
+Author of Libretto.
+</td><td class="tei tei-cell">
+Composition of the Text.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+*189
+</td><td class="tei tei-cell">
+c. 1707-10. Visitation of the B.V.M.
+</td><td class="tei tei-cell">
+Meine Seele rühmt und preist.
+</td><td class="tei tei-cell">
+Author unknown. ?Composed at Muhlhausen.
+</td><td class="tei tei-cell">
+A paraphrase of the <span class="tei tei-q">“Magnificat.”</span>    Tenor Solo.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+150
+</td><td class="tei tei-cell">
+c. 1710. ?Occasion.
+</td><td class="tei tei-cell">
+Nach dir, Herr, verlanget mich (Psalm xxv. 1).
+</td><td class="tei tei-cell">
+?Bach. ?Composed at Mühlhausen.
+</td><td class="tei tei-cell">
+Psalm xxv. 1, 2, 5, 15; rest of libretto perhaps by Bach. See <span class="tei tei-title"><span style="font-style: italic">Bach-Jahrbuch</span></span> for 1913, p. 39, on authenticity of Cantata.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+106
+</td><td class="tei tei-cell">
+?1711. Funeral of Rector Philipp Grossgebauer (Weimar); or ?1707 (Sept.) funeral of Thomas Lammerhirt (Erfurt).
+</td><td class="tei tei-cell">
+Gottes Zeit ist die aller-beste Zeit <span lang="la" class="tei tei-foreign" xml:lang="la">(Actus tragicus).</span>
+</td><td class="tei tei-cell">
+?G. C. Eilmar (or Bach). ?Composed at Mühlhausen.
+</td><td class="tei tei-cell">
+Acts xvii;. 28; Psalm xc. 12; Isaiah xxxviii. 1; Ecclesiasticus xiv. 17; Rev. xxii; 20; Psalm xxxi. 5; St. Luke xxiii. 43; Stanza i. of Luther's hymn, <span class="tei tei-q">“Mit Fried' und Freud' ich fahr' dahin”</span>; Stanza vii;. of Adam Reissner's hymn, <span class="tei tei-q">“In dich hab' ich gehoffet, Herr.”</span> A. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+18
+</td><td class="tei tei-cell">
+1714 (or 1713). Sexagesima.
+</td><td class="tei tei-cell">
+Gleich wie der Regen und Schnee vom Himmel fällt (Isaiah lv. 10-11).
+</td><td class="tei tei-cell">
+Erdmann Neumeister <span class="tei tei-q">“Fünffache Kirchen-Andachten”</span> (Leipzig, 1716) (Ser. iii.).
+</td><td class="tei tei-cell">
+Isaiah lv. 10, 11; four clauses of the Litany; Stanza viii. of Lazarus Spengler's hymn, <span class="tei tei-q">“Durch Adams Fall ist ganz verderbt”</span>; rest of libretto original. S. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+*160
+</td><td class="tei tei-cell">
+1714 (or 1713). Easter Day.
+</td><td class="tei tei-cell">
+Ich weiss, dass mein Erlöser lebt.
+</td><td class="tei tei-cell">
+Erdmann Neumeister <span lang="la" class="tei tei-foreign" xml:lang="la">(Ibid.</span>, Ser. I.). Slight verbal alterations by Bach.
+</td><td class="tei tei-cell">
+Original throughout.   Tenor Solo.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+21
+</td><td class="tei tei-cell">
+1714. Third S. after Trinity and General Use.
+</td><td class="tei tei-cell">
+Ich  hatte  viel Bekümmernis (Psalm xciv. 19)
+</td><td class="tei tei-cell">
+Spitta (i. 531) attributes text to Salomo Franck.
+</td><td class="tei tei-cell">
+<em class="tei tei-emph"><span style="font-style: italic">Part I,:</span></em> Psalm xciv. 19; Psalm xlii. 5. <em class="tei tei-emph"><span style="font-style: italic">Part ii.:</span></em> Psalm cxvi. 7; Rev. v. 12, 13; Stanzas ii. and v. of Georg Neumark's hymn, <span class="tei tei-q">“Wer nur den lieben Gott lasst walten”</span>; rest of libretto original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+*199 N.B.G.
+</td><td class="tei tei-cell">
+c. 1714. Eleventh S. after Trinity.
+</td><td class="tei tei-cell">
+Mein Herze schwimmt im Blut.
+</td><td class="tei tei-cell">
+The title is from a Neumeister text for this Sunday. ?By Bach.
+</td><td class="tei tei-cell">
+Stanza  iii. of Johann Heermann's hymn, <span class="tei tei-q">“Wo soll ich fliehen hin”</span>; rest of libretto original. Soprano solo.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+61
+</td><td class="tei tei-cell">
+1714. First S. in Advent.
+</td><td class="tei tei-cell">
+Nun komm, der Heiden Heiland.
+</td><td class="tei tei-cell">
+Erdmann Neumeister, <span class="tei tei-q">“Fünffache Kirchen-Andachten”</span> (Leipzig, 1716), (Ser. IV).
+</td><td class="tei tei-cell">
+Stanza i. of Luther's hymn, <span class="tei tei-q">“Nun komm, der Heiden Heiland”</span>; Rev. iii. 20; part of stanza vii. of Philipp Nicolai's hymn, <span class="tei tei-q">“Wie schön leuchtet der Morgenstern”</span>; rest original. S. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+142
+</td><td class="tei tei-cell">
+1714 (or 1712). Christmas Day.
+</td><td class="tei tei-cell">
+Uns ist ein Kind geboren (Isaiah ix. 6).
+</td><td class="tei tei-cell">
+Erdmann Neumeister <span lang="la" class="tei tei-foreign" xml:lang="la">(Ibid.,</span> Ser. I.). Textually, the last three movements are altered, perhaps by Bach, whose authorship of the Cantata, however, is questioned (<span class="tei tei-title"><span style="font-style: italic">Bach-Jahrbuch,</span></span> 1912, p. 132).
+</td><td class="tei tei-cell">
+Isaiah ix. 9; Psalm lxix. 30; Stanza v. of Caspar Fuger's hymn, <span class="tei tei-q">“Wir Christenleut”</span>; rest of libretto original (see Spitta i. 630 on Bach's emendations). A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+182
+</td><td class="tei tei-cell">
+1715 (or l714).Palm Sunday (used also for the Annunciation).
+</td><td class="tei tei-cell">
+Himmelskönig, sei wilkommen.
+</td><td class="tei tei-cell">
+Spitta (i.   539) suggests Salomo Franck, whose characteristics it displays.
+</td><td class="tei tei-cell">
+Psalm xl. 7, 8; Stanza xxxiii. of Paul Stockmann's hymn, <span class="tei tei-q">“Jesu Leiden, Pein und Tod”</span>; rest of libretto original. A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+31
+</td><td class="tei tei-cell">
+1715. Easter Day. Revised in ?1723. (Schweitzer, ii. 141n).
+</td><td class="tei tei-cell">
+Der Himmel lacht,  die Erde jubiliret.
+</td><td class="tei tei-cell">
+Salomo Franck (<span class="tei tei-q">“Evangelisches Andachts-Opffer”</span> Weimar, 1715, p. 75).
+</td><td class="tei tei-cell">
+Stanza v. (posthumous) of Nikolaus Herman's hymn, <span class="tei tei-q">“Wenn mein Stündlem vorhanden ist”</span>; rest of libretto original. S. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†l85
+</td><td class="tei tei-cell">
+1716. Fourth S. after Trinity.
+</td><td class="tei tei-cell">
+Barmherziges Herze der ewigen Liebe.
+</td><td class="tei tei-cell">
+Salomo Franck <span lang="la" class="tei tei-foreign" xml:lang="la">(Ibid.,</span>p. 128).
+</td><td class="tei tei-cell">
+Stanza i. of Johannes Agricola's hymn, <span class="tei tei-q">“Ich ruf' zu dir, Herr Jesu Christ”</span>; rest of libretto original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+161
+</td><td class="tei tei-cell">
+1715. Sixteenth S. after Trinity (also for Purification).
+</td><td class="tei tei-cell">
+Komm, du süsse Todesstunde.
+</td><td class="tei tei-cell">
+Salomo Franck <span lang="la" class="tei tei-foreign" xml:lang="la">(Ibid.,</span> p. 162); verbal alterations by Bach.
+</td><td class="tei tei-cell">
+Stanza   iv.   of   Christoph   Knoll's   hymn, <span class="tei tei-q">“Herzlich thut mich verlangen”</span>; rest original. A. T. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†162
+</td><td class="tei tei-cell">
+1715. Twentieth S. after Trinity.
+</td><td class="tei tei-cell">
+Ach, ich sehe, jetzt da ich zur Hochzeit gehe.
+</td><td class="tei tei-cell">
+Salomo Franck <span lang="la" class="tei tei-foreign" xml:lang="la">(Ibid.,</span> p. 172).
+</td><td class="tei tei-cell">
+Stanza vii. of Johann Georg Albinus' hymn, <span class="tei tei-q">“Alle Menschen müssen sterben”</span>; rest of libretto original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†163
+</td><td class="tei tei-cell">
+1715. Twenty-third S. after Trinity.
+</td><td class="tei tei-cell">
+Nur Jedem das Seine.
+</td><td class="tei tei-cell">
+Salomo Franck <span lang="la" class="tei tei-foreign" xml:lang="la">(Ibid.,</span> p. 182).
+</td><td class="tei tei-cell">
+Stanza xi. (suggested by Spitta i. 557) of Johann Heermann's hymn, <span class="tei tei-q">“Wo soll ich fliehen hin”</span>; rest of libretto original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+*132
+</td><td class="tei tei-cell">
+1715. Fourth S. in Advent.
+</td><td class="tei tei-cell">
+Bereitet die Wege, bereitet die Bahn.
+</td><td class="tei tei-cell">
+Salomo Franck <span lang="la" class="tei tei-foreign" xml:lang="la">(Ibid.,</span> p. 8)
+</td><td class="tei tei-cell">
+Stanza v.  of Elisabethe Cruciger's hymn, <span class="tei tei-q">“Herr Christ, der einig' Gott's Sohn”</span>; rest of libretto original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+*152
+</td><td class="tei tei-cell">
+1715 (or 1714). S. after Christmas
+</td><td class="tei tei-cell">
+Tritt auf die Glaubensbahn.
+</td><td class="tei tei-cell">
+Salomo Franck <span lang="la" class="tei tei-foreign" xml:lang="la">(Ibid.,</span> p. 19).
+</td><td class="tei tei-cell">
+Original throughout. S. and B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†155
+</td><td class="tei tei-cell">
+1716. Second S. after the Epiphany.
+</td><td class="tei tei-cell">
+Mein Gott, wie lang', ach lange.
+</td><td class="tei tei-cell">
+Salomo Franck <span lang="la" class="tei tei-foreign" xml:lang="la">(Ibid.,</span> p. 32).
+</td><td class="tei tei-cell">
+Stanza xii. of Paul Speratus' hymn, <span class="tei tei-q">“Es ist das Heil uns kommen her”</span>; rest of libretto original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†59
+</td><td class="tei tei-cell">
+1716. WhitSunday Expanded in ?1736 (No.74 <span lang="la" class="tei tei-foreign" xml:lang="la">infra</span>).
+</td><td class="tei tei-cell">
+Wer mich liebet, der wird mein Wort halten (St. John xiv. 23).
+</td><td class="tei tei-cell">
+Erdmann Neumeister (<span class="tei tei-q">“Funffache Kirchen-Andachten,”</span> Ser. IV.).
+</td><td class="tei tei-cell">
+St. John xiv. 23; Stanza i. of Luther's hymn, <span class="tei tei-q">“Komm, heiliger Geist, Herre Gott”</span>; rest of libretto original. S. and B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+70
+</td><td class="tei tei-cell">
+1716. Second S. in Advent; later (c. 1723). Twenty-sixth S. after Trinity.
+</td><td class="tei tei-cell">
+Wachet, betet, betet, wachet.
+</td><td class="tei tei-cell">
+Salomo Franck (<span class="tei tei-q">“Evangelische Sonn- und Fest-Tages Andachten,”</span> Weimar, 1717, p. 4) (opening chorus and Arias only). Recitativi added by a later (c. 1723) hand (? Bach).
+</td><td class="tei tei-cell">
+<em class="tei tei-emph"><span style="font-style: italic">Part I.: </span></em> Stanza x. of the anonymous hymn, <span class="tei tei-q">“Freu' dich sehr, O meine Seele.”</span> <em class="tei tei-emph"><span style="font-style: italic">Part. ii.:</span></em> Stanza v. of Christian Keimann's hymn, <span class="tei tei-q">“Meinen Jesum lass' ich nicht.”</span> Rest of libretto, both parts, original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+147
+</td><td class="tei tei-cell">
+1716. Fourth S. in Advent; later (c. ?1727). Feast of the Visitation.
+</td><td class="tei tei-cell">
+Herz und Mund und That und Leben.
+</td><td class="tei tei-cell">
+Salomo Franck <span lang="la" class="tei tei-foreign" xml:lang="la">(Ibid.).</span> (Opening chorus and first three Arias only). Recitativi and fourth Aria added by a later hand (?Bach).
+</td><td class="tei tei-cell">
+<em class="tei tei-emph"><span style="font-style: italic">Part I.:</span></em> Stanza vi. of Martin Janus' hymn, <span class="tei tei-q">“Jesu, meiner Seelen Wonne.”</span> <em class="tei tei-emph"><span style="font-style: italic">Part II.:</span></em> Stanza xvii. of the same hymn.  Rest of libretto, both parts, original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†158
+</td><td class="tei tei-cell">
+c. 1708-16. Purification of the B.V.M.; later (at Leipzig) adapted to Easter Tuesday
+</td><td class="tei tei-cell">
+Der Friede sei mit dir.
+</td><td class="tei tei-cell">
+Spitta  (ii. 688) suggests Franck as author of the Aria and following Recitativo, both of which bear on the Gospel for the Purification.  The opening Recitative and choice of the concluding Choral, both of which are relevant to the Gospel for Easter Tuesday, must be attributed to a later hand (?Bach).
+</td><td class="tei tei-cell">
+Stanza i. of Johann Georg Albinus' hymn, <span class="tei tei-q">“Welt, ade! ich bin dein müde”</span>; Stanza v. of Luther's hymn, <span class="tei tei-q">“Christ lag in Todesbanden”</span>; rest of libretto original. S. and B. Soli.
+</td></tr></tbody></table>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em">
+<h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">(4) COMPOSED AT CÖTHEN. (See also Nos. 22 and 23.)</span></h2>
+
+
+<table summary="This is a table" cellspacing="0" class="rules tei tei-table" style="margin-bottom: 1.00em"><colgroup span="5"></colgroup><tbody><tr class="tei tei-row"><td class="tei tei-cell">
+No.
+</td><td class="tei tei-cell">
+Date.
+</td><td class="tei tei-cell">
+Title.
+</td><td class="tei tei-cell">
+Author of Libretto.
+</td><td class="tei tei-cell">
+Composition of the Text.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+173
+</td><td class="tei tei-cell">
+c. 1718. Birthday Serenade; new text (c. 1730) for Whit Monday.
+</td><td class="tei tei-cell">
+Erhötes Fleisch und Blut.
+</td><td class="tei tei-cell">
+The music of the Cantata is that of the Birthday Serenade, <span class="tei tei-q">“Durehlaucht'-ster Leopold”</span> (omitting numbers 5 and 6). Cantata text probably by Bach.
+</td><td class="tei tei-cell">
+Original throughout.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+47
+</td><td class="tei tei-cell">
+?1720. Seventeenth S. after Trinity.
+</td><td class="tei tei-cell">
+Wer sich selbst erhöhet, der soll erniedriget werden (St. Luke xiv. 11).
+</td><td class="tei tei-cell">
+Johann Friedrich Helbig (<span class="tei tei-q">“Aufmunterung zur Andacht,”</span> Eisenach, 1720, p. 114.
+</td><td class="tei tei-cell">
+St. Luke xiv. 11; Stanza xi. of anonymous (?Hans Sachs) hymn, <span class="tei tei-q">“Warum betrubst du dich, mein Herz”</span>; rest original. S. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+141
+</td><td class="tei tei-cell">
+1721 or 1722. Third S. in Advent.
+</td><td class="tei tei-cell">
+Das ist je gewisslich wahr (I. Timothy i. 15).
+</td><td class="tei tei-cell">
+Johann Fr. Helbig <span lang="la" class="tei tei-foreign" xml:lang="la">Ibid.</span>, p. 5). Bach's authorship of the music is questioned (<span class="tei tei-title"><span style="font-style: italic">Bach-Jahrbuch,</span></span> 1912).
+</td><td class="tei tei-cell">
+1 Timothy i. 15; rest of libretto is original. The concluding Choral is omitted by Bach. It should be <span class="tei tei-q">“Christe, du Lamm Gottes”</span> (Spitta. ii. 15n.). A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+134
+</td><td class="tei tei-cell">
+c. 1717-22. Secular Cantata; later adapted for Easter Tuesday (c. 1731).
+</td><td class="tei tei-cell">
+Ein   Herz,    das   seinen Jesum lebend weiss.
+</td><td class="tei tei-cell">
+?Bach
+</td><td class="tei tei-cell">
+Text original throughout.  A. T. Soli.
+</td></tr></tbody></table>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em">
+<h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">(5) COMPOSED AT LEIPZIG. 1723-34. (See also Nos. 31, 70, 134, 147,  158, 173.)</span></h2>
+
+
+<table summary="This is a table" cellspacing="0" class="rules tei tei-table" style="margin-bottom: 1.00em"><colgroup span="5"></colgroup><tbody><tr class="tei tei-row"><td class="tei tei-cell">
+No.
+</td><td class="tei tei-cell">
+Date.
+</td><td class="tei tei-cell">
+Title.
+</td><td class="tei tei-cell">
+Author of Libretto.
+</td><td class="tei tei-cell">
+Composition of the Text.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+22
+</td><td class="tei tei-cell">
+1723. Quinquagesima. (<span class="tei tei-q">“Estomihi”</span>).
+</td><td class="tei tei-cell">
+Jesus nahm zu sich die Zwölfe (St. Luke xviii. 31). [See No. 31 (1715).]
+</td><td class="tei tei-cell">
+?Bach (composed at Cöthen). Trial Cantata (February 7, 1723).
+</td><td class="tei tei-cell">
+St. Luke xviii. 31, 34; Stanza v. of Elisabothe Gruciger's hymn, <span class="tei tei-q">“Herr Christ, der einig' Gott's Sohn”</span>; rest original. A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+75
+</td><td class="tei tei-cell">
+1723 (May 30). First S. after Trinity.
+</td><td class="tei tei-cell">
+Die Elenden sollen essen (Psalm xxii. 26).
+</td><td class="tei tei-cell">
+?Christian Weiss, senr.
+</td><td class="tei tei-cell">
+<em class="tei tei-emph"><span style="font-style: italic">Part I.:</span></em> Psalm xxii. 26; Stanza v. of Samuel Rodigast's hymn, <span class="tei tei-q">“Was Gott thut, das ist wohlgethan”</span>; <em class="tei tei-emph"><span style="font-style: italic">Part II.:</span></em> Stanza v. of the same hymn (repeated); rest of libretto, both parts, original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+76
+</td><td class="tei tei-cell">
+1723. Second S. after Trinity. Also for Reformation Festival.
+</td><td class="tei tei-cell">
+?Christian Weiss, senr.
+</td><td class="tei tei-cell">
+Die Himmel erzahlon die Ehre Gottes (Psalm xix. 1, 3).
+</td><td class="tei tei-cell">
+<em class="tei tei-emph"><span style="font-style: italic">Part I.:</span></em> Psalm xix. 1,3; Stanza i. of Luther's hymn, <span class="tei tei-q">“Es woll' uns Gott genädig sein”</span>; <em class="tei tei-emph"><span style="font-style: italic">Part II.:</span></em> Stanza iii. of the same hymn; rest of libretto original. See Spitta ii. 357n.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+24
+</td><td class="tei tei-cell">
+1723.      Fourth S. after Trinity.
+</td><td class="tei tei-cell">
+Ein ungefarbt Gemüthe.
+</td><td class="tei tei-cell">
+Erdmann Neumeister (<span class="tei tei-q">“Fünffache Kirchen-Andachten”</span>) (Ser. IV.).
+</td><td class="tei tei-cell">
+St. Matthew vii. 12; Stanza i. of Johann Heer-mann's hymn, <span class="tei tei-q">“O Gott, du frommer Gott”</span>; rest of libretto original. A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+186
+</td><td class="tei tei-cell">
+1723. Seventh S. after Trinity.
+</td><td class="tei tei-cell">
+Aergre dich, O Seele, nicht.
+</td><td class="tei tei-cell">
+The opening chorus and first two Arias are by Salomo Franck (<span class="tei tei-q">“Evangelische Sonn- und Fest-Tages,”</span> p. 6), written for the Third S. in Advent, perhaps composed by Bach at Weimar. The remainder of the libretto was added in 1723 for the Seventh S. after Trinity. Both Gospels relate Christ's miracles.
+</td><td class="tei tei-cell">
+<em class="tei tei-emph"><span style="font-style: italic">Part I.:</span></em> Stanza xii. of Paul Speratus' hymn, <span class="tei tei-q">“Es ist das Heil uns kommen her.”</span>
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†164
+</td><td class="tei tei-cell">
+1723 (or 1724). Thirteenth S. after Trinity.
+</td><td class="tei tei-cell">
+Ihr, die ihr euch von Christo nennet.
+</td><td class="tei tei-cell">
+Salomo Franck (<span class="tei tei-q">“Evangelisches Andachts-Opffer,”</span> 1715, p. 152).
+</td><td class="tei tei-cell">
+Stanza v. of Elisabethe Cruciger's hymn, <span class="tei tei-q">“Herr Christ, der einig' Gott's Sohn”</span>; rest of libretto original. Perhaps written at Weimar.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+119
+</td><td class="tei tei-cell">
+1723. Inauguration of Town Council (Aug. 30).
+</td><td class="tei tei-cell">
+Preise, Jerusalem, den Herrn (Psalm cxlvii. 12.)
+</td><td class="tei tei-cell">
+?Christian Weiss, senr.
+</td><td class="tei tei-cell">
+Psalm cxlvii. 12-14; clauses xxii. and xxiii. of the <span class="tei tei-q">“Te Deum”</span>; rest of libretto original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+194
+</td><td class="tei tei-cell">
+1723. Opening of the Organ at Störmthal (November 2); later (1731) for Trinity Sunday. [See   No.   70 (1716).]
+</td><td class="tei tei-cell">
+Höchsterwünschtes Freudenfest.
+</td><td class="tei tei-cell">
+?Bach.
+</td><td class="tei tei-cell">
+<em class="tei tei-emph"><span style="font-style: italic">Part I.:</span></em> Stanzas vi. and vii. of Johann Heermann's hymn, <span class="tei tei-q">“Treuer Gott, ich muss dir klagen”</span>; <em class="tei tei-emph"><span style="font-style: italic">Part II.:</span></em> Stanzas ix. and x. of Paul Gerhardt's hymn, <span class="tei tei-q">“Wach auf, mein Herz, und singe.”</span> Rest of libretto original. S. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+63
+</td><td class="tei tei-cell">
+?1723.   Christmas Day.
+</td><td class="tei tei-cell">
+Christen ätzet diesen Tag.
+</td><td class="tei tei-cell">
+?Bach. The opening two lines suggested by a poem in Joh. Jakob Bambach's <span class="tei tei-q">“Geistliche Poesien”</span> (Halle, 1720).
+</td><td class="tei tei-cell">
+Original throughout.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+40
+</td><td class="tei tei-cell">
+?1723. Feast of St. Stephen.
+</td><td class="tei tei-cell">
+Dazu ist erschienen der Sohn Gottes (1 John iii. 8).
+</td><td class="tei tei-cell">
+Christian Weiss, senr. Wustmann (note 8) suggests Bach. Certainly same author as Nos. 64, 65 <em class="tei tei-emph"><span style="font-style: italic">infra.</span></em>
+</td><td class="tei tei-cell">
+1 John iii. 8; Stanza iii. of Caspar Fuger's hymn, <span class="tei tei-q">“Wir Christenleut'”</span>; Stanza ii. of Paul Gerhardt's hymn, <span class="tei tei-q">“Schwing' dich auf zu deinem Gott”</span>; Stanza iv. of Christian Keimann's hymn, <span class="tei tei-q">“Freuet euch, ihr Christen alle”</span>; rest of libretto original. A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+64
+</td><td class="tei tei-cell">
+?1723. Feast of St. John the Evangelist.
+</td><td class="tei tei-cell">
+Sehet, welch' eine Liebe hat uns der Vater erzeiget (1 John iii. 1).
+</td><td class="tei tei-cell">
+Christian Weiss, senr. Certainly same author as Nos. 40 <span lang="la" class="tei tei-foreign" xml:lang="la">supra</span> and 65 <span lang="la" class="tei tei-foreign" xml:lang="la">infra.</span>
+</td><td class="tei tei-cell">
+1 John üi. 1; Stanza vü. of Luther's hymn, <span class="tei tei-q">“Gelobet seist du, Jesu Christ”</span>; Stanza i. of Georg Michael Pfefferkorn's hymn, <span class="tei tei-q">“Was frag ich nach der Welt”</span>; Stanza v. of Johann Franck's hymn, <span class="tei tei-q">“Jesu, meine Freude”</span>; rest of libretto original. S. A. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+16
+</td><td class="tei tei-cell">
+?1724. New Year's Day. Spitta (ii. 386, 413) regards No. 190 <span lang="la" class="tei tei-foreign" xml:lang="la">(infra) </span> as Bach's first Leipzig New Year Cantata, and dates No. 16, 1723-27.
+</td><td class="tei tei-cell">
+Herr Gott dich loben wir.
+</td><td class="tei tei-cell">
+?Bach.
+</td><td class="tei tei-cell">
+Clauses i. and ii. of Luther's <span class="tei tei-q">“Te Deum”</span>; Stanza vi. of Paul Eber's hymn, <span class="tei tei-q">“Helft mir Gott's Güte preisen”</span>; rest of libretto original. A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†153
+</td><td class="tei tei-cell">
+1724. Sunday after the Circumcision.
+</td><td class="tei tei-cell">
+Schau', lieber Gott, wie meine Feind'.
+</td><td class="tei tei-cell">
+?Bach.
+</td><td class="tei tei-cell">
+Stanza  i.   of  David  Denicke's (?)  hymn,
+<span class="tei tei-q">“Schau', lieber Gott, wie meine Feind'”</span>;
+Isaiah xli. 10; Stanza v. of Paul Gerhardt's
+hymn, <span class="tei tei-q">“Befiehl du deine Wege”</span>; Stanzas
+xi.  and xii.  (as three verses) of Martin
+Moller's (?) hymn, <span class="tei tei-q">“Ach Gott, wie manches
+Herzeleid”</span>; rest of libretto original.
+A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+65
+</td><td class="tei tei-cell">
+1724.   Feast of the Epiphany.
+</td><td class="tei tei-cell">
+Sie werden aus Saba Alle kommen (Isaiah lx. 6).
+</td><td class="tei tei-cell">
+?Christian  Weiss, senr. Wustmann (note 23) attributes text to author
+of Nos. 40 and 64 <em class="tei tei-emph"><span style="font-style: italic">supra,</span></em> <em class="tei tei-emph"><span style="font-style: italic">i.e. </span></em>Bach.
+</td><td class="tei tei-cell">
+Isaiah lx. 6;   Stanza iv. of the anonymous hymn, <span class="tei tei-q">“Ein Kind geborn zu Bethlehem”</span>;
+Stanza x. of Paul Gerhardt's hymn, <span class="tei tei-q">“Ich hab' in Gottes Herz und Sinn”</span>; rest original.    A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†154
+</td><td class="tei tei-cell">
+1724. First S. after the Epiphany.
+</td><td class="tei tei-cell">
+Mein liebster Jesus ist verloren.
+</td><td class="tei tei-cell">
+?Bach.   Wustmann (note 25) attributes it to an anonymous author.
+</td><td class="tei tei-cell">
+Stanza ii. of  Martin  Janus'  hymn, <span class="tei tei-q">“Jesu, meiner Seelen Wonne”</span>;  St. Luke ü. 49;
+Stanza vi. of Christian Keimann's hymn,
+<span class="tei tei-q">“Meinen Jesum lass' ich nicht”</span>; rest original. A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†81
+</td><td class="tei tei-cell">
+1724. Fourth S. after   the   Epiphany.
+</td><td class="tei tei-cell">
+Jesus schlaft, was soll ich hoffen?
+</td><td class="tei tei-cell">
+?Bach. Wustmann  regards texts of Nos. 81 and 154 as being by the same hand (note 35).
+</td><td class="tei tei-cell">
+St. Matthew viii. 26; Stanza ii. of Johann Franck's hymn, <span class="tei tei-q">“Jesu, meine Freude”</span>; rest of libretto original. A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†83
+</td><td class="tei tei-cell">
+?1724. Feast of the Purification.
+</td><td class="tei tei-cell">
+Erfreute Zeit im neuen Bunde.
+</td><td class="tei tei-cell">
+?Bach.
+</td><td class="tei tei-cell">
+St. Luke ii. 29, 30;   Stanza iv. of Luther's hymn, <span class="tei tei-q">“Mit Fried' und Freud' ich fahr'
+dahin”</span>; rest of libretto original. A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+23
+</td><td class="tei tei-cell">
+1724. Quinquagesima (<span class="tei tei-q">“Estomihi”</span>). ?Composed at Cöthen. Spitta (ii. 679) holds this, and not No. 22, to have been Bach's first Quinquagesima Cantata at Leipzig.
+</td><td class="tei tei-cell">
+Du wahrer Gott und Davids Sohn.
+</td><td class="tei tei-cell">
+?Bach
+</td><td class="tei tei-cell">
+Three stanzas of <span class="tei tei-q">“Christe, du Lamm Gottes”</span>; rest of libretto original. S. A. T. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+4
+</td><td class="tei tei-cell">
+1724. Easter Day (<span class="tei tei-q">“Am Osterfeste”</span>)
+</td><td class="tei tei-cell">
+Christ lag in Todesbanden
+</td><td class="tei tei-cell">
+Luther.
+</td><td class="tei tei-cell">
+Choral Cantata. The seven stanzas of the hymn are set in their original form.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+12
+</td><td class="tei tei-cell">
+1724 (or 1725). Third S. after Easter
+</td><td class="tei tei-cell">
+Weinen, Klagen, Sorgen, Zagen.
+</td><td class="tei tei-cell">
+?Salomo Franck.
+</td><td class="tei tei-cell">
+Acts xiv. 22; Stanza vi. of Samuel Rodigast's hymn, <span class="tei tei-q">“Was Gott thut, das ist wohlgethan”</span>; rest of libretto original. A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+172
+</td><td class="tei tei-cell">
+1724 (or 1725). Whit Sunday. Perhaps revised c. 1727-30 (see Schweitzer, ii. 162).
+</td><td class="tei tei-cell">
+Erschallet ihr Lieder.
+</td><td class="tei tei-cell">
+?Salomo Franck (Spitta ii. 398). Wustmann (note 73) does not support the conjecture.
+</td><td class="tei tei-cell">
+St.  John xiv. 23  Stanza iv. of Philipp Nicolai's hymn, <span class="tei tei-q">“Wie schön leuchtet der Morgenstern”</span>; rest of libretto original. Organ obbligato.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+184
+</td><td class="tei tei-cell">
+1724.  Whit Tuesday.
+</td><td class="tei tei-cell">
+Erwunschtes Freudenlicht.
+</td><td class="tei tei-cell">
+?Bach. An adaptation of an earlier secular Cantata (Spitta, ii. 399).
+</td><td class="tei tei-cell">
+Stanza vüi. of Anark of Wildenfeis' (?) hymn, <span class="tei tei-q">“O Herre Gott, dein göttlich Wort”</span>; rest of libretto original. S. A. T. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†165
+</td><td class="tei tei-cell">
+?1724. Trinity Sunday.
+</td><td class="tei tei-cell">
+O heil'ges Geist und Wasserbad
+</td><td class="tei tei-cell">
+Salomo Franck (<span class="tei tei-q">“Evangelisches Andachte-Opffer”</span>, 1715, p. 111)
+</td><td class="tei tei-cell">
+Stanza v. of Ludwig Helmbold's hymn <span class="tei tei-q">“Nun lasst uns Gott dem Herren”</span>, rest of libretto original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+179
+</td><td class="tei tei-cell">
+?1724. Eleventh S. after Trinity.
+</td><td class="tei tei-cell">
+Siehe zu, dass deine Gottesfurcht nicht Heuchelei sei (Ecclesiastes i. 28)
+</td><td class="tei tei-cell">
+?Christian Weiss, senr.
+</td><td class="tei tei-cell">
+Ecclesiastes i. 28, Stanza i. of Christph Tietze's hymn, <span class="tei tei-q">“Ich armer Mensch, ich armer Sünder”</span>, rest original S. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+69
+</td><td class="tei tei-cell">
+?1724. Twelfth S. after Trinity, <span lang="la" class="tei tei-foreign" xml:lang="la">c.</span> 1730 adapted as a Ratswahl cantata.
+</td><td class="tei tei-cell">
+Loben dem herren, meine Seele (Psalm cxlix. 1).
+</td><td class="tei tei-cell">
+As extended in 1730 the text is in Picander's <span class="tei tei-q">“Cantaten”</span>, 1728-29. His authorship of the 1725 text is not therefore established.
+</td><td class="tei tei-cell">
+Psalm cxlix. 1, Psalm cl. 4,6; Clauses i. and ii. of the <span class="tei tei-q">“Te Deum”</span>, Stanza ii. of Johann Hermann's hymn, <span class="tei tei-q">“Jesu, nun sei gepreiset”</span>; rest of libretto original. A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+190
+</td><td class="tei tei-cell">
+c. 1725 (or 1724).  New Year's Day; revised to celebrate the Augsburg Confession Jubilee on June 25, 1730.
+</td><td class="tei tei-cell">
+Singet dein Herrn ein neues Lied (Psalm cxlix. 1).
+</td><td class="tei tei-cell">
+As extended in 1730 the text is in Picander's <span class="tei tei-q">“Cantaten”</span>, 1728-29.  His authorship of the 1725 text is not therefore established.
+</td><td class="tei tei-cell">
+Psalm cxlix 1; Psalm cl. 4,6; Clauses i. and ii. of the <span class="tei tei-q">“Te Deum”</span>; Stanza ii. of of Johann Hermann's hymn, <span class="tei tei-q">“Jesu, nun se gepreiset”</span>, rest of libretto original.  A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†73.
+</td><td class="tei tei-cell">
+<span lang="la" class="tei tei-foreign" xml:lang="la">c.</span> 1725. Third S. after the Epiphany
+</td><td class="tei tei-cell">
+Herr, wie du willt, so shick's mit mir.
+</td><td class="tei tei-cell">
+Author unknown.  Spitta's (ii. 414) attribution of the text to Picander is inadequately founded.
+</td><td class="tei tei-cell">
+Stanza i. of Caspar Bienemann's hymn, <span class="tei tei-q">“Herr, wie du willt, so shick's mit mir”</span>; Stanza ix. of Ludwig Helmhold's hymn, <span class="tei tei-q">“Von Gott will ich nich lassen”</span>; rest original. S. T. B. Soli
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+144
+</td><td class="tei tei-cell">
+c. 1725. Septuagesima
+</td><td class="tei tei-cell">
+Nimm was dein ist, und gehe hin (St. Matthew xx. 14).
+</td><td class="tei tei-cell">
+Wustmann (note 37) suggests Picander, with Bach's additions. Schweitzer (ii. 200)
+supposes that the music is adapted.
+</td><td class="tei tei-cell">
+St. Matthew xx. 14; Stanza i. of Samuel Rodigast's hymn, <span class="tei tei-q">“Was Gott thut, das ist wohlgethan”</span>; Stanza i. of Albrecht of Brandenburg-Culmbach's hymn, <span class="tei tei-q">“Was mein Gott will, das g'scheh' allzeit”</span>; rest of libretto original. S. A. T. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+181
+</td><td class="tei tei-cell">
+1725. Sexagesima.
+</td><td class="tei tei-cell">
+Leichtgesinnte Flattergeister.
+</td><td class="tei tei-cell">
+?Picander.
+</td><td class="tei tei-cell">
+Original throughout.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+67
+</td><td class="tei tei-cell">
+c. 1725. First S. after Easter (<span class="tei tei-q">“Quasi-modogeniti”</span>).
+</td><td class="tei tei-cell">
+Halt' im Gedachtniss Jesum Christ (2 Timothy ii. 8).
+</td><td class="tei tei-cell">
+?Christian Weiss, senr. Certainly not Picander, as Spitta (ii. 417) suggests.
+</td><td class="tei tei-cell">
+2 Timothy ü. 8; Stanza i. of Nikolaus Herman's hymn, <span class="tei tei-q">“Erschienen ist der herrlich' Tag”</span>; Stanza i. of Jakob Ebert's hymn, <span class="tei tei-q">“Du Friedenfürst, Herr Jesu Christ”</span>; rest of libretto original. A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+104
+</td><td class="tei tei-cell">
+c. 1725. Second S. after      Easter (<span class="tei tei-q">“Misericordias Domini”</span>).
+</td><td class="tei tei-cell">
+Du Hirte Israel, höre (Psalm lxxi. 1).
+</td><td class="tei tei-cell">
+?Christian Weiss, senr.
+</td><td class="tei tei-cell">
+Psalm lxxx. 1; Stanza i. of Cornelius Becker's hymn, <span class="tei tei-q">“Der Herr ist mein getreuer Hirt”</span>; rest of libretto original. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+† 166
+</td><td class="tei tei-cell">
+c. 1725. Fourth S. after Easter (<span class="tei tei-q">“Cantate”</span>).
+</td><td class="tei tei-cell">
+Wo gehest du hin? (St. John xvi. 6).
+</td><td class="tei tei-cell">
+?Christian Weiss, senr.
+</td><td class="tei tei-cell">
+St. John xvi. 5; Stanza iii. of Bartholomäus Ringwaldt's hymn, <span class="tei tei-q">“Herr Jesu Christ, ich weiss gar wohl”</span>; Stanza i. of Emilie Juliane of Schwarzburg-Rudolstadt's hymn, <span class="tei tei-q">“Wer weiss, wie nahe mir mein Ende”</span>; rest of libretto original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†86
+</td><td class="tei tei-cell">
+c. 1725. Fifth S. after Easter (<span class="tei tei-q">“Rogate”</span>).
+</td><td class="tei tei-cell">
+Wahrlich, wahrlich, ich sage euch (St. John xvi. 23).
+</td><td class="tei tei-cell">
+?Christian Weiss, senr.
+</td><td class="tei tei-cell">
+St. John xvi. 23; Stanza xvi. of Georg Grüenwald's hymn, <span class="tei tei-q">“Kommt her zu mir, spricht Gottes Sohn”</span>; Stanza xi. of Paul Speratus' hymn, <span class="tei tei-q">“Es ist das Heil uns kommen her”</span>; rest of libretto original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+44
+</td><td class="tei tei-cell">
+c. 1725. Sixth S. after Easter  (S. after the Ascension) (<span class="tei tei-q">“Exaudi”</span>).
+</td><td class="tei tei-cell">
+Sie werden euch in den Bann  thun (St. John xvi. 2)
+</td><td class="tei tei-cell">
+?Christian Weiss, senr.
+</td><td class="tei tei-cell">
+St. John xvi. 2; Stanza i. of Martin Moller's(?) hymn, <span class="tei tei-q">“Ach Gott, wie manches Herzeleid”</span>; Stanza xv. of  Paul Flemming's hymn, <span class="tei tei-q">“In allen meinen Thaten”</span>;  rest of the libretto original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+20
+</td><td class="tei tei-cell">
+c. 1725. First S. after Trinity.  In its existing form the work is c. 1735.
+</td><td class="tei tei-cell">
+O Ewigkeit, du Donnerwort.
+</td><td class="tei tei-cell">
+Johann Rist (arranged). (?Picander).
+</td><td class="tei tei-cell">
+Choral Cantata (2 Parts).  Stanzas i., xi.,  xvi.  are retained in  thoir original form.      Stanzas ii.-x. are paraphrased in the Arias and Recitativi. A. T. B. Soli.                         
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†167
+</td><td class="tei tei-cell">
+c. 1725. Feast of St. John Baptist (MidsummerDay)
+</td><td class="tei tei-cell">
+Ihr Menschen, rühmet Gottes liebe.
+</td><td class="tei tei-cell">
+Author unknown. Spitta (ii. 423) remarks on the <span class="tei tei-q">“vapid emptiness”</span> of the text.
+</td><td class="tei tei-cell">
+Stanza v. of Johann Graumann's hymn, <span class="tei tei-q">“Nun lob', mein' Seel', den Herren”</span>; rest of libretto original. The Choral is extended.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+136
+</td><td class="tei tei-cell">
+c. 1725 (or  later). Eighth  S. after Trinity.
+</td><td class="tei tei-cell">
+Erforsche mich, Gott, und erfahre mein Herz (Psalm cxxxix. 23).
+</td><td class="tei tei-cell">
+?Christian  Weiss,   senr. Schweitzer (ii. 200) supposes that the music is adapted.
+</td><td class="tei tei-cell">
+Psalm cxxxix.  23; Stanza ix. of Johann Heermann's hymn, <span class="tei tei-q">“Wo  soll ich fliehen hin”</span>;   rest of libretto original. A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†168
+</td><td class="tei tei-cell">
+c. 1725. Ninth S. after Trinity. Perhaps composed at Weimar.
+</td><td class="tei tei-cell">
+Thue Rechnung! Donnerwort!
+</td><td class="tei tei-cell">
+Salomo Franck (<span class="tei tei-q">“Evangelisches Andachts-Opffer,”</span> 1715, p. 141).
+</td><td class="tei tei-cell">
+Stanza  viii. of Bartholomaus Ringwaldt's hymn, <span class="tei tei-q">“Herr Jesu Christ, du hochstes Gut”</span>; rest of libretto original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+105
+</td><td class="tei tei-cell">
+c. 1725. Ninth S. after Trinity.
+</td><td class="tei tei-cell">
+Herr, gehe nicht in's Gericht (Psalm cxliii. 2).
+</td><td class="tei tei-cell">
+?Christian Weiss, senr.
+</td><td class="tei tei-cell">
+Psalm cxliii. 2; Stanza xi. of Johann Rist's hymn, <span class="tei tei-q">“Jesu, der du moine Seele”</span>; rest of libretto original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+46
+</td><td class="tei tei-cell">
+c. 1725. Tenth S. after Trinity.
+</td><td class="tei tei-cell">
+Schauet doch und sehet, ob irgend ein Schmerz sei (Lam. i. 12).
+</td><td class="tei tei-cell">
+?Christian Weiss, senr.
+</td><td class="tei tei-cell">
+Lamentations i. 12; Stanza ix. (apocryphal) of Balthasar Schnurr's hymn, <span class="tei tei-q">“O grosser Gott von Macht”</span>; rest original. A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+77
+</td><td class="tei tei-cell">
+1725. Thirteenth S. after Trinity.
+</td><td class="tei tei-cell">
+Du  sollst Gott, deinen Herren, lieben (St. Luke x. 27).
+</td><td class="tei tei-cell">
+?Christian Weiss, senr.
+</td><td class="tei tei-cell">
+St. Luke x. 27; Stanza viii. of David Denicke's (?) hymn, <span class="tei tei-q">“Wenn einer alle Ding verstünd”</span> (posthumously added to Bach's text); rest of libretto original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+8
+</td><td class="tei tei-cell">
+c. 1725.    Sixteenth S. after Trinity.
+</td><td class="tei tei-cell">
+Liebster Gott, wann werd' ich sterben?
+</td><td class="tei tei-cell">
+Caspar Neumann (arranged by ?Picander).
+</td><td class="tei tei-cell">
+Choral Cantata.  Stanzas i. and v. are retained in their original form.  Stanzas ii.-iv. are paraphrased in the Arias and Recitativi.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+148
+</td><td class="tei tei-cell">
+c. 1725. Seventeenth S. after Trinity.
+</td><td class="tei tei-cell">
+Bringet dem Herrn Ehre seines Namens (Psalm xcvi. 8).
+</td><td class="tei tei-cell">
+The groundwork is by Picander (<span class="tei tei-q">“Sammlung Erbaulicher Gedancken,”</span> Leipzig, 1725, p. 428), arranged by Bach. This is the earliest ascertained association of Bach and Picander (date ?Sept. 23, 1725).
+</td><td class="tei tei-cell">
+Psalm xcvi. 8, 9; Stanza xi. of Johann Heermann's hymn, <span class="tei tei-q">“Wo soll ich fliehen hin”</span> (suggested by Spitta, ii. 694; wanting in the score); rest of libretto original. A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+72
+</td><td class="tei tei-cell">
+c. 1726 (or earlier). Third S. after the Epiphany.
+</td><td class="tei tei-cell">
+Alles nur nach Gottes Willen.
+</td><td class="tei tei-cell">
+Salomo Franck (<span class="tei tei-q">“Evangelisches Andachts-Opffer,”</span> 1715, p. 35).
+</td><td class="tei tei-cell">
+Stanza i. of Albrecht of Brandenburg-Culmbach's hymn, <span class="tei tei-q">“Was mein Gott will, das g'scheh' allzeit”</span>; rest original. A. S. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+19
+</td><td class="tei tei-cell">
+1726. Feast of St. Michael the Archangel.
+</td><td class="tei tei-cell">
+Es erhub sich ein Streit.
+</td><td class="tei tei-cell">
+The groundwork of the text is a libretto for the season published by Picander in 1725. The Cantata version probably is by Bach himself.  Spitta's (ii. 344) attribution of it to Picander is ill-founded.
+</td><td class="tei tei-cell">
+Stanza ix. of the anonymous hymn, <span class="tei tei-q">“Freu' dich sehr, O meine Seele”</span>; rest of libretto original. S. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+195
+</td><td class="tei tei-cell">
+?c. 1726. For a Wedding.
+</td><td class="tei tei-cell">
+Dem Gerechten muss das Licht (Psalm xcvii. 11).
+</td><td class="tei tei-cell">
+?Bach. Spitta (ii. 469) supposes that the music is adapted.
+</td><td class="tei tei-cell">
+Psalm xcvii. 11, 12; Stanza i. of Paul Gerhardt's hymn, <span class="tei tei-q">“Nun danket all' und bringet Ehr'”</span>; rest of libretto original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†157
+</td><td class="tei tei-cell">
+1727. Feast of the Purification. Also for a Funeral.
+</td><td class="tei tei-cell">
+Ich lasse dich nicht, du segnest mich denn (Gen. xxxii. 26).
+</td><td class="tei tei-cell">
+Picander (<span class="tei tei-q">“Satyrische Gedichte,”</span> vol. i. p. 210).
+</td><td class="tei tei-cell">
+Genesis xxxii. 26; Stanza vi. of Christian Keimann's hymn, <span class="tei tei-q">“Meinen Jesum lass' ich nicht”</span>; rest by Picander. T. B. Soli
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+37
+</td><td class="tei tei-cell">
+c. 1727. (Schweitzer ii. 260, dates it 1728-34). Ascension Day. [See Nos. 147 (1716) and 172 (1724).]
+</td><td class="tei tei-cell">
+Wer da glaubet und getauft wird (St. Mark xvi. 16).
+</td><td class="tei tei-cell">
+?Christian Weiss, senr.
+</td><td class="tei tei-cell">
+St. Mark xvi. 16; Stanza v. of Philipp Nicolai's hymn, <span class="tei tei-q">“Wie schön leuchtet der Morgenstern”</span>; Stanza iv. of Johann Kolross' hymn, <span class="tei tei-q">“Ich dank' dir, lieber Herre”</span>; rest of libretto original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+198
+</td><td class="tei tei-cell">
+1727. October 17.
+</td><td class="tei tei-cell">
+Trauer-Musik: for Queen Christiane Eberhardine of Poland <a id="noteref_477" name="noteref_477" href="#note_477"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">477</span></span></a>
+</td><td class="tei tei-cell">
+Prof. J. C. Gottsched.  (d. Sept. 7, 1727).
+</td><td class="tei tei-cell">
+Original throughout.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+93
+</td><td class="tei tei-cell">
+?1728. Fifth S. after Trinity.
+</td><td class="tei tei-cell">
+Wer nur den lieben Gott lässt walten.
+</td><td class="tei tei-cell">
+Georg Neumark (arranged by ?Picander).
+</td><td class="tei tei-cell">
+Choral Cantata; Stanzas i., iv., v., vii. of Neumark's hymn are retained in their original form; Stanzas ii., iii., vi. are inserted or paraphrased in the Arias and Recitativi.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†Incomplete
+</td><td class="tei tei-cell">
+?1728. Christmas Day.
+</td><td class="tei tei-cell">
+Ehre sei Gott in der Höhe (St. Luke ii. 14).
+</td><td class="tei tei-cell">
+Picander (<span class="tei tei-q">“Cantaten,”</span> 1728-29, p. 71).
+</td><td class="tei tei-cell">
+St. Luke ii. 14; Stanza iv. of Caspar Ziegler's hymn, <span class="tei tei-q">“Ich freue mich in dir”</span>; rest original. A. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†159
+</td><td class="tei tei-cell">
+?1729. Quinquagesima (<span class="tei tei-q">“Estomihi”</span>).
+</td><td class="tei tei-cell">
+Sehet, wir geh'n hinauf nach Jerusalem (St. Luke xviii. 31).
+</td><td class="tei tei-cell">
+Picander (<span lang="la" class="tei tei-foreign" xml:lang="la">Ibid.</span>, p. 106).
+</td><td class="tei tei-cell">
+St. Luke xviii. 31; Stanza vi. of Paul Gerhardt's hymn, <span class="tei tei-q">“O Haupt voll Blut und Wunden”</span>; Stanza xxxiii. of Paul Stockmann's hymn, <span class="tei tei-q">“Jesu Leiden, Pein und Tod”</span>; rest original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+145
+</td><td class="tei tei-cell">
+1729 (or 1730). Easter Tuesday (<span class="tei tei-q">“Am Osterfeste”</span>)
+</td><td class="tei tei-cell">
+So du mit deinem Munde bekennest Jesum (Romans x. 9), <em class="tei tei-emph"><span style="font-style: italic">or</span></em> Auf, mein Herz! des Herren Tag, <em class="tei tei-emph"><span style="font-style: italic">or</span></em> Ich lebe, mein Herze.
+</td><td class="tei tei-cell">
+Picander (<span class="tei tei-q">“Cantaten,”</span> 1728-29, p. 125), with the addition (by Bach) of the opening Choral and Bible verse. See Spitta, ii. 442 n.
+</td><td class="tei tei-cell">
+Stanza i. of Caspar Neumann's hymn, <span class="tei tei-q">“Auf, mein Herz! des Herren Tag”</span>; Romans x. 9; Stanza xiv. of Nikolaus Herman's hymn, <span class="tei tei-q">“Erschienen ist der herrlich' Tag”</span>; rest of libretto by Picander. S. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+171
+</td><td class="tei tei-cell">
+1730 (or 1731) Feast of the Circumcision (New Year's Day).
+</td><td class="tei tei-cell">
+Gott, wie dein Name, so ist auch dein Ruhm (Psalm xlviii. 10).
+</td><td class="tei tei-cell">
+Picander (<span lang="la" class="tei tei-foreign" xml:lang="la">Ibid.</span> p. 81).
+</td><td class="tei tei-cell">
+Psalm xlviii. 10; Stanza iii. of Johann Heermann's hymn, <span class="tei tei-q">“Jesu, nun sei gepreiset”</span>; rest of libretto original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†156
+</td><td class="tei tei-cell">
+1730 (or 1729). Third S. after the Epiphany. [See No. 173 (1718).]
+</td><td class="tei tei-cell">
+Ich steh' mit einem Fuss im Grabe.
+</td><td class="tei tei-cell">
+Picander (<span lang="la" class="tei tei-foreign" xml:lang="la">Ibid.</span>Ibid., p. 91).
+</td><td class="tei tei-cell">
+Stanza i. of Joh. Hermann Schein's hymn, <span class="tei tei-q">“Mach's mit mir, Gott, nach deiner Güt'”</span>; Stanza i. of Caspar Bienemann's hymn, <span class="tei tei-q">“Herr, wie du will't, so schick's mit mir”</span>; rest of libretto original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+120
+</td><td class="tei tei-cell">
+1730. Inauguration of the Town Council (Aug. 24). Used also for Augsburg Confession celebration on June 26, 1730. [See Nos. 69 (1724), 190 (1725).]
+</td><td class="tei tei-cell">
+Gott, man lobet dich in der Stille (Psalm lxv. 1).
+</td><td class="tei tei-cell">
+?Christian Weiss, senr.
+</td><td class="tei tei-cell">
+Psalm lxv. i.;  clauses xx.-xxiii. of the <span class="tei tei-q">“Te Deum”</span>; rest of libretto original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†l88
+</td><td class="tei tei-cell">
+1730 (or 1731). Twenty-first S. after Trinity. Incorporates  older instrumental material.
+</td><td class="tei tei-cell">
+Ich habe meine Zuver-sicht.
+</td><td class="tei tei-cell">
+Picander (<span class="tei tei-q">“Cantaten,”</span> 1728-29, p. 47). Music probably by Wilhelm Friedemann Bach to a large extent.
+</td><td class="tei tei-cell">
+Stanza i. of  Sigismund Weingärtner's (?) hymn, <span class="tei tei-q">“Auf meinen lieben Gott”</span>; rest of libretto original. Organ obbligato.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+80
+</td><td class="tei tei-cell">
+1730. Reformation Festival (c. Oct. 31). Composed mainly at Weimar (1716).
+</td><td class="tei tei-cell">
+Ein' feste Burg ist unser Gott.
+</td><td class="tei tei-cell">
+Luther and Salomo Franck (<span class="tei tei-q">“Evangelisches Andachts-Opffer,”</span> p. 60).
+</td><td class="tei tei-cell">
+Choral Cantata. Stanzas i., ii., iii., iv. of Luther's hymn, <span class="tei tei-q">“Ein' feste Burg ist unser Gott,”</span> are set in their original form; rest of libretto by Franck.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†89
+</td><td class="tei tei-cell">
+c. 1730. Twenty-second S. after Trinity.
+</td><td class="tei tei-cell">
+Was soll ich aus dir machen, Ephraim? (Hosea xi. 8).
+</td><td class="tei tei-cell">
+?Christian Weiss, senr.
+</td><td class="tei tei-cell">
+Hosea xi. 8; Stanza vii. of Johann Heermann's hymn, <span class="tei tei-q">“Wo soll ich fliehen hin”</span>; rest of libretto original. S. A. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†52
+</td><td class="tei tei-cell">
+<em class="tei tei-emph"><span style="font-style: italic">c. </span></em>1730. Twenty-third S. after Trinity. Incorporates older instrumental material.
+</td><td class="tei tei-cell">
+Falsche Welt, dir trau ich nicht.
+</td><td class="tei tei-cell">
+Author unknown.
+</td><td class="tei tei-cell">
+Stanza i. of Adam Reissner's hymn, <span class="tei tei-q">“In dich hab' ich gehoffet, Herr”</span>; rest of libretto original. Soprano Solo.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+36
+</td><td class="tei tei-cell">
+c. 1730. First S. in Advent.
+</td><td class="tei tei-cell">
+Schwingt freudig euch empor.
+</td><td class="tei tei-cell">
+The opening Chorus and three Arias are adaptations by Bach of a secular Ode, having the same title, written by Picander and performed Nov. 30, 1720.  The four Chorals replace Picander's original Recitativi. The music (excepting the Recitativi and final Chorus of the Ode) of the two works is identical.
+</td><td class="tei tei-cell">
+<em class="tei tei-emph"><span style="font-style: italic">Part I.:</span></em> Stanza i. of Luther's hymn, <span class="tei tei-q">“Nun komm, der Heiden Heiland”</span>; Stanza vi. of Philipp Nicolai's hymn, <span class="tei tei-q">“Wie schon leuchtet der Morgenstern”</span>; <em class="tei tei-emph"><span style="font-style: italic">Part II.:</span></em> Stanzas vi. and viii. of Luther's hymn; remaining movements adapted by Bach from Picander.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+Incomplete
+</td><td class="tei tei-cell">
+c. 1730? For a Wedding.
+</td><td class="tei tei-cell">
+O ewiges Feuer, O Ursprung der Liebe.
+</td><td class="tei tei-cell">
+Author unknown. See No. 34 <span lang="la" class="tei tei-foreign" xml:lang="la">infra </span> (c. 1740).
+</td><td class="tei tei-cell">
+Psalm cxxviii. 4, 5, 6; Benediction; rest of libretto original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+*82
+</td><td class="tei tei-cell">
+c. 1731. Feast of the Purification.
+</td><td class="tei tei-cell">
+Ich habe genug.
+</td><td class="tei tei-cell">
+?Bach.
+</td><td class="tei tei-cell">
+Original throughout. Spitta (ii. 346) points out that the Aria <span class="tei tei-q">“Schlummert ein”</span> seems to have been suggested by a text by Johann Jakob Rambach for the same season. Bass Solo.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†84
+</td><td class="tei tei-cell">
+1731 (or 1732). Septuagesima.
+</td><td class="tei tei-cell">
+Ich bin vergnügt mit meinem Glücke.
+</td><td class="tei tei-cell">
+A revision (?by Bach) of a text by Picander (<span class="tei tei-q">“Cantaten,”</span> 1728-29, p. 101).
+</td><td class="tei tei-cell">
+Stanza xii. of Emilie Juliane of Schwarzburg-Rudolstadt's hymn, <span class="tei tei-q">“Wer weiss, wie nahe mir mein Ende”</span>; rest original. Soprano Solo.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+66
+</td><td class="tei tei-cell">
+1731 (not 1735). Easter Monday. [See No. 134 (1717-22).]
+</td><td class="tei tei-cell">
+Erfreut euch, ihr Herzen.
+</td><td class="tei tei-cell">
+?Bach.
+</td><td class="tei tei-cell">
+Stanza iii. of the hymn, <span class="tei tei-q">“Christ ist erstanden”</span>; rest of libretto original. A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†42
+</td><td class="tei tei-cell">
+1731 (not c. 1740). First S. after Easter. (<span class="tei tei-q">“Quasi-modogeniti”</span>).
+</td><td class="tei tei-cell">
+Am Abend aber desselbigen Sabbaths (St. John xx. 19).
+</td><td class="tei tei-cell">
+?Christian Weiss, senr.  Wustmann (note 37) suggests Bach.
+</td><td class="tei tei-cell">
+St. John xx. 19;  Stanza i. of Joh. Michael Altenburg's hymn,  <span class="tei tei-q">“Verzage nicht, du Hauflein klein”</span>; Stanza i.  of  Luther's Antiphon, <span class="tei tei-q">“Verleih' uns   Frieden”</span> and addendum; rest original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+112
+</td><td class="tei tei-cell">
+1731. Second S. after Easter (<span class="tei tei-q">“Misericordias Domini”</span>).
+</td><td class="tei tei-cell">
+Der  Herr  ist  mein  getreuer Hirt (Psalm xxiii.).
+</td><td class="tei tei-cell">
+Wolfgang Meusel.
+</td><td class="tei tei-cell">
+Choral Cantata.  The  five stanzas  of  the hymn are set in their original form.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†174
+</td><td class="tei tei-cell">
+1731 (or 1732). Whit Monday.  Incorporates older instrumental material. [See No. 194 (1723).]
+</td><td class="tei tei-cell">
+Ich liebe den Hochsten von ganzem Gemüthe.
+</td><td class="tei tei-cell">
+Picander (<span class="tei tei-q">“Cantaten,”</span> 1728-29, p. 147).
+</td><td class="tei tei-cell">
+Stanza i. of Martin Schalling's hymn, <span class="tei tei-q">“Herzlich lieb hab' ich dich, O Herr”</span>; rest of libretto original. A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+9
+</td><td class="tei tei-cell">
+?1731 Sixth S. after Trinity
+</td><td class="tei tei-cell">
+Es ist das Heil uns kommen her.
+</td><td class="tei tei-cell">
+Paul Speratus (arranged).
+</td><td class="tei tei-cell">
+Choral Cantata. Stanzas i. and xii. are set in their original form. The intermediate stanzas are paraphrased in the Arias and Recitativi.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+102
+</td><td class="tei tei-cell">
+?1731. Tenth S. after Trinity.
+</td><td class="tei tei-cell">
+Herr, deine Augen sehen nach dem Glauben (Jeremiah v. 3).
+</td><td class="tei tei-cell">
+?Christian Weiss, senr. Spitta (ii. 464) suggests Picander.
+</td><td class="tei tei-cell">
+<em class="tei tei-emph"><span style="font-style: italic">Part I.: </span></em> Jeremiah v. 3; Romans ii. 4, 5; <em class="tei tei-emph"><span style="font-style: italic">Part II.:</span></em> Stanzas vi. and vii. of Johann Heermann's hymn, <span class="tei tei-q">“So wahrichlebe, spricht dein Gott”</span>; rest original. A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+*35
+</td><td class="tei tei-cell">
+?1731.   Twelfth S. after Trinity.
+</td><td class="tei tei-cell">
+Geist und Seele wird verwirret.
+</td><td class="tei tei-cell">
+The probability that the Cantata is a converted chamber music composition supports the inference that Bach wrote the text. See Spitta, ii. 447.
+</td><td class="tei tei-cell">
+Original  throughout  (2  parts).  Alto  Solo and Organ obbligato.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+25
+</td><td class="tei tei-cell">
+c. 1731. Fourteenth S. after Trinity.
+</td><td class="tei tei-cell">
+Es ist nichts gesundes an meinem Leibe (Psalm xxxviii. 3).
+</td><td class="tei tei-cell">
+?Christian Weiss, senr.
+</td><td class="tei tei-cell">
+Psalm  xxxviii. 3; Stanza xii. of Johann Heermann's hymn, <span class="tei tei-q">“Treuer Gott, ich muss dir klagen”</span>; rest of libretto original. S. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+29
+</td><td class="tei tei-cell">
+1731. Inauguration of the Town Council (Aug. 27).  Incorporates older instrumental material.
+</td><td class="tei tei-cell">
+Wir danken dir, Gott (Psalm lxxv. i).
+</td><td class="tei tei-cell">
+?Christian Weiss, Sr.
+</td><td class="tei tei-cell">
+Pslam lxxv. 1; Stanza v. (posthumous) of Johann Graumann's hymn <span class="tei tei-q">“Nun lob' mein Seel' den Herren”</span>, rest of libretto original.  Organ obbligato.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+*51
+</td><td class="tei tei-cell">
+1731 (or 1732). Fifteenth S. after Trinity.
+</td><td class="tei tei-cell">
+Jauchzet Gott in allen Landen.
+</td><td class="tei tei-cell">
+?Bach. A version for Michaelmas (?1737) also exists. See Spitta, ii. 473n.
+</td><td class="tei tei-cell">
+Stanza  v. of Johann Graumann's hymn, <span class="tei tei-q">“Nun lob', mein' Seel', den Herren”</span>; rest of libretto original. Soprano Solo.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†27
+</td><td class="tei tei-cell">
+1731.   Sixteenths, after Trinity.
+</td><td class="tei tei-cell">
+Wer weiss, wie nahe mir mein Ende.
+</td><td class="tei tei-cell">
+?Bach. The  first Aria is suggested by a Neumeister stanza (<span class="tei tei-q">“Kirchen-Andachten,”</span> p. 294). See Spitta, ii. 451.
+</td><td class="tei tei-cell">
+Stanza i. of Emilie Juliane of Schwarzburg-Rudolstadt's hymn, <span class="tei tei-q">“Wer weiss, wie nahe mir mein Ende”</span>;  Stanza i. of Joh. Georg Albinus' hymn, <span class="tei tei-q">“Welt ade! ich bin dein müde”</span>; rest of libretto original.    Organ obbligato.    Choral extended.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†169
+</td><td class="tei tei-cell">
+1731 (or 1732). Eighteenth S. after Trinity. 
+</td><td class="tei tei-cell">
+Gott   soll allein mein Herzehaben.
+</td><td class="tei tei-cell">
+Author unknown.
+</td><td class="tei tei-cell">
+Stanza iii. of Luther's hymn, <span class="tei tei-q">“Nun bitten wir den heiligen Geist”</span>; rest of libretto original.  Alto Solo and Organ obbligato.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+149
+</td><td class="tei tei-cell">
+1731. Feast of St. Michael the Arch-angel.
+</td><td class="tei tei-cell">
+Man singet mit Freuden vom Sieg (Psalm cxviii. 15).
+</td><td class="tei tei-cell">
+Christian  Weiss,  senr. First Chorus borrowed from <span class="tei tei-q">“Was mir behagt.”</span>
+</td><td class="tei tei-cell">
+Psalm cxviii. 15, 16; Stanza iii. of Martin Schalling's hymn, <span class="tei tei-q">“Herzlich lieb hab' ich dich, O Herr”</span>; rest of libretto original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†56
+</td><td class="tei tei-cell">
+1731 (or 1732). Nineteenth S. after  Trinity.
+</td><td class="tei tei-cell">
+Ich will den Kreuzstab gerne tragen.
+</td><td class="tei tei-cell">
+?Bach, working on a Neumeister text (<span class="tei tei-q">“Kirchen-Andachten,”</span> p. 514).
+</td><td class="tei tei-cell">
+Stanza vi. of Johann Franck's hymn, <span class="tei tei-q">“Du, O schones Weltgebäude”</span>; rest of libretto original. Bass Solo.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+*49
+</td><td class="tei tei-cell">
+c. 1731. Twentieth S. after Trinity. Incorporates older instrumental material.
+</td><td class="tei tei-cell">
+Ich geh' und suche mit Verlangen.
+</td><td class="tei tei-cell">
+Author unknown.
+</td><td class="tei tei-cell">
+Stanza vii. of Philipp Nicolai's hymn, <span class="tei tei-q">“Wie schön leuchtet der Morgenstern”</span>;  rest of libretto original. S.  B. Soli and Organ obbligato.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+109
+</td><td class="tei tei-cell">
+c. 1731. Twenty-first S. after Trinity.
+</td><td class="tei tei-cell">
+Ich glaube, lieber Herre, hilf meinem Unglauben (St. Mark ix. 24).
+</td><td class="tei tei-cell">
+?Christian Weiss, senr.
+</td><td class="tei tei-cell">
+St. Mark ix. 24; Stanza vii. of Lazarus Spengler's hymn, <span class="tei tei-q">“Durch Adams Fall ist ganz verderbt”</span>; rest original. A. T. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†55
+</td><td class="tei tei-cell">
+1731 (or 1732). Twenty-second S. after Trinity.
+</td><td class="tei tei-cell">
+Ich  armor Mensch, ich Sündenknecht.
+</td><td class="tei tei-cell">
+Author unknown.
+</td><td class="tei tei-cell">
+Stanza vi. of Johann Rist's hymn, <span class="tei tei-q">“Werde munter, mein Gemuthe”</span>; rest of libretto original. Tenor Solo.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+140
+</td><td class="tei tei-cell">
+1731 (or later). Twenty-seventh S. after Trinity.
+</td><td class="tei tei-cell">
+Wachet auf, ruft uns die Stimme.
+</td><td class="tei tei-cell">
+Philipp Nicolai (arranged by ?Picander).
+</td><td class="tei tei-cell">
+Choral Cantata. All three stanzas of the hymn are set in their original form. The rest of the libretto is original. S. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+129
+</td><td class="tei tei-cell">
+1732. Trinity Sunday.
+</td><td class="tei tei-cell">
+Gelobet sei der Herr.
+</td><td class="tei tei-cell">
+Johannes Olearius.
+</td><td class="tei tei-cell">
+Choral Cantata. The five stanzas of the hymn are set in their original form. S. A. B. Soli. 
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+39
+</td><td class="tei tei-cell">
+1732 (not c. 1740). First S. after Trinity.
+</td><td class="tei tei-cell">
+Brich dem Hungrigen dein Brod (Isaiah lviii. 7).
+</td><td class="tei tei-cell">
+?Christian Weiss, senr. Schweitzer (ii. 343) attributes the text to Picander.
+</td><td class="tei tei-cell">
+<em class="tei tei-emph"><span style="font-style: italic">Part I.:</span></em> Isaiah lviii. 7, 8; <em class="tei tei-emph"><span style="font-style: italic">Part II.:</span></em> Hebrews xiii. 16; Stanza vi. of David Denicke's hymn, <span class="tei tei-q">“Kommt, lasst euch den Herren lehren”</span>; rest of libretto original. S. A. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+177
+</td><td class="tei tei-cell">
+1732. Fourth S. after Trinity.
+</td><td class="tei tei-cell">
+Ich ruf' zu dir, Herr Jesu Christ.
+</td><td class="tei tei-cell">
+Johannes Agricola.
+</td><td class="tei tei-cell">
+Choral Cantata. The five stanzas of the hymn are set in their original form. S. A. T. Soli. 
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†88
+</td><td class="tei tei-cell">
+1732.  Fifth S. after Trinity.
+</td><td class="tei tei-cell">
+Siehe, ich will viel Fischer aussenden (Jer. xvi. 16).
+</td><td class="tei tei-cell">
+?Christian Weiss, senr.
+</td><td class="tei tei-cell">
+<em class="tei tei-emph"><span style="font-style: italic">Part I.:</span></em> Jeremiah xvi. 16; <em class="tei tei-emph"><span style="font-style: italic">Part II.:</span></em> St. Luke v. 10; Stanza vii. of Georg Neumark's hymn, <span class="tei tei-q">“Wer nur den lieben Gott lasst walten”</span>; rest of libretto original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+*170
+</td><td class="tei tei-cell">
+?1732. Sixth S. after Trinity.
+</td><td class="tei tei-cell">
+Vergnügte Ruh, beliebte Seelenlust.
+</td><td class="tei tei-cell">
+Author unknown.
+</td><td class="tei tei-cell">
+Original throughout. See Spitta, ii. 453n. Alto Solo and Organ obbligato.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+187
+</td><td class="tei tei-cell">
+1732. Seventh S. after Trinity.
+</td><td class="tei tei-cell">
+Es wartet Alles auf dich (Psalm civ. 27).
+</td><td class="tei tei-cell">
+?Christian Weiss, senr.  Schweitzer (ii. 343) attributes the text to Picander.
+</td><td class="tei tei-cell">
+<em class="tei tei-emph"><span style="font-style: italic">Part I.: </span></em> Psalm civ. 27, 28;  <em class="tei tei-emph"><span style="font-style: italic">Part II.: </span></em> St. Matthew vi. 31, 32; Stanzas iv. and vi. of the anonymous hymn, <span class="tei tei-q">“Singen wir aus Herzensgrund”</span>; rest original. S. A. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+137
+</td><td class="tei tei-cell">
+?1732. Twelfth S. after Trinity.
+</td><td class="tei tei-cell">
+Lobe   den  Herren, den mächtigen  König der Ehren.
+</td><td class="tei tei-cell">
+Joachim Neander.
+</td><td class="tei tei-cell">
+Choral Cantata. The five stanzas of the hymn are set in their original form. S. A. T. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+95
+</td><td class="tei tei-cell">
+?1732. Sixteenth S. after Trinity.
+</td><td class="tei tei-cell">
+Christus, der ist mein Leben.
+</td><td class="tei tei-cell">
+Author unknown.
+</td><td class="tei tei-cell">
+Stanza i. of the anonymous hymn, <span class="tei tei-q">“Christus, der ist mein Leben”</span>; Stanza i. of Luther's hymn, <span class="tei tei-q">“Mit Fried' und Freud' ich fahr' dahin”</span>; Stanza i. of Valerius Herberger's hymn, <span class="tei tei-q">“Valet will ich dir geben”</span>; Stanza iv. of Nikolaus Herman's hymn, <span class="tei tei-q">“Wenn mein Stündlein vorhanden ist”</span>; rest original. S. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+98
+</td><td class="tei tei-cell">
+<em class="tei tei-emph"><span style="font-style: italic">c. </span></em>1732. Twenty-first S. after Trinity.
+</td><td class="tei tei-cell">
+Was Gott thut, das ist wohlgethan.
+</td><td class="tei tei-cell">
+Author unknown.
+</td><td class="tei tei-cell">
+Stanza i. of Samuel Rodigast's hymn, <span class="tei tei-q">“Was Gott thut, das ist wohlgethan”</span>;  rest of libretto original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†60
+</td><td class="tei tei-cell">
+1732. Twenty-fourth S. after Trinity.
+</td><td class="tei tei-cell">
+O Ewigkeit, du Donnerwort.
+</td><td class="tei tei-cell">
+Author unknown.
+</td><td class="tei tei-cell">
+Stanza i. of Johann Rist's hymn, <span class="tei tei-q">“O Ewigkeit du Donnerwort”</span>; Psalm cxix. 166; Revelation xiv. 13; Stanza v. of Franz Joachim Burmeister's hymn, <span class="tei tei-q">“Es ist genug”</span>;  rest of libretto original. A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+102
+</td><td class="tei tei-cell">
+<em class="tei tei-emph"><span style="font-style: italic">c.</span></em> 1733. Occasion not specified.
+</td><td class="tei tei-cell">
+Nun danket alle Gott.
+</td><td class="tei tei-cell">
+Martin Rinkart.
+</td><td class="tei tei-cell">
+Choral Cantata. The three stanzas of the hymn are set in their original form. S. A. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+*58
+</td><td class="tei tei-cell">
+1733. Sunday after the Circumcision.
+</td><td class="tei tei-cell">
+Ach Gott, wie manches Herzeleid.
+</td><td class="tei tei-cell">
+?Bach.
+</td><td class="tei tei-cell">
+Stanza i. of Martin Moller's(?) hymn, <span class="tei tei-q">“Ach Gott, wie manches Herzeleid”</span>; Stanza ii. of Martin Behm's hymn, <span class="tei tei-q">“O Jesu Christ, mein's Lebens Licht”</span>; rest original. S. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+99
+</td><td class="tei tei-cell">
+<em class="tei tei-emph"><span style="font-style: italic">c.</span></em> 1733. Fifteenth S. after Trinity.
+</td><td class="tei tei-cell">
+Was Gott thut, das ist wohlgethan.
+</td><td class="tei tei-cell">
+Samuel Rodigast (arranged).
+</td><td class="tei tei-cell">
+Choral Cantata. Stanzas i. and vi. of the hymn are set in their original form. The intervening stanzas are paraphrased in the Arias and Recitativi.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+191
+</td><td class="tei tei-cell">
+<em class="tei tei-emph"><span style="font-style: italic">c.</span></em> 1733. Christmas Day (<span class="tei tei-q">“Am Weinachtsfeste”</span>).
+</td><td class="tei tei-cell">
+Gloria in excelsis Deo.
+</td><td class="tei tei-cell">
+St. Luke ii. 14.
+</td><td class="tei tei-cell">
+The <span class="tei tei-q">“Gloria”</span> of the B minor Mass.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+117
+</td><td class="tei tei-cell">
+<em class="tei tei-emph"><span style="font-style: italic">c.</span></em> 1733. Occasion not specified. 
+</td><td class="tei tei-cell">
+Sei Lob und Ehr' dem hochsten Gut.
+</td><td class="tei tei-cell">
+Johann Jakob Schütz.
+</td><td class="tei tei-cell">
+Choral Cantata. The nine stanzas of the hymn are set in their original form. A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+97
+</td><td class="tei tei-cell">
+1734. ?For a Wedding, or general use.
+</td><td class="tei tei-cell">
+In allen meinen Thaten.
+</td><td class="tei tei-cell">
+Paul Flemming. See Schweitzer, ii. 242n.
+</td><td class="tei tei-cell">
+Choral Cantata. The nine stanzas of the hymn are set in their original form.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+*54
+</td><td class="tei tei-cell">
+1723-34.   Occasion not specified.
+</td><td class="tei tei-cell">
+Wideratehe doch der Sunde.
+</td><td class="tei tei-cell">
+Author unknown.
+</td><td class="tei tei-cell">
+Original throughout. Alto Solo.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+*53
+</td><td class="tei tei-cell">
+1723-34. ?For a Funeral.
+</td><td class="tei tei-cell">
+Schlage doch, gewünschte Stunde.
+</td><td class="tei tei-cell">
+?Salomo Franck.
+</td><td class="tei tei-cell">
+A single eight-lined original stanza. Alto Solo.
+</td></tr></tbody></table>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em">
+<span class="tei tei-pb" id="page212">[pg 212]</span>
+<h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">(6) COMPOSED AT LEIPZIG: 1735-50</span></h2>
+
+
+<table summary="This is a table" cellspacing="0" class="rules tei tei-table" style="margin-bottom: 1.00em"><colgroup span="5"></colgroup><tbody><tr class="tei tei-row"><td class="tei tei-cell">
+No.
+</td><td class="tei tei-cell">
+Date.
+</td><td class="tei tei-cell">
+Title.
+</td><td class="tei tei-cell">
+Author of Libretto.
+</td><td class="tei tei-cell">
+Composition of the Text.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+43
+</td><td class="tei tei-cell">
+1735. New Year's Day.
+</td><td class="tei tei-cell">
+Lobe den Herrn, meine Seele (Psalm cxlvi. 1).
+</td><td class="tei tei-cell">
+?Christian Weiss, senr. Wustmann (note 19) suggests Bach.
+</td><td class="tei tei-cell">
+Psalm cxlvi. 1, 5, 10;  Stanzas i. and iii. of Jakob Ebert's  hymn, <span class="tei tei-q">“Du  Friedefurst, Herr Jesu Christ”</span>; the rest of the libretto (two Arias) original. S. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+14
+</td><td class="tei tei-cell">
+1735. Fourth S. after the Epiphany.
+</td><td class="tei tei-cell">
+War' Gott nicht mit uns diese Zeit (Psalm cxxiv.).
+</td><td class="tei tei-cell">
+Luther (arranged).
+</td><td class="tei tei-cell">
+Choral Cantata. Stanzas i. and iii. are set in their original form. Stanza ii. is paraphrased in the intervening Arias and Recitativo. S. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†85
+</td><td class="tei tei-cell">
+1735. Second S. after Easter. (<span class="tei tei-q">“Misericordias Domini”</span>).
+</td><td class="tei tei-cell">
+Ich bin ein guter Hirt (St. John x. 11).
+</td><td class="tei tei-cell">
+Spitta (iii. 71) and Schweitzer (ii. 331n) attribute the text to Marianne von Ziegler.          Wustmann (note 60) disagrees.
+</td><td class="tei tei-cell">
+St. John x. 11; Stanza i. of Cornelius Becker's hymn, <span class="tei tei-q">“Derr Herr ist mein getreuer Hirt”</span>; Stanza iv. of Ernst Christoph Homburg's hymn, <span class="tei tei-q">“Ist Gott mein Schild und Helfersmann”</span>;  rest of libretto original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+103
+</td><td class="tei tei-cell">
+?1735. Third S. after Easter (<span class="tei tei-q">“Jubilate”</span>).
+</td><td class="tei tei-cell">
+Ihr werdet weinen und heulen (St. John xvi. 20).
+</td><td class="tei tei-cell">
+Marianne von Ziegler (<span class="tei tei-q">“Versuch in gebundener Schreibart,”</span> Leipzig,1728). Emended by Bach.
+</td><td class="tei tei-cell">
+St. John xvi. 20;   Stanza ix. of Paul Gerhardt's hymn, <span class="tei tei-q">“Barmherzger Vater, hochster Gott”</span>; rest of libretto original. A. T. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+108
+</td><td class="tei tei-cell">
+?1735. Fourth S. after Easter. (<span class="tei tei-q">“Cantate”</span>).
+</td><td class="tei tei-cell">
+Es ist euch gut, dass ich hingehe (St. John xvi. 7).
+</td><td class="tei tei-cell">
+Marianne von Ziegler <em class="tei tei-emph"><span style="font-style: italic">(Ibid.).</span></em> Emended  by Bach.
+</td><td class="tei tei-cell">
+St. John xvi. 7, 13;  Stanza x. of Paul Gerhardt's hymn, <span class="tei tei-q">“Gott Vater, sende deinen Geist”</span>; rest of libretto original. A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†87
+</td><td class="tei tei-cell">
+?1735. Fifth S. after Easter (<span class="tei tei-q">“Rogate”</span>)
+</td><td class="tei tei-cell">
+Bisher habt ihr nichts gebeten in meinem Namen (St. John xvi. 24).
+</td><td class="tei tei-cell">
+Marianne von Ziegler <em class="tei tei-emph"><span style="font-style: italic">(Ibid.).</span></em> Emended  by Bach.
+</td><td class="tei tei-cell">
+St. John xvi. 24,33; Stanza ix. of Heinrich Müller's hymn <span class="tei tei-q">“Selig ist die Seele”</span>; rest of libretto original.  A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+43
+</td><td class="tei tei-cell">
+1735. Ascension Day.
+</td><td class="tei tei-cell">
+Gott fähret auf mit Jauchzen (Psalm xlvii. 5).
+</td><td class="tei tei-cell">
+?Bach.  Schweitzer (ii. 331n) wrongly attributes text to Marianne von Ziegler.
+</td><td class="tei tei-cell">
+<em class="tei tei-emph"><span style="font-style: italic">Part I.</span></em>: Pslm xlvii. 5,6; St. Mark xvi. 19; <em class="tei tei-emph"><span style="font-style: italic">Part II.</span></em>: Stanzas i. and xiii. of Johann Rist's hymn, <span class="tei tei-q">“Du Lebenfüst, Herr Jesu Christ”</span>, rest of libretto original, excepting the second, third, and fourth Arias.  Original portion perhaps by Bach.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+11
+</td><td class="tei tei-cell">
+c. 1735. Ascension Day.
+</td><td class="tei tei-cell">
+Lobet Gott in seinen Reichen.
+</td><td class="tei tei-cell">
+Author unknown.
+</td><td class="tei tei-cell">
+St. Luke xxiv. 50-52; Acts i. 9-11; Stanza iv. of Johann Rist's hymn, <span class="tei tei-q">“Du Lebenfüst, Herr Jesu Christ”</span>; Stanza vii. of Gottfried Wilhelm Sacer's hymn <span class="tei tei-q">“Gott fähret auf gen Himmel”</span>; rest of libretto original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+128
+</td><td class="tei tei-cell">
+?1735. Ascension Day.
+</td><td class="tei tei-cell">
+Auf Christi Himmelfahrt allein.
+</td><td class="tei tei-cell">
+Marianne von Ziegler <em class="tei tei-emph"><span style="font-style: italic">(Ibid.).</span></em> Emended  by Bach.
+</td><td class="tei tei-cell">
+Stanza i. of Josua Wegelin's hymn, <span class="tei tei-q">“Auf Christi Himmelfahrt allein”</span>; Stanza iv. of Matthäus Avenarius's hymn, <span class="tei tei-q">“O Jesu, meine Lust”</span>; rest of libretto original.  A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†183
+</td><td class="tei tei-cell">
+?1735. Sunday after the Ascension (<span class="tei tei-q">“Exaudi”</span>)
+</td><td class="tei tei-cell">
+Sie werden euch in den Bann thun (St. John xvi. 2)
+</td><td class="tei tei-cell">
+Marianne von Ziegler <em class="tei tei-emph"><span style="font-style: italic">(Ibid.).</span></em> Emended  by Bach.
+</td><td class="tei tei-cell">
+S. John xvi. 2; Stanza v. of Paul Gerhardt's hymn <span class="tei tei-q">“Zeuch ein zu deinen Thoren”</span>; rest of libretto original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+74
+</td><td class="tei tei-cell">
+?1735. Whit Sunday. An expansion of No. 59 (1716).
+</td><td class="tei tei-cell">
+Wer mich liebst, der wird mein Wort halten (St. John xiv. 23).
+</td><td class="tei tei-cell">
+Marianne von Ziegler <em class="tei tei-emph"><span style="font-style: italic">(Ibid.).</span></em> Emended  by Bach.
+</td><td class="tei tei-cell">
+St. John 23, 28; Romans viii. 1; Stanza ii. of Paul Gerhardt's hymn, <span class="tei tei-q">“Gott Vater, sende deinen Geist”</span> rest of libretto original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+68
+</td><td class="tei tei-cell">
+?1735. Whit Monday. Contains old (1716) secular material.
+</td><td class="tei tei-cell">
+Also hat Gott die Welt geliebt.
+</td><td class="tei tei-cell">
+Marianne von Ziegler <em class="tei tei-emph"><span style="font-style: italic">(Ibid.).</span></em> Emended   by Bach. See <span class="tei tei-q">“Was mir behagt.”</span>
+</td><td class="tei tei-cell">
+Stanza i. of Salomo  Liscow's hymn, <span class="tei tei-q">“Also hat Gott die Welt geliebt”</span>;  St. John iii. 18; rest of libretto original. S. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†175
+</td><td class="tei tei-cell">
+?1735. Whit Tuesday.
+</td><td class="tei tei-cell">
+Er rufet seinen Schafen mit Namen (St. John x. 3).
+</td><td class="tei tei-cell">
+Marianne  von Ziegler <em class="tei tei-emph"><span style="font-style: italic">(Ibid.).</span></em> Emended slightly by Bach.
+</td><td class="tei tei-cell">
+St. John x. 3, 6; Stanza ix. of Johann Rist's hymn, <span class="tei tei-q">“O Gottes Geist, mein Trost und Rath ”</span>; rest of libretto original. A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+176
+</td><td class="tei tei-cell">
+?1735. Trinity Sunday. [See No. 20 (1725).]
+</td><td class="tei tei-cell">
+Es ist ein trotzig und verzagt  Ding. (Cf.  Jer. xvii. 9).
+</td><td class="tei tei-cell">
+Marianne von Ziegler <em class="tei tei-emph"><span style="font-style: italic">(Ibid.).</span></em> Emended   by Bach.
+</td><td class="tei tei-cell">
+Stanza viii. of Paul Gerhardt's hymn, <span class="tei tei-q">“Was alle Weisheit in der Welt”</span>;  rest original. S. A. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+107
+</td><td class="tei tei-cell">
+c. 1735. Seventh S. after Trinity.
+</td><td class="tei tei-cell">
+Was willst du dich betrüben.
+</td><td class="tei tei-cell">
+Johann Heermann.
+</td><td class="tei tei-cell">
+Choral Cantata. Six stanzas of the hymn are set in their original form.  The final Choral is stanza xiv. of David Denicke's hymn, <span class="tei tei-q">“Ich will zu aller Stunde.”</span> S. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+94
+</td><td class="tei tei-cell">
+?1735. Ninth S. after Trinity.
+</td><td class="tei tei-cell">
+Was frag ich nach der Welt.
+</td><td class="tei tei-cell">
+Georg Michael Pfefferkorn (arranged).
+</td><td class="tei tei-cell">
+Choral  Cantata. Stanzas  i.,  iii.,  v.,  vii., viii. are set in their original form.    Stanzas ii., iv., vi. are paraphrased in the Arias.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+133
+</td><td class="tei tei-cell">
+1735 (or 1737). Feast of St. John the Evangelist.
+</td><td class="tei tei-cell">
+Ich freue mich in dir.
+</td><td class="tei tei-cell">
+Caspar Ziegler (arranged by ?Christian Weiss, junr.).
+</td><td class="tei tei-cell">
+Choral Cantata. Stanzas i. and iv. of the hymn are set in their original form. The intervening stanzas are paraphrased in the Arias and Recitativi.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+100
+</td><td class="tei tei-cell">
+c. 1735. ?Fifteenth S. after Trinity, for a Wedding.
+</td><td class="tei tei-cell">
+Was Gott thut, das ist wohlgethan.
+</td><td class="tei tei-cell">
+Samuel Rodigast.
+</td><td class="tei tei-cell">
+Choral Cantata.   The six stanzas of the hymn are set in their original form.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+5
+</td><td class="tei tei-cell">
+1735. Nineteenth S. after Trinity.
+</td><td class="tei tei-cell">
+Wo soll ich fliehen hin. 
+</td><td class="tei tei-cell">
+Johann   Heermann    (arranged by ?Picander).
+</td><td class="tei tei-cell">
+Choral Cantata. Stanzas i. and xi. of the hymn are set in their original form. The intervening Arias and Recitativi are based particularly on stanzas iii., iv., vii., viii., ix.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+79
+</td><td class="tei tei-cell">
+1735. Reformation Festival (Oct. 30).
+</td><td class="tei tei-cell">
+Gott, der Herr, ist Sonn und Schild (Psalm Ixxxiv. 11).
+</td><td class="tei tei-cell">
+?Christian Weiss, senr.
+</td><td class="tei tei-cell">
+Psalm lxxxiv. 11; Stanza i. of Martin Rinkart's hymn, <span class="tei tei-q">“Nun danket alle Gott”</span>; Stanza viii. of Ludwig Helmbold's hymn, <span class="tei tei-q">“Nun lasst uns Gott dem Herren”</span>; rest of libretto original. S. A. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+41
+</td><td class="tei tei-cell">
+?1736. New Year's Day.
+</td><td class="tei tei-cell">
+Jesu, nun sei gepreiset.
+</td><td class="tei tei-cell">
+Johann Heermann (arranged).
+</td><td class="tei tei-cell">
+Choral Cantata. Stanzas i. and iii. of the hymn are set in their original form. Stanza ii. is paraphrased in the intervening Arias and Recitativi.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†13
+</td><td class="tei tei-cell">
+<em class="tei tei-emph"><span style="font-style: italic">c.</span></em> 1736. Second S. after the Epiphany.
+</td><td class="tei tei-cell">
+Meine Seufzer, meine Thränen.
+</td><td class="tei tei-cell">
+Author unknown.
+</td><td class="tei tei-cell">
+Stanza  ii. of Johann Heermann's hymn, <span class="tei tei-q">“Zion klagt mit Angst und Schmerzen”</span>; Stanza xv. of Paul Flemming's hymn, <span class="tei tei-q">“In allen meinen Thaten”</span>; rest original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+</td><td class="tei tei-cell">
+[1736. Easter Day]
+</td><td class="tei tei-cell">
+Kommt, eilet und laufet.
+</td><td class="tei tei-cell">
+?Picander.]
+</td><td class="tei tei-cell">
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+6
+</td><td class="tei tei-cell">
+1736. Easter Monday.
+</td><td class="tei tei-cell">
+Bleib' bei uns, denn es will Abend werdeu (St. Luke xxiv. 29).
+</td><td class="tei tei-cell">
+Author unknown. Wustmann (note 53) suggests Picander.
+</td><td class="tei tei-cell">
+St.  Luke xxiv. 29; Stanzas i. and ii. of Nikolaus Selnecker's hymn, <span class="tei tei-q">“Ach bleib' bei uns, Herr Jesu Christ”</span>; Stanza ii. of Luther's hymn, <span class="tei tei-q">“Erhalt' uns, Herr, bei deinem Wort”</span>; rest original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+28
+</td><td class="tei tei-cell">
+c.  1736. Sunday after  Christmas. Spitta, ii. 433, dates it 1725-27.
+</td><td class="tei tei-cell">
+Gottlob! nun geht das Jahr zu Ende.
+</td><td class="tei tei-cell">
+Erdmann Neumeister (<span class="tei tei-q">“Fünffache Kirchen-Andachten,”</span> 1716. Ser. IV.
+</td><td class="tei tei-cell">
+Stanza  i.   of  Johann   Graumann's  hymn, <span class="tei tei-q">“Nun lob', mein Seel', den Herren”</span>; Jeremiah xxxii. 41; Stanza vi. of Paul Eber's  hymn, <span class="tei tei-q">“Helft  mir  Gott's Gütte preisen”</span>; rest of libretto original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+17
+</td><td class="tei tei-cell">
+c. 1737. Fourteenth S. after Trinity.
+</td><td class="tei tei-cell">
+Wer Dank opfert, der preiset mich (Psalm 1., 23).
+</td><td class="tei tei-cell">
+?Bach. Schweitzer (ii. 343) attributes the text to Picander.
+</td><td class="tei tei-cell">
+<em class="tei tei-emph"><span style="font-style: italic">Part I.:</span></em> Psalm 1. 23;  <em class="tei tei-emph"><span style="font-style: italic">Part II.:</span></em> St. Luke xvii. 15, 16; Stanza iii. of Johann Graumann's hymn, <span class="tei tei-q">“Nun lob', mein' Seel', den Herren”</span>; rest original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+118
+</td><td class="tei tei-cell">
+c. 1737. ?For a Funeral.
+</td><td class="tei tei-cell">
+O Jesu Christ, mein's Lebens Licht.
+</td><td class="tei tei-cell">
+Martin Behm.
+</td><td class="tei tei-cell">
+Stanza i. of Martin Behm's hymn, <span class="tei tei-q">“O Jesu Christ, mein's Lebens Licht.”</span> A Motet; <span lang="la" class="tei tei-foreign" xml:lang="la">cf.</span> No. 50 (<span lang="la" class="tei tei-foreign" xml:lang="la">c.</span> 1740.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+197
+</td><td class="tei tei-cell">
+?1737. For a Wedding. Contains older material (?1728).
+</td><td class="tei tei-cell">
+Gott  ist  uns're Zuversicht.
+</td><td class="tei tei-cell">
+?Bach. Pt. II.'s Arias are based on the Christmas Cantata <span class="tei tei-q">“Ehre sei Gott”</span> (?1728).
+</td><td class="tei tei-cell">
+Stanza iii. of Luther's hymn, <span class="tei tei-q">“Nun bitten wir den heiligen Geist”</span>; Stanza vii. (partly rewritten) of Georg Neumark's hymn, <span class="tei tei-q">“Wer nur den lieben Gott lässt walten”</span>; rest original. S. A. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+30
+</td><td class="tei tei-cell">
+1738. Feast of St. John Baptist (Midsummer Day).
+</td><td class="tei tei-cell">
+Freue dich, erloste Schaar.
+</td><td class="tei tei-cell">
+Reconstruction, by ?Picander, of his <span class="tei tei-q">“Angenehmes Wiederau,”</span> 1737, from  which the music also is in part borrowed.
+</td><td class="tei tei-cell">
+<em class="tei tei-emph"><span style="font-style: italic">Part I.:</span></em> Stanza iii. of Johannes Olearius' hymn, <span class="tei tei-q">“Tröstet, tröstet, meine Lieben”</span>; rest of libretto original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+123
+</td><td class="tei tei-cell">
+1740. Feast of the Epiphany.
+</td><td class="tei tei-cell">
+Liebster Immanuel, Herzog der Frommen.
+</td><td class="tei tei-cell">
+Ahasuerus Fritsch (arranged by ?Christian Weiss, junr.).
+</td><td class="tei tei-cell">
+Choral Cantata. Stanzas i. and v. of the hymn are set in their original form. Stanzas ii., iii., iv. are paraphrased in the intervening Arias and Recitativi. A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†32
+</td><td class="tei tei-cell">
+c. 1740. First S. after the Epiphany.
+</td><td class="tei tei-cell">
+Leibster Jesu, mein Verlangen.
+</td><td class="tei tei-cell">
+?Picander.
+</td><td class="tei tei-cell">
+St. Luke ii. 49; Stanza xii. of Paul Gerhardt's hymn, <span class="tei tei-q">“Weg, mein Herz, mit den Gedanken”</span>; rest of libretto original. S. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+124
+</td><td class="tei tei-cell">
+c.  1740. First S. after the Epiph-any.
+</td><td class="tei tei-cell">
+Meinen Jesum lass' ich nicht.
+</td><td class="tei tei-cell">
+Christian   Keimann   (arranged by ?Picander).
+</td><td class="tei tei-cell">
+Choral Cantata. Stanzas i. and vi. of the hymn are set in their original form.  Stanzas ii.-v. are paraphrased in the intervening Arias and Recitativi.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+3
+</td><td class="tei tei-cell">
+c. 1740. Second S. after the Epiphany.
+</td><td class="tei tei-cell">
+Ach Gott, wie manches Herzeleid.
+</td><td class="tei tei-cell">
+Martin Moller (arranged by ?Christian Weiss, junr.).
+</td><td class="tei tei-cell">
+Choral Cantata. Stanzas i., ii., xii. of the hymn are set in their original form.  Stanzas iv.-vi., ix., x. are paraphrased in the Arias and Recitativo.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+111
+</td><td class="tei tei-cell">
+c. 1740. Third S. after the Epiphany.
+</td><td class="tei tei-cell">
+Was mein Gott will, das g'scheh' allzeit.
+</td><td class="tei tei-cell">
+Albrecht, Margrave of Brandenburg-Culmbach (arranged).
+</td><td class="tei tei-cell">
+Choral Cantata. Stanzas i. and iv. of the hymn are set in their original form. Stanzas ii. and iii. are paraphrased in the Arias and Recitativi.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+92
+</td><td class="tei tei-cell">
+c.  1740. Septuagesima.
+</td><td class="tei tei-cell">
+Ich hab' in Gottes Herz und Sinn.
+</td><td class="tei tei-cell">
+Paul Gerhardt (arranged by ?Picander).
+</td><td class="tei tei-cell">
+Choral Cantata. Stanzas i., ii., v., x., xii. of the hymn are set in their original form. Stanzas iii., iv., vi.-viii., ix. are paraphrased in the Arias and Recitativo.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+125
+</td><td class="tei tei-cell">
+<span lang="la" class="tei tei-foreign" xml:lang="la">c. </span>1740. Feast of the Purification.
+</td><td class="tei tei-cell">
+Mit Fried' und Freud' ich fahr' dahin.
+</td><td class="tei tei-cell">
+Luther (arranged).
+</td><td class="tei tei-cell">
+Choral Cantata.  Stanzas i., ii. , iv. are set in their original form.  Stanza iii. is paraphrased in the second Aria and Recitative. A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+126
+</td><td class="tei tei-cell">
+<span lang="la" class="tei tei-foreign" xml:lang="la">c. </span>1740. Sexagesima.
+</td><td class="tei tei-cell">
+Erhalt' uns, Heir, bei deinem Wort.
+</td><td class="tei tei-cell">
+Luther (arranged).
+</td><td class="tei tei-cell">
+Choral Cantata.   Stanzas i., iii., and Luther's <span class="tei tei-q">“Verleih' uns Frieden gnädiglich”</span> are set in their original form. The other stanzas are paraphrased in the Arias and second Recit. A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+127
+</td><td class="tei tei-cell">
+<span lang="la" class="tei tei-foreign" xml:lang="la">c. </span> 1740. Quinquagesima (<span class="tei tei-q">“Esto-mihi”</span>).
+</td><td class="tei tei-cell">
+Herr Jesu Christ, wahr'r Mensch und Gott.
+</td><td class="tei tei-cell">
+Paul Eber  (arranged by ?Picander).
+</td><td class="tei tei-cell">
+Choral Cantata.  Stanzas i. and viii. of the hymn are set in their original form.  The intervening stanzas are paraphrased in the Recitativi and Arias. S. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+1
+</td><td class="tei tei-cell">
+<span lang="la" class="tei tei-foreign" xml:lang="la">c. </span> 1740. Feast of the Annunciation.
+</td><td class="tei tei-cell">
+Wie schön leuchtet der Morgenstern.
+</td><td class="tei tei-cell">
+Philipp Nicolai (arranged by ?Picander).
+</td><td class="tei tei-cell">
+Choral Cantata.  Stanzas i. and vii. of the hymn are set in their original form.  Stanzas ii.-vi. are paraphrased in the intervening Recitativi and Arias.  S. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+146
+</td><td class="tei tei-cell">
+<span lang="la" class="tei tei-foreign" xml:lang="la">c. </span> 1740. Third S. after Easter (<span class="tei tei-q">“Jubilate”</span>).
+Incorporates older instrumental material.
+</td><td class="tei tei-cell">
+Wir müssen durch  viel Trübsal in das Reich Gottes eingehen (Acts xiv. 22).
+</td><td class="tei tei-cell">
+Author unknown. Schweitzer (ii. 343) names Picander.
+</td><td class="tei tei-cell">
+Acts xiv. 22; excepting the concluding Choral (words wanting in the score) the rest of the libretto is original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+34
+</td><td class="tei tei-cell">
+c. 1740 (or  1741). Whit Sunday (<span class="tei tei-q">“Am Pfingst-feste”</span>. Incorporates (modified) parts of  the Wedding Cantata (c. 1730) bearing the same title
+</td><td class="tei tei-cell">
+O ewiges Feuer, O Ursprung der Liebe.
+</td><td class="tei tei-cell">
+?by Bach.
+</td><td class="tei tei-cell">
+Original throughout. Movements 1, 3, 5, follow the Wedding Cantata, words and music. A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+2
+</td><td class="tei tei-cell">
+c. 1740. Second S. after Trinity.
+</td><td class="tei tei-cell">
+Ach Gott, vom Himmel sieh darein.
+</td><td class="tei tei-cell">
+Luther (arranged by ?Picander).
+</td><td class="tei tei-cell">
+Choral Cantata. Stanzas i. and vi. of the hymn are set in their original form. The intervening stanzas are paraphrased in the Arias and Recitativi. A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+135
+</td><td class="tei tei-cell">
+c. 1740. Third S. after Trinity.
+</td><td class="tei tei-cell">
+Ach Herr, mich armen Sunder.
+</td><td class="tei tei-cell">
+Cyriacus Schneegass. Also attributed to Christoph Demantius (arranged by ?Christian Weiss, junr.).
+</td><td class="tei tei-cell">
+Choral Cantata. Stanzas i. and vi. of the hymn (see Psalm vi.) are set in their original form.  The intervening stanzas are paraphrased in the Arias and Recitativi. A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+7
+</td><td class="tei tei-cell">
+<span lang="la" class="tei tei-foreign" xml:lang="la">c.</span>1740. Feast of St. John Baptist (Midsummer Day).
+</td><td class="tei tei-cell">
+Christ  unser  Herr zum Jordan kam.
+</td><td class="tei tei-cell">
+Luther (arranged).
+</td><td class="tei tei-cell">
+Choral Cantata. Stanzas i. and vii. of the hymn are set in their original form. The intervening stanzas are paraphrased in the Arias and Recitativi. A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+10
+</td><td class="tei tei-cell">
+c. 1740. Feast of the  Visitation.
+</td><td class="tei tei-cell">
+Meine Seel' erhebt den Herren. (St. Luke, i. 46).
+</td><td class="tei tei-cell">
+St. Luke, i. 46-55 (arranged).
+</td><td class="tei tei-cell">
+Choral Cantata. Verses 46-48, 54, and the Doxology, are set in their original form. The other verses are paraphrased in the Arias and Recitativi.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+45
+</td><td class="tei tei-cell">
+c. 1740. Eighth S. after Trinity.
+</td><td class="tei tei-cell">
+Est ist dir gesagt, Mensch, was gut ist (Micah vi., 8).
+</td><td class="tei tei-cell">
+?Christian   Weiss,   senr. Schweitzer (ii. 343) attributes the text to Picander.
+</td><td class="tei tei-cell">
+<em class="tei tei-emph"><span style="font-style: italic">Part I.:</span></em> Micah vi. 8; <em class="tei tei-emph"><span style="font-style: italic">Part II.:</span></em> St. Matthew vii. 22, 23;   Stanza ii. of Johann Heermann's hymn, <span class="tei tei-q">“O Gott, du frommer Gott”</span>; rest original. A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+178
+</td><td class="tei tei-cell">
+c. 1740. Eighth S. after Trinity.
+</td><td class="tei tei-cell">
+Wo Gott der Herr nicht bei uns halt (Psalm cxxiv.).
+</td><td class="tei tei-cell">
+Justus Jonas (arranged).
+</td><td class="tei tei-cell">
+Choral Cantata. Stanzas i., ii., iv., v., vii., viii., of the hymn are set in their original form.  The other stanzas are paraphrased. A. T. B. Soli.                                                                   
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+101
+</td><td class="tei tei-cell">
+c. 1740. Tenth S. after Trinity.
+</td><td class="tei tei-cell">
+Nimm von uns, Herr, du treuer Gott.
+</td><td class="tei tei-cell">
+Martin Moller (arranged). Schweitzer (ii. 375) names Picander.
+</td><td class="tei tei-cell">
+Choral Cantata.    Stanzas i., iii., v., vii. are  set in their original form. Stanzas ii., iv., vi. are paraphrased in the Arias.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+113
+</td><td class="tei tei-cell">
+c. 1740. Eleventh S. after Trinity.
+</td><td class="tei tei-cell">
+Heir Jesu Christ, du höchstes Gut.
+</td><td class="tei tei-cell">
+Bartholomaüws Ringwaldt(arranged).
+</td><td class="tei tei-cell">
+Choral Cantata. Stanzas i., ii., iv., viii. of the
+hymn are set in their original form. Stanzas iii., v.-vii. are paraphrased in the Arias and Recitativo.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+193
+</td><td class="tei tei-cell">
+c. 1740. Inauguration of the Town Council (c. August 24). Incomplete.
+</td><td class="tei tei-cell">
+Ihr Pforten [Tore] zu Zion
+</td><td class="tei tei-cell">
+Author unknown.
+</td><td class="tei tei-cell">
+Original throughout. S. A. T. (or B.) Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+33
+</td><td class="tei tei-cell">
+c. 1740.  Thirteenth S. after Trinity.
+</td><td class="tei tei-cell">
+Allein zu dir, Herr Jesu Christ.
+</td><td class="tei tei-cell">
+Johannes Schneesing.  Attributed also to Conrad Hubert. Arranged.
+</td><td class="tei tei-cell">
+Choral Cantata. Stanzas i. and iv. of the hymn are set in their original form.    The intervening stanzas  are paraphrased. A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+78
+</td><td class="tei tei-cell">
+c. 1740 (or after 1734) Fourteenth S. after Trinity.
+</td><td class="tei tei-cell">
+Jesu, der du meine Seele.
+</td><td class="tei tei-cell">
+Johann Rist (arranged by ?Picander).
+</td><td class="tei tei-cell">
+Choral Cantata. Stanzas i. and xii. of the hymn are set in their original form. Four lines of Stanza x. are inserted into the last Recitativo.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+138
+</td><td class="tei tei-cell">
+c. 1740 (or earlier). Fifteenth S. after Trinity.
+</td><td class="tei tei-cell">
+Warum betrübst du dich, mein Herz.
+</td><td class="tei tei-cell">
+?Hans Sachs and ?Picander.
+</td><td class="tei tei-cell">
+Choral Cantata. Stanzas i., ii., iii. of the hymn are set in their original form.  Rest of libretto original. A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+114
+</td><td class="tei tei-cell">
+c. 1740. Seventeenth S. after Trinity.
+</td><td class="tei tei-cell">
+Ach, lieben Christen, seid getrost.
+</td><td class="tei tei-cell">
+Johannes Gigas (arranged).
+</td><td class="tei tei-cell">
+Choral Cantata. Stanzas i., iii., vi. of the hymn are set in their original form. The other stanzas are paraphrased in the remaining movements.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+96
+</td><td class="tei tei-cell">
+c. 1740. Eighteenth S. after Trinity.
+</td><td class="tei tei-cell">
+Herr  Christ, der ein'ge Gottes-Sohn.
+</td><td class="tei tei-cell">
+Elisabethe Cruciger (arranged by ?Picander).
+</td><td class="tei tei-cell">
+Choral Cantata. Stanzas i. and v. of the hymn are set in their original form. The intervening stanzas are paraphrased in the Recitativi and Arias.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+130
+</td><td class="tei tei-cell">
+c. 1740. Feast of St. Michael the Archangel.
+</td><td class="tei tei-cell">
+Herr Gott, dich loben alle wir.
+</td><td class="tei tei-cell">
+Paul Eber (arranged).
+</td><td class="tei tei-cell">
+Choral Cantata. Stanzas i., xi., xii. (in score only) of the hymn are set in their original form. The remaining stanzas are paraphrased.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+50
+</td><td class="tei tei-cell">
+c. 1740. Feast of St. Michael the Archangel.
+</td><td class="tei tei-cell">
+Nun ist das Heil und die Kraft.
+</td><td class="tei tei-cell">
+Revelation xii 10.
+</td><td class="tei tei-cell">
+Rev. xii. 10; a single Bible passage. A Motet. <span lang="la" class="tei tei-foreign" xml:lang="la">Cf.</span> No. 118 (c. 1737).
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+48
+</td><td class="tei tei-cell">
+<span lang="la" class="tei tei-foreign" xml:lang="la">c.</span>1740. Nineteenth S. after Trinity.
+</td><td class="tei tei-cell">
+Ich elender Mensch, wer wird mich erlosen (Rom. vii. 24).
+</td><td class="tei tei-cell">
+?Picander.
+</td><td class="tei tei-cell">
+Romans vii. 24; Stanza iv. of the anonymous hymn, <span class="tei tei-q">“Ach Gott und Herr”</span>; Stanza xii. of the anonymous hymn, <span class="tei tei-q">“Herr Jesu Christ, ich schrei zu dir”</span>; rest original. A. T. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+180
+</td><td class="tei tei-cell">
+c. 1740.  Twentieth S. after Trinity.
+</td><td class="tei tei-cell">
+Schmucke dich, O liebe Seele.
+</td><td class="tei tei-cell">
+Johann Franck (arranged).
+</td><td class="tei tei-cell">
+Choral Cantata. Stanzas i., iv., ix. of the hymn are set in their original form. The remaining stanzas are paraphrased.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+38
+</td><td class="tei tei-cell">
+c. 1740. Twenty-first S. after Trinity.
+</td><td class="tei tei-cell">
+Aus tiefer Noth schrei ich zu dir (Psalm cxxx.).
+</td><td class="tei tei-cell">
+Luther (arranged by ?Christian Weiss, junr.).
+</td><td class="tei tei-cell">
+Choral Cantata. Stanzas i. and v. of the hymn are set in their original form. The intervening stanzas are paraphrased.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+115
+</td><td class="tei tei-cell">
+c. 1740. Twenty-second S. after Trinity.
+</td><td class="tei tei-cell">
+Mache dich, mein Geist, bereit.
+</td><td class="tei tei-cell">
+Johann Burchard Freystein (arranged by ?Picander.
+</td><td class="tei tei-cell">
+Choral Cantata. Stanzas i. and x. of the hymn are set in their original form. The intervening ones are paraphrased.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+139
+</td><td class="tei tei-cell">
+c. 1740. Twenty-third S. after Trinity.
+</td><td class="tei tei-cell">
+Wohl dem, der sich auf seinen Gott.
+</td><td class="tei tei-cell">
+Johann Christoph Rube (arranged).
+</td><td class="tei tei-cell">
+Choral Cantata. Stanzas i. and v. are set in their original form. The intervening ones are paraphrased.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+26
+</td><td class="tei tei-cell">
+<span lang="la" class="tei tei-foreign" xml:lang="la">c.</span> 1740. Twenty-fourth S. after Trinity.
+</td><td class="tei tei-cell">
+Ach wie fluchtig.
+</td><td class="tei tei-cell">
+Michael Franck (arranged by ?Picander).
+</td><td class="tei tei-cell">
+Choral Cantata. Stanzas i. and xiii. of the hymn are set in their original form. Stanzas ii.-xii. are paraphrased.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†90
+</td><td class="tei tei-cell">
+c. 1740. Twenty-fifth S. after Trinity.
+</td><td class="tei tei-cell">
+Es reifet euch ein sohrecklich Ende.
+</td><td class="tei tei-cell">
+?Picander.
+</td><td class="tei tei-cell">
+Stanza vii. of Martin Holler's hymn, <span class="tei tei-q">“Nimm von uns, Herr, du treuer Gott”</span>; rest of libretto original. A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+62
+</td><td class="tei tei-cell">
+c. 1740 (after 1734). First S. in Advent.
+</td><td class="tei tei-cell">
+Nun komm, der Heiden Heiland.
+</td><td class="tei tei-cell">
+Luther (arranged by ?Picander).
+</td><td class="tei tei-cell">
+Choral Cantata. Stanzas i. and viii. are set in their original form. The intervening stanzas are paraphrased.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+91
+</td><td class="tei tei-cell">
+c. 1740.   Christmas Day.
+</td><td class="tei tei-cell">
+Gelobet seist du, Jesu Christ.
+</td><td class="tei tei-cell">
+Luther (arranged by ?Picander).
+</td><td class="tei tei-cell">
+Choral Cantata. Stanzas i., ii., vii. of the hymn are set in their original form. The remaining stanzas are paraphrased.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+110
+</td><td class="tei tei-cell">
+Unser Mund sei voll Lachens (Psalm cxxvi. 2).
+</td><td class="tei tei-cell">
+After 1734. Christmas Day. Has older instrumental material.
+</td><td class="tei tei-cell">
+?Christian Weiss, senr. Schweitzer (ii. 343) suggests Picander.
+</td><td class="tei tei-cell">
+Psalm cxxvi. 2, 3; Jeremiah x. 6; St. Luke ii. 14; Stanza v. of Caspar Fuger's hymn, <span class="tei tei-q">“Wir Christenleut'”</span>; rest of libretto original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†57
+</td><td class="tei tei-cell">
+c. 1740. Feast of St. Stephen.
+</td><td class="tei tei-cell">
+Selig ist der Mann (St. James i. 12).
+</td><td class="tei tei-cell">
+?Picander.
+</td><td class="tei tei-cell">
+St. James i. 12; Stanza vi. of Ahasuerus Fritsch's hymn, <span class="tei tei-q">“Hast du, denn, Jesu, dein Angesicht gantzlich verborgen”</span>; rest of libretto original. S. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+121
+</td><td class="tei tei-cell">
+c. 1740. Feast of St. Stephen.
+</td><td class="tei tei-cell">
+Christum wir sollen loben schon.
+</td><td class="tei tei-cell">
+Luther (arranged by ?Picander).
+</td><td class="tei tei-cell">
+Choral Cantata. Stanzas i. and viii. of the hymn are set in their original form. Stanzas ii.-vi. are paraphrased. A. T. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+†l51
+</td><td class="tei tei-cell">
+<span lang="la" class="tei tei-foreign" xml:lang="la">c.</span> 1740. Feast of St. John the Evangelist.
+</td><td class="tei tei-cell">
+Süsser Trost, main Jesus kommt.
+</td><td class="tei tei-cell">
+?Bach.
+</td><td class="tei tei-cell">
+Stanza viii. of Nikolaus  Herman's hymn, <span class="tei tei-q">“Lobt Gott, ihr Christen alle gleich”</span>; rest of libretto original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+Incomplete
+</td><td class="tei tei-cell">
+<span lang="la" class="tei tei-foreign" xml:lang="la">c.</span> 1740 (after 1734). For a Wedding.
+</td><td class="tei tei-cell">
+Herr  Gott,  Beherrseher aller Dinge.
+</td><td class="tei tei-cell">
+?Bach.
+</td><td class="tei tei-cell">
+Stanzas iv.  and v. of Joachim Neander's hymn, <span class="tei tei-q">“Lobe den Herren”</span>; rest original. S. B. Soli.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+122
+</td><td class="tei tei-cell">
+<span lang="la" class="tei tei-foreign" xml:lang="la">c.</span> 1742. Sunday after Christmas Day.
+</td><td class="tei tei-cell">
+Das neugebor'ne Kindelein.
+</td><td class="tei tei-cell">
+Cyriacus Schneegass and ?Bach.
+</td><td class="tei tei-cell">
+Choral Cantata. Stanzas i., iii., iv. of the hymn are set in their original form.  Stanza ii. is paraphrased in the first Aria. The two Recitativi are original.
+</td></tr><tr class="tei tei-row"><td class="tei tei-cell">
+116
+</td><td class="tei tei-cell">
+1744 (Nov. 15). Twenty-fifth S. after Trinity.
+</td><td class="tei tei-cell">
+Du Friedefürst, Herr Jesu Christ.
+</td><td class="tei tei-cell">
+Jakob Ebert. Also attributed to Ludwig Helmbold (arranged).
+</td><td class="tei tei-cell">
+Choral Cantata. Stanzas i. and vii. of the hymn are set in their original form. The intervening stanzas are paraphrased.
+</td></tr></tbody></table>
+</div>
+
+
+</div>
+
+<span class="tei tei-pb" id="page143">[pg 143]</span>
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  <a name="toc43" id="toc43"></a>
+  <a name="pdf44" id="pdf44"></a>
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">APPENDIX III.  THE BACHGESELLSCHAFT EDITIONS OF BACH'S WORKS</span></h1>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Bachgesellschaft was founded on December 15, 1850, issued its first volume in 1851, and was dissolved on January 27, 1900, upon the publication of its sixtieth and concluding volume.  The Society had fulfilled its fundamental purpose—the publication of Bach's works—and on the very date of its dissolution the Neue Bachgesellschaft was founded with the object of popularising Bach's music by publishing it in practicable form and by holding Bach Festivals.  A secondary object, the foundation of a Bach Museum at Eisenach, in the house in which Bach was born, already has been achieved.  Bach Festivals have been held at regular intervals—at Berlin in 1901, Leipzig in 1904, Eisenach—in connection with the opening of the Museum—in 1907, at Chemnitz in 1908, Duisburg in 1910, Breslau in 1912, Vienna in 1914.  The publications of the new Society necessarily are unimportant by the side of those of its predecessor.  It has, however, brought to light and published a Cantata overlooked by the old Bachgesellschaft.  (See New B.G. XIII. (2).)
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The publications of both Societies are quoted here by their year of issue—I., II., III., and so forth.  When more than one volume has been published in a single year they are differentiated thus: XV.(1), XV.(2).  When a volume appeared upon a date subsequent to the Vereinsjahr it
+<span class="tei tei-pb" id="page226">[pg 226]</span>
+bears, the date of the Preface is indicated in a bracket, e.g. 1872[1876].
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The editorial work of the original Bachgesellschaft was undertaken, in unequal proportions, by ten editors during fifty years.  Of the Society's sixty volumes three were edited by Moritz Hauptmann (1851-58), one by Carl F. Becker (1853), two by Julius Rietz (1854-56), twenty-seven by Wilhelm Rust (1855-81), one by Franz Kroll (1866), eleven by Alfred Dörffel (1876-98), six by Paul Graf Waldersee (1881-94), five by Ernst Naumann (1886-94), two by Franz Wüllner (1887-92), and two by Hermann Kretzschmar (1895-1900).
+</p>
+
+<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em">
+<h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">(A) PUBLICATIONS OF THE BACHGESELLSCHAFT</span></h2>
+
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">I.</th><td class="tei tei-item"> 1851. Kirchencantaten. Erster Band. Ed. Moritz 
+Hauptmann.<a id="noteref_478" name="noteref_478" href="#note_478"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">478</span></span></a>
+
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. *1. Wie schön leuchtet der Morgenstern.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. *2. Ach Gott, vom Himmel sieh darein.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. *3. Ach Gott, wie manches Herzeleid (c. 1740).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. *4. Christ lag in Todesbanden.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No.  5. Wo soll ich fliehen hin.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. *6. Bleib' bei uns, denn es will Abend werden.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No.  7. Christ unser Herr zura Jordan kam.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. *8. Liebster Gott, warm werd' ich sterben?</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No.  9. Es ist das Heil uns kommen her.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. *10. Meine Seel' erhebt den Herren!</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Frontispiece: G. Haussmann's portrait of Bach, in the 
+possession of St. Thomas' School, Leipzig.</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">II.</th><td class="tei tei-item">1852. Kirchencantaten. Zweiter Band. Ed. Moritz Hauptmann.
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">*No. 11. Lobet Gott in seinen Reichen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. *12. Weinen, Klagen, Sorgen, Zagen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. 13. Meine Seufzer, meine Thränen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. 14. War' Gott nicht mit uns diese Zeit.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. 15. Denn du wirst meine Seele nicht in der Hölle lassen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. 16. Herr Gott dich loben wir.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. 17. Wer Dank opfert, der preiset mich.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. 18. Gleich vie der Begen uud Schnee vom Himmel fallt.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. 19. Es erhub sich ein Streit.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. 20. O Ewigkeit, du Donnerwort (<span lang="la" class="tei tei-foreign" xml:lang="la">c.</span> 1725).</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">III.</th><td class="tei tei-item">1853. Clavierwerke. Erster Band. Ed. Carl F. Becker.
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">(1)</th><td class="tei tei-item">Fifteen Inventions and Fifteen Symphonies (Sinfonie) (P. bk. 201).<a id="noteref_479" name="noteref_479" href="#note_479"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">479</span></span></a>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">(2)</th><td class="tei tei-item"> Clavierübung, Part I.:—
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Partiten 1-6 (P. bka. 205, 206).</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">(3)</th><td class="tei tei-item"> Clavierübung, Part II.:—
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Concerto, in F major, in the Italian style (P bk. 207).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Partita (Overture) in B minor (P. bk. 208).</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">(4)</th><td class="tei tei-item"> Clavierübung, Part III.:—
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Organ Prelude and Fugue in E flat major (N. bk. 16 pp. 19, 83).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Four Duetti (P. bk. 208 p. 78).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Catechism Choral Preludes (Organ):—
+    <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item">
+        <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Kyrie, Gott Vater in Ewigkeit (N. bk. 16 p. 28).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Christe, aller Welt Trost (ib. p. 30).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Kyrie, Gott heiliger Geist (ib. p. 33).</td></tr></tbody></table>
+      </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item">
+       <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Kyrie, Gott Vater in Ewigkeit (alio modo) (<span lang="la" class="tei tei-foreign" xml:lang="la">ib.</span> p. 36).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Christe, aller Welt Trost (ib. p. 37).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Kyrie, Gott heiliger Geist (ib. p. 38).</td></tr></tbody></table>
+	  </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item"> Allein Gott in der Hoh' sei Ehr' (ib. p. 39).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4.</th><td class="tei tei-item"> Ditto (<span lang="la" class="tei tei-foreign" xml:lang="la">ib.</span> p. 40*).<a id="noteref_480" name="noteref_480" href="#note_480"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">480</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">5.</th><td class="tei tei-item"> Allein Gott in der Hoh' sei Ehr' (Fughetta) (N. bk. 16 p. 41).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">6.</th><td class="tei tei-item"> Dies sind die heil'gen zehn Gebot' (ib. p. 42).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">7.</th><td class="tei tei-item"> Ditto (Fughetta) (ib. p. 47).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">8.</th><td class="tei tei-item"> Wir glauben all' an einen Gott (ib. p. 49).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">9.</th><td class="tei tei-item"> Ditto (Fughetta) (ib. p. 52).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">10.</th><td class="tei tei-item"> Vater unser im Himmelreich (ib. p. 53).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">11.</th><td class="tei tei-item"> Ditto (ib. p. 61).<a id="noteref_481" name="noteref_481" href="#note_481"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">481</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">12.</th><td class="tei tei-item"> Christ unser Herr zum Jordan kam (ib. p. 62).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">13.</th><td class="tei tei-item"> Ditto (ib. p. 67).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">14.</th><td class="tei tei-item"> Aus tiefer Noth schrei ich zu dir (ib. p. 68).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">15.</th><td class="tei tei-item"> Ditto (ib. p. 72).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">16.</th><td class="tei tei-item"> Jesus Christus unser Heiland (ib. p. 74).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">17.</th><td class="tei tei-item"> Ditto (Fugue) (ib. p. 80).</td></tr></tbody></table>
+	 </td></tr></tbody></table>
+	</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">(5)</th><td class="tei tei-item"> Clavierübung, Part IV.:—
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Aria and thirty Variations (Goldberg) (P. bk. 209).</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">(6)</th><td class="tei tei-item">
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Toccata in F sharp minor (P. bk. 210 p. 30).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Ditto. C minor (P. bk. 210 p. 40).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Fugue (with Fantasia) in A minor (P. bk. 207 p. 16).</td></tr></tbody></table>
+ </td></tr></tbody></table>
+ </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">IV.</th><td class="tei tei-item">1854. *Passionsmusik nach dem Evangelisten Matthäus.  Ed. Julius Rietz.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">V(1).</th><td class="tei tei-item">1855. Kirchencantaten. Dritter Band. Ed. Wilhelm Rust.
+   <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">*21. Ich hatte viel Bekümmerniss.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">22. Jesus nahm zu sich die Zwölfe.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">*23. Du wahrer Gott und Davids Sohn.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">24. Ein ungefärbt Gemüthe.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">*25. Es ist nichts Gesundes an meinem Leibe.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">26. Ach wie flüchtig, ach wie nichtig.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">*27. Wer weiss, wie nahe mir mein Ende.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">*28. Gottlob! nun geht das Jahr zu Ende.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">29. Wir danken dir, Gott, wir danken dir.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">*30. Freue dich, erlöste Schaar.</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">V(2).</th><td class="tei tei-item">1855 [1856]. Weinachts-Oratorium. Ed. Wilhelm Rust.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">VI.</th><td class="tei tei-item">1856. *Messe. H moll. Ed. Julius Rietz.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">VI.</th><td class="tei tei-item">VII. 1857. Kirchencantaten. Vierter Band. Ed. Wilhelm Rust.
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. 31. Der Himmel lacht, die Erde jubiliret.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">*32. Liebster Jesu, mein Verlangen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">33. Allein zu dir, Herr Jesu Christ.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">*34. O ewiges Feuer, O Ursprung der Liebe.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">35. Geist und Seele wird verwirrt.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">36. Schwingt freudig euch empor.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">37. Wer da glaubet und getauft wird.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">*38. Aus tiefer Noth schrei ich zu dir.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">*39. Brich dem Hungrigen dein Brod.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">*40. Dazu ist erschienen der Sohn Gottes.</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">VIII.</th><td class="tei tei-item"> 1858. Vier Messen. F dur, *A dur, G moll, G dur. Ed. Moritz Hauptmann.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">IX.</th><td class="tei tei-item"> 1859 [I860]. Kammermusik. Erster Band. Ed. Wilhelm Rust.
+   <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Three Sonatas, in B minor, E flat major, A minor (and Variant), for Clavier and Flute (P. bk. 234).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Suite in A major, for Clavier and Violin (P. bk. 236).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Six Sonatas, in B minor, A major, E major, C minor, F minor (and Variant), G major (and Variants), for Clavier and Violin (P. bks. 232, 233).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Three Sonatas, in G major (or 2 Flutes), D major, G minor for Clavier and Viola da Gamba (P. bk. 239).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Sonata in G major, for Flute, Violin, and Clavier (P. bk. 237).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Sonata in C major, for two Violins and Clavier (P. bk. 237).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Sonata in G minor, for Clavier and Violin (not in P.).<a id="noteref_482" name="noteref_482" href="#note_482"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">482</span></span></a>
+</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">X.</th><td class="tei tei-item">1860. Kirchencantaten. Fünfter Band. Ed. Wilhelm Rust.
+   <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. *41. Jesu, nun sei gepreiset.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">42. Am Abend aber desselbigen Sabbaths.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">*43. Gott fahret auf mit Jauchzen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">*44. Sie werden euch in den Bann thun (<span lang="la" class="tei tei-foreign" xml:lang="la">c.</span> 1725).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">45. Es ist dir gesagt, Mensch, was gut ist.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">46. Schauet doch und sehet, etc.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">47. Wer sich selbst erhöhet, der soll emiedriget werden</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">48. Ich elender Mensch, wer wird mich erlösen?</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">49. Ich geh' und suche mit Verlangen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">*50. Nun ist das Heil und die Kraft.</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XI (1).</th><td class="tei tei-item">1861 [1862]. *Magnificat, D dur, und vier Sanctus, C dur, D dur, D moll, G dur. Ed. Wilhelm Rust.
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">The Appendix contains four additional numbers which are found in one of the two Autograph scores of the Magnificat.</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XI (2).</th><td class="tei tei-item"> 1861 [1862]. Kammermusik für Gesang. Erster Band. Ed. Wilhelm Rust.
+   <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Secular Cantata: *Phoebus und Pan.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Secular Cantata: Weichet nur, betrübte Schatten.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Secular Cantata: Amore traditore.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Secular Cantata: Von der Vergnügsamkeit, or, Ich bin in mir vergnügt.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Secular Cantata: Der zufriedengestellte Aeolus, or, Zer reisset, zersprenget, zertrümmert die Gruft.</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XII (1).</th><td class="tei tei-item">1862 [1863]. *Passionsmusik nach dem Evangelisten Johannes. Ed. Wilhelm Rust.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XII (2).</th><td class="tei tei-item">1862 [1863]. Kirchencantaten. Sechster Band. Ed. Wilhelm Rust.
+   <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. 51. Jauchzet Gott in allen Landen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">52. Falsche Welt, dir trau ich nicht.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">*53. Schlage doch, gewünschte Stunde.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">*54. Widerstehe doch der Sünde.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">55. Ich armer Mensch, ich Sündenknecht.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">*56. Ich will den Kreuzstab gerne tragen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">57. Selig ist der Mann.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">58. Ach Gott, wie manches Herzeleid (1733).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">59. Wer mich liebet, der wird mein Wort halten (1716).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">60. O Ewigkeit, du Donnerwort (1732).</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XIII (1).</th><td class="tei tei-item">1863 [1864]. Trauungs-Cantaten. Ed. Wilhelm Rust.
+   <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. *195. Dem Gerechten muss das Licht.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">196. Der Herr denket an uns.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">197.
+       <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Gott ist uns're Zuversicht.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Drei Chorale zu Trauungen : (1) Was Gott thut, (2) Sei Lob und Ehr', (3) Nun danket alle Gott.</td></tr></tbody></table></td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XIII (2).</th><td class="tei tei-item"> 1863. Clavierwerke. Zweiter Band. Ed. Wilhelm Rust.
+   <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Six Great Suites, in A major, A minor, G minor, F major, E minor, D minor, known as the <span class="tei tei-q">“English Suites”</span> (P. bks. 203,204).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Six Small Suites, in D minor, C minor, B minor, E flat major, G major, E major, known as the <span class="tei tei-q">“French Suites”</span> (P. bk. 202).<a id="noteref_483" name="noteref_483" href="#note_483"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">483</span></span></a></td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XIII (3).</th><td class="tei tei-item"> 1863 [1865]. *Trauer-Ode. Ed. Wilhelm Rust.
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XIV.</th><td class="tei tei-item"> 1864 [1866]. Clavierwerke. Dritter Band. Das wohltemperirte Clavier (P. bks. 2790 a-b.). Ed. Franz Kroll.<a id="noteref_484" name="noteref_484" href="#note_484"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">484</span></span></a>
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Erster Theil, 1722.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Zweiter Theil, 1744.</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XV.</th><td class="tei tei-item"> 1865 [1867]. Orgelwerke. Erster Band. Ed. Wilhelm Rust.
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Six Sonatas, in E flat major, C minor, D minor, E minor, 
+C major, G major (N. bks. 4, 5), for 2 Claviers and Pedal.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Eighteen Preludes and Fugues:—
+     <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude and Fugue in C major (N. bk. 7 p. 74).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude and Fugue in D major (N. bk. 6 p. 10).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude and Fugue in E minor (N. bk. 2 p. 44).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude and Fugue in F minor (N. bk. 6 p. 21).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude and Fugue in G minor (N. bk. 8 p. 120).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude and Fugue in A major (N. bk. 3 p. 64).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude (Fantasia) and Fugue in C minor (N. bk. 3 p. 76).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude (Toccata) in D minor (N. bk. 10 p. 196).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude and Fugue in D minor (N. bk. 9 p. 150).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude and Fugue (Toccata) in F major (N. bk. 9 p. 176).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude and Fugue the Great, in G major (N. bk. 8 p. 112).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude (Fantasia) and Fugue in G minor (N. bk. 8 p. 127).<a id="noteref_485" name="noteref_485" href="#note_485"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">485</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude (Fantasia) and Fugue in A minor (N. bk. 7 p. 42).<a id="noteref_486" name="noteref_486" href="#note_486"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">486</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude (Fantasia) and Fugue in B minor (N. bk. 7 p. 52).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude (Fantasia) and Fugue in C minor (N. bk. 7 p. 64).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude (Fantasia) and Fugue in C major (N. bk. 9 p. 156).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude (Fantasia) and Fugue in E minor (N. bk. 8 p. 98).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude and Fugue in C major (N. bk. 3 p. 70).</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Three Toccatas and Fugues, in C major, the <span class="tei tei-q">“Great”</span> (N. bk. 9 p. 137).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Toccata and Fugue D minor (N. bk. 6 p. 2).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Toccata and Fugue E major (N. bk. 8 p. 88, as Prelude and Fugue in C major)</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Passacaglia, in C minor (N. bk. 10 p. 214).</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XVI.</th><td class="tei tei-item"> 1866 [1868]. Kirchencantaten. Siebenter Band. Ed. Wilhelm Rust.
+ <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. *61. Nun komm, der Heiden Heiland (1714).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">62. Nun komm, der Heiden Heiland (c. 1740).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">63. Christen, ätzet diesen Tag.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">64. Sehet, welch' eine Liebe.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">*65. Sie werden aus Saba Alle kommen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">66. Erfreut euch, ihr Herzen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">*67. Halt' im Gedachtniss Jesum Christ.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">*68. Also hat Gott die Welt geliebt.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">69. Lobe den Herren, meine Seele.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">*70. Wachet, betet, seid bereit allezeit.</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XVII.</th><td class="tei tei-item"> 1867 [1869]. Kammermusik. Zweiter Band. Ed. Wilhelm Rust.
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Seven Concertos, in D minor (and Variant),<a id="noteref_487" name="noteref_487" href="#note_487"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">487</span></span></a>
+ E major (and Variant), D major (and Variant), A major (and Variant), F minor, F major, G minor, for Clavier and Orchestra (Strings; two flutes added in Concerto VI. (P. bks. 248-254).<a id="noteref_488" name="noteref_488" href="#note_488"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">488</span></span></a>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Triple Concerto in A minor, for Flute, Violin, Clavier, and Orchestra (Strings). (P. bk. 255).</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XVIII.</th><td class="tei tei-item"> 1868 [1870]. Kirchencantaten. Achter Band. Ed. Wilhelm Rust.
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. 71. Gott ist mem Küonig.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">72. Alles nur nach Gottes Willen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">73. Herr, wie du willt, so schick's mit mir.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">74. Wer mich liebet, der wird mein Wort halten (? 1735).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">75. Die Elenden sollen essen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">76. Die Himmel erzahlen die Ehre Gottes.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">77. Du sollst Gott, deinen Herren, lieben.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">78. Jesu, der du meine Seele.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">*79. Gott, der Herr, ist Sonn' und Schild.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">*80. Ein' feste Burg ist unser Gott.</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XIX.</th><td class="tei tei-item"> 1869 [1871]. Kammermusik. Dritter Band. Ed. 
+Wilhelm Rust.
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Six Concertos (<span class="tei tei-q">“Brandenburg”</span>) for Orchestra and Continuo:—
+</p>
+   <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. I. in F major (Strings, 3 Ob., Fag., 2 Cor. (P. bk. 261).<a id="noteref_489" name="noteref_489" href="#note_489"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">489</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. II. in F major (Strings, Flute, Oboe, Tromba) (P. bk. 262).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. III. in G major (Strings) (P. bk. 263). [N.B.G. IX. (3)]. </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. IV. in G major (Strings and 2 Flutes) (P. bk. 264). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. V. in D major (Strings, Flute, Clavier) (P. bk. 265). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. VI. in B flat major (2 Violas, 2 Violas da Gamba, Violoncello, Contrabasso) (P. bk. 266).</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XX (1).</th><td class="tei tei-item"> 1870 [1872]. Kirchencantaten. Neunter Band. Ed. 
+Wilhelm Rust. 
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. *81. Jesus schläft, was soll ich hoffen?</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">*82. Ich habe genug.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">83. Erf route Zeit im neuen Bunde.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">84. Ich bin vergnügt mit meinem Glücke.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">85. Ich bin ein guter Hirt. [Score, N.B.G. IX. (1)].</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">86. Wahrlich, wahrlich, ich sage euch.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">87. Bisher habt ihr nichts gebeten in meinem Namen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">88. Siehe, ich will viel Fischer aussenden. [Score, N.B.G. VII. (1)].</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">89. Was soll ich aus dir machen, Ephraim?</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">90. Es reifet euch ein schrecklich Ende.</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XX (2).</th><td class="tei tei-item"> 1870 [1873]. Kammermusik für Gesang. Zweiter Band. Ed. Wilhelm Rust.
+ <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Secular Cantata: Schleicht, spielende Wellen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Secular Cantata: Vereinigte Zwietracht der wechsehiden Saiten. </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Secular Cantata: Auf, schmetternde Tone der muntern Trompeten. [See B.G. XXXIV].</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XXI (1).</th><td class="tei tei-item"> 1871 [1874]. Kammermusik. Vierter Band. Ed. Wilhelm Rust.
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Three Concertos for Violin and Orchestra (Strings):—
+    <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. I. in A minor (P. bk. 229).<a id="noteref_490" name="noteref_490" href="#note_490"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">490</span></span></a>
+      </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. II. in E major (P. bk. 230).<a id="noteref_491" name="noteref_491" href="#note_491"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">491</span></span></a>
+      </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. III. in D minor (two Violins) (P. bk. 231).<a id="noteref_492" name="noteref_492" href="#note_492"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">492</span></span></a>
+      </td></tr></tbody></table>
+	  </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item"> Symphonic movement, in D major, for Violin and Orchestra (Strings, 2 Ob., 3 Trombe, Timp.).<a id="noteref_493" name="noteref_493" href="#note_493"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">493</span></span></a>
+      </td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XXI (2).</th><td class="tei tei-item"> 1871 [1874]. Kammermusik. Fünfter Band. Ed. 
+Wilhelm Rust. 
+ <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Three Concertos for two Claviers and Orchestra (Strings):—</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. I. in C minor (P. bk. 257). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. II. in C major (P. bk. 256). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. III. in C minor (P. bk. 257b).<a id="noteref_494" name="noteref_494" href="#note_494"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">494</span></span></a>
+   </td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XXI (3).</th><td class="tei tei-item"> 1871 [1874]. *0ster-0ratorium: <span class="tei tei-q">“Kommt, eilet und laufet.”</span> Ed. Wilhelm Rust.
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XXII.</th><td class="tei tei-item"> 1872 [1875]. Kirchencantaten. Zehnter Band. Ed. Wilhelm Rust.
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. 91. Gelobet seist du, Jesu Christ.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">92. Ich hab' in Gottes Herz und Sinn.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">*93. Wer nur den lieben Gott lässt walten.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">94. Was frag ich nach der Welt.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">95. Christus, der ist mein Leben.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">96. Herr Christ, der ein'ge Gottes-Sohn.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">97. In allen meinen Thaten.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">98. Was Gott thut, das ist wohlgethan, in B major (c. 1732).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">99. Was Gott thut, das ist wohlgethan, in G major (c. 1733).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">100. Was Gott thut, das ist wohlgethan, in G major (c. 1735).</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XXIII.</th><td class="tei tei-item"> 1873 [1876]. Kirchencantaten. Elfter Band. Ed. Wilhelm Rust.
+ <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. 101. Nimm von uns, Herr, du treuer Gott.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">102. Herr, deine Augen sehen nach dem Glauben.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">103. Ihr werdet weinen und heulen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">*104. Du Hirte Israel, höre.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">105. Herr, gehe nicht in's Gericht.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">*106. Gottes Zeit ist die allerbeste Zeit (Actus tragicus).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">107. Was willst du dich betrüben.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">108. Es ist euch gut, dass ich hingehe.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">109. Ich glaube, lieber Herre.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">110. Unser Mund sei voll Lachens.</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XXIV.</th><td class="tei tei-item"> 1874 [1876]. Kirchencantaten. Zwölfter Band. Ed. Alfred Dörffel.
+ <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. 111. Was mein Gott will, das g'scheh' allzeit.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">*112. Der Herr ist mein getreuer Hirt.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">113. Herr Jesu Christ, du höchstes Gut.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">114. Ach, lieben Christen, seid getrost.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">*115. Mache dich, mem Geist, bereit.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">*116. Du Friedefürst, Herr Jesu Christ.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">117. Sei Lob und Ehr' dem höchsten Gut.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">118. O Jesu Christ, mein's Lebens Licht.<a id="noteref_495" name="noteref_495" href="#note_495"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">495</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">*119. Preise, Jerusalem, den Herrn.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">120. Gott, man lobet dich in der Stille.</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XXV (1).</th><td class="tei tei-item"> 1875 [1878]. Die Kunst der Fuge: 1749-1750 Ed. Wilhelm Rust. (P. bk. 218)
+ <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Contrapunctus 1-14</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Four Canons I</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Two Fugues for two Claviers)</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Fugue on three subjects )</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XXV (2)</th><td class="tei tei-item"> 1875 [1878], Orgelwerke. Zweiter Band. Ed. Wilhelm Rust.
+ <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">(1) Orgelbüchlein (N. bk. 15), containing Preludes on the following melodies:<a id="noteref_496" name="noteref_496" href="#note_496"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">496</span></span></a>
+   <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item"><em class="tei tei-emph"><span style="font-style: italic">Advent—</span></em>
+     <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item">Nun komm der Heiden Heiland.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item">Gott, durch deine Güte, or, Gottes Sohn ist kommen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item">Herr Christ, der ein'ge Gottes-Sohn, or, Herr Gott, nun sei gepreiset.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4.</th><td class="tei tei-item"> Lob sei dem allmächtigen Gott.</td></tr></tbody></table>
+	</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item"><em class="tei tei-emph"><span style="font-style: italic">Christmas—</span></em>
+	 <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">5.</th><td class="tei tei-item">Puer natus in Bethlehem.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">6.</th><td class="tei tei-item">Gelobet seist du, Jesu Christ.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">7.</th><td class="tei tei-item">Der Tag, der ist so freudenreich.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">8.</th><td class="tei tei-item">Vom Himmel hoch, da komm' ich her.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">9.</th><td class="tei tei-item">Vom Himmel kam der Engel Schaar.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">10.</th><td class="tei tei-item">In dulci jubilo.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">11.</th><td class="tei tei-item">Lobt Gott, ihr Christen, allzugleich.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">12.</th><td class="tei tei-item">Jesu, meine Freude.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">13.</th><td class="tei tei-item">Christum wir sollen loben schon.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">14.</th><td class="tei tei-item">Wir Christenleut'.</td></tr></tbody></table>
+	  </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item"><em class="tei tei-emph"><span style="font-style: italic">New Year—</span></em>
+     <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">15.</th><td class="tei tei-item"> Helft mir Gottes Güte preisen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">16.</th><td class="tei tei-item"> Das alte Jahr vergangen ist.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">17.</th><td class="tei tei-item"> In dir ist Freude.</td></tr></tbody></table>
+	 </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item"><em class="tei tei-emph"><span style="font-style: italic">Feast of the Purification of the B.V.M.—</span></em>
+     <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">18.</th><td class="tei tei-item"> Mit Fried' und Freud' ich fahr' dahin.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">19.</th><td class="tei tei-item"> Herr Gott, nun schleuss den Himmel auf.</td></tr></tbody></table>
+	 </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item"><em class="tei tei-emph"><span style="font-style: italic">Passiontide—</span></em>
+	  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">20.</th><td class="tei tei-item">O Lamm Gottes, unschuldig.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">21.</th><td class="tei tei-item">Christe, du Lamm Gottes.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">22.</th><td class="tei tei-item">Christ us, der uns selig macht.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">23.</th><td class="tei tei-item">Da Jesus an dem Kreuze stund.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">24.</th><td class="tei tei-item">O Mensch, bewein' dein' Sünde gross.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">25.</th><td class="tei tei-item">Wir danken dir, Herr Jesu Christ.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">26.</th><td class="tei tei-item">Hilf Gott, dass mir's gelinge.</td></tr></tbody></table>
+	</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item"><em class="tei tei-emph"><span style="font-style: italic">Easter—</span></em>
+     <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">27.</th><td class="tei tei-item">Christ lag in Todesbanden.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">28.</th><td class="tei tei-item">Jesus Christus, unser Heiland, der den Tod.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">29.</th><td class="tei tei-item">Christ ist erstanden (three verses).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">30.</th><td class="tei tei-item">Erstanden ist der heil'ge Christ.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">31.</th><td class="tei tei-item">Erschienen ist der herrliche Tag.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">32.</th><td class="tei tei-item">Heut' triumphiret Gottes Sohn.</td></tr></tbody></table>
+	</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item"><em class="tei tei-emph"><span style="font-style: italic">Whitsunday—</span></em>
+     <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">33.</th><td class="tei tei-item">Komm, Gott, Schöpfer, heiliger Geist.</td></tr></tbody></table>
+	</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item"><em class="tei tei-emph"><span style="font-style: italic">Trinity Sunday—</span></em>
+     <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">34.</th><td class="tei tei-item">Herr Jesu Christ, dich zu uns wend'.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">35-6.</th><td class="tei tei-item">Liebster Jesu, wir sind hier (two settings). </td></tr></tbody></table>
+	</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item"><em class="tei tei-emph"><span style="font-style: italic">The Catechism—</span></em>
+	  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">37.</th><td class="tei tei-item">Dies sind die heil'gen zehn Gebot.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">38.</th><td class="tei tei-item">Vater unser im Himmelreich.</td></tr></tbody></table>
+	  </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item"><em class="tei tei-emph"><span style="font-style: italic">Penitence and Amendment—</span></em>
+     <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">39.</th><td class="tei tei-item">Durch Adam's Fall ist ganz verderbt.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">40.</th><td class="tei tei-item">Es ist das Heil uns kommen her.</td></tr></tbody></table>
+	</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item"><em class="tei tei-emph"><span style="font-style: italic">Christian Conduct and Experience—</span></em>
+     <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">41.</th><td class="tei tei-item">Ich ruf' zu dir, Herr Jesu Christ.</td></tr></tbody></table>
+	</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item"><em class="tei tei-emph"><span style="font-style: italic">In Time of Trouble—</span></em>
+     <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">42.</th><td class="tei tei-item">In dich hab' ich gehoffet, Herr.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">43.</th><td class="tei tei-item">Wenn wir in höchsten Nothen sein.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">44.</th><td class="tei tei-item">Wer nur den lieben Gott lässt walten.</td></tr></tbody></table>
+	</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item"><em class="tei tei-emph"><span style="font-style: italic">Death and the Grave—</span></em>
+     <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">45.</th><td class="tei tei-item">Alle Menschen müssen sterben.</td></tr></tbody></table>
+	</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item"><em class="tei tei-emph"><span style="font-style: italic">The Life Eternal—</span></em>
+     <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">46.</th><td class="tei tei-item">Ach wie nichtig, ach wie flüchtig.</td></tr></tbody></table>
+	</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">(2) Six Chorals (Schübler) (N. bk. 16) on the following melodies:
+   <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Wachet auf, ruft uns die Stimme.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Wo soll ich fliehen hin, <em class="tei tei-emph"><span style="font-style: italic">or</span></em>, Auf meinen lieben Gott.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Wer nur den lieben Gott lässt walten.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Meine Seele erhebt den Herren.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Ach bleib bei uns, Herr Jesu Christ.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Kommst du nun, Jesu, vom Himmel herunter.</td></tr></tbody></table>
+  </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">(3) Eighteen Chorals (N. bk. 17) on the following melodies:
+   <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1., 2.</th><td class="tei tei-item">Komm, heiliger Geist, Herre Gott (two settings).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item">An Wasserflüssen Babylon.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4.</th><td class="tei tei-item">Schmücke dich, O liebe Seele.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">5.</th><td class="tei tei-item">Herr Jesu Christ, dich zu uns wend'.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">6.</th><td class="tei tei-item">O Lamm Gottes unschuldig (three verses).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">7.</th><td class="tei tei-item">Nun danket Alle Gott.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">8.</th><td class="tei tei-item">Von Gott will ich nicht lassen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">9, 10, 11.</th><td class="tei tei-item">Nun komm der Heiden Heiland (three settings).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">12, 13, 14.</th><td class="tei tei-item">Allein Gott in der Höh' sei Ehr' (three settings).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">15, 16.</th><td class="tei tei-item">Jesus Christus, unser Heiland, der von uns (two settings).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">17.</th><td class="tei tei-item">Komm, Gott, Schöpfer, heiliger Geist.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">18.</th><td class="tei tei-item">Vor deinen Thron tret' ich, or, Wenn wir in höchsten Nöthen sein.</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">(4) Older texts of the <span class="tei tei-q">“Orgelbülein”</span> and <span class="tei tei-q">“Eighteen”</span> Chorals:
+    <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item">Christus, der uns selig macht (Orgelbülein No. 22) (P. bk. 244 p. 108).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item">Komm, Gott, Schöpfer, heiliger Geist (Orgelbülein No. 33) (P. bk. 246 p. 86A).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item">Komm, heiliger Geist, Herre Gott (Eighteen No. 1) (P. bk. 246 p. 86).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4.</th><td class="tei tei-item">Ditto (Eighteen No. 2) (P. bk. 246 p. 88).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">5.</th><td class="tei tei-item">An Wasserflüssen Babylon (Eighteen No. 3) (P. bk. 245 p. 103).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">6.</th><td class="tei tei-item">Herr Jesu Christ, dich zu uns wend' (Eighteen No. 5) (P. bk. 245 pp. 107, 108 prints two of the three Variants).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">9.</th><td class="tei tei-item">O Lamm Gottes unschuldig (Eighteen No. 6)(P. bk. 246 p. 97).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">10.</th><td class="tei tei-item">Von Gott will ich nicht lassen (Eighteen No. 8) (P. bk. 246 p. 102).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">11.</th><td class="tei tei-item">Nun komm der Heiden Heiland (Eighteen No. 9) (P. bk. 246 p. 92).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">12.</th><td class="tei tei-item">Ditto (Eighteen No. 10) (P. bk. 246 pp. 93, 94).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">14.</th><td class="tei tei-item">Ditto (Eighteen No. 11) (P. bk. 246 p. 96).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">15.</th><td class="tei tei-item">Allein Gott in der Höh' sei Ehr' (Eighteen No. 13) (P. bk. 245 p. 100).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">16.</th><td class="tei tei-item">Allein Gott in der Hö' sei Ehr' (Eighteen No. 14) (P. bk. 245 p. 97).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">17.</th><td class="tei tei-item">Jesus Christus unser Heiland (Eighteen No. 15) (P. bk. 245 p. 112).</td></tr></tbody></table>
+  </td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XXVI.</th><td class="tei tei-item"> 1876 [1878]. Kirchencantaten. Dreizehnter Band. Ed. Alfred Dörffel.
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">121.</th><td class="tei tei-item">Christum wir sollen loben schon.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">122.</th><td class="tei tei-item">Das neugebor'ne Kindelein.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">123.</th><td class="tei tei-item">Liebster Immanuel, Herzog der Frommen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">124.</th><td class="tei tei-item">Meinen Jesum lass' ich nicht.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">125.</th><td class="tei tei-item">Mit Fried' und Freud' ich fahr' dahin.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">126.</th><td class="tei tei-item">Erhalt' uns, Herr, bei deinem Wort.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">127.</th><td class="tei tei-item">Herr Jesu Christ, wahr'r Mensch und Gott.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">128.</th><td class="tei tei-item">Auf Christi Himmelfahrt allein.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">129.</th><td class="tei tei-item">Gelobet sei der Herr.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">130.</th><td class="tei tei-item">Herr Gott, dich loben alle wir.</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XXVII (1).</th><td class="tei tei-item"> 1877 [18791. Kammermusik. Sechster Band. Ed. Alfred Dörffel.
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Three Sonatas (Suites), in G minor, A minor,<a id="noteref_497" name="noteref_497" href="#note_497"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">497</span></span></a>
+          C major,<a id="noteref_498" name="noteref_498" href="#note_498"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">498</span></span></a>
+          for Violin Solo (Nos. 1, 3, 5 in P. bk. 228).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Three Partitas (Suites, Sonatas), in B minor, D minor, E major,1 for Violin Solo (Nos. 2, 4, 6 in P. bk. 228).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Six Suites (Sonatas), in G major, D minor, C major, E flat major, C minor, D major, for Violoncello Solo (P. bks. 238a, 238).</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XXVII (2).</th><td class="tei tei-item"> 1877 [1878]. Thematisches Verzeichniss der Kirchencantaten No. 1-120. Ed. Alfred Dörffel.
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+[Note.—The Thematic Catalogue is completed in B.G. XLVI. (P. bk. 270b).]
+</p>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XXVIII.</th><td class="tei tei-item"> 1878 [1881]. Kirchencantaten. Vierzehnter Band Ed. Wilhelm Rust.
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">131.</th><td class="tei tei-item">Aus der Tiefe rufe ich, Herr, zu dir.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">132.</th><td class="tei tei-item">Bereitet die Wege, bereitet die Bahn.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">133.</th><td class="tei tei-item">Ich freue mich in dir.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">134.</th><td class="tei tei-item">Ein Herz, das seinen Jesum lebend weiss [and Variant].</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">135.</th><td class="tei tei-item">Ach Herr, mich armen Sunder.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">136.</th><td class="tei tei-item">Erforsche mich, Gott.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">137.</th><td class="tei tei-item">Lobe den Herren, den mächtigen Küonig.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">138.</th><td class="tei tei-item">Warum betrübst du dich, mein Herz?</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">139.</th><td class="tei tei-item">Wohl dem, der sioh auf seinen Gott.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">*140.</th><td class="tei tei-item">Wachet auf, ruft uns die Stimme.<a id="noteref_499" name="noteref_499" href="#note_499"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">499</span></span></a>
+Mit Gnaden bekrone der Himmel die Zeiten (No. 134 adapted).</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XXIX.</th><td class="tei tei-item"> 1879 [1881]. Kammermusik für Gesang, Dritter Band. Ed. Paul Graf Waldersee.
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Secular Cantata: Was mir behagt, ist nur die muntre Jagd.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Secular Cantata: Non sa che sia dolore.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Secular Cantata: O holder Tag, erwünschte Zeit (Wedding).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Church Cantata No. 194: Hochsterwünschtes Freudenfest.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Secular Cantata: Schweigt stille, plaudert nicht.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Secular Cantata: Mer hahn en neue Oberkeet.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Secular Cantata: Mit Gnaden bekröne der Himmel die Zeiten.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Secular Cantata: O angenehme Melodei.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Instrumental Piece for Violin, Flute, and Continuo. (Not in P.).</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XXX.</th><td class="tei tei-item"> 1880 [1884]. Kirchencantaten. Fünfzehnter Band. Ed. Paul Graf Waldersee.
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">141. Das ist je gewisslich wahr.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">142. Uns ist ein Kind geboren.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">143. Lobe den Herren, meine Seele.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">144. Nimm, was dein ist, und gehe hin.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">145. So du mit deinem Munde bekennest Jesum.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">146. Wir müssen durch viel Trübsal in das Reich Gottes eingehen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">147. Herz und Mund und That und Leben.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">148. Bringet dem Herrn Ehre seines Namens.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">*149. Man singet mit Freuden vom Sieg.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">150. Nach dir, Herr, verlanget mich.</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XXXI (1).</th><td class="tei tei-item"> 1881 [1885] Orchesterwerke. Ed. Alfred Dörffel. (P. bk. 219)
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Overture in C major (Strings, Ob. 1 and 2, Fagotto) (P. bk. 267).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Overture B minor (Strings, Flauto traverso) (P. bk. 268). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Overture D major (Strings, Ob. 1 and 2, Trombe 1, 2, 3, Timpani) (P. bk. 269). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Overture D major (Strings, Ob. 1, 2, 3, Fagotto, Trombe 1, 2, 3, Timpani) (P. bk. 2068).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Sinfonia in F major (Strings, Ob. 1, 2, 3, Fagotto, Corno da caccia 1 and 2).<a id="noteref_500" name="noteref_500" href="#note_500"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">500</span></span></a></td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XXXI (2).</th><td class="tei tei-item"> 1881 [1885] Musikalisches Opfer. 1747. Ed. Alfred Dörffel.
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Ricercare a tre voci.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Canon perpetuus super thema regium.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Canones diversi 1-5.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Fuga canonica in Epidiapente.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Ricercare a sei voci.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Two Canons.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Sonata in C minor, for Flute, Violin, Clavier</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Canone perpetuo (Flute, Violin, Clavier)<a id="noteref_501" name="noteref_501" href="#note_501"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">501</span></span></a></td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XXXI (3).</th><td class="tei tei-item"> 1881 [1885]. Kammermusik. Siebenter Band. Ed. Paul Graf Waldersee.       <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Two Concertos for three Claviers and Orchestra (Strings): No. 1 in D minor (P. bk. 258).<a id="noteref_502" name="noteref_502" href="#note_502"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">502</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. 2 in C major (P. bk. 259).).<a id="noteref_503" name="noteref_503" href="#note_503"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">503</span></span></a></td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XXXII.</th><td class="tei tei-item"> 1882 [1886]. Kirchencantaten. Sechzehnter Band. Ed. Ernst Naumann.
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">151. Süsser Trost, mein Jesus kommt.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">*152. Tritt auf die Glaubensbahn.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">153. Schau', lieber Gott, wie meine Feind'.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">154. Mein liebster Jesus ist verloren.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">155. Mein Gott, wie lang', ach lange.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">156. Ich steh' mit einem Fuss im Grabe.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">157. Ich lasse dich nicht.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">158. Der Friede sei mit dir.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">159. Sehet, wir geh'n binauf gen Jerusalem.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">160. Ich weiss, das mein Erlöser lebt.</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XXXIII.</th><td class="tei tei-item"> 1883 [1887]. Kirchencantaten. Siebzehnter Band: Ed. Franz Wülner.
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">161. Komm, du süsse Todesstunde.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">162. Ach, ich sehe, jetzt da ich zur Hochzeit gehe.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">163. Nur Jedem das Seine.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">164. Ihr, die ihr euch von Christo nennet.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">165. O heil'ges Geist- und Wasserbad.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">166. Wo gehest du bin?</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">*167. Ihr Menschen, rühmet Gottes Liebe.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">168. Thue Rechnung! Donnerwort.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">169. Gott soll allein mein Herze haben.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">170. Vergnügte Ruh', beliebte Seelenlust.</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XXXIV.</th><td class="tei tei-item"> 1884 [1887]. Kammermusik für Gesang. Vierter Band. Ed. Paul Graf Waldersee.
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Secular Cantata: Durchlaucht'ster Leopold.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Secular Cantata: Schwingt freudig euch empor, <em class="tei tei-emph"><span style="font-style: italic">or</span></em>, Die Freude reget sich.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Secular Cantata: Hercules auf dem Scheidewege, <em class="tei tei-emph"><span style="font-style: italic">or</span></em>, Lasst uns sorgen, lasst uns wachen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Secular Cantata: Tönet, ihr Pauken! Erschallet, Trompeten.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Secular Cantata: Preise dein Glücke, gesegnetes Sachsen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Secular Cantata: Angenehmes Wiederau.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Secular Cantata: Auf, schmetternde Töne der muntern Trompeten.<a id="noteref_504" name="noteref_504" href="#note_504"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">504</span></span></a></td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XXXV.</th><td class="tei tei-item"> 1885 [1888]. Kirchencantaten. Achtzehnter Band. Ed. Alfred Dörffel.
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">171. Gott, wie dein Name, so ist auch dein Ruhm.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">172. Erschallet, ihr Lieder.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">173. Erhötes Fleisch und Blut.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">174. Ich liebe den Höchsten von ganzem Gemüthe.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">175. Er rufet seinen Schafen mit Namen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">176. Es ist ein trotzig und verzagt Ding.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">177. Ich ruf' zu dir, Herr Jesu Christ.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">178. Wo Gott der Herr nicht bei uns hält.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">179. Siehe zu, dass deine Gottesfurcht nicht Heuchelei sei.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">*180. Schmücke dich, O liebe Seele.</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XXXVI.</th><td class="tei tei-item"> 1886 [1890]. Clavierwerke. Vierter Band. Ed. Ernst Naumann.
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item"> Suite in A minor (Appendix version in P. bk. 214).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item"> Suite in E flat major (P. bk. 214).<a id="noteref_505" name="noteref_505" href="#note_505"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">505</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item"> Suite (Overture), in F major (P. bk. 215).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4.</th><td class="tei tei-item"> Sonata in D major (P. bk. 215).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">10.</th><td class="tei tei-item"> Chromatic Fantasia and Fugue in D minor (P. bk. 207).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">11.</th><td class="tei tei-item"> Fantasia and Fugue in A minor (P. bk. 208).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">12.</th><td class="tei tei-item"> Prelude and Fugue in E flat major (not in P.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">13.</th><td class="tei tei-item"> Prelude and Fugue in A minor (P. bk. 211).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">14.</th><td class="tei tei-item"> Prelude and Fugue in A minor (P. bk. 200).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">15.</th><td class="tei tei-item"> Prelude and Fughetta in D minor (P. bk. 200).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">16.</th><td class="tei tei-item"> Prelude and Fughetta in E minor (P. bk. 200).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">17.</th><td class="tei tei-item"> Prelude and Fughetta in F major (P. bk. 214).<a id="noteref_506" name="noteref_506" href="#note_506"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">506</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">18.</th><td class="tei tei-item"> Do. do. G major (P. bk. 214).<a id="noteref_507" name="noteref_507" href="#note_507"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">507</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">19.</th><td class="tei tei-item"> Twelve Preludes for Beginners (P. bk. 200). 20 Six Little Preludes (P. bk. 200).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">21.</th><td class="tei tei-item"> Prelude in C major (for Organ, N. bk. 12 p. 94).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">22.</th><td class="tei tei-item"> Do. (Fantasia) in C minor (not in P.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">23.</th><td class="tei tei-item"> Do. do. in A minor (P. bk. 215).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">24.</th><td class="tei tei-item"> Fantasia in G minor (P. bk. 215).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">25.</th><td class="tei tei-item"> Do. C minor (P. bk. 207).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">26.</th><td class="tei tei-item"> Do. (on a Rondo), in C minor (not in P.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">27.</th><td class="tei tei-item"> Do. C minor (P. bk. 212).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">28.</th><td class="tei tei-item"> Fughetta in C minor (two-parte) (P. bk. 200).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">29.</th><td class="tei tei-item"> Fugue in E minor (P. bk. 212).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">30.</th><td class="tei tei-item"> Do. A major (P. bk. 212).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">31.</th><td class="tei tei-item"> Do. C major (for Organ, N. bk. 12 p. 100).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">32.</th><td class="tei tei-item"> Do. A minor (P. bk. 212).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">33.</th><td class="tei tei-item"> Do. D minor (P. bk. 212 p. 61).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">34.</th><td class="tei tei-item"> Do. A major (P. bk. 215 p. 52).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">35.</th><td class="tei tei-item"> Do. A major (P. bk. 215 p. 57).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">36.</th><td class="tei tei-item"> Do. B minor (Theme by Albinoni) (P. bk. 214).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">37.</th><td class="tei tei-item"> Do. C major (P. bk. 200 p. 54).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">38.</th><td class="tei tei-item"> Do. C major (P. bk. 200 p. 56).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">39.</th><td class="tei tei-item"> Do. D minor (P. bk. 212 p. 59).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">40.</th><td class="tei tei-item"> Capriccio in B flat major, sopra la lontananza del suo fratello dilettissimo (P. bk. 208).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">41.</th><td class="tei tei-item"> Do. E major, in honorem J.C.Bach (P. bk. 215).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">42.</th><td class="tei tei-item"> Aria variata in A minor (P. bk. 215).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">43.</th><td class="tei tei-item"> Three Minuets, in G major, G minor, G major (P. bk. 215).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">44.</th><td class="tei tei-item"> Fragment of a Suite in F minor (P. bk. 212).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">45.</th><td class="tei tei-item"> Do. do. A major (P. bk. 1959, p. 3).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">46.</th><td class="tei tei-item"> Prelude, Gavotte II, and Minuet in E flat major.<a id="noteref_508" name="noteref_508" href="#note_508"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">508</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">47.</th><td class="tei tei-item"> Two Minuet-Trios, in C minor and B minor.<a id="noteref_509" name="noteref_509" href="#note_509"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">509</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">48.</th><td class="tei tei-item"> <span class="tei tei-q">“Applicatio”</span> in C major.<a id="noteref_510" name="noteref_510" href="#note_510"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">510</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">49.</th><td class="tei tei-item"> Prelude in A minor (not in P.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">50.</th><td class="tei tei-item"> Do. (unfinished) in E minor (not in P.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">51.</th><td class="tei tei-item"> Fugue (unfinished) in C minor (P. bk. 212 p. 88). <a id="noteref_511" name="noteref_511" href="#note_511"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">511</span></span></a></td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XXXVII.</th><td class="tei tei-item"> 1887 [1891]. Kirchencantaten. Neunzehnter Band. Ed. Alfred Dörffel.
+ <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">181.</th><td class="tei tei-item">Leichtgesinnte Flattergeister.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">182.</th><td class="tei tei-item">Himmelskönig, sei willkommen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">183.</th><td class="tei tei-item">Sie werden euch in den Bann thun (?1735).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">184.</th><td class="tei tei-item">Erwünschtes Freudenlicht.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">185.</th><td class="tei tei-item">Barmherziges Herze der ewigen Liebe.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">186.</th><td class="tei tei-item">Aergre dich, 0 Seele, nicht.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">187.</th><td class="tei tei-item">Es wartet Alles auf dich.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">188.</th><td class="tei tei-item">Ich habe meine Zuversicht.<a id="noteref_512" name="noteref_512" href="#note_512"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">512</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">189.</th><td class="tei tei-item">Meine Seele rühmt und preist.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">*190.</th><td class="tei tei-item">Singet dem Herrn ein neues Lied.</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XXXVIII.</th><td class="tei tei-item"> 1888 [1891]. Orgelwerke. Dritter Band. Ed. Ernst Naumann.
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item">Prelude and Fugue in C minor (N. bk. 2 p. 48).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item">Prelude and Fugue in G major (N. bk. 7 p. 80).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item">Prelude and Fugue in A minor (N. bk. 10 p. 208).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4.</th><td class="tei tei-item"> Eight Short Preludes and Fugues in C major, D minor, E minor, F major, G major, G minor, A minor, B flat major (N. bk. 1).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">5.</th><td class="tei tei-item">Fantasia and Fugue in A minor (N. bk. 12 p. 60).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">6.</th><td class="tei tei-item">Fantasia con Imitazione in B minor (N. bk. 12 p. 71).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">7.</th><td class="tei tei-item">Fantasia in C major (N. bk. 12 p. 92).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">8.</th><td class="tei tei-item">Fantasia in C minor (N. bk. 3 p. 57).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">9.</th><td class="tei tei-item">Fantasia in G major (N. bk. 12 p. 75).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">10.</th><td class="tei tei-item">Fantasia in G major (N. bk. 9 p. 168).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">11.</th><td class="tei tei-item">Prelude in C major (N. bk. 12 p. 91).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">12.</th><td class="tei tei-item">Prelude in G major (N. bk. 2 p. 30).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">13.</th><td class="tei tei-item">Prelude in A minor (N. bk. 10 p. 238).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">14.</th><td class="tei tei-item">Fugue (Theme by Legrenzi) in C minor (and Variant) (N. bk. 10 p. 230).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">15.</th><td class="tei tei-item">Fugue in C minor (N. bk. 12 p. 95). 16» Do. G major (N. bk. 12 p. 86).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">17.</th><td class="tei tei-item">Fugue G major (N. bk. 12 p. 55).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">18.</th><td class="tei tei-item">Fugue G minor (N. bk. 3 p. 84).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">19.</th><td class="tei tei-item">Fugue B minor (Theme by Corelli) (N. bk. 3 p. 60).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">20.</th><td class="tei tei-item">Canzona in D minor (N. bk. 2 p. 34).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">21.</th><td class="tei tei-item">Allabreve in D major (N. bk. 2 p. 26).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">22.</th><td class="tei tei-item">Pastorale in F major (N. bk. 12 p. 102).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">23.</th><td class="tei tei-item">Trio in D minor (N. bk. 2 p. 54).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">24.</th><td class="tei tei-item">Four Concertos after Antonio Vivaldi:<a id="noteref_513" name="noteref_513" href="#note_513"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">513</span></span></a>
+      <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. 1, in G major (N. bk. 11 no. I).<a id="noteref_514" name="noteref_514" href="#note_514"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">514</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. 2, in A minor (N. bk. 11 no. 2).<a id="noteref_515" name="noteref_515" href="#note_515"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">515</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. 3, in C major (N. bk. 11 no. 3).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">No. 4, in C major (N. bk. 11 no. 4).</td></tr></tbody></table>
+      </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">25.</th><td class="tei tei-item"> Fantasia (incomplete) in C major (not in N. or P.).<a id="noteref_516" name="noteref_516" href="#note_516"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">516</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">26.</th><td class="tei tei-item"> Fugue (incomplete) in C minor (not in N. or P.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">27.</th><td class="tei tei-item"> Pedal Exercise in G minor (not in N. or P.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">28.</th><td class="tei tei-item"> Fugue (authenticity doubtful) in C major (not in N. or P.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">29.</th><td class="tei tei-item"> Fugue (authenticity doubtful) in D major (N. bk. 12 p. 83).<a id="noteref_517" name="noteref_517" href="#note_517"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">517</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">30.</th><td class="tei tei-item"> Fugue (authenticity doubtful) in G minor (N. bk. 2 p. 41).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">31.</th><td class="tei tei-item"> Trio in C minor (N. bk. 12 p. 108).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">32.</th><td class="tei tei-item"> Aria in F major (N. bk. 12 p. 112).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">33.</th><td class="tei tei-item"> Kleinea harmonisches Labyrinth (authenticity doubtful) (P. bk. 2067 p. 16) (not in N.).</td></tr></tbody></table>
+ </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XXXIX.</th><td class="tei tei-item">1889 [1892]. Motetten, Choräle und Lieder. Ed. Franz Wüllner.
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">(1)</th><td class="tei tei-item">Motets:
+     <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Motet: *Singet dem Herrn ein neues Lied.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Motet: *Der Geist hilft unsrer Schwachheit auf.<a id="noteref_518" name="noteref_518" href="#note_518"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">518</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Motet: *Jesu, meine Freude.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Motet: *Fürchte dich nicht, ich bin bei dir.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Motet: *Komm, Jesu, komm.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Motet: * Lobet den Herrn, alle Heiden.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Motet: *Ich lasse dich nicht, du segnest mich denn (by Johann Christoph Bach).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Motet: *Sei Lob und Preis mit Ehren (the second number, Nun lob' mein' Seel' den Herrn, of Cantata 28).</td></tr></tbody></table>
+    </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">(2)</th><td class="tei tei-item">185 Chorals harmonised by Bach, from the collection made by Carl Philipp Emmanuel Bach:<a id="noteref_519" name="noteref_519" href="#note_519"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">519</span></span></a>
+      <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1 (1).</th><td class="tei tei-item"> Ach bleib' bei uns, Herr Jesu Christ.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2 (2).</th><td class="tei tei-item"> Ach Gott, erhör' mein Seufzen und Wehklagen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3 (3).</th><td class="tei tei-item"> Ach Gott und Herr, wie gross und schwer.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4 (385).</th><td class="tei tei-item"> Ach lieben Christen, seid getrost (Wo Gott der Herr nicht bei uns hält).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">5 (388).</th><td class="tei tei-item"> Wär' Gott nicht mit uns diese Zeit (Wo Gott der Herr nicht bei uns hält).<a id="noteref_520" name="noteref_520" href="#note_520"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">520</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">6 (383).</th><td class="tei tei-item">Wo Gott der Herr nicht bei uns hält.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">7(10).</th><td class="tei tei-item">Ach, was soll ich Sünder machen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">8 (12).</th><td class="tei tei-item">Allein Gott in der Höh' sei Ehr.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">9 (15).</th><td class="tei tei-item">Allein zu dir, Herr Jesu Christ.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">10 (17).</th><td class="tei tei-item">Alle Menschen müssen sterben.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">11 (19).</th><td class="tei tei-item">Alles ist an Gottes Segen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">12(20).</th><td class="tei tei-item"> Als der gütige Gott.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">13 (21).</th><td class="tei tei-item"> Als Jesus Christus in der Nacht.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">14 (22).</th><td class="tei tei-item"> Als vierzig Tag' nach Ostern war'n.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">15 (23).</th><td class="tei tei-item"> An Wassernüssen Babylon.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">16(24).</th><td class="tei tei-item"> Auf, auf mein Herz.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">17 (30).</th><td class="tei tei-item"> Aus meines Herzens Grunde.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">18 (157).</th><td class="tei tei-item"> Befiehl du deine Wege (Herzlich thut mich verlangen).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">19 (158).</th><td class="tei tei-item"> Ditto.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">20 (32).</th><td class="tei tei-item"> Befiehl du deine Wege.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">21 (33).</th><td class="tei tei-item"> Christ, der du bist der helle Tag.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">22 (34).</th><td class="tei tei-item"> Christe, der du bist Tag und Licht.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">23 (35).</th><td class="tei tei-item"> Christe, du Beistand deiner Kreuzgemeinde.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">24 (36).</th><td class="tei tei-item"> Christ ist erstanden.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">25 (38).</th><td class="tei tei-item"> Christ lag in Todesbanden.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">26(39).</th><td class="tei tei-item"> Ditto.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">27 (43).</th><td class="tei tei-item"> Christ, unser Herr, zum Jordan kam.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">28 (46).</th><td class="tei tei-item"> Christus, der ist mein Leben.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">29 (47).</th><td class="tei tei-item"> Ditto.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">30 (48).</th><td class="tei tei-item"> Christus, der uns selig macht.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">31 (51).</th><td class="tei tei-item"> Christus ist erstanden.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">32 (52).</th><td class="tei tei-item"> Da der Herr zu Tische sass.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">33 (53).</th><td class="tei tei-item"> Danket dem Herren, denn er ist sehr freundlich. </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">34 (54).</th><td class="tei tei-item"> Dank sei Gott in der Höhe.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">35 (55).</th><td class="tei tei-item"> Das alte Jahr vergangen ist.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">36 (56).</th><td class="tei tei-item"> Ditto.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">37 (57).</th><td class="tei tei-item"> Das walt' Gott Vater und Gott Sohn.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">38 (58).</th><td class="tei tei-item"> Das walt' mein Gott, Vater, Sohn.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">39 (59).</th><td class="tei tei-item"> Den Vater dort oben.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">40 (60).</th><td class="tei tei-item"> Der du bist drei in Einigkeit.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">41 (61).</th><td class="tei tei-item"> Der Tag, der ist so freudenreich.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">42 (62).</th><td class="tei tei-item"> Des heil'gen Geistes reiche Gnad'.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">43 (63).</th><td class="tei tei-item"> Die Nacht ist kommen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">44 (64).</th><td class="tei tei-item"> Die Sohn' hat sich mit ihrem Glanz.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">45 (65).</th><td class="tei tei-item"> Dies sind die heil'gen zehn Gebot.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">46 (67).</th><td class="tei tei-item"> Dir, dir, Jehovah, will ich singen (Bach's   melody).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">47 (70).</th><td class="tei tei-item"> Du grosser Schmerzensmann.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">48 (71).</th><td class="tei tei-item"> Du, 0 schönes Weltgebäude.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">49 (74).</th><td class="tei tei-item"> Ein' feste Burg ist unser Gott.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">50 (75).</th><td class="tei tei-item"> Ditto.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">51 (77).</th><td class="tei tei-item"> Eins ist noth, ach Herr, dies Eine.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">52 (78).</th><td class="tei tei-item"> Erbarm' dich mein, 0 Herre Gott.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">53 (85).</th><td class="tei tei-item"> Erstanden ist der heil'ge Christ.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">54 (262).</th><td class="tei tei-item"> Est ist gewisslich an der Zeit (Nun freut euch, lieben Christen g'mein).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">55 (92).</th><td class="tei tei-item"> Es spricht der Unweisen Mund wohl.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">56 (93).</th><td class="tei tei-item"> Es steh'n vor Gottes Throne.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">57 (94).</th><td class="tei tei-item"> Es wird schier der letzte Tag herkommen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">58 (95).</th><td class="tei tei-item"> Es wol' uns Gott genädig sein.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">59 (96).</th><td class="tei tei-item"> Ditto.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">60 (106).</th><td class="tei tei-item"> Für Freuden lasst uns springen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">61 (107).</th><td class="tei tei-item"> Gelobet seist du, Jesu Christ.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">62 (111).</th><td class="tei tei-item"> Gieb dich zufrieden und sei stille (Bach's melody).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">63 (112).</th><td class="tei tei-item"> Gott, der du selber bist das Licht.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">64 (113).</th><td class="tei tei-item"> Gott der Vater wohn' uns bei.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">65 (115).</th><td class="tei tei-item"> Gottes Sohn ist kommen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">66 (116).</th><td class="tei tei-item"> Gott hat das Evangelium.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">67 (117).</th><td class="tei tei-item"> Gott lebet noch.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">68 (118).</th><td class="tei tei-item"> Gottlob, es geht nunmehr zum Ende.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">69 (119).</th><td class="tei tei-item"> Gott sei gelobet und gebenedeiet.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">70 (120).</th><td class="tei tei-item"> Gott sei uns gnädig und barmherzig.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">71 (121).</th><td class="tei tei-item"> Meine Seele erhebet den Herrn.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">72 (123a).</th><td class="tei tei-item"> Heilig, Heilig, Heilig!</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">73 (129).</th><td class="tei tei-item"> Herr Gott, dich loben alle wir.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">74 (132).</th><td class="tei tei-item"> Für deinen Thron tret' ich hiermit (Herr Gott dich loben alle wir).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">75 (133).</th><td class="tei tei-item"> Herr Gott dich loben wir.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">76 (136).</th><td class="tei tei-item"> Herr, ich denk' an jene Zeit.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">77 (137).</th><td class="tei tei-item"> Herr, ich habe missgehandelt.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">78 (138).</th><td class="tei tei-item"> Ditto.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">79 (139).</th><td class="tei tei-item"> Herr Jesu Christ, dich zu uns wend'.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">80 (140).</th><td class="tei tei-item"> Herr Jesu Christ, du hast bereit't.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">81 (141).</th><td class="tei tei-item"> Herr Jesu Christ, du höchstes Gut.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">82 (145).</th><td class="tei tei-item"> Herr Jesu Christ, mein's Lebens Licht.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">83 (146).</th><td class="tei tei-item"> Herr Jesu Christ, wahr' Mensch und Gott.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">84 (148).</th><td class="tei tei-item"> Herr, nun lass in Friede.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">85 (149).</th><td class="tei tei-item"> Herr, straf' mich nicht in deinem Zorn.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">86 (151).</th><td class="tei tei-item"> Herr, wie du willst, so Schick's mit mir.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">87 (152).</th><td class="tei tei-item"> Herzlich lieb hab' ich dich, 0 Herr.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">88 (170).</th><td class="tei tei-item"> Heut' ist, O Mensch, ein grosser Trauertag.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">89 (171).</th><td class="tei tei-item"> Heut' triumphiret Gottes Sohn.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">90 (172).</th><td class="tei tei-item"> Hilf, Gott, dass mir's gelinge.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">91 (173).</th><td class="tei tei-item"> Hilf, Herr Jesu, lass gelingen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">92 (174).</th><td class="tei tei-item"> Ich bin ja, Herr, in deiner Macht (Bach's melody).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">93 (175).</th><td class="tei tei-item"> Ich dank' dir, Gott, für all' Wohlthat.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">94 (176).</th><td class="tei tei-item"> Ich dank' dir, lieber Herre.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">95 (177).</th><td class="tei tei-item"> Ditto.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">96 (179).</th><td class="tei tei-item"> Ich dank' dir schon durch deinen Sohn.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">97 (180).</th><td class="tei tei-item"> Ich danke dir, O Gott, in deinem Throne.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">98 (182).</th><td class="tei tei-item"> Ich hab' mein' Sach' Gott heimgestellt.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">99 (185).</th><td class="tei tei-item"> Jesu, der du meine Seele.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">100 (186).</th><td class="tei tei-item"> Ditto.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">101 (187).</th><td class="tei tei-item"> Ditto.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">102 (189).</th><td class="tei tei-item"> Jesu, der du selbst so wohl.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">103 (190).</th><td class="tei tei-item"> Jesu, du mein liebstes Leben.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">104 (191).</th><td class="tei tei-item"> Jesu, Jesu, du bist mein (Bach's melody).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">105 (195).</th><td class="tei tei-item"> Jesu, meine Freude.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">106 (363).</th><td class="tei tei-item"> Jesu, meiner Seelen Wonne (Werde munter, mein Gemüthe).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">107 (364).</th><td class="tei tei-item"> Ditto.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">108 (202).</th><td class="tei tei-item"> Jesu, meines Herzens Freud'.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">109 (203).</th><td class="tei tei-item"> Jesu, nun sei gepreiset.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">110 (206).</th><td class="tei tei-item"> Jesus Christus, unser Heiland, der von uns.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">111 (207).</th><td class="tei tei-item"> Jesus Christus, unser Heiland, der den Tod.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">112 (208).</th><td class="tei tei-item"> Jesus, meine Zuversicht.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">113 (210).</th><td class="tei tei-item"> Ihr Gestirn', ihr hohlen Lüfte.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">114 (211).</th><td class="tei tei-item"> In allen meinen Thaten.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">115 (215).</th><td class="tei tei-item"> In dulci jubilo.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">116 (217).</th><td class="tei tei-item"> Keinen hat Gott verlassen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">117 (218).</th><td class="tei tei-item"> Komm, Gott, Schöpfer, heiliger Geist.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">118 (225).</th><td class="tei tei-item"> Kyrie! Gott Vater in Ewigkeit.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">119 (226).</th><td class="tei tei-item"> Lass, O Herr, dein Ohr sich neigen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">120 (228).</th><td class="tei tei-item"> Liebster Jesu, wir sind hier.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">121 (232).</th><td class="tei tei-item"> Lobet den Herren, denn er ist sehr freundlich.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">122 (233).</th><td class="tei tei-item"> Lobt Gott, ihr Christen allzugleich.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">123 (234).</th><td class="tei tei-item"> Ditto.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">124 (237).</th><td class="tei tei-item"> Mach's mit mir, Gott, nach deiner Güt.'</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">125 (240).</th><td class="tei tei-item"> Mein' Augen schliess' ich jetzt.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">126 (241).</th><td class="tei tei-item"> Meinen Jesum lass' ich nicht, Jesus.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">127 (242).</th><td class="tei tei-item"> Meinen Jesum lass' ich nicht, weil.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">128 (248).</th><td class="tei tei-item"> Meines Lebens letzte Zeit.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">129 (249).</th><td class="tei tei-item"> Mit Fried' und Freud' ich fahr' dahin.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">130 (252).</th><td class="tei tei-item"> Mitten wir im Leben sind.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">131 (253).</th><td class="tei tei-item"> Nicht so traurig, nicht so sehr (Bach's melody).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">132 (254).</th><td class="tei tei-item"> Nun bitten wir den heiligen Geist.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">133 (257).</th><td class="tei tei-item"> Nun danket Alle Gott.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">134 (260).</th><td class="tei tei-item"> Nun freut euch, Gottes Kinder all.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">135 (261).</th><td class="tei tei-item"> Nun freut euch, lieben Christen g'mein.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">136 (269).</th><td class="tei tei-item"> Nun lob', mein' Seel', den Herren.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">137 (270).</th><td class="tei tei-item"> Ditto.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">138 (273).</th><td class="tei tei-item"> Nun preiset alle Gottes Barmherzigkeit.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">139 (298).</th><td class="tei tei-item"> Nun ruhen alle Wälder (0 Welt, ich muss dich lassen)</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">140 (289).</th><td class="tei tei-item"> 0 Welt, sieh' hier dein Leben (O Welt, ich muss dich lassen).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">141 (290).</th><td class="tei tei-item"> Ditto.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">142 (291).</th><td class="tei tei-item"> Ditto.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">143 (274).</th><td class="tei tei-item"> Nun sich der Tag geendet hat.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">144 (275).</th><td class="tei tei-item"> O Ewigkeit, du Donnerwort.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">145 (277).</th><td class="tei tei-item"> O Gott, du frommer Gott (1679 tune).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">146(282).</th><td class="tei tei-item"> Ditto (1693 tune).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">147 (284).</th><td class="tei tei-item"> O Herzensangst, O Bangigkeit und Zagen (Bach's melody).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">148 (285).</th><td class="tei tei-item"> 0 Lamm Gottes, unschuldig.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">149 (286).</th><td class="tei tei-item"> O Mensch, bewein' dein Sünde gross.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">150 (287).</th><td class="tei tei-item"> 0 Mensch, schau' Jesum Christum an.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">151 (288).</th><td class="tei tei-item"> 0 Traurigkeit, 0 Herzeleid.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">152 (299).</th><td class="tei tei-item"> O wie selig seid ihr doch, ihr Frommen (1649).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">153 (300).</th><td class="tei tei-item"> Ditto (1566).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">154 (301).</th><td class="tei tei-item"> O wir armen Sünder.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">155 (303).</th><td class="tei tei-item"> Schaut, ihr Sünder.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">156(306).</th><td class="tei tei-item"> Seelenbräutigam, Jesu, Gottes Lamm.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">157 (307).</th><td class="tei tei-item"> Sei gegrüsset, Jesu gütig.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">158 (309).</th><td class="tei tei-item"> Singt dem Herrn ein neues Lied.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">159 (310).</th><td class="tei tei-item"> So giebst du nun, mein Jesu, gute Nacht.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">160 (311).</th><td class="tei tei-item"> Sollt' ich meinem Gott nicht singen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">161 (313).</th><td class="tei tei-item"> Uns ist ein Kindlein heut' gebor'n.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">162 (314).</th><td class="tei tei-item"> Valet will ich dir geben.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">163 (316).</th><td class="tei tei-item"> Vater unser im Himmelreich.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">164 (324).</th><td class="tei tei-item"> Von Gott will ich nicht lassen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">165 (325).</th><td class="tei tei-item"> Ditto.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">166 (326).</th><td class="tei tei-item"> Ditto.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">167 (331).</th><td class="tei tei-item"> Warum betrübst du dich, mein Herz.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">168 (332).</th><td class="tei tei-item"> Ditto.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">169 (334).</th><td class="tei tei-item"> Warum sollt' ich mich denn grämen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">170 (336).</th><td class="tei tei-item"> Was betrübst du dich, mein Herze (Bach's melody).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">171 (337).</th><td class="tei tei-item"> Was bist du doch, 0 Seele, so betrübet.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">172 (349).</th><td class="tei tei-item"> Was willst du dich, 0 meine Seele.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">173 (351).</th><td class="tei tei-item"> Weltlich Ehr' und zeitlich Gut.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">174 (352).</th><td class="tei tei-item"> Wenn ich in Angst und Noth.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">175 (353).</th><td class="tei tei-item"> Wenn mein Stündlein vorhanden ist.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">176 (354).</th><td class="tei tei-item"> Ditto.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">177 (355).</th><td class="tei tei-item"> Ditto.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">178 (358).</th><td class="tei tei-item"> Wenn wir in höchsten Nöthen sein.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">179 (359).</th><td class="tei tei-item"> Ditto.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">180 (366).</th><td class="tei tei-item"> Wer Gott vertraut, hat wohlgebaut.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">181 (367).</th><td class="tei tei-item"> Wer nur den lieben Gott lässt walten.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">182 (374).</th><td class="tei tei-item"> Wie bist du, Seele, in mir so gar betrübt.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">183 (375).</th><td class="tei tei-item"> Wie schön leuchtet der Morgenstern.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">184 (382).</th><td class="tei tei-item"> Wir glauben all' an einen Gott, Schöpfer.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">185 (389).</th><td class="tei tei-item"> Wo Gott zum Haus nicht gibt sein' Gunst.</td></tr></tbody></table>
+       </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">(3)</th><td class="tei tei-item">Seventy-five Chorals harmonised by Bach:<a id="noteref_521" name="noteref_521" href="#note_521"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">521</span></span></a>
+       <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">*1</th><td class="tei tei-item"> (S). Ach, dass ich nicht die
+letzte Stunde.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2 (S).</th><td class="tei tei-item"> Auf, auf! die rechte Zeit ist hier.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3 (S).</th><td class="tei tei-item"> Auf, auf! mein Herz, mit Freuden.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4 (S).</th><td class="tei tei-item"> Beglückter Stand getreuer Seelen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">*5 (S).</th><td class="tei tei-item"> Beschränkt, ihr Weisen dieser Welt.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">6 (S).</th><td class="tei tei-item"> Brich entzwei, mein armes Herze.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">7 (S).</th><td class="tei tei-item"> Brunnquell aller Güter.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">8 (S).</th><td class="tei tei-item"> Der lieben Sonne Lacht und Pracht.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">9 (S).</th><td class="tei tei-item"> Der Tag ist hin, die Sonne gehet nieder.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">10 (S).</th><td class="tei tei-item"> Der Tag mit seinem Lichte.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">*11 (S).</th><td class="tei tei-item"> Dich bet' ich an, mein höchster Gott.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">12 (S).</th><td class="tei tei-item"> Die bitt're Leidenszeit beginnet.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">13 (S).</th><td class="tei tei-item"> Die gold'ne Sonne, voll Freud' und Wonne.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">*14 (S).</th><td class="tei tei-item"> Dir, dir, Jehova, will ich singen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">*15 (S).</th><td class="tei tei-item"> Eins ist noth, ach Herr, dies Eine.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">16 (S).</th><td class="tei tei-item"> Ermuntre dich, mein schwacher Geist.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">17 (S).</th><td class="tei tei-item"> Erwürgtes Lamm, das die verwahrten Siegel.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">18 (S).</th><td class="tei tei-item"> Es glänzet der Christen inwendiges Leben.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">19 (S).</th><td class="tei tei-item"> Es ist nun aus mit meinem Leben.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">20 (S).</th><td class="tei tei-item"> Es ist vollbracht! Vergiss ja nicht dies Wort.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">21 (S).</th><td class="tei tei-item"> Es kostet viel, ein Christ zu sein.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">*22.</th><td class="tei tei-item"> Gieb dich zufrieden und sei stille (erste Composition).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">*23.</th><td class="tei tei-item"> Ditto. (zweite Composition).<a id="noteref_522" name="noteref_522" href="#note_522"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">522</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">24 (S).</th><td class="tei tei-item"> Ditto. (dritte Composition).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">25 (S).</th><td class="tei tei-item"> Gott lebet noch! Seele, was verzagst du doch?</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">*26 (S).</th><td class="tei tei-item"> Gott, wie gross ist deine Güte.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">27 (S).</th><td class="tei tei-item"> Herr, nicht schricke deine Rache.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">*28 (S).</th><td class="tei tei-item"> Ich bin ja, Herr, in deiner Macht.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">29 (S).</th><td class="tei tei-item"> Ich freue mich in dir.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">*30 (S).</th><td class="tei tei-item"> Ich halte treulich still.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">31 (S).</th><td class="tei tei-item"> Ich lass' dich nicht.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">32 (S).</th><td class="tei tei-item"> Ich liebe Jesum alle Stund'.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">*33 (8).</th><td class="tei tei-item"> Ich steh' an deiner Krippen hier.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">*34 (8).</th><td class="tei tei-item"> Jesu, Jesu, du bist mein.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">35 (S).</th><td class="tei tei-item"> Jesu, deine Liebeswunden.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">36 (8).</th><td class="tei tei-item"> Jesu, meines Glaubens Zier.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">37 (8).</th><td class="tei tei-item"> Jesu, meines Herzens Freud'.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">38 (8).</th><td class="tei tei-item"> Jesus ist das schönste Licht.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">39 (8).</th><td class="tei tei-item"> Jesus, unser Trost und Leben.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">40 (8).</th><td class="tei tei-item"> Ihr Gestirn', ihr hohlen Lüfte.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">41 (8).</th><td class="tei tei-item"> Kein Stündlein geht dahin.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">*42 (8).</th><td class="tei tei-item"> Komm, süsser Tod, komm, sel'ge Ruh'!</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">*43 (8).</th><td class="tei tei-item"> Kommt, Seelen, dieser Tag.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">*44 (8).</th><td class="tei tei-item"> Kommt wieder aus der finst'ren Gruft.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">46 (8).</th><td class="tei tei-item"> Lasset uns mit Jesu ziehen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">46 (S).</th><td class="tei tei-item"> Liebes Herz, bedenke doch.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">47 (8).</th><td class="tei tei-item"> Liebster Gott, wann werd' ioh sterben.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">*48 (S).</th><td class="tei tei-item"> Liebeter Herr Jesu, wo bleibst du so lange.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">49 (S).</th><td class="tei tei-item"> Laebster Immanuel.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">60 (S).</th><td class="tei tei-item"> Mein Jesu, dem die Seraphinen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">*61 (S).</th><td class="tei tei-item"> Mein Jesu, was für Seelenweh.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">62 (S).</th><td class="tei tei-item"> Meines Lebens letzte Zeit.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">*63 (S).</th><td class="tei tei-item"> Nicht so traurig, nicht so sehr.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">64 (S).</th><td class="tei tei-item"> Nur mein Jesus 1st mein Leben.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">66 (S).</th><td class="tei tei-item"> O du Liebe, meiner Liebe.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">66.</th><td class="tei tei-item">O Ewigkeit, du Donnerwort.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">*67 (S).</th><td class="tei tei-item"> O finst're Nacht, wann wirst du doch vergehen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">68 (S).</th><td class="tei tei-item"> O Jesulein süss, O Jesulein mild.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">*69 (S).</th><td class="tei tei-item"> O liebe Seele, zieh' die Sinnen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">60 (8).</th><td class="tei tei-item"> O wie selig seid ihr doch.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">*61.</th><td class="tei tei-item"> Schaffs mit mir, Gott, naoh deinem Willen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">62 (8).</th><td class="tei tei-item"> Seelenbräutigam, Jesu, Gottes Lamm.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">63 (8).</th><td class="tei tei-item"> Seelenweide, meine Freude.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">64 (S).</th><td class="tei tei-item"> Selig, wer an Jesum denkt.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">66 (8).</th><td class="tei tei-item"> Sei gegrüsset, Jesu gütig.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">66 (8).</th><td class="tei tei-item"> So gehest du nun, mein Jesu, hin.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">67 (8).</th><td class="tei tei-item"> So giebst du nun, mein Jesu, gute Nacht.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">68 (8).</th><td class="tei tei-item"> So wünsch' ich mir zu guter Letzt.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">69 (S).</th><td class="tei tei-item"> Steh' ioh bei meinein Gott.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">70 (8).</th><td class="tei tei-item"> Vergiss  mein  nioht,  date  ich  dein  nicht vergesse.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">*71 (S).</th><td class="tei tei-item"> Vergiss mein nicht, mein allerliebster Gott.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">*72.</th><td class="tei tei-item"> Warum betrübst du dich und beugest. </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">73 (S).</th><td class="tei tei-item"> Was bist du doch, 0 Seele, so betrübet.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">*74.</th><td class="tei tei-item"> Wie wohl ist mir, 0 Freund der Seelen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">75 (S).</th><td class="tei tei-item"> Wo ist mein Schäflein, das ich liebe.<a id="noteref_523" name="noteref_523" href="#note_523"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">523</span></span></a></td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">(4)</th><td class="tei tei-item"> Five Arias from Anna Magdalena Bach's <span class="tei tei-q">“Notenbuch”</span> (1725)"<a id="noteref_524" name="noteref_524" href="#note_524"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">524</span></span></a>
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">*1.</th><td class="tei tei-item"> So oft ich meine Tabakspfeife.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">*2.</th><td class="tei tei-item"> Bist bu bei mir.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">*3.</th><td class="tei tei-item"> Gedenke doch, mein Geist, zurücke.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4.</th><td class="tei tei-item"> Gieb dich zufrieden und sei stille.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">5.</th><td class="tei tei-item"> Willst du dein Herz mir schenken (Aria di Giovannini).</td></tr></tbody></table>
+</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XL.</th><td class="tei tei-item"> 1890 [1893]. Orgelwerke. Vierter Band. Ed. Ernst Naumann.
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">(1)</th><td class="tei tei-item"> Choral Preludes, from Kirnberger's collection.<a id="noteref_525" name="noteref_525" href="#note_525"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">525</span></span></a>
+    <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item"> Wer nur den lieben Gott lässt walten (N. bk. 19 p. 21).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item"> Ditto (N. bk. 19 p. 22).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item"> Ach Gott und Herr (N. bk. 18 p. 1).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4.</th><td class="tei tei-item"> Ditto (N. bk. 18 p. 2).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">5.</th><td class="tei tei-item"> Wo soll ich fliehen hin (N. bk. 19 p. 32).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">6.</th><td class="tei tei-item"> Christ lag in Todesbanden (Fantasia) (N. bk. 18 p. 16).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">7.</th><td class="tei tei-item"> Christum wir sollen loben schon, <em class="tei tei-emph"><span style="font-style: italic">or</span></em>, Was fürcht'st du, Feind Herodes, sehr (N. bk. 18 p. 23).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">8.</th><td class="tei tei-item"> Gelobet seist du, Jesu Christ (Fughetta) (N. bk. 18 p. 38).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">9.</th><td class="tei tei-item"> Herr Christ, der ein'ge Gottes-Sohn (Fughetta) (N. bk. 18 p. 43).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">10.</th><td class="tei tei-item"> Nun komm der Heiden Heiland (Fughetta) (N.bk. 18 p. 83).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">11.</th><td class="tei tei-item"> Vom Himmel hoch da komm ich her (N. bk. 19 p. 16).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">12.</th><td class="tei tei-item"> Ditto. (Fughetta) (N. bk. 19 p. 14).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">13.</th><td class="tei tei-item"> Das Jesulein soll doch mein Trost (Fughetta) (N. bk. 18 p. 24).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">14.</th><td class="tei tei-item"> Gottes Sohn ist kommen (Fughetta) (N. bk. 18 p. 41).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">15.</th><td class="tei tei-item"> Lob sei dem allmächtigen Gott (Fughetta) (N. bk. 18 p. 73).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">16.</th><td class="tei tei-item"> Durch Adams Fall ist ganz verderbt (N. bk. 18 p. 28).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">17.</th><td class="tei tei-item"> Liebster Jesu wir sind hier (N. bk. 18 p. 72a).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">18.</th><td class="tei tei-item"> Ditto. (N. bk. 18 p. 72b).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">19.</th><td class="tei tei-item"> Ich hab' mein' Sach' Gott hergestellt (N. bk. 18 p. 54)<a id="noteref_526" name="noteref_526" href="#note_526"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">526</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">20.</th><td class="tei tei-item"> Ditto. (N. bk. 18 p. 58a). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">21.</th><td class="tei tei-item"> Herr Jesu Christ, dich zu uns wend' (N. bk. 18 p. 50).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">22.</th><td class="tei tei-item"> Wir Christenleut' (N. bk. 19 p. 28b).<a id="noteref_527" name="noteref_527" href="#note_527"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">527</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">23.</th><td class="tei tei-item"> Allein Gott in der Höh' sei Ehr (Bicinium) (N. bk. 18 p. 5).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">24.</th><td class="tei tei-item"> In dich hab' ich gehoffet, Herr (N. bk. 18 p. 59).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">25.</th><td class="tei tei-item"> Jesu, meine Freude (Fantasia) (N. bk. 18 p. 64).</td></tr></tbody></table>
+    </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">(2)</th><td class="tei tei-item"> Twenty-eight other Choral Preludes<a id="noteref_528" name="noteref_528" href="#note_528"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">528</span></span></a>
+     <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item"> Ach Gott und Herr (Canon) (N. bk. 18 p. 3).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item"> Allein Gott in der Höh' sei Ehr' (N. bk. 18 p. 4).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item"> Ditto. (Fuga) (N. bk. 18 p. 7).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4.</th><td class="tei tei-item"> Ditto. (N. bk. 18 p. 11).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">5.</th><td class="tei tei-item"> An Wasserflüssen Babylon (N. bk. 18 p. 13).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">6.</th><td class="tei tei-item"> Christ lag in Todesbanden (N. bk. 18 p. 19).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">7.</th><td class="tei tei-item"> Der Tag der ist so freudenreich (N. bk. 18 p. 26).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">8.</th><td class="tei tei-item"> Ein' feste Burg ist unser Gott (N. bk. 18 p. 30).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">9.</th><td class="tei tei-item"> Erbarm' dich mein, 0 Herre Gott (N. bk. 18 p. 35).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">10.</th><td class="tei tei-item"> Gelobet seist du, Jesu Christ (N. bk. 18 p. 37).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">11.</th><td class="tei tei-item"> Gelobet seist du, Jesu Christ (N. bk. 18 p. 39).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">12.</th><td class="tei tei-item"> Gottes Sohn ist kommen (N. bk. 18 p. 42).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">13.</th><td class="tei tei-item"> Herr Gott, dich loben wir (N. bk. 18 p. 44).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">14.</th><td class="tei tei-item"> Herr Jesu Christ, dich zu uns wend' (N. bk. 18 p. 52).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">15.</th><td class="tei tei-item"> Herzlich thut mich verlangen (N. bk. 18 p. 53).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">16.</th><td class="tei tei-item"> Jesus, meine Zuversicht (N. bk. 18 p. 69).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">17.</th><td class="tei tei-item"> In dulci jubilo (N. bk. 18 p. 61).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">18.</th><td class="tei tei-item"> Liebster Jesu, wir sind hier (N. bk. 18 p. 70).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">19.</th><td class="tei tei-item"> Ditto. (N. bk. 18 p. 71).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">20.</th><td class="tei tei-item"> Lobt Gott, ihr Christen allzugleich (N. bk. 18 p. 74).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">21.</th><td class="tei tei-item"> Meine Seele erhebt den Herren (Magnificat) (Fuga) (N. bk. 18 p. 75).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">22.</th><td class="tei tei-item"> Nun freut euch, lieben Christen g'mein, <em class="tei tei-emph"><span style="font-style: italic">or</span></em>, Es ist gewisslich an der Zeit (N. bk. 18 p. 80).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">23.</th><td class="tei tei-item"> Valet will ich dir geben (Fantasia) (N. bk. 19 p. 2).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">24.</th><td class="tei tei-item"> Ditto. (N. bk. 19 p. 7).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">25.</th><td class="tei tei-item"> Vaterunser im Himmelreich (N. bk. 19 p. 12).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">26.</th><td class="tei tei-item"> Vom Himmel hoch da komm ich her (N. bk. 19 p. 19).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">27.</th><td class="tei tei-item"> Wie schön leuchtet der Morgenstern (N. bk. 19 p. 23).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">28.</th><td class="tei tei-item"> Wir glauben all' an einen Gott (N. bk. 19 p. 30).</td></tr></tbody></table>
+    </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">(3)</th><td class="tei tei-item">Choral Variations:
+    <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item"> Christ, der du bist der helle Tag (N. bk. 19 p. 36).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item"> 0 Gott, du frommer Gott (N. bk. 19 p. 44).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item"> Sei gegrüsset, Jesu gütig (N. bk. 19 p. 55).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4.</th><td class="tei tei-item"> Vom Himmel hoch da komm ich her (N. bk. 19 p. 73).</td></tr></tbody></table>
+   </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">(4)</th><td class="tei tei-item"> Variant texts and fragments:
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item"> Variant of Kirnberger's No. 2 (P. bk. 244 p. 111).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item"> Variant of Kirnberger's No. 3 (not in N. or P.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item"> Ich hab' mein' Sach' Gott heimgestellt (N. bk. 18 p. 58b). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4.</th><td class="tei tei-item"> Variant of Kirnberger's No. 6 (P. bk. 245 p. 104).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">5.</th><td class="tei tei-item"> Variant of Kirnberger's No. 25 (P. bk. 245 p. 110).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">6.</th><td class="tei tei-item"> Variant of No. 10 of the Twenty-eight <span lang="la" class="tei tei-foreign" xml:lang="la">supra</span> (not in N. or P.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">7.</th><td class="tei tei-item"> Variant of No. 17 (not in N. or P.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">8.</th><td class="tei tei-item"> Variant of No. 20 (not in N. or P.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">9.</th><td class="tei tei-item"> Variant of No. 26 (not in N. or P.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">10.</th><td class="tei tei-item"> Variant of No. 22 (P. bk. 246 p. 91).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">11.</th><td class="tei tei-item"> Variant of No. 23 (P. bk. 246 p. 100).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">12.</th><td class="tei tei-item"> Jesu, meine Freude (fragment) (P. bk. 244 p. 112).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">13.</th><td class="tei tei-item"> Wie schön leuchtet der Morgenstern (fragment) (not in N. or P.).</td></tr></tbody></table>
+    </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">(5)</th><td class="tei tei-item"> Choral Preludes and Variations of faulty text or doubtful authenticity:
+   <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item"> Ach Gott vom Himmel sieh' darein (P. bk. 2067 p.44).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item"> Auf meinen lieben Gott (P. bk. 2067 p. 39).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item"> Aus der Tiefe rufe ich (P. bk. 2067 p. 64).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4.</th><td class="tei tei-item"> Christ ist erstanden (not in N. or P.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">5.</th><td class="tei tei-item"> Christ lag in Todesbanden (P. bk. 2067 p. 56).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">6.</th><td class="tei tei-item"> Gott der Vater wohn' uns bei (P. bk. 245 p. 62) (by J. G. Walther).<a id="noteref_529" name="noteref_529" href="#note_529"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">529</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">7.</th><td class="tei tei-item"> O Vater, allmächtiger Gott (not in N. or P.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">8.</th><td class="tei tei-item"> Schmücke dich, O liebe Seele (not in N. or P.) (also attributed to G. A. Homilius).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">9.</th><td class="tei tei-item"> Vater unser im Himmelreich (not in N. or P.) (also attributed to G. Böhm).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">10.</th><td class="tei tei-item"> Ditto.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">11.</th><td class="tei tei-item"> Wir glauben all' an einen Gott, Schöpfer (P. bk. 2067 p. 40).<a id="noteref_530" name="noteref_530" href="#note_530"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">530</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">12.</th><td class="tei tei-item"> Variations on Ach, was soll ich Sünder machen (not in N. or P.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">13.</th><td class="tei tei-item"> Variations on Allein Gott in der Höh' sei Ehr' (not in N. or P.).</td></tr></tbody></table>
+  </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">(6)</th><td class="tei tei-item">Addendum to B.G. III.:
+   <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Allein Gott in der Höh' sei Ehr' (an early version of N. bk. 16 p. 40*) (P. bk. 245 p. 96).</td></tr></tbody></table>
+  </td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XLI.</th><td class="tei tei-item"> 1891 [1894]. Kirchenmusikwerke. Erganzungsband. Ed. Alfred Döffel.
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Cantata No. 191: Gloria in excelsis (the B minor Mass <span class="tei tei-q">“Gloria”</span>).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Cantata No. 192: Nun danket Alle Gott (incomplete).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Cantata No.193: Ihr Pforten zu Zion (incomplete).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Ehre sei Gott in der Hone (incomplete).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Wedding Cantata: O ewiges Feuer, O Ursprung der Liebe (incomplete).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Wedding Cantata: Herr Gott, Beherrscher aller Dinge (incomplete).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Sanctus in D major.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Kyrie eleison (Christe, du Lamm Gottes).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Christe eleison (Johann Ludwig Bach). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Jesum lass' ich nicht von mir (the original concluding Choral of the first Part of the <span class="tei tei-q">“St. Matthew Passion”</span> (Breitkopf and Haertel's <span class="tei tei-q">“Choralgesange,”</span> No. 247).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Four Cantatas of doubtful authenticity:
+     <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Gedenke, Herr, wie es uns gehet.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Gott der Hoffnung erfulle euch.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Siehe, es hat iiberwunden der Lowe.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Lobt ihn mit Herz und Munde.</td></tr></tbody></table>
+    </td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XLII.</th><td class="tei tei-item"> 1892 [1894]. Clavierwerke. Funfter Band. Ed. Ernst Naumann.
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Sonata in D minor (P. bk. 213 p. 24).<a id="noteref_531" name="noteref_531" href="#note_531"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">531</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Suite in E major (not in P.).<a id="noteref_532" name="noteref_532" href="#note_532"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">532</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Adagio in G major (P. bk. 213 p. 1).<a id="noteref_533" name="noteref_533" href="#note_533"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">533</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Sonata in A minor (P. bk. 213 p. 2).<a id="noteref_534" name="noteref_534" href="#note_534"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">534</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Sonata in C major (P. bk. 213 p. 16).<a id="noteref_535" name="noteref_535" href="#note_535"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">535</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Fugue in B flat major (P. bk. 1959 p. 75).<a id="noteref_536" name="noteref_536" href="#note_536"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">536</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Fugue in B flat major (P. bk. 1959 p. 90).<a id="noteref_537" name="noteref_537" href="#note_537"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">537</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Sixteen Concertos after Antonio Vivaldi (P. bk. 217).<a id="noteref_538" name="noteref_538" href="#note_538"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">538</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Fifteen Compositions of probable authenticity :
+      <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item"> Prelude and Fugue in A minor (P. bk. 1959 p. 84).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item"> Fantasia and Fugue in D minor (P. bk. 1959 p. 80).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item"> Fantasia in G minor (P. bk. 1959 p. 94).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4.</th><td class="tei tei-item"> Concerto and Fugue in C minor (not in P.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">5.</th><td class="tei tei-item"> Fugato in E minor (P. bk. 1959 p. 24).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">6.</th><td class="tei tei-item"> Fugue in E minor (P. bk. 1959 p. 72).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">7.</th><td class="tei tei-item"> Fugue in G major (P. bk. 1959 p. 68).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">8.</th><td class="tei tei-item"> Fugue in A minor (not in P.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">9.</th><td class="tei tei-item"> Fugue in A minor (not in P.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">10.</th><td class="tei tei-item"> Prelude in B minor (and Variant) (not in P.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">11.</th><td class="tei tei-item"> Suite in B flat major (P. bk. 1959 p. 54).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">12.</th><td class="tei tei-item"> Andante in G minor (P. bk. 1959 p. 63).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">13.</th><td class="tei tei-item"> Scherzo in D minor (and Variant) (P. bk. 1959 p. 62).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">14.</th><td class="tei tei-item"> Sarabande con Partite in C major (P. bk. 1959 p. 26).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">15.</th><td class="tei tei-item"> Passacaglia in D minor (P. bk. 1959 p. 40).</td></tr></tbody></table>
+     </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Ten Compositions of doubtful authenticity :
+      <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item"> Fantasia in C minor (not in P.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item"> Toccata quasi Fantasia con Fuga in A major (not in P.).<a id="noteref_539" name="noteref_539" href="#note_539"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">539</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item"> Partie in A major (not in P.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4.</th><td class="tei tei-item"> Allemande in C minor (not in P.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">5.</th><td class="tei tei-item"> Gigue in F minor (not in P.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">6.</th><td class="tei tei-item"> Allemande and Courante in A major (not in P.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">7.</th><td class="tei tei-item"> Allemande in A minor (not in P.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">8.</th><td class="tei tei-item"> Fantasia and Fughetta in B flat major (P. bk. 212 p. 58).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">9.</th><td class="tei tei-item"> Do. D major (P. bk. 212 p. 60).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">10.</th><td class="tei tei-item"> Fugue (unfinished) in E minor (not in P.).</td></tr></tbody></table>
+     </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Concerto in G major by Antonio Vivaldi (original of the second Clavier Concerto <span lang="la" class="tei tei-foreign" xml:lang="la">supra</span>).<a id="noteref_540" name="noteref_540" href="#note_540"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">540</span></span></a> </td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XLIII(l).</th><td class="tei tei-item"> 1893 [1894]. Kammermusik. Achter Band. Ed. Paul Graf Waldersee.
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Three Sonatas for Flute and Clavier:
+    <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">1. In C major (P. bk. 235 p. 33).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">2. In E minor (ib. p. 39).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">3. In E major (ib. p. 51).</td></tr></tbody></table>
+    </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Sonata in E minor, for Violin and Clavier (P. bk. 236).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Fugue in G minor for Violin and Clavier (P. bk. 236).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Sonata in F major for two Claviers (by Wilhelm Friedemann Bach). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Concerto in A minor for four Claviers and Orchestra (Strings) (P. bk. 260 p. 3).<a id="noteref_541" name="noteref_541" href="#note_541"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">541</span></span></a></td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XLIII (2).</th><td class="tei tei-item"> 1893 [1894]. Musikstücke in den Notenbüchen der Anna Magdalena Bach. Ed. Paul Graf Waldersee.
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">(1)</th><td class="tei tei-item"> The Notebook of the year 1722 contains:
+    <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item"> The French Suites (incomplete) (see B.G. an. (2)).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item"> Fantasia in C major for the Organ (see B.G. XXXVIII. No. 25).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item"> Air (unfinished) in C minor (not in P.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4.</th><td class="tei tei-item"> Choral Prelude, ' Jesus, meine Zuversicht' (see B.G. XL. sec. 2 No. 16).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">5.</th><td class="tei tei-item"> Minuet in G major (see B.G. xxxvi. and P. bk. 215 p. 62).</td></tr></tbody></table>
+    </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">(2)</th><td class="tei tei-item"> The Notebook of the year 1725 contains:<a id="noteref_542" name="noteref_542" href="#note_542"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">542</span></span></a>
+     <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item"> Partita III. (A minor) from the <span class="tei tei-q">“Clavierübung,”</span> Part I. (see B.G. III.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item"> Partita VI. (E minor) from the same (see B.G. III.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3 (P).</th><td class="tei tei-item"> Minuet in F major.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4 (P).</th><td class="tei tei-item"> Minuet in G major.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">5 (P).</th><td class="tei tei-item"> Minuet in G minor.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">6 (P).</th><td class="tei tei-item"> Rondeau in B flat major (by Couperin).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">7 (P).</th><td class="tei tei-item"> Minuet in G major.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">8 (P).</th><td class="tei tei-item"> Polonaise in F major (two versions).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">9 (P).</th><td class="tei tei-item"> Minuet in B flat major.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">10 (P).</th><td class="tei tei-item"> Polonaise in G minor.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">11.</th><td class="tei tei-item"> Choral Prelude, <span class="tei tei-q">“Wer nur den lieben Gott lässt alten”</span> (see B.G. XL., Kirnberger's Collection, no. 2).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">12.</th><td class="tei tei-item"> Choral, <span class="tei tei-q">“Gieb dich zufrieden und sei stille”</span> see B.G. XXXIX. see. 4 no. 4).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">13.</th><td class="tei tei-item"> Aria, <span class="tei tei-q">“Gieb dich zufrieden un sei stille”</span> (see B.G. XXXIX. sec. 2 no. 62).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">14 (P).</th><td class="tei tei-item"> Minuet in A minor.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">15 (P).</th><td class="tei tei-item"> Do. C minor.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">16 (P).</th><td class="tei tei-item"> March in D major.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">17 (P).</th><td class="tei tei-item"> Polonaise in G minor.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">18 (P).</th><td class="tei tei-item"> March in A major.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">19 (P).</th><td class="tei tei-item"> Polonaise in G minor.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">20.</th><td class="tei tei-item"> Aria, <span class="tei tei-q">“So oft ich meine Tabakspfeife”</span> (see B.G. XXXIX. sec. 4 no. 1).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">21.</th><td class="tei tei-item"> Minuet in G major, <span class="tei tei-q">“fait par Möns. Böhm.”</span></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">22 (P).</th><td class="tei tei-item"> Musette in D major.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">23 (P).</th><td class="tei tei-item"> March in E flat major.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">24 (P).</th><td class="tei tei-item"> Polonaise in D minor.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">25.</th><td class="tei tei-item"> Aria, <span class="tei tei-q">“Bist du bei mir”</span> (see B.G. XXIX. sec. 4 no. 2).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">26.</th><td class="tei tei-item"> Aria in G major (the Aria of the Goldberg Variations. See B.G. III.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">27 (P).</th><td class="tei tei-item"> Solo per il Cembalo in E flat major.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">28 (P).</th><td class="tei tei-item"> Polonaise in G major.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">29.</th><td class="tei tei-item"> Prelude in C major (Prelude i. of the first Part of the <span class="tei tei-q">“Well-tempered Clavier.”</span> See B.G. XIV.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">30.</th><td class="tei tei-item"> Suite in D minor (the first of the French Suites. See B.G. XIII (2)).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">31.</th><td class="tei tei-item"> Suite in C minor (the first three movements of the second French Suite. See B.G. XIII (2)).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">32.</th><td class="tei tei-item"> Choral (wordless) in F. major.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">33.</th><td class="tei tei-item"> Aria, <span class="tei tei-q">“Warum betrübst du dich”</span> (see B.G. XXXIX. sec. 3 no. 72).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">34.</th><td class="tei tei-item"> Recitativo and Aria, <span class="tei tei-q">“Ich habe genug,”</span> and <span class="tei tei-q">“Schlummert ein,”</span> for Basso (from Cantata 82, nos. 2 and 3), transposed.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">35.</th><td class="tei tei-item"> Aria, <span class="tei tei-q">“Schaff's mit mir, Gott, nach deinem Willen”</span> (see B.G. xxxrx. sec. 3 no. 61).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">36 (P).</th><td class="tei tei-item"> Minuet in D minor.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">37.</th><td class="tei tei-item"> Aria, <span class="tei tei-q">“Willst du dein Herz mir schenken”</span> (di Giovannini) (see B.G. XXXIX. sec. 4 no. 5).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">38.</th><td class="tei tei-item"> Aria, No. 34 <span lang="la" class="tei tei-foreign" xml:lang="la">supra.</span> </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">39.</th><td class="tei tei-item"> Choral, <span class="tei tei-q">“Dir, dir Jehovah, will ich singen”</span> (see B.G. XXXIX. sec. 2 no. 46).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">40.</th><td class="tei tei-item"> Aria, <span class="tei tei-q">“Wie wohl ist mir, 0 Freund der Seelen”</span> (see B.G. XXXIX. sec. 3 no. 74).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">41.</th><td class="tei tei-item"> Aria, <span class="tei tei-q">“Gedenke doch, mein Geist, zurticke”</span> (see B.G. XXXIX. sec. 4 no. 3).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">42.</th><td class="tei tei-item"> Choral, <span class="tei tei-q">“O Ewigkeit, du Donnerwort”</span> (see B.G. XXXIX. sec. 2 no. 144).</td></tr></tbody></table>
+	</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XLIV.</th><td class="tei tei-item"> 1894 [1895]. Handschrift in zeitlich geordneten Nachbildungen. Ed. Hermann Kretzschmar. Contains facsimiles of Bach's handwriting and autograph MSS.
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XLV(1).</th><td class="tei tei-item"> 1895 [1897]. Clavierwerke. Zweiter Band (neue berichtigte Ausgabe). Ed. Alfred Döffel.<a id="noteref_543" name="noteref_543" href="#note_543"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">543</span></span></a>
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">The Six English Suites (see B.G. XIII. (2)). (P. bks. 2794, 2795.)</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">The Six French Suites (see B.G. XIII. (2)). (P. bk. 2793.)</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Five Canons in 4, 6, 7, 8 parts.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude and Fugue in E flat major (P. bk. 214 p. 40).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Suite in E minor (P. bk. 214 p. 68).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Suite in C minor (not in P.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Sonata (first movement) in A minor (not in P.).<a id="noteref_544" name="noteref_544" href="#note_544"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">544</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Four Inventions, in B minor, B flat major, C minor, D major, for Violin and Clavier (P. bk. 2957).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Overture in G minor for Strings and Clavier (not in P.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">The <span class="tei tei-q">“Clavier-Büchlein”</span> of Wilhelm Friedemann Bach contains:
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item"> Applicatio in C major (see B.G. XXXVI. no. 48).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item"> Prelude in C major (the first of the Twelve Little Preludes) (see B.G. XXXVI. no. 19).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item"> Choral Prelude, <span class="tei tei-q">“Wer nur den lieben Gott lässt walten”</span> (see B.G. XL., Kirnberger's Collection, no. 2).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4.</th><td class="tei tei-item"> Prelude in D minor (the fifth of the Little Preludes) (see B.G. XXXVI. no. 19).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">5.</th><td class="tei tei-item"> Choral Prelude, <span class="tei tei-q">“Jesu meine Freude”</span> (fragment) (see B.G. XL. sec 4 no. 12).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">6.</th><td class="tei tei-item"> Allemande in G minor (not in P.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">7.</th><td class="tei tei-item"> Allemande (fragment) in G minor (not in P.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">8.</th><td class="tei tei-item"> Prelude in F major (the eighth of the Little Preludes) (see B.G. XXXVI. no. 19).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">9.</th><td class="tei tei-item"> Prelude in G minor (the eleventh of the Little Preludes) (see B.G. XXXVI. no. 19).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">10.</th><td class="tei tei-item"> Prelude in F major (the ninth of the Little Preludes) (see B.G. XXXVI. no. 19).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">11.</th><td class="tei tei-item"> Minuet in G major (the first of the three Minuets) (see B.G. XXXVI. no. 43).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">12.</th><td class="tei tei-item"> Minuet in G minor (the second of the three Minuets) (see B.G. XXXVI. no. 43).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">13.</th><td class="tei tei-item"> Minuet in G major (the third of the three Minuets) (see B.G. XXXVI. no. 43).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">14.</th><td class="tei tei-item"> Prelude in C major (the first Prelude of the first Part of the <span class="tei tei-q">“Well-tempered Clavier.”</span> See B.G. XIV.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">15.</th><td class="tei tei-item"> Do. C minor (the second Prelude of the first Part of the same. See B.G. XIV.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">16.</th><td class="tei tei-item"> Do. D minor (the sixth Prelude of the first Part of the same. See B.G. XIV.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">17.</th><td class="tei tei-item"> Do. D major (the fifth Prelude of the first Part of the same. See B.G. XIV.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">18.</th><td class="tei tei-item"> Prelude in E minor (the tenth Prelude of the first Part of the same. See B.G. XIV.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">19.</th><td class="tei tei-item"> Prelude in E major (the ninth Prelude of the first Part of the same. See B.G. XIV.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">20.</th><td class="tei tei-item"> Prelude in F major (the eleventh Prelude of the first Part of the same. See B.G. XIV.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">21.</th><td class="tei tei-item"> Prelude in C sharp major (the third Prelude of the first Part of the same. See B.G. XIV.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">22.</th><td class="tei tei-item"> Prelude in C sharp minor (the fourth Prelude of the first Part of the same. See B.G. XIV.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">23.</th><td class="tei tei-item"> Prelude in E flat minor (the eighth Prelude of the first Part of the same. See B.G. XIV.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">24.</th><td class="tei tei-item"> Prelude in F minor (the twelfth Prelude of the first Part of the same. See B.G. XIV.)</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">25.</th><td class="tei tei-item"> Allemande and Courante in C major, by J. C. Richter.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">26.</th><td class="tei tei-item"> Prelude in C major (first of the Little Preludes. See B.G. XXXVI. no. 19).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">27.</th><td class="tei tei-item"> Prelude in D major (fourth of the Little Preludes. See B.G. XXXVI. no. 19).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">28.</th><td class="tei tei-item"> Prelude in E minor (see B.G. xxxvi. no. 50).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">29.</th><td class="tei tei-item"> Prelude in A minor (B.G. xxxvi. no. 49).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">30.</th><td class="tei tei-item"> Prelude in G minor (not in P.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">31.</th><td class="tei tei-item"> Fugue in C major (see B.G. xxxvi. no. 38).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">32.</th><td class="tei tei-item"> Prelude in C major (Invention i. See B.G. m.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">33.</th><td class="tei tei-item"> Prelude in D minor (Invention iv. See B.G. m.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">34.</th><td class="tei tei-item"> Prelude in E minor (Invention vii. See B.G. m.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">35.</th><td class="tei tei-item"> Prelude in F major (Invention viii. See B.G. m.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">36.</th><td class="tei tei-item"> Prelude in G major (Invention x. See B.G. in.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">37.</th><td class="tei tei-item"> Prelude in A minor (Invention xiii. See B.G. m.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">38.</th><td class="tei tei-item"> Prelude in B minor (Invention xv. See B.G. m.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">39.</th><td class="tei tei-item"> Prelude in B flat major (Invention xiv. See B.G. III.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">40.</th><td class="tei tei-item"> Prelude in A major (Invention xii. See B.G. III.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">41.</th><td class="tei tei-item"> Prelude in G minor (Invention xi. See B.G. III.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">42.</th><td class="tei tei-item"> Prelude in F minor (Invention ix. See B.G. III.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">43.</th><td class="tei tei-item"> Prelude in E major (Invention vi. See B.G. III.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">44.</th><td class="tei tei-item"> Prelude in E flat major (Invention v. See B.G. III.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">45.</th><td class="tei tei-item"> Prelude in D major (Invention iii. See B.G. III.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">46.</th><td class="tei tei-item"> Prelude in C minor (Invention ii. See B.G. III.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">47.</th><td class="tei tei-item"> Suite in A major (fragment) (see B.G. XXXVI. no. 45).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">48.</th><td class="tei tei-item"> Partita in G minor by Steltzel, including a Minuet Trio by J. S. B. (Minuet in P. bk. 1959 p. 8).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">49.</th><td class="tei tei-item"> Fantasia in C major (Sinfonia i. See B.G. III.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">50.</th><td class="tei tei-item"> Fantasia inD minor (Sinfonia iv. See B.G. III.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">51.</th><td class="tei tei-item"> Fantasia in E minor (Sinfonia vii. See B.G. III.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">52.</th><td class="tei tei-item"> Fantasia in F major (Sinfonia viii. See B.G. III.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">53.</th><td class="tei tei-item"> Fantasia in G major (Sinfonia x. See B.G. III.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">54.</th><td class="tei tei-item"> Fantasia in A minor (Sinfonia xiii. See B.G. III.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">55.</th><td class="tei tei-item"> Fantasia in B minor (Sinfonia xv. See B.G. III.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">56.</th><td class="tei tei-item"> Fantasia in B flat major (Sinfonia xiv. See B.G. III.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">57.</th><td class="tei tei-item"> Fantasia in A major (Sinfonia xii. See B.G. III.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">58.</th><td class="tei tei-item"> Fantasia in G minor (Sinfonia xi. See B.G. III.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">59.</th><td class="tei tei-item"> Fantasia in F minor (Sinfonia ix. See B.G. III.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">60.</th><td class="tei tei-item"> Fantasia in E major (Sinfonia vi. See B.G. III.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">61.</th><td class="tei tei-item"> Fantasia in E flat major (Sinfonia v. See B.G. III.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">62.</th><td class="tei tei-item"> Fantasia in D major (Sinfonia iii. See B.G. III.).<a id="noteref_545" name="noteref_545" href="#note_545"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">545</span></span></a></td></tr></tbody></table>
+	</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XLV (2).</th><td class="tei tei-item"> 1895 [1898]. Passionsmusik nach dem Evangelisten Lucas. Ed. Alfred Döffel.
+ <p class="tei tei-p" style="margin-bottom: 1.00em">
+ Though the Score is in Bach's autograph, the work is generally held not to be his. 
+ </p>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XLVI.</th><td class="tei tei-item"> 1896 [1899].<a id="noteref_546" name="noteref_546" href="#note_546"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">546</span></span></a> Schlussband. Bericht und Verzeichnisse. Ed. Hermann Kretzschmar.
+ <p class="tei tei-p" style="margin-bottom: 1.00em">
+ The volume contains:—
+ </p>
+ <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Historical retrospect of the Society and its activities.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Thematic Index to Cantatas 121-191 (see B.G. XXVII (2)), unfinished Cantatas, Cantatas of doubtful authenticity, Christmas Oratorio, Easter Oratorio, St. Matthew Passion, St. John Passion, St. Luke Passion, Mass in B minor, the four Masses in F major, A major, G minor, G major, the four Sanctus in C major, D major, D minor, G major, Magnificat in D major, the <span class="tei tei-q">“Trauer-Ode”</span> Wedding Cantatas and Chorals, Motets, Secular Cantatas (P. bk. 270b).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Alphabetical Index of the movements throughout the vocal works.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Thematic Index to the Clavier music.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Thematic Index to the Chamber music.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Thematic Index to the Orchestral music.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Thematic Index to the Organ music.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Thematic Index to the <span class="tei tei-q">“Musikalisches Opfer”</span>.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Thematic Index to the <span class="tei tei-q">“Kunst der Fuge”</span></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Index to the several movements throughout the instrumental works.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Index of names and places occurring in the Prefaces of the B.G. volumes.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Bach's vocal and instrumental works arranged (1) in the order of the yearly volumes, (2) in groups.</td></tr></tbody></table>
+</td></tr></tbody></table>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em">
+<h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">(B) PUBLICATIONS OF THE NEW BACHGESELLSCHAFT</span></h2>
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1(1).</th><td class="tei tei-item"> 1901. Lieder und Arien. Fur eine Singstimme mit Pianoforte (Orgel oder Harmonium). Ed. Ernst Naumann
+  <p class="tei tei-p" style="margin-bottom: 1.00em">
+  The seventy-eight Songs are those contained in B.G. XXXIX. secs. 3 and 4 (first three only) <span lang="la" class="tei tei-foreign" xml:lang="la">supra.</span>
+  </p>
+  </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">I (2).</th><td class="tei tei-item"> 1901. Lieder und Arien. Furvierstimmigen gemischten Chor. Ed. Franz Wüllner.
+  <p class="tei tei-p" style="margin-bottom: 1.00em">
+  The seventy-five Songs are those contained in I (1), omitting those in sec. 4 of B.G. XXXIX. <span lang="la" class="tei tei-foreign" xml:lang="la">supra.</span>
+  </p>
+  </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">1(3).</th><td class="tei tei-item"> 1901. Erstes deutsches Bach-Fest in Berlin 21 bis 23 Marz 1901. Festschrift.
+  <p class="tei tei-p" style="margin-bottom: 1.00em">
+  The frontispiece is Carl Seffner's bust of Bach.
+  </p>
+  </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">II (1).</th><td class="tei tei-item"> 1902. Orgelbüchlein. 46 kürzere Choralbearbeitungen für Klavier zu vier Handen. Ed. Bernhard Fr. Richter.
+  <p class="tei tei-p" style="margin-bottom: 1.00em">
+  The original forty-six Organ Preludes, here arranged for two pianofortes (see B.G. XXV (2), sec. 1).
+  </p>
+  </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">II(2).</th><td class="tei tei-item"> 1902. Kirchen-Kantaten. Klavierauszug. Erstes Heft. Ed. Gustav Schreck and Ernst Naumann.
+  <p class="tei tei-p" style="margin-bottom: 1.00em">
+  Contains Breitkopf and Haertel's vocal scores of—
+  </p>
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Cantata 61: Nun komm, der Heiden Heiland.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Cantata 64: Sehet, welch' eine Liebe.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Cantata 28: Gottlob! nun geht das Jahr zu Ende.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Cantata 65: Sie werden aus Saba Alle kommen.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Cantata 4: Christ lag in Todesbanden.</td></tr></tbody></table>
+  </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">III (1).</th><td class="tei tei-item"> 1903. Kirchen-Kantaten. Klavierauszug. Zweites Heft. Ed. Ernst Naumann.
+ <p class="tei tei-p" style="margin-bottom: 1.00em">
+ Contains Breitkopf and Haertel's vocal scores of—
+ </p>
+ <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Cantata 104: Du Hirte Israel, höre. </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Cantata 11: Lobet Gott in seinen Reichen. </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Cantata 34: O ewiges Feuer. </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Cantata 45: Es ist dir gesagt. </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Cantata 80: Bin' feste Burg.</td></tr></tbody></table>
+ </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">III(2).</th><td class="tei tei-item"> 1903. Drei Sonaten für Klavier und Violine. Ed. Ernst Naumann.
+ <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Sonata I. in B minor.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Sonata II. in A major. (See B.G. IX.) </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Sonata III. in E major.) </td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">IV (1).</th><td class="tei tei-item"> 1904. Drei Sonaten für Klavier und Violine. Ed. Ernst Naumann.
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Sonata IV. in C minor.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Sonata V. in F minor (See BG. IX)</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Sonata VI. in G major.</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">IV (2).</th><td class="tei tei-item"> 1904. Joh. Seb. Bach, Bildnis in Heliogravure.
+ <p class="tei tei-p" style="margin-bottom: 1.00em">
+ A print of the portrait discovered by Dr. Fritz Volbach reproduced at p. 92 of this present volume.
+ </p>
+ </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">IV (3).</th><td class="tei tei-item"> 1904. Zweites deutsches Bach-Fest in Leipzig 1 bis 3 Oktober 1904. Festschrift.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">V (1).</th><td class="tei tei-item"> 1905. Fest-Gottesdienst zum deutschen Bachfeste in der Thomaskirche zu Leipzig. Ed. Georg Rietschel.
+ <p class="tei tei-p" style="margin-bottom: 1.00em">
+  Contains the order of service and music sung on the occasion.
+ </p>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">V (2).</th><td class="tei tei-item"> 1905. Ausgewahlte Arien und Duette mit einem obligaten Instrument und Klavier- oder Orgelbegleitung.
+  <p class="tei tei-p" style="margin-bottom: 1.00em">
+  I Abteilung: Arien für Sopran Ed. Eusebius Mandyczewski.
+  </p>
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item"> Auch mit gedämpften schwachen Stimmen (Cantata 36: Violin).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item"> Die Armen will der Herr unarmen (Cantata 186: Violin).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item"> Es halt' es mit der blinden Welt (Cantata 94: Oboe d'amore).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4.</th><td class="tei tei-item"> Gerechter Gott, ach, rechnest du (Cantata 89 : Oboe).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">5.</th><td class="tei tei-item"> Gott versorget alles Leben (Cantata 187 : Oboe).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">6.</th><td class="tei tei-item"> Hochster, was ich habe, ist nur deine Gabe (Cantata 39: Flauto).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">7.</th><td class="tei tei-item"> Hört, ihr Augen, auf zu weinen (Cantata 98 : Oboe).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">8.</th><td class="tei tei-item"> Ich bin vergnügt in meinem Leiden (Cantata 58: Violin).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">9.</th><td class="tei tei-item"> Ich ende behende mein irdisches Leben (Cantata 57: Violin).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">10.</th><td class="tei tei-item"> Ich nehme mein Leiden mit Freuden auf mich (Cantata 75: Oboe d'amore).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">11.</th><td class="tei tei-item"> Ich will auf den Herren schau'n (Cantata 93: Oboe).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">12.</th><td class="tei tei-item"> Seufzer, Thranen, Kummer, Noth (Cantata 21 : Oboe).</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">V(3).</th><td class="tei tei-item"> 1905. Bach-Jahrbuch 1904. Herausgegeben von der Neuen Bachgesellschaft.
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In addition to sermons and addresses on the occasion of the second Bach Festival at Leipzig in 1904, the volume contains the following articles:
+</p>
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item"> Bach und der evangelische Gottesdienst. By Karl Greulich.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item"> Praktische Bearbeitungen Bachscher Kompositionen. By Max Seiffert.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item"> Bachs Rezitativbehandlung mit besonderer Berück sichtigung der Passionen. By Alfred Heuss.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4.</th><td class="tei tei-item"> Verschwundene Traditionen des Bachzeit alters. By Arnold Schering.</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">VI (1).</th><td class="tei tei-item"> 1906. Ausgewahlte Arien und Duette mit einem obligaten Instrument und Klavier- oder Orgelbegleitung. II Abteilung: Arien für Alt. Ed. Eusebius Mandyczewski.
+ <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item"> Ach, bleibe doch, mein liebstes Leben (Cantata 11: Violin).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item"> Ach, es bleibt in meiner Liebe (Cantata 77: Tromba).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item"> Ach Herr! was ist ein Menschenkind (Cantata 110: Oboe d'amore).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4.</th><td class="tei tei-item"> Ach, unaussprechlich ist die Noth (Cantata 116: Oboe d'amore).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">5.</th><td class="tei tei-item"> Christen müssen auf der Erden (Cantata 44: Oboe).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">6.</th><td class="tei tei-item"> Christi Glieder, ach, bedenket (Cantata 132: Violin).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">7.</th><td class="tei tei-item"> Es kommt ein Tag (Cantata 136: Oboe d'amore).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">8.</th><td class="tei tei-item"> Gelobet sei der Herr, mein Gott (Cantata 129: Oboe d'amore).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">9.</th><td class="tei tei-item"> Ich will doch wohl Rosen brechen (Cantata 86: Violin).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">10.</th><td class="tei tei-item"> Jesus macht mich geistlich reich (Cantata 75: Violin).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">11.</th><td class="tei tei-item"> Kein Arzt ist ausser dir zu finden (Cantata 103: Flauto).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">12.</th><td class="tei tei-item"> Was Gott thut, das ist wohlgethan (Cantata 100: Oboe d'amore).</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">VI (2).</th><td class="tei tei-item"> 1906. Ausgewahlte Arien und Duette mit einem obligaten Instrument und Klavier- odor Orgelbegleitung. III Abteilung: Duette für Sopran und Alt. Ed. Eusebius Mandyczewski.
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item"> Die Armuth, so Gott auf sich nimmt (Cantata 91: Violin).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item"> Wenn Sorgen auf mich dringen (Cantata 3: Violin or Oboe d'amore).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item"> Er kennt die rechten Freudenstunden (Cantata 93: Violin).</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">VI (3).</th><td class="tei tei-item"> 1906. Bach-Jahrbuch 1905. Herausgegeben von der Neuen Bachgesellschaft.
+ <p class="tei tei-p" style="margin-bottom: 1.00em">
+ Contains the following articles:
+ </p>
+ <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item">Johann Sebastian Bachs Kapelle zu Cöthen und deren nachgelassene Instrumente. By Rudolf Bunge.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item"> Geleitwort. By Arnold Sobering.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item"> Die Wahl Joh. Seb. Bachs zum Kantor der Thomaschule i. J. 1723. By Bernhard Fr. Richter.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4.</th><td class="tei tei-item"> Ein' feste Burg ist unser Gott. Kantata von Joh. Seb. Bach. By Fritz Volbach.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">5.</th><td class="tei tei-item"> Verzeichnis der bisher erschienenen Literatur über Johann Sebastian Bach. By Max Schneider.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">6.</th><td class="tei tei-item"> Reviews of books.</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">VII (1).</th><td class="tei tei-item"> 1907. Kantate No. 88: <span class="tei tei-q">“Siehe, ich will viel Fischer aussenden.”</span> Partitur. Ed. Max Seiffert.
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">VII (2).</th><td class="tei tei-item"> 1907. Kantate No. 88: <span class="tei tei-q">“Siehe, ich will viel Fischer aussenden.”</span> Klavierauszug mit Text. Ed. Max Seiffert und Otto Taubmann.
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">VII (3).</th><td class="tei tei-item"> 1907. Bach-Jahrbuch 1906. Herausgegeben von der Neuen Bachgesellschaft.
+ <p class="tei tei-p" style="margin-bottom: 1.00em">
+ Contains the following articles:
+ </p>
+ <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item"> Erfahrungen und Ratschlüger bezüglich der Aufführung Bachscher Kirchenkantaten. By Wilhelm Voigt.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item"> Über die Schickssle der der Thomasschule zu Leipzig angehorenden Kantaten Joh. Seb. Bachs. By Bernhard Fr. Richter.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item"> Die grosse A-moll Fuge für Orgel [Novello bk. 7 p. 42] und ihre Vorlage. By Reinhardt Oppel.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4.</th><td class="tei tei-item"> Zur Rritik der Gesamtausgabe von Bachs Werken. By Max Seiffert.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">5.</th><td class="tei tei-item"> Verzeichnis der bis zum Jahre 1851 gedruckten (und der geschrieben im Handel gewesenen) Werke von Johann Sebastian Bach. By Max Schneider.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">6.</th><td class="tei tei-item"> Übersicht der Aufführungen J. S. Bachscher Werke von Ende 1904 bis Anfang 1907.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">8.</th><td class="tei tei-item"> Notes.</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">VII (4).</th><td class="tei tei-item"> 1907. Drittes deutsches Bach-Fest zur Einweihung von Johann Sebastian Bachs Geburtshaus als BachMuseum [at Eisenach]. Fest- und Programmbuch [26-28 May 1907].
+ <p class="tei tei-p" style="margin-bottom: 1.00em">
+ The frontispiece is Carl Seffner's bust of Bach.
+ </p>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">VIII (1).</th><td class="tei tei-item"> 1908. Violinkonzert No. 2 in E dur. Partitur. Ed. Max Seiffert.
+ <p class="tei tei-p" style="margin-bottom: 1.00em">
+ See B.G. XXI (1) no. 2.
+ </p>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">VIII (2).</th><td class="tei tei-item"> 1908. Violinkonzert No. 2 in E dur fur Violine und Klavier. Ed. Max Seiffert and A. Saran.
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">VIII (3).</th><td class="tei tei-item"> 1908. Bach-Jahrbuch. 4 Jahrgang 1907: Im Auftrage der Neuen Bachgesellschaft herausgegeben von Arnold Schering.
+ <p class="tei tei-p" style="margin-bottom: 1.00em">
+ In addition to a sermon by Professor Georg Rietschel and an obituary notice of Joseph Joachim, the volume contains the following articles:
+ </p>
+ <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item"> Sebastian Bach und Paul Gerhardt. By Wilhelm Nolle.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item"> Stadtpfeifer und Alumnen der Thomasschule in Leipzig zu Bachs Zeit. By Bernhard Fr. Richter.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item"> Angeblich von J. S. Bach komponierte Oden von Chr. H. Hoffmannswaldau. By —. Landmann.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4.</th><td class="tei tei-item"> Die neuen deutschen Ausgaben der zwei- und dreistimmigen Inventionen [Peters bk. 2792]. By Reinhardt Oppel.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">5.</th><td class="tei tei-item"> Thematisches Verzeichnis der musikalischen Werke der Familie Bach. I. Theil. By Max Schneider.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">6.</th><td class="tei tei-item"> Notes and Reviews of books.</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">IX (1).</th><td class="tei tei-item"> 1909. Kantate No. 85: <span class="tei tei-q">“Ich bin ein guter Hirt.”</span> Partitur. Ed. Max Seiffert.
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">IX (2).</th><td class="tei tei-item"> 1909. Kantate No. 85: <span class="tei tei-q">“Ich bin ein guter Hirt.”</span> Klavierauszug mit Text. Ed. Max Seiffert and Max Schneider.
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">IX (3).</th><td class="tei tei-item"> 1909. Brandenburgisches Konzert No. 3. Partitur. Ed. Max Seiffert.
+  <p class="tei tei-p" style="margin-bottom: 1.00em">
+  See B.G. XIX. no. 3.
+  </p>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">IX (4).</th><td class="tei tei-item"> 1909. Brandcnburgisches Konzert No. 3 für Klavier zu vier Händen. Ed. Max Seiffert and Max Schneider.
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">IX (5).</th><td class="tei tei-item"> 1909. Viertes deutsches Bach-Fest in Chemnitz 3-5 Oktober 1908. Fest- und Programmbuch.
+  <p class="tei tei-p" style="margin-bottom: 1.00em">
+  The frontispiece is a photograph of Carl Seffner's statue of Bach, unveiled at Leipzig May 17, 1908.
+  </p>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">IX (6).</th><td class="tei tei-item"> 1909. Bach-Jahrbuch. 5 Jahrgang 1908: Im Auftrage der Neuen Bachgesellschaft herausgegeben von Arnold Schering.
+  <p class="tei tei-p" style="margin-bottom: 1.00em">
+  Contains the following articles:
+  </p>
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item"> Zu Bachs Weihnachtsoratorium, Theil 1 bis 3. By Woldemar Voigt.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item"> Über Seb. Bachs Kantaten mit obligater Pedal. By Bernhard Fr. Richter.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item"> Cembalo oder Pianoforte? By Richard Buchmayer.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4.</th><td class="tei tei-item"> Bearbeitung Bachscher Kantaten. By Max Schneider.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">5.</th><td class="tei tei-item"> Nachrichten über das Leben Georg Böhms mit spezieller Berücksichtigung seiner Beziehungen zur Bachschen Familie. By Richard Buchmayer.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">6.</th><td class="tei tei-item"> Ein interessantes Beispiel Bachscher Textauffassung. By Alfred Heuss.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">7.</th><td class="tei tei-item"> Edgar Tinel über Seb. Bach.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">8.</th><td class="tei tei-item"> Notes.</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">X (I).</th><td class="tei tei-item"> 1910. Ausgewahlte Arien und Duette mit einem obligaten Instrument und Klavier- oder Orgelbegleitung. IV Abteilung: Arien für Tenor. Ed. Eusebius Mandyczewski.
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item"> Dein Blut, so meine Schuld durchstreit (Cantata 78: Flauto).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item"> Die Liebe zieht mit sanften Schritten (Cantata 36: Oboe d'amore).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item"> Ergiesse dich reichlich, du gottliche Quelle (Cantata 5: Viola).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4.</th><td class="tei tei-item"> Handle nicht nach deiuen Bechten mit uns (Cantata 101: Violin).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">5.</th><td class="tei tei-item"> Ich will an den Himmel denken (Cantata 166 : Oboe).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">6.</th><td class="tei tei-item"> Ja, tausendmal Tausend (Cantata 43 : Violin).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">7.</th><td class="tei tei-item"> Mich kann kein Zweifel stören (Cantata 108 : Violin).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">8.</th><td class="tei tei-item"> Seht, was die Liebe thut! (Cantata 85 : Violin or Viola).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">9.</th><td class="tei tei-item"> Tausendfaches Unglück, Schrecken, Trübsal (Cantata 143: Violin).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">10.</th><td class="tei tei-item"> Wir waren schon zu tief gesunken (Cantata 9 : Violin).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">11.</th><td class="tei tei-item"> Woferne du den edlen Frieden (Cantata 41 : Violoncello).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">12.</th><td class="tei tei-item"> Wo wird in diesem Jammerthale (Cantata 114: Flauto).</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">X (2).</th><td class="tei tei-item"> 1910. Brandenburgisches Konzert No. 1. Partitur. Ed. Max Seiffert.
+  <p class="tei tei-p" style="margin-bottom: 1.00em">
+  See B.G. XIX. no. 1.
+  </p>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">X(3).</th><td class="tei tei-item"> 1910. Brandenburgisches Konzert No. 1 fur Klavier zu vier Handen. Ed. Max Seiffert and Max Schneider.
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">X(4).</th><td class="tei tei-item"> 1910. Bach-Jahrbuch. 6 Jahrgang 1909: Im Auftrage der Neuen Bachgesellschaft herausgegeben von Arnold Schering.
+ <p class="tei tei-p" style="margin-bottom: 1.00em">
+ The volume contains the following articles:
+ </p>
+ <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item"> Zum Linearprinzip J. S. Bachs. By Robert Handke.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item"> Bachs Verhältnis zur Klaviermusik. By Karl Nes.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item"> Zur Tenorarie [<span class="tei tei-q">“Ich will an den Himmel denken”</span>: See X (1) no. 5, <span lang="la" class="tei tei-foreign" xml:lang="la">supra</span>] der Kantate 166. By Reinhard Oppel.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4.</th><td class="tei tei-item"> Die Verzierungen in den Werken von J. S. Bach. By E. Dannreuther.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">5.</th><td class="tei tei-item"> Konnte Bachs Gemeinde bei seinen einfachen Choral-sätzen mitsingen? By Rudolf Wustmann.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">6.</th><td class="tei tei-item"> Buxtehudes musikalischer Nachrnf heim Tode seines Vaters (mit einer Notenbeilage). By Reinhard Oppel. </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">7.</th><td class="tei tei-item"> <span class="tei tei-q">“Matthauspassion,”</span> erster Theil. By Rudolf Wustmann.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">8.</th><td class="tei tei-item"> Zu den Beschlüssen des Dessauer Kirchengesangver einstages. By Arnold Schering.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">9.</th><td class="tei tei-item"> Notes.</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">X (5).</th><td class="tei tei-item"> 1910. Fünftes deutsches Bach-Fest in Duisburg 4 bis
+7 Juni 1910. Fest- und Programmbuch.
+  <p class="tei tei-p" style="margin-bottom: 1.00em">
+  Frontispiece, St. Thomas' Church and School, Leipzig, in 1723. Reproduced at p. 28 of the present volume.
+  </p>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XI (1).</th><td class="tei tei-item"> 1911. Ausgewahlte Arien und Duetto mit einem obligaten Instrument und Klavier- oder Orgelbegleitung V Abteilung: Arien für Bass, Ed. Eusebius Mandyczewski.
+ <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item"> Achzen und erbärmlich Weinen (Cantata 13: Violin or Flute).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item"> Die Welt mit allen Königreichen (Cantata 59: Violin).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item"> Endlicb, endlich wird niein Joch (Cantata 56: Oboe).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4.</th><td class="tei tei-item"> Erleucht' auch meine finstre Sinnen (<span class="tei tei-q">“Christmas
+Oratorio,”</span> Part V. no. 5: Oboe d'amore).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">5.</th><td class="tei tei-item"> Gleichwie die wilden Meeres-Wellen (Cantata 178: Violin or Viola).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">6.</th><td class="tei tei-item"> Greifet zu, fasst das Heil (Cantata 174: Violin or Viola).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">7.</th><td class="tei tei-item"> Herr, nun lässest du deinen Diener (Cantata 83: Violin or Viola).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">8.</th><td class="tei tei-item"> Hier, in meines Vatera Stätte (Cantata 32: Violin).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">9.</th><td class="tei tei-item"> Komm, süsses Kreuz (<span class="tei tei-q">“St. Matthew Passion,”</span> no. 57: Violoncello).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">10.</th><td class="tei tei-item"> Lass', O Welt, mich aus Verachtung (Cantata 123: Flauto).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">11.</th><td class="tei tei-item"> Tritt auf die Glaubensbahn (Cantata 152: Oboe d'amore).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">12.</th><td class="tei tei-item"> Wenn Trost und Hülf' ermangeln muss (Cantata 117: Violin).</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XI (2).</th><td class="tei tei-item"> 1911. Bach-Jahrbuch. 7 Jahrgang 1910: Im Auftrage der Neuen Bachgesellschaft herausgegeben von Arnold Sobering.
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The volume contains the following articles:
+</p>
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item">Die Diatonik in ihrem Einfluss auf die thematische Gestaltung des Fugenbaues. By Robert Handke.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item">Bach und die franzosische Klaviermusik. By Wanda Landowska.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item">Sebastian Bachs Kirchenkantatentexte. By Rudolf Wustmann.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4.</th><td class="tei tei-item">Uber Joh. Kasp. Fred. Fischers Einfluss auf Joh. Seb. Bach. By Reinhard Oppel.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">5.</th><td class="tei tei-item">Hans Bach, der Spielmann. By Werner Wolffheim.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">6.</th><td class="tei tei-item">Vom Rhythmus des evangelischen Chorals. By Rudolf Wustmann.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">7.</th><td class="tei tei-item">W. Friedemann Bach und seine hallische Wirksamkeit. By C. Zehler.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">8.</th><td class="tei tei-item">Neues Material zum Verzeichnis der bisher erschienenen Literatur über Johann Sebastian Bach. By Max Schneider. </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">9.</th><td class="tei tei-item">Reviews of books.</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XII (1).</th><td class="tei tei-item"> 1912. Ausgewahlte Arien und Duette mit einem obligaten Instrument und Klavier- oder Orgelbegleitnng. VI Abteilung: Arien fur Sopran. 2 Heft. Ed. Eusebius Mandyczewski.
+ <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item"> Bereite dir, Jesu, noch itzo die Bahn (Cantata 147: Violin).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item"> Eilt, ihr Stunden, kommt herbei (Cantata 30: Violin).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item"> Erfüllet, ihr bimmlischen, göttlichen Flammen (Cantata 1: Oboe da caccia).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4.</th><td class="tei tei-item"> Genügsamkeit ist ein Schatz in diesem Leben (Cantata 144: Oboe d'amore).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">5.</th><td class="tei tei-item"> Hört, ihr Völker, Gottes Stimme (Cantata 76: Violin).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">6.</th><td class="tei tei-item"> Ich folge dir gleichfalls (<span class="tei tei-q">“St. John Passion,”</span> no. 9: Flauto).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">7.</th><td class="tei tei-item"> Jesus soll mein erstes Wort (Cantata 171: Violin).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">8.</th><td class="tei tei-item"> Liebster Jesu, mein Verlangen (Cantata 32: Oboe).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">9.</th><td class="tei tei-item"> Meinem Hirten bleib' ich treu (Cantata 92: Oboe d'amore).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">10.</th><td class="tei tei-item"> Seele, deine Spezereien sollen nicht (<span class="tei tei-q">“Easter Oratorio,”</span> no. 4: Flauto or Violin).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">11.</th><td class="tei tei-item"> Was Gott thut, das ist wohlgethan (Cantata 100: Flauto).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">12.</th><td class="tei tei-item"> Wie zittern und wanken der Sünder Gedanken (Cantata 105: Oboe).</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XII (2).</th><td class="tei tei-item"> 1912. Bach-Jahrbuch. 8 Jaargang 1911: Im Auftrage der Neuen Bachgesellschaft herausgegeben von Arnold Schering. Mit 2 Bildnissen und 8 Faksimiles.
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The volume contains the following articles:
+</p>
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item"> <span class="tei tei-q">“Mein Herze schwimmt im Blut”</span> [see infra XIII (2)]. By Werner Wolffheim.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item"> Das sogensante Orgelkonzert D-moll, von Wilhelm Friedemann Bach [Peters bk. 3002]. By Max Schneider. </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item"> Bachiana. By Werner Wolffheim.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4.</th><td class="tei tei-item"> Zur Geschichte der Passionsaufführungen in Leipzig. By Bernhard Fr. Richter.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">5.</th><td class="tei tei-item"> Tonartensymbolik zu Bachs Zeit. By Rudolf Wustmann.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">6.</th><td class="tei tei-item"> Über die Viola da Gamba und ihre Verwendung bei Joh. Seb. Bach. By Christian Dobereiner.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">7.</th><td class="tei tei-item"> Carl Philipp Emanuel Bach und Joh. Gottl. Im. Breitkopf. By Hermann von Hase.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">8.</th><td class="tei tei-item"> Zur <span class="tei tei-q">“Lukaspassion.”</span> By Max Schneider.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">9.</th><td class="tei tei-item"> Verzeichnis der Sammlung alter Musikinstrumente im Bachhaus zu Eisenach. By G. Bornemann.</td></tr></tbody></table>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The illustrations are, portraits of W. Friedemann Bach (aet. 72) and Johann Sebastian Bach (son of Carl P. E. Bach); facsimiles of Bach's arrangement of the D minor Vivaldi Organ Concerto (attributed to W. F. Bach) and <span class="tei tei-q">“Lukaspassion,”</span> and of a letter written to J. G. I. Breitkopf by C. P. E. Bach, dated 28th February 1786.
+</p>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XII (3).</th><td class="tei tei-item"> 1912. Sechstes Deuteches Bach-Fest in Breslau 15 bis 17 Juni 1912. Fest- und Frogrammbuch.
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Frontispiece, J. S. Bach after the oil-painting by G. Haussmann in possession of St. Thomas' School, Leipzig (see Spitta, vol. i. frontispiece and XVI (1) infra).
+</p>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XIII (1).</th><td class="tei tei-item"> 1913. Ausgewahlte Arien mit obligaten Instrumenten und Klavierbegleitung. VII Abteilung: Arien fur Sopran. 3 Heft. Weltliche Arien. Ed. Eusebius Mrmdyczewski.
+ <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item"> Wenn die Fruhlingslüfte streichen (<span class="tei tei-q">“Weichet nur betrübte Schatten”</span>: Violin).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item"> Sich üben im Lieben (<span class="tei tei-q">“Weichet nur betrübte Schatten”</span>: Oboe).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item"> Des Reichtums Glanz (<span class="tei tei-q">“Ich bin in mir vergnügt”</span>:
+Violin).<a id="noteref_547" name="noteref_547" href="#note_547"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">547</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4.</th><td class="tei tei-item"> Meine Seele, sei vergnügt (<span class="tei tei-q">“Ich bin in mir vergnügt”</span>:
+Flauto).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">5.</th><td class="tei tei-item"> Angenehmer Zephryus (<span class="tei tei-q">“Der zufnedengestellte Aeolus”</span>: Violin).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">6.</th><td class="tei tei-item"> Schweigt, ihr Flöten (<span class="tei tei-q">“O holder Tag”</span>: Flauto).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">7.</th><td class="tei tei-item"> Ei! wie schmeckt der Coffee süsse (<span class="tei tei-q">“Schweigt stille, plaudert nicht”</span>: Flauto).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">8.</th><td class="tei tei-item"> Ruhig und in sich zufrieden (<span class="tei tei-q">“Ich bin in mir vergnügt”</span>: 2 Oboi).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">9.</th><td class="tei tei-item"> Schafe können sicher weiden (<span class="tei tei-q">“Was mir behagt”</span>: 2 Flauti).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">10.</th><td class="tei tei-item"> Ruhet hie, matte Töne (<span class="tei tei-q">“O holder Tag”</span>: Violin and Oboe d'amore).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">11.</th><td class="tei tei-item"> Jagen ist die Lust der Götter (<span class="tei tei-q">“Was mir behagt”</span>: 2 Horns).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">12.</th><td class="tei tei-item"> Hört doch! der sanften Flöten Chor (<span class="tei tei-q">“Schleicht, spielende Wellen”</span>: 3 Flauti).</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XIII (2).</th><td class="tei tei-item"> 1913. Solo-Kantate für Sopran, <span class="tei tei-q">“Mein Herze schwimmt im Blut,”</span> ausgefunden und herausgegeben von C. A. Martiensen. Partitur.
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XIII (3).</th><td class="tei tei-item"> 1913. Solo-Kantate für Sopran, <span class="tei tei-q">“Mein Herze schwimmt im Blut.”</span> Klavierauszug mit Text von Max Schneider.
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XIII (4).</th><td class="tei tei-item"> 1913. Bach-Jahrbuch. 9 Jahrgang 1912: Im Auftrage der Neuen Bachgesellschaft herausgegeben von Arnold Schering. Mit 2 Noten-Anhängen.
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The volume contains the following articles:
+</p>
+ <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item"> Uber die Motetten Seb. Bachs. By Bernhard Ft. Richter.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item"> Uber die F-dur Toccata [N. bk. 9 p. 176] von J. S. Bach. By Woldemar Voigt.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item"> Die Möllersche Handschrift. Ein unbekanntes Gegenstück zum Andreas-Bach-Buche (mit einem Notenanhange). By Werner Wolffheim.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4.</th><td class="tei tei-item"> Bachs Bearbeitungen und Umarbeitungen eigener und fremder Werke. By Karl Grunsky.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">5.</th><td class="tei tei-item"> Über die Kirchenkantaten vorbachischer Thomaskantoren (mit einem Notenanhange). By Arnold Sobering.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">6.</th><td class="tei tei-item"> Beiträge zur Bachkritik. By Arnold Sobering.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">7.</th><td class="tei tei-item"> Aufführungen von Joh. Seb. Bachs Kompositionen. By Th. Biebrich.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">8.</th><td class="tei tei-item"> Notes.</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XIV (1).</th><td class="tei tei-item"> 1914.<a id="noteref_548" name="noteref_548" href="#note_548"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">548</span></span></a> Joh. Seb. Bachs Kantatentexte. Im Auftrage der Neuen Bachgesellsehaft herausgegeben von Rudolf Wustmann.
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Contains the literary texts of the Church Cantatas, with critical notes.
+</p>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">XIV (2). 1914. Bach-Jahrbuch. 10 Jahrgang 1913. Im Auftrage der Neuen Bachgesellsehaft herausgegeben von Arnold Sobering. Mit einem Titelbilde und einer Beilage.
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The volume contains the following articles:
+</p>
+ <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item"> Studien zu J. S. Bachs Klavierkonzerten. By Adolf Aber.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item"> Über Joh. Seb. Bachs Konzerte fur drei Klaviere. By Hans Boas.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item"> Die Kantata Nr. 150, <span class="tei tei-q">“Nach dir, Herr, verlanget mich.”</span> By Arnold Sobering.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4.</th><td class="tei tei-item"> Über die C-dur-Fuge aus dem I. Theil des <span class="tei tei-q">“Wohltemperierten Klaviers.”</span> By Wanda Landowska.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">5.</th><td class="tei tei-item"> Die Varianten der grossen G-moll-Fuge für Orgel
+[Novello bk. 8 p. 127]. By Hermann Keller.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">6.</th><td class="tei tei-item"> Ein Bachkonzert in Kamenz. By Hermann Kretzschmar.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">7.</th><td class="tei tei-item"> Breitkopfsche Textdrucke zu Leipziger Musikaufführungen zu Bachs Zeiten. By Hermann von Hase.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">8.</th><td class="tei tei-item"> J. S. Bachs Aria, <span class="tei tei-q">“Erbauliche Gedanken ernes Tabakrauchers.”</span> By Alfred Heuss.<a id="noteref_549" name="noteref_549" href="#note_549"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">549</span></span></a></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">9.</th><td class="tei tei-item"> Johann Seb. Bachs und Christoph Graupners Kompositionen zur Bewerbung um das Thomaskantorat in Leipzig 1722-23. By Bernhard Fr. Richter.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">10.</th><td class="tei tei-item"> Register zu den ersten 10 Jahrgangen des Bach Jahrbuchs 1904-13. By Arnold Schering.</td></tr></tbody></table>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The frontispiece is a portrait of Bach, about thirty-five years old, after the original in the Eisenach Museum by Job. Jak. Ihle. See frontispiece of this volume.
+</p>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XIV (3).</th><td class="tei tei-item"> 1914. Fest- und Programmbuch zum 7 Deutschen Bachfest der Neuen Bachgesellschaft. Wien. 9 bis 11 May 1914.
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The frontispiece is a picture of St. Thomas' Church and School in 1723 (see p. 28 supra).
+</p>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XV (1).</th><td class="tei tei-item"> 1914. Ausgewählte Arien und Duette mit einem obligaten Instrument und Klavier- oder Orgelbegleitung. VIII Abteilung: Arien für Alt. 2 Heft. Ed. Eusebius Mandyczewski.
+ <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item"> Bethörte Welt (Cantata 94: Flauto).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item"> Ein ungefärbt Gemüte (Cantata 24: Violin or Viola).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item"> Ermuntert euch (Cantata 176: Oboe).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4.</th><td class="tei tei-item"> Gott ist unser Sonn' und Schild (Cantata 79: Oboe or Flauto).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">5.</th><td class="tei tei-item"> In Jesu Demuth (Cantata 151: Oboe d'amore or Violin).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">6.</th><td class="tei tei-item"> Jesus ist ein guter Hirt (Cantata 85: Violin or Violoncello).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">7.</th><td class="tei tei-item"> Kreuz und Krone (Cantata 12: Oboe).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">8.</th><td class="tei tei-item"> Schäme dich, O Seele, nicht (Cantata 147: Oboe d'amore).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">9.</th><td class="tei tei-item"> Von der Welt verlang' ich nichts (Cantata 64: Oboe d'amore).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">10.</th><td class="tei tei-item"> Weh der Seele (Cantata 102 : Oboe).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">11.</th><td class="tei tei-item"> Willkommen! will ich sagen (Cantata 27: Cor Anglais).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">12.</th><td class="tei tei-item"> Zum reinen Wasser (Cantata 112: Oboe d'amore).</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XV (2).</th><td class="tei tei-item"> 1915. Bach-Jahrbuch. 11 Jahrgang 1914: Im Anftrage der Neuen Bachgesellschaft herausgegeben von Arnold Schering (Leipzig). Mit einem Titelbilde und einer Bilderbeilage.
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The volume contains the following articles:
+</p>
+ <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item"> Neues über das Bachbildnis der Thomasschule und andere Bildnisse Johann Sebastian Bachs. By Albrecht Kurzwelly.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item"> Zur Geschichte der Bachbewegung. Bericht über eine bisher unbekannte frühe Aufführung der Matthaüuspassion. By Karl Anton.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item"> Johann Christoph Friedrich Bach. By Georg Schünemann.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4.</th><td class="tei tei-item"> Die Wiederbelebung der Kurrende in Eisenach. By W. Nicolai.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">5.</th><td class="tei tei-item"> Aufführungen von Joh. Seb. Bachs Kompositionen in der Zeit vom Oktober 1912 bis Juli 1914. By Th. Biebrich.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">6.</th><td class="tei tei-item"> Bachaufführungen im ersten Jahre des deutschen Krieges. By Th. Biebrich.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">7.</th><td class="tei tei-item"> Mitgliederversammlung der Neuen Bachgesellschaft. Montag, den 11 Mai 1914.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">8.</th><td class="tei tei-item"> Reviews.</td></tr></tbody></table>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The frontispiece is a picture of Bach by Daniel Greiner.
+</p>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XVI (1).</th><td class="tei tei-item"> 1916. Das Bachbildnis der Thomasschule zu Leipzig, nach seiner Wiederherstellung im Jahre 1913. Gemalt von E. G. Haussmanu 1746.
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+A print of the renovated picture is at p. 48 of this volume.
+</p>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XVI (2).</th><td class="tei tei-item"> 1916. Bach-Genealogie mit zwei Briefen von Carl Philipp Emanuel Bach. Herausgegeben von Professor Max Schneider in Breslau.<a id="noteref_550" name="noteref_550" href="#note_550"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">550</span></span></a>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XVI (3).</th><td class="tei tei-item"> 1916. Bach-Jahrbuch. 12 Jahrgang 1915. Im Auftrage der Neuen Bachgesellschaft herausgegeben von Arnold Sobering (Leipzig). Mit dem Bildnisse J. S. Bachs nach der Gedenkbüste in der Walhalla.
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The volume contains the following articles:
+</p>
+ <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item"> Johann Sebastian Bach im Gottesdienst der Thomaner. By Bernhard Friedrich Richter.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item"> Karl Philipp Emanuel Bach und der Dresdner Kreuz kantor Gottfried August Homilius im Musikleben ihrer Zeit. Ein Beitrag zur Geschichte der Stilwandlung des 18 Jahrhunderts. By Rudolf Steglich.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item"> Eine Umdichtung des <span class="tei tei-q">“Zufriedengestellten Aeolus”</span> (Mit einem Anhang über die Kantata <span class="tei tei-q">“Schleicht, spielende Wellen”</span>). By Woldemar Voigt.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4.</th><td class="tei tei-item"> Eine alte, unbekannte Skizze von Sebastian Bachs Leben. By Arthur Prüfer.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">5.</th><td class="tei tei-item"> Bachauffuhrungen im zweiten Jahre des deutschen Krieges. By Th. Biebrich.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">6.</th><td class="tei tei-item"> Reviews.</td></tr></tbody></table>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The frontispiece is a photograph of Professor F. Behn's bust of Bach in the Walhalla.
+</p>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XVII (1).</th><td class="tei tei-item"> 1916. Motette <span class="tei tei-q">“O Jesu Christ, mein's Lebens Licht.”</span> Nach Bachs Handschrift zum ersten Male herausgegeben von Max Schneider. Partitur, [See E.G. XXIV.]
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XVII (2).</th><td class="tei tei-item"> 1916. Motette <span class="tei tei-q">“O Jesu Christ, mein's Lebens Licht.”</span> Klavierauszug mit Text von Max Schneider. [See B.G. XXIV.]
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XVII (3).</th><td class="tei tei-item"> 1917. Bach-Urkunden. Ursprung der musikalisch-Bachischen Familie. Nachrichten über Johann Sebastian Bach von Carl Philipp Emanuel Bach. Herausgegeben von Max Schneider.
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The volume contains a facsimile of the Bach Genealogy compiled by Joh. Seb. Bach and formerly in Carl Philipp Emanuel's possession, and two letters from the latter to J. N. Forkel.
+</p>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XVII (4).</th><td class="tei tei-item"> 1917. Bach-Jahrbuch. 13 Jahrgang 1916. Im Auftrage der Neuen Bachgesellschaft herausgegeben von Arnold Schering (Leipzig).
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The volume contains the following articles:
+</p>
+ <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item"> Die F.-Trompete im 2 Brandenburgischen Konzert von Joh. Seb. Bach. By Richard Hofmann.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item"> Zur Frage der Ausführung der Ornamente bei Bach. Zählzeit oder Notenwert? By Hans Joachim  Moser. </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item"> Friedrich Bachs Briefwechsel mit Gerstenberg und Breitkopf. By Georg Schunemann.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4.</th><td class="tei tei-item"> Bachaufführurgen im dritten Jahre des deutschen Krieges. By Th. Biebrich.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">5.</th><td class="tei tei-item"> Laterarische Beigabe: <span class="tei tei-q">“Der Thomaskantor.”</span> Ein Gemüth-erfreuend Spiel von deme Herren Cantori Sebastian Bachen, vorgestellt in zween Auffzügen durch Bernhard Christoph Breitkopfen seel. Erben: Breitkopf und Hartel 1917. By Arnold Schering.</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XVIII (1).</th><td class="tei tei-item"> 1917. Konzert in D moll nach der ursprünglichen Fassung fur Violine wiederhergestellt von Robert Reitz. Partitur. [See B.G. XVII.]
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XVIII (2).</th><td class="tei tei-item"> 1917. Konzert in D moll nach der ursprünglichen Fassung für Violine wiederhergestellt von Robert Reitz. Ausgabe fur Violine und Klavier. [See B.G. XVII.]
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">XVIII (3).</th><td class="tei tei-item"> 1918. Bach-Jahrbuch. 14 Jahrgang 1917: Im Auftrage der Neuen Bachgesellschaft herausgegeben von Arnold Schering (Leipzig). Mit einem Eildnis.
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The volume contains the following articles :
+</p>
+ <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">1.</th><td class="tei tei-item"> Gustav Schreck [d. 22 Jan. 1918].</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">2.</th><td class="tei tei-item"> Das dritte kleine Bachfest zu Eisenach:
+   <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">I.</th><td class="tei tei-item"> Der Festgottesdienst in der St. Georgenkirche zu Eisenach am 30 September 1917.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">II.</th><td class="tei tei-item"> Vortrage und Verhandlungen der Mitgliederversammlung des dritten kleinen Bachfestes in Eisenach am 29 September 1917.</td></tr></tbody></table></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">3.</th><td class="tei tei-item"> Seb. Bachs Stellung zur Choralrhythmik der Lutherzeit. By Hans Joachim Moser.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">4.</th><td class="tei tei-item"> Zur Motivbildung Bachs. Kin Beitrag zur Stilpsychologie. By Ernst Kurth.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">5.</th><td class="tei tei-item"> Ein Programmtrio Karl Philipp Emanuel Bachs. By Hans Mersmann.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">6.</th><td class="tei tei-item"> Hermann Kretzschmar [b. 19 Jan. 1848].</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">7.</th><td class="tei tei-item"> Review.</td></tr></tbody></table>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The frontispiece is a copy of the oil portrait of Bach after Haussmann, copied by J. M. David in 1746.
+</p>
+</td></tr></tbody></table>
+</div>
+
+</div>
+
+<span class="tei tei-pb" id="page227">[pg 227]</span>
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  <a name="toc45" id="toc45"></a>
+  <a name="pdf46" id="pdf46"></a>
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">APPENDIX IV. BIBLIOGRAPHY OF BACH LITERATURE</span></h1>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The following list does not include magazine articles or 
+technical works.  A comprehensive bibliography, compiled by Max Schneider, will be found in the Bach-Jahrbuch for 1905 and 1910.  Shorter lists are in 
+C. F. Abdy Williams' <span class="tei tei-title"><span style="font-style: italic">Bach</span></span> (1900) and Andre Pirro's 
+<span class="tei tei-title"><span style="font-style: italic">J.-S. Bach</span></span> (1906).  Titles within square brackets in 
+the following list are inserted upon the authority of the 
+<span class="tei tei-title"><span style="font-style: italic">Bach-Jahrbuch,</span></span> but are not discoverable in the annual 
+Book Catalogues.  Since the absence of an Italian section 
+may be remarked, it should be said that the <span class="tei tei-title"><span style="font-style: italic">Catalogo 
+generate della Libreria Italiana, 1847-1899</span></span> (published in 
+1910) contains no reference to Bach.  Nor does the 
+Supplement of 1912. 
+</p>
+
+<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em">
+<h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">I. Germany</span></h2>
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Johann Christoph W. Kühnau, <span class="tei tei-title"><span style="font-style: italic">Die blinden Tonküstler.</span></span> Berlin. 1810.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">J. E. Grosser, <span class="tei tei-title"><span style="font-style: italic">Lebensbeschreibung des Kapellmeisters Johann Sebastian Bach.</span></span> Breslau. 1834.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Albert Schiffner, <span class="tei tei-title"><span style="font-style: italic">Sebastian Bachs geistige Nachkommenschaft.</span></span> Leipzig. 1840.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Johann T. Mosewius, <span class="tei tei-title"><span style="font-style: italic">Johann Sebastian Bach in seinen 
+Kirch-Kantaten und Choralgesängen.</span></span> Berlin. 1846.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Johann Carl Schauer, <span class="tei tei-title"><span style="font-style: italic">Johann Sebastian Bachs Lebensbild: Eine Denkschrift auf seinen 100jähringen Todestag.</span></span> Jena. 1850.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">C. L. Hilgenfeldt, <span class="tei tei-title"><span style="font-style: italic">Johann Sebastian Bachs Leben, Wirken und Werke.</span></span> Leipzig. 1850.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">[W. Naumann, <span class="tei tei-title"><span style="font-style: italic">Johann Sebastian Bach. Eine Biographie.</span></span> Cassell. 1855.]</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">[Anon., <span class="tei tei-title"><span style="font-style: italic">Biographien und Charakteristiken der grossen Meister: Bach, Händel, Gluck, Haydn, Mozart, Beethoven, mit Portrats.</span></span> 2nd ed. Leipzig. 1860.]</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">C. H. Bitter, <span class="tei tei-title"><span style="font-style: italic">Johann Sebastian Bach.</span></span> 2 vols. Berlin. 1865. 2nd ed. 1880.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">C. Albert Ludwig, <span class="tei tei-title"><span style="font-style: italic">Johann Sebastian Bach in seiner Bedeutung für Cantoren, Organisten, und Schullehrer.</span></span> Bleichroder. 1865.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Alfred Dörffel, <span class="tei tei-title"><span style="font-style: italic">Thematisches Verzeichniss der Instrumentalwerke von Joh. Seb. Bach.</span></span> Auf Grund der Gesammtausgabe von C. P. Peters. Leipzig. 1867. 2nd ed. 1882.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Carl Tamme, <span class="tei tei-title"><span style="font-style: italic">Thematisches Verzeichniss der Vocalwerke von Joh. Seb. Bach. Auf Grund der Gesammtausgaben von F. Peters und der Bach-Gesellschaft.</span></span> Leipzig, n.d.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">C. H. Bitter, <span class="tei tei-title"><span style="font-style: italic">C. P. E. und W. F. Bach und deren Brüder.</span></span> 2 vols. Berlin. 1868. New ed. 1880.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">[Anon., <span class="tei tei-title"><span style="font-style: italic">J. S. Bach. Biographie.</span></span> Leipzig. 1869.] </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">L. Ramann, <span class="tei tei-title"><span style="font-style: italic">Bach und Handel.</span></span> Leipzig. 1869.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">W. Junghans, <span class="tei tei-title"><span style="font-style: italic">Johann Sebastian Bach als Schuler der Partikularschule zu St. Michaelis in Lüneburg.</span></span> Lüneburg. 1870.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Emil Naumann, <span class="tei tei-title"><span style="font-style: italic">Deutsche Tondichter von Sebastian Bach bis auf die Gegenwart.</span></span> Berlin. 1871. 5th ed. 1882.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">M. Schick, <span class="tei tei-title"><span style="font-style: italic">J. S. Bach: ein musikalisches Lebensbild.</span></span> Reutlingen. 1873.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Philipp Spitta, <span class="tei tei-title"><span style="font-style: italic">Johann Sebastian Bach.</span></span> 2 vols. Leipzig. 1873-1880.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">E. Frommel, <span class="tei tei-title"><span style="font-style: italic">Händel und Bach.</span></span> Berlin. 1878.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Elise Polko, <span class="tei tei-title"><span style="font-style: italic">Unsere Musikklassiker. Sechs biographische Lebensbilder</span></span> [Bach, etc.]. Leipzig. 1880.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">[Anon., <span class="tei tei-title"><span style="font-style: italic">J. S. Bach. Biographie.</span></span> [In <span class="tei tei-title"><span style="font-style: italic">Meister der Tonkunst,</span></span> no. 2.] Leipzig. 1880.]</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">August Reissmann, <span class="tei tei-title"><span style="font-style: italic">Johann Sebastian Bach. Sein Leben und seine Werke.</span></span> Berlin and Leipzig. 1881.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Otto Gumprecht, <span class="tei tei-title"><span style="font-style: italic">Warum treiben wir Musik?</span></span> [Bach and others.] Leipzig. 1883.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">C. H. Bitter, <span class="tei tei-title"><span style="font-style: italic">Die Söhne Seb. Bachs.</span></span> Leipzig. 1883.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Jul. Schümann, <span class="tei tei-title"><span style="font-style: italic">Joh. Seb. Bach, der Kantor der Thomas-schule zu Leipzig.</span></span> Leipzig. 1884.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">A. L. Gräbner, <span class="tei tei-title"><span style="font-style: italic">Johann Sebastian Bach.</span></span> Dresden. 1885.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Fr. Spitta, <span class="tei tei-title"><span style="font-style: italic">Haendel und Bach. Zwei Festreden.</span></span> Bonn. 1884.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">E. Heinrich, <span class="tei tei-title"><span style="font-style: italic">Johann Sebastian Bach. Ein kurzes Lebensbild.</span></span> Berlin. 1885.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">E. Naumann, <span class="tei tei-title"><span style="font-style: italic">Deutsche Tondichter von J. S. Bach bis Richard Wagner.</span></span> Leipzig. 1886. 6th ed. 1896.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Paul Meyer, <span class="tei tei-title"><span style="font-style: italic">Joh. Seb. Bach. Vortrag.</span></span> Basel. 1887.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Ludwig Ziemssen, <span class="tei tei-title"><span style="font-style: italic">Johann Sebastian Bach. Lebensbild.</span></span> Glogau. 1889.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Richard Batka, <span class="tei tei-title"><span style="font-style: italic">J. S. Bach.</span></span> Leipzig. 1893.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Wilhelm His, <span class="tei tei-title"><span style="font-style: italic">Johann Sebastian Bach. Forschungen über dessen Grabstätte, Gebeine und Antlitz.</span></span> Leipzig. 1895.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Wilhelm His, <span class="tei tei-title"><span style="font-style: italic">Anatomisches Forschungen über J. S. Bach's Gebeine und Antlitz, nebst Bemerkungen über dessen Bilder.</span></span> Leipzig. 1895.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Armin Stein, <span class="tei tei-title"><span style="font-style: italic">J. S. Bach. Ein Küntstlerleben.</span></span> Halle. 1896.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Hans von Wolzogen, <span class="tei tei-title"><span style="font-style: italic">Bach</span></span> [In <span class="tei tei-title"><span style="font-style: italic">Grossmeister deutscher Musik</span></span>]. Berlin. 1897.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">[W. Kleefeld, <span class="tei tei-title"><span style="font-style: italic">Bach und Graupner.</span></span> Leipzig. 1898.]</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">[Fr. Thomas, <span class="tei tei-title"><span style="font-style: italic">Der Stammbaum des Ohrdruffer Zweigs der Familie von J. S. Bach.</span></span> Ohrdruf. 1899.]</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">[Fr. Thomas, <span class="tei tei-title"><span style="font-style: italic">Einige Ergebnisse über J. S. Bachs Ohrdruffer Schulzeit.</span></span> Ohrdruf. 1900.]</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">B. Stein, <span class="tei tei-title"><span style="font-style: italic">Johann Sebastian Bach und die Familie der </span><span class="tei tei-q">“Bache.”</span></span> Bielefeld. 1900.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Fr. von Hausegger, <span class="tei tei-title"><span style="font-style: italic">Unsere deutschen Meister</span></span> [Bach and others]. Munich. 1901.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Arnold Sobering, <span class="tei tei-title"><span style="font-style: italic">Bachs Textbehandlung.</span></span> Leipzig. 1901.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">[W. Tappert, <span class="tei tei-title"><span style="font-style: italic">Sebastian Bachs Kompositionen für die Laute.</span></span> Berlin. 1901.]</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">K. Söhle, <span class="tei tei-title"><span style="font-style: italic">Sebastian Bach in Arnstadt</span></span> Berlin. 1902. 2nd ed. 1904.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Arthur Prüfer, <span class="tei tei-title"><span style="font-style: italic">Sebastian Bach und die Tonkunst des XIX. Jahrhunderts.</span></span> Leipzig. 1902.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">H. Barth, <span class="tei tei-title"><span style="font-style: italic">Joh. Sebastian Bach: Lebensbild.</span></span> Berlin. 1902.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Gustav Höcker, <span class="tei tei-title"><span style="font-style: italic">Johann Sebastian Bach.</span></span> Gotha. 1903.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Paul von Bojanowski, <span class="tei tei-title"><span style="font-style: italic">Das Weimar Johann Sebastian Bachs.</span></span> Weimar. 1903.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Jul. Schumann, <span class="tei tei-title"><span style="font-style: italic">Bach, Händel, Mendelssohn. Die protestantische Kirchenmusik in Lebensbildern.</span></span> Calw and Stuttgart. 1903.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">[—. Weissgerber, <span class="tei tei-title"><span style="font-style: italic">J. S. Bach in Arnstadt.</span></span> Arnstadt. 1904.] </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">[K. Storck, <span class="tei tei-title"><span style="font-style: italic">J. S. Bach: Charakter und Lebensgang.</span></span> Berlin. 1905.]</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">[A. Pischinger, <span class="tei tei-title"><span style="font-style: italic">J. S. Bach.</span></span> Munich. 1905.]</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Philipp Wolfrum, <span class="tei tei-title"><span style="font-style: italic">Joh. Seb. Bach.</span></span> Berlin. 1906.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Albert Schweitzer, <span class="tei tei-title"><span style="font-style: italic">J. S. Bach.</span></span> Berlin. 1908.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Friedrich Hashagen, <span class="tei tei-title"><span style="font-style: italic">Joh. Sebastian Bach als Sänger und Musiker des Evangeliums.</span></span> Wismar. 1909.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Max Trümpelmann, <span class="tei tei-title"><span style="font-style: italic">Joh. Sebastian Bach und seine Bedeutung für die Choralkomposition unserer Zeit.</span></span> Magdeburg. 1909.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">August Wildenhahn, <span class="tei tei-title"><span style="font-style: italic">Joh. Sebastian Bach.</span></span> Eisenach. 1909.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Philipp Wolfrum, <span class="tei tei-title"><span style="font-style: italic">Johann Sebastian Bach.</span></span> 2 vols. Leipzig. 1910.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">André Pirro, <span class="tei tei-title"><span style="font-style: italic">Johann Sebastian Bach. Sein Leben und seine Werke.</span></span> [Translated from the French by Bernhard Engelke.] Berlin. 1910.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Johannes Schreyer, <span class="tei tei-title"><span style="font-style: italic">Beiträge zur Bach-Kritik.</span></span> Leipzig. 1911.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Martin Falck, <span class="tei tei-title"><span style="font-style: italic">Wilhelm Friedemann Bach. Sein Leben und seine Werke, mit thematischem Verzeichnis seiner Kompositionen und zwei Bildern.</span></span> Leipzig, c. 1911-14.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">K. Glebe, <span class="tei tei-title"><span style="font-style: italic">Johann Sebastian Bach.</span></span> Halle. 1912.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">La Mara, <span class="tei tei-title"><span style="font-style: italic">Johann Sebastian Bach.</span></span> 5th edition. Leipzig. 1912.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">H. Reimann, <span class="tei tei-title"><span style="font-style: italic">Johann Sebastian Bach.</span></span> 1912.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Armin Stein, <span class="tei tei-title"><span style="font-style: italic">Johann Sebastian Bach.</span></span> Halle. 1912.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Rudolf Wustmann, <span class="tei tei-title"><span style="font-style: italic">Joh. Seb. Bachs Kantatentexte.</span></span> Leipzig. 1914.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Max Bitter, <span class="tei tei-title"><span style="font-style: italic">Der Stil Joh. Seb. Bachs in seinem Choralsatze.</span></span> Bremen. 1913.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Ernst Kurth, <span class="tei tei-title"><span style="font-style: italic">Grundlagen des linearen Kontrapunkts.
+Einführung in Stil und Technik von Bachs melodischer Polyphonie.</span></span> Bern. 1917.</td></tr></tbody></table>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em">
+<h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">II. France</span></h2>
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Johann Nikolaus Forkel, <span class="tei tei-title"><span style="font-style: italic">Vie, talents et travaux de Jean Sébastien Bach.</span></span> [Translated from the German by Felíx Grenier.] Paris. 1876.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Ernest David, <span class="tei tei-title"><span style="font-style: italic">La vie et les œuvres de J.-S. Bach, sa famille, ses élèves, ses contemporains.</span></span> [An abridged translation of Spitta.] Paris. 1882.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">William Cart, <span class="tei tei-title"><span style="font-style: italic">Un maitre deux fois centenaire: étude sur J.-S. Bach, 1685-1750.</span></span> Paris. 1884. New ed. 1898.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">André Pirro, <span class="tei tei-title"><span style="font-style: italic">L'Orgue de Jean-Sébastien Bach.</span></span> Paris. 1895.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">[G. Fink, <span class="tei tei-title"><span style="font-style: italic">Étude biographique sur Jean-Sébastien Bach.</span></span> Angoulème. 1899.]</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">[—. Daubresse, <span class="tei tei-title"><span style="font-style: italic">Haendel et Bach.</span></span> Paris. 1901.]</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Albert Schweitzer, <span class="tei tei-title"><span style="font-style: italic">J. S. Bach, le musicien-poète.</span></span> Leipzig. 1905.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">André Pirro, <span class="tei tei-title"><span style="font-style: italic">J.-S. Bach.</span></span> Paris. 1906. 4th edition. 1913.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">André Pirro, <span class="tei tei-title"><span style="font-style: italic">L'Esthétique de Jean-Sébastien Bach.</span></span> Paris. 1907.</td></tr></tbody></table>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em">
+<h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">III. Great Britain</span></h2>
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Johann Nikolaus Forkel, <span class="tei tei-title"><span style="font-style: italic">Life of John Sebastian Bach. Translated from the German</span></span> [by — Stephenson]. London. 1820.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">C. H. Bitter, <span class="tei tei-title"><span style="font-style: italic">The Life of J. Sebastian Bach. An abridged translation from the German.</span></span> [By Janet Elizabeth Kay Shuttleworth.] London. 1873.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">R. Lane Poole, <span class="tei tei-title"><span style="font-style: italic">Sebastian Bach.</span></span> London. 1881.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Sedley Taylor, <span class="tei tei-title"><span style="font-style: italic">The Life of J. S. Bach in relation to his work as a Church musician and composer.</span></span> Cambridge. 1897.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Philipp Spitta, <span class="tei tei-title"><span style="font-style: italic">Johann Sebastian Bach: His work and influence on the music of Germany, 1685-1750.</span></span> Translated from the German by Clara Bell and J. A. Fuller Maitland. 3 vols. London. 1899.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">C. F. Abdy Williams, <span class="tei tei-title"><span style="font-style: italic">Bach.</span></span> London. 1900.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">A. Maczewski and F. G. Edwards, art. <span class="tei tei-title"><span style="font-style: italic">Bach</span></span> in <span class="tei tei-title"><span style="font-style: italic">Grove's  Dictionary,</span></span> vol. i. 1904.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">E. H. Thome, <span class="tei tei-title"><span style="font-style: italic">Bach.</span></span> London. 1904.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">C. H. H. Parry, <span class="tei tei-title"><span style="font-style: italic">Johann Sebastian Bach.</span></span> London and New York. 1909.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Donald F. Tovey, art. <span class="tei tei-title"><span style="font-style: italic">J. S. Bach,</span></span> in <span class="tei tei-title"><span style="font-style: italic">Encyclopaedia Britannica.</span></span> Vol. iii. 1910.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Albert Schweitzer, <span class="tei tei-title"><span style="font-style: italic">J. S. Bach. With a Preface by C. M. Widor. English translation by Ernest Newman.</span></span> 2 vols. London. 1911.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">C. Sanford Terry, <span class="tei tei-title"><span style="font-style: italic">Bach's Chorals.</span></span> 3 vols. Cambridge. 1915, 1917, 1920.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">W. G. Whittaker, <span class="tei tei-title"><span style="font-style: italic">Fugitive Notes on certain Cantatas and Motets by J. S. Bach.</span></span> London. 1920.</td></tr></tbody></table>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em">
+<h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">IV. United States Of America</span></h2>
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">André Pirro, <span class="tei tei-title"><span style="font-style: italic">Johann Sebastian Bach, the Organist, and his works.</span></span> [Translated from the French by Wallace Goodrich.] New York. 1902.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Elbert Hubbard, <span class="tei tei-title"><span style="font-style: italic">Little voyages to the homes of great musicians.</span></span> New York. 1902.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Ludwig Ziemssen, <span class="tei tei-title"><span style="font-style: italic">Johann Sebastian Bach.</span></span> [Translated from the German by G. Putnam Upton.] Chicago. 1905.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Rutland Boughton, <span class="tei tei-title"><span style="font-style: italic">Bach.</span></span> New York. 1907.</td></tr></tbody></table>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em">
+<h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">V. Holland</span></h2>
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">A. M. Oordt, <span class="tei tei-title"><span style="font-style: italic">Een koort woord over Bach.</span></span> Leiden. 1873.</td></tr></tbody></table>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em">
+<h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">VI. Belgium</span></h2>
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Charles Martens, <span class="tei tei-title"><span style="font-style: italic">Un livre nouveau sur J.-S. Bach.</span></span> Brussels. 1905.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Victor Hallut, <span class="tei tei-title"><span style="font-style: italic">Les Maîtres classiques du dix-huitième siecle.</span></span> [Bach and others.] Brussels. 1909.</td></tr></tbody></table>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em">
+<h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">VII. Russia</span></h2>
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">[Kuschenaw Dmitrevsky, <span class="tei tei-title"><span style="font-style: italic">Das lyrische Museum</span></span> (no. 25)]. [The oldest Russian biography of Bach.] Petrograd. 1831].</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">[W. Th. Odoewsky, <span class="tei tei-title"><span style="font-style: italic">Sebastian Bach.</span></span> Petrograd. 1890.]</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">[G. M. Bazunow, <span class="tei tei-title"><span style="font-style: italic">J. S. Bach.</span></span> Petrograd. 1894.]</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">[S. M. Haljutin, <span class="tei tei-title"><span style="font-style: italic">J. S. Bach.</span></span> Minsk. 1894.]</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">[Adolf Chybinski, <span class="tei tei-title"><span style="font-style: italic">J. S. Bach.</span></span> Warsaw. 1910.]</td></tr></tbody></table>
+</div>
+
+</div>
+
+<span class="tei tei-pb" id="page294">[pg 294]</span>
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  <a name="toc47" id="toc47"></a>
+  <a name="pdf48" id="pdf48"></a>
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">APPENDIX V.  A COLLATION OF THE NOVELLO AND PETERS EDITIONS OF THE ORGAN WORKS</span></h1>
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Novello: Book I. Eight Short Preludes And Fugues.
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 2. Prelude and Fugue in C major (P. bk. 247 p. 48).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 5. Do. do. D minor (<span lang="la" class="tei tei-foreign" xml:lang="la">ib.</span> 51).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 8. Do. do. E minor (<span lang="la" class="tei tei-foreign" xml:lang="la">ib.</span> 54).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 11. Do. do. F major (<span lang="la" class="tei tei-foreign" xml:lang="la">ib.</span> 57).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 14. Do. do. Q major (<span lang="la" class="tei tei-foreign" xml:lang="la">ib.</span> 60).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 17. Do. do. G minor (<span lang="la" class="tei tei-foreign" xml:lang="la">ib.</span> 63).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 20. Do. do. A minor (<span lang="la" class="tei tei-foreign" xml:lang="la">ib.</span> 66).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 23. Do. do. B flat major (<span lang="la" class="tei tei-foreign" xml:lang="la">ib.</span> 69).</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Novello: Book II. Preludes, Fugues, And Trio.
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 26. Allabreve in D major (P. bk. 247 p. 72).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 30. Prelude in G major (ib. 82). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 34. Canzona in D minor (P. bk. 243 p. 54).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 38. Fugue (The Giant) in D minor (P. bk. 246 p. 78).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 41. Fugue in G minor (P. bk. 247 p. 85).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 44. Prelude and Fugue (the Short) in E minor (P. bk. 242 p. 88).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 48. Prelude and Fugue in C minor (P. bk. 243 p. 32).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 54. Trio in D minor (ib. 72).</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Novello: Book III. Fantasias, Preludes, And Fugues.
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 57. Fantasia in C minor (5 parts) (P. bk. 243 p. 66).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 60. Fugue in B minor (on a theme by Corelli) (ib. 46).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 64. Prelude and Fugue in A major (P. bk. 241 p. 14)</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 70. Do. do. C major (ib. p. 2).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 76. Fantasia and Fugue in C minor (P. bk. 242 p. 55).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 84. Fugue (the Short) in G minor (P. bk. 243 p. 42).</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Novello: Book IV. Sonatas Or Trios For Two Manuals And Pedal.
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 88. Sonata in E flat major (P. bk. 240 p. 2).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 97. Do. C minor (ib. 11).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 110. Do. D minor (ib. 24).</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Novello: Book V. Sonatas Or Trios For Two Manuals And Pedal (IV.-VI.).
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 124. Sonata in E minor (P. bk. 240 p. 36).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 134. Do. C major (ib. 46).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 151. Do. G major (ib. 63).</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Novello: Book VI. Toccata, Preludes, And Fugues.
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 2. Toccata and Fugue in D minor (P. bk. 243 p. 24).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 10. Prelude and Fugue in D major (ib. p. 14).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 21. Do. do. F minor (P. bk. 241 p. 29).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 28. Do. do. E flat major (P. bk. 242 p. 2).</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Novello: Book VII. Preludes And Fugues.
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 42. Prelude and Fugue (the Great) in A minor (P. bk. 241 p. 54).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 52. Do. do. B minor (ib. 78).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 64. Do. do. C minor (ib. 36).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 74. Prelude and Fugue in C major (P. bk. 243 p. 2).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 80. Do. do. G major (ib. 8).</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Novello: Book VIII. Preludes And Fugues.
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 88. Prelude and Fugue in C major (P. bk. 242 p. 62). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 98. Do. (the Great) in E minor (P. bk. 241 p. 64).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 112. Do. do. G major (ib p. 7).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 120. Do. in G minor (P. bk. 242 p. 48).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 127. Fantasia and Fugue (the Great) in G minor (P. bk. 241 p. 20).</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Novello: Book IX. Preludes And Fugues. 
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 137. Toccata and Fugue (the Great) in C major (P. bk. 242 p. 72).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 150. Prelude and Fugue in D minor (ib. 42). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 156. Do. (the Great) in C major (P. bk. 241 p. 46).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 168. Fantasia in G major (P. bk. 243 p. 58). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 176. Toccata and Fugue (the Great) in F major (P. bk. 242 p. 16).</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Novello: Book X. Toccata, Preludes, And Fugues. 
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page Page 196. Toccata and Fugue (the Dorian) in D minor (P. bk. 242 p. 30.)</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 208. Prelude and Fugue (the Short) in A minor (ib. 84). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 214. Passacaglia in C minor (P. bk. 240 p. 75). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 230. Fugue in C minor (P. bk. 243 p. 36). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 238. Prelude in A minor (ib. 68). </td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Novello: Book XI. Four Concertos [after Antonio Vivaldi].
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 1. Concerto in G major (P. bk. 247 p. 2). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 10. Do. A minor (ib. 10).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 24. Do. C major (ib. 22).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 49. Do. C major (ib. 44).</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Novello: Book XII. Preludes, Fantasias, Fugues, Trios, Etc.
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 55. Fugue in G major (P. bk. 2067 p. 18).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 60. Fantasia and Fugue in A minor (ib. 3).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 71. Fantasia with Imitation in B minor (P. bk. 215 p. 41).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 75. Fantasia in G major (P. bk. 2067 p. 25). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 83. Fugue in D major (P. bk. 2067 p. 22). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 86. Do. G major (ib. 12). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 91. Prelude in C major (P. bk. 247 p. 77).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 92. Fantasia in C major (ib. 78).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 94. Prelude in C major (ib. 76).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 95. Fugue in C minor (P. bk. 243 p. 50).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 100. Fugue in C major (P. bk. 247 p. 80). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 102. Pastorale in F major (P. bk. 240 p. 86). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 108. Trio in C minor (P. bk. 2067 p. 30). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 112. Aria in F major (ib. 34). </td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">
+[Novello's Books XIII. and XIV. (Choral Preludes and 
+Variations) are superseded by Books XV.-XIX.] 
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Novello: Book XV. Orgelbüchlein (little Organ Book).
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 3. Nun komm, der Heiden Heiland (P. bk. 244 p. 44). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 5. Gott durch deine Güte, or, Gottes Sohn ist Kommen (ib. 20).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 9. Herr Christ, der ein'ge Gottes-Sohn, or, Herr Gott, nun sei gepreiset (ib. 24).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 11. Lob sei dem allmächtigen Gott (ib. 40).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 13. Puer natus in Bethlehem (ib. 50).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 15. Gelobet seist du, Jesu Christ (ib. 19).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 18. Der Tag, der ist so freudenreich (ib. 13).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 21. Vom Himmel hoch, da komm ich her (ib. 53).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 23. Vom Himmel kam der Engel Schaar (ib. 54).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 26. In dulci jubilo (ib. 38).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 29. Lobt Gott, ihr Christen, allzugleich (ib. 42).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 31. Jesu, meine Freude (ib. 34).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 33. Christum wir sollen loben schon (ib. 8).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 36. Wir Christenleut' (ib. 58).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 39. Helft mir Gottes Güte preisen (ib. 23).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 43. Das alte Jahr vergangen ist (ib. 12).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 45. In dir ist Freude (ib. 36).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 50. Mit Fried' und Freud' ich fahr' dahin (ib. 42).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 53. Herr Gott, nun schleuss den Himmel auf (ib. 26).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 58. O Lamm Gottes unschuldig (ib. 46).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 61. Christe, du Lamm Gottes (ib. 3).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 64. Christus, der uns selig macht (ib. 10).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 67. Da Jesus an dem Kreuze stund (ib. 11).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 69. O Mensch, bewein' dein' Sünde gross (ib. 48).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 73. Wir danken dir, Herr Jesu Christ (ib. 59).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 76. Hilf Gott, dass mir's gelinge (ib. 32).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 79. Christ lag in Todesbanden (ib. 7). 81. Jesus Christus, unser Heiland (ib. 34).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 83. Christ ist eratanden (ib. 4).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 89. Erstanden ist der heil'ge Christ (P. bk. 244 p. 16).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 91. Erschienen ist der herrliche Tag (ib. 17).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 94. Heut' triumphiret Gottes Sohn (ib. 30).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 97. Komm, Gott, Schöpfer, heiliger Geist (P. bk. 246 p. 86).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 99. Herr Jesu Christ, dich zu uns wend' (P. bk. 244 p. 28).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 101. Liebster Jesu, wir sind hier (ib. 40). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 103. Dies sind die heil'gen zehn Gebot' (ib. 14). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 105. Vater unser im Himmelreich (ib. 52). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 107. Durch Adams Fall ist ganz verderbt (ib. 15). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 109. Es ist das Heil uns kommen her (ib. 18). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 111. Ich ruf' zu dir, Herr Jesu Christ (ib. 33). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 113. In dich hab' ich gehoffet, Herr (ib. 35).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 115. Wenn wir in höchsten Nothen sein (ib. 55). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 117. Wer nur den lieben Gott lässt walten (ib. 57). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 119. Alle Menschen müssen sterben (ib. 2).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 121. Ach wie nichtig, ach wie flüchtig (ib. 2). </td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Novello: Book XVI. The Six <span class="tei tei-q">“Schübler Chorale 
+Preludes”</span> And The <span class="tei tei-q">“Clavierübung,”</span> Part III. 
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">(a) The Schübler Preludes.
+    <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 1. Wachet auf, ruft uns die Stimme (P. bk. 246p. 72).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 4. Wo soll ich fliehen hin, or, Auf meinen lieben Gott (ib. 84).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 6. Wer nur den lieben Gott lässt walten (ib. 76).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 8. Meine Seele erhebt den Herren (Hi. 33).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 10. Ach bleib bei uns, Herr Jesu Christ (P. bk. 245 p. 4).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 14. Kommst du nun, Jesu, vom Himmel herunter (P. bk. 246 p. 16).<br />(b) The <span class="tei tei-q">“Clavierübung,”</span> Part III. </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 19. Prelude in E flat major (P. bk. 242 p. 2).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 28. Kyrie, Gott Vater in Ewigkeit (P. 246 p. 18).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 30. Christe, aller Welt Trost (ib. 20).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 33. Kyrie, Gott heiliger Geist (ib. 23).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 36. Kyrie, Gott Vater in Ewigkeit (ib. 26).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 37. Christe, aller Welt Trost (ib. 27).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 38. Kyrie, Gott heiliger Geist (P. 246 p. 28).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 39. Allein Gott in der Höh' sei Ehr' (Pk. b. 245 p. 10).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 40. Do. do. do (ib. 12).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 41. Do. do. do. (ib. 29).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 42. Dies sind die heil'gen zehn Gebot' (ib. 50).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 47. Do. do. do (ib. 54).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 49. Wir glauben all' an einen Gott, Schöpfer (P. bk. 246 p. 78).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 52. Do. do. do. (ib. 81).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 53. Vater unser im Himmelreich (ib. 60).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 61. Do. do. (P. bk. 244 p. 51).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 62. Christ, unser Herr, zum Jordan kam (P. bk. 245 p. 46).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 67. Do. do. do. (ib. 49).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 68. Aus tiefer Noth schrei' ich zu dir (ib. 36).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 72. Do. do. do. (ib. 38).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 74. Jesus Christus unser Heiland (ib. 82).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 80. Do. do. (ib. 92).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 83. Fugue in E flat major (P. bk. 242 p. 10).</td></tr></tbody></table>
+  </td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Novello: Book XVII. The Eighteen Chorale Preludes.
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 1. Komm, heiliger Geist, Herre Gott (P. bk. 246 p.4).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 10. Do. do. do. (ib. 10).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 18. An Wasserflüssen Babylon (P. bk. 245 p. 34).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 22. Schmücke dich, O liebe Seele (P. bk. 246 p. 50). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 26. Herr Jesu Christ, dich zu uns wend' (P. bk. 245 p. 70).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 32. O Lamm Gottes unschuldig (P. bk. 246 p. 45). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 40. Nun danket alle Gott (ib. 34). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 43. Von Gott will ich nicht lassen (ib. 70). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 46. Nun komm, der Heiden Heiland (ib. 38). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 49. Do. do. do. (ib. 40). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 52. Do. do. do. (ib. 42).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 56. Allein Gott in der Höh' sei Ehr' (P. bk. 245 p. 26).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 60. Do. do. do (ib. 22).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 66. Do. do. do. (ib. 17).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 74. Jesus Christus, unser Heiland, der von uns (ib. 87).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 79. Do. do. do. (ib. 90).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 82. Komm, Gott, Schöpfer, heiliger Geist (P. bk. 246 p. 2).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 85. Wenn wir in höchsten Nöthen sein, or, Vor deinen Thron tret' ich allhier (ib. 74).</td></tr></tbody></table>
+ </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Novello: Book XVIII. Miscellaneous Chorale Preludes (Part I.).
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 1. Ach Gott und Herr (P. bk. 2067 p. 38). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 2. Do. do. (P. bk. 245 p. 3).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 3. Do. do. (P. bk. 2067 p. 39).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 4. Allein Gott in der Höh' sei Ehr' (not in P.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 5. Do. do. do. (P. bk. 245 p. 6)</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 7. Do. do. do. (ib. 30).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 11. Do. do. do. (ib. 8).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 13. An Wasserflüssen Babylon (ib. 32). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 16. Christ lag in Todesbanden (ib. 43). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 19. Do. do. (ib. 40). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 23. Christum wir sollen loben schon, or, Was fürcht'st du, Feind Herodes, sehr (P. bk. 244 p. 9).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 24. Das Jesulein soll doch mein Trost (P. bk. 2067 p. 47).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 26. Der Tag der ist so freudenreich (not in P.). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 28. Durch Adams Fall ist ganz verderbt (P. bk. 245 p. 66).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 30. Ein' feste Burg ist unser Gott (ib. 68). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 35. Erbarm' dich mein, O Herre Gott (not in P.). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 37. Gelobet seist du, Jesu Christ (P. bk. 244 p. 102).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 38. Do. do. do. (ib. 20).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 39. Do. do. do. (P. bk. 245 p. 61).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 41. Gottes Sohn ist kommen (P. bk. 244 p. 22).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 42. Do. do. (P. bk. 245 p. 64).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 43. Herr Christ, der ein'ge Gottes-Sohn (P. bk. 244 p. 25).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 44. Herr Gott, dich loben wir (Te Deum Laudamus) (P. bk. 245 p. 65).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 60. Herr Jesu Christ, dich zu uns wend' (P. bk. 244 p. 28).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 52. Do. do. do. (not in P.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 53. Herzlich thut mich verlangen (P. bk. 244 p. 30).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 54. Ich hab' mein' Sach Gott heimgestellt (P. bk. 245 p. 74).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 58. Do. do. do. (not in P.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 59. In dich hab' ich gehoffet, Herr (P. bk. 245 p. 94).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 61. In dulci jubilo (P. bk. 244 p. 103).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 64. Jesu, meine Freude (P. bk. 245 p. 78).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 69. Jesus, meine Zuversicht (P. bk. 244 p. 103).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 70. Liebster Jesu, wir sind hier (ib. 105).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 71. Do. do. (ib. 105).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 72. Do. do. (ib. 39).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 73. Lob sei dem allmächtigen Gott (ib. 41).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 74. Lobt Gott, ihr Christen, allzugleich (ib. 106).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 75. Meine Seele erhebt den Herren (Magnificat) (P. bk. 246 p. 29).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 80. Nun freut euch, lieben Christen g'mein, or, Es ist gewisslich an der Zeit (ib. 36). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 83. Nun komm, der Heiden Heiland (P. bk. 244 p. 45).</td></tr></tbody></table>
+</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Novello: Book XIX. Miscellaneous Chorale Preludes (part II.) And Variations.
+  <p class="tei tei-p" style="margin-bottom: 1.00em">(a) Preludes.</p>
+    <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 2. Valet will ich dir geben (P. bk. 246 p. 53). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 7. Do. do. (ib. 56). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 12. Vater unser im Himmelreich (ib. 66). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 14. Vom Himmel hoch, da komm ich her (ib. 67). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 16. Do. do. do. (ib 68). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 19. Do. do. do. (P. bk. 244 p. 106).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 21. Wer nur den lieben Gott lässt walten (ib. 56).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 22. Do. do. do. (ib. 56).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 23. Wie schön leuchtet der Morgenstern (not in P.).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 28. Wir Christenleut' (P. bk. 2067 p. 52).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 30. Wir glauben all' an einen Gott, Vater (P. bk. 246 p. 82). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 32. Wo soll ich fliehen hin (P. bk. 2067 p. 48). (6) Variations. </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 36. Christ, der du bist der helle Tag (P. bk. 244 p. 60). </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 44. O Gott, du frommer Gott (P. bk. 244 p. 68).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 55. Sei gegrüsset, Jesu gütig (ib. 76).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Page 73. Vom Himmel hoch, da komm ich her (ib. 92).</td></tr></tbody></table>
+  </td></tr></tbody></table>
+<p class="tei tei-p" style="margin-bottom: 1.00em">The Peters volumes 244, 245, 246, 2067 contain movements excluded from the Novello edition, <span lang="la" class="tei tei-foreign" xml:lang="la">viz.</span>:—
+</p>
+  <table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Book 244: the figured Choral (Herr Christ, der ein'ge Gottes-Sohn) on p. 107, and the Variant texts on pp. 108-112.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Book 245: the Variant texts on pp. 96-113.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Book 246: the Variant texts on pp. 86-103 (excepting the B version of <span class="tei tei-q">“Komm, Gott, Schöpfer, heiliger Geist”</span>).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Book 2067: the Choral Preludes on pp. 39 (Auf meinen lichen Gott), 40 (Wir glauben all' an einen Gott), 42 (Jesu Leiden, Pein und Tod), 44 (Ach Gott, vom Himmel sieh darein), 54 (Aus der Tiefe ruf ich), 56 (Christ lag in Todesbanden), and the <span class="tei tei-q">“Kleines harmonisches Labyrinth”</span> on p. 16.</td></tr></tbody></table>
+
+</div>
+
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  <a name="toc49" id="toc49"></a>
+  <a name="pdf50" id="pdf50"></a>
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">APPENDIX VI. GENEALOGY OF THE FAMILY OF BACH</span></h1>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+</p>
+
+<a name="fig51" id="fig51"></a><div class="tei tei-figure" style="text-align: center"><img src="images/gene303.jpg" alt="Genealogy Table, p. 303" /></div>
+
+<a name="fig52" id="fig52"></a><div class="tei tei-figure" style="text-align: center"><img src="images/gene304.jpg" alt="Genealogy Table, p. 304" /></div>
+
+<a name="fig53" id="fig53"></a><div class="tei tei-figure" style="text-align: center"><img src="images/gene305.jpg" alt="Genealogy Table, p. 305" /></div>
+
+<a name="fig54" id="fig54"></a><div class="tei tei-figure" style="text-align: center"><img src="images/gene306.jpg" alt="Genealogy Table, p. 306" /></div>
+
+<a name="fig55" id="fig55"></a><div class="tei tei-figure" style="text-align: center"><img src="images/gene307.jpg" alt="Genealogy Table, p. 307" /></div>
+
+<a name="fig56" id="fig56"></a><div class="tei tei-figure" style="text-align: center"><img src="images/gene308.jpg" alt="Genealogy Table, p. 308" /></div>
+
+<a name="fig57" id="fig57"></a><div class="tei tei-figure" style="text-align: center"><img src="images/gene309.jpg" alt="Genealogy Table, p. 309" /></div>
+
+<a name="fig58" id="fig58"></a><div class="tei tei-figure" style="text-align: center"><img src="images/gene310.jpg" alt="Genealogy Table, p. 310" /></div>
+
+</div>
+
+<div id="footnotes" class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+<a name="toc59" id="toc59"></a>
+<a name="pdf60" id="pdf60"></a>
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Footnotes</span></h1>
+<dl class="tei tei-list-footnotes"><dt class="tei tei-notelabel"><a id="note_1" name="note_1" href="#noteref_1">1.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+<span class="tei tei-q">“Seiner Excellenz dem Freyheren 
+van Swieten ehrerbietigst 
+gewidmet von dem Verfasser.”</span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_2" name="note_2" href="#noteref_2">2.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+So far the New Bachgesellschaft has published only a single 
+Cantata overlooked by the old Society. See <span lang="la" class="tei tei-foreign" xml:lang="la">infra</span>, p. 280.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_3" name="note_3" href="#noteref_3">3.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In <span class="tei tei-title"><span style="font-style: italic">The News</span></span> of January 4, 1829, he is described 
+as the second 
+son of the late John Stephenson of Great Ormonde Street, Queen 
+Square, whom he had succeeded in the partnership of the firm.  His 
+wife was dead, and of his eight children the eldest was also in the 
+Bank.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_4" name="note_4" href="#noteref_4">4.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Carl Philipp Emmanuel Bach, third 
+son of Johann Sebastian 
+Bach, b. 1714; Kammermusikus to Frederick the Great of Prussia
+(1746), Kapellmeister at Hamburg (1768); d. 1788. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_5" name="note_5" href="#noteref_5">5.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Johann Friedrich Agricola, of Dobitsch, b. 1720; studied 
+composition 
+with Bach at Leipzig; Court Composer (1751) and, after 
+Carl Heinrich Graun's death (1759), Kapellmeister to Frederick the 
+Great of Prussia; d. 1774. See Spitta, <span class="tei tei-title"><span style="font-style: italic">Johann Sebastian Bach,</span></span> iii. 
+243 ff. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_6" name="note_6" href="#noteref_6">6.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Lorenz Christoph Mizler (1711-78), 
+a pupil of Bach, founded at 
+Leipzig in 1738 the <span class="tei tei-q">“Sozietat der musikalischen Wissenschaften,”</span> of 
+which Bach and Handel were members.  Mizler's journal, the <span class="tei tei-title"><span style="font-style: italic">Neueröffneter Musikalischer Bibliothek,</span></span> was its organ.  It appeared from 1736 
+to 1754.  In Part I. of vol. iv. (1754) C. P. E. Bach and Agricola 
+collaborated in the obituary notice, or <span class="tei tei-q">“Nekrolog,”</span> which is almost 
+the earliest literary authority for Bach's life.  It covered less than 
+twenty pages.  (See Schweitzer, <span class="tei tei-title"><span style="font-style: italic">J. S. Bach</span></span> (trans. Ernest Newman), 
+i. 189 ff. and Spitta, i. Pref.)  Agricola's association with Bach's son 
+in the preparation of the obituary notice is explained by the fact that 
+for the last ten years of Sebastian's life Agricola was in closer relations 
+with him than Carl Philipp Emmanuel, who no longer was resident in 
+Leipzig.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_7" name="note_7" href="#noteref_7">7.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Forkel's <span class="tei tei-title"><span style="font-style: italic">Allgemeine Geschichte der Musik</span></span> (2 vols. 1788-1801) 
+had only come down to the sixteenth century when its author diverted 
+his pen to a biography of Bach. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_8" name="note_8" href="#noteref_8">8.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The firm of Hoffmeister and Kühnel 
+was founded at Leipzig in 
+1800 by Franz Anton Hoffmeister, who started, in 1801, a subscription 
+for the publication of Bach's works, to which Forkel alludes.  The 
+scheme failed to mature, and its accomplishment was reserved to C. F. 
+Peters, who purchased Hoffmeister's <span class="tei tei-q">“Bureau de Musique”</span> in 
+1814.  See articles on Hoffmeister and Peters in Grove's <span class="tei tei-title"><span style="font-style: italic">Dictionary.</span></span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_9" name="note_9" href="#noteref_9">9.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Though Bach 
+never ventured upon such tours as Mozart or 
+Berlioz, for instance, undertook, he loved travelling, and his artistic 
+journeys made him famous throughout Germany, at least as an 
+organist.  Forkel himself describes (<span lang="la" class="tei tei-foreign" xml:lang="la">infra</span>, pp. 19, 23) his notable 
+visits to the Courts of Berlin and Dresden.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_10" name="note_10" href="#noteref_10">10.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In 1802, it must be remembered, not 
+a note of Bach's concerted 
+Church music was in print except the tunes he wrote for Schemelli's 
+Hymn-book (1736) and the vocal parts of an early Cantata (No. 71).  
+Of his instrumental works engraved by 1802 Forkel gives a list <span lang="la" class="tei tei-foreign" xml:lang="la">infra</span>, 
+p. 137.  It was hardly until the foundation of the Bachgesellschaft in
+1850, to celebrate the centenary of Bach's death, that the systematic 
+publication of his concerted Church music began.  Before that date, 
+however, Peters of Leipzig had taken in hand the abandoned scheme 
+of Hoffmeister and Kühnel, to which Forkel alludes, and in which he 
+participated.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_11" name="note_11" href="#noteref_11">11.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It is notable that Forkel makes 
+no mention of Haydn, Mozart, or 
+Handel, whose English domicile had divorced him from Germany's 
+service.  Forkel's pessimism is the more curious, seeing that Beethoven 
+was already thirty years old, and that Mozart in 1786, after giving 
+him a subject to extemporise upon, had remarked, <span class="tei tei-q">“Listen to that 
+young man; he will some day make a noise in the world”</span> (Holmes,
+<span class="tei tei-title"><span style="font-style: italic">Life of Mozart,</span></span> Dent's ed., p. 223).  Forkel, in fact, appreciated 
+neither Mozart nor Beethoven and thoroughly detested Gluck.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_12" name="note_12" href="#noteref_12">12.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+As has been pointed out in the Introduction, Forkel stood almost 
+alone in 1802 in his opinion of Bach's pre-eminence.  Even Beethoven 
+placed Bach after Handel and Mozart, but knew little of his music on 
+which to found a decision.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_13" name="note_13" href="#noteref_13">13.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The 
+anonymous article in the <span class="tei tei-title"><span style="font-style: italic">Allgemeine deutsche Bibliothek,</span></span> to 
+which Forkel alludes, deals with Bach's Clavier and Organ works and 
+upon them asserts Bach's superiority over Handel.  The judgment 
+was unusual.  Bach's fame was gravely prejudiced by German Handel-worship, which the first performance of the <span class="tei tei-title"><span style="font-style: italic">Messiah</span></span> at Leipzig in 
+1786 stimulated.  Johann Adam Hiller, Bach's third successor in the 
+Cantorate of St. Thomas', was largely responsible.  He neglected, and 
+even belittled, the treasures of Bach's art which the library of St. 
+Thomas' contained.  See Schweitzer, i. 231. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_14" name="note_14" href="#noteref_14">14.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The <span class="tei tei-title"><span style="font-style: italic">Nekrolog.</span></span> See 
+<span lang="la" class="tei tei-foreign" xml:lang="la">supra</span>, p. xxiv.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_15" name="note_15" href="#noteref_15">15.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Carl Philipp Emmanuel and Wilhelm Friedemann.  The latter 
+was born in 1710, and after holding Organistships at Halle and Dresden, 
+died at Berlin in 1784, leaving his widow and daughter in great poverty.  
+The former received a grant from the receipts of the <span class="tei tei-title"><span style="font-style: italic">Messiah</span></span>
+performance alluded to in note 1, <span lang="la" class="tei tei-foreign" xml:lang="la">supra</span>.  A man of brilliant musical 
+attainments, Wilhelm Friedemann's character was dissolute and unsteady. 
+See Schweitzer, i. 146 ff.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_16" name="note_16" href="#noteref_16">16.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Two letters written by C. P. E. Bach to Forkel in 1775, conveying 
+a good deal of information reproduced by Forkel in this monograph, 
+are printed in facsimile by Dr. Max Schneider in his
+<span class="tei tei-title"><span style="font-style: italic">Bach-Urkunden</span></span> (N.B.G., XVII. (3)). 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_17" name="note_17" href="#noteref_17">17.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Forkel's statement is entitled to respect. On the other hand 
+there is nothing in the recorded careers of either of Bach's sons that 
+bears him out on this point. Schweitzer (i. 229) endorses Elinor's 
+judgment: <span class="tei tei-q">“Bach's sons were the children of their epoch, and never 
+understood their father; it was only from piety that they looked at 
+him with childlike admiration.”</span> Dr. Charles Burney spent several days 
+with Carl Philipp Emmanuel at Hamburg in 1772, but during the 
+whole time the son never played to him a note of his father's music.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_18" name="note_18" href="#noteref_18">18.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+i.e. Hoffmeister and Kühnel's project.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_19" name="note_19" href="#noteref_19">19.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The accuracy of this statement is apparent from the Genealogy 
+appended to this volume.  Bach's sons represented the sixth generation 
+from Veit Bach, the sixteenth century ancestor of the family.  
+Veit himself was not a professional musician; one of his sons was a 
+Spielmann; thereafter for the next 150 years all but seven of his descendants, 
+whose professions are known, were Organists or Cantors or 
+Town Musicians.  Many of them, moreover, were men of the highest 
+attainments in their profession.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_20" name="note_20" href="#noteref_20">20.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+He took his name from St. Vitus (Guy), patron saint of the church 
+of Wechmar, a fact which sufficiently disproves Forkel's statement 
+that his original domicile was in Hungary.  The Bachs were settled 
+in Wechmar as early as <span lang="la" class="tei tei-foreign" xml:lang="la">circ.</span> 1520.  Veit migrated thence to Hungary, 
+though there is no adequate foundation for the statement that he 
+settled at Pressburg.  He returned to Wechmar during the beginning 
+of the Counter-Reformation under the Emperor Rudolph II. (1576- 
+1612), and died at Wechmar, March 8, 1619.  See Spitta, i. 4.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Apart from church and town registers, laboriously consulted by 
+Spitta in tracing the Bach genealogy, we owe our knowledge of it to 
+an MS. drawn up by Bach in 1735 which is now in the Berlin Royal 
+Library after being successively in the possession of Carl Philipp 
+Emmanuel, Forkel, and G. Pölchau, the Hamburg teacher of music.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The original entries in it are stated by Carl P. Emmanuel to be by 
+his father. Forkel also owned a Bach genealogical tree, given him by 
+Carl Philipp Emmanuel; it has disappeared. Traces of it exist in 
+a work published at Pressburg by Johann Matthias Korabinsky in 
+1784, its insertion being due to the assumption that the Bachs were 
+a Hungarian family.  Forkel shared that error.  See Spitta's Preface 
+on the whole question.  The MS. genealogy of 1735 is published by 
+the New Bachgesellschaft (XVIII. 3) in facsimile. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_21" name="note_21" href="#noteref_21">21.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Veit, in fact, returned to his native village. His 
+name, as has 
+been pointed out, implies a connection with Wechmar that must have 
+dated from infancy.  Moreover, there was living there in 1561 one 
+Hans Bach, an official of the municipality, who may be regarded 
+confidently as Veit's father.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_22" name="note_22" href="#noteref_22">22.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It has been suggested that the name Bach is the sole authority 
+for the statement that Veit was a baker.  But Spitta points out that 
+the vowel in the name is pronounced long and was frequently written 
+BAACH in the seventeenth century, a fact which makes it difficult to 
+associate the word with <span class="tei tei-q">“Backer”</span> (Baker). 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_23" name="note_23" href="#noteref_23">23.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In the Genealogy Johann Sebastian calls the instrument 
+a Cythringen.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_24" name="note_24" href="#noteref_24">24.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Hans Bach (d. Dec. 26, 1626) and (?) Lips Bach (d. Oct. 10, 1620). 
+See <span lang="la" class="tei tei-foreign" xml:lang="la">infra</span>, Genealogical Tables I. and II. and note to the latter.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_25" name="note_25" href="#noteref_25">25.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The <span class="tei tei-q">“Stadt Pfeiferei,”</span>
+or official town musical establishment, 
+descended from the musicians' guilds of the Middle Ages and was presided 
+over by the Stadt Musiker, who enjoyed certain ancient privileges 
+and the monopoly of providing the music at open-air festivities.  
+Johann Jakob Brahms, the father of Johannes, was a member of such 
+a corporation at Hamburg, after having served his apprenticeship for 
+five years elsewhere.  See Florence May, <span class="tei tei-title"><span style="font-style: italic">Johannes Brahms,</span></span> vol. i. 
+pp. 48 ff.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_26" name="note_26" href="#noteref_26">26.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+See Genealogical Table II.  The three young Bachs were the sons 
+of Lips Bach and, presumably, nephews of Hans the <span class="tei tei-q">“Spielmann.”</span> 
+The youngest of them was named Jonas; the name of another was 
+certainly Wendel.  It is remarkable, in a period in which Italy was 
+regarded as the Mecca of musicians, that exceedingly few of the Bach 
+family found their way thither.  Besides the three sons of Lips Bach, 
+only Johann Nikolaus, 1669-1753 (see Table VI.), Johann Sebastian 
+Bach's son Johann Christian, 1735-82 (see Table VIII.), and Carl P. E. 
+Bach's son Sebastian (see Table VII.) seem to have visited Italy.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_27" name="note_27" href="#noteref_27">27.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+<span lang="la" class="tei tei-foreign" xml:lang="la">i.e.</span>
+from Veit Bach.  Of the three names Forkel mentions the 
+first two were a generation before Johann Sebastian; the third, Johann 
+Bombard, was of the same generation as Johann Sebastian; none of 
+the three belonged to Johann Sebastian's branch.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_28" name="note_28" href="#noteref_28">28.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Eldest  son of Heinrich Bach (see Table VI.).  Whether he was 
+Court as well as Town Organist at Eisenach cannot be stated positively. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_29" name="note_29" href="#noteref_29">29.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The <span class="tei tei-title"><span style="font-style: italic">Alt-Bachische Archive</span></span> is 
+a collection of the compositions of 
+various members of the family, before and after Johann Sebastian, 
+formed largely by the latter.  From C. P. E. Bach it passed to G. 
+Pölchau and from him to the Berlin Royal Library. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_30" name="note_30" href="#noteref_30">30.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Johann Christoph composed several Motets (see them discussed 
+in Spitta, i. 75 ff.).  The daring work to which Forkel alludes was 
+written about 1680 and is lost.  Though the augmented sixth was 
+then and remained unusual, Johann Christoph's is not the earliest use 
+of it.  Spitta finds it in Giacomo Carissimi (1604-74).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_31" name="note_31" href="#noteref_31">31.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Cantata (<span class="tei tei-q">“And there was war in heaven”</span>) is analysed by 
+Spitta (i. 44).  The score is unusually full: two five-part choirs; 
+Vn. 1 and 2, 4 Violas, Contrabasso, Fagotto, 4 Trombe, Timpani, 
+Organ.  In 1726 Johann Sebastian Bach wrote a Cantata for Michaelmas 
+on the same text (Rev. xii. 7).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_32" name="note_32" href="#noteref_32">32.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Spitta (i. 101 n.) characterises the statement 
+as <span class="tei tei-q">“a mythical 
+exaggeration.”</span> In a chapter devoted to the instrumental works of 
+Johann Christoph and his brother he instances a collection of forty-four
+ Organ Chorals by the former, not one of which is in five parts.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_33" name="note_33" href="#noteref_33">33.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In the Bach genealogy already referred to C. P. E. Bach designates 
+Johann Christoph a <span class="tei tei-q">“great and impressive composer.”</span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_34" name="note_34" href="#noteref_34">34.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+A <span class="tei tei-title"><span style="font-style: italic">Lamento</span></span> published under Johann Christoph's 
+name seems 
+actually to have been composed by his father Heinrich (see Pirro, <span class="tei tei-title"><span style="font-style: italic">J.-S. Bach,</span></span> 9 n.). Johann Christoph, however, is the composer of the 
+Motet <span class="tei tei-title"><span style="font-style: italic">Ich lasse dich nicht,</span></span> so often attributed to Johann Sebastian.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_35" name="note_35" href="#noteref_35">35.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+See Table VI. He was the father of Johann Sebastian's first wife. </p>
+</dd><dt class="tei tei-notelabel"><a id="note_36" name="note_36" href="#noteref_36">36.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+See note, p. 4 <span lang="la" class="tei tei-foreign" xml:lang="la">supra</span>.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_37" name="note_37" href="#noteref_37">37.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Spitta (i. 59 ff.) mentions twelve Motets by Michael Bach. Several 
+of them are for eight voices.  Forkel probably refers to the most 
+remarkable of Michael's Motets, in which he detects the romantic 
+spirit of Johann Sebastian.  It is set to the words <span class="tei tei-title"><span style="font-style: italic">Unser Leben ist 
+ein Schatten,</span></span> (<span class="tei tei-title"><span style="font-style: italic">Life on earth is but a shadow</span></span>).  The first choir 
+consists of 2 S., A., 2 T., B., and the second choir of A. T. B. only.  
+Spitta analyses the work closely (i. 70-72). Novello publishes his five- 
+part Motet <span class="tei tei-title"><span style="font-style: italic">Christ is risen</span></span> with an English text.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_38" name="note_38" href="#noteref_38">38.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+He succeeded his cousin Johann Christoph at Eisenach in 1703. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_39" name="note_39" href="#noteref_39">39.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Spitta (i. 24 ff.) mentions four Suites, or Overtures, Clavier pieces, and Organ Chorals as being by him.  That Johann Sebastian Bach highly esteemed the Suites is proved by the fact that he copied the parts of three of them with his own hand at Leipzig.</p>
+</dd><dt class="tei tei-notelabel"><a id="note_40" name="note_40" href="#noteref_40">40.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It is a curious fact that, prior to the career of Johann Sebastian Bach, the composers of the Bach family occur invariably in other branches than his.  With two exceptions, the gift of composition appears to have been possessed, or exercised, solely by Heinrich Bach (see Table VI.), his two sons Johann Christoph 
+and Johann Michael, already discussed, and his grandson, Johann Nikolaus (son of Johann Christoph).  Heinrich Bach was a very productive composer in all forms of musical art employed at that time in church (Sp. i. 36).  His grandson, Johann Nikolaus, composed a Mass and a comic operetta (<span lang="la" class="tei tei-foreign" xml:lang="la">ib.</span>, 132 ff.). The only other Bach composer known to Spitta is Georg Christoph, founder of the Franconian Bachs (see Table IV.) and Cantor at Themar and Schweinfurt (ib. 155). The other Bach composer outside Heinrich Bach's branch is Johann Bornhard, already mentioned by Forkel.</p>
+</dd><dt class="tei tei-notelabel"><a id="note_41" name="note_41" href="#noteref_41">41.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In the Quodlibet different voices sang different well-known melodies, sacred and profane, and sought to combine them to form a harmonious whole.  For an example see Variation 30 of the <span class="tei tei-title"><span style="font-style: italic">Aria mit 30 Veranderungen</span></span> (Peters' ed., bk. 209 p. 83).  In it Bach combines two popular songs of his period.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_42" name="note_42" href="#noteref_42">42.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+See article <span class="tei tei-q">“Quodlibet”</span> in Grove.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_43" name="note_43" href="#noteref_43">43.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The date is conjectural, and is deduced from the fact that the infant was baptized on March 23.  The Gregorian Calendar was not adopted in Germany until 1701.  Had it been in use in 1685 Bach's birthday would be March 31.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_44" name="note_44" href="#noteref_44">44.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Johann Ambrosius' Court appointment is to be inferred from the fact that in 1684 the Duke refused him permission to return to Erfurt.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_45" name="note_45" href="#noteref_45">45.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+See Table IV.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_46" name="note_46" href="#noteref_46">46.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Johann Ambrosius survived his brother by nearly eighteen months.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_47" name="note_47" href="#noteref_47">47.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+His mother died in May 1694, and his father in January 1695.  At the latter date Johann Sebastian was three months short of his tenth year.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_48" name="note_48" href="#noteref_48">48.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Excepting Johann Jakob, a lad of thirteen years, Johann Christoph was Bach's only surviving brother, and the only one of the family in a position to look after him.  Johann Jakob accompanied Sebastian to Ohrdruf (Pirro, p. 13) and afterwards apprenticed himself to his father's successor as Town Musician at Eisenach. One of the daughters was already married.  What became of the other is not stated. See Table V.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_49" name="note_49" href="#noteref_49">49.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It is difficult to believe this statement.  That the boy was destined for a musical career by his father hardly can be doubted.  That he was of unusual precocity, the story told by Forkel in the text proves.  His father's asserted neglect to instruct him is therefore hardly credible.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_50" name="note_50" href="#noteref_50">50.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Johann Jakob Froberger, born at Halle (date unknown); Court Organist at Vienna, 1637-57; d. 1667.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_51" name="note_51" href="#noteref_51">51.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Johann Caspar Ferdinand Fischer, c. 1660-1738 (actual dates of his birth and death unknown); Kapellmeister to Markgraf Ludwig of Baden at Schloss Schlackenwerth in Bohemia. His <span class="tei tei-title"><span style="font-style: italic">Ariadne Musica Neo-Organoedum</span></span> (1702) was the precursor of Bach's <span class="tei tei-title"><span style="font-style: italic">Das wohltemperirte Clavier.</span></span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_52" name="note_52" href="#noteref_52">52.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Johann Caspar Kerl, b. 1628; Kapellmeister in Munich, 1656-74; Court Organist at Vienna, 1677-92; d. 1693.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_53" name="note_53" href="#noteref_53">53.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Johann Pachelbel, b. 1653, d. 1706.  In 1695 he was Organist of St. Sebald's Church, Nürnberg.  His influence upon the organ playing of his generation was enormous.  Bach's brother, Johann Christoph, was his pupil.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_54" name="note_54" href="#noteref_54">54.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Dietrich Buxtehude, b. 1637, d. 1707; Organist (1668) of the Marienkirche, Lübeck, and the chief musical influence in North Germany.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_55" name="note_55" href="#noteref_55">55.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Nikolaus Bruhns, b. <span lang="la" class="tei tei-foreign" xml:lang="la">circ.</span> 1665, d. 1697; a. pupil of Buxtehude; Organist at Husum; the greatest organist of his time after Buxtehude.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_56" name="note_56" href="#noteref_56">56.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Georg Böhm, b. 1661; date of death uncertain (c. 1739); from 1698 Organist of the Johanniskirche, Lüneburg.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_57" name="note_57" href="#noteref_57">57.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In fact, Johann Christoph did not die until 1721, more than twenty years after Sebastian ceased to be under his roof.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_58" name="note_58" href="#noteref_58">58.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The fact that Johann Christoph survived till 1721 disproves Forkel's statement. The youthful Bach, aged fifteen in 1700, no doubt seized the earliest opportunity to relieve his brother of the charge of him.  Moreover, Johann Christoph's family was increasing (see Table V.).  In spite of the story of Bach's midnight copying, it cannot be questioned that he owed a good deal to his brother, who not only taught him but, presumably, maintained him at the Ohrdruf Lyceum, where Bach acquired a sound education and a considerable knowledge of Latin.  See Pirro, pp. 14-16, on Bach's education at Ohrdruf.  He left the Lyceum in March 1700.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_59" name="note_59" href="#noteref_59">59.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Georg Erdmann, Bach's fellow-pupil at the Lyceum.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_60" name="note_60" href="#noteref_60">60.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach's entry into the choir of St. Michael's Convent, Lüneburg, took place about Easter 1700.  The step was taken upon the advice of Elias Herda, Cantor at the Ohrdruf Lyceum, himself a former member of St. Michael's.  Bach remained at St. Michael's for three years, till 1703.  The choir library was particularly rich in the best church music of the period, both German and Italian.  Spitta is of opinion that Bach's talents as a violinist and Clavier player were also laid under contribution.  His voice, as Forkel states, soon ceased to be serviceable.  His maximum pay was one thaler (three shillings) a month and free commons.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_61" name="note_61" href="#noteref_61">61.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Probably Georg Böhm, who had relations with the Convent choir, inspired Bach to make the pilgrimage.  Böhm, then at St. John's, Lüneburg, was a pupil of Reinken of Hamburg.  Spitta (i. 196) suggests that Bach's cousin, Johann Ernst (see Table IV.), was at this time completing his musical education at Hamburg, a fact which may have contributed to draw Bach thither.  He made more than one visit, on foot, to Hamburg.  F. W. Marpurg published, in 1786, the story, which he received from Bach himself, that on one of his journeys from Hamburg, Bach sat down outside an inn and hungrily sniffed the savours from its kitchen.  His pockets were empty and there seemed little prospect of a meal, when a window was opened and two herring heads were thrown out.  Bach picked them up eagerly, and found in each of them a Danish ducat.  Who was his benefactor he never discovered; the gift enabled him to satisfy his hunger and pay another visit to Hamburg.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_62" name="note_62" href="#noteref_62">62.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Johann Adam Reinken, b. 1623, became Organist of St. Catherine's Church, Hamburg, in 1664, and held the post until his death in 1722.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_63" name="note_63" href="#noteref_63">63.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+His introduction to French music marked another step in Bach's
+progressive education.  The reigning Duke of Celle (father-in-law of
+George I. of Great Britain and Ireland) had married a Frenchwoman.  See Pirro, <span class="tei tei-title"><span style="font-style: italic">J. S. Bach,</span></span> pp. 24-27.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_64" name="note_64" href="#noteref_64">64.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+He entered the Weimar service on April 8, 1703 (Pirro, p. 29).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_65" name="note_65" href="#noteref_65">65.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach's engagement was in the private band of the younger brother of the Duke.  He remained in his new post only a few months.  He was engaged as a Violin player, and since his interests were towards the Organ and Clavier, it is clear that he accepted the engagement as a temporary means of livelihood.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_66" name="note_66" href="#noteref_66">66.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+He is, however, described in July 1703 as Court Organist (Pirro, p. 30).  Bach was drawn to Arnstadt chiefly by the fact that the New Church recently had been equipped with a particularly fine Organ (specification in Spitta, i. 224), which existed until 1863.  Bach inaugurated it on July 13, 1703, and entered on his duties as Organist of the church in the following month (Pirro, p. 30).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_67" name="note_67" href="#noteref_67">67.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+His earliest Church Cantata (No. 15) was composed here in 1704.  To the Arnstadt period (1703-7) also must be attributed the Capriccio written on the departure of his brother, Johann Jakob (Peters bk. 208 p. 62), the Capriccio in honour of his Ohrdruf brother, Johann Christoph (Peters bk. 215, p. 34), the Sonata in D major (Peters bk. 215, p. 44), the Organ Prelude and Fugue in C minor (Novello bk. 2 p. 48), and the Organ Fugue in C minor (Novello bk. 12 p. 95).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_68" name="note_68" href="#noteref_68">68.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In the <span class="tei tei-title"><span style="font-style: italic">Nekrolog</span></span> C. P. E. Bach and Agricola remark of the Arnstadt period, that Bach then <span class="tei tei-q">“really showed the first-fruits of his industry in the art of Organ-playing and composition, which he had in great measure learnt only from the study of the works of the most famous composers of the time, and from his own reflections on them”</span> (quoted in Spitta, i. 235).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_69" name="note_69" href="#noteref_69">69.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach's stipend at Arnstadt was not inconsiderable, and his duties engaged him only at stated hours on Sundays, Mondays, and Thursdays.  He, therefore, had leisure and the means to employ it.  In October 1705 he obtained four weeks' leave of absence and set off on foot to Lübeck, after leaving an efficient deputy behind him.  He stayed away until February 1706.  On his return the Consistory demanded an explanation of his absence, and took the opportunity to remonstrate with him on other matters.  They charged him <span class="tei tei-q">“with having been hitherto in the habit of making surprising <span lang="it" class="tei tei-foreign" xml:lang="it">variationes</span> in the Chorals, and intermixing divers strange sounds, so that thereby the congregation were confounded.”</span>  They charged him with playing too long preludes, and after this was notified to him, of making them too short.  They reproached him <span class="tei tei-q">“with having gone to a wineshop last Sunday during sermon,”</span> and cautioned him that, <span class="tei tei-q">“for the future he must behave quite differently and much better than he has done hitherto”</span> (see the whole charge in Spitta, i. 315 ff.).  Bach also was on bad terms with the choir, whose members had got out of hand and discipline.  Before his Lübeck visit he engaged in a street brawl with one of the scholars.  Then, as later, he was a choleric gentleman.  In November 1706 he got into further trouble for having <span class="tei tei-q">“made music”</span> in the church with a <span class="tei tei-q">“stranger maiden,”</span> presumably his cousin Maria Barbara Bach, then on a visit to Arnstadt; he married her a year later.  Clearly the relations between the Consistory and the brilliant young Organist were becoming difficult, and Bach's migration to Mühlhausen no doubt was grateful to both.  His resignation was made formally on June 29, 1707.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_70" name="note_70" href="#noteref_70">70.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach was appointed on June 15, 1707, to succeed Johann Georg Able. Mühlhauson prided itself upon its musical traditions.  Bach's Cantata, No. 71, written in February 1708 for the inauguration of the Mühlhausen Town Council, was engraved (the parts only), the only one of the 206 Cantatas which have come down to us which was printed during Bach's lifetime.  He also composed Cantatas 131 and 196 at Muhlhausen, and perhaps three others. See <span lang="la" class="tei tei-foreign" xml:lang="la">infra</span>, p. 188.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_71" name="note_71" href="#noteref_71">71.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach's petition to the Mühlhausen Consistory for permission to resign his post is dated June 25, 1708, and is printed in full by Spitta, i. 373.  Bach mentions the Weimar post as having been offered to him, but bases his desire to resign the organ of St. Blasius, partly on the ground that his income was inadequate, partly because, though he had succeeded in improving the organ and the conditions of music generally, he saw <span class="tei tei-q">“not the slightest appearance that things will be altered”</span> for the better.  Mühlhausen, in fact, was a stronghold of Pietism and unsympathetic to Bach's musical ideals.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_72" name="note_72" href="#noteref_72">72.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+He was Court Organist and Kammermusikus.  In the latter post Bach was of use as a Violinist and Clavier player.  The Court band, or Kapelle, on special occasions appeared in Hungarian costume, which Bach presumably donned.  His income began at a sum nearly double that he had received at Arnstadt and Mühlhausen.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_73" name="note_73" href="#noteref_73">73.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The character of his employer, Duke Wilhelm Ernst of Saxe-Weimar, must be reckoned a factor in the development of the youthful Bach.  The Duke was not only a cultured artist, but was also a man of genuine piety.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_74" name="note_74" href="#noteref_74">74.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Though Bach retouched them in later years and wrote others, it may be stated in general terms that his Organ works were the fruit of the Weimar period, which lasted from 1708 till 1717.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_75" name="note_75" href="#noteref_75">75.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach's promotion to the position of Concertmeister had taken place certainly before March 19, 1714, on which date Spitta (i. 517) prints a letter in which Bach gives himself the title.  The increase in his income early in 1714 also supports the conclusion, while a letter of January 14, 1714, written by Bach, is not signed by him as Concertmeister.  It would seem that his promotion took place in the interval between the two letters.  As Concertmeister it was part of his duty to provide Cantatas for the church services.  Twenty-two were written by him at Weimar.  See <span lang="la" class="tei tei-foreign" xml:lang="la">infra</span>, p. 188, for a list of them.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_76" name="note_76" href="#noteref_76">76.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Friedrich Wilhelm Zachau died on August 7 or 14, 1712.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_77" name="note_77" href="#noteref_77">77.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Spitta (i. 513) infers that, in the later years of the Weimar period, Bach spent part of the autumn of every year in visits to the Courts and larger towns of Germany in order to give Organ recitals and to conduct performances of his Cantatas. Besides the visit to Halle, in 1713, to which Forkel alludes, Bach performed at Cassel in 1713 or 1714 before the future Frederick I. of Sweden, who presented him with a ring which he drew from his finger.  Bach's feet, an admirer recorded, <span class="tei tei-q">“flew over the pedal-board as if they had wings.”</span> In December 1714 he visited Leipzig and performed Cantata No. 61, <span class="tei tei-title"><span style="font-style: italic">Nun komm, der Heiden Heiland.</span></span>  In 1716 he was again invited to Halle, and at about the same time performed at Meiningen. Forkel records the famous contest with Marchand, the French Organist, at Dresden in 1717.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_78" name="note_78" href="#noteref_78">78.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Forkel's brief account follows the <span class="tei tei-title"><span style="font-style: italic">Nekrolog.</span></span>  Bach was in Halle in the autumn of 1713, a year after Zachau's death.  The latter's post was still vacant and a new and particularly large Organ (sixty-three speaking stops) was being erected.  The authorities pressed Bach to submit himself to the prescribed tests, and he complied so far as to compose a Cantata and to conduct a performance of it.  On his return to Weimar he received a formal invitation to accept the post.  After some correspondence Bach refused it, partly, perhaps chiefly, on the ground that the income was inadequate.  The refusal was answered by the groundless accusation that he had merely entertained the Halle proposal in order to bring pressure upon Weimar for a rise of salary.  The misunderstanding was cleared away by 1716, when Bach visited Halle again.  In the interval Zachau's post had been given to his pupil, Gottfried Kirchhoff.  The whole matter is discussed at length in Spitta, i. 515 ff.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_79" name="note_79" href="#noteref_79">79.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Frederick Augustus I. of Saxony was elected, as Augustus II., to the throne of Poland in 1697. He died In 1733.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_80" name="note_80" href="#noteref_80">80.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Louis Marchand, b. 1669, d. 1732; Organist to the French Court and later of the Church of St. Honoré, Paris.  His arrival in Dresden was due to his being in disgrace at Versailles. Whether or not he was offered a permanent engagement at the Saxon Court, he was regarded as the champion of the French style, and as such the challenge was issued to him by Bach.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_81" name="note_81" href="#noteref_81">81.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Francois Couperin, b. 1668, d. 1733; Organist of St. Gervais, Paris.  Forkel's judgment upon his art is not supported by modern criticism.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_82" name="note_82" href="#noteref_82">82.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach, however, admired Marchand's compositions sufficiently to give them to his pupils. See Pirro, p. 52.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_83" name="note_83" href="#noteref_83">83.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Jean-Baptiste Volumier, an acquaintance of Bach, according to Spitta (i. 583). Eitner, <span class="tei tei-title"><span style="font-style: italic">Quellen Lexikon.</span></span> says that he was born in Spain and educated in France.  Grove's <span class="tei tei-title"><span style="font-style: italic">Dictionary</span></span> declares him a Belgian.  In 1709 he was appointed Concertmeister to the Saxon Court.  He died at Dresden in 1728.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_84" name="note_84" href="#noteref_84">84.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It is more probable that Bach was at Dresden either expressly to hear Marchand or upon one of his autumn tours.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_85" name="note_85" href="#noteref_85">85.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Some years earlier Flemming had witnessed Handel's triumphant descent on the Saxon Court, but had failed to establish friendly relations with him.  See Streatfield's <span class="tei tei-title"><span style="font-style: italic">Handel</span></span>, p. 87.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_86" name="note_86" href="#noteref_86">86.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The article on Marchand in Grove gives a different version of the affair, based upon Joseph Fétis (1784-1871).  According to this story of the event, Bach, summoned from Weimar, attended Marchand's concert incognito, and after hearing Marchand perform, was invited by Volumier to take his seat at the Clavier.  Bach thereupon repeated from memory Marchand's theme and variations, and added others of his own.  Having ended, he handed Marchand a theme for treatment on the Organ and challenged him to a contest.  Marchand accepted it, but left Dresden before the appointed hour.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_87" name="note_87" href="#noteref_87">87.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Prince was brother-in-law of Duke Ernst August of Saxe-Weimar.  Bach was, therefore, already known to him and showed the greatest regard for him both at Cöthen and after he had left his service.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_88" name="note_88" href="#noteref_88">88.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The reason for Bach's migration from Weimar to Cöthen was his failure to obtain the post of Kapellmeister at the former Court upon the death of Johann Samuel Drese in 1716. The post was given to Drese's son. On August 1, 1717, just before or after his Marchand triumph, Bach was appointed Kapellmeister to the Court of Cöthen.  Duke Wilhelm Ernst refused to release him from his engagement, and Bach endured imprisonment from November 6 to December 2, 1717, for demanding instant permission to take up his new post.  Probably his last work at Weimar was to put the <span class="tei tei-title"><span style="font-style: italic">Orgelbüchlein</span></span> into the form in which it has come down to us (see articles by the present writer in <span class="tei tei-title"><span style="font-style: italic">The Musical Times</span></span> for January-March 1917).
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+With his departure from Weimar in 1718 Bach left behind him the distinctively Organ period of his musical fertility.  Though his compositions were still by no means generally known, as a player he held an unchallenged pre-eminence.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_89" name="note_89" href="#noteref_89">89.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+He was appointed to Cöthen on August 1, 1717, and was inducted at Leipzig on May 31, 1723.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_90" name="note_90" href="#noteref_90">90.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The date actually was November 1720.  At Cöthen Bach had an inferior Organ and little scope for his attainments; his chief duties were in connection with the Prince's band.  The yearning to get back to the Organ, which eventually took him to Leipzig in 1723, shows itself in his readiness to entertain an invitation to Hamburg in 1720.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_91" name="note_91" href="#noteref_91">91.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Three Organ movements by Bach upon Wolfgang Dachstein's melody, <span class="tei tei-title"><span style="font-style: italic">An Wasserflüssen Babylon,</span></span> are extant.  See notes upon them and their relation to the Hamburg extemporisation in Terry, <span class="tei tei-title"><span style="font-style: italic">Bach's Chorals,</span></span> Part III.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_92" name="note_92" href="#noteref_92">92.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+As at Halle in 1713, Bach does not appear to have gone to Hamburg specially to compete for the post of Organist to the Church of St. James, vacant by the death of Heinrich Friese in September 1720.  He was not able to stay to take part in the final tests, nor was he asked to submit to them, since his visit to Hamburg had given him an opportunity to display his gifts.  In the result the post was given to Johann Joachim Heitmann, who acknowledged his appointment by forthwith paying 4000 marks to the treasury of the Church.  See Spitta, ii. 17 ff.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_93" name="note_93" href="#noteref_93">93.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Johann Kuhnau died on June 25, 1722.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_94" name="note_94" href="#noteref_94">94.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+On the title-pages of his published works Bach describes himself as <span class="tei tei-q">“Capellm. und Direct. Chor. Mus. Lips.”</span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_95" name="note_95" href="#noteref_95">95.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Forkel has practically nothing to say regarding the Leipzig period of Bach's musical life.  That a professed historian of music, setting before the public for the first time the life of one whom he so greatly extolled, and with every inducement to present as complete a picture of him as was possible, should have taken no trouble to carry his investigations beyond the point C. P. E. Bach and Agricola had reached in the <span class="tei tei-title"><span style="font-style: italic">Nekrolog</span></span> of 1754 is almost incredible.  The only reason that can be adduced, apart from the lack of a really scientific impulse, is that Forkel was almost entirely ignorant of the flood of concerted church music which poured from Leipzig from 1723 to 1744.  His criticism of Bach as a composer is restricted practically to Bach's Organ and Clavier works.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_96" name="note_96" href="#noteref_96">96.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+On November 19, 1728.  Latterly his interest in music had waned.  The fact, along with Bach's concern for the education of his sons and his desire to return to the Organ, explains his abandonment of the more dignified Cöthen appointment.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_97" name="note_97" href="#noteref_97">97.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The score of this work was in Forkel's possession, but was missing from his library in 1818 and was assumed to be lost until, in 1873, Rust was able to show that Bach used for the occasion certain choruses and Arias from the <span class="tei tei-title"><span style="font-style: italic">St. Matthew Passion,</span></span> which he was then writing, with the first chorus of the <span class="tei tei-title"><span style="font-style: italic">Trauer-Ode</span></span> as an opening of the extemporised work.  See Spitta, ii. 618; Schweitzer, ii. 208.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_98" name="note_98" href="#noteref_98">98.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In 1723 he received the title <span lang="de" class="tei tei-foreign" xml:lang="de">Hochfürstlich Weissenfelsische wirkliche Kapellmeister</span> and retained it till his death.  He retained also his Cöthen appointment.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_99" name="note_99" href="#noteref_99">99.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Augustus III. Bach had petitioned for the appointment in a letter dated July 27, 1733 (Spitta, iii. 38), forwarding a copy of the newly-written Kyrie and Gloria of the B minor Mass.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_100" name="note_100" href="#noteref_100">100.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+There does not appear to be any ground for the suggestion that the post of Hofcomponist to the Dresden Court was attached <span lang="la" class="tei tei-foreign" xml:lang="la">ex officio</span> to the St. Thomas' Cantorate.  Bach applied for it in 1733, taking advantage of the recent accession of the new sovereign, Augustus III., in February 1733.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_101" name="note_101" href="#noteref_101">101.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Friedemann was then at Halle.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_102" name="note_102" href="#noteref_102">102.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+May 7, 1747, according to Spitta, quoting Friedrich Wilhelm Marpurg's <span class="tei tei-title"><span style="font-style: italic">Historisch-kritische Beyträge zur Aufnahme der Musik,</span></span> which appeared in 5 vols. between 1754-1778.  On the other hand, Spener, who first records the event, states briefly: <span class="tei tei-q">“May 11,1747.  His Majesty was informed that Kapellmeister Bach had arrived in Potsdam, and that he was in the King's ante-chamber, waiting His Majesty's gracious permission to enter, and hear the music.  His Majesty at once commanded that he should be admitted”</span> (Spitta, iii. 231 n.).  If the Marpurg and Spener dates are reliable, it looks as though Friedemann's story of his father, travel-stained and weary, being hurried incontinent into the presence of the King is a piece of picturesque embroidery.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_103" name="note_103" href="#noteref_103">103.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Clearly this was a story that Wilhelm Friedemann prided himself on the telling, and Forkel's remark suggests the need for caution in accepting all its details.  Frederick's courtesy to Bach, however, tends to discredit the story that ten years earlier (1737) Handel deliberately refused to meet the King at Aix-la-Chapelle owing to the peremptoriness of his summons.  Mr. Streatfleld (p. 145) also shows that Frederick was not at Aix until 1741, when Handel was writing the <span class="tei tei-title"><span style="font-style: italic">Messiah</span></span> in London.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_104" name="note_104" href="#noteref_104">104.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Gottfried Silbermann, a pioneer of the modern pianoforte.  Bach was already familiar with his Claviers with hammer action, and indeed had offered useful criticism of which Silbermann had taken advantage. See Spitta, ii. 46.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_105" name="note_105" href="#noteref_105">105.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+* The pianofortes manufactured by Silbermann, of Freiberg, pleased the King so much, that he resolved to buy them all.  He collected fifteen.  I hear that they all now stand, unfit for use, in various corners of the Royal Palace.  [Robert Eitner, in 1873, found one of the pianos in Frederick the Great's room at Potsdam.]
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_106" name="note_106" href="#noteref_106">106.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+According to another account, which Spitta (iii. 232) follows, Bach played before a large congregation in the Church of the Holy Spirit, Potsdam. The King does not appear to have been present. The extemporisation of the six-part Fugue took place in Frederick's presence on the evening of that day.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_107" name="note_107" href="#noteref_107">107.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach's letter to Frederick accompanying the gift is dated 7th July 1747. He calls it <span class="tei tei-q">“a musical offering, of which the noblest portion is the work of Your Majesty's illustrious hand.”</span>  In addition to Forkel's analysis it contains a Sonata for Flute, Violin, and Clavier, and a canon perpetuus for the same three instruments.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_108" name="note_108" href="#noteref_108">108.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+John Taylor (1703-72), oculist to George II.  The operation took place in the winter of 1749-50. Taylor is said to have operated on Handel in 1751 (see the article on him in the <span class="tei tei-title"><span style="font-style: italic">Dict. Nat. Biography.</span></span>).  Streatfield (<span class="tei tei-title"><span style="font-style: italic">Handel,</span></span> p. 212), however, does not mention Taylor, and his account suggests that Samuel Sharp, of Guy's Hospital, was the operator in Handel's case.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_109" name="note_109" href="#noteref_109">109.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The actual date was July 28, at 8.45 P.M. Bach was working to the very moment of his collapse on July 18.  Probably his last work was the Choral Prelude (Novello bk. xvii. 85) on the melody <span class="tei tei-title"><span style="font-style: italic">Wenn wir in höchsten Nöthen sein.</span></span>  Facing eternity, he bade his son-in-law, Altnikol, inscribe the movement with the title of the Hymn, <span class="tei tei-title"><span style="font-style: italic">Vor deinen Thron tret ich hiemit,</span></span> whose first stanza filled his mind:
+</p>
+<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em">
+<div class="tei tei-l" style="text-align: left">Before Thy throne, my God, I stand,</div>
+<div class="tei tei-l" style="text-align: left">Myself, my all, are in Thy hand.</div>
+</div>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+An addendum to the Genealogy, in C. P. E. Bach's hand, gives July 30 as the date of his father's death.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_110" name="note_110" href="#noteref_110">110.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+July 18.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_111" name="note_111" href="#noteref_111">111.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+See Genealogical Tables VII. and VIII.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_112" name="note_112" href="#noteref_112">112.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The statement is misleading.  Of the five sons of the first marriage, two were famous, two died in infancy, and the fifth abandoned a promising musical career for the law. Of the six sons of the second marriage, one was imbecile, three died in infancy, two were famous.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_113" name="note_113" href="#noteref_113">113.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+See Introduction, p. XXI, <span lang="la" class="tei tei-foreign" xml:lang="la">supra</span>.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_114" name="note_114" href="#noteref_114">114.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In view of Bach's memorial of August 23, 1730 <span lang="la" class="tei tei-foreign" xml:lang="la">(infra)</span>, this seems to be  the meaning of the resolution.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_115" name="note_115" href="#noteref_115">115.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+<span class="tei tei-title"><span style="font-style: italic">Steigt freudig in die Luft,</span></span> first performed at Cöthen, set to a new text, <span class="tei tei-title"><span style="font-style: italic">Schwingt freudig euch empor.</span></span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_116" name="note_116" href="#noteref_116">116.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The well-known portrait by C. F. Rr. Liszewski in the Joachimsthal 
+Gymnasium, Berlin, was painted in 1772, twenty-two years after 
+Bach's death.  It represents him at a table with music-paper before 
+him and an adjacent Clavier.  Pirro uses for his frontispiece a portrait 
+by Geber, which bears no resemblance whatever to the Haussmann or 
+Volbach pictures.  Mention must also be made of a singularly engaging 
+picture of Bach at the age of thirty-five.  It hangs in the Eisenach 
+Bach Museum and is by Johann Jak. Ihle.  It is reproduced as the 
+frontispiece of this volume.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_117" name="note_117" href="#noteref_117">117.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+His <span class="tei tei-title"><span style="font-style: italic">Versuch über die wahre Art des Klavier zu spielen</span></span> was published (Part I.) in 1753.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_118" name="note_118" href="#noteref_118">118.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em"> Forkel's meaning 
+can be made clear in the following manner: 
+place the thumb and fingers of either hand upon the notes C D E F G 
+of the pianoforte so that the three middle fingers lie more or less flat 
+upon the keys; then draw back the three middle fingers until they 
+form an arch having their tips approximately in a straight line with 
+the tips of the thumb and little finger upon the keys.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_119" name="note_119" href="#noteref_119">119.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It must be remembered that Forkel is speaking of the Clavier 
+and not of the Pianoforte.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_120" name="note_120" href="#noteref_120">120.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Harpsichord, as its 
+name implies, was an instrument whose 
+strings were plucked by a plectrum. Bach preferred the older Clavier, 
+or Clavichord, which could be regulated, as the other could not, by 
+nicety of touch. See note, p. 68, <span lang="la" class="tei tei-foreign" xml:lang="la">infra</span>.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_121" name="note_121" href="#noteref_121">121.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Schweitzer (i. 208) points out that Bach's touch 
+was modern, in 
+that he realised that <span class="tei tei-q">“singing tone”</span> depends not only upon the manner 
+in which the keys are struck, but, to a great extent, on the regulation 
+of their ascent.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Of Handel's touch, Burney writes (quoted by Rockstro, p. 349): 
+<span class="tei tei-q">“His touch was so smooth, and the tone of the instrument so much 
+cherished, that his fingers seemed to grow to the keys.  They were 
+so curved and compact when he played, that no motion, and scarcely 
+the fingers themselves, could be discovered.”</span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_122" name="note_122" href="#noteref_122">122.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+At the beginning of the seventeenth century, 
+as Spitta points out (ii. 34), the art of fingering had not developed.  Speaking generally, 
+neither thumb nor little finger was employed.  It was not until the 
+beginning of the eighteenth century that a scientific method emerged, 
+a development rendered necessary by the advance in the modes of 
+musical expression.  C. P. E. Bach, quoted by Schweitzer (i. 206), 
+puts this concisely: <span class="tei tei-q">“My late father told me that in his youth he had 
+heard great men who never used the thumb except when it was necessary 
+to make big stretches.  But he lived in an epoch when there 
+came about gradually a most remarkable change in musical taste, 
+and therefore found it necessary to work out for himself a much more 
+thorough use of the fingers, and especially of the thumb, which, besides 
+performing other good services, is quite indispensable in the difficult 
+keys, where it must be used as nature intends.”</span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_123" name="note_123" href="#noteref_123">123.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+According to Mr. Arnold Dolmetsch, Clavichords with special 
+strings for each note (<span lang="de" class="tei tei-foreign" xml:lang="de">bundfrei</span>) were known in Bach's time.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_124" name="note_124" href="#noteref_124">124.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In the <span class="tei tei-title"><span style="font-style: italic">Essay</span></span> already referred to.  For 
+a discussion of Couperin's 
+method see Spitta, ii. 37 ff. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_125" name="note_125" href="#noteref_125">125.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+For instance, the Rondeau in B flat in Anna Magdalena's <span class="tei tei-title"><span style="font-style: italic">Noten- 
+buch</span></span> (No. 6) (1725) is by Couperin.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_126" name="note_126" href="#noteref_126">126.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+No doubt the friend who prepared this trap for Bach 
+was Johann Gottfried Walther.  His compositions frequently were characterised 
+by intricacy.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_127" name="note_127" href="#noteref_127">127.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Mozart had the 
+same gift.  When visiting St. Thomas' School 
+in 1789, he heard with astonishment a performance of Bach's Motet, <span class="tei tei-title"><span style="font-style: italic">
+Singet dem Herrn ein neues Lied.</span></span> <span class="tei tei-q">“At the conclusion he expressed 
+his delight, and said, <span class="tei tei-q">‘Now that is something from which a man may 
+learn.’</span>  On being informed that Bach was Cantor to this school, and 
+that his Motets were venerated there as reliques, he was eager to see 
+them.  No score being to be obtained, they handed him the separate 
+parts, and it was interesting to observe his manner of reading them, 
+holding some in his hands, some on his knees, placing some on chairs 
+around him; seeming thoroughly lost to everything, and not rising till 
+he had thoroughly satisfied his curiosity”</span> (Holmes, <span class="tei tei-title"><span style="font-style: italic">Life of Mozart,</span></span> ed. Dent, p. 251). 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_128" name="note_128" href="#noteref_128">128.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+There were in Bach's time three <span class="tei tei-q">“Clavier”</span> instruments in use.  
+The oldest, the Clavichord, as a rule, had two strings to every 
+note, set in motion by a <span class="tei tei-q">“tangent”</span> striking them from below.  Its 
+advantage was that it permitted the tone to be regulated by the 
+touch.  For that reason, though its tone was weak, Bach preferred 
+it.  The Clavicembalo, or Harpsichord, as it is called in the text, was 
+in general known as the <span class="tei tei-q">“Flügel,”</span> the strings being plucked, or flipped 
+by a quill or metal pin, after the manner of the modern mandoline. 
+The third instrument was the <span class="tei tei-q">“piano e forte,”</span> or Hammerclavier.
+The Clavicembalo was also built with two keyboards, like an Organ, 
+and a pedal-board provided with strings.  It was for this instrument 
+that the so-called Organ Sonatas of Bach were written.  He possessed 
+five Clavicembali, but not a single Clavichord at the time of his death.  
+For that reason it has been questioned whether Forkel is accurate in 
+stating that Bach preferred the latter instrument. See Schweitzer, 
+i. 200 ff.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_129" name="note_129" href="#noteref_129">129.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+ Peters bk. 207 p. 4.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_130" name="note_130" href="#noteref_130">130.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The truth of this remark is 
+very evident in the <span class="tei tei-title"><span style="font-style: italic">Orgelbüchlein.</span></span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_131" name="note_131" href="#noteref_131">131.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Forkel writes as though he were in a position by personal 
+knowledge to compare the gifts of Bach and his son.  In fact 
+he was born in 1749 and was less than two years old when 
+Bach died.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_132" name="note_132" href="#noteref_132">132.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+On Bach's use of the stops see Spitta, i. 394 ff., and Pirro's <span class="tei tei-title"><span style="font-style: italic">L'Orgue 
+de J.-S. Bach.</span></span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_133" name="note_133" href="#noteref_133">133.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Johann Joachim Quantz, b. 1697; flute player and composer; 
+taught Frederick the Great the flute; settled at Berlin as Kammer-musikus and Court Composer; d. 1773.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_134" name="note_134" href="#noteref_134">134.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The <span class="tei tei-title"><span style="font-style: italic">Nekrolog</span></span> 
+sums up more briefly than Forkel, in a judgment 
+which, without doubt, is the very truth: <span class="tei tei-q">“Bach was the greatest 
+Organ player that had yet been known.”</span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_135" name="note_135" href="#noteref_135">135.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Johann Adolph Scheibe, 
+a native of Leipzig, was an unsuccessful 
+candidate for the Organistship of St. Thomas' Church in 1729.  Bach 
+was one of the judges.  In 1737 Scheibe published in the <span class="tei tei-q">“Kritische 
+Musikus”</span> a criticism of Bach which, while doing justice to his powers 
+as an organist, characterised his compositions as <span class="tei tei-q">“turgid and confused 
+in character.”</span>  Bach was incensed by the criticism and asked his 
+friend, Professor Birnbaum of Leipzig, to answer it.  Scheibe replied 
+in 1739, with a wholly unjustified challenge of Bach's general education 
+and culture. In his <span class="tei tei-q">“Phoebus and Pan,”</span> performed in 1731, Bach 
+had already had the satisfaction of representing Scheibe as <span class="tei tei-q">“Midas”</span> 
+and calling him an ass.  On the whole matter see Schweitzer, i. 178 ff. 
+and Spitta, iii. 252.  Scheibe conducted the Court orchestra at Copenhagen 
+from 1742-49 and died there in 1776.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_136" name="note_136" href="#noteref_136">136.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Georg Andreas Sorge, <span class="tei tei-q">“Court and Town Organist to the Count of 
+Reuss and Plau at Lobenstein,”</span> in his dedication thus commended 
+Bach: <span class="tei tei-q">“The great musical virtue that Your Excellency possesses is 
+embellished with the excellent virtue of affability and unfeigned love 
+of your neighbour.”</span> See Schweitzer, i. 155.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_137" name="note_137" href="#noteref_137">137.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The following 
+passage from the Autobiography of Hector Berlioz (ed. Dent, p. 11) is relevant: <span class="tei tei-q">“My father would never let me learn the 
+piano; if he had, no doubt I should have joined the noble army of 
+piano thumpers…Sometimes I regret my ignorance, yet, when 
+I think of the ghastly heap of platitudes for which that unfortunate 
+piano is made the daily excuse—insipid, shameless productions, that 
+would be impossible if their perpetrators had to rely, as they ought, 
+on pencil and paper alone—then I thank the fates for having forced 
+me to compose silently and freely by saving me from the tyranny of 
+finger-work, that grave of original thought.”</span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_138" name="note_138" href="#noteref_138">138.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Antonio Vivaldi, A. 1743; 
+a master of form.  That fact turned 
+the attention of German composers to him; while the popularity of 
+his Violin Concertos also attracted musicians, like Bach, whose work 
+at Cöthen was in close association with the Court Kapelle or 
+band. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_139" name="note_139" href="#noteref_139">139.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach re-wrote sixteen Vivaldi Violin Concertos for the Clavier, 
+four of them for the Organ, and developed one into a Concerto for four 
+Claviers and a quartet of strings which Forkel enumerates (
+<span lang="la" class="tei tei-foreign" xml:lang="la">infra</span>, p. 132) 
+as a composition of Bach's (Peters bk. 260). Bach learnt from Vivaldi 
+<span class="tei tei-q">“clearness and plasticity of musical structure.”</span> See article <span class="tei tei-title"><span style="font-style: italic">Vivaldi</span></span> 
+in Grove; Spitta, i. 411 ff; Schweitzer, i. 192 ff.  The Vivaldi Clavier 
+Concertos are in Peters bk. 217; the Organ Concertos in Novello 
+bk. 11. Not all these transcriptions are based on Vivaldi. See 
+Schweitzer, i. 193.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_140" name="note_140" href="#noteref_140">140.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Girolamo Frescobaldi, b. 1583, d. 1644; Organist of St. Peter's, 
+Rome. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_141" name="note_141" href="#noteref_141">141.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Delphin Strungk, b. 1601, d. 1694; Organist of St. Martin's, 
+Brunswick; composed for the Organ. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_142" name="note_142" href="#noteref_142">142.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Purcell should be added to those whom Forkel mentions as Bach's 
+models. See <span lang="la" class="tei tei-foreign" xml:lang="la">infra</span>, p. 261.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_143" name="note_143" href="#noteref_143">143.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+* See Kirnberger's <span class="tei tei-q">“Kunst des reinen Satzes,”</span> p. 157. [The work 
+was published in two volumes at Berlin in 1771, 1776.]
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_144" name="note_144" href="#noteref_144">144.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+<span lang="la" class="tei tei-foreign" xml:lang="la">Transitus regularis</span>=
+a passing note on the unaccented portions of 
+the bar; <span lang="la" class="tei tei-foreign" xml:lang="la">transitut irregularis</span>=a
+passing note on the accented part of the bar.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_145" name="note_145" href="#noteref_145">145.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Spitta (iii. 315 ff. ) prints 
+a treatise by Bach, <span class="tei tei-title"><span style="font-style: italic">Rules and Instructions 
+for playing Thorough-bass or Accompaniment in Four Parts,</span></span> dated 1738. 
+Rule 3 of chap. vi. states: <span class="tei tei-q">“Two fifths or two octaves must not occur 
+next one another, for this is not only a fault, but it sounds wrong.  To 
+avoid this there is an old rule, that the hands must always go against 
+one another, so that when the left goes up the right must go down, 
+and when the right goes up the left must go down.”</span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_146" name="note_146" href="#noteref_146">146.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Actually the third beat of the fourth bar from the end. P. bk. 1 
+p. 37 Fugue no. 9.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_147" name="note_147" href="#noteref_147">147.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Forkel edited the <span class="tei tei-title"><span style="font-style: italic">Wohltemperirte Clavier</span></span> for Hoffmeister in 
+1801.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_148" name="note_148" href="#noteref_148">148.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The rule is not in the <span class="tei tei-title"><span style="font-style: italic">Rules and Instructions</span></span> already referred to.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_149" name="note_149" href="#noteref_149">149.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Suite No. 6, in D minor (P. bk. 204 p. 84).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_150" name="note_150" href="#noteref_150">150.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+* Many people hold the opinion that the best melody is one which 
+the largest number of persons can understand and sing.  But this 
+cannot be admitted, for if it were true, popular airs which are sung 
+up and down the country by all classes, even the lowest, must be 
+accounted the finest and best.  I should be inclined to state the proposition 
+conversely: a melody which attracts everybody is invariably 
+of the most ordinary kind.  In that form the statement might, perhaps, 
+pass as a principle. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_151" name="note_151" href="#noteref_151">151.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Forkel alludes to the <span class="tei tei-title"><span style="font-style: italic">Goldberg Variations</span></span> (P. bk. 209).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_152" name="note_152" href="#noteref_152">152.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+P. bks. 205, 206.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_153" name="note_153" href="#noteref_153">153.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+P. bks. 203, 204.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_154" name="note_154" href="#noteref_154">154.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+P. bk. 207.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_155" name="note_155" href="#noteref_155">155.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach wrote three Suites (Partita) and three Sonatas for Solo 
+Violin.  They date from about 1720 and are in the keys of G minor, 
+B minor, A minor, D minor, C major, and E major (P. bk. 228).  The 
+six Violoncello Suites date from the same period and are in G major, 
+D minor, C major, E flat major, C minor, and D major (P. bks. 238a, 
+238b).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_156" name="note_156" href="#noteref_156">156.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Reinhard Keiser, b. 1673, d. 1739; scholar of the Leipzig Thomas-schule; settled at Hamburg, 1694; composed a number of Operas, and for a time had a great vogue.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_157" name="note_157" href="#noteref_157">157.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It was precisely his agreeable operatic Arias that expressed 
+Handel's genius in the eyes of his generation.  With rare exceptions 
+that branch of his work is obsolete and his cult survives mainly in 
+the <span class="tei tei-title"><span style="font-style: italic">Messiah,</span></span> which supports his quite posthumous reputation as
+<span class="tei tei-q">“musician in ordinary to the Protestant religion.”</span> See Mr. R. A. 
+Streatfield's <span class="tei tei-title"><span style="font-style: italic">Handel,</span></span> Introduction.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_158" name="note_158" href="#noteref_158">158.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Schweitzer advances the opinion, which 
+may perhaps be challenged, 
+that inevitable and natural as Bach's melodies are, they do not give 
+the impression of <span class="tei tei-q">“effortless invention.”</span>  Bach, he holds, worked like 
+a mathematician, who sees the whole of a problem at once, and has 
+only to realise it in definite values.  Hence, he agrees with Spitta, 
+Bach's way of working was quite different from Beethoven's.  With 
+Beethoven the work developed by means of episodes that are independent 
+of the theme.  With Bach everything springs with mathematical 
+certainty from the theme itself. See Schweitzer (i. 211) on 
+Bach's methods of working. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_159" name="note_159" href="#noteref_159">159.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Johann Sebastian Bach's <span class="tei tei-title"><span style="font-style: italic">Vierstimmige Choralgesänge</span></span> 
+were published in 1765 and 1769.  C. P. E. Bach was concerned only with the 
+first volume.  Forkel perhaps refers to an edition of the <span class="tei tei-title"><span style="font-style: italic">Choralgesänge </span></span> 
+issued by Breitkopf in four parts at Leipzig in 1784, 1785, 
+1786, and 1787, and edited by C. P. E. Bach.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_160" name="note_160" href="#noteref_160">160.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Forkel indicates the period 1720-1750.  But in 1720 Bach had 
+already completed the <span class="tei tei-title"><span style="font-style: italic">Orgelbüchlein</span></span> and the greater part of his 
+Organ works.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_161" name="note_161" href="#noteref_161">161.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+* There are people who conclude that Bach merely perfected harmony.  
+But if we realise what harmony is, a means to extend and emphasise 
+musical expression, we cannot imagine it apart from melody.  And 
+when, as in Bach's case, harmony is actually an association of melodies, 
+such a view becomes the more ridiculous.  It might perhaps be reasonable 
+to say of a composer that his influence was restricted to the 
+sphere of melody, because we may get melody without harmony.  But 
+there cannot be real harmony without melody.  Hence the composer 
+who has perfected harmony has influenced the whole, whereas the 
+melodist has left his mark only on a fraction of his art. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_162" name="note_162" href="#noteref_162">162.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+As has been pointed out already
+(<span lang="la" class="tei tei-foreign" xml:lang="la">supra</span>, 
+p. 14) Bach's earliest 
+church Cantatas date from the Arnstadt period.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_163" name="note_163" href="#noteref_163">163.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The statement certainly needs 
+a caveat.  No composer of his 
+period studied his text more closely or reverently than Bach.  No 
+one, on the other hand, was more readily fired by a particular word 
+or image in his text to give it sometimes irrelevant expression.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_164" name="note_164" href="#noteref_164">164.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Of Bach's church Cantatas 206 have survived.  In only 22 of them 
+does Bach fail to introduce movements based upon the Lutheran 
+Chorals. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_165" name="note_165" href="#noteref_165">165.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+We must attribute to Forkel's general ignorance of Bach's concerted 
+church music his failure to comment upon a much more remarkable 
+feature of the recitatives, namely, their unique treatment of the 
+human voice as a declamatory medium, a development as remarkable 
+as Wagner's innovations in operatic form a century later.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_166" name="note_166" href="#noteref_166">166.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It was not the imperfections of the choir but the indifference of 
+Bach's successors at St. Thomas', Leipzig, that was chiefly responsible 
+for the neglect of his Cantatas in the latter half of the eighteenth 
+century.  Johann Friedrich Doles (1716-89) was the only Cantor who 
+realised the greatness of his predecessor's concerted church music. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_167" name="note_167" href="#noteref_167">167.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The <span class="tei tei-title"><span style="font-style: italic">Trauer-Ode</span></span>
+was performed on October 17, 1727.  Bach 
+finished the score two days before the performance!  A parallel case 
+is that of Mozart, who finished the overture of <span class="tei tei-title"><span style="font-style: italic">Don Giovanni</span></span> on the 
+morning of the first performance of the Opera, and actually played 
+it unrehearsed that evening. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_168" name="note_168" href="#noteref_168">168.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It has been pointed out already that Bach used the <span class="tei tei-title"><span style="font-style: italic">St. Matthew 
+Passion</span></span> music, set to other words, for the occasion. No. 26 (<span class="tei tei-q">“I would 
+beside my Lord be watching”</span>) was sung to the words <span class="tei tei-q">“Go, Leopold, 
+to thy rest”</span>! 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_169" name="note_169" href="#noteref_169">169.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Of the 206 surviving Cantatas, 172 were written for the Leipzig 
+choir.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_170" name="note_170" href="#noteref_170">170.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Forkel's knowledge is very incomplete. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_171" name="note_171" href="#noteref_171">171.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Elsewhere Forkel mentions only one of the secular Cantatas. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_172" name="note_172" href="#noteref_172">172.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+There is a tradition that Bach wrote a comic song, <span class="tei tei-title"><span style="font-style: italic">Ihr Schönen, 
+höret an,</span></span> which was widely current about the time of his death (Spitta, 
+iii. 181 n.). The Aria, <span class="tei tei-title"><span style="font-style: italic">So oft ich meine Tabakspfeife,</span></span> in A. M. 
+Bach's <span class="tei tei-title"><span style="font-style: italic">Notenbuch</span></span> of 1725, should be mentioned.  See B. G. xxxix. 
+sec. 4.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_173" name="note_173" href="#noteref_173">173.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach's method has come down to us in treatises by two of his 
+pupils, C. P. E. Bach's <span class="tei tei-title"><span style="font-style: italic">Essay</span></span> and Kirnberger's <span class="tei tei-title"><span style="font-style: italic">Die Kunst des 
+reinen Satzes in der Musik,</span></span> to which reference has been made already.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_174" name="note_174" href="#noteref_174">174.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+<span lang="la" class="tei tei-foreign" xml:lang="la">Supra</span>, p. 60.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_175" name="note_175" href="#noteref_175">175.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach wrote eighteen Preludes for Beginners.  They are all in P. bk. 200.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_176" name="note_176" href="#noteref_176">176.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Most of these movements, which Bach called indifferently <span class="tei tei-q">“Inventions”</span> (ideas) and <span class="tei tei-q">“Praeambula”</span> (Preludes), were written in 1723. 
+They are in P. bk. 201. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_177" name="note_177" href="#noteref_177">177.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Heinrich Nikolaus Gerber, who 
+was Bach's pupil from 1724 to 1727, 
+particularly emphasises this feature of Bach's teaching.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_178" name="note_178" href="#noteref_178">178.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+See on the whole matter Spitta, iii. 117 ff. Bach's method is 
+illustrated by his <span class="tei tei-title"><span style="font-style: italic">Rules and Instructions</span></span> (1738) printed by Spitta, 
+iii. 315 ff., and also by the <span class="tei tei-title"><span style="font-style: italic">Einige höchst nöthinge Regeln</span></span> at the 
+end of A. M. Bach's <span class="tei tei-title"><span style="font-style: italic">Notenbuch</span></span> (1725).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_179" name="note_179" href="#noteref_179">179.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Mozart wrote as follows to a correspondent who asked him what 
+his method of composition was: <span class="tei tei-q">“I can really say no more on this 
+subject than the following; for I myself know no more about it, and 
+cannot account for it. When I am, as it were, completely myself, 
+entirely alone, and of good cheer—say, travelling in a carriage, or 
+walking after a good meal, or during the night when I cannot sleep; 
+it is on such occasions that my ideas flow best and most abundantly. 
+<em class="tei tei-emph"><span style="font-style: italic">Whence</span></em> and <em class="tei tei-emph"><span style="font-style: italic">how</span></em> they come, I know not; nor can I force them. Those
+ideas that please me I retain in memory, and am accustomed, as I 
+have been told, to hum them to myself.  If I continue in this way, 
+it soon occurs to me how I may turn this or that morsel to account, 
+so as to make a good dish of it, that is to say, agreeably to the rules 
+of counterpoint, to the peculiarities of the various instruments, etc.  
+All this fires my soul, and, provided I am not disturbed, my subject 
+enlarges itself, becomes methodised and defined, and the whole, 
+though it be long, stands almost complete and finished in my mind, so 
+that I can survey it, like a fine picture or a beautiful statue, at a 
+glance.  Nor do I hear in my imagination the parts successively, but 
+I hear them, as it were, all together.  What a delight this is I cannot 
+tell!…When I proceed to write down my ideas, I take out of the 
+bag of my memory, if I may use that phrase, what has previously been 
+collected into it in the way I have mentioned.  For this reason the 
+committing to paper is done quickly enough, for everything is, as I 
+said before, already finished; and it rarely differs on paper from what 
+it was in my imagination”</span> (Life, ed. Dent, p. 255). 
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Wagner, writing in 1851 to Uhlig, who could not understand how 
+the libretto of <span class="tei tei-title"><span style="font-style: italic">Young Siegfried</span></span> could be set to music, expresses the 
+same idea as Mozart: <span class="tei tei-q">“What you cannot possibly imagine is a-making 
+of itself!  I tell you, the musical phrases build themselves on these 
+verses and periods without my having to trouble at all; everything 
+springs as if wild from the ground”</span> (Life, trans. Ellis, iii. p. 243).
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em"> 
+Schumann writes in 1839: <span class="tei tei-q">“I used to rack my brains for a long 
+time, but now I scarcely ever scratch out a note.  It all comes from 
+within, and I often feel as if I could go on playing without ever 
+coming to an end”</span> (Grove, vol. iv. p. 353). 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_180" name="note_180" href="#noteref_180">180.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Angela Berardi's <span class="tei tei-title"><span style="font-style: italic">Documenti armonici. Nelli quali 
+con varii discorsi, regole, ed essempii si dimonstrano gli studii arteficiosi della 
+musica</span></span> was published at Bologna in 1687.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_181" name="note_181" href="#noteref_181">181.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Giovanni Maria Buononcini, b. <span lang="la" class="tei tei-foreign" xml:lang="la">c.</span> 1640, d. 1678; Maestro di Capella at Modena; published his <span class="tei tei-title"><span style="font-style: italic">Musico prattico</span></span> at Bologna in 1673, 1688. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_182" name="note_182" href="#noteref_182">182.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Johann Joseph Fux, b. 1660, d. 1741; Kapellmeister at Vienna; 
+published his <span class="tei tei-title"><span style="font-style: italic">Gradus ad Parnassum</span></span> at Vienna in 1725.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_183" name="note_183" href="#noteref_183">183.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+See <span lang="la" class="tei tei-foreign" xml:lang="la">supra</span>, p. 74.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_184" name="note_184" href="#noteref_184">184.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+* I speak here only of those pupils who made music their profession.  
+But, besides these, Bach had a great many other pupils.  Every 
+dilettante in the neighbourhood desired to boast of the instruction of 
+so great and celebrated a man.  Many gave themselves out to have 
+been his pupils who had never been taught by him.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_185" name="note_185" href="#noteref_185">185.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+See Spitta, i. 522; Schweitzer, i. 214 for farther details regarding 
+Vogler, who died 
+<span lang="la" class="tei tei-foreign" xml:lang="la">circ.</span> 1765.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_186" name="note_186" href="#noteref_186">186.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Gottfried August Homilius, b. 1714, d. 1785; pupil of Bach, <span lang="la" class="tei tei-foreign" xml:lang="la">circ. </span>
+1735.  Cantor of the Kreuzschule, Dresden. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_187" name="note_187" href="#noteref_187">187.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Christoph Transchel (1721-1800) taught music at Leipzig and 
+Dresden; Bach's pupil and friend, <span lang="la" class="tei tei-foreign" xml:lang="la">circ.</span> 1742.  See Spitta, iii. 245.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_188" name="note_188" href="#noteref_188">188.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Johann Gottlieb (or Theophilus) Goldberg, clavicenist to Count 
+Kaiserling (<span lang="la" class="tei tei-foreign" xml:lang="la">infra</span>, p. 119) for whom Bach wrote the so-called <span class="tei tei-title"><span style="font-style: italic">Goldberg 
+Variations.</span></span> He was born <span lang="la" class="tei tei-foreign" xml:lang="la">circ.</span> 1720 and was a pupil of Bach from 1733-46.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_189" name="note_189" href="#noteref_189">189.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Johann Ludwig Krebs, b. 1713, d. 1780; Bach's pupil, 1726-35. 
+Bach said of him that he was <span class="tei tei-q">“the best crab (Krebs) in the brook (Bach).”</span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_190" name="note_190" href="#noteref_190">190.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Johann Christoph Altnikol, d. 1759. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_191" name="note_191" href="#noteref_191">191.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Johann Friedrich Agricola, b. 1720, d. 1774; pupil of Bach <span lang="la" class="tei tei-foreign" xml:lang="la">circ.</span>
+1738-41; Director of the Royal Chapel, Berlin. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_192" name="note_192" href="#noteref_192">192.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Pier Francesco Tosi, b. <span lang="la" class="tei tei-foreign" xml:lang="la">circ.</span> 1650; singing master in London. 
+His <span class="tei tei-title"><span style="font-style: italic">Opinioni de' canton antichi e moderni, o sieno osservazioni sopra 
+il canto figurato</span></span> was published at Bologna in 1723.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_193" name="note_193" href="#noteref_193">193.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Johann Gottfried Müthel, b. 
+<span lang="la" class="tei tei-foreign" xml:lang="la">circ.</span> 1720, d. <span lang="la" class="tei tei-foreign" xml:lang="la">circ.</span> 1790; pupil of Bach in 1750 and resident in his house at the time of his death; 
+organist of the Lutheran Church, Riga. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_194" name="note_194" href="#noteref_194">194.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Johann Philipp Kirnberger, b. 1721, d. 1783; Bach's pupil, 1739-41. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_195" name="note_195" href="#noteref_195">195.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Louisa Amalia, of Brunswick-Wolfenbüttel, wife of Frederick the 
+Great's brother, and mother of his successor, Frederick William II. (1786-97).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_196" name="note_196" href="#noteref_196">196.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The second work 
+was published in 1773 at Berlin. For the first, 
+see <span lang="la" class="tei tei-foreign" xml:lang="la">supra</span>, p. 74. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_197" name="note_197" href="#noteref_197">197.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Johann Christian Kittel, b. 1732, d. 1809; 
+one of Bach's latest pupils; Organist of the Predigerkirche, Erfurt.  He is said to have 
+possessed a portrait of his master and to have rewarded his pupils for 
+good playing by drawing the curtain which usually covered the picture 
+and permitting them to look upon it.  It is, perhaps, the portrait, 
+recently discovered by Dr. Fritz Volbach, which is reproduced at p. 92 
+of this volume. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_198" name="note_198" href="#noteref_198">198.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Nothing seems to be known of him.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_199" name="note_199" href="#noteref_199">199.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Johann Martin Schubart succeeded Bach at Weimar in 1717.  He 
+was born in 1690 and died in 1721. See Spitta, i. 343. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_200" name="note_200" href="#noteref_200">200.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In addition to those mentioned by Forkel, the following pupils of 
+Bach are known: Johann Gotthilf Ziegler, of St. Ulrich's Church, 
+Halle; J. Bernhard Bach, of Ohrdruf; Heinrich Nikolaus Gerber, 
+Organist at Sondershausen; Samuel Anton Bach, of Meiningen; 
+Johann Ernst Bach, of Saxe-Weimar; Johann Elias Bach, Cantor at 
+Schweinfurt; Johann Tobias Krebs, organist at Buttelstädt, and his 
+sons, Johann Ludwig, Johann Tobias, and Johann Carl; Johann
+Schneider, organist of St. Nicolas', Leipzig; Georg Friedrich Einicke, 
+Cantor at Frankenhausen; Johann Friedrich Doles, Bach's second 
+successor in the Cantorate of St. Thomas'; Rudolph Straube, who 
+afterwards settled in England; Christoph Nichelmann, cembalist to 
+Frederick the Great; Christian Gräbner, and Carl Hartwig. 
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+For full information upon Bach's pupils see Spitta, i. 522 ff., ii. 47 ff., 
+iii. 116 ff., 239 ff., and the relative articles in Grove's <span class="tei tei-title"><span style="font-style: italic">Dictionary.</span></span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_201" name="note_201" href="#noteref_201">201.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Forkel does not do justice to his friend.  C. P. E. Bach is 
+recognised 
+as the immediate precursor of Haydn and as the link between 
+the latter and J. S. Bach.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_202" name="note_202" href="#noteref_202">202.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Mozart had 
+a very particular regard for him.  See Schweitzer 
+i. 220 on his brothers' abilities as composers.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_203" name="note_203" href="#noteref_203">203.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Spitta (iii. 262) quotes 
+a characteristic anecdote.  To some one 
+who praised his skill on the Organ Bach replied: <span class="tei tei-q">“There is nothing 
+wonderful about it.  You merely strike the right note at the right
+moment and the Organ does the rest.”</span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_204" name="note_204" href="#noteref_204">204.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+See <span lang="la" class="tei tei-foreign" xml:lang="la">supra</span>, p. 19.  Bach himself certainly was the challenger. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_205" name="note_205" href="#noteref_205">205.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+When Handel 
+was at Venice in 1708, Domenico Scarlatti, hearing 
+a stranger touching the Harpsichord at a masquerade, exclaimed, 
+<span class="tei tei-q">“That must either be the famous Saxon or the Devil”</span> (Rockstro's
+<span class="tei tei-title"><span style="font-style: italic">George Frederick Handel,</span></span> p. 48).  Streatfield (p. 145) mentions a 
+similar event which took place in 1737.  Hearing a stranger playing 
+a Fugue in one of the Flemish churches, the organist embraced him, 
+saying, <span class="tei tei-q">“You can be no other but the great Handel.”</span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_206" name="note_206" href="#noteref_206">206.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Heinrich Lorenz Hurlebusch 
+was organist of three churches in 
+Brunswick.  His visit to Bach took place in 1730, seemingly.  See 
+Schweitzer, i. 154. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_207" name="note_207" href="#noteref_207">207.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Schweitzer prints 
+an appreciation of Hurlebusch which suggests 
+that he was a man of distinct ability and <span class="tei tei-q">“a paragon of politeness.”</span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_208" name="note_208" href="#noteref_208">208.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Antonio Caldara, b. 
+<span lang="la" class="tei tei-foreign" xml:lang="la">circ.</span> 1670; vice-Kapellmeister at Vienna, 
+1716-36; d. 1736. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_209" name="note_209" href="#noteref_209">209.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Johann Adolph Hasse, b. 1699, d. 1783; Kapellmeister and 
+Director of the Opera, Dresden. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_210" name="note_210" href="#noteref_210">210.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Johann Gottlieb Graun, b. <span lang="la" class="tei tei-foreign" xml:lang="la">circ.</span> 1698, d. 1771; conductor of the 
+royal Kapelle, Berlin.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Carl Heinrich Graun, b. 1701, d. 1759; like his brother, in Frederick 
+the Great's service. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_211" name="note_211" href="#noteref_211">211.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Georg Philipp Telemann, b. 1681, d. 1767; Cantor and Musik-direktor in Hamburg. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_212" name="note_212" href="#noteref_212">212.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Johann Dismas Zelenka, b. 1679 
+or 1681, d. 1745; Court Composer 
+at Dresden.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_213" name="note_213" href="#noteref_213">213.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Franz Benda, b. 1709, d. 1786; Concertmeister to Frederick the 
+Great upon the death of J. G. Graun.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_214" name="note_214" href="#noteref_214">214.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+On Telemann's influence on Bach see Spitta, ii. 437.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_215" name="note_215" href="#noteref_215">215.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Handel's second visit to Halle took place in June 1729.  His 
+mother's illness detained him.  See Streatfield, p. 110. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_216" name="note_216" href="#noteref_216">216.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Handel's third visit took place in July-August 1760.  He was 
+laid up by a severe accident in the course of it, and appears to have 
+not recovered from it at the time of Bach's death.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_217" name="note_217" href="#noteref_217">217.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Faustina Bordoni, b. 1693, d. 1783; 
+m. Hasse in 1730.  She was 
+one of the most famous singers of the day.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_218" name="note_218" href="#noteref_218">218.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The original has <span class="tei tei-q">“Liederchen.”</span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_219" name="note_219" href="#noteref_219">219.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+See 
+<span lang="la" class="tei tei-foreign" xml:lang="la">supra</span>, p. 37.  Compare Handel's case.  He received a royal 
+pension of £600 per annum, and though he was twice a bankrupt, left
+£20,000.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_220" name="note_220" href="#noteref_220">220.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Duke was the nephew of, and succeeded, Duke Wilhelm Ernst 
+in 1728. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_221" name="note_221" href="#noteref_221">221.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Canonic Variations 
+on the melody are published by Novello 
+bk. 19, p. 73. For the Mizler Society, see <span lang="la" class="tei tei-foreign" xml:lang="la">supra</span>, p. xxiv. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_222" name="note_222" href="#noteref_222">222.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Spitta (iii. 294) regards the statement as incorrect and holds that 
+the work was engraved before Bach joined Mizler's Society in June 
+1747.  Pirro (p. 215) supports Spitta and regards the Variations as 
+having been engraved at Nürnberg <span class="tei tei-q">“vers 1746.”</span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_223" name="note_223" href="#noteref_223">223.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The first of Bach's works to be engraved was the Mühlhausen Cantata, <span class="tei tei-title"><span style="font-style: italic">Gott ist mein König,</span></span> (parts only).  It was published in 1708, when Bach was twenty-three years old.  Forkel refers to Partita I. in the first Part of the <span class="tei tei-title"><span style="font-style: italic">Clavierübung</span></span> (P. bk. 205 p. 4).  It was engraved in 1726, when Bach was forty-one years old.  In 1731 he republished it, with five others that had appeared in the interval, in the first Part of the <span class="tei tei-title"><span style="font-style: italic">Clavierübung</span></span> (P. bks. 205, 206).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_224" name="note_224" href="#noteref_224">224.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Forkel's rather casual critical axioms seem to be as follows: <span class="tei tei-q">“Publication postulates excellence”</span>; <span class="tei tei-q">“An amended MS. implies that the original text was not a finished work of art.”</span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_225" name="note_225" href="#noteref_225">225.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It was the first work engraved by Bach himself, though the parts of the Cantata  <span class="tei tei-title"><span style="font-style: italic">Gott ist mein König</span></span> had been published by the Town Council at Mühlhausen in 1708.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_226" name="note_226" href="#noteref_226">226.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The work was published at Leipzig <span class="tei tei-q">“in Commission bey Boetii Seel, hinderlassenen Tochter, unter den Rath-hause.”</span>  The Suites, or Partitas (P. bks. 205, 206), are in B flat major, C minor, A minor, D major, G major, E minor.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_227" name="note_227" href="#noteref_227">227.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In 1801 Hoffmeister and Kühnel unsuccessfully attempted to publish Bach's works by subscription.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_228" name="note_228" href="#noteref_228">228.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Partita in B minor (P. bk. 208 p. 20).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_229" name="note_229" href="#noteref_229">229.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The work was published in 1735.  The Italian Concerto in F major is published by Novello and P. bk. 207.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_230" name="note_230" href="#noteref_230">230.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The work appeared in 1739.  It was intended to contain works for the Organ only; the four Duetti are incongruous and seem to have crept in by mistake.  See the scheme of the work discussed in Terry, <span class="tei tei-title"><span style="font-style: italic">Bach's Chorals,</span></span> Part III.  The Choral Preludes are in Novello's ed., bk. xvi.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_231" name="note_231" href="#noteref_231">231.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The work was published <span lang="la" class="tei tei-foreign" xml:lang="la">circ.</span> 1747-50.  Five of the six movements certainly, and the sixth with practical certainty, are adaptations to the Organ of movements out of Bach's Church Cantatas.  See Parry, <span class="tei tei-title"><span style="font-style: italic">Bach,</span></span> p. 535.  The Chorals are in Novello's ed., bk. xvi.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_232" name="note_232" href="#noteref_232">232.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+See <span lang="la" class="tei tei-foreign" xml:lang="la">supra</span>, p. 65.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_233" name="note_233" href="#noteref_233">233.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Thus the pedal sounds above the part given to the second manual and is often the topmost part.  See Novello's ed., bk. xvi. 4.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_234" name="note_234" href="#noteref_234">234.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Published <span lang="la" class="tei tei-foreign" xml:lang="la">circ.</span> 1742; the so-called <span class="tei tei-q">“Goldberg Variations.”</span> They are in P. bk. 209.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_235" name="note_235" href="#noteref_235">235.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Variation No. 10 is a Fughetta in four parts.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_236" name="note_236" href="#noteref_236">236.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Ten of the Variations are marked <span class="tei tei-q">“a 2 Clav.,”</span> that is, for two keyboards or manuals: Nos. 8, 11, 13, 14, 17, 20, 23, 25, 26, 28. Nos. 5, 7, 29 are marked <span class="tei tei-q">“a 1 ovvero 2 Clav.”</span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_237" name="note_237" href="#noteref_237">237.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The movement is constructed upon two merry folk-songs, <span class="tei tei-title"><span style="font-style: italic">Kraut and Rüben haben mich vertrieben,</span></span> and <span class="tei tei-title"><span style="font-style: italic">Ich bin so lang nicht bei dir gewirt</span></span>.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_238" name="note_238" href="#noteref_238">238.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+See supra, p. 101.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_239" name="note_239" href="#noteref_239">239.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In fact Bach wrote the early <span class="tei tei-title"><span style="font-style: italic">Aria variata alla maniera Italiana</span></span> (Peters bk. 215, p. 12) for the Clavier.  For the Organ he wrote four sets of Variations upon as many Choral melodies (Novello bk. xix.).  But all except the Goldberg Variations are youthful works, and in his maturity Bach clearly had no liking for the form.  The theme of the Goldberg Variations, moreover, is itself a youthful idea; at least it dates back to as early as 1725, and is found in A. M. Bach's <span class="tei tei-title"><span style="font-style: italic">Notenbuch</span></span> (No. 26, Aria in G major).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_240" name="note_240" href="#noteref_240">240.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+There is no reference to these corrigenda in the B. G. edition.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_241" name="note_241" href="#noteref_241">241.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The work has been referred to already in connection with Bach's membership of Mizler's Society (supra, p. 112).  It was composed presumably <span lang="la" class="tei tei-foreign" xml:lang="la">circ.</span> 1746 and in point of technical skill is the most brilliant of Bach's instrumental works.  Forkel states that it was engraved after June 1747, when Bach joined Mizler's Society.  Spitta (iii. 295) is of opinion that it was already engraved by then.  It is in bk. xix. of Novello's edition.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_242" name="note_242" href="#noteref_242">242.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+<span lang="la" class="tei tei-foreign" xml:lang="la">Supra</span>, p. 25.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_243" name="note_243" href="#noteref_243">243.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The presentation copy of the work, which Bach sent to Frederick along with a dedicatory letter (July 7, 1747), is in the Berlin Amalienbibliothek and proves that only the first third of the work, as far as the <span class="tei tei-q">“Ricercare a sei voci”</span> (see B.G. XXXI. (2)) was sent then.  The latter and the remaining canons were dispatched subsequently probably by the hand of C. P. E. Bach.  The six-part Ricercare was a particular compliment to the King.  Frederick had desired Bach on his visit to play a Fugue in six parts but left it to the player to select his theme.  Bach now employed the 
+<span lang="la" class="tei tei-foreign" xml:lang="la">thema regium</span> for the purpose.  The first reissue of the work was by Breitkopf and Haertel in 1832. Peters (bk. 219) brought it out in 1866. See Schweitzer, i. 417 IV. and Spitta, iii. 191 ff. and 292.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_244" name="note_244" href="#noteref_244">244.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In C minor (P. bk. 237 p. 3).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_245" name="note_245" href="#noteref_245">245.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The statement is inaccurate.  The work was written for the most part in 1749 and the greater part of it was prepared for engraving by Bach himself during his last illness.  None of his elder sons was with him at his death, and the blunders that disfigure the engraved copy show that they clumsily finished their father's work.  It is in P. bk. 218.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_246" name="note_246" href="#noteref_246">246.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Friedrich Wilhelm Marpurg, b. 1718, d. 1795.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_247" name="note_247" href="#noteref_247">247.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The work was published shortly after Bach's death, but had no sale.  C. P. E. Bach then commissioned Marpurg to write a preface, and the new edition was published at the Leipzig Fair, Easter, 1762.  In four years only about thirty copies were sold. See Spitta, iii. 197 ff. and Schweitzer, i. 423 ff.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_248" name="note_248" href="#noteref_248">248.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In 1756.  See C. P. E. Bach's advertisement in Felix Grenier, p. 232.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_249" name="note_249" href="#noteref_249">249.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The work contains six Fugues and four canons upon the same theme; an unfinished Fugue <span class="tei tei-q">“a tre soggetti,”</span> the first four notes of the third of which spell B A C H; and the Choral Prelude <span class="tei tei-q">“Wenn wir in höchsten Nöthen sein.”</span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_250" name="note_250" href="#noteref_250">250.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Schweitzer explains: <span class="tei tei-q">“His purpose in this work being a purely theoretical one, Bach writes the Fugues out in score, and calls them <span class="tei tei-q">‘counterpoints’</span> ”</span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_251" name="note_251" href="#noteref_251">251.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+</p><div class="tei tei-figure" style="text-align: center"><img src="images/B_A_C_H.jpg" alt="B A C H in German musical notation" /></div>
+</dd><dt class="tei tei-notelabel"><a id="note_252" name="note_252" href="#noteref_252">252.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+<span lang="la" class="tei tei-foreign" xml:lang="la">Supra</span>, p. 27.  The movement is in N. bk. 17 p. 85.  It is not certain that Bach intended the Prelude or the unfinished Fugue to be included.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_253" name="note_253" href="#noteref_253">253.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+C. P. E. Bach was only concerned with the first volume.  Erk, in his edition of the <span class="tei tei-title"><span style="font-style: italic">Choralgesänge,</span></span> conjectures that Kirnberger was responsible for the second.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_254" name="note_254" href="#noteref_254">254.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The four volumes were published at Leipzig between 1784-87.  Spitta states that C. P. E. Bach was the editor.  Erk joins Kirnberger with him in that position.  As C. P. E. Bach died in 1788 Kirnberger's association with the work is probable, especially if he had already been responsible for the 1769 volume.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_255" name="note_255" href="#noteref_255">255.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach's Clavier school consisted of eighteen Preludes for beginners (all in B.G. XXXVI.); the two-part and three-part Inventions; and the <span class="tei tei-title"><span style="font-style: italic">Well-tempered Clavier.</span></span>  The six Preludes mentioned by Forkel, and which alone he knew, were published by him for the first time.  Seven more are found in Wilhelm Friedemann's <span class="tei tei-title"><span style="font-style: italic">Clavierbüchlein</span></span> (B.G. XLV. (1)), and the remaining five have survived in texts handed down by others of Bach's pupils.  The eighteen are in P. bk. 200.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_256" name="note_256" href="#noteref_256">256.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Autograph was written at Cöthen and is dated 1723.  It also contains the fifteen Symphonies, or three-part Inventions mentioned in paragraph 3.  Both Inventions and Symphonies are in F. bk. 201.  According to Spitta (ii. 57 n.) the Inventions were published at Leipzig in 1763.  See also Schweitzer, i. 328 ff.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_257" name="note_257" href="#noteref_257">257.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+See the previous note.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_258" name="note_258" href="#noteref_258">258.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The second Part was compiled in 1744 and Bach's Autograph of it, though not the earliest Autograph, is in the British Museum.  See Schweitzer, i. 331 ff. and Spitta, ii. 161 ff.  The whole work is in P. bks. 1, 2; or 1a, 1b; or 2790a, 2790b.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_259" name="note_259" href="#noteref_259">259.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+No. 20. Spitta (ii. 164) attributes it to the years 1707 or 1708.  Schweitzer (i. 332) also regards it as a youthful piece written, moreover, for the pedal Clavicembalo.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_260" name="note_260" href="#noteref_260">260.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Nos. 15 and 16.  Spitta, admitting that the two do not rank with the most interesting in the collection, finds no indication of their being of different date from the best movements.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_261" name="note_261" href="#noteref_261">261.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+No. 1. Here Spitta (ii. 165 n.) challenges Forkel.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_262" name="note_262" href="#noteref_262">262.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Nos. 11 and 12.  In regard to No. 12 (F minor) Spitta holds Forkel to be in error.  As to No. 11, he expresses the same opinion as in note 3, 
+<span lang="la" class="tei tei-foreign" xml:lang="la">supra</span>.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_263" name="note_263" href="#noteref_263">263.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The date 1744 places the second Part among Bach's latest compositions.  On the other hand, like the first Part, it contained work of earlier date.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_264" name="note_264" href="#noteref_264">264.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Chromatic Fantasia and Fugue in D minor (P. bk. 207 p. 4).  It probably dates from <span lang="la" class="tei tei-foreign" xml:lang="la">circ.</span> 1720-23.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_265" name="note_265" href="#noteref_265">265.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The MS. was discovered in 1876 and is now at Dresden. It was written circ. 1738 and disproves Forkel's conjecture that the fugue did not belong to the Fantasia and is only partially by Bach.  The Fugue contains forty-seven bars.  As the Autograph is a fair copy the Fugue cannot be called unfinished.  See Spitta, iii. 182.  The Fantasia is in P. bk. 207 p. 50; the Fugue in P. bk. 212 p. 88. See B.C. xxxvi., xxxviii., and xlii. for other Clavier Fantasias.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_266" name="note_266" href="#noteref_266">266.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The true explanation seems to be that the Prelude of the first Suite (A major) is based upon a Gigue by Charles Dieupart (d. <span lang="la" class="tei tei-foreign" xml:lang="la">circ.</span> 1740), a popular teacher and composer in England.  The words <span lang="fr" class="tei tei-foreign" xml:lang="fr">fait pour les Anglois</span>, which head the A major Suite in an early MS., have been wrongly interpreted as applying to the whole set of six.  They merely indicate Dieupart's borrowed Gigue. See Grove, vol. i. 701, and Parry, <span class="tei tei-title"><span style="font-style: italic">J. S. Bach,</span></span> p. 463.  A copy of the work exists, of date 1724-27, made by one of Bach's pupils.  But the composition of the Suites may certainly be assigned to the Cöthen period.  They are published in P. bks. 203, 204.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_267" name="note_267" href="#noteref_267">267.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The French Suites undoubtedly date back to the Cöthen period, since they figure, though incomplete, in the <span class="tei tei-title"><span style="font-style: italic">Notenbuch</span></span> of A. M. Bach (1722). They are published in P. bk. 202.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_268" name="note_268" href="#noteref_268">268.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Forkel's incomplete catalogue may be compared with the Bachgesellschaft volumes III., XIV., XXV. (1), XXXI. (2), XXXVI., XLIL, XLIII. (1 and 2), XLV. (1).  See generally Schweitzer, ch. 15, and Pirro, pp. 218 ff.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_269" name="note_269" href="#noteref_269">269.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+P. bks. 205, 206, 208, 212 (fragment in F minor), 214, 215, 1959.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_270" name="note_270" href="#noteref_270">270.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+P. bks. 200, 210, 211, 212, 214, 215, 1959.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_271" name="note_271" href="#noteref_271">271.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+For the most part these youthful works will be found in B.G. XXXVI.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_272" name="note_272" href="#noteref_272">272.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+P. bk. 207 p. 16.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_273" name="note_273" href="#noteref_273">273.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In C minor (P. bk. 200 p. 10).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_274" name="note_274" href="#noteref_274">274.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In P. bks. 232, 233.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_275" name="note_275" href="#noteref_275">275.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Suite in A major (P. bk. 236), Sonata in E minor (P. bk. 236), Fugue in G minor (P. bk. 236), four Inventions (P. bk. 2957), Sonata in G minor (BG. ix. 274; not in P.), Sonata in C major for 2 Violins and Clavier (P. bk. 237).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_276" name="note_276" href="#noteref_276">276.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+There are six Sonatas for Flute and Clavier, in B minor, E flat major, A minor, C major, E minor, E major (P. bks. 234, 235).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_277" name="note_277" href="#noteref_277">277.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+There are three Sonatas for Clavier and Gamba, in G major, D major, G minor (P. bk. 239).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_278" name="note_278" href="#noteref_278">278.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Forkel omits two Sonatas for Violin, Flute, and Clavier, in G major and C minor (both in P. bk. 237).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_279" name="note_279" href="#noteref_279">279.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+As Forkol mentions in secs. 4, 5, 6 the Concertos for two, three, and four Claviers, perhaps he had in mind here seven Concertos for Clavier and Orchestra (P. bks. 248-254).  A Concerto for Clavier, Violin, Flute, and Orchestra (P. bk. 255 p. 4) in A minor also should be mentioned.  Also an Overture, in G minor, for Clavier and Strings (B.G. XLV. (1) p. 190; not in P.)
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_280" name="note_280" href="#noteref_280">280.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+P. bk. 257 p. 4.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_281" name="note_281" href="#noteref_281">281.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+P. bk. 256 p. 4.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_282" name="note_282" href="#noteref_282">282.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+There are, in fact, three Concertos for two Claviers and Orchestra: two in C minor and one in C major.  Forkel refers to only one of the former and regards it as antiquated by comparison with the one in C major.  Spitta (iii. 144) attributes the C major to 1730.  Forkel's C minor in its original form was a Concerto for two Violins, now lost.  The other C minor Concerto is identical with the Concerto in D minor for two Violins and is in P. 257b. Spitta (iii. 138) dates it 1736. See Schweitzer, i. 413.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_283" name="note_283" href="#noteref_283">283.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In D minor and C major (P. bks. 258, 259).  The tradition is that Bach wrote these two Concertos in order to play them with his elder sons.  Spitta (iii. 144) finds the tradition trustworthy.  Hence the two works must have been written by c. 1733 at latest, before the sons left home.  See also Schweitzer, i. 414.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_284" name="note_284" href="#noteref_284">284.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In A minor (P. bk. 260).  This is not an original composition, but is an arrangement by Bach of a Vivaldi Concerto for four Violins.  Spitta (iii. 149) assigns it to the same period as the Concertos for three Claviers, c. 1733.  See B.G. XLIII. (1) <span lang="la" class="tei tei-foreign" xml:lang="la">infra.</span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_285" name="note_285" href="#noteref_285">285.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The pedal on the small German Organ had only the compass of an octave.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_286" name="note_286" href="#noteref_286">286.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Great Preludes and Fugues are, with one exception, in B.G. XV.  The Prelude and Fugue in E flat was published by Bach in the third Part of the <span class="tei tei-title"><span style="font-style: italic">Clavierübung.</span></span>  Its Fugue is known as the <span class="tei tei-q">“St. Anne's.”</span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_287" name="note_287" href="#noteref_287">287.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+From the figures printed by Forkel the twelve can be identified as follows (the references in parentheses are to the Novello edition of Bach's Organ works):
+</p>
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude and Fugue in C minor, the <span class="tei tei-q">“Great”</span> (bk. vii. 64).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude and Fugue in A minor, (bk. vii. 42).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude and Fugue in G major, (bk. viii. 112).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude and Fugue in E minor, (bk. viii. 98).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude and Fugue in B minor, (vii. 52).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude and Fugue in C major, (bk. ix. 156).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude and Fugue in D minor, (bk. ix. 150).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude and Fugue in C major (bk iii. 70).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Tocatta and Fugue in D minor (bk. x. 196).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Tocatta and Fugue in F major (bk. ix. 176).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude and Fugue in G minor (bk. viii. 120).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Prelude and Fugue in E minor (bk. ii. 44).</td></tr></tbody></table>
+
+</dd><dt class="tei tei-notelabel"><a id="note_288" name="note_288" href="#noteref_288">288.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Passacaglia in C minor (Novello bk. 10 p. 214) was written originally for the Clavicembalo and pedal.  It belongs to the later Weimar period, 
+<span lang="la" class="tei tei-foreign" xml:lang="la">i.e. circ.</span> 1715.  See Spitta, i. 588 and Schweitzer, i. 280.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_289" name="note_289" href="#noteref_289">289.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+They are all printed in Novello bk. 19, and are three in number, on the melodies <span class="tei tei-q">“Christ, der du bist der helle Tag”</span>, <span class="tei tei-q">“O Gott, du frommer Gott,”</span> and <span class="tei tei-q">“Sei gegrüsset, Jesu gütig.”</span>  The pedal is only required in one movement of the first, in none of the second, and considerably in the third.  Without question all three date from Bach's earliest period, but whether they were written at Arnstadt or Lüneburg cannot be stated.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_290" name="note_290" href="#noteref_290">290.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The fullest collection of these miscellaneous Organ Choral Preludes is in B.G. XL. Not counting variant readings they number fifty-two, besides two fragments and thirteen of doubtful authenticity, of which two are sets of Variations.  The Novello edition contains fifty-two in bks. 18 and 19.  To these must be added the <span class="tei tei-q">“Eighteen”</span> Preludes on Choral Melodies, which Forkel nowhere mentions, as well as the third Part of the <span class="tei tei-title"><span style="font-style: italic">Clavierübung,</span></span> the <span class="tei tei-title"><span style="font-style: italic">Schübler Chorals,</span></span> and the Variations on <span class="tei tei-title"><span style="font-style: italic">Vom Himmel hoch,</span></span> to which he has already made reference in the first section of this chapter.  As he does not mention it specifically, it is to be inferred that Forkel was ignorant of the existence of the <span class="tei tei-title"><span style="font-style: italic">Orgelbüchlein</span></span>; otherwise he could hardly have failed to introduce it in this section.  All Bach's Choral Preludes, miscellaneous and in collections made by himself, are in Novello's edition, bks. 15-19.  A useful key to their melodies is provided by bk. 20.  For more detailed information see Terry, <span class="tei tei-title"><span style="font-style: italic">Bach's Chorals,</span></span> Part III.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_291" name="note_291" href="#noteref_291">291.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The large number of MSS. of many of the miscellaneous Preludes is made evident in the introduction to B.G. XL.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_292" name="note_292" href="#noteref_292">292.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Sonatas in E flat major, C minor, and D minor are in N. bk. 4; E minor, C major, G major in N. bk. 5.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_293" name="note_293" href="#noteref_293">293.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The so-called <span class="tei tei-q">“Sonatas”</span> were actually written for a Clavicembalo with two manuals and a pedal.  Bach's Autograph of them belonged to his second son and an earlier copy of them to Wilhelm Friedemann.  Both are now in the Berlin Royal Library.  Friedemann went to Dresden as Organist in 1733 and Spitta is of opinion that the whole of the six Sonatas were in existence by or soon after 1727.  If so, they must be regarded as the outcome of Bach's early years at Leipzig.  See Spitta, iii. 212 ff. and Schweitzer, i. 278.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_294" name="note_294" href="#noteref_294">294.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+None are extant.  Spitta, iii. 213 n., conjectures that Forkel refers to the Trios in D minor and C minor (N. bks. 2 p. 54, 12 p. 108) and the Pastorale in F major (N. bk. 12 p. 102.) His incomplete knowledge of the Organ works is revealed by Appendix V. <span lang="la" class="tei tei-foreign" xml:lang="la">infra.</span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_295" name="note_295" href="#noteref_295">295.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+This is a pure conjecture and Schweitzer scouts it (i. 416 n.).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_296" name="note_296" href="#noteref_296">296.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The oldest copy of them dates from circ. 1720; they belong therefore to the late Cöthen period.  The 1720 MS. is in A. M. Bach's handwriting and was discovered in 1814 at Petrograd among old papers about to be sent away to a butter dealer.  The Sonatas are in P. bk. 228.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_297" name="note_297" href="#noteref_297">297.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+They also date from the Cöthen period and are in P. bk. 238a, 238b.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_298" name="note_298" href="#noteref_298">298.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Forkel omits to mention the Brandenburg Concertos (P. bks. 261-266); the Overtures in C major (P. bk. 267), B minor (P. bk. 268), D major (P. bk. 269), D major (P. bk. 2068); and the Violin Concertos in A minor (P. bk. 229), E major (P. bk. 230), and (for two Violins) in D minor (P. bk. 231). In B.G. XXI. (1) is a Symphonic movement, in D major, for Violin and orchestra.  A Sinfonia in F major (B.G. XXXI. 96) is another version of the first Brandenburg Concerto.  The Clavier Concertos have been mentioned <span lang="la" class="tei tei-foreign" xml:lang="la">supra.</span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_299" name="note_299" href="#noteref_299">299.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">The set of five is complete only for Christmas Day, Feast of the Circumcision, Whitsunday (one of the five is of doubtful authenticity), Purification of the B.V.M., and Feast of St. Michael the Archangel.  See Terry, <span class="tei tei-title"><span style="font-style: italic">Bach's Chorals,</span></span> Part II. 2 ff.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_300" name="note_300" href="#noteref_300">300.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In giving the number of <span class="tei tei-title"><span style="font-style: italic">Passions</span></span> as five, Forkel repeats the statement of the <span class="tei tei-title"><span style="font-style: italic">Nekrolog.</span></span>  The number corresponds with the five sets of Church Cantatas which Bach is known to have written.  It is, however, exceedingly doubtful whether Bach wrote more than four <span class="tei tei-title"><span style="font-style: italic">Passions.</span></span>  Only those according to St. Matthew and St. John have come down to us from C. P. E. Bach, who was left the Autographs of both by his father.  The <span class="tei tei-title"><span style="font-style: italic">St. John Passion</span></span> was first performed in 1724 and the <span class="tei tei-title"><span style="font-style: italic">St. Matthew Passion</span></span> in 1729. Picander, Bach's librettist, certainly wrote two other Passion texts, one of which was written for Good Friday 1725, and the second, based on St. Mark's Gospel, was actually performed at St. Thomas', Leipzig, on Good Friday 1731.  Spitta (ii. 505) gives good reason to hold that Bach's music for this Passion was adapted from the <span class="tei tei-title"><span style="font-style: italic">Trauer-Ode,</span></span> which he had written in 1727 in memory of Queen Christiane Eberhardine.  But of the 1725 <span class="tei tei-title"><span style="font-style: italic">Passion</span></span> there is no trace.  If it ever existed, its loss probably may be assigned to Wilhelm Friedemann's carelessness, to whom presumably it was assigned in the division of Bach's property after his death.  But even so, we have no more than four <span class="tei tei-title"><span style="font-style: italic">Passions.</span></span> There exists, however, a fifth <span class="tei tei-title"><span style="font-style: italic">Passion according to St. Luke,</span></span> which is undoubtedly in Bach's Autograph, and which Spitta is inclined to attribute to Bach himself.  It is published by Breitkopf and Haertel, but is generally regarded as being by another composer than Bach, who probably copied it for use at Leipzig.  On the whole matter see Spitta, ii. 504 ff., Schweitzer, chap. xxvi., and the Bach-Jahrbuch for 1911 (Publications of the New Bachgesellschaft XII. (2)).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_301" name="note_301" href="#noteref_301">301.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Other than the <span class="tei tei-title"><span style="font-style: italic">Passions,</span></span> the only Oratorios are the <span class="tei tei-title"><span style="font-style: italic">Christmas Oratorio</span></span>, (1734), the <span class="tei tei-title"><span style="font-style: italic">Easter Oratorio</span></span> (c. 1736), and <span class="tei tei-title"><span style="font-style: italic">Ascension Oratorio</span></span> (c. 1735).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_302" name="note_302" href="#noteref_302">302.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Besides the B minor Mass (1733-? 38) Bach wrote four miscalled <span class="tei tei-q">“short”</span> Masses, in F major, A major, G minor, and G major.  They all belong to the Leipzig period (c. 1739).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_303" name="note_303" href="#noteref_303">303.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Besides the setting of the Sanctus in the B minor Mass there are four detached settings, in C major, D major, D minor, and G major.  Of these only that in D major is probably by Bach (c. 1723).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_304" name="note_304" href="#noteref_304">304.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The music for Saints' Days is included in the church Cantatas.  For the Birthday Odes see <span lang="la" class="tei tei-foreign" xml:lang="la">supra</span>, Chap. IIA.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_305" name="note_305" href="#noteref_305">305.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Besides the <span class="tei tei-title"><span style="font-style: italic">Trauer-Ode,</span></span> three or four of the church Cantatas and certainly three of the Motets were written for funerals.  See Terry, op. cit., pp. 24, 44.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_306" name="note_306" href="#noteref_306">306.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Among the church Cantatas there are at least five for use at weddings.  Bach wrote also three secular wedding Cantatas: <span class="tei tei-title"><span style="font-style: italic">Weichet nur, betrübte Schatten</span></span> (c. 1730); <span class="tei tei-title"><span style="font-style: italic">O holder Tag</span></span> (11749); the third (1728) has disappeared.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_307" name="note_307" href="#noteref_307">307.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Two Italian Cantatas—<span class="tei tei-title"><span style="font-style: italic">Amore traditore</span></span> and <span class="tei tei-title"><span style="font-style: italic">Non sa che sia dolore</span></span>—have come down to us.  A third, <span class="tei tei-title"><span style="font-style: italic">Andro dall colle al prato,</span></span> is lost.  See B.G. XI. (ii.), XXIX.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_308" name="note_308" href="#noteref_308">308.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Only six are genuine. See <span lang="la" class="tei tei-foreign" xml:lang="la">infra</span>, p. 141.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_309" name="note_309" href="#noteref_309">309.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Of the Motets that have come down to us as his, only six are Bach's.  Forkel mentions five of them in secs. 7 and 3 of the next paragraph; he omits <span class="tei tei-title"><span style="font-style: italic">Lobet den Herrn, alle Heiden.</span></span>  In 1802-3 Breitkopf and Haertel published six Motets—the five mentioned by Forkel and another, <span class="tei tei-title"><span style="font-style: italic">Ich lasse dich nicht,</span></span> of which Bach made a copy, but whose composer actually was Johann Christoph Bach.  We know that Bach composed at least one Latin Motet for double chorus, and Friedemann's share of his father's autographs may have contained it and others known to Forkel but no longer extant.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_310" name="note_310" href="#noteref_310">310.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Amalienbibliothek of the Joachimsthal Gymnasium, Berlin, contains one of the most important Bach collections, but it has long been superseded by the Royal Library there as the chief repository of Bach's Autographs.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_311" name="note_311" href="#noteref_311">311.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Amalienbibliothek has only one Autograph, namely, Cantata 34, <span class="tei tei-title"><span style="font-style: italic">O ewiges Feuer.</span></span> The rest are early copies.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_312" name="note_312" href="#noteref_312">312.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Cantata 53.  No Autograph of this Cantata exists, and the copies from which the B.G. edition was printed are in the Amalienbibliothek.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_313" name="note_313" href="#noteref_313">313.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+On the contrary, the Cantata belongs to the Leipzig period, 1723-34.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_314" name="note_314" href="#noteref_314">314.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+None of the four <span class="tei tei-q">“short”</span> Masses is in five parts.  All have instrumental accompaniments.  The autograph scores of the Masses in A major and G major are in Messrs. Breitkopf and Haertel's possession.  Copies of the other two scores, in Altnikol's handwriting, are in the Berlin Royal Library.  See Introduction to B.G. VIII.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_315" name="note_315" href="#noteref_315">315.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+An eight-part Mass in G was performed at a Leipzig Gewandhaus Concert on March 7, 1805, and was published later in the year by Breitkopf and Haertel.  The score is admittedly, for the greater part of the work, in Bach's hand and is in the Berlin Royal Library.  The publication of the work was under consideration by the Bachgesellschaft in 1858.  That it is not by Bach is generally held.  It has been attributed to Johann Ludwig Bach (d. 1741).  See Genealogical Table II.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_316" name="note_316" href="#noteref_316">316.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The <span class="tei tei-title"><span style="font-style: italic">St. Matthew Passion.</span></span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_317" name="note_317" href="#noteref_317">317.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+A <span lang="fr" class="tei tei-foreign" xml:lang="fr">nom de plume</span> for Christian Friedrich Henrici (1700-64), who wrote a large number of Bach's Leipzig texts.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_318" name="note_318" href="#noteref_318">318.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Perhaps Forkel indicates the short <span class="tei tei-title"><span style="font-style: italic">Sanctus</span></span> in Richter's edition of the <span class="tei tei-title"><span style="font-style: italic">Choralgesänge</span></span>, No. 123, or that in B.G. XLI. p. 177.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_319" name="note_319" href="#noteref_319">319.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+This is the first Chorus of Cantata No. 38.  It is printed as a separate Motet in Erk, No. 150.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_320" name="note_320" href="#noteref_320">320.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Forkel's list is complete except for <span class="tei tei-title"><span style="font-style: italic">Lobet den Herrn, alle Heiden.</span></span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_321" name="note_321" href="#noteref_321">321.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The opening Chorus of Cantata 144.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_322" name="note_322" href="#noteref_322">322.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Forkel refers to the <span class="tei tei-title"><span style="font-style: italic">Peasant Cantata,</span></span> or <span class="tei tei-title"><span style="font-style: italic">Mer hahn en neue Oberkeet,</span></span> performed on August 30, 1742.  Forkel clearly was not familiar with Bach's other secular Cantatas.  See B.G. XI. (ii.), XX. (ii.), XXIX.  The Autograph score of the Peasant Cantata is in the Berlin Royal Library.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_323" name="note_323" href="#noteref_323">323.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Forkel's suggestion was carried out, with varying thoroughness, in the Bachgesellschaft edition.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_324" name="note_324" href="#noteref_324">324.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Forkel's judgment is at fault.  See Schweitzer, i. 336.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_325" name="note_325" href="#noteref_325">325.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Also in Wilhelm Friedemann's <span class="tei tei-title"><span style="font-style: italic">Clavierbüchlein.</span></span>  See Schweitzer, i. 279; Spitta, ii. 166.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_326" name="note_326" href="#noteref_326">326.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+<span class="tei tei-q">“Since you cannot please everybody by your actions and work, strive at least to satisfy a few; popular appreciation encourages bad art.”</span>—Schiller's <span class="tei tei-title"><span style="font-style: italic"> Votiftafeln</span></span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_327" name="note_327" href="#noteref_327">327.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Cantatas are classified under Appendix II.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_328" name="note_328" href="#noteref_328">328.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The references are to Peters' edition.  Excepting bk. 1959, which contains pieces of doubtful authenticity, every number printed by Peters is entered in the Chronological Catalogue.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_329" name="note_329" href="#noteref_329">329.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+There are three other Sonatas, in A minor, C major, D minor, none of which is an original composition.  They are printed in P. bk. 213.  The first and second are adaptations of material in Reinken's <span class="tei tei-title"><span style="font-style: italic">Hortus Musicus.</span></span>  The third is a transcription of the second Solo Sonata for Violin.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_330" name="note_330" href="#noteref_330">330.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The references are to Novello's twelve Books of Bach's Organ Works, edited by J. F. Bridge and J. Higgs.  The edition is complete, and contains every movement included in Alfred Dorffel's <span class="tei tei-q">“Thematisohos Verzeichniss”</span> (second edition, 1882) except his No. 24 on p. 72; Nos. 6 and 8 on page 85; the <span class="tei tei-q">“Kleines harmonisches Labyrinth”</span> (Dörffel, p. 88, tigs. 131-33), the genuineness of which is questioned by Spitta (ii. 43); and figs. 136-37 on p. 88.  The Novello edition also follows Rust, against Spitta's judgment, in printing the <span class="tei tei-q">“Fantasia con Imitazione”</span> (bk. 12 p. 71) as an Organ instead of as a Clavier piece.  Books 15-19 print the Choral Preludes.  See the Peters and Novello editions collated in Appendix V.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_331" name="note_331" href="#noteref_331">331.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Printed as a <span class="tei tei-q">“Toccata”</span> in E major in B.G. XV. p. 276.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_332" name="note_332" href="#noteref_332">332.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Spitta (ii. 620, 718) mentions a Birthday Cantata written in 1717-1721(?), the title of which is lost.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_333" name="note_333" href="#noteref_333">333.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The references are to Peters' edition.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_334" name="note_334" href="#noteref_334">334.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The D minor contains the famous Chaconne.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_335" name="note_335" href="#noteref_335">335.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The references are to Peters' edition. In the B.G. edition the Orchestral music is included in the Chamber Music volumes.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_336" name="note_336" href="#noteref_336">336.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Pirro, p. 228, holds that the first two (C major and B minor) were written at Cöthen and the last two (D major and D major) at Leipzig. Schweitzer (i. 402) regards it as not clear in which period the Overtures were written.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_337" name="note_337" href="#noteref_337">337.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In A minor, E major, G major. The G major figures as the fourth Brandenburg (bk. 264) and as the Clavier Concerto in F major (bk. 248). The A minor and E major were also converted into Clavier Concerti (G minor and D major) (bks. 249, 251). The D minor Clavier Concerto (bk. 264) preserves a lost Violin Concerto in the same key, and the one in F minor (bk. 250) corresponds with a lost Violin Concerto in G minor (bks. 3068, 3069).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_338" name="note_338" href="#noteref_338">338.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Also arranged as a Concerto for two Claviers (C minor) in P. bk. 257b.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_339" name="note_339" href="#noteref_339">339.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Bach wrote another Magnificat, the music of which is lost. See Spitta, ii. 374.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_340" name="note_340" href="#noteref_340">340.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+All except the Sanctus in D major are of doubtful authenticity. See Schweitzer, ii. 328 and Spitta, iii. 41 n.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_341" name="note_341" href="#noteref_341">341.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Concerto in C minor (P. bk. 257) is an arrangement of one for two Violins now lost. The third, also in C minor, is identical with the D minor Concerto for two Violins and is published in that key in the Peters edition.  The remaining Concerto, in C major, is the only one originally written for the Clavier.  See Schweitzer, i. 413.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_342" name="note_342" href="#noteref_342">342.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The work is an amplification of the Prelude and Fugue in A minor, already catalogued among the Clavier works of the Cöthen period.  Schweitzer (i. 340) concludes that it was rearranged as an orchestral Concerto early in the thirties, when Bach needed Concertos for the Telemann Society's Concerts.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_343" name="note_343" href="#noteref_343">343.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The scheme of the G major and C major Preludes and Fugues dates back to the Weimar period. See Spitta, iii. 208; Parry, p. 67.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_344" name="note_344" href="#noteref_344">344.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+These so-called <span class="tei tei-q">“Organ”</span> Sonatas were written for the Pedal Clavicembalo.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_345" name="note_345" href="#noteref_345">345.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Clavier Suites in E minor, E major, and C minor are arrangements of these, otherwise lost, Lute Partitas. See Schweitzer, i. 344.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_346" name="note_346" href="#noteref_346">346.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In Mizler's <span class="tei tei-title"><span style="font-style: italic">Nekrolog.</span></span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_347" name="note_347" href="#noteref_347">347.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+<span lang="la" class="tei tei-foreign" xml:lang="la">Supra</span>, p. 138.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_348" name="note_348" href="#noteref_348">348.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+See the present writer's <span class="tei tei-title"><span style="font-style: italic">Bach's Chorals,</span></span> Part II. p. 1.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_349" name="note_349" href="#noteref_349">349.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+<span lang="la" class="tei tei-foreign" xml:lang="la">Ibid.</span>, p. 4.  Four more Cantatas, of doubtful authenticity, are published by the Bachgesellschaft, Jahrgang XLI.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_350" name="note_350" href="#noteref_350">350.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+See the Table of Cantatas set out in chronological order.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_351" name="note_351" href="#noteref_351">351.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Nos. 18, 24, 28, 59, 61, 142, 160.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_352" name="note_352" href="#noteref_352">352.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Nos. 31, 70, 72, 80, 132, 147, 152, 155, 161, 162, 163, 164, 166, 168, 185, 186 (part).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_353" name="note_353" href="#noteref_353">353.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Nos. 145, 148 (part), 156, 157, 159, 171, 174, 188, 190 (one version), <span class="tei tei-title"><span style="font-style: italic">Ehre sei Gott</span></span> (incomplete).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_354" name="note_354" href="#noteref_354">354.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Nos. 68, 74, 87, 103, 108, 128, 175, 176, 183.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_355" name="note_355" href="#noteref_355">355.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Nos. 47, 141.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_356" name="note_356" href="#noteref_356">356.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Nos. 50, 191, 196.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_357" name="note_357" href="#noteref_357">357.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Nos. 4, 97, 100, 107, 112, 117, 118, 129, 137, 177, 192.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_358" name="note_358" href="#noteref_358">358.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+No. 15: <span class="tei tei-title"><span style="font-style: italic">Denn du wirst meine Seele nichfc in der Hölle lassen.</span></span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_359" name="note_359" href="#noteref_359">359.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The intimate personal note of the opening words of the Recitative—<span class="tei tei-q">“Mein Jesus ware tot”</span>—reveals him.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_360" name="note_360" href="#noteref_360">360.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Spitta, i. 231.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_361" name="note_361" href="#noteref_361">361.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Schweitzer, i. 103.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_362" name="note_362" href="#noteref_362">362.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+No. 131: <span class="tei tei-title"><span style="font-style: italic">Aus der Tiefe rufe ich, Herr, zu dir.</span></span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_363" name="note_363" href="#noteref_363">363.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+No. 71: <span class="tei tei-title"><span style="font-style: italic">Gott ist mein Küonig.</span></span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_364" name="note_364" href="#noteref_364">364.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+No. 196: <span class="tei tei-title"><span style="font-style: italic">Dorr Herr denket an uns.</span></span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_365" name="note_365" href="#noteref_365">365.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+See Spitta, i. 359 ff.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_366" name="note_366" href="#noteref_366">366.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+<span lang="la" class="tei tei-foreign" xml:lang="la">Ibid.</span>, i. 374.  On the other hand, Baoh's art was visibly affected by Pietistic influences, as Schweitzer, i. 169, shows.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_367" name="note_367" href="#noteref_367">367.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Eilmar died in 1715 (Spitta, i. 361).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_368" name="note_368" href="#noteref_368">368.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+No. 189: <span class="tei tei-title"><span style="font-style: italic">Meine Seele rühmt und preist.</span></span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_369" name="note_369" href="#noteref_369">369.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+No. 150: <span class="tei tei-title"><span style="font-style: italic">Nach dir, Herr, verlanget mich.</span></span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_370" name="note_370" href="#noteref_370">370.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Vol. i. 456.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_371" name="note_371" href="#noteref_371">371.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+<span class="tei tei-title"><span style="font-style: italic">J.S. Bach,</span></span> p. 87.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_372" name="note_372" href="#noteref_372">372.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The conclusion is based on letters printed by Spitta, i. 517.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_373" name="note_373" href="#noteref_373">373.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Nos. 18, 61, 142, 160, and 69.  See Table.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_374" name="note_374" href="#noteref_374">374.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+He was born May 12, 1671 (Spitta, i. 470).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_375" name="note_375" href="#noteref_375">375.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The volume is entitled <span class="tei tei-title"><span style="font-style: italic">Erdmann Neumeisters Geistliche Cantaten statt einer Kirchen-Musik.  Die zweyte Auflage.</span></span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_376" name="note_376" href="#noteref_376">376.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Entitled <span class="tei tei-title"><span style="font-style: italic">Herrn Erdmann Neumeisters Fünffache Kirchen-Andachten,</span></span> Leipzig, 1716.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_377" name="note_377" href="#noteref_377">377.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Spitta, i. 474. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_378" name="note_378" href="#noteref_378">378.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Vol. i. 466 ff.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_379" name="note_379" href="#noteref_379">379.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+See the Aria (Duetto) of Cantata No. 28.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_380" name="note_380" href="#noteref_380">380.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+See particularly the Litanei in Cantata No. 18.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_381" name="note_381" href="#noteref_381">381.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Telemann was Carl Philipp Emmanuel Bach's godfather (Spitta, i. 486).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_382" name="note_382" href="#noteref_382">382.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Nos. 24, 28, 69, 61. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_383" name="note_383" href="#noteref_383">383.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+No. 18.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_384" name="note_384" href="#noteref_384">384.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Nos. 142, 160.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_385" name="note_385" href="#noteref_385">385.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+See Spitta, i. 630.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_386" name="note_386" href="#noteref_386">386.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+His influence is also detected in Nos. 27, 56, 199.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_387" name="note_387" href="#noteref_387">387.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Telemann also set the libretti of Bach's Nos. 18 and 142. See Spitta, i. 487.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_388" name="note_388" href="#noteref_388">388.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Vol. i. 530.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_389" name="note_389" href="#noteref_389">389.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Wustmann, <span class="tei tei-title"><span style="font-style: italic">Joh. Seb. Bach's Kantaten-Texte</span></span> (1913), p. xxii n. 
+The cycle is entitled <span class="tei tei-title"><span style="font-style: italic">Evangelisches Andachts-Opffer.</span></span> 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_390" name="note_390" href="#noteref_390">390.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Only Nos. 70, 147, and 186 are taken from it. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_391" name="note_391" href="#noteref_391">391.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Entitled <span class="tei tei-title"><span style="font-style: italic">Evangelische Sonn- und Fest-Tages Andachten.</span></span> 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_392" name="note_392" href="#noteref_392">392.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Vol. ii. 131.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_393" name="note_393" href="#noteref_393">393.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+For instance, the Aria in Cantata No. 168, beginning:
+</p>
+<div class="block tei tei-q" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"><span style="font-size: 90%">
+Kapital und Interessen 
+Meiner Schulden gross und klein, 
+Mussen einst verrechnet sein.
+</span></div>
+</dd><dt class="tei tei-notelabel"><a id="note_394" name="note_394" href="#noteref_394">394.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Spitta, ii. 5; Schweitzer, i. 106.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_395" name="note_395" href="#noteref_395">395.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Spitta, ii. 3.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_396" name="note_396" href="#noteref_396">396.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The two Cantatas are Nos. 47 and 141.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_397" name="note_397" href="#noteref_397">397.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Wustmann, p. xxiii.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_398" name="note_398" href="#noteref_398">398.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Spitta, ii. 12 n.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_399" name="note_399" href="#noteref_399">399.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Choral is absent from No. 141.  It should be <span class="tei tei-q">“Christe, du Lamm Gotten.”</span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_400" name="note_400" href="#noteref_400">400.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Schweitzer, ii. 147.  The Cantata is No. 47, <span class="tei tei-title"><span style="font-style: italic">Wer sich selbst erhöhet.</span></span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_401" name="note_401" href="#noteref_401">401.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Vol. ii. 13.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_402" name="note_402" href="#noteref_402">402.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Vol. ii. 147. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_403" name="note_403" href="#noteref_403">403.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+No. 141: <span class="tei tei-title"><span style="font-style: italic">Das ist je gewisslich wahr.</span></span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_404" name="note_404" href="#noteref_404">404.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Vol. ii. 15.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_405" name="note_405" href="#noteref_405">405.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Vol. ii. 148.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_406" name="note_406" href="#noteref_406">406.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+<span class="tei tei-title"><span style="font-style: italic">Johann Sebastian Bach,</span></span> p. 108.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_407" name="note_407" href="#noteref_407">407.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+<span lang="la" class="tei tei-foreign" xml:lang="la">Op. cit.</span>, Note 195.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_408" name="note_408" href="#noteref_408">408.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Spitta, ii. 147.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_409" name="note_409" href="#noteref_409">409.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Nos. 134 and 173.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_410" name="note_410" href="#noteref_410">410.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+No. 134: <span class="tei tei-title"><span style="font-style: italic">Ein Herz, das seinen Jesum lebend weiss.</span></span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_411" name="note_411" href="#noteref_411">411.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+No. 173: <span class="tei tei-title"><span style="font-style: italic">Erhötes Fleisch und Blut.</span></span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_412" name="note_412" href="#noteref_412">412.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+No. 75: <span class="tei tei-title"><span style="font-style: italic">Die Elenden sollen essen,</span></span> sung on May 30, the day preceding Bach's formal induction.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_413" name="note_413" href="#noteref_413">413.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+For instance, Nos. 67 and 102.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_414" name="note_414" href="#noteref_414">414.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Wustmann, by implication, only associates eight libretti (Cantatas Nos. 37, 44, 75, 76, 86, 104, 166, 179) with Weiss.  All of them belong to the early years, 1723-27. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_415" name="note_415" href="#noteref_415">415.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+See Nos. 75 and 105.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_416" name="note_416" href="#noteref_416">416.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+See Nos. 25, 42, 77.  As an extreme illustration, the first Recitative of No. 25 begins with the words, <span class="tei tei-title"><span style="font-style: italic">Die ganze Welt ist nur ein Hospital.</span></span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_417" name="note_417" href="#noteref_417">417.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Vol. ii. 388.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_418" name="note_418" href="#noteref_418">418.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Cantata No. 65: <span class="tei tei-title"><span style="font-style: italic">Sie werden aus Saba Alle kommen.</span></span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_419" name="note_419" href="#noteref_419">419.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Vol. i. 361.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_420" name="note_420" href="#noteref_420">420.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Wustmann, p. xxiv.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_421" name="note_421" href="#noteref_421">421.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+<span lang="la" class="tei tei-foreign" xml:lang="la">Ibid.</span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_422" name="note_422" href="#noteref_422">422.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+See the Table.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_423" name="note_423" href="#noteref_423">423.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+They ore Nos. 6, 17, 22, 43, 48, 57, 144, 148, 157, 159,171, 190,195, and the incomplete Cantata, <span class="tei tei-title"><span style="font-style: italic">Ehre sei Gott in der Höhe.</span></span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_424" name="note_424" href="#noteref_424">424.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Nos. 16, 23, 63, 81, 83, 153, 154, 184, 194.  See the Table.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_425" name="note_425" href="#noteref_425">425.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+No. 4: <span class="tei tei-title"><span style="font-style: italic">Christ lag in Todesbanden.</span></span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_426" name="note_426" href="#noteref_426">426.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Vol. ii. 393. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_427" name="note_427" href="#noteref_427">427.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+See the Table: No. 112, <span class="tei tei-title"><span style="font-style: italic">Derr herr ist mein getreuer Hirt.</span></span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_428" name="note_428" href="#noteref_428">428.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Nos. 8, 20, 93. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_429" name="note_429" href="#noteref_429">429.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+No. 148: <span class="tei tei-title"><span style="font-style: italic">Bringet dem Herrn Ehre seines Namens.</span></span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_430" name="note_430" href="#noteref_430">430.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+No. 8: <span class="tei tei-title"><span style="font-style: italic">Liebster Gott, wann werd' ich sterben.</span></span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_431" name="note_431" href="#noteref_431">431.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+No. 181: <span class="tei tei-title"><span style="font-style: italic">Leichtgesinnte Flattergeister.</span></span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_432" name="note_432" href="#noteref_432">432.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+ Vol. ii. 340 ff.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_433" name="note_433" href="#noteref_433">433.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The volume is entitled <span class="tei tei-title"><span style="font-style: italic">Sammlung Erbaulicher Gedancken, Bey und über gewohnlichen Sonn- und Festtags-Evangelien,</span></span> Leipzig.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_434" name="note_434" href="#noteref_434">434.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+<span class="tei tei-title"><span style="font-style: italic">Cantaten auf die Sonn- und Fest-Tage durch das gantze Jahr,</span></span> Leipzig, 1728.  He reprinted them in 1732 in his <span class="tei tei-title"><span style="font-style: italic">Satyrische Gedichte.</span></span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_435" name="note_435" href="#noteref_435">435.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+But see Cantata No. 148 and Spitta, ii. 693.  Also No. 19.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_436" name="note_436" href="#noteref_436">436.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Cantatas Nos. 145, 156, 159, 171, 174, 188, 190 (one version), and the Cantata <span class="tei tei-title"><span style="font-style: italic">Ehre sei Gott.</span></span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_437" name="note_437" href="#noteref_437">437.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+No. 157.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_438" name="note_438" href="#noteref_438">438.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Nos. 19, 30, 36, 84, 148, 197. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_439" name="note_439" href="#noteref_439">439.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Vol. ii. 346.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_440" name="note_440" href="#noteref_440">440.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Nos. 32, 48, 67, 90, 144, 181.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_441" name="note_441" href="#noteref_441">441.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Nos. 16, 22, 23, 27, 35, 51, 56, 58, 63, 66, 81, 82, 83, 153, 154, 194, 195. No. 184 is an adaptation. See also Nos. 19, 36, 84, 144, 145, 148, for Bach's collaboration with Picander.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_442" name="note_442" href="#noteref_442">442.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Besides No. 80, a Choral Cantata.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_443" name="note_443" href="#noteref_443">443.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Schweitzer, ii. 332 ff.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_444" name="note_444" href="#noteref_444">444.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Entitled <span class="tei tei-title"><span style="font-style: italic">Versuch in gebundener Schreibart.</span></span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_445" name="note_445" href="#noteref_445">445.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Vol. iii. 71.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_446" name="note_446" href="#noteref_446">446.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Vol. ii. 331 n.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_447" name="note_447" href="#noteref_447">447.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+No. 85: <span class="tei tei-title"><span style="font-style: italic">Ich bin ein guter Hirt.</span></span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_448" name="note_448" href="#noteref_448">448.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Note 60.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_449" name="note_449" href="#noteref_449">449.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Vol. ii. 331 n.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_450" name="note_450" href="#noteref_450">450.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+No. 33: <span class="tei tei-title"><span style="font-style: italic">Gott färet auf mit Jauchzen.</span></span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_451" name="note_451" href="#noteref_451">451.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+See Table.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_452" name="note_452" href="#noteref_452">452.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+No. 74.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_453" name="note_453" href="#noteref_453">453.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+<span lang="de" class="tei tei-foreign" xml:lang="de">Op. cit., </span>p. 377.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_454" name="note_454" href="#noteref_454">454.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+See Table.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_455" name="note_455" href="#noteref_455">455.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Nos. 100 and 107, both of them c. 1735.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_456" name="note_456" href="#noteref_456">456.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+No. 8, for the Sixteenth Sunday after Trinity.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_457" name="note_457" href="#noteref_457">457.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+No. 93, for the Fifth Sunday after Trinity (1728).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_458" name="note_458" href="#noteref_458">458.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Nos. 9 (? 1731), 99 (c. 1733).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_459" name="note_459" href="#noteref_459">459.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+No. 122.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_460" name="note_460" href="#noteref_460">460.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+No. 80.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_461" name="note_461" href="#noteref_461">461.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Nos. 1, 2, 5, 8, 20, 26, 62, 78, 91, 92, 93, 96, 115, 121, 124, 127, 138, 140.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_462" name="note_462" href="#noteref_462">462.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Nos. 7, 9, 10, 14, 33, 41, 94, 99, 101, 111, 113, 114, 116, 125, 126, 130, 139, 178, 180.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_463" name="note_463" href="#noteref_463">463.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Nos. 4, 97, 100, 107, 112, 117, 129, 137, 177, 192.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_464" name="note_464" href="#noteref_464">464.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Nos. 3, 38, 123, 133, 135.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_465" name="note_465" href="#noteref_465">465.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+P. xxiv.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_466" name="note_466" href="#noteref_466">466.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Nos. 3, 123, 133, 135.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_467" name="note_467" href="#noteref_467">467.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+See 
+<span lang="la" class="tei tei-foreign" xml:lang="la">supra</span>, p. 180.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_468" name="note_468" href="#noteref_468">468.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Nos. 17, 34, 43, 151, 197, and <span class="tei tei-title"><span style="font-style: italic">Herr Gott, Beherrsoher aller Dinge.</span></span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_469" name="note_469" href="#noteref_469">469.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Nos. 30, 32, 48, 57, 90.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_470" name="note_470" href="#noteref_470">470.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Nos. 45, 79, 110, 143.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_471" name="note_471" href="#noteref_471">471.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+No. 28. 
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_472" name="note_472" href="#noteref_472">472.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+No. 50.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_473" name="note_473" href="#noteref_473">473.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+No. 118.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_474" name="note_474" href="#noteref_474">474.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Nos. 6, 11, 13, 146, 193.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_475" name="note_475" href="#noteref_475">475.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+See <span class="tei tei-title"><span style="font-style: italic">Bach's Chorals,</span></span> Part II., Introduction.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_476" name="note_476" href="#noteref_476">476.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The above article and the Table that follows were communicated originally to the Musical Association on March 28, 1918.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_477" name="note_477" href="#noteref_477">477.</a></dt><dd class="tei tei-notetext">
+General mourning for the Queen lasted from Sept. 7, 1727, to Jan. 6, 1728. No Cantatas were sung in the period.
+</dd><dt class="tei tei-notelabel"><a id="note_478" name="note_478" href="#noteref_478">478.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Church Cantatas are published by Peters and also by Breitkopf and Haertel.  A prefixed asterisk indicates that an English edition of the Cantata or Oratorio is published by Novello or Breitkopf and Haertel.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Organ music is published by Novello, to whose edition references are given (N.), Peters, and Breitkopf and Haertel.   collation of the Peters and Novello editions is given in Appendix V.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Clavier and Instrumental music is published by Peters, to whose edition references are given (P.).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_479" name="note_479" href="#noteref_479">479.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+A Variant of the first Invention is on p. 342 of the volume.  A Variant of Sinfonia ix. is on p. vi. of the Nachtrag.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_480" name="note_480" href="#noteref_480">480.</a></dt><dd class="tei tei-notetext">
+           <p class="tei tei-p" style="margin-bottom: 1.00em">
+           A Variant is in B.G. XI.
+          </p>
+          </dd><dt class="tei tei-notelabel"><a id="note_481" name="note_481" href="#noteref_481">481.</a></dt><dd class="tei tei-notetext">
+         <p class="tei tei-p" style="margin-bottom: 1.00em">
+         A Variant is in P. bk. 244 p. 109.
+         </p>
+         </dd><dt class="tei tei-notelabel"><a id="note_482" name="note_482" href="#noteref_482">482.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+<span class="tei tei-q">“If genuine, the Sonata is a youthful work,”</span> remarks Schweitzer, i. 401 n.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_483" name="note_483" href="#noteref_483">483.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Additional movements of the second, third, and fourth Suites are in Appendix II. of B.G. XXXVI.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_484" name="note_484" href="#noteref_484">484.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The volume contains an Appendix of Variants, etc. See also B.G. XLV. (1) Appendix. Variants of Nos. 1, 3, 6 of Part II. are in Appendix I. of B.G. XXXVI.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_485" name="note_485" href="#noteref_485">485.</a></dt><dd class="tei tei-notetext">
+              <p class="tei tei-p" style="margin-bottom: 1.00em">
+              See publications of the N.B.G. xiv. (2) no. 5.
+              </p>
+              </dd><dt class="tei tei-notelabel"><a id="note_486" name="note_486" href="#noteref_486">486.</a></dt><dd class="tei tei-notetext">
+              <p class="tei tei-p" style="margin-bottom: 1.00em">
+              See publications of the N.B.G. vii. (3) no. 3.
+              </p>
+              </dd><dt class="tei tei-notelabel"><a id="note_487" name="note_487" href="#noteref_487">487.</a></dt><dd class="tei tei-notetext">
+      <p class="tei tei-p" style="margin-bottom: 1.00em">
+      For this work, in its original form as a Violin Concerto, see N.B.G. XVIII. (1 and     2).
+      </p>
+     </dd><dt class="tei tei-notelabel"><a id="note_488" name="note_488" href="#noteref_488">488.</a></dt><dd class="tei tei-notetext">
+     <p class="tei tei-p" style="margin-bottom: 1.00em">
+     The D major (No. 3) and G minor (No. 7) Concertos are identical with the Violin Concertos in E major and A minor. See B.G. XXI. (1). No. 6 (F. major) is the fourth Brandenburg Concerto (in G.). See B.G. XIX. no. 4.
+     </p>
+      </dd><dt class="tei tei-notelabel"><a id="note_489" name="note_489" href="#noteref_489">489.</a></dt><dd class="tei tei-notetext">
+          <p class="tei tei-p" style="margin-bottom: 1.00em">
+          In a shortened form this work appears also as a Sinfonia in F major. See B.G. XXXI. (1) no. 5, and N.B.G. X. (2).
+          </p>
+          </dd><dt class="tei tei-notelabel"><a id="note_490" name="note_490" href="#noteref_490">490.</a></dt><dd class="tei tei-notetext">
+         <p class="tei tei-p" style="margin-bottom: 1.00em">
+         Identical with the G minor Clavier Concerto. See B.G. XVII. no. 7, and also B.G. XLV. (1), Appendix, p. 233.
+         </p>
+      </dd><dt class="tei tei-notelabel"><a id="note_491" name="note_491" href="#noteref_491">491.</a></dt><dd class="tei tei-notetext">
+        <p class="tei tei-p" style="margin-bottom: 1.00em">
+        Identical with the D major Clavier Concerto. See B.G. XVII. no. 3, and N.B.G. VIII. (1)
+        </p>
+        </dd><dt class="tei tei-notelabel"><a id="note_492" name="note_492" href="#noteref_492">492.</a></dt><dd class="tei tei-notetext">
+            <p class="tei tei-p" style="margin-bottom: 1.00em">
+            Identical with the Concerto for two Claviers in C minor. See B.G. XXI. (2) no. 3.
+            </p>
+            </dd><dt class="tei tei-notelabel"><a id="note_493" name="note_493" href="#noteref_493">493.</a></dt><dd class="tei tei-notetext">
+       <p class="tei tei-p" style="margin-bottom: 1.00em">
+       The movement is described as being from <span class="tei tei-q">“einer unbekannten Kirchencantate”</span> for four voices and Orchestra. The Autograph is incomplete. The movement is not published elsewhere than in the B.G. edition.
+       </p>
+       </dd><dt class="tei tei-notelabel"><a id="note_494" name="note_494" href="#noteref_494">494.</a></dt><dd class="tei tei-notetext">
+        <p class="tei tei-p" style="margin-bottom: 1.00em">
+         Identical with the Concerto for 2 Violins, in D minor. See B.G. XXI. (1) no. 3. Also pp. 131, 158, 160, <span lang="la" class="tei tei-foreign" xml:lang="la">supra.</span>
+        </p>
+        </dd><dt class="tei tei-notelabel"><a id="note_495" name="note_495" href="#noteref_495">495.</a></dt><dd class="tei tei-notetext">
+        <p class="tei tei-p" style="margin-bottom: 1.00em">
+        Also in N.B.G. XVII. (1 and 2).
+        </p>
+        </dd><dt class="tei tei-notelabel"><a id="note_496" name="note_496" href="#noteref_496">496.</a></dt><dd class="tei tei-notetext">
+        <p class="tei tei-p" style="margin-bottom: 1.00em">
+        For an exposition of Bach's design in the <span class="tei tei-q">“Orgelbüchlein,”</span> see the present writer's articles in <span class="tei tei-q">“The Musical Times”</span> for January_March 1917, and <span class="tei tei-q">“Bach's Chorals,”</span> Part III. See N.B.G. II. (1) for an arrangement of the Preludes for two pianofortes.
+        </p>
+        </dd><dt class="tei tei-notelabel"><a id="note_497" name="note_497" href="#noteref_497">497.</a></dt><dd class="tei tei-notetext">
+           <p class="tei tei-p" style="margin-bottom: 1.00em">
+           See B.G. XLII. for a Clavier version.
+           </p>
+           </dd><dt class="tei tei-notelabel"><a id="note_498" name="note_498" href="#noteref_498">498.</a></dt><dd class="tei tei-notetext">
+           <p class="tei tei-p" style="margin-bottom: 1.00em">
+           See B.G. XLII. for a Clavier version.
+           </p>
+           </dd><dt class="tei tei-notelabel"><a id="note_499" name="note_499" href="#noteref_499">499.</a></dt><dd class="tei tei-notetext">
+          <p class="tei tei-p" style="margin-bottom: 1.00em">
+          Boosey and Co. also publish an English edition.
+          </p>
+          </dd><dt class="tei tei-notelabel"><a id="note_500" name="note_500" href="#noteref_500">500.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+This is a shortened form of the first Brandenberg Concerto (see B.G. XIX. no. 1).  It consists of the Allegro, Adagio, Minuet, Trio I. and Trio II. of the latter, and omits its second Allegro and Polacca.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_501" name="note_501" href="#noteref_501">501.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Appendix contains Joh. Philipp Kernberger's solutions of the Canons and his expansion of the figured bass of the Clavier part of the Sonata.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_502" name="note_502" href="#noteref_502">502.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+See publications of the N.B.G. XIV. (2) no. 2.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_503" name="note_503" href="#noteref_503">503.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+See publications of the N.B.G. XIV. (2) no. 2.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_504" name="note_504" href="#noteref_504">504.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Text and music are identical with the version in B.G. XX. (2).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_505" name="note_505" href="#noteref_505">505.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Another Allemande to the Suite is in B.G. XXXVI. 217 (also in P.).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_506" name="note_506" href="#noteref_506">506.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The subject of the Fughetta is the same as that of Fugue No. 17 in the second part of the <span class="tei tei-q">“Well-tempered Clavier.”</span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_507" name="note_507" href="#noteref_507">507.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Prelude is No. 11 in Peters (B.G. xxxvi. 220). The Fughetta is his No. 10. It is the same subject an that of Fugue 16 in the second part of the <span class="tei tei-q">“Well-tempered Clavier.”</span> An alternative Prelude (P. 214 p. 78) is in the Appendix (p. 220).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_508" name="note_508" href="#noteref_508">508.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+They are described as <span class="tei tei-q">“zur vierten französischen Suite.”</span> The Prelude is in P. bk. 1959 p. 67.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_509" name="note_509" href="#noteref_509">509.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Written respectively for the second and third French Suites (not in P.).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_510" name="note_510" href="#noteref_510">510.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+A fingered exercise.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_511" name="note_511" href="#noteref_511">511.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Appendices of the volume contain variant readings of movements elsewhere contained in it, and of the first, third, and sixth Preludes and Fugues in the second part of the <span class="tei tei-q">“Well-tempered Clavier.”</span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_512" name="note_512" href="#noteref_512">512.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+See B.G. XLV. (1) Appendix.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_513" name="note_513" href="#noteref_513">513.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Only nos. 2 and 3 are derived from Vivaldi.
+</p>
+     
+</dd><dt class="tei tei-notelabel"><a id="note_514" name="note_514" href="#noteref_514">514.</a></dt><dd class="tei tei-notetext">
+              <p class="tei tei-p" style="margin-bottom: 1.00em">
+              A variant text is in B.G. XLII. 282.
+              </p>
+              </dd><dt class="tei tei-notelabel"><a id="note_515" name="note_515" href="#noteref_515">515.</a></dt><dd class="tei tei-notetext">
+               <p class="tei tei-p" style="margin-bottom: 1.00em">
+                Vivaldi's text of the first movement is in the Appendix (p. 229).
+               </p>
+               </dd><dt class="tei tei-notelabel"><a id="note_516" name="note_516" href="#noteref_516">516.</a></dt><dd class="tei tei-notetext">
+          <p class="tei tei-p" style="margin-bottom: 1.00em">
+          See B.G. XLIII. (2) sec. 1 no. 2.
+          </p>
+          </dd><dt class="tei tei-notelabel"><a id="note_517" name="note_517" href="#noteref_517">517.</a></dt><dd class="tei tei-notetext">
+              <p class="tei tei-p" style="margin-bottom: 1.00em">
+              The fugal subject is taken from the Allabreve.
+              </p>
+              </dd><dt class="tei tei-notelabel"><a id="note_518" name="note_518" href="#noteref_518">518.</a></dt><dd class="tei tei-notetext">
+          <p class="tei tei-p" style="margin-bottom: 1.00em">
+          Bach's instrumental accompaniments are in the Appendix (p. 143).
+          </p>
+          </dd><dt class="tei tei-notelabel"><a id="note_519" name="note_519" href="#noteref_519">519.</a></dt><dd class="tei tei-notetext">
+        <p class="tei tei-p" style="margin-bottom: 1.00em">
+C. P. E. Bach's collection of his father's Choral settings was published by Immanuel Breitkopf in four volumes between the years 1784-87.  They are all inoluded in Breitkopf and Haertel's edition (1898) of Bach s <span class="tei tei-q">“Choralgesänge”</span>; the numerals in brackets in the above list indicate the position of each Choral in that collection.  The latter includes also the simple four-part Chorals from the Oratorios and Cantatas; hence the numeration of that volume and B.G. XXXIX. is not uniform.
+        </p>
+        </dd><dt class="tei tei-notelabel"><a id="note_520" name="note_520" href="#noteref_520">520.</a></dt><dd class="tei tei-notetext">
+           <p class="tei tei-p" style="margin-bottom: 1.00em">
+           The bracket states the title by which the tune is better known.
+           </p>
+           </dd><dt class="tei tei-notelabel"><a id="note_521" name="note_521" href="#noteref_521">521.</a></dt><dd class="tei tei-notetext">
+          <p class="tei tei-p" style="margin-bottom: 1.00em">
+The Chorals are taken from two sources, Anna Magdalena Bach's <span class="tei tei-q">“Notenbuch”</span> (1726; see B.G. XLIII. (2)), and Schemelli's <span class="tei tei-q">“Musicalisches Gesang-Buch”</span> (1736), of which Bach was the musical editor.  The latter contains sixty-nine melodies (with figured bass), the former seven: one melody (No. 14) is in both collections.  The Schemelli tunes are indicated by an S within a bracket after the numeral.  One melody (No. 71) is indubitably by Bach himself.  It, and others, which may be attributed to him on good evidence, are marked by an asterisk.  The seventy-five settings are published in practicable form by the N.B.G. I. (1) and I. (2).
+          </p>
+          </dd><dt class="tei tei-notelabel"><a id="note_522" name="note_522" href="#noteref_522">522.</a></dt><dd class="tei tei-notetext">
+           <p class="tei tei-p" style="margin-bottom: 1.00em">
+           Nos. 22 and 23 are the same tune.
+          </p>
+          </dd><dt class="tei tei-notelabel"><a id="note_523" name="note_523" href="#noteref_523">523.</a></dt><dd class="tei tei-notetext">
+            <p class="tei tei-p" style="margin-bottom: 1.00em">
+For a discussion of Bach's original hymn-tunes see the present writer's <span class="tei tei-q">“Bach's Chorals,”</span> Part II. Introduction, pp. 67 ff. Six more of Bach's original hymn-tunes are printed there.
+            </p>
+            </dd><dt class="tei tei-notelabel"><a id="note_524" name="note_524" href="#noteref_524">524.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The first three Arias are published by Novello, and also by the N.B.G. I. (1).
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_525" name="note_525" href="#noteref_525">525.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In the Royal Library, Berlin.  Kirnberger was a pupil of Bach.  See section on Variants 
+<span lang="la" class="tei tei-foreign" xml:lang="la">infra.</span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_526" name="note_526" href="#noteref_526">526.</a></dt><dd class="tei tei-notetext">
+          <p class="tei tei-p" style="margin-bottom: 1.00em">
+           Novello omits the concluding four-part Choral.
+          </p>
+          </dd><dt class="tei tei-notelabel"><a id="note_527" name="note_527" href="#noteref_527">527.</a></dt><dd class="tei tei-notetext">
+           <p class="tei tei-p" style="margin-bottom: 1.00em">
+           The Prelude is also attributed to J. L. Krebs, a pupil of Bach. 
+           </p>
+           </dd><dt class="tei tei-notelabel"><a id="note_528" name="note_528" href="#noteref_528">528.</a></dt><dd class="tei tei-notetext">
+     <p class="tei tei-p" style="margin-bottom: 1.00em">
+     See section on Variants <span lang="la" class="tei tei-foreign" xml:lang="la">infra.</span>:
+     </p>
+     </dd><dt class="tei tei-notelabel"><a id="note_529" name="note_529" href="#noteref_529">529.</a></dt><dd class="tei tei-notetext">
+     <p class="tei tei-p" style="margin-bottom: 1.00em">
+     Variant, P. bk. 245 p. 106.
+     </p>
+     </dd><dt class="tei tei-notelabel"><a id="note_530" name="note_530" href="#noteref_530">530.</a></dt><dd class="tei tei-notetext">
+   <p class="tei tei-p" style="margin-bottom: 1.00em">
+    Ernst Naumann remarks, <span class="tei tei-q">“Das Stück kann recht gut von Seb. Baoh herrühren.”</span> The text is complete, and the omission of the Prelude from the Novello edition is to be regretted.
+   </p>
+    </dd><dt class="tei tei-notelabel"><a id="note_531" name="note_531" href="#noteref_531">531.</a></dt><dd class="tei tei-notetext">
+        <p class="tei tei-p" style="margin-bottom: 1.00em">
+        A transcription of the second Sonata for Solo Violin, in A minor, See B.G. XXVII. (1).
+        </p>
+        </dd><dt class="tei tei-notelabel"><a id="note_532" name="note_532" href="#noteref_532">532.</a></dt><dd class="tei tei-notetext">
+        <p class="tei tei-p" style="margin-bottom: 1.00em">
+        A transcription of the third Partita, in E major, for Solo Violin. See <span lang="la" class="tei tei-foreign" xml:lang="la">ibid.</span>
+        </p>
+        </dd><dt class="tei tei-notelabel"><a id="note_533" name="note_533" href="#noteref_533">533.</a></dt><dd class="tei tei-notetext">
+        <p class="tei tei-p" style="margin-bottom: 1.00em">
+        From the third Sonata for Solo Violin, in C major. See <span lang="la" class="tei tei-foreign" xml:lang="la">ibid.</span>
+        </p>
+        </dd><dt class="tei tei-notelabel"><a id="note_534" name="note_534" href="#noteref_534">534.</a></dt><dd class="tei tei-notetext">
+       <p class="tei tei-p" style="margin-bottom: 1.00em">
+       Both Sonatas are arrangements of instrumental Sonatas in J. A. Reinken's <span class="tei tei-q">“Hortus Musicus.”</span> See Spitta, i. 430.
+       </p>
+       </dd><dt class="tei tei-notelabel"><a id="note_535" name="note_535" href="#noteref_535">535.</a></dt><dd class="tei tei-notetext">
+       <p class="tei tei-p" style="margin-bottom: 1.00em">
+       Both Sonatas are arrangements of instrumental Sonatas in J. A. Reinken's <span class="tei tei-q">“Hortus Musicus.”</span> See Spitta, i. 430.
+       </p>
+       </dd><dt class="tei tei-notelabel"><a id="note_536" name="note_536" href="#noteref_536">536.</a></dt><dd class="tei tei-notetext">
+       <p class="tei tei-p" style="margin-bottom: 1.00em">
+       After a Sonata movement by J. A. Reinken.
+       </p>
+       </dd><dt class="tei tei-notelabel"><a id="note_537" name="note_537" href="#noteref_537">537.</a></dt><dd class="tei tei-notetext">
+       <p class="tei tei-p" style="margin-bottom: 1.00em">
+       After a Fugue by J. C. Erselius. The original is given in Anhang II. of the volume.
+       </p>
+       </dd><dt class="tei tei-notelabel"><a id="note_538" name="note_538" href="#noteref_538">538.</a></dt><dd class="tei tei-notetext">
+       <p class="tei tei-p" style="margin-bottom: 1.00em">
+       Only Nos. 1, 2, 4, 5, 7, 9, 14 are derived from Vivaldi. The others are founded on Benedetto Marcello (No. 3), Duke Johann Ernst of Weimar (Nos. 11, 16, and perhaps 13).
+       </p>
+       </dd><dt class="tei tei-notelabel"><a id="note_539" name="note_539" href="#noteref_539">539.</a></dt><dd class="tei tei-notetext">
+           <p class="tei tei-p" style="margin-bottom: 1.00em">
+           The Toccata is by Henry Purcell. See Grove, vol. iii. p. 857.
+           </p>
+           </dd><dt class="tei tei-notelabel"><a id="note_540" name="note_540" href="#noteref_540">540.</a></dt><dd class="tei tei-notetext">
+         <p class="tei tei-p" style="margin-bottom: 1.00em">
+         The volume also contains a Variant of the first Organ Concerto (B.G. XXXVIII.).
+         </p>
+         </dd><dt class="tei tei-notelabel"><a id="note_541" name="note_541" href="#noteref_541">541.</a></dt><dd class="tei tei-notetext">
+        <p class="tei tei-p" style="margin-bottom: 1.00em">
+        The Concerto is an arrangement of one by Antonio Vivaldi for four Violins, the original of which (in B minor) is given in the Appendix to the volume.
+        </p>
+        </dd><dt class="tei tei-notelabel"><a id="note_542" name="note_542" href="#noteref_542">542.</a></dt><dd class="tei tei-notetext">
+     <p class="tei tei-p" style="margin-bottom: 1.00em">
+     Omitting the vocal numbers, movements printed elsewhere, and the <span class="tei tei-q">“Menuet fait par Mons. Böhm,”</span> Peters' Bk. 1959 contains the remaining twenty numbers of the Notebook. They are indicated in the above index by a P in a bracket.
+      </p>
+      </dd><dt class="tei tei-notelabel"><a id="note_543" name="note_543" href="#noteref_543">543.</a></dt><dd class="tei tei-notetext">
+     <p class="tei tei-p" style="margin-bottom: 1.00em">
+     A separate Preface to the reprinted Suites is by Ernst Naumann. It is dated 1895.
+     </p>
+     </dd><dt class="tei tei-notelabel"><a id="note_544" name="note_544" href="#noteref_544">544.</a></dt><dd class="tei tei-notetext">
+      <p class="tei tei-p" style="margin-bottom: 1.00em">Perhaps an arrangement of an orchestral piece. See Schweitzer, i. 342 n.
+      </p>
+      </dd><dt class="tei tei-notelabel"><a id="note_545" name="note_545" href="#noteref_545">545.</a></dt><dd class="tei tei-notetext">
+         <p class="tei tei-p" style="margin-bottom: 1.00em">
+         The Appendix to the volume contains addenda to the Violin Concerto in A minor (see B.G. XXL. (1)) and Cantata 188 (see B.G. XXXVII.). Also the Zurich and London texts of the <span class="tei tei-q">“Welltempered Clavier”</span> (B.G. XIV.), with critical notes.
+         </p>
+         </dd><dt class="tei tei-notelabel"><a id="note_546" name="note_546" href="#noteref_546">546.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Preface is dated 1899. The volume was issued in 1900.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_547" name="note_547" href="#noteref_547">547.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The original words are <span class="tei tei-q">“Die Schätzbarkeit der weiten Erden.”</span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_548" name="note_548" href="#noteref_548">548.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The title-page is dated 1913 and the Preface <span class="tei tei-q">“Im Advent auf 1914.”</span>
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_549" name="note_549" href="#noteref_549">549.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The Aria is no. 20 of A. M. Bach's <span class="tei tei-q">“Notenbuch”</span> for 1725. See E.G. XLII. (2) no. 20.
+</p>
+</dd><dt class="tei tei-notelabel"><a id="note_550" name="note_550" href="#noteref_550">550.</a></dt><dd class="tei tei-notetext">
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+This publication, announced for 1916, appears under a different title as the third issue for 1917. See infra, XVII. (3).
+</p>
+</dd></dl>
+</div>
+
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+<div id="pgfooter" class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"><pre class="pre tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em">***END OF THE PROJECT GUTENBERG EBOOK JOHANN SEBASTIAN BACH
+***
+</pre><hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em"><a name="rightpageheader61" id="rightpageheader61"></a><a name="pgtoc62" id="pgtoc62"></a><a name="pdf63" id="pdf63"></a><h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Credits</span></h1><table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr><th class="tei tei-label tei-label-gloss">January 24, 2011  </th></tr><tr><td class="tei tei-item tei-item-gloss"><table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Project Gutenberg Edition</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item"><span class="tei tei-respStmt">
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+ <title>Johann Sebastian Bach
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+  <date value="2011-01-24">January 24, 2011</date>
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+<div rend="page-break-before: right">
+<figure url="images/frontisp.jpg" rend="page-float:'h'; w90">
+<index index="fig" />
+<head><emph>Johann Sebastian Bach.  About 1720. (From the picture by Johann Jakob Ihle, in the Bach Museum, Eisenach).</emph></head>
+<figDesc>Johann Sebastian Bach</figDesc>
+</figure>
+<p></p>
+</div>
+
+<titlePage rend="page-break-before: right">
+ <docTitle><titlePart type="main" rend="font-size: x-large">Johann Sebastian Bach</titlePart><lb /><lb/>
+</docTitle>
+<titlePart type="sub">His Life, Art and Work.  Translated from the German of Johann Nikolaus Forkel.  With notes and appendices by Charles Sanford Terry, Litt.D. Cantab.</titlePart>
+
+ <byline><lb /><lb /><lb /><docAuthor>Johann Nikolaus Forkel and Charles Sanford Terry</docAuthor><lb /><lb /><lb /><lb /></byline>
+
+<docImprint>Harcourt, Brace and Howe, New York</docImprint><lb />
+<docDate>1920</docDate>
+</titlePage>
+
+<div rend="page-break-before: right">
+<index index="pdf" />
+<head>Contents</head>
+<divGen type="toc" />
+</div>
+
+<div rend="page-break-before: right">
+<head>Illustrations</head>
+<divGen type="fig" />
+</div>
+
+<div rend="page-break-before: right">
+  <index index="toc" />
+  <index index="pdf" />
+<head>Introduction</head>
+<pb n="ix" />
+
+<p>
+Johann Nikolaus Forkel, author of the monograph 
+of which the following pages afford a translation, 
+was born at Meeder, a small village in Saxe-Coburg, on February 22, 1749, seventeen months 
+before the death of Johann Sebastian Bach, whose 
+first biographer he became.  Presumably he would 
+have followed the craft of his father, the village 
+shoemaker, had not an insatiable love of music 
+seized him in early years.  He obtained books, 
+and studied them with the village schoolmaster. 
+In particular he profited by the <q>Vollkommener
+Kapellmeister</q> of Johann Mattheson, of Hamburg, 
+the sometime friend of Handel.  Like Handel, 
+he found a derelict Clavier in the attic of his home 
+and acquired proficiency upon it.  
+Forkel's professional career, like Bach's half a 
+century earlier, began at L&uuml;neburg, where, at the 
+age of thirteen (1762), he was admitted to the choir 
+of the parish church.  Thence, at the age of 
+seventeen (1766), he proceeded to Schwerin as <q>Chorpr&auml;fect,</q> and enjoyed the favour of the 
+Grand Duke.  Three years later he betook himself (1769), at the age of twenty, to the University
+<pb n="x" />
+of G&ouml;ttingen, which he entered as a law student, 
+though a slender purse compelled him to give 
+music lessons for a livelihood.  He used his opportunity 
+to acquire a knowledge of modern languages, 
+which stood him in good stead later, when his 
+researches required him to explore foreign literatures.  
+Concurrently he pursued his musical activities, 
+and in 1774 published at G&ouml;ttingen his first 
+work, <title>Ueber die Theorie der Musik,</title> advocating 
+the foundation of a music lectureship in the University.  
+Four years later (1778) he was appointed 
+its Director of Music, and from 1779 to 1815 conducted 
+the weekly concerts of the Sing-Akademie.  
+In 1780 he received from the University the 
+doctorate of philosophy.  The rest of his life was 
+spent at G&ouml;ttingen, where he died on March 17, 
+1818, having just completed his sixty-ninth 
+year.
+</p>
+<p>
+That Forkel is remembered at all is due solely 
+to his monograph on Bach.  Written at a time 
+when Bach's greatness was realised in hardly any 
+quarter, the book claimed for him pre-eminence 
+which a tardily enlightened world since has conceded 
+him.  By his generation Forkel was esteemed 
+chiefly for his literary activity, critical ability, and 
+merit as a composer.  His principal work, <title>Allgemeine Geschichte der Musik,</title> was published in 
+two volumes at Leipzig in 1788 and 1801.  Carl 
+Friedrich Zelter, Goethe's friend and correspondent, 
+dismissed the book contemptuously as that of
+<pb n="xi" />
+an author who had <q>set out to write a history of 
+music, but came to an end just where the history 
+of music begins.</q>  Forkel's work, in fact, breaks 
+off at the sixteenth century. But the curtailed <title>
+History</title> cleared the way for the monograph on 
+Bach, a more valuable contribution to the literature 
+of music.  Forkel already had published, in 
+three volumes, at Gotha in 1778, his <title>Musikalisch-kritische Bibliothek,</title> and in 1792 completed his 
+critical studies by publishing at Leipzig his <title>Allgemeine Literatur der Musik.</title>
+</p>
+<p>
+Forkel was also a student of the music of the 
+polyphonic school.  He prepared for the press the 
+scores of a number of sixteenth century Masses, 
+Motets, etc., and fortunately received proofs of 
+them from the engraver.  For, in 1806, after the 
+Battle of Jena, the French impounded the plates 
+and melted them down.  Forkel's proofs are still 
+preserved in the Berlin Royal Library.  He was 
+diligent in quest of Bach's scattered MSS., and his 
+friendship with Bach's elder sons, Carl Philipp 
+Emmanuel and Wilhelm Friedemann, enabled him 
+to secure precious relics which otherwise might 
+have shared the fate of too many of Bach's manuscripts.  
+He took an active interest in the proposal 
+of Messrs. Hoffmeister and K&uuml;hnel, predecessors of C. F. 
+Peters at Leipzig, to print a <q>kritisch-korrecte</q> edition of Bach's Organ and Clavier 
+works.  Through his friend, Johann Gottfried 
+Schicht, afterwards Cantor at St. Thomas's,
+<pb n="xii" />
+Leipzig, he was also associated with Breitkopf and 
+Haertel's publication of five of Bach's six extant 
+Motets in 1802-3.
+</p>
+<p>
+As a composer Forkel has long ceased to be 
+remembered.  His works include two Oratorios, <title>
+Hiskias</title> (1789) and <title>Die Hirten bey der Krippe</title>; 
+four Cantatas for chorus and orchestra; Clavier 
+Concertos, and many Sonatas and Variations for 
+the Harpsichord.
+</p>
+<p>
+In 1802, for reasons which he explains in his 
+Preface, Forkel published from Hoffmeister and 
+K&uuml;hnel's <q>Bureau de Musique</q> his <title>Ueber Johann 
+Sebastian Bachs Leben, Kunst und Kunstwerke.  
+F&uuml;r patriotische Verehrer echter musikalischer 
+Kunst,</title> of which a new edition was issued by 
+Peters in 1856.  The original edition bears a dedication 
+to Gottfried Baron van Swieten<note place="foot">
+<p>
+<q>Seiner Excellenz dem Freyheren 
+van Swieten ehrerbietigst 
+gewidmet von dem Verfasser.</q>
+</p>
+</note>
+ (1734-1803), Prefect of the Royal Library, Vienna, and 
+sometime Austrian Ambassador in Berlin, a friend 
+of Haydn and Mozart, patron of Beethoven, a 
+man whose age allowed him to have seen Bach, 
+and whose career makes the association with Bach 
+that Forkel's dedication gives him not undeserved.  
+It was he, an ardent Bach enthusiast, who introduced 
+the youthful Mozart to the music of the 
+Leipzig Cantor. <q>I go every Sunday at twelve 
+o'clock to the Baron van Swieten,</q> Mozart writes 
+in 1782, <q>where nothing is played but Handel and 
+<pb n="xiii" />
+Bach, and I am now making a collection of the 
+Fugues of Bach.</q>  The merit and limitations of 
+Forkel's book will be considered later.  For the 
+moment the fact deserves emphasis that, inadequate 
+as it is, it presented a fuller picture of Bach 
+than so far had been drawn, and was the first to 
+render the homage due to his genius.
+</p>
+<p>
+In an illuminating chapter (xii.), <title>Death and 
+Resurrection</title>, Schweitzer has told the story of 
+the neglect that obscured Bach's memory after 
+his death in 1750.  Isolated voices, raised here 
+and there, acclaimed his genius.  With Bach's 
+treatise on <title>The Art of Fugue</title> before him, Johann 
+Mattheson (1681-1664), the foremost critic of the 
+day, claimed that Germany was <q>the true home 
+of Organ music and Fugue.</q>  Friedrich Wilhelm 
+Marpurg (1718-95), the famous Berlin theorist, 
+expressed the same opinion in his preface to the 
+edition of that work published shortly after Bach's 
+death.  But such appreciations were rare.  Little 
+of Bach's music was in print and available for 
+performance or critical judgment.  Even at St.
+Thomas's, Leipzig, it suffered almost complete 
+neglect until a generation after Forkel's death.  
+The bulk of Bach's MSS. was divided among his 
+family, and Forkel himself, with unrivalled opportunity 
+to acquaint himself with the dimensions 
+of Bach's industry, knew little of his 
+music except the Organ and Clavier compositions.
+</p>
+<pb n="xiv" />
+<p>
+In these circumstances it is not strange that 
+Bach's memory waited for more than half a 
+century for a biographer.  Forkel, however, was 
+not the first to assemble the known facts of 
+Bach's career or to assert his place in the music of 
+Germany.
+</p>
+<p>
+Putting aside Johann Gottfried Walther's brief 
+epitome in his <title>Lexikon</title> (1732), the first and most 
+important of the early notices of Bach was the 
+obituary article, or <q>Nekrolog,</q> contributed by his 
+son, Carl Philipp Emmanuel, and Johann Friedrich 
+Agricola, one of Bach's most distinguished pupils, 
+to the fourth volume of Mizler's <title>Musikalische 
+Bibliothek,</title> published at Leipzig in 1754.  The 
+authors of this appreciation give it an intimacy 
+which renders it precious.  But Mizler's periodical 
+was the organ of a small Society, of which Bach 
+had been a member, and outside its associates 
+can have done little to extend a knowledge of the 
+subject of the memoir.
+</p>
+<p>
+Johann Friedrich Agricola contributed notes 
+on Bach to Jakob Adlung's <title>Musica mechanica 
+Organoedi,</title> published in two volumes at Berlin in 
+1768.  The article is valuable chiefly for Agricola's 
+exposition of Bach's opinions upon Organ and 
+Clavier building.
+</p>
+<p>
+With the intention to represent him as <q>the 
+coryphaeus of all organists,</q> Johann Adam Hiller, 
+who a few years later became Cantor at St.
+Thomas's, Leipzig, published there in 1784 a
+<pb n="xv" />
+brief account of Bach in his <title>Lebensbeschreibungen ber&uuml;hmter Musikgelehrten und Tonk&uuml;nstler neuerer Zeit.</title>
+</p>
+<p>
+Four years after Hiller's notice, Ernst Ludwig 
+Gerber published at Leipzig, in two volumes, 
+1790-92, his <title>Historisch-biographische Lexikon 
+der Tonk&uuml;nstler.</title>  As in Hiller's case, Gerber, 
+whose father had been Bach's pupil, was chiefly 
+interested in Bach as an organist.
+</p>
+<p>
+Coincidently with Gerber, another of Bach's 
+pupils, Johann Martin Schubart, who succeeded 
+him at Weimar in 1717, sketched his characteristics 
+as a performer in the <title>Aesthetik der Tonkunst</title>, 
+published at Berlin by his son in the <title>Deutschen 
+Monatsschrift</title> in 1793. 
+</p>
+<p>
+In 1794 appeared at Leipzig the first volume of a 
+work which Spitta characterises as fantastic and 
+unreliable, so far as it deals with Bach, Friedrich 
+Carl Gottlieb Hirsching's <title>Historisch-literarisches 
+Handbuch</title> of notable persons deceased in the 
+eighteenth century.
+</p>
+<p>
+Last of Forkel's forerunners, A. E. L. Siebigke 
+published at Breslau in 1801 his <title>Museum 
+deutscher Tonk&uuml;nstler,</title> a work which adds 
+nothing to our knowledge of Bach's life, but 
+offers some remarks on his style.
+</p>
+<p>
+Little, if any, information of value, therefore, 
+had been added to the <title>Nekrolog</title> of 1754 when 
+Forkel, in 1802, produced his monograph on Bach 
+and his music.  Nor, viewed as a biography, does
+<pb n="xvi" />
+Forkel much enlarge our knowledge of the conditions 
+of Bach's life.  He had the advantage of 
+knowing Bach's elder sons, but appears to have 
+lacked curiosity regarding the circumstances of 
+Bach's career, and to have made no endeavour to 
+add to his imperfect information, even regarding 
+his hero's life at Leipzig, upon which it should have 
+been easy for him to obtain details of utmost 
+interest.  His monograph, in fact, is not a <q>Life</q>
+in the biographic sense, but a critical appreciation 
+of Bach as player, teacher, and composer, based 
+upon the Organ and Clavier works, with which 
+alone Forkel was familiar.
+</p>
+<p>
+It would be little profitable to weigh the value 
+of Forkel's criticism.  We are tempted to the conclusion 
+that Bach appealed to him chiefly as a 
+supreme master of technique, and our hearts would 
+open to him more widely did not his appreciation 
+of Bach march with a narrow depreciation 
+of Haydn, Mozart, and Beethoven, the last of 
+whom, he declared <foreign lang="la">ex cathedra</foreign>, had not produced <q>a single work which can be called a masterpiece.</q>
+Gluck he frankly detested.
+</p>
+<p>
+But Forkel's monograph is notable on other 
+grounds.  It was the first to claim for Bach a 
+place among the divinities.  It used him to 
+stimulate a national sense in his own people.  
+Bach's is the first great voice from out of Germany 
+since Luther.  Of Germany's own Kisorgimento, 
+patently initiated by Goethe a generation after
+<pb n="xvii" />
+Johann Sebastian's death, Bach himself is the 
+harbinger.  In his assertion of a distinctive German 
+musical art he set an example followed in 
+turn by Mozart, Weber, and Wagner.  <q>With 
+Bach,</q> wrote Wagner, <q>the German Spirit was born 
+anew.</q>  It is Forkel's perpetual distinction that 
+he grasped a fact hidden from almost all but 
+himself.  In his Preface, and more emphatically 
+in the closing paragraph of his last Chapter, he 
+presents Bach as the herald of a German nation 
+yet unformed.
+</p>
+<p>
+It is a farther distinction of Forkel's monograph 
+that it made converts.  With its publication the 
+clouds of neglect that too long had obscured Bach's 
+grandeur began to melt away, until the dizzy 
+altitude of his genius stood revealed.  The publication 
+of the five Motets (1803) was followed by 
+that of the Magnificat in 1811, and of the Mass 
+in A in 1818.  A beginning was made with the 
+Cantatas in 1821, when Breitkopf and Haertel 
+published <q>Ein' feste Burg</q> (No. 80), commended 
+in an article written (1822) by Johann Friedrich Rochlitz (1769-1842), the champion of Beethoven, 
+as now of Bach.  Another enthusiastic 
+pioneer was Carl Friedrich Zelter (1758-1832), 
+conductor of the Berlin Sing-Akademie, who 
+called Bach <q>a sign of God, clear, yet inexplicable.</q>   
+To him in large measure was due the memorable 
+revival of the <title>St. Matthew Passion</title> at Berlin, 
+which the youthful Mendelssohn, Zelter's pupil,
+<pb n="xviii" />
+conducted in March 1829, exactly one hundred 
+years after the first production of the mighty work 
+at Leipzig.  In the following years it was given 
+at Dresden and many other German towns.  
+Leipzig heard it again after a barren interval in 
+1841, and did tardy homage to its incomparable 
+composer by erecting (1843) the statue that 
+stands in the shadow of St. Thomas's Church, 
+hard by the Cantor's home for a quarter of a 
+century.
+</p>
+<p>
+Meanwhile, in 1830 and 1831 the <title>St. Matthew 
+Passion</title> and <title>St. John Passion</title> had been engraved, 
+and by 1845 the B minor Mass was in 
+print.  The credit of having revived it belongs to 
+Johann Nepomuk Schelble (1789-1837), conductor 
+of the Frankfort Caecilienverein, though the Berlin 
+Sing-Akademie was the first to give a performance, 
+considerably curtailed, of the whole work in 1835.  
+A little later, in the middle of the forties, Peters 
+began to issue his <q>kritisch-korrecte</q> edition of 
+the Organ works, which at length made Bach 
+widely known among organists.  But the publication 
+of the Cantatas proceeded slowly.  Only 
+fourteen of them were in print in 1850, when the 
+foundation of the Bachgesellschaft, on the centenary 
+of Bach's death, focused a world-wide homage.  
+When it dissolved in 1900 its mission was accomplished, 
+the entire works<note place="foot">
+<p>
+So far the New Bachgesellschaft has published only a single 
+Cantata overlooked by the old Society. See <foreign lang="la">infra</foreign>, p. 280.
+</p>
+</note>
+of Bach were published, 
+<pb n="xix" />
+and the vast range of his genius was patent to the 
+world.
+</p>
+<p>
+It remains to discuss the first English version of 
+Forkel's monograph, published in 1820, with the 
+following title-page:
+</p>
+<quote rend="display">LIFE OF JOHN SEBASTIAN BACH; with a Critical View 
+of his Compositions. By J. N. Forkel, Author of The Complete 
+History of Music, etc., etc. Translated from the 
+German.  London: Printed for T. Boosey and Co., Holles-Street,
+Cavendish-Square. 1820.
+</quote>
+<p>
+The book was published in February 1820; 
+it was announced, with a slightly differently 
+worded title-page, in the <title>New Monthly Magazine 
+and Universal Register</title> for March 1820 (p. 341), 
+and the <title>Scots Magazine</title> for the same month (
+vol. lxxxv. p. 263).  The <title>New Monthly</title> states the 
+price as 5s., the <title>Quarterly Review</title> (vol. xxiii. 
+p. 281) as 6s.  The book contains xi+116+3 pages 
+of Music Figures, crown octavo, bound in dark 
+unlettered cloth.  It has neither Introduction, 
+notes (other than Forkel's), nor indication of the 
+translator's identity.  Much of the translation 
+is so bad as to suggest grave doubts of the translator's 
+comprehension of the German original; 
+while his rendering of Forkel's critical chapters 
+rouses a strong suspicion that he also lacked 
+technical equipment adequate to his task.  It is, 
+in fact, difficult to understand how such an unsatisfactory 
+piece of work found its way into 
+print.
+</p>
+<pb n="xx" />
+<p>
+The character of the 1820 translation has a close 
+bearing upon its authorship.  In the article on 
+Bach in the new <title>Grove</title> it is attributed to Samuel 
+Wesley (1766-1837), an attractive suggestion, 
+since Wesley was as enthusiastic a Bach pioneer 
+in this country as Forkel himself was in Germany.  
+But the statement is not correct.  In Samuel 
+Wesley's <title>Letters to Mr. Jacobs relating to the 
+Introduction into this Country of the Works of J. S. 
+Bach</title> (London, 1875) we find the clue.  On 
+October 17, 1808, Wesley writes: <q>We are (in 
+the first place) preparing for the Press an authentic 
+and accurate Life of Sebastian, which Mr. Stephenson the Banker (a most zealous and scientific 
+member of our Fraternity) has translated into 
+English from the German of Forkel.</q>
+</p>
+<p> 
+Unfortunately, it is impossible to identify 
+Stephenson precisely, or to detect his activities 
+in the musical circle in which Wesley includes him.  
+In 1820 there was in Lombard Street a firm of 
+bankers under the style of <q>Remington, Stephenson, Remington, and Toulmin,</q> the active partner 
+being Mr. Rowland Stephenson, a man of about 
+forty in that year.  The firm was wound up in 
+bankruptcy in 1829, Stephenson having absconded 
+to America the previous year.  He appears to 
+have been the only banker of that name holding 
+such a recognised position as Wesley attributes to 
+him, though it remains no more than a conjecture 
+that he was the author of the translation issued in
+<pb n="xxi" />
+1820.<note place="foot">
+<p>
+In <title>The News</title> of January 4, 1829, he is described 
+as the second 
+son of the late John Stephenson of Great Ormonde Street, Queen 
+Square, whom he had succeeded in the partnership of the firm.  His 
+wife was dead, and of his eight children the eldest was also in the 
+Bank.
+</p>
+</note>
+But whoever <q>Stephenson the Banker</q> 
+may have been, the poverty of his work fails to 
+support Wesley's commendation of his <q>scientific</q>
+equipment, and suggests that his purse rather 
+than his talents were serviceable to Wesley's 
+missionary campaign.
+</p>
+<p>
+For the facts of Bach's life, and as a record of 
+his artistic activities, Forkel admittedly is inadequate 
+and often misleading.  Stephenson necessarily 
+was without information to enable him to 
+correct or supplement his author.  Recent research, 
+and particularly the classic volumes of 
+Spitta and Schweitzer, have placed the present 
+generation in a more instructed and therefore 
+responsible position.  The following pages, accordingly, 
+have been annotated copiously in order to 
+bring Forkel into line with modern scholarship.  
+His own infrequent notes are invariably indicated 
+by a prefixed asterisk.  It has been thought 
+advisable to write an addendum to Chapter II. 
+in order to supplement Forkel at the weakest 
+point of his narrative.
+</p>
+<p>
+Readers of Spitta's first volume probably will 
+remember the effort to follow the ramifications of 
+the Bach pedigree unaided by a genealogical 
+Table.  It is unfortunate that Spitta did not
+<pb n="xxii" />
+set out in that form the wealth of biographical 
+material his pages contain.  To supply the deficiency, 
+and to illustrate Forkel's first Chapter, 
+a complete Genealogical Table is provided in 
+Appendix VI., based mainly upon the biographical 
+details scattered over Spitta's pages.
+</p>
+<p>
+In Chapter IX. Forkel gives a list of Bach's 
+compositions known to him.  It is, necessarily, 
+incomplete.  For that reason Appendices I. and 
+II. provide a full catalogue of Bach's works 
+arranged under the periods of his career.  In the 
+case of the Oratorios, Cantatas, Motets, and
+<q>Passions,</q> it is not difficult to distribute them 
+upon a chronological basis.  The Clavier works 
+also can be dated with some approximation to 
+closeness.  The effort is more speculative in the 
+case of the Organ music.
+</p>
+<p>
+In his Preface Forkel suggests the institution of 
+a Society for the publication and study of Bach's 
+works.  The proposal was adopted after half a 
+century's interval, and in Appendix III. will be 
+found a complete and detailed catalogue of the 
+publications of the Old and New Bachgesellschaft 
+from 1850 to 1918 inclusive.  The Society's issues 
+for 1915-18 have not yet reached this country.   
+The present writer had an opportunity to examine 
+them in the Library of the Cologne Conservatorium 
+of Music in the spring of this year.
+</p>
+<p>
+In this Introduction will be found a list of 
+works bearing on Bach, which preceded Forkel's
+<pb n="xxiii" />
+monograph.  Appendix IV. provides a bibliography 
+of Bach literature published subsequently 
+to it.
+</p>
+<p>
+Grateful acknowledgment is made to Mr. Ivor 
+Atkins, of Worcester Cathedral, and to Mr. W. G. 
+Whittaker, of Newcastle-upon-Tyne, who have 
+read these pages in proof, and improved them by 
+their criticism.
+</p>
+<closer>
+<signed>C. S. T.</signed>
+<dateline>October 1, 1919.</dateline>
+</closer>
+</div>
+
+<div rend="page-break-before: right">
+  <index index="toc" />
+  <index index="pdf" />
+<head>FORKEL'S PREFACE</head>
+
+<p>
+Many years ago I determined to give the public 
+an account of the life of Johann Sebastian Bach, 
+with some reflections upon his genius and his 
+works.  The brief article by Carl Philipp 
+Emmanuel Bach<note place="foot">
+<p>
+Carl Philipp Emmanuel Bach, third 
+son of Johann Sebastian 
+Bach, b. 1714; Kammermusikus to Frederick the Great of Prussia
+(1746), Kapellmeister at Hamburg (1768); d. 1788. 
+</p>
+</note>
+and Herr Agricola,<note place="foot">
+<p>
+Johann Friedrich Agricola, of Dobitsch, b. 1720; studied 
+composition 
+with Bach at Leipzig; Court Composer (1751) and, after 
+Carl Heinrich Graun's death (1759), Kapellmeister to Frederick the 
+Great of Prussia; d. 1774. See Spitta, <title>Johann Sebastian Bach,</title> iii. 
+243 ff. 
+</p>
+</note>
+formerly 
+composer to the Court of Prussia, contributed to 
+the fourth volume of Mizler's <title>Musical Library,</title><note place="foot">
+<p>
+Lorenz Christoph Mizler (1711-78), 
+a pupil of Bach, founded at 
+Leipzig in 1738 the <q>Sozietat der musikalischen Wissenschaften,</q> of 
+which Bach and Handel were members.  Mizler's journal, the <title>Neuer&ouml;ffneter Musikalischer Bibliothek,</title> was its organ.  It appeared from 1736 
+to 1754.  In Part I. of vol. iv. (1754) C. P. E. Bach and Agricola 
+collaborated in the obituary notice, or <q>Nekrolog,</q> which is almost 
+the earliest literary authority for Bach's life.  It covered less than 
+twenty pages.  (See Schweitzer, <title>J. S. Bach</title> (trans. Ernest Newman), 
+i. 189 ff. and Spitta, i. Pref.)  Agricola's association with Bach's son 
+in the preparation of the obituary notice is explained by the fact that 
+for the last ten years of Sebastian's life Agricola was in closer relations 
+with him than Carl Philipp Emmanuel, who no longer was resident in 
+Leipzig.
+</p>
+</note> 
+can hardly be deemed adequate by Bach's admirers 
+and, but for the desire to complete my
+<pb n="xxv"/>
+<title>General History of Music,</title><note place="foot">
+<p>
+Forkel's <title>Allgemeine Geschichte der Musik</title> (2 vols. 1788-1801) 
+had only come down to the sixteenth century when its author diverted 
+his pen to a biography of Bach. 
+</p>
+</note>
+I should have fulfilled my purpose 
+long ago.  As Bach, more than any other 
+artist, represents an era in the history of music, 
+it was my intention to devote to the concluding 
+volume of that work the materials I had collected 
+for a history of his career.  But the announcement 
+that Messrs. Hoffmeister and K&uuml;hnel, the Leipzig 
+music-sellers and publishers, propose to issue a 
+complete and critical edition of Bach's works has 
+induced me to change my original plan.<note place="foot">
+<p>
+The firm of Hoffmeister and K&uuml;hnel 
+was founded at Leipzig in 
+1800 by Franz Anton Hoffmeister, who started, in 1801, a subscription 
+for the publication of Bach's works, to which Forkel alludes.  The 
+scheme failed to mature, and its accomplishment was reserved to C. F. 
+Peters, who purchased Hoffmeister's <q>Bureau de Musique</q> in 
+1814.  See articles on Hoffmeister and Peters in Grove's <title>Dictionary.</title>
+</p>
+</note>
+</p>
+<p>
+Messrs. Hoffmeister and K&uuml;nel's project promises 
+at once to advance the art of music and 
+enhance the honour of the German name.  For 
+Bach's works are a priceless national patrimony; 
+no other nation possesses a treasure comparable 
+to it.  Their publication in an authoritative text 
+will be a national service and raise an imperishable 
+monument to the composer himself.  All who 
+hold Germany dear are bound in honour to promote 
+the undertaking to the utmost of their 
+power.  I deem it a duty to remind the public of 
+this obligation and to kindle interest in it in every 
+true German heart.  To that end these pages
+<pb n="xxvi" />
+appear earlier than my original plan proposed; for they 
+will enable me to reach a larger number 
+of my fellow countrymen.  The section on Bach 
+in my <title>History of Music</title> probably would have 
+been read by a handful of experts or musical 
+artists.  Here I hope to speak to a larger audience.  
+For, let me repeat, not merely the interests of 
+music but our national honour are concerned to 
+rescue from oblivion the memory of one of 
+Germany's greatest sons.
+</p>
+<p>
+One of the best and most effective means of 
+popularising musical masterpieces is to perform 
+them in public.  In that way works of merit 
+secure a widening audience.  People listen to 
+them with pleasure in the concert room, church, 
+or theatre, remember the agreeable impression 
+they created, and purchase them when published, 
+even though they cannot always play them.  But 
+Bach's works unfortunately are rarely heard 
+nowadays; for the number of persons capable 
+of playing them adequately is at best inconsiderable.  
+It would have been otherwise had 
+Bach given touring performances of his music,<note place="foot">
+<p>
+Though Bach 
+never ventured upon such tours as Mozart or 
+Berlioz, for instance, undertook, he loved travelling, and his artistic 
+journeys made him famous throughout Germany, at least as an 
+organist.  Forkel himself describes (<foreign lang="la">infra</foreign>, pp. 19, 23) his notable 
+visits to the Courts of Berlin and Dresden.
+</p>
+</note> 
+a labour for which he had neither time nor liking.  
+Many of his pupils did so, and though their skill 
+was inferior to their master's, the admiration
+<pb n="xxvii" /> 
+and astonishment they excited revealed the 
+grandeur of his compositions.  Here and there, 
+too, were found persons who desired to hear on 
+their own instrument pieces which the performer 
+had played best or gave them most pleasure.  
+They could do so more easily for having heard 
+how the piece ought to sound.
+</p>
+<p>
+But, to awaken a wide appreciation of musical 
+masterpieces depends upon the existence of good 
+teachers.  The want of them is our chief difficulty.  
+In order to safeguard their credit, the 
+ignorant and incompetent of their number are 
+disposed to decry good music, lest they should be 
+asked to play it.  Consequently, their pupils, condemned 
+to spend time, labour, and money on 
+second-rate material, will not after half a dozen 
+years, perhaps, show themselves farther advanced 
+in sound musical appreciation than they were 
+at the outset.  Whereas, under a good teacher, 
+half the time, labour, and money produces progressive 
+improvement.  Time will show whether 
+this obstacle can be surmounted by making 
+Bach's works accessible in the music shops and by 
+forming a Society among the admirers of his 
+genius to make them known and promote their 
+study.<note place="foot">
+<p>
+In 1802, it must be remembered, not 
+a note of Bach's concerted 
+Church music was in print except the tunes he wrote for Schemelli's 
+Hymn-book (1736) and the vocal parts of an early Cantata (No. 71).  
+Of his instrumental works engraved by 1802 Forkel gives a list <foreign lang="la">infra</foreign>, 
+p. 137.  It was hardly until the foundation of the Bachgesellschaft in
+1850, to celebrate the centenary of Bach's death, that the systematic 
+publication of his concerted Church music began.  Before that date, 
+however, Peters of Leipzig had taken in hand the abandoned scheme 
+of Hoffmeister and K&uuml;hnel, to which Forkel alludes, and in which he 
+participated.
+</p>
+</note>
+</p>
+<pb n="xxviii" />
+<p>
+At any rate, if music is really an art, and not a 
+mere pastime, its masterpieces must be more 
+widely known and performed than in fact they 
+are.  And here Bach, prince of classic composers, 
+can render yeoman service.<note place="foot">
+<p>
+It is notable that Forkel makes 
+no mention of Haydn, Mozart, or 
+Handel, whose English domicile had divorced him from Germany's 
+service.  Forkel's pessimism is the more curious, seeing that Beethoven 
+was already thirty years old, and that Mozart in 1786, after giving 
+him a subject to extemporise upon, had remarked, <q>Listen to that 
+young man; he will some day make a noise in the world</q> (Holmes,
+<title>Life of Mozart,</title> Dent's ed., p. 223).  Forkel, in fact, appreciated 
+neither Mozart nor Beethoven and thoroughly detested Gluck.
+</p>
+</note>
+For his music is 
+so well calculated to educate the student to distinguish 
+what is trivial from what is good, and to 
+comport himself as an artist in whatever branch 
+of the art he makes his own.  Moreover, Bach, 
+whose influence pervades every musical form, can 
+be relied on more than any other composer to 
+correct the superficiality which is the bane of 
+modern taste.  Neglect of the classics is as prejudicial 
+to the art of music as it would be fatal to 
+the interests of general culture to banish Greek 
+and Latin writers from our schools.  Modern 
+taste exhibits no shame in its preference for 
+agreeable trifles, in its neglect of everything that 
+makes a demand, however slight, upon its 
+attention.  To-day we are menaced by a proposal
+<pb n="xxix" />
+to banish the classics from our schoolrooms.  
+Equally short-sighted vision threatens to extinguish 
+our musical classics as well.  And is it 
+surprising?  Modern art displays such poverty and 
+frivolity that it well may shrink from putting 
+itself in context with great literature, particularly 
+with Bach's mighty and creative genius, and seek 
+rather to proscribe it.
+</p>
+<p>
+I fain would do justice to the sublime genius 
+of this prince of musicians, German and foreign!  
+Short of being such a man as he was, dwarfing 
+all other musicians from the height of his superiority, 
+I can conceive no greater distinction than 
+the power to comprehend and interpret him to 
+others.<note place="foot">
+<p>
+As has been pointed out in the Introduction, Forkel stood almost 
+alone in 1802 in his opinion of Bach's pre-eminence.  Even Beethoven 
+placed Bach after Handel and Mozart, but knew little of his music on 
+which to found a decision.
+</p>
+</note>
+The ability to do so must at least connote 
+a temperament not wholly alien from his own.  
+It may even hint the flattering prospect that, if 
+circumstances had opened up the same career, 
+similar results might have been forthcoming.  I 
+am not presumptuous to suggest such a result in 
+my own case.  On the contrary I am convinced 
+that there are no words adequate to express the 
+thoughts Bach's transcendent genius stirs one to 
+utter.  The more intimately we are acquainted 
+with it the greater must be our admiration.  Our 
+utmost eulogy, our deepest expressions of homage, 
+<pb n="xxx" />
+must seem little more than well-meant prattle.   
+No one who is familiar with the work of other 
+centuries will contradict or hold my statement 
+exaggerated, that Bach cannot be named except 
+in tones of rapture, and even of devout awe, by 
+those who have learnt to know him.  We may 
+discover and lay bare the secrets of his technique.  
+But his power to inspire into it the breath of 
+genius, the perfection of life and charm that 
+moves us so powerfully, even in his slightest 
+works, must always remain extraordinary and 
+insoluble.
+</p>
+<p>
+I do not choose to compare Bach with other 
+artists.  Whoever is interested to measure him 
+with Handel will find a just and balanced estimate 
+of their relative merits, written by one fully informed 
+for the task, in the first number of the 
+eighty-first volume of the <title>Universal German 
+Library,</title> pages 295-303.<note place="foot">
+<p>
+The 
+anonymous article in the <title>Allgemeine deutsche Bibliothek,</title> to 
+which Forkel alludes, deals with Bach's Clavier and Organ works and 
+upon them asserts Bach's superiority over Handel.  The judgment 
+was unusual.  Bach's fame was gravely prejudiced by German Handel-worship, which the first performance of the <title>Messiah</title> at Leipzig in 
+1786 stimulated.  Johann Adam Hiller, Bach's third successor in the 
+Cantorate of St. Thomas', was largely responsible.  He neglected, and 
+even belittled, the treasures of Bach's art which the library of St. 
+Thomas' contained.  See Schweitzer, i. 231. 
+</p>
+</note>
+</p>
+<p>
+So far as it is not derived from the short article 
+in Mizler's <title>Library</title> already mentioned,<note place="foot">
+<p>
+The <title>Nekrolog.</title> See 
+<foreign lang="la">supra</foreign>, p. xxiv.
+</p>
+</note>
+I am indebted for my information to the two eldest
+<pb n="xxxi" />
+sons of Bach himself.<note place="foot">
+<p>
+Carl Philipp Emmanuel and Wilhelm Friedemann.  The latter 
+was born in 1710, and after holding Organistships at Halle and Dresden, 
+died at Berlin in 1784, leaving his widow and daughter in great poverty.  
+The former received a grant from the receipts of the <title>Messiah</title>
+performance alluded to in note 1, <foreign lang="la">supra</foreign>.  A man of brilliant musical 
+attainments, Wilhelm Friedemann's character was dissolute and unsteady. 
+See Schweitzer, i. 146 ff.
+</p>
+</note>
+Not only was I personally 
+acquainted with them, but I corresponded 
+regularly for many years with both,<note place="foot">
+<p>
+Two letters written by C. P. E. Bach to Forkel in 1775, conveying 
+a good deal of information reproduced by Forkel in this monograph, 
+are printed in facsimile by Dr. Max Schneider in his
+<title>Bach-Urkunden</title> (N.B.G., XVII. (3)). 
+</p>
+</note>
+ particularly 
+Carl Philipp Emmanuel.  The world knows them 
+as great artists.  But probably it is not aware 
+that to the last moment of their lives they spoke 
+of their father's genius with enthusiastic admiration.<note place="foot">
+<p>
+Forkel's statement is entitled to respect. On the other hand 
+there is nothing in the recorded careers of either of Bach's sons that 
+bears him out on this point. Schweitzer (i. 229) endorses Elinor's 
+judgment: <q>Bach's sons were the children of their epoch, and never 
+understood their father; it was only from piety that they looked at 
+him with childlike admiration.</q> Dr. Charles Burney spent several days 
+with Carl Philipp Emmanuel at Hamburg in 1772, but during the 
+whole time the son never played to him a note of his father's music.
+</p>
+</note>
+From my early youth I have been inspired 
+by an appreciation no less deep than theirs.  
+It was a frequent theme of conversation and 
+correspondence between us.
+</p>
+<p>
+Thus, having been in a position to inform myself 
+on all matters relating to Bach's life, genius, and 
+work, I may fairly hold myself competent to communicate 
+to the public what I have learnt and to 
+offer useful reflections upon it.  I take advantage
+<pb n="xxxii" />
+of my opportunity the more readily because it permits me 
+to draw attention to an enterprise<note place="foot">
+<p>
+i.e. Hoffmeister and K&uuml;hnel's project.
+</p>
+</note>
+that promises to provide a worthy monument to 
+German art, a gallery of most instructive models 
+to the sincere artist, and to afford music lovers an 
+inexhaustible source of sublimest pleasure. 
+</p>
+</div>
+
+</front>
+
+<body rend="page-break-before: right">
+
+<pb n="1" />
+<div rend="page-break-before: right">
+  <index index="toc" />
+  <index index="pdf" />
+<head>CHAPTER I. THE FAMILY OF BACH</head>
+<p>
+If there is such a thing as inherited aptitude for 
+art it certainly showed itself in the family of Bach.  
+For six successive generations scarcely two or three 
+of its members are found whom nature had not 
+endowed with remarkable musical talent, and who 
+did not make music their profession.<note place="foot">
+<p>
+The accuracy of this statement is apparent from the Genealogy 
+appended to this volume.  Bach's sons represented the sixth generation 
+from Veit Bach, the sixteenth century ancestor of the family.  
+Veit himself was not a professional musician; one of his sons was a 
+Spielmann; thereafter for the next 150 years all but seven of his descendants, 
+whose professions are known, were Organists or Cantors or 
+Town Musicians.  Many of them, moreover, were men of the highest 
+attainments in their profession.
+</p>
+</note>
+</p>
+<p>
+Veit Bach,<note place="foot">
+<p>
+He took his name from St. Vitus (Guy), patron saint of the church 
+of Wechmar, a fact which sufficiently disproves Forkel's statement 
+that his original domicile was in Hungary.  The Bachs were settled 
+in Wechmar as early as <foreign lang="la">circ.</foreign> 1520.  Veit migrated thence to Hungary, 
+though there is no adequate foundation for the statement that he 
+settled at Pressburg.  He returned to Wechmar during the beginning 
+of the Counter-Reformation under the Emperor Rudolph II. (1576- 
+1612), and died at Wechmar, March 8, 1619.  See Spitta, i. 4.
+</p>
+<p>
+Apart from church and town registers, laboriously consulted by 
+Spitta in tracing the Bach genealogy, we owe our knowledge of it to 
+an MS. drawn up by Bach in 1735 which is now in the Berlin Royal 
+Library after being successively in the possession of Carl Philipp 
+Emmanuel, Forkel, and G. P&ouml;lchau, the Hamburg teacher of music.
+</p>
+<p>
+The original entries in it are stated by Carl P. Emmanuel to be by 
+his father. Forkel also owned a Bach genealogical tree, given him by 
+Carl Philipp Emmanuel; it has disappeared. Traces of it exist in 
+a work published at Pressburg by Johann Matthias Korabinsky in 
+1784, its insertion being due to the assumption that the Bachs were 
+a Hungarian family.  Forkel shared that error.  See Spitta's Preface 
+on the whole question.  The MS. genealogy of 1735 is published by 
+the New Bachgesellschaft (XVIII. 3) in facsimile. 
+</p>
+</note>
+ ancestor of this famous family, 
+<pb n="2" />
+gained a livelihood as a baker at Pressburg in 
+Hungary.  When the religious troubles of the 
+sixteenth century broke out he was driven to seek 
+another place of abode, and having got together 
+as much of his small property as he could, retired 
+with it to Thuringia, hoping to find peace and 
+security there.  He settled at Wechmar, a village 
+near Gotha,<note place="foot">
+<p>
+Veit, in fact, returned to his native village. His 
+name, as has 
+been pointed out, implies a connection with Wechmar that must have 
+dated from infancy.  Moreover, there was living there in 1561 one 
+Hans Bach, an official of the municipality, who may be regarded 
+confidently as Veit's father.
+</p>
+</note>
+ where he continued to ply his trade 
+as a baker and miller.<note place="foot">
+<p>
+It has been suggested that the name Bach is the sole authority 
+for the statement that Veit was a baker.  But Spitta points out that 
+the vowel in the name is pronounced long and was frequently written 
+BAACH in the seventeenth century, a fact which makes it difficult to 
+associate the word with <q>Backer</q> (Baker). 
+</p>
+</note>
+In his leisure hours he 
+was wont to amuse himself with the lute,<note place="foot">
+<p>
+In the Genealogy Johann Sebastian calls the instrument 
+a Cythringen.
+</p>
+</note>
+playing it amid the noise and clatter of the mill.  His 
+taste for music descended to his two sons<note place="foot">
+<p>
+Hans Bach (d. Dec. 26, 1626) and (?) Lips Bach (d. Oct. 10, 1620). 
+See <foreign lang="la">infra</foreign>, Genealogical Tables I. and II. and note to the latter.
+</p>
+</note>
+and their children, and in time the Bachs grew to be 
+a very numerous family of professional musicians,
+<pb n="3" />
+Cantors, Organists, and Town Musicians,<note place="foot">
+<p>
+The <q>Stadt Pfeiferei,</q>
+or official town musical establishment, 
+descended from the musicians' guilds of the Middle Ages and was presided 
+over by the Stadt Musiker, who enjoyed certain ancient privileges 
+and the monopoly of providing the music at open-air festivities.  
+Johann Jakob Brahms, the father of Johannes, was a member of such 
+a corporation at Hamburg, after having served his apprenticeship for 
+five years elsewhere.  See Florence May, <title>Johannes Brahms,</title> vol. i. 
+pp. 48 ff.
+</p>
+</note>
+throughout  Thuringia.
+</p>
+<p>
+Not all the Bachs, however, were great musicians.  
+But every generation boasted some of them who 
+were more than usually distinguished.  In the 
+first quarter of the seventeenth century three 
+of Veit Bach's grandchildren showed such exceptional 
+talent that the Count of Schwarzburg-Arnstadt thought it worth while to send them at 
+his expense to Italy, then the chief school of 
+music, to perfect themselves in the art.<note place="foot">
+<p>
+See Genealogical Table II.  The three young Bachs were the sons 
+of Lips Bach and, presumably, nephews of Hans the <q>Spielmann.</q> 
+The youngest of them was named Jonas; the name of another was 
+certainly Wendel.  It is remarkable, in a period in which Italy was 
+regarded as the Mecca of musicians, that exceedingly few of the Bach 
+family found their way thither.  Besides the three sons of Lips Bach, 
+only Johann Nikolaus, 1669-1753 (see Table VI.), Johann Sebastian 
+Bach's son Johann Christian, 1735-82 (see Table VIII.), and Carl P. E. 
+Bach's son Sebastian (see Table VII.) seem to have visited Italy.
+</p>
+</note>
+</p>
+<p>
+We do 
+not know whether they rewarded the expectations 
+of their patron, for none of their works has survived. 
+The fourth generation<note place="foot">
+<p>
+<foreign lang="la">i.e.</foreign>
+from Veit Bach.  Of the three names Forkel mentions the 
+first two were a generation before Johann Sebastian; the third, Johann 
+Bombard, was of the same generation as Johann Sebastian; none of 
+the three belonged to Johann Sebastian's branch.
+</p>
+</note>
+of the family 
+produced musicians of exceptional distinction,
+<pb n="4"/>
+and several of their compositions, thanks to Johann Sebastian Bach's 
+regard for them, have 
+come down to us. The most notable of these 
+Bachs are:
+</p>
+<list>
+<item n="1."> Johann Christoph Bach, Court and Town 
+Organist at Eisenach.<note place="foot">
+<p>
+Eldest  son of Heinrich Bach (see Table VI.).  Whether he was 
+Court as well as Town Organist at Eisenach cannot be stated positively. 
+</p>
+</note>
+ He was particularly happy 
+in his beautiful melodies and in setting words to 
+music. In the <title>Archives of the Bachs,</title><note place="foot">
+<p>
+The <title>Alt-Bachische Archive</title> is 
+a collection of the compositions of 
+various members of the family, before and after Johann Sebastian, 
+formed largely by the latter.  From C. P. E. Bach it passed to G. 
+P&ouml;lchau and from him to the Berlin Royal Library. 
+</p>
+</note>
+which 
+was in Carl Philipp Emmanuel's possession at 
+Hamburg, there is a Motet by Johann Christoph 
+in which he boldly uses the augmented sixth, a 
+proceeding considered extremely daring in his day.<note place="foot">
+<p>
+Johann Christoph composed several Motets (see them discussed 
+in Spitta, i. 75 ff.).  The daring work to which Forkel alludes was 
+written about 1680 and is lost.  Though the augmented sixth was 
+then and remained unusual, Johann Christoph's is not the earliest use 
+of it.  Spitta finds it in Giacomo Carissimi (1604-74).
+</p>
+</note> 
+He was also an uncommon master of harmony, 
+as may be inferred from a Cantata composed by 
+him for Michaelmas, to the words <q>Es erhub sich 
+ein Streit,</q> etc., which has twenty-two obbligato 
+parts in correct harmony.<note place="foot">
+<p>
+The Cantata (<q>And there was war in heaven</q>) is analysed by 
+Spitta (i. 44).  The score is unusually full: two five-part choirs; 
+Vn. 1 and 2, 4 Violas, Contrabasso, Fagotto, 4 Trombe, Timpani, 
+Organ.  In 1726 Johann Sebastian Bach wrote a Cantata for Michaelmas 
+on the same text (Rev. xii. 7).
+</p>
+</note>
+Yet another proof 
+of his rare skill is in the alleged fact that he never
+<pb n="5" />
+played the Organ or Clavier in less than five parts.<note place="foot">
+<p>
+Spitta (i. 101 n.) characterises the statement 
+as <q>a mythical 
+exaggeration.</q> In a chapter devoted to the instrumental works of 
+Johann Christoph and his brother he instances a collection of forty-four
+ Organ Chorals by the former, not one of which is in five parts.
+</p>
+</note>
+Carl Philipp Emmanuel had a particularly 
+warm regard for him.<note place="foot">
+<p>
+In the Bach genealogy already referred to C. P. E. Bach designates 
+Johann Christoph a <q>great and impressive composer.</q>
+</p>
+</note> I remember the old man 
+playing some of his compositions to me on the 
+Clavier at Hamburg, and how quizzically he 
+looked at me when one of these daring passages 
+occurred.<note place="foot">
+<p>
+A <title>Lamento</title> published under Johann Christoph's 
+name seems 
+actually to have been composed by his father Heinrich (see Pirro, <title>J.-S. Bach,</title> 9 n.). Johann Christoph, however, is the composer of the 
+Motet <title>Ich lasse dich nicht,</title> so often attributed to Johann Sebastian.
+</p>
+</note>
+</item>
+<item n="2.">
+Johann Michael Bach, Organist and Town 
+Clerk at Gehren.<note place="foot">
+<p>
+See Table VI. He was the father of Johann Sebastian's first wife. </p>
+</note> He was the younger brother 
+of Johann Christoph, and like him, a particularly 
+good composer.  The Archives already mentioned<note place="foot">
+<p>
+See note, p. 4 <foreign lang="la">supra</foreign>.
+</p>
+</note>
+contain several of his Motets, including one for 
+eight voices in double chorus,<note place="foot">
+<p>
+Spitta (i. 59 ff.) mentions twelve Motets by Michael Bach. Several 
+of them are for eight voices.  Forkel probably refers to the most 
+remarkable of Michael's Motets, in which he detects the romantic 
+spirit of Johann Sebastian.  It is set to the words <title>Unser Leben ist 
+ein Schatten,</title> (<title>Life on earth is but a shadow</title>).  The first choir 
+consists of 2 S., A., 2 T., B., and the second choir of A. T. B. only.  
+Spitta analyses the work closely (i. 70-72). Novello publishes his five- 
+part Motet <title>Christ is risen</title> with an English text.
+</p>
+</note> and many compositions 
+for Church use.
+</item>
+<item n="3.">
+Johann Bernhard Bach, Musician in the Prince's Kapelle and Organist at Eisenach.<note place="foot">
+<p>
+He succeeded his cousin Johann Christoph at Eisenach in 1703. 
+</p>
+</note>He is said to have composed remarkably fine Suites, 
+or Overtures, in the French style.<note place="foot">
+<p>
+Spitta (i. 24 ff.) mentions four Suites, or Overtures, Clavier pieces, and Organ Chorals as being by him.  That Johann Sebastian Bach highly esteemed the Suites is proved by the fact that he copied the parts of three of them with his own hand at Leipzig.</p>
+</note>
+</item>
+</list>
+<p>
+Besides these three men, the Bachs boasted 
+several able composers in the generations preceding 
+Johann Sebastian,<note place="foot">
+<p>
+It is a curious fact that, prior to the career of Johann Sebastian Bach, the composers of the Bach family occur invariably in other branches than his.  With two exceptions, the gift of composition appears to have been possessed, or exercised, solely by Heinrich Bach (see Table VI.), his two sons Johann Christoph 
+and Johann Michael, already discussed, and his grandson, Johann Nikolaus (son of Johann Christoph).  Heinrich Bach was a very productive composer in all forms of musical art employed at that time in church (Sp. i. 36).  His grandson, Johann Nikolaus, composed a Mass and a comic operetta (<foreign lang="la">ib.</foreign>, 132 ff.). The only other Bach composer known to Spitta is Georg Christoph, founder of the Franconian Bachs (see Table IV.) and Cantor at Themar and Schweinfurt (ib. 155). The other Bach composer outside Heinrich Bach's branch is Johann Bornhard, already mentioned by Forkel.</p>
+</note> men who undoubtedly 
+would have obtained higher positions, wider 
+reputation, and more brilliant fortune if they 
+could have torn themselves from their native 
+Thuringia to display their gifts elsewhere in 
+Germany or abroad. But none of the Bachs 
+seems to have felt an inclination to migrate. 
+Modest in their needs, frugal by nature and training, 
+they were content with little, engrossed in 
+and satisfied by their art, and wholly indifferent 
+<pb n="7" />
+to the decorations which great men of that time were wont to bestow on artists as special marks of honour. The fact that others who appreciated them were thus distinguished did not rouse the slightest envy in the Bachs.
+</p>
+<p>
+The Bachs not only displayed a happy contentedness, indispensable for the cheery enjoyment of life, but exhibited a clannish attachment to each other.  They could not all live in the same locality.  But it was their habit to meet once a year at a time and place arranged beforehand.  These gatherings generally took place at Erfurt, Eisenach, and sometimes at Arnstadt.  Even after the family had grown very large, and many of its members had left Thuringia to settle in Upper and Lower Saxony and Franconia, the Bachs continued their annual meetings.  On these occasions music was their sole recreation.  As those present were either Cantors, Organists, or Town Musicians, employed in the service of the Church and accustomed to preface the day's work with prayer, their first act was to sing a Hymn.  Having fulfilled their religious duty, they spent the rest of the time in frivolous recreations.  Best of all they liked to extemporise a chorus out of popular songs, comic or jocular, weaving them into a harmonious whole while declaiming the words of each. They called this hotch-potch a <q>Quodlibet,</q> laughed uproariously at it, and roused equally hearty and irrepressible laughter 
+<pb n="8" />
+in their audience.<note place="foot">
+<p>
+In the Quodlibet different voices sang different well-known melodies, sacred and profane, and sought to combine them to form a harmonious whole.  For an example see Variation 30 of the <title>Aria mit 30 Veranderungen</title> (Peters' ed., bk. 209 p. 83).  In it Bach combines two popular songs of his period.
+</p>
+</note> It is suggested that German Comic Opera has its origin in these trifles.  But the <q>Quodlibet</q> was a familiar institution in Germany at a much earlier period.  I possess a collection of them printed and published at Vienna in 1542.<note place="foot">
+<p>
+See article <q>Quodlibet</q> in Grove.
+</p>
+</note>
+</p>
+<p>
+But these light-hearted Thuringians, and even those of their family who treated their art more seriously and worthily, would not have escaped oblivion had there not emerged in the fulness of time one whose genius and renown reflected their splendour and brilliancy on his forbears.  This man, the glory of his family, pride of his countrymen, most gifted favourite of the Muse of Music, was Johann Sebastian Bach.
+</p>
+
+<figure url="images/eisenach.jpg" rend="page-float:'ht'; w90">
+<index index="fig" />
+<head>Bach's Home at Eisenach</head>
+<figDesc>Bach's Home at Eisenach</figDesc>
+</figure>
+
+</div>
+
+
+<pb n="9" />
+<div rend="page-break-before: right">
+  <index index="toc" />
+  <index index="pdf" />
+<head>Chapter II. THE CAREER OF BACH</head>
+<p>
+Johann Sebastian Bach was born on March 21, 1685,<note place="foot">
+<p>
+The date is conjectural, and is deduced from the fact that the infant was baptized on March 23.  The Gregorian Calendar was not adopted in Germany until 1701.  Had it been in use in 1685 Bach's birthday would be March 31.
+</p>
+</note> at Eisenach, where his father, Johann Ambrosius Bach, was Court and Town Musician.<note place="foot">
+<p>
+Johann Ambrosius' Court appointment is to be inferred from the fact that in 1684 the Duke refused him permission to return to Erfurt.
+</p>
+</note> Johann Ambrosius had a twin brother, Johann Christoph, Musician to the Court and Town of Arnstadt,<note place="foot">
+<p>
+See Table IV.
+</p>
+</note> who so exactly resembled him that even their wives could distinguish them only by their dress.  The twins appear to have been quite remarkable.  They were deeply attached, alike in disposition, in voice, and in the style of their music.  If one was ill, so was the other.  They died within a short time of each other, and were objects of wondering interest to all who knew them.<note place="foot">
+<p>
+Johann Ambrosius survived his brother by nearly eighteen months.
+</p>
+</note>
+</p>
+<p>
+In 1695, when Johann Sebastian was not quite ten years old, his father died. He lost his mother at an earlier period.<note place="foot">
+<p>
+His mother died in May 1694, and his father in January 1695.  At the latter date Johann Sebastian was three months short of his tenth year.
+</p>
+</note> So, being left an orphan,
+<pb n="10" />
+he became dependent on his eldest brother, Johann Christoph, Organist at Ohrdruf,<note place="foot">
+<p>
+Excepting Johann Jakob, a lad of thirteen years, Johann Christoph was Bach's only surviving brother, and the only one of the family in a position to look after him.  Johann Jakob accompanied Sebastian to Ohrdruf (Pirro, p. 13) and afterwards apprenticed himself to his father's successor as Town Musician at Eisenach. One of the daughters was already married.  What became of the other is not stated. See Table V.
+</p>
+</note> from whom he received his earliest lessons on the Clavier.<note place="foot">
+<p>
+It is difficult to believe this statement.  That the boy was destined for a musical career by his father hardly can be doubted.  That he was of unusual precocity, the story told by Forkel in the text proves.  His father's asserted neglect to instruct him is therefore hardly credible.
+</p>
+</note> His inclination and talent for music must already have been pronounced.  For his brother no sooner had given him one piece to learn than the boy was demanding another more difficult.  The most renowned Clavier composers of that day were Froberger,<note place="foot">
+<p>
+Johann Jakob Froberger, born at Halle (date unknown); Court Organist at Vienna, 1637-57; d. 1667.
+</p>
+</note> Fischer,<note place="foot">
+<p>
+Johann Caspar Ferdinand Fischer, c. 1660-1738 (actual dates of his birth and death unknown); Kapellmeister to Markgraf Ludwig of Baden at Schloss Schlackenwerth in Bohemia. His <title>Ariadne Musica Neo-Organoedum</title> (1702) was the precursor of Bach's <title>Das wohltemperirte Clavier.</title>
+</p>
+</note> Johann Caspar Kerl,<note place="foot">
+<p>
+Johann Caspar Kerl, b. 1628; Kapellmeister in Munich, 1656-74; Court Organist at Vienna, 1677-92; d. 1693.
+</p>
+</note> Pachelbel,<note place="foot">
+<p>
+Johann Pachelbel, b. 1653, d. 1706.  In 1695 he was Organist of St. Sebald's Church, N&uuml;rnberg.  His influence upon the organ playing of his generation was enormous.  Bach's brother, Johann Christoph, was his pupil.
+</p>
+</note> Buxtehude,<note place="foot">
+<p>
+Dietrich Buxtehude, b. 1637, d. 1707; Organist (1668) of the Marienkirche, L&uuml;beck, and the chief musical influence in North Germany.
+</p>
+</note> Bruhns,<note place="foot">
+<p>
+Nikolaus Bruhns, b. <foreign lang="la">circ.</foreign> 1665, d. 1697; a. pupil of Buxtehude; Organist at Husum; the greatest organist of his time after Buxtehude.
+</p>
+</note>
+<pb n="11" /> and B&ouml;hm.<note place="foot">
+<p>
+Georg B&ouml;hm, b. 1661; date of death uncertain (c. 1739); from 1698 Organist of the Johanniskirche, L&uuml;neburg.
+</p>
+</note> Johann Christoph possessed a book containing several pieces by these masters, and Bach begged earnestly for it, but without effect.  Refusal increasing his determination, he laid his plans to get the book without his brother's knowledge.  It was kept on a book-shelf which had a latticed front.  Bach's hands were small.  Inserting them, he got hold of the book, rolled it up, and drew it out.  As he was not allowed a candle, he could only copy it on moonlight nights, and it was six months before he finished his heavy task.  As soon as it was completed he looked forward to using in secret a treasure won by so much labour.  But his brother found the copy and took it from him without pity, nor did Bach recover it until his brother's death soon after.<note place="foot">
+<p>
+In fact, Johann Christoph did not die until 1721, more than twenty years after Sebastian ceased to be under his roof.
+</p>
+</note>
+</p>
+<p>
+Being once more left destitute,<note place="foot">
+<p>
+The fact that Johann Christoph survived till 1721 disproves Forkel's statement. The youthful Bach, aged fifteen in 1700, no doubt seized the earliest opportunity to relieve his brother of the charge of him.  Moreover, Johann Christoph's family was increasing (see Table V.).  In spite of the story of Bach's midnight copying, it cannot be questioned that he owed a good deal to his brother, who not only taught him but, presumably, maintained him at the Ohrdruf Lyceum, where Bach acquired a sound education and a considerable knowledge of Latin.  See Pirro, pp. 14-16, on Bach's education at Ohrdruf.  He left the Lyceum in March 1700.
+</p>
+</note> Johann Sebastian set out for L&uuml;neburg with one of his Ohrdruf schoolfellows, named Erdmann<note place="foot">
+<p>
+Georg Erdmann, Bach's fellow-pupil at the Lyceum.
+</p>
+</note> (afterwards Russian Resident at Danzig), and entered the choir of St. Michael's Convent.  His fine treble voice procured him a fair livelihood. But unfortunately he soon lost it and did not at once develop another.
+<note place="foot">
+<p>
+Bach's entry into the choir of St. Michael's Convent, L&uuml;neburg, took place about Easter 1700.  The step was taken upon the advice of Elias Herda, Cantor at the Ohrdruf Lyceum, himself a former member of St. Michael's.  Bach remained at St. Michael's for three years, till 1703.  The choir library was particularly rich in the best church music of the period, both German and Italian.  Spitta is of opinion that Bach's talents as a violinist and Clavier player were also laid under contribution.  His voice, as Forkel states, soon ceased to be serviceable.  His maximum pay was one thaler (three shillings) a month and free commons.
+</p>
+</note>
+</p>
+<p>
+Meanwhile his ambition to play the Organ and Clavier remained as keen as ever, and impelled him to hear and practise everything that promised him improvement.  For that purpose, while he was at L&uuml;eburg, he several times travelled to Hamburg to hear the famous organist,<note place="foot">
+<p>
+Probably Georg B&ouml;hm, who had relations with the Convent choir, inspired Bach to make the pilgrimage.  B&ouml;hm, then at St. John's, L&uuml;neburg, was a pupil of Reinken of Hamburg.  Spitta (i. 196) suggests that Bach's cousin, Johann Ernst (see Table IV.), was at this time completing his musical education at Hamburg, a fact which may have contributed to draw Bach thither.  He made more than one visit, on foot, to Hamburg.  F. W. Marpurg published, in 1786, the story, which he received from Bach himself, that on one of his journeys from Hamburg, Bach sat down outside an inn and hungrily sniffed the savours from its kitchen.  His pockets were empty and there seemed little prospect of a meal, when a window was opened and two herring heads were thrown out.  Bach picked them up eagerly, and found in each of them a Danish ducat.  Who was his benefactor he never discovered; the gift enabled him to satisfy his hunger and pay another visit to Hamburg.
+</p>
+</note> Johann
+<pb n="13" />
+Adam Reinken.<note place="foot">
+<p>
+Johann Adam Reinken, b. 1623, became Organist of St. Catherine's Church, Hamburg, in 1664, and held the post until his death in 1722.
+</p>
+</note> Often, too, he walked to Celle to hear the Duke's French band play French music, which was a novelty in those parts.<note place="foot">
+<p>
+His introduction to French music marked another step in Bach's
+progressive education.  The reigning Duke of Celle (father-in-law of
+George I. of Great Britain and Ireland) had married a Frenchwoman.  See Pirro, <title>J. S. Bach,</title> pp. 24-27.
+</p>
+</note>
+</p>
+<p>
+The date and circumstances of his removal from L&uuml;neburg to Weimar are not precisely known.<note place="foot">
+<p>
+He entered the Weimar service on April 8, 1703 (Pirro, p. 29).
+</p>
+</note> He certainly became Court Musician there in 1703, when he was just over eighteen years of age.<note place="foot">
+<p>
+Bach's engagement was in the private band of the younger brother of the Duke.  He remained in his new post only a few months.  He was engaged as a Violin player, and since his interests were towards the Organ and Clavier, it is clear that he accepted the engagement as a temporary means of livelihood.
+</p>
+</note> But in the following year he gave up the post on his appointment as Organist to the new Church at Arnstadt, probably desiring to develop his taste for the Organ and realising that he would have better opportunities to do so at Arnstadt than at Weimar, where he was engaged simply to play the Violin.<note place="foot">
+<p>
+He is, however, described in July 1703 as Court Organist (Pirro, p. 30).  Bach was drawn to Arnstadt chiefly by the fact that the New Church recently had been equipped with a particularly fine Organ (specification in Spitta, i. 224), which existed until 1863.  Bach inaugurated it on July 13, 1703, and entered on his duties as Organist of the church in the following month (Pirro, p. 30).
+</p>
+</note> At Arnstadt he set himself assiduously to study the works of the celebrated organists of the period, so far as his modest means permitted him, and in order to improve himself 
+<pb n="14" />
+in composition<note place="foot">
+<p>
+His earliest Church Cantata (No. 15) was composed here in 1704.  To the Arnstadt period (1703-7) also must be attributed the Capriccio written on the departure of his brother, Johann Jakob (Peters bk. 208 p. 62), the Capriccio in honour of his Ohrdruf brother, Johann Christoph (Peters bk. 215, p. 34), the Sonata in D major (Peters bk. 215, p. 44), the Organ Prelude and Fugue in C minor (Novello bk. 2 p. 48), and the Organ Fugue in C minor (Novello bk. 12 p. 95).
+</p>
+</note> and Organ playing,<note place="foot">
+<p>
+In the <title>Nekrolog</title> C. P. E. Bach and Agricola remark of the Arnstadt period, that Bach then <q>really showed the first-fruits of his industry in the art of Organ-playing and composition, which he had in great measure learnt only from the study of the works of the most famous composers of the time, and from his own reflections on them</q> (quoted in Spitta, i. 235).
+</p>
+</note> walked the whole way to L&uuml;beck to hear Dietrich Buxtehude, Organist of St. Mary's Church in that city, with whose compositions he was acquainted already. He remained there about three months,<note place="foot">
+<p>
+Bach's stipend at Arnstadt was not inconsiderable, and his duties engaged him only at stated hours on Sundays, Mondays, and Thursdays.  He, therefore, had leisure and the means to employ it.  In October 1705 he obtained four weeks' leave of absence and set off on foot to L&uuml;beck, after leaving an efficient deputy behind him.  He stayed away until February 1706.  On his return the Consistory demanded an explanation of his absence, and took the opportunity to remonstrate with him on other matters.  They charged him <q>with having been hitherto in the habit of making surprising <foreign lang="it">variationes</foreign> in the Chorals, and intermixing divers strange sounds, so that thereby the congregation were confounded.</q>  They charged him with playing too long preludes, and after this was notified to him, of making them too short.  They reproached him <q>with having gone to a wineshop last Sunday during sermon,</q> and cautioned him that, <q>for the future he must behave quite differently and much better than he has done hitherto</q> (see the whole charge in Spitta, i. 315 ff.).  Bach also was on bad terms with the choir, whose members had got out of hand and discipline.  Before his L&uuml;beck visit he engaged in a street brawl with one of the scholars.  Then, as later, he was a choleric gentleman.  In November 1706 he got into further trouble for having <q>made music</q> in the church with a <q>stranger maiden,</q> presumably his cousin Maria Barbara Bach, then on a visit to Arnstadt; he married her a year later.  Clearly the relations between the Consistory and the brilliant young Organist were becoming difficult, and Bach's migration to M&uuml;hlhausen no doubt was grateful to both.  His resignation was made formally on June 29, 1707.
+</p>
+</note> listening
+<pb n="15" />
+to the celebrated Organist, but without making himself known to him, and returned to Arnstadt with his experience much increased.
+</p>
+<p>
+Bach's zeal and persevering diligence had already drawn attention to him, as is evident from the fact that he received in succession several offers of vacant organistships, one of which, at the Church of St. Blasius, M&uuml;hlhausen, he accepted in 1707.<note place="foot">
+<p>
+Bach was appointed on June 15, 1707, to succeed Johann Georg Able. M&uuml;hlhauson prided itself upon its musical traditions.  Bach's Cantata, No. 71, written in February 1708 for the inauguration of the M&uuml;hlhausen Town Council, was engraved (the parts only), the only one of the 206 Cantatas which have come down to us which was printed during Bach's lifetime.  He also composed Cantatas 131 and 196 at Muhlhausen, and perhaps three others. See <foreign lang="la">infra</foreign>, p. 188.
+</p>
+</note> Barely a year after he entered upon his duties there<note place="foot">
+<p>
+Bach's petition to the M&uuml;hlhausen Consistory for permission to resign his post is dated June 25, 1708, and is printed in full by Spitta, i. 373.  Bach mentions the Weimar post as having been offered to him, but bases his desire to resign the organ of St. Blasius, partly on the ground that his income was inadequate, partly because, though he had succeeded in improving the organ and the conditions of music generally, he saw <q>not the slightest appearance that things will be altered</q> for the better.  M&uuml;hlhausen, in fact, was a stronghold of Pietism and unsympathetic to Bach's musical ideals.
+</p>
+</note> he again visited Weimar and played to the Duke, who was so pleased with his performance that he offered him the post of Court Organist, which he accepted.<note place="foot">
+<p>
+He was Court Organist and Kammermusikus.  In the latter post Bach was of use as a Violinist and Clavier player.  The Court band, or Kapelle, on special occasions appeared in Hungarian costume, which Bach presumably donned.  His income began at a sum nearly double that he had received at Arnstadt and M&uuml;hlhausen.
+</p>
+</note> Weimar promised
+<pb n="16" />
+him a particularly agreeable atmosphere in which to cultivate his genius.<note place="foot">
+<p>
+The character of his employer, Duke Wilhelm Ernst of Saxe-Weimar, must be reckoned a factor in the development of the youthful Bach.  The Duke was not only a cultured artist, but was also a man of genuine piety.
+</p>
+</note> He applied himself closely to his work, and probably at this period achieved the mastery of the Organ that he ever afterwards possessed.  At Weimar also he wrote his great compositions for that instrument.<note place="foot">
+<p>
+Though Bach retouched them in later years and wrote others, it may be stated in general terms that his Organ works were the fruit of the Weimar period, which lasted from 1708 till 1717.
+</p>
+</note> In 1717<note place="foot">
+<p>
+Bach's promotion to the position of Concertmeister had taken place certainly before March 19, 1714, on which date Spitta (i. 517) prints a letter in which Bach gives himself the title.  The increase in his income early in 1714 also supports the conclusion, while a letter of January 14, 1714, written by Bach, is not signed by him as Concertmeister.  It would seem that his promotion took place in the interval between the two letters.  As Concertmeister it was part of his duty to provide Cantatas for the church services.  Twenty-two were written by him at Weimar.  See <foreign lang="la">infra</foreign>, p. 188, for a list of them.
+</p>
+</note> the Duke appointed him Concertmeister, a post which gave him further opportunity to develop his art, since it required him to compose and direct Church music.
+</p>
+<p>
+It was about this time that Zachau, Handel's master, died at Halle, where he was Organist.<note place="foot">
+<p>
+Friedrich Wilhelm Zachau died on August 7 or 14, 1712.
+</p>
+</note> Bach, who by now had acquired a great reputation, was invited to succeed him.<note place="foot">
+<p>
+Spitta (i. 513) infers that, in the later years of the Weimar period, Bach spent part of the autumn of every year in visits to the Courts and larger towns of Germany in order to give Organ recitals and to conduct performances of his Cantatas. Besides the visit to Halle, in 1713, to which Forkel alludes, Bach performed at Cassel in 1713 or 1714 before the future Frederick I. of Sweden, who presented him with a ring which he drew from his finger.  Bach's feet, an admirer recorded, <q>flew over the pedal-board as if they had wings.</q> In December 1714 he visited Leipzig and performed Cantata No. 61, <title>Nun komm, der Heiden Heiland.</title>  In 1716 he was again invited to Halle, and at about the same time performed at Meiningen. Forkel records the famous contest with Marchand, the French Organist, at Dresden in 1717.
+</p>
+</note> He visited Halle
+<pb n="17" />
+and composed a work as a specimen of his skill But for some reason unknown he did not obtain the post.  It was given to a clever pupil of Zachau, named Kirchhoff.<note place="foot">
+<p>
+Forkel's brief account follows the <title>Nekrolog.</title>  Bach was in Halle in the autumn of 1713, a year after Zachau's death.  The latter's post was still vacant and a new and particularly large Organ (sixty-three speaking stops) was being erected.  The authorities pressed Bach to submit himself to the prescribed tests, and he complied so far as to compose a Cantata and to conduct a performance of it.  On his return to Weimar he received a formal invitation to accept the post.  After some correspondence Bach refused it, partly, perhaps chiefly, on the ground that the income was inadequate.  The refusal was answered by the groundless accusation that he had merely entertained the Halle proposal in order to bring pressure upon Weimar for a rise of salary.  The misunderstanding was cleared away by 1716, when Bach visited Halle again.  In the interval Zachau's post had been given to his pupil, Gottfried Kirchhoff.  The whole matter is discussed at length in Spitta, i. 515 ff.
+</p>
+</note>
+</p>
+<p>
+Johann Sebastian was now thirty-two years old. He had made good use of his opportunities, had studied hard as a player and composer, and by tireless enthusiasm had so completely mastered every branch of his art, that he towered like a giant above his contemporaries. Both amateurs and professional musicians already regarded him with admiration when, in 1717, Marchand, the French virtuoso, a celebrated Clavier and
+<pb n="18" />
+Organ player, visited Dresden.  He played before the King-Elector<note place="foot">
+<p>
+Frederick Augustus I. of Saxony was elected, as Augustus II., to the throne of Poland in 1697. He died In 1733.
+</p>
+</note> and won such approbation that he was offered a large salary to enter His Majesty's service.<note place="foot">
+<p>
+Louis Marchand, b. 1669, d. 1732; Organist to the French Court and later of the Church of St. Honor&eacute;, Paris.  His arrival in Dresden was due to his being in disgrace at Versailles. Whether or not he was offered a permanent engagement at the Saxon Court, he was regarded as the champion of the French style, and as such the challenge was issued to him by Bach.
+</p>
+</note> Marchand's chief merit was his finished technique.  Like Couperin,<note place="foot">
+<p>
+Francois Couperin, b. 1668, d. 1733; Organist of St. Gervais, Paris.  Forkel's judgment upon his art is not supported by modern criticism.
+</p>
+</note> his musical ideas were weak to the point of banality, as we may judge from his compositions.<note place="foot">
+<p>
+Bach, however, admired Marchand's compositions sufficiently to give them to his pupils. See Pirro, p. 52.
+</p>
+</note> Bach was an equally finished player, and so rich in ideas that Marchand's head would have swollen had he been equally gifted.  Volumier, Concertmeister at Dresden,<note place="foot">
+<p>
+Jean-Baptiste Volumier, an acquaintance of Bach, according to Spitta (i. 583). Eitner, <title>Quellen Lexikon.</title> says that he was born in Spain and educated in France.  Grove's <title>Dictionary</title> declares him a Belgian.  In 1709 he was appointed Concertmeister to the Saxon Court.  He died at Dresden in 1728.
+</p>
+</note> was aware of these circumstances, and knowing that the young German had his instrument and his imagination under the fullest control, determined to arrange a contest between the two men in order to give his sovereign the satisfaction of judging their merits.  With the King's approbation, a message was dispatched
+<pb n="19" />
+to Bach at Weimar<note place="foot">
+<p>
+It is more probable that Bach was at Dresden either expressly to hear Marchand or upon one of his autumn tours.
+</p>
+</note> inviting him to a contest with Marchand.  Bach accepted the invitation and set out at once on his journey.  Upon his arrival at Dresden Volumier procured him an opportunity to hear Marchand secretly.  Far from being discouraged by what he heard, Bach wrote a polite note to the French artist challenging him to a trial of skill, and offering to play at sight anything Marchand put before him, provided the Frenchman submitted himself to a similar test.  Marchand accepted the challenge, a time and place for the contest were fixed, and the King gave his approval.  At the appointed hour a large and distinguished company assembled in the house of Marshal Count Flemming.<note place="foot">
+<p>
+Some years earlier Flemming had witnessed Handel's triumphant descent on the Saxon Court, but had failed to establish friendly relations with him.  See Streatfield's <title>Handel</title>, p. 87.
+</p>
+</note> Bach arrived punctually; Marchand did not appear.  After considerable delay he was sought at his lodging, when it was discovered, to the astonishment of all, that he had left Dresden that morning without taking leave of anybody.  Bach therefore performed alone, and excited the admiration of all who heard him, though Volumier was cheated of his intention to exhibit the inferiority of French to German art.  Bach was overwhelmed with congratulations; but the dishonesty of a Court official is said to have
+<pb n="20" />
+intercepted a present of one hundred louis d'or sent to him by the King.<note place="foot">
+<p>
+The article on Marchand in Grove gives a different version of the affair, based upon Joseph F&eacute;tis (1784-1871).  According to this story of the event, Bach, summoned from Weimar, attended Marchand's concert incognito, and after hearing Marchand perform, was invited by Volumier to take his seat at the Clavier.  Bach thereupon repeated from memory Marchand's theme and variations, and added others of his own.  Having ended, he handed Marchand a theme for treatment on the Organ and challenged him to a contest.  Marchand accepted it, but left Dresden before the appointed hour.
+</p>
+</note>
+</p>
+<p>
+Bach had not long returned to Weimar when Prince Leopold of Anhalt-C&ouml;then, a good judge of music and a first-rate amateur,<note place="foot">
+<p>
+The Prince was brother-in-law of Duke Ernst August of Saxe-Weimar.  Bach was, therefore, already known to him and showed the greatest regard for him both at C&ouml;then and after he had left his service.
+</p>
+</note> offered him the post of Kapellmeister.  He entered at once upon his new office<note place="foot">
+<p>
+The reason for Bach's migration from Weimar to C&ouml;then was his failure to obtain the post of Kapellmeister at the former Court upon the death of Johann Samuel Drese in 1716. The post was given to Drese's son. On August 1, 1717, just before or after his Marchand triumph, Bach was appointed Kapellmeister to the Court of C&ouml;then.  Duke Wilhelm Ernst refused to release him from his engagement, and Bach endured imprisonment from November 6 to December 2, 1717, for demanding instant permission to take up his new post.  Probably his last work at Weimar was to put the <title>Orgelb&uuml;chlein</title> into the form in which it has come down to us (see articles by the present writer in <title>The Musical Times</title> for January-March 1917).
+</p>
+<p>
+With his departure from Weimar in 1718 Bach left behind him the distinctively Organ period of his musical fertility.  Though his compositions were still by no means generally known, as a player he held an unchallenged pre-eminence.
+</p>
+</note> and held it for about six years.<note place="foot">
+<p>
+He was appointed to C&ouml;then on August 1, 1717, and was inducted at Leipzig on May 31, 1723.
+</p>
+</note> At this period, about 1722,<note place="foot">
+<p>
+The date actually was November 1720.  At C&ouml;then Bach had an inferior Organ and little scope for his attainments; his chief duties were in connection with the Prince's band.  The yearning to get back to the Organ, which eventually took him to Leipzig in 1723, shows itself in his readiness to entertain an invitation to Hamburg in 1720.
+</p>
+</note> he visited
+<pb n="21" />
+Hamburg, played the Organ there, and excited general admiration.  The veteran Reinken&mdash;he was nearly one hundred years old&mdash;was particularly impressed by Bach's performance.  After he had treated the Choral <title>An Wasserfl&uuml;ssen Babylon</title> for half an hour in variation after variation in the true Organ style,<note place="foot">
+<p>
+Three Organ movements by Bach upon Wolfgang Dachstein's melody, <title>An Wasserfl&uuml;ssen Babylon,</title> are extant.  See notes upon them and their relation to the Hamburg extemporisation in Terry, <title>Bach's Chorals,</title> Part III.
+</p>
+</note> Reinken paid him the compliment of saying, <q>I thought this art was dead, but I see that it survives in you.</q>  Reinken had treated the same Choral in a similar manner some years before and had had his work engraved, showing that he thought highly of it.  His praise therefore was particularly flattering to Bach.<note place="foot">
+<p>
+As at Halle in 1713, Bach does not appear to have gone to Hamburg specially to compete for the post of Organist to the Church of St. James, vacant by the death of Heinrich Friese in September 1720.  He was not able to stay to take part in the final tests, nor was he asked to submit to them, since his visit to Hamburg had given him an opportunity to display his gifts.  In the result the post was given to Johann Joachim Heitmann, who acknowledged his appointment by forthwith paying 4000 marks to the treasury of the Church.  See Spitta, ii. 17 ff.
+</p>
+</note>
+</p>
+<p>
+On the death of Kuhnau in 1723<note place="foot">
+<p>
+Johann Kuhnau died on June 25, 1722.
+</p>
+</note> Bach was appointed Director of Music and Cantor to St. Thomas' School, Leipzig,<note place="foot">
+<p>
+On the title-pages of his published works Bach describes himself as <q>Capellm. und Direct. Chor. Mus. Lips.</q>
+</p>
+</note> a position which he
+<pb n="22" />
+occupied until his death.  Prince Leopold of Anhalt-C&ouml;then had great regard for him and Bach left his service with regret.<note place="foot">
+<p>
+Forkel has practically nothing to say regarding the Leipzig period of Bach's musical life.  That a professed historian of music, setting before the public for the first time the life of one whom he so greatly extolled, and with every inducement to present as complete a picture of him as was possible, should have taken no trouble to carry his investigations beyond the point C. P. E. Bach and Agricola had reached in the <title>Nekrolog</title> of 1754 is almost incredible.  The only reason that can be adduced, apart from the lack of a really scientific impulse, is that Forkel was almost entirely ignorant of the flood of concerted church music which poured from Leipzig from 1723 to 1744.  His criticism of Bach as a composer is restricted practically to Bach's Organ and Clavier works.
+</p>
+</note>
+ But he saw the finger of Providence in the event; for the Prince died shortly afterwards.<note place="foot">
+<p>
+On November 19, 1728.  Latterly his interest in music had waned.  The fact, along with Bach's concern for the education of his sons and his desire to return to the Organ, explains his abandonment of the more dignified C&ouml;then appointment.
+</p>
+</note>
+ The loss of his patron affected him deeply, and moved him to compose a funeral Cantata containing remarkably fine double choruses which he himself conducted at C&ouml;then.<note place="foot">
+<p>
+The score of this work was in Forkel's possession, but was missing from his library in 1818 and was assumed to be lost until, in 1873, Rust was able to show that Bach used for the occasion certain choruses and Arias from the <title>St. Matthew Passion,</title> which he was then writing, with the first chorus of the <title>Trauer-Ode</title> as an opening of the extemporised work.  See Spitta, ii. 618; Schweitzer, ii. 208.
+</p>
+</note>
+ While he was at St. Thomas' he was appointed honorary Kapellmeister to the Duke of Weissenfels<note place="foot">
+<p>
+In 1723 he received the title <foreign lang="de">Hochf&uuml;rstlich Weissenfelsische wirkliche Kapellmeister</foreign> and retained it till his death.  He retained also his C&ouml;then appointment.
+</p>
+</note>
+ and, in the following year
+<pb n="23" />
+(1736), received the title of Court Composer to the King-Elector of Poland-Saxony.<note place="foot">
+<p>
+Augustus III. Bach had petitioned for the appointment in a letter dated July 27, 1733 (Spitta, iii. 38), forwarding a copy of the newly-written Kyrie and Gloria of the B minor Mass.
+</p>
+</note>
+ The two compliments are not of great consequence, and the second was to some degree corollary to Bach's position as Cantor of St. Thomas' School.<note place="foot">
+<p>
+There does not appear to be any ground for the suggestion that the post of Hofcomponist to the Dresden Court was attached <foreign lang="la">ex officio</foreign> to the St. Thomas' Cantorate.  Bach applied for it in 1733, taking advantage of the recent accession of the new sovereign, Augustus III., in February 1733.
+</p>
+</note>
+</p>
+<p>
+Carl Philipp Emmanuel, Bach's second son, entered the service of Frederick the Great of Prussia in 1740.  So widely was Bach's skill recognised by this time that the King, who often heard him praised, was curious to meet so great an artist.  More than once he hinted to Carl Philipp Emmanuel that it would be agreeable to welcome his father to Potsdam, and as Bach did not appear, desired to know the reason.  Carl Philipp did not fail to acquaint his father with the King's interest.  But for some time Bach was too occupied with his duties to accede to the invitation.  However, as Carl Philipp continued to urge him, he set out for Potsdam towards the end of 1747, in company with his eldest son, Wilhelm Friedemann.<note place="foot">
+<p>
+Friedemann was then at Halle.
+</p>
+</note>
+ It was the King's custom to hold a private concert 
+<pb n="24" />
+every evening, and to take part on the flute in a Concerto or two. One evening,<note place="foot">
+<p>
+May 7, 1747, according to Spitta, quoting Friedrich Wilhelm Marpurg's <title>Historisch-kritische Beytr&auml;ge zur Aufnahme der Musik,</title> which appeared in 5 vols. between 1754-1778.  On the other hand, Spener, who first records the event, states briefly: <q>May 11,1747.  His Majesty was informed that Kapellmeister Bach had arrived in Potsdam, and that he was in the King's ante-chamber, waiting His Majesty's gracious permission to enter, and hear the music.  His Majesty at once commanded that he should be admitted</q> (Spitta, iii. 231 n.).  If the Marpurg and Spener dates are reliable, it looks as though Friedemann's story of his father, travel-stained and weary, being hurried incontinent into the presence of the King is a piece of picturesque embroidery.
+</p>
+</note>
+ when he had got out his flute and the musicians were at their desks, an official brought him a list of the strangers newly arrived at Potsdam.  Flute in hand the King ran through the names, and suddenly turning to the waiting musicians, said with considerable excitement, <q>Gentlemen, Old Bach has arrived.</q>  The flute was put away for the evening, and Bach, who had alighted at his son's lodging, was summoned immediately to the Palace.  Wilhelm Friedemann, who accompanied his father, often told me the story.  Nor am I likely to forget the racy manner in which he related it.  The courtesy of those days demanded rather prolix compliments, and the first introduction of Bach to so illustrious a monarch, into whose presence he had hurried without being allowed time to change his travelling dress for a Cantor's black gown, obviously invited ceremonial speeches on both sides.  I will not dwell on them; Wilhelm Friedemann related
+<pb n="25" />
+a lengthy and formal conversation between the King and the Cantor.<note place="foot">
+<p>
+Clearly this was a story that Wilhelm Friedemann prided himself on the telling, and Forkel's remark suggests the need for caution in accepting all its details.  Frederick's courtesy to Bach, however, tends to discredit the story that ten years earlier (1737) Handel deliberately refused to meet the King at Aix-la-Chapelle owing to the peremptoriness of his summons.  Mr. Streatfleld (p. 145) also shows that Frederick was not at Aix until 1741, when Handel was writing the <title>Messiah</title> in London.
+</p>
+</note>
+</p>
+<p>
+More worthy of record is the fact that the King gave up his concert for that evening and invited Bach, already known as <q>Old Bach,</q> to try the Silbermann pianofortes<note place="foot">
+<p>
+Gottfried Silbermann, a pioneer of the modern pianoforte.  Bach was already familiar with his Claviers with hammer action, and indeed had offered useful criticism of which Silbermann had taken advantage. See Spitta, ii. 46.
+</p>
+</note>
+ which stood in various parts of the Palace.<note place="foot">
+<p>
+* The pianofortes manufactured by Silbermann, of Freiberg, pleased the King so much, that he resolved to buy them all.  He collected fifteen.  I hear that they all now stand, unfit for use, in various corners of the Royal Palace.  [Robert Eitner, in 1873, found one of the pianos in Frederick the Great's room at Potsdam.]
+</p>
+</note>
+ Accompanied from room to room by the King and the musicians, Bach tried the instruments and improvised upon them before his illustrious companion.  After some time he asked the King to give him a subject for a Fugue, that he might treat it extempore.  The King did so, and expressed his astonishment at Bach's profound skill in developing it.  Anxious to see to what lengths the art could be carried, the King desired Bach to improvise a six-part Fugue.  But as every subject is not suitable for polyphonic
+<pb n="26" />
+treatment, Bach himself chose a theme and, to the astonishment of all who were present, developed it with the skill and distinction he had shown in treating the King's subject.  His Majesty expressed a wish to hear him on the Organ also. Accordingly, next day, Bach inspected all the Organs in Potsdam,<note place="foot">
+<p>
+According to another account, which Spitta (iii. 232) follows, Bach played before a large congregation in the Church of the Holy Spirit, Potsdam. The King does not appear to have been present. The extemporisation of the six-part Fugue took place in Frederick's presence on the evening of that day.
+</p>
+</note>
+ as the evening before he had tried the Silbermann pianofortes. On his return to Leipzig he developed the King's theme in three and six parts, added <foreign lang="la">Canones diversi</foreign> upon it, engraved the whole under the title <title>Musikalisches Opfer</title> and dedicated it to the royal author of the theme.<note place="foot">
+<p>
+Bach's letter to Frederick accompanying the gift is dated 7th July 1747. He calls it <q>a musical offering, of which the noblest portion is the work of Your Majesty's illustrious hand.</q>  In addition to Forkel's analysis it contains a Sonata for Flute, Violin, and Clavier, and a canon perpetuus for the same three instruments.
+</p>
+</note>
+</p>
+<p>
+ His visit to Potsdam was Bach's last journey.  The indefatigable diligence he had shown all his life, and particularly in his younger years, when successive days and nights were given to study, seriously affected his eye-sight.  The weakness grew with age and became very distressing in character.  On the advice of friends who placed great confidence in the skill of a London oculist lately come to Leipzig,<note place="foot">
+<p>
+John Taylor (1703-72), oculist to George II.  The operation took place in the winter of 1749-50. Taylor is said to have operated on Handel in 1751 (see the article on him in the <title>Dict. Nat. Biography.</title>).  Streatfield (<title>Handel,</title> p. 212), however, does not mention Taylor, and his account suggests that Samuel Sharp, of Guy's Hospital, was the operator in Handel's case.
+</p>
+</note>
+ Bach submitted to an
+<pb n="27" />
+operation, which twice failed.  He lost his sight completely in consequence, and his hitherto vigorous constitution was undermined by the drugs administered to him.  He sank gradually for full half a year, and expired on the evening of July 30, 1760, in the sixty-sixth year of his age.<note place="foot">
+<p>
+The actual date was July 28, at 8.45 P.M. Bach was working to the very moment of his collapse on July 18.  Probably his last work was the Choral Prelude (Novello bk. xvii. 85) on the melody <title>Wenn wir in h&ouml;chsten N&ouml;then sein.</title>  Facing eternity, he bade his son-in-law, Altnikol, inscribe the movement with the title of the Hymn, <title>Vor deinen Thron tret ich hiemit,</title> whose first stanza filled his mind:
+</p>
+<lg>
+<l>Before Thy throne, my God, I stand,</l>
+<l>Myself, my all, are in Thy hand.</l>
+</lg>
+<p>
+An addendum to the Genealogy, in C. P. E. Bach's hand, gives July 30 as the date of his father's death.
+</p>
+</note>
+ Ten days before his death<note place="foot">
+<p>
+July 18.
+</p>
+</note>
+ he was suddenly able to see again and to bear the light.  A few hours later he was seized by an apoplexy and inflammatory fever, and notwithstanding all possible medical aid, his weakened frame succumbed to the attack.
+</p>
+<p>
+Such was the career of this remarkable man.  I will only add that he was twice married, and that he had by his first wife seven, and by his second wife thirteen children; in all, eleven sons and nine daughters.<note place="foot">
+<p>
+See Genealogical Tables VII. and VIII.
+</p>
+</note>
+ All of his sons had an
+<pb n="28" />
+admirable talent for music, but only the elder ones fully developed it.<note place="foot">
+<p>
+The statement is misleading.  Of the five sons of the first marriage, two were famous, two died in infancy, and the fifth abandoned a promising musical career for the law. Of the six sons of the second marriage, one was imbecile, three died in infancy, two were famous.
+</p>
+</note>
+</p>
+
+<figure url="images/stthomas.jpg" rend="page-float:'ht'; w90">
+<index index="fig" />
+<head>The Church and School of St. Thomas, Leipzig, in 1723.</head>
+<figDesc>The Church and School of St. Thomas, Leipzig, in 1723.</figDesc>
+</figure>
+
+</div>
+
+<div rend="page-break-before: right">
+  <index index="toc" />
+  <index index="pdf" />
+<head>CHAPTER IIA.<note place="foot">
+<p>
+See Introduction, p. XXI, <foreign lang="la">supra</foreign>.
+</p>
+</note>
+BACH AT LEIPZIG, 1723-1750</head>
+<pb n="28"/>
+<p>
+Bach was inducted into his office as Cantor of St. Thomas' School at nine o'clock on the morning of Monday, May 31, 1723.  He died in his official residence there at a quarter to nine on the evening of Tuesday, July 28, 1750.  He was buried early on the morning of Friday, July 31, in the churchyard of St. John's, Leipzig.
+</p>
+<p>
+The announcement of his death, made from the pulpit of St. Thomas' on the day of his funeral, described him as <q>Court Composer to His Majesty the King of Poland and Electoral and Serene Highness of Saxony, Kapellmeister to His Highness the Prince of Anhalt-Cothen, and Cantor to St. Thomas' School of this town.</q>  Bach usually designated himself <q>Director Chori Musici Lipsiensis,</q> or shortly, <q>Director Musices.</q>  Circumstances led him to emphasise a title which asserted a musical prerogative not confined to the School and the churches it served.
+</p>
+<p>
+The Cantor of St. Thomas' was charged formerly with the musical direction of four Leipzig 
+<pb n="29"/>
+churches: St. Thomas', St. Nicolas', St. Peter's, 
+and the New Church.  He was also responsible 
+for the music in the University Church of St. 
+Paul, the so-called <q>old service,</q> held originally 
+on the Festivals of Easter, Whit, Christmas, and 
+the Reformation, and once during each University 
+quarter. On high days music also had to be 
+provided at St. John's Church. 
+</p>
+<p>
+Bach, as Cantor, succeeded to a more restricted 
+responsibility, which dated from the early years 
+of the eighteenth century.  The New Church, 
+originally the Church of the Franciscans, had been 
+restored to use in 1699.  In 1704 Georg Philipp 
+Telemann, who came to Leipzig as a law student 
+three years before, was appointed Organist there. 
+He also founded the Collegium Musicum, or University 
+Musical Society, a farther slight upon the 
+Cantor's position.  Not until 1729 did the Society 
+pass under Bach's direction and its members 
+become available as auxiliaries in the church 
+choirs under his charge.  Notwithstanding that 
+Bach's predecessor Kuhnau had protested against 
+Telemann's independence, the direction of the 
+New Church's music passed out of the Cantor's 
+control, though the School continued to provide 
+the choristers.  Six years later the University 
+Church of St. Paul also began an independent 
+course.  In 1710 the authorities resolved to hold 
+a University service in the church every Sunday. 
+Kuhnau asserted his prerogative as Cantor. But
+<pb n="30" />
+he was only able to maintain it by offering to 
+provide the music for the <q>new service</q> as well 
+as for the <q>old service</q> at the fee of twelve thalers 
+which the University so far had paid for the 
+latter.  After his death the University appointed (April 3, 1723) Johann Gottlieb G&ouml;rner, already 
+Organist of St. Nicolas' since 1721, to control the 
+music both of the <q>old</q> and <q>new</q> services, for 
+which the University provided the choir.  Not 
+until after a direct appeal to the King did Bach 
+succeed, in 1726, in compelling the University to 
+restore to the Cantor his emoluments in regard 
+to the <q>old service,</q> the conduct of which had 
+been restored to him on his appointment as 
+Cantor.  The <q>new service</q> remained under 
+G&ouml;rner's direction.  As to St. Peter's, its services, 
+which had entirely ceased, were revived in 1711. 
+The music, however, was simple, and consisted 
+only of hymns.
+</p>
+<p>
+Thus Bach, as Cantor, was responsible for the 
+music in the two principal churches, St. Thomas' 
+and St. Nicolas'.  The School also provided the 
+choir for St. Peter's and the New Church.  The 
+junior and least competent singers sang at St. 
+Peter's.  The rest were pretty equally distributed 
+between the other three churches.  At the New 
+Church the music was performed under the direction 
+of a Chorpr&auml;fect.  At St. Thomas' and St. 
+Nicolas' Bach personally directed the concerted 
+music.  On ordinary Sundays a Cantata or Motet
+<pb n="31" />
+was performed in each church alternately.  At 
+the great Festivals, New Year, Epiphany, Ascension 
+Day, Trinity Sunday, and the Annunciation, 
+Cantatas were sung at both churches, the two 
+choirs singing at Vespers in the second church 
+the Cantata performed by them in the morning 
+at the other church.  On these occasions the 
+second choir was conducted by a Chorpr&auml;fect.  
+The principal Sunday service in both churches 
+began at seven in the morning, ended at eleven, 
+and observed the following order:
+</p>
+<list>
+<item>1. Organ Prelude.</item>
+<item>2. Motet, related to the Gospel for the Day; (omitted in Lent and replaced by the Benedictus).</item>
+<item>3. Introit.</item>
+<item>4. Kyrie, sung alternately, in German and 
+Latin.</item>
+<item>5. The Lord's Prayer, intoned at the altar.</item>
+<item>6. Gloria, intoned at the altar and answered 
+either by the Choir's <foreign lang="la">Et in terra pax 
+hominibus,</foreign> or by the congregation with 
+the Hymn, <foreign lang="de">Allein Gott in der H&ouml;h' sei 
+Ehr,</foreign> the German version of the Gloria.</item>
+<item>7. Collect, intoned in Latin; preceded by the 
+preces <foreign lang="la">Dominus vobiscum</foreign> and <foreign lang="la">Et cum 
+spiritu tuo.</foreign></item>
+<item>8. Epistle.</item>
+<item>9. Litany, in Advent and Lent only; intoned 
+by four boys, the Choir responding.</item>
+<pb n="33" />
+<item>10. Hymn, appropriate to the Gospel.</item>
+<item>11. Gospel.</item>
+<item>12. Credo, intoned; (in Lent, last three Sundays 
+of Advent, and Festivals of Apostles, the 
+Nicene Creed, sung in Latin).</item>
+<item>13. Prelude, followed by a Cantata, lasting 
+about twenty minutes; on alternate 
+Sundays in each church.</item>
+<item>14. The Creed in German, <foreign lang="de">Wir glauben all' 
+an einen Gott,</foreign> sung by the congregation.</item>
+<item>15. Sermon, lasting one hour (8-9 A.M.).</item>
+<item>16. Hymn, <foreign lang="de">Herr Jesu Christ, dich zu uns 
+wend</foreign>, followed by the reading of the 
+Gospel, on which the Sermon had been 
+based.</item>
+<item>17. General Confession, prayers, and Lord's 
+Prayer.</item>
+<item>18. Blessing.</item>
+<item>19. Hymn.</item>
+<item>20. Communion Service; Hymns and Organ 
+extemporisation.</item>
+<item>21. Benediction.</item>
+</list>
+<p>
+Vespers began at a quarter past one and was a 
+comparatively simple service; the music consisted 
+of Hymns, a Motet, and the Magnificat. 
+On the last three Sundays in Advent and 
+throughout Lent neither Cantatas nor Motets were 
+sung. The Organ was silent. 
+On the three great Festivals the appointed 
+Hymn for the season was sung at the beginning of
+<pb n="34" />
+the principal service, before the Organ Prelude: 
+at Christmas, <foreign lang="la">Puer natus in Bethlehem</foreign>; at 
+Easter, <foreign lang="de">Heut' triumphiret Gottes Sohn</foreign>; at 
+Whitsuntide, <foreign lang="la">Spiritus Sancti gratia.</foreign>  During the 
+Communion service the Sanctus and concerted 
+music were sung.  A festal hymn followed the 
+Benediction.  The three great Festivals were each 
+observed for three consecutive days, on the first 
+and second of which Cantatas were sung at both 
+churches.  On the third day concerted music was 
+sung at only one of the two churches.
+</p>
+<p>
+The other week-day Festivals for which Cantatas 
+were provided were the Feast of the Circumcision (New Year's Day), Epiphany, Ascension 
+Day, Purification of the B.V.M., Annunciation of 
+the B.V.M., Visitation of the B.V.M., Feast of St. 
+John Baptist (Midsummer Day), Feast of St. 
+Michael the Archangel. The Reformation Festival 
+was kept on October 31, or if that date was a 
+Saturday or Monday, on the previous or following 
+Sunday.
+</p>
+<p>
+On Good Friday the Passion was performed in 
+the two principal churches alternately.  
+Leipzig adopted no official Hymn-book.  The 
+compilation from which the Hymns were chosen 
+by Bach was the eight-volumed <foreign lang="de">Gesangbuch</foreign>
+of Paul Wagner, published at Leipzig for Dresden 
+use in 1697.  It contained over five thousand 
+Hymns but no music, merely the name of the 
+tune being stated above the Hymn.  For the
+<pb n="35" />
+most part the Hymns for special, and even for 
+ordinary, occasions were prescribed by custom. 
+Otherwise the power of selection was in the hands 
+of the Cantor, and Bach's exercise of it caused 
+some friction with the clergy in 1728.
+</p>
+<p>
+The provision and direction of the music at 
+weddings and funerals was in the Cantor's hands.  
+He arranged the choirs and the music sung at the 
+scholars' annual processions and perambulations 
+of the town, which took place at Michaelmas, 
+New Year, and on St. Martin's and St. Gregory's 
+Days.
+</p>
+<p>
+Augmenting the School's choristers, the Town 
+Musicians took part in the Church services and 
+were under the Cantor's direction. Their numbers 
+and efficiency were inadequate.
+</p>
+<p>
+Upon the staff of the School the Cantor ranked 
+third after the Rector and Sub-Rector, and took 
+a share in the general instruction of the scholars.  
+Class III. went to Bach for Latin lessons, a duty 
+which the Council eventually permitted him to 
+fulfil by deputy.  Singing classes were held by 
+the Cantor on three days of the week, Mondays, 
+Tuesdays, and Wednesdays, at nine and noon, and 
+on Fridays at noon.  His instruction in singing 
+was given to the four upper classes only.  On 
+Saturday afternoons the Cantata was rehearsed.  
+Once in four weeks the Cantor took his turn to 
+inspect the scholars.  Like the other masters, 
+he was required to conform to the regulations
+<pb n="36" />
+of the School House, in which he lived.  He rose 
+at five in summer, at six in winter, dined at ten 
+and supped at five in the afternoon.
+</p>
+<p> 
+Holidays were numerous.  A week's vacation 
+was given at the Easter, Michaelmas, and New 
+Year Fairs.  At Midsummer the School had a 
+month of half-holidays.  Whole holidays were 
+given on the birthdays of the four upper masters.  
+There were no morning lessons on Saints' Days, 
+on the occasion of funeral orations in the University 
+Church, and on the quarterly Speech Days.  
+Hence, though Bach's office carried large responsibility, 
+it left him considerable leisure for composition.
+</p>
+<p>
+As Cantor Bach had an official residence in the 
+left wing of the School House.  In 1723, the 
+Cantor's wing was of two storeys only, dwarfed 
+by the greater elevation of the main edifice and 
+under the shadow of the church.  Bach brought 
+to Leipzig four children of his first marriage, 
+and his second wife, Anna Magdalena, presented 
+him with a son or daughter annually from 1723 
+to 1729.  The accommodation of the Cantor's 
+lodging therefore rapidly became inadequate.  In 
+the spring of 1731 Bach found a house elsewhere 
+while an additional storey was added to it, which 
+provided a new music-room, a good-sized apartment 
+whence a passage led to the big schoolroom 
+in the main building.  The new wing was formally 
+opened and dedicated on June 5, 1732, when
+<pb n="37" />
+Bach's secular Cantata <foreign lang="de">Froher Tag, verlangte 
+Stunden</foreign> was performed; the libretto being by 
+his colleague Winkler.  From thenceforward till 
+his death eighteen years later Bach's occupancy 
+was not disturbed.  The wing continued to be 
+the official residence of the Cantor until the School 
+moved to the suburbs of the city in 1877.
+</p>
+<p>
+In addition to his residence, which he occupied 
+rent free, the Cantor enjoyed a revenue from 
+various and fluctuating sources, amounting in 
+gross to 700 thalers (=&pound;106 per annum).  His 
+fixed stipend was only 100 thalers (=&pound;15).  About 
+12 thalers came to him from endowments.  In 
+kind he was entitled to 16 bushels of corn and 
+2 cords of firelogs, together with 2 measures of 
+wine at each of the three great Festivals.  From 
+the University, after his successful protest, he 
+received 12 thalers for directing the <q>old service.</q> 
+By far the larger part of Bach's income was 
+derived from fluctuating sources.  They were 
+of three kinds: (1) School monies, (2) funeral 
+fees, (3) wedding fees.  The School monies represented 
+perquisites derived from funds obtained 
+by the scholars, partly by their weekly collections 
+from the public, partly from the four annual 
+processions or perambulations of the city.  From the 
+weekly collections a sum of six pfennigs multiplied 
+by the number of the scholars was put aside for 
+the four upper masters, among whom the Cantor 
+ranked third.  From the money collected at the
+<pb n="38" />
+New Year, Michaelmas, and St. Martin's Day 
+processions the Rector took a thaler, the Cantor 
+and the Sub-Rector each took one-eleventh of the 
+balance, sixteen thirty-thirds went to the singers, 
+and one-quarter of what remained fell to the 
+Cantor.  Out of the money collected on St. 
+Gregory's Day (March 12) the Rector took one-tenth for the entertainment of the four upper 
+masters, and the Cantor took one-third of the 
+residue.  For funerals one thaler 15 groschen 
+was paid when the whole school accompanied 
+the procession and a Motet was sung at the house 
+of the deceased.  When no Motet was sung the 
+Cantor's fee was 15 groschen. For weddings he 
+received two thalers.
+</p>
+<p>
+Reckoned in modern currency, and judged by 
+the standard of the period, the Cantor's income 
+was not inadequate and served to maintain 
+Bach's large family in comfort.  When he died 
+in 1750, in addition to a mining share valued at 
+60 thalers, he possessed in cash or bonds about 
+360 thalers, silver plate valued at 251 thalers, 
+instruments valued at 371 thalers, house furniture 
+valued at 29 thalers, and books valued at 38 
+thalers.  His whole estate was declared at 1158 
+thalers, or somewhat less than the savings of two 
+years' income.  But for the inequitable distribution 
+of his property, owing to his intestacy, which 
+left Anna Magdalena only about 400 thalers and 
+the mining share, Bach's widow and unmarried
+<pb n="39"/>
+daughters ought not to have been afflicted with 
+excessive poverty, as in fact they were.
+</p>
+<p>
+At the beginning of his Cantorate Bach worked 
+amid discouraging and unsatisfactory conditions.  
+The Rector, Johann Heinrich Ernesti, was over 
+seventy years of age in 1723.  The School was 
+badly managed, its discipline was relaxed, the 
+better-to-do citizens withheld their sons from it, 
+and its numbers were seriously diminished.  In 
+1717 the junior classes contained only 53 as 
+against 120 in Ernesti's earlier years.  The 
+proximity and operatic traditions of Dresden 
+and Weissenfels also had a bad effect; the St. 
+Thomas' boys, after attaining musical proficiency, 
+were apt to become restless, demanding release 
+from their indentures, and even running away to 
+more attractive and lucrative occupations.  Moreover, 
+the governors of the School were the Town 
+Council, a body which had little sympathy with 
+or appreciation of Bach's artistic aims and temperament.  
+To these difficulties must be added 
+another.  The Town Musicians, on whom Bach 
+relied for the nucleus of his orchestra, were few 
+in number and inefficient.
+</p>
+<p>
+So long as Ernesti lived, there was little prospect 
+of reform.  But, after his death, in October 1729, 
+Bach made vigorous representations to the Town 
+Council.  Already he had remonstrated with the 
+Council for presenting to foundation scholarships 
+boys who lacked musical aptitude.  The Council
+<pb n="40" />
+retaliated by accusing Bach of neglecting his 
+singing classes, absenting himself without leave, 
+and of other irregularities.  He was declared to 
+be <q>incorrigible</q> and it was resolved (August 2, 
+1730) to sequestrate the Cantor's income, in 
+other words, to withhold from him the perquisites 
+to which he was entitled for the conduct of the 
+Church services.<note place="foot">
+<p>
+In view of Bach's memorial of August 23, 1730 <foreign lang="la">(infra)</foreign>, this seems to be  the meaning of the resolution.
+</p>
+</note>
+</p>
+<p>
+Bach was not deterred from offering, three 
+weeks later (August 23, 1730), a <q>sketch of what 
+constitutes well-appointed Church music, with a 
+few impartial reflections on its present state of 
+decay</q> in Leipzig.  The document reveals the 
+conditions amid which Bach worked.  Its representations 
+may be summarised:
+</p>
+<p>
+The foundation scholars of St. Thomas' are of 
+four classes: Trebles, Altos, Tenors, Basses. 
+</p>
+<p>
+A choir needs from four to eight <q>concertists</q> (
+solo singers) and at least two <q>ripienists</q> to each 
+chorus part, <foreign lang="la">i.e.</foreign> a minimum of twelve voices.
+</p>
+<p>
+The foundation scholars number fifty-five, by whom the choirs of the four Churches, St. Thomas', St. Nicolas', St. Peter's, and the New Church are provided.  For the instrumental accompaniments at least twenty players are required: viz., 2 or 3 first Violins, 2 or 3 second Violins, 4 Violas, 2 Violoncelli, 1 Contrabasso, 2 or more Flutes, 2 or 3 Oboi,
+<pb n="41" />
+1 or 2 Fagotti, 3 Trombe, 1 Timpani.  To fill 
+these places there are eight Town Musicians, and 
+at the moment there are no players available for 
+third Tromba, Timpani, Viola, Violoncello, Contrabasso, third Oboe (or Taille).
+</p>
+<p>
+To augment the Town Musicians the Cantor has 
+been wont in the past to employ University 
+students and instrumental players in the School.  
+Upon the former <q>at all times</q> he relies for Viola, 
+Violoncello, and Contrabasso, and <q>generally</q> for 
+the second Violins.  But the Council, by its recent 
+resolution, no longer affords the Cantor the means 
+to employ them.  To place the scholars in the 
+orchestra weakens the choir, to which they naturally 
+belong.
+</p>
+<p>
+By presenting to foundation scholarships boys 
+unskilled and ignorant of music, the resources at 
+the Cantor's disposal are still farther lessened.
+</p>
+<p> 
+Hence, Bach concludes, <q>in ceasing to receive 
+my perquisites I am deprived of the power of 
+putting the music into a better condition.</q>
+</p>
+<p> 
+No answer was made to Bach's memorial, and 
+he contemplated resigning his position.  But with 
+the advent of Johann Matthias Gesner as Rector 
+in September 1730 a happier period dawned upon 
+the <q>incorrigible</q> Cantor.  In 1732 Gesner procured 
+the withdrawal of the Council's ban on 
+Bach's perquisites.  The fallen fortunes of the 
+School revived, and Bach did not again make an 
+effort to leave Leipzig.  In 1736 the grant of the
+<pb n="42" />
+post of Hof-Componist to the Saxon Court gave 
+him at length a title which compelled the deference 
+of his civic masters.
+</p>
+<p>
+Bach's early misunderstanding with the University 
+cut him off from association with the most 
+dignified, if not the most important, institution 
+in Leipzig, and deprived him of opportunity to 
+display his genius beyond the radius of his Church 
+duties.  The situation changed in 1729, when he 
+became director of the University Society, and he 
+held the post for about ten years.  The Society 
+gave weekly concerts on Fridays, from 8 to 10, 
+and an extra concert, during the Fair season, on 
+Thursdays at the same hour.  It performed vocal 
+and instrumental music and was the medium 
+through which Bach presented his secular Cantatas, 
+Clavier and Violin Concertos, and Orchestral 
+Suites to the public.  The proficiency of his elder 
+sons and pupils, and his wife's talent as a singer, 
+were a farther source of strength to the Society, 
+whose direction undoubtedly made these years the 
+happiest in Bach's life.  He took his rightful place 
+in the musical life of the city, and relegated to a 
+position of inferiority the smaller fry, such as 
+G&ouml;rner, who had presumed on Bach's aloofness 
+from the University and Municipality to insinuate 
+themselves.  His increasing reputation as an 
+organist, gained in his annual autumn tours, also 
+enlightened his fellow-townsmen regarding the 
+superlative worth of one whom at the outset
+<pb n="43" />
+they were disposed to treat as a subordinate 
+official.
+</p>
+<p>
+The Leipzig of Bach's day offered various opportunities 
+for musical celebration; official events in 
+the University, <q>gratulations</q> or <q>ovations</q> of 
+favourite professors by their students, as well as 
+patriotic occasions in which town and gown participated.  
+The recognised fee for <foreign lang="fr">piec&egrave;s d'occasion</foreign> 
+of a public character was fifty thalers.  Bach's 
+conductorship of the University Society enabled 
+him to perform festival works with the resources 
+they required, and to augment the band and 
+chorus needed for their adequate performance.
+</p>
+<p>
+Even before he undertook the direction of the 
+University Society, Bach more than once provided 
+the music for University celebrations.  On 
+August 3, 1725, his secular Cantata, <title>Der
+zufried-engestellte Aeolus,</title> was performed at the students' 
+celebration of Doctor August Friedrich M&uuml;ller's 
+name-day.  In 1726 he revived an old Cantata<note place="foot">
+<p>
+<title>Steigt freudig in die Luft,</title> first performed at C&ouml;then, set to a new text, <title>Schwingt freudig euch empor.</title>
+</p>
+</note>
+to celebrate the birthday of another of the Leipzig 
+teachers.  In the same year the appointment of 
+Dr. Gottlieb Kortte as Professor of Roman Law 
+was celebrated by Bach's Cantata <title>Vereinigte 
+Zwietracht der wechselnden Saiten.</title> In 1733 the 
+birthday of another Professor was marked by the 
+performance of the C&ouml;then Cantata to yet another 
+text (<title>Die Freude reget sich</title>). On November 21, 
+<pb n="44" />
+1734, the lost Cantata <title>Thomana sass annoch 
+betr&uuml;bt</title> was sung at the induction of Gesner's 
+successor, Johann August Ernesti, as Rector of 
+St. Thomas' School.
+</p>
+<p>
+But Bach's activity as a secular composer at 
+Leipzig was chiefly expended on patriotic celebrations.  
+His compositions of this character are 
+particularly numerous during the years 1733-36, 
+while he was seeking from the Dresden Court the 
+post of Hof-Componist.  The first of these celebrations 
+took place on May 12, 1727, the birthday 
+of Augustus II. of Poland-Saxony, when 
+Bach's Cantata, <title>Entfernet euch, ihr heitern 
+Sterne,</title> was performed in the Market Place by 
+the University Society.  The King was present 
+and listened to the performance from a convenient 
+window.  The music is lost.  Six years elapsed 
+before Bach was invited to collaborate in 
+another celebration of the royal House.  On 
+September 5, 1733, less than two months after his 
+application for the post of Hof-Componist, the 
+University Society celebrated the eleventh birthday 
+of the Electoral Prince by performing Bach's 
+<foreign lang="la">dramma per musica</foreign>, <title>Die Wahl des Herkules,</title> or  
+<title>Herkules auf dem Scheidewege.</title> Barely three 
+months later, on December 8, 1733, Bach produced 
+another Cantata in honour of the royal 
+family, <title>T&ouml;net, ihr Pauken, erschallet Trompeten,</title> 
+of which he was both author and composer.  On 
+no less than three occasions in 1734 Bach did
+<pb n="45" />
+homage to his unheeding sovereign.  In January 
+the University Society, under Bach's direction, 
+performed his Cantata <title>Blast Larmen, ihr Feinde</title> 
+to celebrate the coronation of Augustus III.  The 
+music had already done duty in Dr. M&uuml;ller's 
+honour in 1725.  On the following October 5, 
+1734, when the King visited Leipzig, Bach's 
+hurriedly written Cantata, <title>Preise dein Gl&uuml;cke, 
+gesegnetes Sachsen,</title> whose first chorus became the <foreign lang="la"> 
+Osanna</foreign> of the B minor Mass, was performed in 
+the Market Place.  Two days later, on October 7, 
+1734, the King's birthday was celebrated by 
+another Bach Cantata, <title>Schleicht spielende 
+Wellen,</title> performed by the Collegium Musicum.  
+In 1738, having received the coveted title of Hof-Componist in the interval (1736), Bach performed 
+a work&mdash;<title>Willkommen, ihr herrschenden G&ouml;tter 
+der Erden</title>&mdash;now lost, in honour of the marriage 
+of the Princess Maria Amalia of Saxony to Charles 
+of Sicily, afterwards Charles III. of Spain.
+</p>
+<p>
+Apart from his musical activities and the house 
+in which he lived there is little that permits us 
+to picture Bach's life at Leipzig.  Association 
+with his friends Johann Christian Hoffmann, 
+Musical Instrument Maker to the Court, Marianne 
+von Ziegler, J. C. Gottsched and his musical wife, 
+Johann Abraham Birnbaum, among the Professoriate, 
+Picander and Christian Weiss, Bach's 
+regular librettists, suggests the amenities of an 
+academic and literary circle. But the claims of
+<pb n="46" />
+his art and the care of his large family had the 
+first call upon Bach's interest.  And few men had 
+a happier home life.  While his elder sons were 
+at home the family concerts were among his most 
+agreeable experiences.  As his fame increased, 
+his house became the resort of many seeking to 
+know and hear the famous organist.  Late in the 
+thirties he resigned his directorship of the University 
+Society.  His sons were already off his 
+hands and out of his house, and he turned again 
+to the Organ works of his Weimar period.  Their 
+revision occupied the last decade of his life, and the 
+hitherto constant flow of Church Cantatas ceased.  
+Pupils resorted to him and filled his empty house, 
+to one of whom, Altnikol, he gave a daughter in 
+marriage.
+</p>
+<p>
+A man of rigid uprightness, sincerely religious; 
+steeped in his art, earnest and grave, yet not 
+lacking naive humour; ever hospitable and 
+generous, and yet shrewd and cautious; pugnacious 
+when his art was slighted or his rights 
+were infringed; generous in the extreme to his 
+wife and children, and eager to give the latter 
+advantages which he had never known himself; 
+a lover of sound theology, and of a piety as deep 
+as it was unpretentious&mdash;such were the qualities 
+of one who towers above all other masters of music 
+in moral grandeur.
+</p>
+<p>
+Four, perhaps only three, contemporary 
+portraits of Bach are known.  One is in the
+<pb n="47" />
+possession of the firm of Peters at Leipzig and 
+once belonged to Carl Philipp Emmanuel's 
+daughter, who with inherited impiety sold it to 
+a Leipzig flute player.  The second hung in 
+St. Thomas' School and is reproduced at p. 48 
+of this volume.  It was painted in 1746 and 
+restored in 1913.  Both portraits are by Elias 
+Gottlieb Haussmann, Court Painter at Dresden.  
+The third portrait belonged to Bach's last pupil, 
+Kittel, and used to hang on the Organ at Erfurt, 
+whence it disappeared after 1809, during the 
+Napoleonic wars.  Recently Professor Fritz 
+Volbach of Mainz has discovered a fourth portrait, 
+which is printed at p. 92 of the present volume.  
+He supposes it to be none other than the Erfurt 
+portrait, as indeed it well may be, since it represents 
+a man of some sixty years, austere in 
+countenance, but of a dignity that is not so 
+apparent in Haussmann's portraiture.<note place="foot">
+<p>
+The well-known portrait by C. F. Rr. Liszewski in the Joachimsthal 
+Gymnasium, Berlin, was painted in 1772, twenty-two years after 
+Bach's death.  It represents him at a table with music-paper before 
+him and an adjacent Clavier.  Pirro uses for his frontispiece a portrait 
+by Geber, which bears no resemblance whatever to the Haussmann or 
+Volbach pictures.  Mention must also be made of a singularly engaging 
+picture of Bach at the age of thirty-five.  It hangs in the Eisenach 
+Bach Museum and is by Johann Jak. Ihle.  It is reproduced as the 
+frontispiece of this volume.
+</p>
+</note>
+</p>
+<p>
+Bach left no will.  In consequence his widow, 
+Anna Magdalena, burdened with the charge of 
+a step-daughter and two daughters, was entitled 
+to only one-third of her husband's estate.  Neither
+<pb n="48" />
+Carl Philipp Emmanuel nor Wilhelm Friedemann was her own 
+child.  But the fact cannot 
+excuse gross neglect of their father's widow.  
+Her own sons were in a position to make such a 
+contribution to her income as would at least have 
+kept want from her door.  In fact she was permitted 
+to become dependent on public charity, 
+and died, an alms-woman, on February 27, 1760, 
+nearly ten years after her great husband.  The 
+three daughters survived her.  One died in 1774, 
+the second in 1781.  The third, Regine Susanna, 
+survived them, her want relieved by gifts from 
+a public that at last was awakening to the 
+grandeur of her father.  Beethoven contributed 
+generously.  Regine Susanna died in December 
+1809, the last of Bach's children.  In 1845 her 
+nephew, Johann Christoph Friedrich's son, also 
+died.  With him the line of Johann Sebastian 
+Bach expired.
+</p>
+
+<figure url="images/bach2.jpg" rend="page-float:'ht'; w90">
+<index index="fig" />
+<head>Johann Sebastian Bach, circa 1746. <emph>From the picture by Haussmann.</emph></head>
+<figDesc>Johann Sebastian Bach, circa 1746. From the picture by Haussmann.</figDesc>
+</figure>
+
+</div>
+
+<pb n="49" />
+
+<div rend="page-break-before: right">
+  <index index="toc" />
+  <index index="pdf" />
+<head>CHAPTER III. BACH AS A CLAVIER PLAYER</head>
+<p>
+As a Clavier player Bach was admired by all who 
+had the good fortune to hear him and was the 
+envy of the virtuosi of his day.  His method 
+greatly differed from that of his contemporaries 
+and predecessors, but so far no one has attempted 
+to explain in what the difference consisted.  
+The same piece of music played by ten different 
+performers equally intelligent and competent 
+will produce a different effect in each 
+case.  Each player will emphasise this or that 
+detail.  This or that note will stand out with 
+differing emphasis, and the general effect will 
+vary consequently.  And yet, if all the players 
+are equally competent, ought not their performances 
+to be uniform?  The fact that they 
+are not so is due to difference of touch, a quality 
+which to the Clavier stands as enunciation to 
+human speech.  Distinctness is essential for the 
+enunciation of vowels and consonants, and not less 
+so for the articulation of a musical phrase.  But 
+there are gradations of distinctness.  If a sound 
+is emitted indistinctly it is comprehensible only
+<pb n="50" />
+with effort, which occasions us to lose much of 
+the pleasure we should otherwise experience.  
+On the other hand, over-emphasis of words or 
+notes is to be avoided.  Otherwise the hearer's 
+attention will be diverted from the <foreign lang="fr">tout ensemble</foreign>.  
+To permit the general effect to be appreciated 
+every note and every vowel must be sounded 
+with balanced distinctness.
+</p>
+<p>
+I have often wondered why Carl Philipp 
+Emmanuel Bach's <title>Essay on the Right Manner 
+of playing the Clavier</title><note place="foot">
+<p>
+His <title>Versuch &uuml;ber die wahre Art des Klavier zu spielen</title> was published (Part I.) in 1753.
+</p>
+</note>
+does not elucidate the 
+qualities that constitute a good touch.  For he 
+possessed in high degree the technique that made 
+his father pre-eminent as a player.  True, in his 
+chapter on <q>Style in Performance,</q> he writes,
+<q>Some persons play as if their fingers were glued 
+together; their touch is so deliberate, and they 
+keep the keys down too long; while others, 
+attempting to avoid this defect, play too crisply, 
+as if the keys burnt their fingers.  The right 
+method lies between the two extremes.</q> But 
+it would have been more useful had he told us 
+how to reach this middle path.  As he has not 
+done so, I must try to make the matter as clear 
+as is possible in words.
+</p>
+<p>
+Bach placed his hand on the finger-board so 
+that his fingers were bent and their extremities 
+poised perpendicularly over the keys in a plane
+<pb n="51" />
+parallel to them.<note place="foot">
+<p> Forkel's meaning 
+can be made clear in the following manner: 
+place the thumb and fingers of either hand upon the notes C D E F G 
+of the pianoforte so that the three middle fingers lie more or less flat 
+upon the keys; then draw back the three middle fingers until they 
+form an arch having their tips approximately in a straight line with 
+the tips of the thumb and little finger upon the keys.
+</p>
+</note>
+Consequently none of his 
+fingers was remote from the note it was intended to 
+strike, and was ready instantly to execute every 
+command.  Observe the consequences of this 
+position.  First of all, the fingers cannot <emph>fall</emph> 
+or (as so often happens) be <emph>thrown</emph> upon the notes, 
+but are <emph>placed</emph> upon them in full control of the 
+force they may be called on to exert.  In the 
+second place, since the force communicated to the 
+note needs to be maintained with uniform pressure, 
+the finger should not be released perpendicularly 
+from the key, but can be withdrawn gently and 
+gradually towards the palm of the hand.  In 
+the third place, when passing from one note 
+to another, a sliding action instinctively instructs 
+the next finger regarding the amount of force 
+exerted by its predecessor, so that the tone is 
+equally regulated and the notes are equally 
+distinct.  In other words, the touch is neither 
+too long nor too short, as Carl Philipp Emmanuel 
+complains, but is just what it ought to 
+be.<note place="foot">
+<p>
+It must be remembered that Forkel is speaking of the Clavier 
+and not of the Pianoforte.
+</p>
+</note>
+Many advantages arise from holding the hand 
+in Bach's position and from adopting his touch,
+<pb n="52" />
+on the Clavichord and Harpsichord,<note place="foot">
+<p>
+The Harpsichord, as its 
+name implies, was an instrument whose 
+strings were plucked by a plectrum. Bach preferred the older Clavier, 
+or Clavichord, which could be regulated, as the other could not, by 
+nicety of touch. See note, p. 68, <foreign lang="la">infra</foreign>.
+</p>
+</note>
+and on  the Organ as well.  I point out merely the most 
+important of them.   To begin with, if the fingers 
+are bent, their movements are free.  The notes 
+are struck without effort and with less risk of 
+missing or hitting too hard, a frequent fault with 
+people who play with their fingers elongated or 
+insufficiently bent.  In the second place, the 
+sliding finger-tip, and the consequently rapid 
+transmission of regulated force from one finger to 
+another, tend to bring out each note clearly and 
+to make every passage sound uniformly brilliant 
+and distinct to the hearer without exertion.  In 
+the third place, stroking the note with uniform 
+pressure permits the string to vibrate freely, improves 
+and prolongs the tone, and though the 
+Clavichord is poor in quality, allows the player 
+to sustain long notes upon it.  And the method 
+has this advantage: it prevents over-expenditure 
+of strength and excessive movement of the hand.  
+We gather that the action of Bach's fingers was 
+so slight as to be barely perceptible.  Only the 
+top joint seemed to move.  His hand preserved 
+its rounded shape even in the most intricate 
+passages.  His fingers rested closely upon the 
+keys, very much in the position required for a 
+<q>shake.</q>  An unemployed finger remained in a
+<pb n="53" />
+position of repose.  It is hardly necessary to say that
+that other limbs of his body took no part in his 
+performance, as is the case with many whose 
+hands lack the requisite agility.<note place="foot">
+<p>
+Schweitzer (i. 208) points out that Bach's touch 
+was modern, in 
+that he realised that <q>singing tone</q> depends not only upon the manner 
+in which the keys are struck, but, to a great extent, on the regulation 
+of their ascent.
+</p>
+<p>
+Of Handel's touch, Burney writes (quoted by Rockstro, p. 349): 
+<q>His touch was so smooth, and the tone of the instrument so much 
+cherished, that his fingers seemed to grow to the keys.  They were 
+so curved and compact when he played, that no motion, and scarcely 
+the fingers themselves, could be discovered.</q>
+</p>
+</note>
+</p>
+<p>
+A man may possess all these qualities, however, 
+and remain an indifferent performer on the 
+Clavier, just as clear and agreeable enunciation 
+does not necessarily make a good speaker.  To be 
+a first-rate performer many other qualities are 
+needed, and Bach possessed them all in a notable 
+degree.
+</p>
+<p>
+Some fingers are longer and stronger than others. 
+Hence players are frequently seduced to use the 
+stronger whenever they can readily do so.  Consequently 
+successive notes become unequal in tone, 
+and passages which leave no choice as to the finger 
+to be used may become impossible to play.  Bach 
+recognised this fact very early in his career.  To 
+get over the difficulty he invented exercises for 
+his own use in which the fingers of both hands 
+were made to practise passages in every conceivable 
+position.  By this means every finger on 
+both hands equally became strong and serviceable,
+<pb n="54" />
+ so that he could play a rapid succession of 
+chords, single and double <q>shakes,</q> and running 
+passages with the utmost finish and delicacy, and 
+was equally fluent in passages where some fingers 
+play a <q>shake</q> while the others on the same hand 
+continue the melody.
+</p>
+<p>
+Besides these improvements, Bach invented a 
+new system of fingering.<note place="foot">
+<p>
+At the beginning of the seventeenth century, 
+as Spitta points out (ii. 34), the art of fingering had not developed.  Speaking generally, 
+neither thumb nor little finger was employed.  It was not until the 
+beginning of the eighteenth century that a scientific method emerged, 
+a development rendered necessary by the advance in the modes of 
+musical expression.  C. P. E. Bach, quoted by Schweitzer (i. 206), 
+puts this concisely: <q>My late father told me that in his youth he had 
+heard great men who never used the thumb except when it was necessary 
+to make big stretches.  But he lived in an epoch when there 
+came about gradually a most remarkable change in musical taste, 
+and therefore found it necessary to work out for himself a much more 
+thorough use of the fingers, and especially of the thumb, which, besides 
+performing other good services, is quite indispensable in the difficult 
+keys, where it must be used as nature intends.</q>
+</p>
+</note>
+ Before his time, and 
+even in his early years, it was usual for the player 
+to pay attention to harmony rather than counterpoint. 
+Even so it was not customary to use 
+every one of the twenty-four major and minor 
+keys.  The Clavichord was still what we term
+<q><foreign lang="de">gebunden</foreign></q>; that is, several keys struck the 
+same string, which, therefore, could not be 
+accurately tuned.<note place="foot">
+<p>
+According to Mr. Arnold Dolmetsch, Clavichords with special 
+strings for each note (<foreign lang="de">bundfrei</foreign>) were known in Bach's time.
+</p>
+</note>
+ Consequently it was usual to 
+employ only those keys whose notes were tuned 
+with some approximation to accuracy.  Again,
+<pb n="56" />
+good players in those days hardly ever used the thumb, 
+except when a large interval had to be 
+stretched.  But when Bach began to melodise 
+harmony so that his middle parts not merely 
+filled in but had a tune of their own, when, 
+too, he began to deviate from the Church modes 
+then in general vogue in secular music, using the 
+diatonic and chromatic scales indifferently, and 
+tuning the Clavier in all the twenty-four keys, he 
+found himself compelled to introduce a system of 
+fingering better adapted to his innovations than 
+that in use, and in particular, to challenge the 
+convention which condemned the thumb to inactivity. 
+It is held by some writers that Couperin 
+forestalled Bach's method of fingering, in his
+<title>L'Art de toucher le Clavecin,</title> published in 
+1716.  But that is not the case.  In the first 
+place, Bach was above thirty years old in 1716, 
+and had already developed a distinctive method 
+of his own.  And in the second place, Couperin's 
+system differs materially from Bach's, though both 
+made more frequent use of the thumb than was 
+so far customary.  When I say <q>more frequent 
+use</q> I do so advisedly; for whereas in Bach's 
+system the thumb is the principal finger&mdash;for the 
+difficult keys, as they are called, are unplayable 
+without it&mdash;it is not equally indispensable with 
+Couperin, whose thematic material was not so 
+intricate as Bach's, nor did he compose or play 
+in such difficult keys.  Consequently Couperin
+<pb n="56" />
+had not an equally urgent need to use the thumb.  
+We need only compare Couperin's with Bach's 
+system of fingering, as Carl Philipp Emmanuel 
+explains it,<note place="foot">
+<p>
+In the <title>Essay</title> already referred to.  For 
+a discussion of Couperin's 
+method see Spitta, ii. 37 ff. 
+</p>
+</note>
+ to discover that Bach's permits every 
+passage, however intricate and polyphonic, to be 
+played with ease, whereas Couperin's is hardly 
+effective even for his own compositions.  Bach 
+was acquainted with Couperin's works and highly 
+esteemed them,<note place="foot">
+<p>
+For instance, the Rondeau in B flat in Anna Magdalena's <title>Noten- 
+buch</title> (No. 6) (1725) is by Couperin.
+</p>
+</note>
+ as he did those of other French 
+Clavier composers, for their finish and brilliance.  
+But he considered them affected in their excessive 
+use of ornaments, scarcely a single note being free 
+from them.  He held them, also, superficial in 
+matter.
+</p>
+<p>
+Bach's easy, unconstrained use of the fingers, 
+his musical touch, the clearness and precision of 
+every note he struck, the resourcefulness of his 
+fingering, his thorough training of every finger 
+of both hands, the luxuriance of his thematic 
+material and his original method of stating it, all 
+contributed to give him almost unlimited power 
+over his instrument, so easily did he surmount 
+the difficulties of its keyboard.  Whether he improvised 
+or played his compositions from notes, 
+he systematically employed every finger of each 
+hand, and his fingering was as uncommon as the 
+compositions themselves, yet so accurate that he 
+<pb n="57" />
+never missed a note.  Moreover, he read at sight 
+other people's compositions (which, to be sure, 
+were much easier than his own) with the utmost 
+facility.  Indeed, he once boasted to a friend at 
+Weimar that he could play at sight and without a 
+mistake anything put before him.  But he was 
+mistaken, as his friend convinced him before the 
+week was out.  Having invited Bach to breakfast 
+one morning, he placed on the Clavier, among 
+other music, a piece which, at a first glance, seemed 
+perfectly easy.  On his arrival, Bach, as was his 
+custom, sat down at the Clavier to play or look 
+through the music.  Meanwhile his friend was in 
+the next room preparing breakfast.  In a short 
+time Bach took up the piece of music destined to 
+change his opinion and began to play it.  He had 
+not proceeded far before he came to a passage at 
+which he stopped.  After a look at it he began 
+again, only to stop at the same place. <q>No,</q> he 
+called out to his friend, who was laughing heartily 
+in the next room, <q>the man does not exist who 
+can play everything at sight.  It can't be done.</q>
+With that he got up from the Clavier in some 
+annoyance.<note place="foot">
+<p>
+No doubt the friend who prepared this trap for Bach 
+was Johann Gottfried Walther.  His compositions frequently were characterised 
+by intricacy.
+</p>
+</note>
+</p>
+<p>
+Bach also could read scores with remarkable 
+facility and play them on the Clavier. He 
+found no more difficulty in piecing together the
+<pb n="58" />
+separate parts when laid side by side before him.<note place="foot">
+<p>
+Mozart had the 
+same gift.  When visiting St. Thomas' School 
+in 1789, he heard with astonishment a performance of Bach's Motet, <title>
+Singet dem Herrn ein neues Lied.</title> <q>At the conclusion he expressed 
+his delight, and said, <q>Now that is something from which a man may 
+learn.</q>  On being informed that Bach was Cantor to this school, and 
+that his Motets were venerated there as reliques, he was eager to see 
+them.  No score being to be obtained, they handed him the separate 
+parts, and it was interesting to observe his manner of reading them, 
+holding some in his hands, some on his knees, placing some on chairs 
+around him; seeming thoroughly lost to everything, and not rising till 
+he had thoroughly satisfied his curiosity</q> (Holmes, <title>Life of Mozart,</title> ed. Dent, p. 251). 
+</p>
+</note>
+He often did so when a friend brought him a new 
+Trio or Quartet for Strings and wished to hear 
+how it sounded.  If a Continuo part, however 
+badly figured, was put before him he could improvise 
+a Trio or Quartet upon it.  Nay, when 
+he was in the mood and at the height of his 
+powers, he would convert a Trio into a Quartet 
+by extemporising a fourth part.  On such occasions 
+he used a Harpsichord with two manuals and 
+pedal attachment.
+</p>
+<p>
+Bach preferred the Clavichord to the Harpsichord, 
+which, though susceptible of great variety 
+of tone, seemed to him lacking in soul.  The 
+Pianoforte was still in its infancy and too coarse.<note place="foot">
+<p>
+There were in Bach's time three <q>Clavier</q> instruments in use.  
+The oldest, the Clavichord, as a rule, had two strings to every 
+note, set in motion by a <q>tangent</q> striking them from below.  Its 
+advantage was that it permitted the tone to be regulated by the 
+touch.  For that reason, though its tone was weak, Bach preferred 
+it.  The Clavicembalo, or Harpsichord, as it is called in the text, was 
+in general known as the <q>Fl&uuml;gel,</q> the strings being plucked, or flipped 
+by a quill or metal pin, after the manner of the modern mandoline. 
+The third instrument was the <q>piano e forte,</q> or Hammerclavier.
+The Clavicembalo was also built with two keyboards, like an Organ, 
+and a pedal-board provided with strings.  It was for this instrument 
+that the so-called Organ Sonatas of Bach were written.  He possessed 
+five Clavicembali, but not a single Clavichord at the time of his death.  
+For that reason it has been questioned whether Forkel is accurate in 
+stating that Bach preferred the latter instrument. See Schweitzer, 
+i. 200 ff.
+</p>
+</note>
+<pb n="59" />
+Both for practice and intimate use he regarded 
+the Clavichord as the best instrument and preferred 
+to express on it his finest thoughts.  He held 
+the Harpsichord, or Clavicembalo, incapable of the 
+gradations of tone obtainable on the Clavichord, 
+an instrument which, though feeble in quality, is 
+extremely flexible.
+</p>
+<p>
+No one could adjust the quill plectrums of his 
+Harpsichord to Bach's satisfaction; he always 
+did it himself.  He tuned his Harpsichord and 
+Clavichord, and was so skilful in the operation 
+that it never took him more than a quarter of an 
+hour.  It enabled him to play in any key he 
+preferred, and placed the whole twenty-four of 
+them at his disposal, so that he could modulate 
+into the remoter as easily and naturally as into 
+the more nearly related keys.  Those who heard 
+him frequently could hardly detect the fact that 
+he had modulated into a distant key, so smooth 
+were his transitions.  In chromatic movements 
+his modulation was as easy and sequent as in 
+diatonic.  His <title>Chromatic Fantasia,</title> which is 
+now published,<note place="foot">
+<p>
+ Peters bk. 207 p. 4.
+</p>
+</note>
+ bears out my statement.  In 
+his extemporisation he was even freer, more 
+brilliant and expressive. 
+</p>
+<pb n="60" />
+<p>
+When he played his own music Bach usually 
+adopted a brisk pace.  He contrived to introduce 
+so much variety that every piece became a sort 
+of conversation between its parts.  If he wished 
+to express deep emotion he did not strike the notes 
+with great force, as many do, but expressed his 
+feeling in simple melodic and harmonic figures,<note place="foot">
+<p>
+The truth of this remark is 
+very evident in the <title>Orgelb&uuml;chlein.</title>
+</p>
+</note>
+relying rather on the internal resources of his art 
+than external dynamics.  Therein he was right.  
+True emotion is not suggested by hammering 
+the Clavier. All that results is that the notes 
+cannot be heard distinctly, much less be connected 
+coherently. 
+</p>
+</div>
+
+<div rend="page-break-before: right">
+  <index index="toc" />
+  <index index="pdf" />
+<head>CHAPTER IV.  BACH THE ORGANIST</head>
+<p>
+What has been said regarding Bach's admirable 
+Clavier playing applies generally to his skill as 
+an organist.  The Clavier and Organ have points 
+in common, but in style and touch are as different 
+as their respective uses.  What sounds well on 
+the Clavier is ineffective on the Organ, and vice 
+versa.  The most accomplished Clavier player 
+may be, and usually is, a bad organist unless he 
+realises the differing natures of the two instruments 
+and the uses they serve.  I have come across 
+only two men who can be regarded as exceptions 
+to this general rule&mdash;Bach and his eldest son, 
+Wilhelm Friedemann.  Both were finished Clavier 
+performers, but no trace of the Clavier style was 
+apparent when they played the Organ.  Melody, 
+harmony, and pace were carefully selected with 
+due regard to the nature and distinctive use of 
+each instrument.  When Wilhelm Friedemann 
+played the Clavier his touch was elegant, delicate, 
+agreeable.  When he played the Organ he inspired 
+a feeling of reverent awe. On the one he was
+<pb n="62" />
+charming.  On the other he was solemn, impressive.  
+So also was his father, and to an even 
+greater degree.  Wilhelm Friedemann was a mere 
+child to him as an organist, and frankly admitted 
+the fact.<note place="foot">
+<p>
+Forkel writes as though he were in a position by personal 
+knowledge to compare the gifts of Bach and his son.  In fact 
+he was born in 1749 and was less than two years old when 
+Bach died.
+</p>
+</note>
+ The music that extraordinary man 
+wrote for the Organ is full of dignity, awe-inspiring, 
+saturated with the atmosphere of devotion.  His 
+improvisation was even more inspired, dignified, 
+and impressive: for then his imagination was 
+untrammelled by the irksomeness of expressing 
+himself on paper.  What is the essence of this 
+art? Let me, though imperfectly, attempt an 
+answer.
+</p>
+<p>
+When we compare Bach's Clavier compositions 
+with those written for the Organ it is at once 
+apparent that they differ essentially in melodic 
+and harmonic structure.  Hence we conclude 
+that a good organist must select fitting themes for 
+his instrument, and let himself be guided by its 
+character and that of the place in which it stands 
+and by the objects of its use.  Its great body of 
+tone renders the Organ ill-adapted to light and 
+jaunty music.  Its echoes must have liberty to 
+rise and fall in the dim spaces of the church, 
+otherwise the sound becomes confused, blurred, 
+and unintelligible.  What is played upon it
+<pb n="63" />
+must be suited to the place and the instrument, 
+in other words, must be congruous to 
+a solemn and majestic fabric.  Occasionally 
+and exceptionally a solo stop may be used 
+in a Trio, etc.  But the proper function of 
+the Organ is to support church singing and 
+to stimulate devotional feeling.  The composer 
+therefore must not write music for it which 
+is congruous to secular surroundings.  What is 
+commonplace and trite can neither impress the 
+hearer nor excite devotional feeling.  It must 
+therefore be banished from the Organ-loft. How 
+clearly Bach grasped that fact!  Even his secular 
+music disdained trivialities.  Much more so his 
+Organ music, in which he seems to soar as a spirit 
+above this mortal planet.
+</p>
+<p>
+Of the means by which Bach attained to such 
+an altitude as a composer for the Organ we may 
+notice his harmonic treatment of the old Church 
+modes, his use of the obbligato pedal, and his 
+original registration.  The remoteness of the 
+ecclesiastical modes from our twenty-four major 
+and minor keys renders them particularly appropriate 
+to the service of religion.  Any one who 
+looks at Bach's simple four-part Hymn tunes (<foreign lang="de">Choralges&auml;nge</foreign>) will at once convince himself of 
+the fact.  But no one can realise how the Organ 
+sounds under a similar system of harmonic 
+treatment unless he has heard it.  It becomes 
+a choir of four or five parts, each in its natural
+<pb n="64" />
+compass.  Compare the following chords in 
+divided harmony:
+</p>
+
+<figure url="images/harmony1.jpg" rend="page-float:'h'; w30">
+<index index="fig" />
+<figDesc>Divided Harmony, Bach treatment</figDesc>
+</figure>
+
+<p>
+with these:
+</p>
+
+<figure url="images/harmony2.jpg" rend="page-float:'h'; w30">
+<index index="fig" />
+<figDesc>Divided Harmony, conventional treatment</figDesc>
+</figure>
+
+<p>
+which is the more usual form organists employ.  
+We realise instantly the effect when music in four 
+or more parts is played in the same manner.  
+Bach always played the Organ so, adding the 
+obbligato pedal, which few organists know how 
+to use properly.  He employed it not only to 
+sound the low notes which organists usually play 
+with the left hand, but he gave it a regular 
+part of its own, often so complicated that many 
+organists would find it difficult to play with their 
+five fingers.
+</p>
+<p>
+To these qualities must be added the exquisite 
+art Bach displayed in combining the stops of the 
+Organ.  His registration frequently astonished 
+organists and Organ builders, who ridiculed it at 
+first, but were obliged in the end to admit its
+<pb n="65" />
+admirable results and to confess that the Organ 
+gained in richness and sonority.<note place="foot">
+<p>
+On Bach's use of the stops see Spitta, i. 394 ff., and Pirro's <title>L'Orgue 
+de J.-S. Bach.</title>
+</p>
+</note>
+</p>
+<p>
+Bach's peculiar registration was based on his 
+intimate knowledge of Organ building and of the 
+properties of each individual stop.  Very early in 
+his career he made a point of giving to each part 
+of the Organ the utterance best suited to its 
+qualities, and this led him to seek unusual combinations 
+of stops which otherwise would not have 
+occurred to him.  Nothing escaped his notice 
+which had the slightest bearing on his art or promised 
+to advance it.  For instance, he made a 
+point of observing the effect of large musical 
+compositions in different surroundings.  The practised 
+ear, which enabled him to detect the slightest 
+error in music even of the fullest and richest 
+texture, and the art and rapidity with which he 
+tuned his instrument, alike attest his intuitive 
+skill and many-sidedness.  When he was at Berlin 
+in 1747 he was shown the new Opera House.  He 
+took in its good and bad qualities at a glance, 
+whereas others had done so only after experience.  
+He was shown the large adjoining Saloon and 
+went up into the gallery that runs round it.  
+Merely glancing at the roof he remarked, <q>The 
+architect has secured a novel effect which, probably, 
+neither himself nor any one else suspected.</q>  
+The Saloon, in fact, is a parallelogram. If a 
+<pb n="66" />
+person puts his face to the wall in one corner of 
+it and whispers a few words, another person at 
+the corner diagonally opposite can hear them 
+distinctly, though to others between them the 
+words are inaudible.  The effect arises from the 
+span of the arches in the roof, as Bach saw at a 
+glance.  These and similar observations suggested 
+to him striking and unusual combinations of 
+Organ stops.
+</p>
+<p> 
+Bach brought the methods I have indicated to 
+bear upon Church music, and they help to explain 
+his extraordinarily dignified and inspired playing, 
+which was at once so appropriate and filled the 
+listener with deep awe and admiration.  His profound 
+knowledge of harmony, unfailing originality, 
+freedom from a secular style, his complete command 
+of the instrument, both manuals and 
+pedals, whence flowed a generous stream of the 
+richest and most abundant fancy, the infallible 
+and swift judgment which allowed him always to 
+select from the treasury of his mind precisely the 
+musical ideas best suited to the occasion immediately 
+before him, his intuitive grasp of every 
+detail, and his power to make it serve his artistic 
+ends&mdash;in a word, his transcendent genius brought 
+the art of Organ playing to a degree of perfection 
+which, till then, it had never attained and hardly 
+will attain again.  Quantz<note place="foot">
+<p>
+Johann Joachim Quantz, b. 1697; flute player and composer; 
+taught Frederick the Great the flute; settled at Berlin as Kammer-musikus and Court Composer; d. 1773.
+</p>
+</note>
+has expressed the 
+<pb n="67" />
+same opinion. <q>The admirable Johann Sebastian 
+Bach,</q> he writes, <q>brought the art of Organ playing 
+to its highest perfection.  It is to be hoped that 
+when he dies it will not be suffered to decline or 
+be lost, as is to be feared from the small number 
+of people who nowadays bestow pains upon it.</q><note place="foot">
+<p>
+The <title>Nekrolog</title> 
+sums up more briefly than Forkel, in a judgment 
+which, without doubt, is the very truth: <q>Bach was the greatest 
+Organ player that had yet been known.</q>
+</p>
+</note>
+</p>
+<p>
+Strangers often asked Bach to play to them 
+between the hours of divine service.  On those 
+occasions he was wont to select and treat a theme 
+in various ways, making it the subject of each 
+extemporisation even if he continued playing for 
+two hours.  As a beginning he played a Prelude and 
+Fugue on the Great Organ.  Then he developed it 
+with solo stops in a Trio or Quartet.  A Hymn-tune followed, whose melody he interrupted in 
+the subtlest fashion with fragments of the theme 
+in three or four parts.  Last came a Fugue, with full 
+Organ, in which he treated the subject alone or 
+in association with one or more accessory themes.  
+Here we have the art which old Reinken of Hamburg 
+considered to be lost, but which, as he 
+afterwards found, not only survived but attained 
+its greatest perfection in Bach.
+</p>
+<p>
+Bach's pre-eminent position and his high reputation 
+often caused him to be invited to examine 
+candidates for vacant organistships, and to report 
+on new Organs.  In both cases he acted so conscientiously 
+and impartially that he generally made 
+<pb n="68" />
+enemies.  Scheibe, late Director of Music at the 
+Danish Court, who as a young man was examined 
+by Bach on such an occasion, was so incensed 
+by Bach's unfavourable verdict that he afterwards 
+avenged himself in his <q>Critical Musician</q> 
+by violently attacking his examiner.<note place="foot">
+<p>
+Johann Adolph Scheibe, 
+a native of Leipzig, was an unsuccessful 
+candidate for the Organistship of St. Thomas' Church in 1729.  Bach 
+was one of the judges.  In 1737 Scheibe published in the <q>Kritische 
+Musikus</q> a criticism of Bach which, while doing justice to his powers 
+as an organist, characterised his compositions as <q>turgid and confused 
+in character.</q>  Bach was incensed by the criticism and asked his 
+friend, Professor Birnbaum of Leipzig, to answer it.  Scheibe replied 
+in 1739, with a wholly unjustified challenge of Bach's general education 
+and culture. In his <q>Phoebus and Pan,</q> performed in 1731, Bach 
+had already had the satisfaction of representing Scheibe as <q>Midas</q> 
+and calling him an ass.  On the whole matter see Schweitzer, i. 178 ff. 
+and Spitta, iii. 252.  Scheibe conducted the Court orchestra at Copenhagen 
+from 1742-49 and died there in 1776.
+</p>
+</note>
+ In his 
+examination of Organs Bach equally exposed 
+himself to trouble.  He could as little prevail on 
+himself to praise a bad instrument as to recommend 
+a bad organist.  He was, therefore, severe, 
+though always fair, in the tests he applied, and as 
+he was thoroughly acquainted with the construction 
+of the instrument it was hopeless to attempt 
+to deceive him.  First of all he drew out all the 
+stops, to hear the Full Organ.  He used to say 
+jokingly, that he wanted to find out whether the 
+instrument had good lungs!  Then he gave every 
+part of it a most searching test.  But his sense 
+of fairness was so strong that, if he found the work 
+really well done, and the builder's remuneration
+<pb n="69" />
+too small, so that he was likely to be a loser, 
+Bach endeavoured, and often successfully, to 
+procure for him an adequate addition to the 
+purchase price.
+</p>
+<p>
+When the examination was over, especially if 
+the instrument pleased him, Bach liked to exhibit 
+his splendid talent, both for his own pleasure and 
+the gratification of those who were present.  Such 
+demonstrations of his powers invariably invited 
+the verdict, that he was conclusively <q>the prince 
+of Clavier and Organ players,</q> a title which Sorge, 
+the late highly-esteemed organist at Lobenstein,<note place="foot">
+<p>
+Georg Andreas Sorge, <q>Court and Town Organist to the Count of 
+Reuss and Plau at Lobenstein,</q> in his dedication thus commended 
+Bach: <q>The great musical virtue that Your Excellency possesses is 
+embellished with the excellent virtue of affability and unfeigned love 
+of your neighbour.</q> See Schweitzer, i. 155.
+</p>
+</note>
+once gave him in a dedicatory Preface.
+</p>
+</div>
+
+<pb n="70" />
+<div rend="page-break-before: right">
+  <index index="toc" />
+  <index index="pdf" />
+<head>CHAPTER V. BACH THE COMPOSER</head>
+<p>
+Bach's first attempts at composition, like all 
+early efforts, were unsatisfactory.  Lacking special 
+instruction to direct him towards his goal, he was 
+compelled to do what he could in his own way, 
+like others who have set out upon a career without 
+a guide.  Most youthful composers let their 
+fingers run riot up and down the keyboard, snatching 
+handfuls of notes, assaulting the instrument 
+in wild frenzy, in hope that something may result 
+from it.  Such people are merely Finger Composers&mdash;in his riper years Bach used to call them 
+Harpsichord Knights&mdash;that is to say, their fingers 
+tell them what to write instead of being instructed 
+by the brain what to play.<note place="foot">
+<p>
+The following 
+passage from the Autobiography of Hector Berlioz (ed. Dent, p. 11) is relevant: <q>My father would never let me learn the 
+piano; if he had, no doubt I should have joined the noble army of 
+piano thumpers&hellip;Sometimes I regret my ignorance, yet, when 
+I think of the ghastly heap of platitudes for which that unfortunate 
+piano is made the daily excuse&mdash;insipid, shameless productions, that 
+would be impossible if their perpetrators had to rely, as they ought, 
+on pencil and paper alone&mdash;then I thank the fates for having forced 
+me to compose silently and freely by saving me from the tyranny of 
+finger-work, that grave of original thought.</q>
+</p>
+</note>
+ Bach abandoned that 
+method of composition when he observed that
+<pb n="71" />
+brilliant flourishes lead nowhere.  He realised that 
+musical ideas need to be subordinated to a plan 
+and that the young composer's first need is a 
+model to instruct his efforts.  Opportunely 
+Vivaldi's Concertos for the Violin,<note place="foot">
+<p>
+Antonio Vivaldi, A. 1743; 
+a master of form.  That fact turned 
+the attention of German composers to him; while the popularity of 
+his Violin Concertos also attracted musicians, like Bach, whose work 
+at C&ouml;then was in close association with the Court Kapelle or 
+band. 
+</p>
+</note>
+ then recently 
+published, gave him the guidance he needed.  He 
+had often heard them praised as admirable works 
+of art, and conceived the happy idea of arranging 
+them for the Clavier.<note place="foot">
+<p>
+Bach re-wrote sixteen Vivaldi Violin Concertos for the Clavier, 
+four of them for the Organ, and developed one into a Concerto for four 
+Claviers and a quartet of strings which Forkel enumerates (
+<foreign lang="la">infra</foreign>, p. 132) 
+as a composition of Bach's (Peters bk. 260). Bach learnt from Vivaldi 
+<q>clearness and plasticity of musical structure.</q> See article <title>Vivaldi</title> 
+in Grove; Spitta, i. 411 ff; Schweitzer, i. 192 ff.  The Vivaldi Clavier 
+Concertos are in Peters bk. 217; the Organ Concertos in Novello 
+bk. 11. Not all these transcriptions are based on Vivaldi. See 
+Schweitzer, i. 193.
+</p>
+</note>
+ Hence he was led to study 
+their structure, the musical ideas on which they 
+are built, the variety of their modulations, and 
+other characteristics.  Moreover, in adapting to 
+the Clavier ideas and phrases originally written 
+for the Violin Bach was compelled to put his 
+brain to work, and so freed his inspiration from 
+dependence on his fingers.  Henceforth he was 
+able to draw ideas out of his own storehouse, and 
+having placed himself on the right road, needed 
+only perseverance and hard work to succeed.  
+And how persevering he was!  He even robbed
+<pb n="72" />
+himself of sleep to practise in the night what he 
+had written during the day!  But the diligence 
+he bestowed upon his own compositions did not 
+hinder him from studying the works of Frescobaldi,<note place="foot">
+<p>
+Girolamo Frescobaldi, b. 1583, d. 1644; Organist of St. Peter's, 
+Rome. 
+</p>
+</note> Froberger, Kerl, Pachelbel, Fischer, 
+Strungk,<note place="foot">
+<p>
+Delphin Strungk, b. 1601, d. 1694; Organist of St. Martin's, 
+Brunswick; composed for the Organ. 
+</p>
+</note> Buxtehude, Reinken, Bruhns, B&ouml;hm, 
+and certain French organists who were famed in 
+those days as masters of harmony and fugue.<note place="foot">
+<p>
+Purcell should be added to those whom Forkel mentions as Bach's 
+models. See <foreign lang="la">infra</foreign>, p. 261.
+</p>
+</note>
+</p>
+<p>
+The models he selected&mdash;Church musicians for 
+the most part&mdash;and his own disposition inclined 
+him to serious and exalted subjects.  But in that 
+kind of music little can be accomplished with 
+inadequate technique.  Bach's first object, therefore, 
+was to develop his power of expressing himself 
+before he attempted to realise the ideal that 
+beckoned him.  Music to him was a language, and 
+the composer a poet who, whatever the idiom he 
+affects, must first of all have at his disposal the 
+means of making himself intelligible to others.  
+But the technique of his period Bach found limited 
+in variety and insufficiently pliable.  Therefore 
+he set himself at the outset to refashion the 
+accepted harmonic system.  He did so in a 
+manner characteristically individual and bearing 
+the impress of his personality.
+</p>
+<pb n="73" />
+<p>
+If the language of music is merely the utterance 
+of a melodic line, a simple sequence of musical 
+notes, it can justly be accused of poverty.  The 
+addition of a Bass puts it upon a harmonic foundation 
+and clarifies it, but defines rather than gives 
+it added richness.  A melody so accompanied&mdash;even though all the notes are not those of the 
+true Bass&mdash;or treated with simple embellishments 
+in the upper parts, or with simple chords, used to 
+be called <q>homophony.</q>  But it is a very different 
+thing when two melodies are so interwoven that 
+they converse together like two persons upon a 
+footing of pleasant equality.  In the first case 
+the accompaniment is subordinate, and serves 
+merely to support the first or principal part.  In 
+the second case the two parts are not similarly 
+related.  New melodic combinations spring 
+from their interweaving, out of which new 
+forms of musical expression emerge.  If more 
+parts are interwoven in the same free and independent 
+manner, the apparatus of language is 
+correspondingly enlarged, and becomes practically 
+inexhaustible if, in addition, varieties of form 
+and rhythm are introduced.  Hence harmony 
+becomes no longer a mere accompaniment of 
+melody, but rather a potent agency for augmenting 
+the richness and expressiveness of musical 
+conversation.  To serve that end a simple accompaniment 
+will not suffice.  True harmony is 
+the interweaving of several melodies, which
+<pb n="74" />
+emerge now in the upper, now in the middle, 
+and now in the lower parts.
+</p>
+<p>
+From about the year 1720, when he was thirty-five, until his death in 1750, Bach's harmony 
+consists in this melodic interweaving of independent 
+melodies, so perfect in their union that 
+each part seems to constitute the true melody.  
+Herein Bach excels all the composers in the world.<note place="foot">
+<p>
+* See Kirnberger's <q>Kunst des reinen Satzes,</q> p. 157. [The work 
+was published in two volumes at Berlin in 1771, 1776.]
+</p>
+</note> 
+At least, I have found no one to equal him in 
+music known to me.  Even in his four-part 
+writing we can, not infrequently, leave out the 
+upper and lower parts and still find the middle 
+parts melodious and agreeable.
+</p>
+<p>
+But in harmony of this kind each part must be 
+highly plastic; otherwise it cannot play its role 
+as an actual melody and at the same time combine 
+with the other parts.  To produce it Bach 
+followed a course of his own, upon which the textbooks 
+of his day were silent, but which his genius 
+suggested to him.  Its originality consists in the 
+freedom of his part writing, in which he transgresses, 
+seemingly, at any rate, rules long established 
+and to his contemporaries almost sacred.  
+Bach, however, realised their object, which was 
+simply to facilitate the flow of pure melody 
+on a sound harmonic basis, in other words, 
+successive and coexistent euphony, and he succeeded 
+with singular success though by
+<pb n="75" />
+unfamiliar means.  Let me explain my meaning 
+more closely.
+</p>
+<p>
+Between simple intervals there is little difficulty 
+in deciding whether the second note must 
+rise or fall.  And in regard to phrases, or sections 
+of a phrase, if we analyse their structure and 
+follow out their harmonic tendency, their resolution 
+is equally clear.  But this sense of destination 
+may be provoked in each part by different 
+intervals.  As we have observed already, every 
+one of the four parts must flow melodically and 
+freely.  But to secure that result it will be necessary 
+to introduce between the notes which begin 
+a phrase and establish its general atmosphere 
+other notes which often are not consonant with 
+those employed in the other parts and whose 
+incidence is governed by the accent.  This is what 
+we call a <foreign lang="la">transitus regularis et irregularis</foreign>.<note place="foot">
+<p>
+<foreign lang="la">Transitus regularis</foreign>=
+a passing note on the unaccented portions of 
+the bar; <foreign lang="la">transitut irregularis</foreign>=a
+passing note on the accented part of the bar.
+</p>
+</note>
+ Each 
+part starts from a fixed point, and returns to it, 
+but travels freely between them.  No one has 
+made more use of such progressions than Bach 
+in order to colour his parts and give them a characteristic 
+melodic line.  Hence, unless his music 
+is played with perfect fluency, occasional passages 
+will sound harshly and we may be tempted to 
+accuse him of exaggeration.  But the charge is 
+ill founded. Once we play them as Bach intended 
+<pb n="76 " />
+them, such passages reveal their full beauty and 
+their attractive though bizarre dissonance opens 
+up new vistas in the realm of sound.
+</p>
+<p>
+But, to speak in detail of Bach's transgression 
+of recognised rules.  To begin with, he admitted 
+octaves and fifths provided they sounded well; 
+that is, when the cause of their being forbidden 
+did not arise.<note place="foot">
+<p>
+Spitta (iii. 315 ff. ) prints 
+a treatise by Bach, <title>Rules and Instructions 
+for playing Thorough-bass or Accompaniment in Four Parts,</title> dated 1738. 
+Rule 3 of chap. vi. states: <q>Two fifths or two octaves must not occur 
+next one another, for this is not only a fault, but it sounds wrong.  To 
+avoid this there is an old rule, that the hands must always go against 
+one another, so that when the left goes up the right must go down, 
+and when the right goes up the left must go down.</q>
+</p>
+</note> Everybody knows that there are 
+positions in which they sound well, and others 
+when they should be avoided, owing to the harsh 
+effect or thin harmony they produce.  Bach's 
+octaves and fifths never produce bad or thin 
+harmony, and he was very definite as to when 
+they could and could not be used.  In certain 
+circumstances he would not permit hidden fifths 
+and octaves even between the middle parts, 
+though we exclude them only between the outer 
+parts.  Yet, on occasion he used them in such a 
+barefaced manner as to puzzle the beginner in 
+composition.  But their use very soon commends 
+itself.  Even in the last revision of his early compositions 
+we find him altering passages, which at 
+first sight appear impeccable, with the object of 
+enriching their harmony and without scrupling to 
+use hidden octaves.  A remarkable instance occurs
+<pb n="77" />
+in the first part of the <title>Well-tempered Clavier,</title> 
+in the E major Fugue, between the fifth and fourth 
+bars from the end.<note place="foot">
+<p>
+Actually the third beat of the fourth bar from the end. P. bk. 1 
+p. 37 Fugue no. 9.
+</p>
+</note> I regret to this hour that, 
+on looking over the later text, from which Hoffmeister and K&uuml;hnel's edition of that work is 
+printed,<note place="foot">
+<p>
+Forkel edited the <title>Wohltemperirte Clavier</title> for Hoffmeister in 
+1801.
+</p>
+</note> I was so foolish as to reject Bach's 
+amended reading there, merely because the harmony 
+is unorthodox though more pleasing.  I 
+stupidly preferred the older, more correct, and 
+harsher reading, though in the later text the 
+three parts run easily and smoothly. And what 
+more can one demand? 
+</p>
+<p>
+Again, there is a rule that every note raised 
+by an accidental cannot be doubled in the chord, 
+because the raised note must, from its nature, 
+resolve on the note above.  If it is doubled, it 
+must rise doubled in both parts and, consequently, 
+form consecutive octaves.  Such is the 
+rule.  But Bach frequently doubles not only notes 
+accidentally raised elsewhere in the scale but 
+actually the <foreign lang="la">semitonium modi</foreign> or leading-note 
+itself.  Yet he avoids consecutive octaves.  His 
+finest works yield examples of this.
+</p>
+<p>
+Again, Bach's statement that <q>over a pedal 
+point all intervals are permissible that occur in 
+the three scales</q><note place="foot">
+<p>
+The rule is not in the <title>Rules and Instructions</title> already referred to.
+</p>
+</note>
+ should be regarded rather
+<pb n="78" />
+an expansion than a violation of the recognised 
+rule.  In general what is called an Organ point is 
+merely a retarded close.  Bach, however, did not 
+hesitate to employ it in the middle of a piece; a 
+striking example occurs in the last Gigue of the 
+<title>English Suites.</title><note place="foot">
+<p>
+Suite No. 6, in D minor (P. bk. 204 p. 84).
+</p>
+</note>
+ On a first hearing this Gigue, 
+imperfectly rendered, may not sound well.  But 
+it grows more beautiful as it becomes more 
+familiar, and what seemed harsh is found to be 
+smooth and agreeable, until one never tires of 
+playing and hearing it.
+</p>
+<p>
+Bach's modulation was as original and characteristic 
+as his harmony, and as closely related to 
+it.  But the two things, though closely associated, 
+are not the same.  By harmony we mean the 
+concordance of several parts; by modulation, their 
+progression through keys.  Modulation can take 
+place in a single part.  Harmony requires more than 
+one.  I will endeavour to make my meaning clearer.
+</p>
+<p> 
+Most composers stick closely to their tonic key 
+and modulate out of it with deliberation.  In 
+music that requires a large number of performers, 
+and in a building, for instance a church, where 
+the large volume of sound dies away slowly, such 
+a habit shows good sense in the composer who 
+wishes his work to produce the best possible 
+effect.  But in chamber or instrumental music 
+it is not always a proof of wisdom, but rather of 
+mental poverty. Bach saw clearly that the two 
+<pb n="79" />
+styles demand different treatment.  In his large
+choral compositions he bridles his exuberant 
+fancy.  In his instrumental works he lets himself 
+go.  As he never courted popularity, but always 
+pursued his ideal, Bach had no reason to suppress 
+the nobility of his inspirations, or to lower their 
+standard for public consumption.  Nor did he 
+ever do so.  Therefore every modulation in his 
+instrumental work is a new thought, a constantly 
+progressive creation in the plane of the chosen 
+keys and those related to them.  He holds fast 
+to the essentials of harmony, but with every 
+modulation introduces a new suggestion and 
+glides so smoothly to the end of a piece that no 
+creaking of machinery is perceptible; yet no 
+single bar&mdash;I might almost say no part of a bar&mdash;is
+like another.  Every modulation bears a strict 
+relationship to the key from which it proceeds, 
+and springs naturally from it.  Bach ignored, or 
+rather despised, the sudden sallies by which many 
+composers seek to surprise their hearers.  Even 
+in his chromatic passages his progressions are 
+so smooth and easy that we are hardly conscious 
+of them, however extreme they may be.  He 
+makes us feel that he has not stepped outside the 
+diatonic scale, so quick is he to seize upon the 
+consonances common to dissonant systems and 
+combine them to his sure purpose.
+</p>
+
+<figure url="images/statue1.jpg" rend="page-float:'ht'; w90">
+<index index="fig" />
+<head>The Bach Statue at Eisenach</head>
+<figDesc>The Bach Statue at Eisenach</figDesc>
+</figure>
+
+</div>
+
+<div rend="page-break-before: right">
+  <index index="toc" />
+  <index index="pdf" />
+<head>CHAPTER VI. BACH THE COMPOSER (continued)</head>
+<pb n="80" />
+<p>
+Bach's treatment of harmony and modulation 
+powerfully influenced his melody.  The strands 
+of his harmony are really concurrent melodies.  
+They flow easily and expressively, never engross 
+the hearer's attention, but divide his interest, 
+as now one now the other becomes prominent.  
+Even when they are noticeable they seem obscured 
+by the melodic parts that accompany them&mdash;I 
+say <q>seem obscured,</q> for if the hearer is sufficiently 
+instructed to distinguish the several melodies in 
+the ensemble he will discover them to be more 
+clearly defined by their accompaniment.
+</p>
+<p>
+The combination of several melodic lines obliges 
+the composer to use devices which are unnecessary 
+in homophonic music.  A single melody can 
+develop as it pleases.  But when two or more are 
+combined each must be so delicately and cleverly 
+fashioned that it can be interwoven with the 
+others in this direction and in that.  And here 
+we detect one at least of the reasons why Bach's 
+melodies are so strangely original, and his tunes 
+so clearly distinguishable from those of other
+<pb n="81" />
+composers.  Provided that novelty does not degenerate 
+into eccentricity or extravagance, and 
+that clearness and facility of expression march 
+with agreeableness, a composer's meritoriousness
+is proclaimed in his originality.<note place="foot">
+<p>
+* Many people hold the opinion that the best melody is one which 
+the largest number of persons can understand and sing.  But this 
+cannot be admitted, for if it were true, popular airs which are sung 
+up and down the country by all classes, even the lowest, must be 
+accounted the finest and best.  I should be inclined to state the proposition 
+conversely: a melody which attracts everybody is invariably 
+of the most ordinary kind.  In that form the statement might, perhaps, 
+pass as a principle. 
+</p>
+</note>
+ The one 
+drawback is that the ordinary hearer cannot 
+appreciate melodic beauties which are patent 
+only to the expert.
+</p>
+<p>
+But Bach's melodies are not invariably so handicapped.  
+They are always original, it is true.  
+But in his free compositions the melodies are so 
+natural and spontaneous that, while they sound 
+differently from those of other composers, their 
+naturalness, and the sincerity of feeling that 
+inspires them, make them intelligible to every 
+listener.  Most of the Preludes in the <title>Well-tempered Clavier</title> as well as a number of movements 
+in the Suites are of this character.
+</p>
+<p>
+Bach's melody, then, bears the unmistakable 
+stamp of originality.  And so does his passage 
+work, as it is called.  Such novelty, originality, 
+and brilliancy are not found in any other composer.  
+Examples are to be found in all Bach's Clavier 
+works. But the most striking and original are in
+<pb n="82" />
+the <title>Great Variations,</title><note place="foot">
+<p>
+Forkel alludes to the <title>Goldberg Variations</title> (P. bk. 209).
+</p>
+</note> in the first Part of the 
+<title>Clavier&uuml;bung,</title><note place="foot">
+<p>
+P. bks. 205, 206.
+</p>
+</note> in the <title>English Suites,</title><note place="foot">
+<p>
+P. bks. 203, 204.
+</p>
+</note> and 
+the <title>Chromatic Fantasia.</title><note place="foot">
+<p>
+P. bk. 207.
+</p>
+</note> In the last particularly 
+Bach's fertility impresses us.  The greater 
+part of its passage work is in the form of harmonic 
+arpeggios whose richness and originality match 
+the chords they represent.
+</p>
+<p>
+In order to realise the care and skill Bach 
+expended on his melody and harmony, and how 
+he put the very best of his genius into his work, 
+I need only instance his efforts to construct 
+a composition incapable of being harmonised 
+with another melodic part.  In his day it was 
+regarded as imperative to perfect the harmonic 
+structure of part-writing.  Consequently the composer 
+was careful to complete his chords and 
+leave no door open for another part.  So far 
+the rule had been followed more or less closely in 
+music for two, three, and four parts, and Bach 
+observed it in such cases.  But he applied it also 
+to compositions consisting of a single part, and to 
+a deliberate experiment in this form we owe 
+the six Violin and the six Violoncello Solo Suites,<note place="foot">
+<p>
+Bach wrote three Suites (Partita) and three Sonatas for Solo 
+Violin.  They date from about 1720 and are in the keys of G minor, 
+B minor, A minor, D minor, C major, and E major (P. bk. 228).  The 
+six Violoncello Suites date from the same period and are in G major, 
+D minor, C major, E flat major, C minor, and D major (P. bks. 238a, 
+238b).
+</p>
+</note> 
+<pb n="83" />
+which have no accompaniment and do not require 
+one.  So remarkable is Bach's skill that the solo 
+instrument actually produces all the notes required 
+for complete harmony, rendering a second part 
+unnecessary and even impossible.
+</p>
+<p>
+Bach's melody never palls on us, because of the 
+presence in it of those qualities to which I have 
+referred.  It remains <q>ever fair and young,</q>
+like Nature herself.  In his earlier works, in which 
+we find him still in bondage to the prevailing 
+mode, there is a good deal that to-day seems 
+antiquated.  But when, as in his later works, 
+he draws his melody from the living wells of 
+inspiration and cuts himself adrift from convention, 
+all is as fresh and new as if it had been written 
+yesterday.  Of how many compositions of that 
+period can the same be said?  Even the works 
+of ingenious composers like Reinhard Keiser<note place="foot">
+<p>
+Reinhard Keiser, b. 1673, d. 1739; scholar of the Leipzig Thomas-schule; settled at Hamburg, 1694; composed a number of Operas, and for a time had a great vogue.
+</p>
+</note> 
+and Handel have become old-fashioned sooner 
+than we or their composers might have supposed.  
+Like other caterers for the public, they were 
+obliged to pander to its taste, and such music 
+endures no longer than the standard which 
+produced it.  Nothing is more inconstant and 
+fickle than popular caprice and, in general, what 
+is called fashion.  It must be admitted, however, 
+that Handel's Fugues are not yet out of date,
+<pb n="84" />
+though there are probably few of his Arias that 
+we now find agreeable.<note place="foot">
+<p>
+It was precisely his agreeable operatic Arias that expressed 
+Handel's genius in the eyes of his generation.  With rare exceptions 
+that branch of his work is obsolete and his cult survives mainly in 
+the <title>Messiah,</title> which supports his quite posthumous reputation as
+<q>musician in ordinary to the Protestant religion.</q> See Mr. R. A. 
+Streatfield's <title>Handel,</title> Introduction.
+</p>
+</note>
+</p>
+<p>
+Bach's melody and harmony are rendered still 
+more distinctive by their inexhaustible rhythmic 
+variety.  Hitherto we have discussed his music 
+merely subjectively as harmony and melody.  But 
+to display vivacity and variety music needs to be 
+uttered with rhythmic point and vigour.  More 
+than those of any other period composers of Bach's 
+time found no difficulty in this, for they acquired 
+facility in the management of rhythm in the
+<q>Suite,</q> which held the place of our <q>Sonata.</q> 
+Between the initial Prelude and closing Gigue the 
+Suite includes a number of characteristic French 
+dance measures, whose rhythm is their distinguishing 
+characteristic.  Composers of Bach's day, 
+therefore, were familiar with measures and 
+rhythms which are now obsolete.  Moreover skilful 
+treatment was necessary in order that each dance 
+might exhibit its own distinctive character and 
+swing.  Herein Bach exceeded his predecessors 
+and contemporaries.  He experimented with every 
+kind of key and rhythm in order to give variety 
+and colour to each movement.  Out of his experience 
+he acquired such facility that, even in
+<pb n="85" />
+Fugue, with its complex interweaving of several 
+parts, he was able to employ a rhythm as easy 
+as it was striking, as characteristic as it was sustained 
+from beginning to end, as natural as a 
+simple Minuet.
+</p>
+<p>
+The source of Bach's astonishing pre-eminence 
+is to be sought in his facile and constant application 
+of the methods we have discussed.  In whatever 
+form he chose to express himself, easy or 
+difficult, he was successful and seemingly effortless.<note place="foot">
+<p>
+Schweitzer advances the opinion, which 
+may perhaps be challenged, 
+that inevitable and natural as Bach's melodies are, they do not give 
+the impression of <q>effortless invention.</q>  Bach, he holds, worked like 
+a mathematician, who sees the whole of a problem at once, and has 
+only to realise it in definite values.  Hence, he agrees with Spitta, 
+Bach's way of working was quite different from Beethoven's.  With 
+Beethoven the work developed by means of episodes that are independent 
+of the theme.  With Bach everything springs with mathematical 
+certainty from the theme itself. See Schweitzer (i. 211) on 
+Bach's methods of working. 
+</p>
+</note>
+There is not a note in his music that does 
+not suggest consummate ease of workmanship. 
+What he sets out to do he concludes triumphantly.  
+The result is complete and perfect; no one could 
+wish for a single note to be other than it is.  Some 
+illustrations will make my point clearer.
+</p>
+<p>
+Carl Philipp Emmanuel, in the preface to his 
+father's <title>Vierstimmige Choralges&auml;nge</title>
+(<q>Four-part Hymn-tunes</q>), which he edited,<note place="foot">
+<p>
+Johann Sebastian Bach's <title>Vierstimmige Choralges&auml;nge</title> 
+were published in 1765 and 1769.  C. P. E. Bach was concerned only with the 
+first volume.  Forkel perhaps refers to an edition of the <title>Choralges&auml;nge </title> 
+issued by Breitkopf in four parts at Leipzig in 1784, 1785, 
+1786, and 1787, and edited by C. P. E. Bach.
+</p>
+</note> says that 
+<pb n="86" />
+the world was accustomed to look for nothing but 
+masterpieces from Bach.  Some reviewers thought 
+this praise exaggerated.  But if the term <q>masterpiece</q> 
+is restricted to works written during the 
+years of Bach's maturity<note place="foot">
+<p>
+Forkel indicates the period 1720-1750.  But in 1720 Bach had 
+already completed the <title>Orgelb&uuml;chlein</title> and the greater part of his 
+Organ works.
+</p>
+</note>
+ it is nothing less than 
+the truth.  Others have produced masterpieces 
+in various forms which may be placed honourably 
+by the side of his.  For instance, certain Allemandes, Courantes, etc., by Handel and others are 
+not less beautiful, though less richly wrought, than 
+Bach's.  But in Fugue, Counterpoint, and Canon 
+he stands alone, in a grandeur so isolated that 
+all around him seems desert and void.  No one 
+ever wrote Fugues to compare with his; indeed, 
+persons unacquainted with them cannot imagine 
+what a Fugue is and ought to be.  The ordinary 
+Fugue follows a rule of thumb development.  It 
+takes a theme, puts another beside it, passes 
+them into related keys, and writes other parts 
+round them over a Continuo.  Certainly this is 
+Fugue: but of what merit?  Persons who know 
+no other not unnaturally hold the whole species 
+in little esteem, and the player who hopes to make 
+such commonplace material convincing will need 
+all his skill and imagination.
+</p>
+<p>
+Bach's Fugue is of quite another kind.  It presents 
+all the characteristics we are accustomed to 
+<pb n="87" />
+in freer musical forms: a flowing and distinctive 
+melody, ease, clarity, and facility in the progression 
+of the parts, inexhaustible variety of 
+modulation, purest harmony, the exclusion of 
+every jarring or unnecessary note, unity of form 
+and variety of style, rhythm, and measure, and 
+such superabundant animation that the hearer 
+may well ask himself whether every note is not 
+actually alive.  Such are the properties of Bach's 
+Fugues, properties which excite the admiration 
+and astonishment of all who can appreciate the 
+intellectual calibre their composition demands.  
+How great a tribute of homage is due to work of 
+this kind, which exhibits all the qualities which 
+lend distinction to compositions in other musical 
+forms!  Moreover, while all Bach's Fugues of his 
+mature period have the foregoing properties in 
+common, each is endowed with peculiar excellencies 
+of its own, has its own distinctive individuality, 
+and displays a melodic and harmonic 
+scheme in keeping with it.  The man who can 
+play one of Bach's Fugues is familiar with, and can 
+play, one only; whereas knowing one, we can 
+perform portfolios of Fugues by other performers 
+of Bach's period.
+</p>
+<p> 
+To what a height was the art of Counterpoint 
+carried by Bach's genius!  It enabled him to 
+develop out of a given subject a whole family of 
+related and contrasted themes, of every form and 
+design.  It taught him to develop an idea logically
+<pb n="88" />
+from the beginning to the end.  It gave him such 
+a command of harmony and its infinite combinations 
+that he could invert whole themes, note by 
+note, in every part, without impairing in the least 
+the flow of melody or purity of his harmony.  It 
+taught him to write in canon at all intervals and 
+in movements of all kinds so easily and naturally 
+that the workmanship is not perceptible and the 
+composition sounds as smoothly as though it were 
+in the free style. Lastly, it has given to posterity 
+a legacy of works immensely various, which are, 
+and will remain, models of contrapuntal form as 
+long as music endures.<note place="foot">
+<p>
+* There are people who conclude that Bach merely perfected harmony.  
+But if we realise what harmony is, a means to extend and emphasise 
+musical expression, we cannot imagine it apart from melody.  And 
+when, as in Bach's case, harmony is actually an association of melodies, 
+such a view becomes the more ridiculous.  It might perhaps be reasonable 
+to say of a composer that his influence was restricted to the 
+sphere of melody, because we may get melody without harmony.  But 
+there cannot be real harmony without melody.  Hence the composer 
+who has perfected harmony has influenced the whole, whereas the 
+melodist has left his mark only on a fraction of his art. 
+</p>
+</note>
+</p>
+<p>
+I have written exclusively so far of Bach's 
+Clavier and Organ work.  But in its expression 
+music has two branches, instrumental and vocal, 
+and as Bach excels in both of them, the reader 
+will desire to hear somewhat respecting his vocal 
+writings.
+</p>
+<p>
+It was at Weimar that Bach first had occasion 
+to write for the voice,<note place="foot">
+<p>
+As has been pointed out already
+(<foreign lang="la">supra</foreign>, 
+p. 14) Bach's earliest 
+church Cantatas date from the Arnstadt period.
+</p>
+</note> upon his appointment to
+<pb n="89" />
+the Kapelle, which imposed on him the provision 
+of music for the ducal chapel.  His church music, 
+like his Organ works, is devout and serious, and 
+in every respect what church music ought to be.  
+He makes a point also of not elaborating individual 
+words, which leads to mere trifling, but interprets 
+the text as a whole.<note place="foot">
+<p>
+The statement certainly needs 
+a caveat.  No composer of his 
+period studied his text more closely or reverently than Bach.  No 
+one, on the other hand, was more readily fired by a particular word 
+or image in his text to give it sometimes irrelevant expression.
+</p>
+</note> His choruses invariably are 
+magnificent and impressive, and he frequently 
+introduces Chorals into them,<note place="foot">
+<p>
+Of Bach's church Cantatas 206 have survived.  In only 22 of them 
+does Bach fail to introduce movements based upon the Lutheran 
+Chorals. 
+</p>
+</note>
+ making the other 
+parts accompany their <foreign lang="la">Cantus</foreign> fugally, as was the 
+practice in a Motet.  As elsewhere in his works, 
+the harmonic structure of his voice parts and 
+instrumental accompaniment is rich.  The declamation 
+of the recitatives is expressive, and the 
+latter have fine Continuo parts.<note place="foot">
+<p>
+We must attribute to Forkel's general ignorance of Bach's concerted 
+church music his failure to comment upon a much more remarkable 
+feature of the recitatives, namely, their unique treatment of the 
+human voice as a declamatory medium, a development as remarkable 
+as Wagner's innovations in operatic form a century later.
+</p>
+</note> In his Arias, 
+hardly one of which is not beautiful and expressive, 
+Bach seems to have been handicapped by 
+the inefficiency of his singers and instrumentalists, 
+who constantly complained of the difficulty of his 
+music.  If he had been fortunate enough to have 
+capable performers the merits of his church music
+<pb n="90" />
+would have been established and, like his other 
+works, they would still be sung and admired; for 
+they contain treasures which deserve immortality.<note place="foot">
+<p>
+It was not the imperfections of the choir but the indifference of 
+Bach's successors at St. Thomas', Leipzig, that was chiefly responsible 
+for the neglect of his Cantatas in the latter half of the eighteenth 
+century.  Johann Friedrich Doles (1716-89) was the only Cantor who 
+realised the greatness of his predecessor's concerted church music. 
+</p>
+</note>
+</p>
+<p> 
+Among the works composed at Leipzig I single 
+out two Cantatas, one of which was performed at 
+C&ouml;then at the funeral of Bach's beloved Prince 
+Leopold, and the other in St. Paul's Church, 
+Leipzig, on the occasion of the funeral sermon in 
+honour of Christiana Eberhardine, Queen of 
+Poland and Electress of Saxony.<note place="foot">
+<p>
+The <title>Trauer-Ode</title>
+was performed on October 17, 1727.  Bach 
+finished the score two days before the performance!  A parallel case 
+is that of Mozart, who finished the overture of <title>Don Giovanni</title> on the 
+morning of the first performance of the Opera, and actually played 
+it unrehearsed that evening. 
+</p>
+</note> The first 
+contains double choruses of uncommon magnificence 
+and most affecting sentiment.<note place="foot">
+<p>
+It has been pointed out already that Bach used the <title>St. Matthew 
+Passion</title> music, set to other words, for the occasion. No. 26 (<q>I would 
+beside my Lord be watching</q>) was sung to the words <q>Go, Leopold, 
+to thy rest</q>! 
+</p>
+</note> The second 
+has only four-part choruses, but they are so delightful 
+and fresh that he who begins the work 
+will not pause till he has reached the end of it. 
+It was written in October 1727.
+</p>
+<p>
+Bach also composed a great number of Cantatas, 
+chiefly for the choir of St. Thomas' School, Leipzig.<note place="foot">
+<p>
+Of the 206 surviving Cantatas, 172 were written for the Leipzig 
+choir.
+</p>
+</note>
+<pb n="91" />
+The choir ordinarily numbered fifty singers, and
+sometimes more, over whose musical training 
+Bach presided like a father.  He practised them 
+so hard in Cantatas for single and double chorus 
+that they became excellent singers.  Among these 
+works are some which, in profundity of conception, 
+magnificence, richness of harmony and melody, 
+and animation, surpass everything of their kind.  
+But, like all Bach's works, and in common with 
+other masterpieces, they are difficult to perform 
+and need a numerous orchestra to produce their 
+full effect.
+</p>
+<p>
+Such are Bach's most important vocal compositions.
+<note place="foot">
+<p>
+Forkel's knowledge is very incomplete. 
+</p>
+</note> In minor forms of the art, <foreign lang="fr">morceaux </foreign>
+for social entertainments and the like, he wrote 
+little,<note place="foot">
+<p>
+Elsewhere Forkel mentions only one of the secular Cantatas. 
+</p>
+</note> though he was of a most sociable disposition. 
+For instance, he is said never to have 
+composed a song.<note place="foot">
+<p>
+There is a tradition that Bach wrote a comic song, <title>Ihr Sch&ouml;nen, 
+h&ouml;ret an,</title> which was widely current about the time of his death (Spitta, 
+iii. 181 n.). The Aria, <title>So oft ich meine Tabakspfeife,</title> in A. M. 
+Bach's <title>Notenbuch</title> of 1725, should be mentioned.  See B. G. xxxix. 
+sec. 4.
+</p>
+</note> And why should he?  They 
+produce themselves so spontaneously that there is 
+little call for genius to aid their gestation.
+</p>
+
+<figure url="images/bach3.jpg" rend="page-float:'ht'; w90">
+<index index="fig" />
+<head>Johann Sebastian Bach. <emph>From the picture discovered by Professor Fritz Volbach</emph></head>
+<figDesc>Johann Sebastian Bach. From the picture discovered by Professor Fritz Volbach</figDesc>
+</figure>
+
+
+</div>
+
+<div rend="page-break-before: right">
+  <index index="toc" />
+  <index index="pdf" />
+<head>CHAPTER VII. BACH AS A TEACHER</head>
+<p>
+It not infrequently happens that talented composers 
+and players are incapable of imparting their 
+skill to others.  Either they have never troubled 
+to probe the mechanism of their own facility, or, 
+through the excellence of their instructors, have 
+taken the short cut to proficiency and allowed 
+their teacher and not their own judgment to decide 
+how a thing should be done.  Such people are 
+useless to instruct beginners.  True, they may 
+succeed in teaching the rudiments of technique, 
+assuming that they have been properly taught 
+themselves.  But they are certainly unqualified 
+to teach in the full sense of the word.  There is, 
+in fact, only one way to become a good teacher, 
+and that is to have gone through the discipline 
+of self-instruction, a path along which the beginner 
+may go astray a thousand times before 
+attaining to perfection. For it is just this stumbling 
+effort that reveals the dimensions of the art. 
+The man who has adventured it learns the obstacles 
+that obstruct his path, and how to surmount them. 
+To be sure, it is a lengthy method. But if a man
+<pb n="93" />
+has patience to persevere he will reap a sure reward 
+after an alluring pilgrimage.  No musician ever 
+founded a school of his own who has not followed 
+such a course, and to his experience his 
+teaching has owed its distinctive character.
+</p>
+<p>
+This is so with Bach, who, only gradually discovering 
+his full stature, was thirty years old 
+before unremitting application raised him above 
+the difficulties of his art.  But he reaped his 
+reward.  Self-discipline set him on the fairest and 
+most alluring path that it has ever been given to 
+a musician to tread.
+</p>
+<p>
+To teach well a man needs to have a full mind.  
+He must have discovered how to meet and have 
+overcome the obstacles in his own path before 
+he can be successful in teaching others how to 
+avoid them.  Bach united both qualities.  Hence, 
+as a teacher he was the most instructive, clear, 
+and definite that has ever been.  In every branch 
+of his art he produced a band of pupils who 
+followed in his footsteps, without, however, 
+equalling his achievement.
+</p>
+<p>
+First of all let me show how he taught the 
+Clavier.<note place="foot">
+<p>
+Bach's method has come down to us in treatises by two of his 
+pupils, C. P. E. Bach's <title>Essay</title> and Kirnberger's <title>Die Kunst des 
+reinen Satzes in der Musik,</title> to which reference has been made already.
+</p>
+</note>
+ To begin with, his pupils were made to 
+acquire the special touch of which I have already 
+spoken.<note place="foot">
+<p>
+<foreign lang="la">Supra</foreign>, p. 60.
+</p>
+</note>
+To that end for months together he 
+made them practise nothing but simple exercises
+<pb n="94" />
+for the fingers of both hands, at the same time 
+emphasising the need for clearness and distinctness.  
+He kept them at these exercises for from six to 
+twelve months, unless he found his pupils losing 
+heart, in which case he so far met them as to write 
+short studies which incorporated a particular 
+exercise.  Of this kind are the <title>Six Little Preludes 
+for Beginners,</title><note place="foot">
+<p>
+Bach wrote eighteen Preludes for Beginners.  They are all in P. bk. 200.
+</p>
+</note> and the <title>Fifteen
+Two-part Inventions,</title><note place="foot">
+<p>
+Most of these movements, which Bach called indifferently <q>Inventions</q> (ideas) and <q>Praeambula</q> (Preludes), were written in 1723. 
+They are in P. bk. 201. 
+</p>
+</note>
+ both of which Bach wrote 
+during the lesson for a particular pupil and afterwards 
+improved into beautiful and expressive 
+compositions.  Besides this finger practice, either 
+in regular exercises or in pieces composed for the 
+purpose, Bach introduced his pupils to the use 
+of the various ornaments in both hands. 
+</p>
+<p>
+Not until this stage was reached did Bach allow 
+his pupils to practise his own larger works, so 
+admirably calculated, as he knew, to develop their 
+powers.  In order to lessen their difficulty, it 
+was his excellent habit to play over to them the 
+pieces they were to study, with the remark,
+<q>That's how it ought to sound.</q><note place="foot">
+<p>
+Heinrich Nikolaus Gerber, who 
+was Bach's pupil from 1724 to 1727, 
+particularly emphasises this feature of Bach's teaching.
+</p>
+</note> It would be 
+difficult to exaggerate the helpfulness of this 
+method. The pupil's interest was roused by hearing 
+the piece properly played. But that was not 
+<pb n="95" />
+the sole result.  Without the help thus given 
+the pupil could only hope to overcome the difficulties 
+of the piece after considerable effort, 
+and would find it much less easy to realise a proper 
+rendering of it.  As it was, he received at once an 
+ideal to aim at and was taught how to surmount 
+the difficulties the piece presented.  Many a 
+young performer, still imperfect after a year's 
+practice, probably would master his music in a 
+month if he once had it played over to him.
+</p>
+<p>
+Bach's method of teaching composition was 
+equally sure and effective.<note place="foot">
+<p>
+See on the whole matter Spitta, iii. 117 ff. Bach's method is 
+illustrated by his <title>Rules and Instructions</title> (1738) printed by Spitta, 
+iii. 315 ff., and also by the <title>Einige h&ouml;chst n&ouml;thinge Regeln</title> at the 
+end of A. M. Bach's <title>Notenbuch</title> (1725).
+</p>
+</note> He did not begin 
+with the dry details of counterpoint, as was the 
+custom of other teachers in his day.  Still less 
+did he burden his pupils with the physical properties 
+of sound, which he held to be matter for 
+the theorist and instrument-maker rather than 
+the composer.  He started them off at once on 
+four-part harmony over a figured Bass, making 
+his pupils write each part on a separate stave in 
+order to impress on them the need for accurate 
+harmonic progression.  Then he passed to Hymn 
+tunes, setting the Bass himself and making his 
+pupils write the Tenor and Alto parts.  In time 
+he let them write the Bass also.  He insisted on 
+correct harmony and on each part having a real 
+melodic line.  Every musician knows what models
+<pb n="96" />
+Bach has left us in this form.  The inner parts of 
+his four-part Hymn-tunes are so smooth and 
+melodious that often they might be taken for the 
+melody.  He made his pupils aim at similar tunefulness, 
+and until they showed a high standard 
+of merit did not permit them to write compositions 
+of their own.  Meanwhile he aimed at cultivating 
+their feeling for pure harmony and for the order 
+and connection of ideas and parts by familiarising 
+them with the compositions of others.  Until they 
+had acquired facility in those qualities he neither 
+permitted them nor held them competent to put 
+pen to paper.
+</p>
+<p>
+Bach required his pupils in composition to work 
+out their musical ideas mentally.  If any of them 
+lacked this faculty he admonished him not to 
+compose and discountenanced even his sons from 
+attempting to write until they had first given 
+evidence of genuine musical gifts.  Having completed 
+their elementary study of harmony, Bach 
+took his pupils on to the theory of Fugue, beginning 
+with two-part writing.  In these and other exercises 
+he insisted on the pupil composing away 
+from the Clavier.<note place="foot">
+<p>
+Mozart wrote as follows to a correspondent who asked him what 
+his method of composition was: <q>I can really say no more on this 
+subject than the following; for I myself know no more about it, and 
+cannot account for it. When I am, as it were, completely myself, 
+entirely alone, and of good cheer&mdash;say, travelling in a carriage, or 
+walking after a good meal, or during the night when I cannot sleep; 
+it is on such occasions that my ideas flow best and most abundantly. 
+<emph>Whence</emph> and <emph>how</emph> they come, I know not; nor can I force them. Those
+ideas that please me I retain in memory, and am accustomed, as I 
+have been told, to hum them to myself.  If I continue in this way, 
+it soon occurs to me how I may turn this or that morsel to account, 
+so as to make a good dish of it, that is to say, agreeably to the rules 
+of counterpoint, to the peculiarities of the various instruments, etc.  
+All this fires my soul, and, provided I am not disturbed, my subject 
+enlarges itself, becomes methodised and defined, and the whole, 
+though it be long, stands almost complete and finished in my mind, so 
+that I can survey it, like a fine picture or a beautiful statue, at a 
+glance.  Nor do I hear in my imagination the parts successively, but 
+I hear them, as it were, all together.  What a delight this is I cannot 
+tell!&hellip;When I proceed to write down my ideas, I take out of the 
+bag of my memory, if I may use that phrase, what has previously been 
+collected into it in the way I have mentioned.  For this reason the 
+committing to paper is done quickly enough, for everything is, as I 
+said before, already finished; and it rarely differs on paper from what 
+it was in my imagination</q> (Life, ed. Dent, p. 255). 
+</p>
+<p>
+Wagner, writing in 1851 to Uhlig, who could not understand how 
+the libretto of <title>Young Siegfried</title> could be set to music, expresses the 
+same idea as Mozart: <q>What you cannot possibly imagine is a-making 
+of itself!  I tell you, the musical phrases build themselves on these 
+verses and periods without my having to trouble at all; everything 
+springs as if wild from the ground</q> (Life, trans. Ellis, iii. p. 243).
+</p>
+<p> 
+Schumann writes in 1839: <q>I used to rack my brains for a long 
+time, but now I scarcely ever scratch out a note.  It all comes from 
+within, and I often feel as if I could go on playing without ever 
+coming to an end</q> (Grove, vol. iv. p. 353). 
+</p>
+</note> Those who did otherwise he ridiculed as <q>Harpsichord Knights.</q>  In the second place he required rigorous attention to each part 
+and its relation to the concurrent parts, permitting 
+none, not even an inner one, to break off before 
+it had finished what it had to say.  He insisted 
+upon a correct relation between each note and its 
+predecessor.  If he came upon one whose derivation 
+or destination was not perfectly clear he 
+struck it out as faulty.  It is, indeed, a meticulous 
+exactitude in each individual part that makes 
+<pb n="98" />
+Bach's harmony really multiple melody.  Confused 
+part-writing, where a note that belongs to 
+the Tenor is given to the Alto, or <foreign lang="la">vice versa</foreign>, or 
+the haphazard addition of extraneous parts to a 
+chord which suddenly shows an increase of notes 
+as if fallen from the sky, to vanish as suddenly 
+as they came, are faults found neither in his own 
+nor his pupils' writing.  He regarded his musical 
+parts as so many persons engaged in conversation.  
+If there are three, each of them on occasion may 
+be silent and listen to the others until it finds 
+something relevant to say itself.  But if, at an interesting 
+point of the conversation, an interloping 
+voice intervened, Bach regarded it as an intruder 
+and let his pupils understand that it could not be 
+admitted.
+</p>
+<p>
+Notwithstanding his strictness on this point, 
+Bach allowed his pupils considerable licence in 
+other respects.  In their use of certain intervals, 
+as in their treatment of harmony and melody, he 
+let them experiment within the limits of their 
+ability, taking care to discountenance ugliness and 
+to insist on their giving appropriate expression to 
+the character of the composition.  Beauty of expression, 
+he postulated, was only attainable on a 
+foundation of pure and accurate harmony.  Having 
+experimented in every form himself, he liked to 
+see his pupils equally adventurous. Earlier 
+teachers of composition, for instance, Berardi,<note place="foot">
+<p>
+Angela Berardi's <title>Documenti armonici. Nelli quali 
+con varii discorsi, regole, ed essempii si dimonstrano gli studii arteficiosi della 
+musica</title> was published at Bologna in 1687.
+</p>
+</note>
+<pb n="99" />
+ Buononcini,<note place="foot">
+<p>
+Giovanni Maria Buononcini, b. <foreign lang="la">c.</foreign> 1640, d. 1678; Maestro di Capella at Modena; published his <title>Musico prattico</title> at Bologna in 1673, 1688. 
+</p>
+</note>
+and Fux,<note place="foot">
+<p>
+Johann Joseph Fux, b. 1660, d. 1741; Kapellmeister at Vienna; 
+published his <title>Gradus ad Parnassum</title> at Vienna in 1725.
+</p>
+</note> did not allow such liberty.  They were 
+afraid to trust their pupils to encounter 
+difficulties, and short-sightedly prevented them 
+from learning how to overcome them.  Bach's 
+system was wiser, for it took his pupils farther, 
+since he did not limit their attention, as his predecessors 
+did, to the harmonic structure, but extended 
+it to the qualities that constitute good 
+writing, namely, consistency of expression, variety 
+of style, rhythm, and melody.  Those who would 
+acquaint themselves with Bach's method of teaching 
+composition will find it fully set forth in 
+Kirnberger's <title>Correct Art of Composition.</title><note place="foot">
+<p>
+See <foreign lang="la">supra</foreign>, p. 74.
+</p>
+</note>
+</p>
+<p>
+As long as his pupils were under his instruction 
+Bach did not allow them to study any but his 
+own works and the classics.  The critical sense, 
+which permits a man to distinguish good from 
+bad, develops later than the aesthetic faculty and 
+may be blunted and even destroyed by frequent 
+contact with bad music.  The best way to instruct 
+youth is to accustom it early to consort 
+with the best models.  Time brings experience 
+and an instructed judgment to confirm the pupil's 
+early attraction to works of true art.
+</p>
+<pb n="100" />
+<p>
+Under this admirable method of teaching all 
+Bach's pupils became distinguished musicians, 
+some more so than others, according as they came 
+early or late under his influence, and had opportunity 
+and encouragement to perfect and apply 
+the instruction they received from him.  His 
+two eldest sons, Wilhelm Friedemann and Carl 
+Philipp Emmanuel, were his most distinguished 
+pupils, not because he gave them better instruction 
+than the rest, but because from their earliest 
+youth they were brought up amid good music at 
+home.  Even before they began their lessons they 
+knew what was good.  On the other hand, others, 
+before they became Bach's pupils, either had 
+heard no good music or their taste had been 
+already vitiated by contact with bad.  It at least 
+attests the excellence of Bach's method that even 
+his pupils thus handicapped took high rank in 
+their profession and distinguished themselves in 
+one or other of its branches.<note place="foot">
+<p>
+* I speak here only of those pupils who made music their profession.  
+But, besides these, Bach had a great many other pupils.  Every 
+dilettante in the neighbourhood desired to boast of the instruction of 
+so great and celebrated a man.  Many gave themselves out to have 
+been his pupils who had never been taught by him.
+</p>
+</note>
+</p>
+<p>
+Bach's first pupil was JOHANN CASPAR VOGLER, 
+who received instruction from him in his early 
+days at Amstadt and Weimar and, on Bach's 
+testimony, was an exceedingly able player.  He 
+became organist, and later burgomaster, at Weimar, 
+retaining his professional position.  Some Choral 
+<pb n="101" />
+Preludes by him for a two-manualed Organ with 
+pedals were engraved about 1737.<note place="foot">
+<p>
+See Spitta, i. 522; Schweitzer, i. 214 for farther details regarding 
+Vogler, who died 
+<foreign lang="la">circ.</foreign> 1765.
+</p>
+</note>
+</p>
+<p>
+Other pupils of Bach who became famous 
+were:
+</p>
+<list>
+<item>1. HOMILIUS, of Dresden.  He was not only an 
+excellent organist but a distinguished composer 
+of church music as well.<note place="foot">
+<p>
+Gottfried August Homilius, b. 1714, d. 1785; pupil of Bach, <foreign lang="la">circ. </foreign>
+1735.  Cantor of the Kreuzschule, Dresden. 
+</p>
+</note>
+</item>
+
+<item>2. TRANSCHEL, of Dresden. He was a fine 
+musician and performer on the Clavier. There 
+exist in MS. six Polonaises by him which perhaps 
+are superior to those of any composer but Wilhelm 
+Friedemann Bach.<note place="foot">
+<p>
+Christoph Transchel (1721-1800) taught music at Leipzig and 
+Dresden; Bach's pupil and friend, <foreign lang="la">circ.</foreign> 1742.  See Spitta, iii. 245.
+</p>
+</note>
+</item>
+
+<item>3. GOLDBERG, of K&ouml;nigsberg. He was a very 
+finished player on the Clavier, but without any 
+marked talent for composition.<note place="foot">
+<p>
+Johann Gottlieb (or Theophilus) Goldberg, clavicenist to Count 
+Kaiserling (<foreign lang="la">infra</foreign>, p. 119) for whom Bach wrote the so-called <title>Goldberg 
+Variations.</title> He was born <foreign lang="la">circ.</foreign> 1720 and was a pupil of Bach from 1733-46.
+</p>
+</note>
+</item>
+
+<item>4. KREBS, Organist at Altenburg. He was not 
+only a player of the first rank, but also a prolific 
+composer for the Organ, Clavier, and of church 
+music. He was fortunate in having Bach's instruction 
+for nine years.<note place="foot">
+<p>
+Johann Ludwig Krebs, b. 1713, d. 1780; Bach's pupil, 1726-35. 
+Bach said of him that he was <q>the best crab (Krebs) in the brook (Bach).</q>
+</p>
+</note>
+</item>
+<pb n="102" />
+
+<item>5. ALTNIKOL, Organist at Naumburg.  He was 
+Bach's son-in-law and is said to have been a very 
+competent player and composer.<note place="foot">
+<p>
+Johann Christoph Altnikol, d. 1759. 
+</p>
+</note>
+</item>
+
+<item>6. AGRICOLA, Court Composer at Berlin.<note place="foot">
+<p>
+Johann Friedrich Agricola, b. 1720, d. 1774; pupil of Bach <foreign lang="la">circ.</foreign>
+1738-41; Director of the Royal Chapel, Berlin. 
+</p>
+</note> He 
+is less known as a composer than as a theorist. 
+He translated Tosi's<note place="foot">
+<p>
+Pier Francesco Tosi, b. <foreign lang="la">circ.</foreign> 1650; singing master in London. 
+His <title>Opinioni de' canton antichi e moderni, o sieno osservazioni sopra 
+il canto figurato</title> was published at Bologna in 1723.
+</p>
+</note> <title>II canto figurato</title> from 
+Italian into German and provided the work with 
+an instructive commentary.
+</item>
+
+<item>7. M&Uuml;THEL, of Riga.  He was a good Clavier 
+player and wrote for that instrument.  His 
+Sonatas and a Duet for two Claviers attest his 
+ability as a composer.<note place="foot">
+<p>
+Johann Gottfried M&uuml;thel, b. 
+<foreign lang="la">circ.</foreign> 1720, d. <foreign lang="la">circ.</foreign> 1790; pupil of Bach in 1750 and resident in his house at the time of his death; 
+organist of the Lutheran Church, Riga. 
+</p>
+</note>
+</item>
+
+<item>8. KIRNBERGER,<note place="foot">
+<p>
+Johann Philipp Kirnberger, b. 1721, d. 1783; Bach's pupil, 1739-41. 
+</p>
+</note> Court Musician at Berlin to 
+the Princess Amalia of Prussia.<note place="foot">
+<p>
+Louisa Amalia, of Brunswick-Wolfenb&uuml;ttel, wife of Frederick the 
+Great's brother, and mother of his successor, Frederick William II. (1786-97).
+</p>
+</note> He was one of 
+the most distinguished of Bach's pupils, full of 
+genuine enthusiasm for his art and eager to assure 
+its interests.  Besides his exposition of Bach's 
+system of teaching composition, we are indebted 
+to him for the first logical treatise on harmony, 
+in which he sets forth his master's teaching and 
+<pb n="103" />
+practice.  The first work is entitled <title>Kunst des 
+reinen Satzes,</title> and the second, <title>Wahre Grunds&auml;tze zum Gebrauch der Harmonie.</title><note place="foot">
+<p>
+The second work 
+was published in 1773 at Berlin. For the first, 
+see <foreign lang="la">supra</foreign>, p. 74. 
+</p>
+</note> He served 
+the interests of his art also by other writings and 
+compositions, and was an excellent teacher. The 
+Princess Amalia was his pupil. 
+</item>
+
+<item>9. KITTEL, Organist at Erfurt.  He is a sound, 
+though not a finished, player, and is distinguished 
+as a composer by several Organ Trios, so excellent 
+that Bach himself might have written them.  He 
+is the sole survivor (1802) of Bach's pupils.<note place="foot">
+<p>
+Johann Christian Kittel, b. 1732, d. 1809; 
+one of Bach's latest pupils; Organist of the Predigerkirche, Erfurt.  He is said to have 
+possessed a portrait of his master and to have rewarded his pupils for 
+good playing by drawing the curtain which usually covered the picture 
+and permitting them to look upon it.  It is, perhaps, the portrait, 
+recently discovered by Dr. Fritz Volbach, which is reproduced at p. 92 
+of this volume. 
+</p>
+</note>
+</item> 
+
+<item>10. VOIGT, of Anspach,<note place="foot">
+<p>
+Nothing seems to be known of him.
+</p>
+</note> and an organist named 
+SCHUBART<note place="foot">
+<p>
+Johann Martin Schubart succeeded Bach at Weimar in 1717.  He 
+was born in 1690 and died in 1721. See Spitta, i. 343. 
+</p>
+</note> were mentioned to me by Carl Philipp 
+Emmanuel as having been Bach's pupils.  He 
+knew nothing about them except that they 
+entered his father's house after he left it.<note place="foot">
+<p>
+In addition to those mentioned by Forkel, the following pupils of 
+Bach are known: Johann Gotthilf Ziegler, of St. Ulrich's Church, 
+Halle; J. Bernhard Bach, of Ohrdruf; Heinrich Nikolaus Gerber, 
+Organist at Sondershausen; Samuel Anton Bach, of Meiningen; 
+Johann Ernst Bach, of Saxe-Weimar; Johann Elias Bach, Cantor at 
+Schweinfurt; Johann Tobias Krebs, organist at Buttelst&auml;dt, and his 
+sons, Johann Ludwig, Johann Tobias, and Johann Carl; Johann
+Schneider, organist of St. Nicolas', Leipzig; Georg Friedrich Einicke, 
+Cantor at Frankenhausen; Johann Friedrich Doles, Bach's second 
+successor in the Cantorate of St. Thomas'; Rudolph Straube, who 
+afterwards settled in England; Christoph Nichelmann, cembalist to 
+Frederick the Great; Christian Gr&auml;bner, and Carl Hartwig. 
+</p>
+<p>
+For full information upon Bach's pupils see Spitta, i. 522 ff., ii. 47 ff., 
+iii. 116 ff., 239 ff., and the relative articles in Grove's <title>Dictionary.</title>
+</p>
+</note>
+</item>
+</list>
+<pb n="104" />
+<p>
+I have said already that Bach's sons were his 
+most distinguished pupils.  The eldest, WILHELM 
+FRIEDEMANN BACH, came nearest to his father 
+in the originality of his genius.  His melodies 
+have quite a different character from those of 
+other composers.  They are exceedingly clever, 
+elegant, and spontaneous.  When performed with 
+delicacy, as he played them, they cannot fail to 
+charm every hearer.  It is greatly to be regretted 
+that he preferred to follow his fancy in extemporisation 
+and to expend his genius on fugitive thoughts 
+rather than to work them out on paper.  The 
+number of his compositions therefore is small, 
+but all are beautiful.
+</p>
+<p>
+CARL PHILIPP EMMANUEL BACH, who comes 
+next, went out into the world sufficiently early 
+to discover that it is a good thing for a composer 
+to have a large public behind him.  Hence, in 
+the clearness and easy intelligibility of his compositions, 
+he approaches the popular style, though 
+he scrupulously avoids the commonplace.<note place="foot">
+<p>
+Forkel does not do justice to his friend.  C. P. E. Bach is 
+recognised 
+as the immediate precursor of Haydn and as the link between 
+the latter and J. S. Bach.
+</p>
+</note> Both 
+he and his elder brother admitted that they were 
+<pb n="105" />
+driven to adopt a style of their own by the wish 
+to avoid comparison with their incomparable 
+father.
+</p>
+<p>
+JOHANN CHRISTOPH FRIEDRICH BACH, Concertmeister at the Court of B&uuml;ckeburg, imitated 
+Carl Philipp's style, but was not his equal. 
+According to Wilhelm Friedemann, he was the 
+best player among the brothers, and the most 
+effective performer of their father's Clavier compositions.
+</p>
+<p>
+JOHANN CHRISTIAN BACH, called <q>Bach of 
+Milan,</q> and afterwards <q>Bach of London,</q> was 
+the youngest son of Bach's second marriage and 
+of too tender an age when his father died ever to 
+have had lessons from him.  Hence, perhaps, 
+the absence of Bach's style in his music.  He was, 
+in fact, a popular composer universally admired 
+in his day.<note place="foot">
+<p>
+Mozart had 
+a very particular regard for him.  See Schweitzer 
+i. 220 on his brothers' abilities as composers.
+</p>
+</note>
+</p>
+</div>
+
+<pb n="106" />
+<div rend="page-break-before: right">
+  <index index="toc" />
+  <index index="pdf" />
+<head>CHAPTER VIII.  PERSONAL CHARACTERISTICS</head>
+<p>
+Distinguished as a player, composer, and teacher, 
+Bach was also an indulgent father, a good friend, 
+and a loyal citizen.  His paternal devotion is 
+shown by his care for his children's education, 
+and he was equally assiduous in the performance 
+of his civil and social duties.  His acquaintance 
+was agreeable to everybody.  Every lover of 
+music, whatever his nationality, was sure of a 
+friendly reception at his house, and his sociability 
+and reputation caused him to be seldom without 
+visitors.
+</p>
+<p>
+As an artist Bach was exceptionally modest.  
+Notwithstanding his pre-eminence in his profession,
+a superiority of which he could not but be conscious, 
+and in spite of the admiration and respect daily 
+shown him, he never gave himself airs.  If he 
+was asked the secret of his mastership he would 
+answer, <q>I was made to work; if you are equally 
+industrious you will be equally successful,</q><note place="foot">
+<p>
+Spitta (iii. 262) quotes 
+a characteristic anecdote.  To some one 
+who praised his skill on the Organ Bach replied: <q>There is nothing 
+wonderful about it.  You merely strike the right note at the right
+moment and the Organ does the rest.</q>
+</p>
+</note> a 
+<pb n="107" />
+remark which made no allowance for his own 
+exceptional genius.  His opinion of other composers 
+and their work was invariably fair and 
+generous.  Naturally, much of their work struck 
+him as somewhat trivial, viewed from his own 
+altitude.  But he never uttered a harsh criticism, 
+unless it were to a pupil, to whom he held himself 
+bound to say what he thought.  Still less did 
+he presume on his acknowledged superiority to 
+indulge in braggadocio, as often happens with 
+performers brought into touch with those whom 
+they regard as their inferiors.  Herein Bach's 
+modesty went so far that he never spoke 
+voluntarily of his frustrated contest with 
+Marchand, though the latter was the challenger.<note place="foot">
+<p>
+See <foreign lang="la">supra</foreign>, p. 19.  Bach himself certainly was the challenger. 
+</p>
+</note>
+Many absurd stories are told of Bach; for instance 
+that, dressed up as a village schoolmaster, he 
+liked to enter a church and ask the organist to 
+let him play a Choral, in order to enjoy the astonishment 
+excited by his playing, or to hear the Organist 
+declare, <q>This must be Bach or the Devil.</q><note place="foot">
+<p>
+When Handel 
+was at Venice in 1708, Domenico Scarlatti, hearing 
+a stranger touching the Harpsichord at a masquerade, exclaimed, 
+<q>That must either be the famous Saxon or the Devil</q> (Rockstro's
+<title>George Frederick Handel,</title> p. 48).  Streatfield (p. 145) mentions a 
+similar event which took place in 1737.  Hearing a stranger playing 
+a Fugue in one of the Flemish churches, the organist embraced him, 
+saying, <q>You can be no other but the great Handel.</q>
+</p>
+</note>
+He always ridiculed such stories, and indeed 
+had too much respect for his art to make it cloak 
+his vanity. 
+</p>
+<pb n="108" />
+<p>
+At musical parties where Quartet or other instrumental 
+music was performed, Bach liked to play 
+the Viola, an instrument which put him, as it 
+were, in the middle of the harmony in a position 
+from which he could hear and enjoy it on both 
+sides.  On those occasions he would sometimes 
+join in a Trio or other piece on the Harpsichord.  
+If he was in the mood and the composer was 
+agreeable, he would, as has been told already, 
+extemporise a new Trio from the Continuo part, 
+or, adding a new part, convert the Trio into a 
+Quartet. But these were the only occasions on 
+which he was ready to display his great powers 
+before others.  One Hurlebusch, of Brunswick,<note place="foot">
+<p>
+Heinrich Lorenz Hurlebusch 
+was organist of three churches in 
+Brunswick.  His visit to Bach took place in 1730, seemingly.  See 
+Schweitzer, i. 154. 
+</p>
+</note>
+a conceited and arrogant Clavier player, once 
+visited Bach at Leipzig, not to hear him play, 
+but to play to him.  Bach received him politely 
+and listened patiently to his very indifferent performance. 
+On taking leave Hurlebusch made 
+Bach's eldest sons a present of his published 
+Sonatas, exhorting them to study them diligently. 
+Bach, knowing the kind of music his sons were 
+wont to play, smiled at Hurlebusch's na&iuml;vet&eacute; but 
+did not permit him to suspect his amusement.<note place="foot">
+<p>
+Schweitzer prints 
+an appreciation of Hurlebusch which suggests 
+that he was a man of distinct ability and <q>a paragon of politeness.</q>
+</p>
+</note>
+</p>
+<p>
+Bach was fond of listening to the music of other 
+composers. If he and one of his elder sons 
+<pb n="109" />
+happened to be in church when a Fugue was played, 
+directly the subject had been stated he always 
+pointed out how it ought to be developed.  If the 
+composer knew his business and fulfilled Bach's 
+anticipations, he was pleased and nudged his son 
+to draw his attention to the fact.  Is this not 
+evidence of his impartial interest in other people's 
+compositions? 
+</p>
+<p>
+I have mentioned already the composers whom 
+in his youth Bach esteemed, loved, and studied.  
+Later, when experience ripened his critical faculty, 
+he had other favourites, among them Imperial 
+Kapellmeister Fux, Handel, Caldara,<note place="foot">
+<p>
+Antonio Caldara, b. 
+<foreign lang="la">circ.</foreign> 1670; vice-Kapellmeister at Vienna, 
+1716-36; d. 1736. 
+</p>
+</note> Reinhard 
+Keiser, Hasse,<note place="foot">
+<p>
+Johann Adolph Hasse, b. 1699, d. 1783; Kapellmeister and 
+Director of the Opera, Dresden. 
+</p>
+</note> the two Grauns,<note place="foot">
+<p>
+Johann Gottlieb Graun, b. <foreign lang="la">circ.</foreign> 1698, d. 1771; conductor of the 
+royal Kapelle, Berlin.
+</p>
+<p>
+Carl Heinrich Graun, b. 1701, d. 1759; like his brother, in Frederick 
+the Great's service. 
+</p>
+</note> Telemann,<note place="foot">
+<p>
+Georg Philipp Telemann, b. 1681, d. 1767; Cantor and Musik-direktor in Hamburg. 
+</p>
+</note> 
+Zelenka,<note place="foot">
+<p>
+Johann Dismas Zelenka, b. 1679 
+or 1681, d. 1745; Court Composer 
+at Dresden.
+</p>
+</note> Benda,<note place="foot">
+<p>
+Franz Benda, b. 1709, d. 1786; Concertmeister to Frederick the 
+Great upon the death of J. G. Graun.
+</p>
+</note> etc., and, in general, the distinguished 
+musicians at Dresden and Berlin.  He 
+was acquainted with all except the first four of 
+those I mention.  In his youth Bach was intimate 
+with Telemann.<note place="foot">
+<p>
+On Telemann's influence on Bach see Spitta, ii. 437.
+</p>
+</note> He also had a very warm regard 
+<pb n="110" />
+for Handel and often expressed a desire to know 
+him.  As Handel, like himself, was a famous performer 
+on the Organ and Clavier, many in Leipzig 
+and its neighbourhood wished to bring the two 
+great men together.  But Handel, then living in 
+London, never found time for a meeting during 
+the visits he paid to Halle, his native town.  On 
+his first visit in 1719, Bach was at C&ouml;then, only 
+some twenty miles distant.  As soon as he was 
+informed of Handel's arrival he lost not a moment 
+in setting out to visit him, but on his arrival 
+found that Handel had returned to England.  At 
+the time of Handel's second visit, between 1730 
+and 1740,<note place="foot">
+<p>
+Handel's second visit to Halle took place in June 1729.  His 
+mother's illness detained him.  See Streatfield, p. 110. 
+</p>
+</note> Bach was prevented from leaving 
+Leipzig by indisposition.  But no sooner was he 
+advised of Handel's arrival at Halle than he sent 
+his eldest son, Wilhelm Friedemann, to beg him 
+to visit Leipzig, an invitation which Handel was 
+unable to accept.  In 1752 or 1753, when Handel 
+paid his third visit to Germany,<note place="foot">
+<p>
+Handel's third visit took place in July-August 1760.  He was 
+laid up by a severe accident in the course of it, and appears to have 
+not recovered from it at the time of Bach's death.
+</p>
+</note> Bach was dead. 
+He had always expressed the strongest desire to 
+know Handel, and the Leipzig people were disappointed 
+in their wish to hear the two great 
+men together.
+</p>
+<p>
+While Hasse was Kapellmeister at Dresden 
+both the Opera and Kapelle flourished.  Bach 
+<pb n="111" />
+had many friends at Dresden, who held him in 
+high regard.  Among them may be mentioned 
+Hasse and his wife, the celebrated Faustina.<note place="foot">
+<p>
+Faustina Bordoni, b. 1693, d. 1783; 
+m. Hasse in 1730.  She was 
+one of the most famous singers of the day.
+</p>
+</note>
+They often visited Leipzig and were admirers of 
+the Cantor's rare talents.  Hence, at Dresden he 
+was always received in the most respectful 
+manner and often visited the Opera, generally 
+accompanied by his eldest son.  When the time 
+for their journey approached Bach would say in 
+fun, <q>Well, Friedemann, shall we go to Dresden 
+to hear the pretty tunes<note place="foot">
+<p>
+The original has <q>Liederchen.</q>
+</p>
+</note> again?</q> Innocent as 
+the jest was, I am sure Bach would not have 
+uttered it to any but his son, who already could 
+distinguish between great music and agreeable 
+trifles.
+</p>
+<p>
+Bach was never in a position to make what is 
+called a brilliant fortune.<note place="foot">
+<p>
+See 
+<foreign lang="la">supra</foreign>, p. 37.  Compare Handel's case.  He received a royal 
+pension of &pound;600 per annum, and though he was twice a bankrupt, left
+&pound;20,000.
+</p>
+</note> He held a fairly 
+lucrative office, but his income had to maintain 
+and educate a large family.  He neither possessed 
+nor sought other means of livelihood, and was too 
+absorbed in his art and work to think of accepting 
+engagements which, in those days, and to a man 
+of his genius, certainly would have brought riches.  
+Had he possessed a taste for travel he would, as 
+even one of his detractors admits, have <q>drawn 
+<pb n="112" />
+upon himself the admiration of the whole world.</q> 
+But he preferred a quiet domestic life, constant 
+occupation in his work, with contentment and 
+a moderate competence, like his forbears.  
+His modesty, however, did hot prevent him 
+from receiving manifold proofs of regard and 
+affection and marks of honourable distinction.  
+Prince Leopold of C&ouml;then, Duke Ernst August 
+of Weimar,<note place="foot">
+<p>
+The Duke was the nephew of, and succeeded, Duke Wilhelm Ernst 
+in 1728. 
+</p>
+</note> and Duke Christian of Weissenfels, 
+all showed sincere regard for him, which must have 
+been the more agreeable to him seeing that they 
+were all sound judges of music.  At Berlin, as at 
+Dresden, he was universally honoured and respected.  
+If we add to these testimonies the fact 
+that he captured the admiration of all who heard 
+him play or were acquainted with his music, then 
+we may be sure that Bach, <q>singing for himself 
+and the Muses,</q> received at the hands of Fame the 
+recognition he valued most, and cherished it far 
+more than the trivial honour of a ribbon or gold 
+chain.
+</p>
+<p> 
+I add that, in 1747, Bach became a member 
+of the <q>Society of the Musical Sciences,</q> founded 
+by Mizler, only because we owe to the circumstance 
+his admirable Choral Variations on <title>Vom 
+Himmel hoch.</title><note place="foot">
+<p>
+The Canonic Variations 
+on the melody are published by Novello 
+bk. 19, p. 73. For the Mizler Society, see <foreign lang="la">supra</foreign>, p. xxiv. 
+</p>
+</note> He presented them to the 
+<pb n="113" />
+Society on his admission and they were engraved 
+subsequently.<note place="foot">
+<p>
+Spitta (iii. 294) regards the statement as incorrect and holds that 
+the work was engraved before Bach joined Mizler's Society in June 
+1747.  Pirro (p. 215) supports Spitta and regards the Variations as 
+having been engraved at N&uuml;rnberg <q>vers 1746.</q>
+</p>
+</note>
+</p>
+</div>
+
+<pb n="114" />
+
+<div rend="page-break-before: right">
+  <index index="toc" />
+  <index index="pdf" />
+<head>CHAPTER IX. BACH'S COMPOSITIONS</head>
+
+<p>
+To have produced so many great works in all forms of musical expression Bach necessarily must have been a prolific writer.  For if a composer be the greatest genius in the world, unless he constantly exercises his art he cannot hope to produce real masterpieces.  Superlative excellence is the fruit of indefatigable application.  Yet in Bach's case we should be wrong to acclaim as masterpieces all the products of his great activity just because masterpieces at length were the fruit of it.  Already in his early compositions we find undeniable evidence of genius.  But they are blemished by faults, passages poor in quality, extravagant, insipid, that are hardly worth preserving, though of interest to the student who wishes to trace from its source the development of Bach's genius.
+</p>
+<p>
+It is not difficult to distinguish with exactitude those of Bach's early compositions which are of the first excellence; for he has been at pains to give us the clue.  As he did not publish his first work until he was about forty years
+<pb n="115" />
+old <note place="foot">
+<p>
+The first of Bach's works to be engraved was the M&uuml;hlhausen Cantata, <title>Gott ist mein K&ouml;nig,</title> (parts only).  It was published in 1708, when Bach was twenty-three years old.  Forkel refers to Partita I. in the first Part of the <title>Clavier&uuml;bung</title> (P. bk. 205 p. 4).  It was engraved in 1726, when Bach was forty-one years old.  In 1731 he republished it, with five others that had appeared in the interval, in the first Part of the <title>Clavier&uuml;bung</title> (P. bks. 205, 206).
+</p>
+</note>
+we are justified in assuming the merit of what, at so mature an age, he thought worthy to put into print, and in concluding generally that all his engraved works are of first-rate merit.<note place="foot">
+<p>
+Forkel's rather casual critical axioms seem to be as follows: <q>Publication postulates excellence</q>; <q>An amended MS. implies that the original text was not a finished work of art.</q>
+</p>
+</note>
+</p>
+<p>
+With respect to his unpublished compositions, and they are by far the most numerous, we must in order to distinguish their merit rely partly on a critical examination of their texts, partly on Bach's own judgment.  Like all great composers, he was continually working on his compositions with a view to making them still more finished.  Indeed, he actually attempted to improve some of them that were already perfect.  Any that were susceptible of improvement he improved, even those already engraved.  Such is the origin of the variant readings of his works found in older and more recent texts.  By constantly retouching his compositions Bach aimed at making them indisputable masterpieces.  In this category I place most of what he wrote before the year 1725, as I show in detail in the following catalogue.  A great
+<pb n="116" />
+ many compositions subsequent to 1725, which for reasons easily understood are still in MS., bear too evidently the stamp of perfection to leave us in doubt whether to class them as early essays or as the finished work of an accomplished master.
+</p>
+<p>
+The following are those of Bach's works which have been engraved:
+</p>
+<list>
+<item>1. <title>Clavier&uuml;bung</title>, or <q>Exercises for the Clavier, consisting of Preludes, Allemandes, Courantes, Sarabandes, Gigues, Minuets, etc., for the Diversion of Amateurs. Opus I. Published by the Composer, 1731.</q>  This was Bach's first published work and contains six Suites.  The first of them came out in 1726;<note place="foot">
+<p>
+It was the first work engraved by Bach himself, though the parts of the Cantata  <title>Gott ist mein K&ouml;nig</title> had been published by the Town Council at M&uuml;hlhausen in 1708.
+</p>
+</note> the others followed in successive years until all were engraved together in 1731.<note place="foot">
+<p>
+The work was published at Leipzig <q>in Commission bey Boetii Seel, hinderlassenen Tochter, unter den Rath-hause.</q>  The Suites, or Partitas (P. bks. 205, 206), are in B flat major, C minor, A minor, D major, G major, E minor.
+</p>
+</note> The work was much noticed at the time.  Such compositions for the Clavier had not been seen or heard before, and the man who could play them was sure of a success.  Our young players to-day would profit by the study of them, so brilliant, agreeable, expressive, and original are they. In the new edition<note place="foot">
+<p>
+In 1801 Hoffmeister and K&uuml;hnel unsuccessfully attempted to publish Bach's works by subscription.
+</p>
+</note> they are entitled, <q>Exercises for the Clavier.</q></item>
+<pb n="117" />
+<item>2. <title>Clavier&uuml;bung</title>, or <q>Exercises for the Clavier, Part II., consisting of a Concerto in the Italian style and an Overture in the French manner<note place="foot">
+<p>
+The Partita in B minor (P. bk. 208 p. 20).
+</p>
+</note> for a Clavier with two manuals.  Published by Christopher Weigel, Junior, in N&uuml;rnberg.</q><note place="foot">
+<p>
+The work was published in 1735.  The Italian Concerto in F major is published by Novello and P. bk. 207.
+</p>
+</note>
+</item>
+
+<item>3. <title>Clavier&uuml;bung</title>, or <q>Exercises for the Clavier, Part III., consisting of various Organ Preludes to the Catechism and other Hymns, composed for the diversion of amateurs and particularly of competent judges of such works.  Published by the Composer.</q>  Besides the Preludes and Fugues for the Organ, all of which are masterly, the book contains four Duetti for the Clavier,<note place="foot">
+<p>
+The work appeared in 1739.  It was intended to contain works for the Organ only; the four Duetti are incongruous and seem to have crept in by mistake.  See the scheme of the work discussed in Terry, <title>Bach's Chorals,</title> Part III.  The Choral Preludes are in Novello's ed., bk. xvi.
+</p>
+</note> models of their kind.
+</item>
+
+<item>4. <title>Sechs Chor&auml;le</title>, or <q>Six Choral Melodies of different kinds, for an Organ with two manuals and pedal.  Zella, in the Thuringian Forest.  Published by Johann G. Sch&uuml;bler.</q><note place="foot">
+<p>
+The work was published <foreign lang="la">circ.</foreign> 1747-50.  Five of the six movements certainly, and the sixth with practical certainty, are adaptations to the Organ of movements out of Bach's Church Cantatas.  See Parry, <title>Bach,</title> p. 535.  The Chorals are in Novello's ed., bk. xvi.
+</p>
+</note> They are full of dignity and religious feeling.  In some of them, too, we have instances of Bach's original management
+<pb n="118" />
+of the stops.<note place="foot">
+<p>
+See <foreign lang="la">supra</foreign>, p. 65.
+</p>
+</note>
+ Thus, in the second Choral, <title>Wo soll ich fliehen hin,</title> he gives to the first manual an 8 foot, to the second a 16 foot, and to the pedal a 4 foot stop.  The pedal has the cantus firmus.<note place="foot">
+<p>
+Thus the pedal sounds above the part given to the second manual and is often the topmost part.  See Novello's ed., bk. xvi. 4.
+</p>
+</note>
+</item>
+
+<item>5.
+<title>Clavier&uuml;bung</title>, or <q>Exercises for the Clavier, consisting of an Aria with several Variations, for a Clavier with two manuals. Published by Balthasar Schmidt at N&uuml;rnberg.</q><note place="foot">
+<p>
+Published <foreign lang="la">circ.</foreign> 1742; the so-called <q>Goldberg Variations.</q> They are in P. bk. 209.
+</p>
+</note> This admirable work consists of thirty Variations, some in canon, in a variety of movements and at all intervals from the unison to the ninth, with easy flowing melody.  It includes a regular fourpart Fugue,<note place="foot">
+<p>
+Variation No. 10 is a Fughetta in four parts.
+</p>
+</note> several extremely brillant Variations for two Claviers,<note place="foot">
+<p>
+Ten of the Variations are marked <q>a 2 Clav.,</q> that is, for two keyboards or manuals: Nos. 8, 11, 13, 14, 17, 20, 23, 25, 26, 28. Nos. 5, 7, 29 are marked <q>a 1 ovvero 2 Clav.</q>
+</p>
+</note> and concludes with a Quodlibet, as it is called, which alone would render its composer immortal, though it is not the best thing in the volume.<note place="foot">
+<p>
+The movement is constructed upon two merry folk-songs, <title>Kraut and R&uuml;ben haben mich vertrieben,</title> and <title>Ich bin so lang nicht bei dir gewirt</title>.
+</p>
+</note>
+<p>
+The Variations are models of what such compositions ought to be, though no one has been so rash as to attempt to follow Bach's footsteps.
+<pb n="119" />
+We owe them to Count Kaiserling, formerly Russian Ambassador at the Saxon Electoral Court, who frequently visited Leipzig with Goldberg, already mentioned<note place="foot">
+<p>
+See supra, p. 101.
+</p>
+</note> among Bach's pupils.  The Count was a great invalid and suffered from insomnia.  Goldberg lived in the Ambassador's house, and slept in an adjoining room, to be ready to play to him when he was wakeful.  One day the Count asked Bach to write for Goldberg some Clavier music of a soothing and cheerful character, that would relieve the tedium of sleepless nights.  Bach thought a set of Variations most likely to fulfil the Count's needs, though, on account of the recurrence of the same basic harmony throughout, it was a form to which he had hitherto paid little attention.  Like all his compositions at this period, however, the Variations are a masterpiece, and are the only example he has left us of this form.<note place="foot">
+<p>
+In fact Bach wrote the early <title>Aria variata alla maniera Italiana</title> (Peters bk. 215, p. 12) for the Clavier.  For the Organ he wrote four sets of Variations upon as many Choral melodies (Novello bk. xix.).  But all except the Goldberg Variations are youthful works, and in his maturity Bach clearly had no liking for the form.  The theme of the Goldberg Variations, moreover, is itself a youthful idea; at least it dates back to as early as 1725, and is found in A. M. Bach's <title>Notenbuch</title> (No. 26, Aria in G major).
+</p>
+</note> The Count always called them <q>my Variations</q> and was never weary of hearing them.  For long afterwards, when he could not sleep, he would say, <q>Play me one of my
+<pb n="120" />
+Variations, Goldberg.</q> Perhaps Bach was never so well rewarded for any composition as for this.  The Count gave him a golden goblet containing one hundred louis d'ors, though, as a work of art, Bach would not have been overpaid had the present been a thousand times as large.  It may be observed, that in the engraved copy of the Variations there are serious mistakes, which the composer has corrected in his own copy.<note place="foot">
+<p>
+There is no reference to these corrigenda in the B. G. edition.
+</p>
+</note>
+</p>
+</item>
+
+<item>6. <title>Einige kanonische Verd&auml;derungen,</title> <q>Canonic Variations on the Christmas Hymn <q>Vom Himmel hoch da komm ich her,</q> for an Organ with two manuals and pedal. Published at N&uuml;rnberg by Balthasar Schmidt.</q> The work contains five canonic variations of the utmost ingenuity.<note place="foot">
+<p>
+The work has been referred to already in connection with Bach's membership of Mizler's Society (supra, p. 112).  It was composed presumably <foreign lang="la">circ.</foreign> 1746 and in point of technical skill is the most brilliant of Bach's instrumental works.  Forkel states that it was engraved after June 1747, when Bach joined Mizler's Society.  Spitta (iii. 295) is of opinion that it was already engraved by then.  It is in bk. xix. of Novello's edition.
+</p>
+</note>
+</item>
+
+<item>7. <title>Musikalisches Opfer</title>, or <q>A Musical Offering,</q> dedicated to Frederick II., King of Prussia.  The theme received by Bach from the King<note place="foot">
+<p>
+<foreign lang="la">Supra</foreign>, p. 25.
+</p>
+</note> is treated first as a three-part Fugue under the acrostic title <q>Ricercare</q> (<foreign lang="la">Regis iussu cantio et reliqua canonica arte resoluta</foreign>). There follows a six-part <q>Ricercare</q> and <foreign lang="la">Thematis regii elaborationes canonicae</foreign>
+<pb n="121" />
+of various kinds.<note place="foot">
+<p>
+The presentation copy of the work, which Bach sent to Frederick along with a dedicatory letter (July 7, 1747), is in the Berlin Amalienbibliothek and proves that only the first third of the work, as far as the <q>Ricercare a sei voci</q> (see B.G. XXXI. (2)) was sent then.  The latter and the remaining canons were dispatched subsequently probably by the hand of C. P. E. Bach.  The six-part Ricercare was a particular compliment to the King.  Frederick had desired Bach on his visit to play a Fugue in six parts but left it to the player to select his theme.  Bach now employed the 
+<foreign lang="la">thema regium</foreign> for the purpose.  The first reissue of the work was by Breitkopf and Haertel in 1832. Peters (bk. 219) brought it out in 1866. See Schweitzer, i. 417 IV. and Spitta, iii. 191 ff. and 292.
+</p>
+</note> The work includes a Trio for Flute, Violin, and Clavier upon the same subject.<note place="foot">
+<p>
+In C minor (P. bk. 237 p. 3).
+</p>
+</note>
+</item>
+
+<item>8. <title>Die Kunst der Fuge</title>, or <q>The Art of Fugue.</q>  This work, unique of its kind, did not appear till about 1752, after Bach's death, though the greater part of it had been engraved by his sons during his lifetime.<note place="foot">
+<p>
+The statement is inaccurate.  The work was written for the most part in 1749 and the greater part of it was prepared for engraving by Bach himself during his last illness.  None of his elder sons was with him at his death, and the blunders that disfigure the engraved copy show that they clumsily finished their father's work.  It is in P. bk. 218.
+</p>
+</note> Marpurg,<note place="foot">
+<p>
+Friedrich Wilhelm Marpurg, b. 1718, d. 1795.
+</p>
+</note> the leading German musical critic of that day, contributed a preface to this edition which contains many just observations on the value and utility of such treatises.<note place="foot">
+<p>
+The work was published shortly after Bach's death, but had no sale.  C. P. E. Bach then commissioned Marpurg to write a preface, and the new edition was published at the Leipzig Fair, Easter, 1762.  In four years only about thirty copies were sold. See Spitta, iii. 197 ff. and Schweitzer, i. 423 ff.
+</p>
+</note> But, being too good for the general public, the work found only a small circulation among those who discerned its merit and eagerly bought copies.
+<pb n="122" />
+The plates were never used again and eventually were sold<note place="foot">
+<p>
+In 1756.  See C. P. E. Bach's advertisement in Felix Grenier, p. 232.
+</p>
+</note> by Bach's heirs at the price of old copper.  Written by a man of Bach's transcendent genius, and commended as a masterpiece by a critic so highly regarded as Marpurg, a work of this kind, if published in any other country than Germany, would have passed through at least ten editions by now, if only at the bidding of patriotism.  But in Germany not a sufficient number of copies was sold to pay for the plates used in engraving the work!
+<p>
+The work consists of fugal Variations planned on the most elaborate scale.<note place="foot">
+<p>
+The work contains six Fugues and four canons upon the same theme; an unfinished Fugue <q>a tre soggetti,</q> the first four notes of the third of which spell B A C H; and the Choral Prelude <q>Wenn wir in h&ouml;chsten N&ouml;then sein.</q>
+</p>
+</note> The composer's intention was to show in what a variety of ways the same theme can be treated fugally.  The Variations (here called <q>Contrapunctus</q>)<note place="foot">
+<p>
+Schweitzer explains: <q>His purpose in this work being a purely theoretical one, Bach writes the Fugues out in score, and calls them <q>counterpoints</q></q>
+</p>
+</note> are complete Fugues upon the same theme.  The last Fugue of all has three subjects, in the third of which the composer signs his name, B A C H.<note place="foot">
+<p>
+<figure url="images/B_A_C_H.jpg" rend="page-float:'h'; w30">
+<figDesc>B A C H in German musical notation</figDesc>
+</figure>
+</p>
+</note>
+<pb n="123" />
+Bach was prevented from finishing it by the disorder of his eyes, and as an operation brought no relief the movement was never completed.  It is said that Bach intended to introduce four themes into it and to bring it to an impressive conclusion by inverting them all. All the Fugues in the work are equally smooth and melodious.
+</p>
+<p>
+To make up for the unfinished Fugue Bach concluded the work with a Choral Prelude upon the tune <q>Wenn wir in h&ouml;chsten N&ouml;then sein,</q> which he dictated to his son-in-law, Altnikol, a few days before his death.<note place="foot">
+<p>
+<foreign lang="la">Supra</foreign>, p. 27.  The movement is in N. bk. 17 p. 85.  It is not certain that Bach intended the Prelude or the unfinished Fugue to be included.
+</p>
+</note> Of the extraordinary skill it displays I do not speak, save to remark that even in his last illness it proclaims Bach's skill undiminished.  The pious resignation and devotion that characterise it move me deeply whenever I play it.  Nor should I find it easy to say which I had rather had been omitted, the Choral Prelude, or the conclusion of the unfinished Fugue.
+</p>
+</item>
+
+<item>9. Lastly, after Bach's death, his four-part Chorals were collected by his son, Carl Philipp Emmanuel, and were published by Birnstiel (Berlin and Leipzig), Part I. in 1765, Part II. in 1769.<note place="foot">
+<p>
+C. P. E. Bach was only concerned with the first volume.  Erk, in his edition of the <title>Choralges&auml;nge,</title> conjectures that Kirnberger was responsible for the second.
+</p>
+</note> Each Part contains one hundred Chorals,
+<pb n="124" />
+mostly taken from the composer's church Cantatas.
+<p>
+More recently Kirnberger edited, in four volumes, a collection of Bach's Chorals. They are published by Breitkopf.<note place="foot">
+<p>
+The four volumes were published at Leipzig between 1784-87.  Spitta states that C. P. E. Bach was the editor.  Erk joins Kirnberger with him in that position.  As C. P. E. Bach died in 1788 Kirnberger's association with the work is probable, especially if he had already been responsible for the 1769 volume.
+</p>
+</note>
+</p>
+<p>
+Bach's works, still in MS., consist of compositions for the Clavier, Organ, with and without other instruments, Strings, and the voice.  I will enumerate them in that order.
+</p>
+</item>
+</list>
+
+<div>
+<head type="sub">I. Compositions For The Clavier</head>
+<list>
+<item>1. <title>Six Little Preludes far Beginners</title>.<note place="foot">
+<p>
+Bach's Clavier school consisted of eighteen Preludes for beginners (all in B.G. XXXVI.); the two-part and three-part Inventions; and the <title>Well-tempered Clavier.</title>  The six Preludes mentioned by Forkel, and which alone he knew, were published by him for the first time.  Seven more are found in Wilhelm Friedemann's <title>Clavierb&uuml;chlein</title> (B.G. XLV. (1)), and the remaining five have survived in texts handed down by others of Bach's pupils.  The eighteen are in P. bk. 200.
+</p>
+</note></item>
+
+<item>2. <title>Fifteen Two-part Inventions</title>.  An Invention is a musical theme so constructed that by imitation and inversion a whole movement can be evolved from it.  The subject having been first stated, the rest develops naturally out of it.  For the instruction of a young Clavier player these fifteen Inventions are of great value, seeing that the composer has been careful not only to provide exercises for both hands but for every finger as
+<pb n="125" />
+well.  They were composed at C&ouml;then in 1723, with a long title which begins: <q>An honest Guide, in which lovers of the Clavier are shown a clear method of playing correctly in two parts,</q> etc.<note place="foot">
+<p>
+The Autograph was written at C&ouml;then and is dated 1723.  It also contains the fifteen Symphonies, or three-part Inventions mentioned in paragraph 3.  Both Inventions and Symphonies are in F. bk. 201.  According to Spitta (ii. 57 n.) the Inventions were published at Leipzig in 1763.  See also Schweitzer, i. 328 ff.
+</p>
+</note>
+
+<p>
+It cannot be denied that, among other blemishes, the Inventions occasionally exhibit melodic poverty and roughness.  But finding them useful to his pupils, Bach eventually revised them and removed from them everything that offended his maturer taste, so that they now stand as masterpieces of pure music.  Moreover they are invaluable exercises for the fingers and hands and are sound instructors of taste.  There is no better introduction to Bach's larger works than they afford.
+</p>
+</item>
+
+<item>3. <title>Fifteen three-part Inventions</title>, also called Symphonies.  They were written for the same purpose as the Inventions, but are more advanced.<note place="foot">
+<p>
+See the previous note.
+</p>
+</note>
+</item>
+
+<item>4. <title>The Well-tempered Clavier</title>, or, Preludes and Fugues in all tones and semitones, composed for the profit and use of young musicians desirous of knowledge, as also for those who are skilled already in this <foreign lang="it">studio</foreign>.  Part I. was finished in 1722.  Part II., like Part I., contains twenty-four Preludes and twenty-four Fugues in every key,
+<pb n="126" />
+and was composed at a later period.<note place="foot">
+<p>
+The second Part was compiled in 1744 and Bach's Autograph of it, though not the earliest Autograph, is in the British Museum.  See Schweitzer, i. 331 ff. and Spitta, ii. 161 ff.  The whole work is in P. bks. 1, 2; or 1a, 1b; or 2790a, 2790b.
+</p>
+</note> Every number of it, from first to last, is a masterpiece.  In Part I., however, certain Preludes and Fugues bear marks of immaturity and are included probably only in order to complete the series.  But here again Bach eventually corrected whatever seemed to him lacking in finish.  He altered or rewrote entire passages, so that in the later texts few movements are not perfect.  Among these few I reckon the Fugues in A minor,<note place="foot">
+<p>
+No. 20. Spitta (ii. 164) attributes it to the years 1707 or 1708.  Schweitzer (i. 332) also regards it as a youthful piece written, moreover, for the pedal Clavicembalo.
+</p>
+</note> G major and G minor,<note place="foot">
+<p>
+Nos. 15 and 16.  Spitta, admitting that the two do not rank with the most interesting in the collection, finds no indication of their being of different date from the best movements.
+</p>
+</note> C major,<note place="foot">
+<p>
+No. 1. Here Spitta (ii. 165 n.) challenges Forkel.
+</p>
+</note> F major and F minor.<note place="foot">
+<p>
+Nos. 11 and 12.  In regard to No. 12 (F minor) Spitta holds Forkel to be in error.  As to No. 11, he expresses the same opinion as in note 3, 
+<foreign lang="la">supra</foreign>.
+</p>
+</note> The rest are excellent, some of them so superlatively good as to be not inferior to those in Part II.<note place="foot">
+<p>
+The date 1744 places the second Part among Bach's latest compositions.  On the other hand, like the first Part, it contained work of earlier date.
+</p>
+</note> Even Part II., for all its original perfection, has been improved by the composer, as may be observed by comparing the original and later texts.  Both Parts contain treasures of art not to be found outside Germany.
+</item>
+
+<pb n="127" />
+
+<item>5. <title>Chromatic Fantasia and Fugue.</title><note place="foot">
+<p>
+Chromatic Fantasia and Fugue in D minor (P. bk. 207 p. 4).  It probably dates from <foreign lang="la">circ.</foreign> 1720-23.
+</p>
+</note> I have taken considerable pains to discover a similar piece of music by Bach, but without success.  The Fantasia is unique and unequalled.  Wilhelm Friedemann sent it to me from Brunswick inscribed with these words by a mutual friend. <q>Anbey kommt an etwas Musik von Sebastian, sonst genannt: <foreign lang="la">Fantasia chromatica</foreign>; bleibt sch&ouml;n in alle Saecula.</q>
+
+<p>
+It is remarkable that this piece, for all its technical skill, appeals to the most unpractised hearer, if it is performed at all tolerably.
+</p>
+</item>
+
+<item>6. A <title>Fantasia in C minor</title>.  It is not of the same character as the preceding work, but resembles rather the Allegro of a Sonata.  It is divided into two parts, but must be played as a single movement.  It is an excellent work, and in old copies an unfinished Fugue follows, which, however, cannot belong to it.<note place="foot">
+<p>
+The MS. was discovered in 1876 and is now at Dresden. It was written circ. 1738 and disproves Forkel's conjecture that the fugue did not belong to the Fantasia and is only partially by Bach.  The Fugue contains forty-seven bars.  As the Autograph is a fair copy the Fugue cannot be called unfinished.  See Spitta, iii. 182.  The Fantasia is in P. bk. 207 p. 50; the Fugue in P. bk. 212 p. 88. See B.C. xxxvi., xxxviii., and xlii. for other Clavier Fantasias.
+</p>
+</note> The first thirty bars certainly are by Bach, for they are marked by an extremely bold use of augmented and diminished intervals and their inversions, in three-part harmony.  None but Bach attempted such things.
+<pb n="128" />
+  The rest of the movement seems to have been added by another hand and bears no trace of Bach's style.
+</item>
+
+<item>7. <title>Six large Suites</title>, consisting of Preludes, Allemandes, Courantes, Sarabandes, etc.  They are known as the <q>English Suites,</q> because the composer wrote them for an Englishman of rank.<note place="foot">
+<p>
+The true explanation seems to be that the Prelude of the first Suite (A major) is based upon a Gigue by Charles Dieupart (d. <foreign lang="la">circ.</foreign> 1740), a popular teacher and composer in England.  The words <foreign lang="fr">fait pour les Anglois</foreign>, which head the A major Suite in an early MS., have been wrongly interpreted as applying to the whole set of six.  They merely indicate Dieupart's borrowed Gigue. See Grove, vol. i. 701, and Parry, <title>J. S. Bach,</title> p. 463.  A copy of the work exists, of date 1724-27, made by one of Bach's pupils.  But the composition of the Suites may certainly be assigned to the C&ouml;then period.  They are published in P. bks. 203, 204.
+</p>
+</note>  All of them are of great merit as works of art, and some movements, in particular the Gigues of the fifth and sixth Suites, are perfect masterpieces of harmony and melody.
+</item>
+
+<item>8. <title>Six small Suites</title>, consisting of Allemandes, Courantes, etc. They are generally called the <q>French Suites,</q> because they are written in the French style.<note place="foot">
+<p>
+The French Suites undoubtedly date back to the C&ouml;then period, since they figure, though incomplete, in the <title>Notenbuch</title> of A. M. Bach (1722). They are published in P. bk. 202.
+</p>
+</note> The composer is intentionally less academic in them than in his larger Suites, and their melodies are more than usually pleasant and agreeable.  In particular the fifth Suite deserves to be noticed: all its movements are most melodious, and in the concluding Gigue
+<pb n="129" />
+only consonant intervals, especially thirds and sixths, are used.
+</item>
+</list>
+
+<p>
+These are Bach's principal works for the Clavier which can be considered classics.<note place="foot">
+<p>
+Forkel's incomplete catalogue may be compared with the Bachgesellschaft volumes III., XIV., XXV. (1), XXXI. (2), XXXVI., XLIL, XLIII. (1 and 2), XLV. (1).  See generally Schweitzer, ch. 15, and Pirro, pp. 218 ff.
+</p>
+</note> A great number of single Suites,<note place="foot">
+<p>
+P. bks. 205, 206, 208, 212 (fragment in F minor), 214, 215, 1959.
+</p>
+</note>Toccatas and Fugues,<note place="foot">
+<p>
+P. bks. 200, 210, 211, 212, 214, 215, 1959.
+</p>
+</note> besides those already mentioned, have great and varying merit, but are youthful works.<note place="foot">
+<p>
+For the most part these youthful works will be found in B.G. XXXVI.
+</p>
+</note> At the most, ten or twelve of them seem to me worth preserving, some of them because they would be useful as finger exercises, for which their author originally intended them, others because they are at least better than similar works by other composers.  As an exercise for the fingers of both hands I particularly single out a Fugue in A minor,<note place="foot">
+<p>
+P. bk. 207 p. 16.
+</p>
+</note> in which the composer has been at great pains to write florid passages in order to give equal strength and suppleness to both hands.  For beginners a little two-part Fugue<note place="foot">
+<p>
+In C minor (P. bk. 200 p. 10).
+</p>
+</note> should also prove useful.  It is melodious, flowing, and not at all old-fashioned.
+</p>
+</div>
+
+<div>
+<pb n="130" />
+<head type="sub">II. Music For The Clavier With Other 
+Instruments</head>
+
+<list>
+<item>1. <title>Six Sonatas for Clavier with Violin obbligato</title>.  Composed at C&ouml;then, they are among Bach's masterpieces in this form and display fugal and canonic writing which is both natural and full of character.  The Violin part needs a master to play it; for Bach knew the capabilities of the instrument and spared it as little as the Clavier.  The six Sonatas are in the keys of B minor, A major, E major, C minor, F minor, and G major.<note place="foot">
+<p>
+In P. bks. 232, 233.
+</p>
+</note>
+</item>
+
+<item>2. <title>Several Sonatas for Harpsichord and Violin</title>,<note place="foot">
+<p>
+Suite in A major (P. bk. 236), Sonata in E minor (P. bk. 236), Fugue in G minor (P. bk. 236), four Inventions (P. bk. 2957), Sonata in G minor (BG. ix. 274; not in P.), Sonata in C major for 2 Violins and Clavier (P. bk. 237).
+</p>
+</note> <title>Harpsichord and Flute</title>,<note place="foot">
+<p>
+There are six Sonatas for Flute and Clavier, in B minor, E flat major, A minor, C major, E minor, E major (P. bks. 234, 235).
+</p>
+</note> <title>Harpsichord and Viol da Gamba</title>.<note place="foot">
+<p>
+There are three Sonatas for Clavier and Gamba, in G major, D major, G minor (P. bk. 239).
+</p>
+</note> They are admirably written and most of them are pleasant to listen to even today.<note place="foot">
+<p>
+Forkel omits two Sonatas for Violin, Flute, and Clavier, in G major and C minor (both in P. bk. 237).
+</p>
+</note>
+</item>
+
+<item>3. <title>Several Concertos for the Clavier and other instruments</title>.  They contain real gems of art but are antiquated in form.<note place="foot">
+<p>
+As Forkol mentions in secs. 4, 5, 6 the Concertos for two, three, and four Claviers, perhaps he had in mind here seven Concertos for Clavier and Orchestra (P. bks. 248-254).  A Concerto for Clavier, Violin, Flute, and Orchestra (P. bk. 255 p. 4) in A minor also should be mentioned.  Also an Overture, in G minor, for Clavier and Strings (B.G. XLV. (1) p. 190; not in P.)
+</p>
+</note>
+</item>
+<pb n="131" />
+
+<item>4. <title>Two Concertos for two Claviers</title>, with an accompaniment of two Violins, Viola, and Violoncello.  The first, in C minor,<note place="foot">
+<p>
+P. bk. 257 p. 4.
+</p>
+</note> has an antique flavour. But the second, in C major,<note place="foot">
+<p>
+P. bk. 256 p. 4.
+</p>
+</note> is as fresh as if it had been written yesterday.<note place="foot">
+<p>
+There are, in fact, three Concertos for two Claviers and Orchestra: two in C minor and one in C major.  Forkel refers to only one of the former and regards it as antiquated by comparison with the one in C major.  Spitta (iii. 144) attributes the C major to 1730.  Forkel's C minor in its original form was a Concerto for two Violins, now lost.  The other C minor Concerto is identical with the Concerto in D minor for two Violins and is in P. 257b. Spitta (iii. 138) dates it 1736. See Schweitzer, i. 413.
+</p>
+</note> It may be played without the String quartet and still sounds admirable.  The final Allegro is a majestic movement and strictly fugal.  Compositions of this form were first perfected, indeed, we may conjecture, were first attempted, by Bach.  At least, I have met with only a single example by another composer that may perhaps be older&mdash;namely, Pachelbel of N&uuml;rnberg's Toccata, as he called it.  Pachelbel, however, was a contemporary of Bach and may have taken the idea from him.  However, his work is not worth considering.  One instrument merely repeats the other's phrases without being at all concertante.  It almost seems as if Bach at this period had made up his mind to discover what could be done with any number of parts. Having already written for a
+<pb n="132" />
+single solo instrument music which required no accompaniment, he next experimented in dividing his material between as large a number of solo instruments as possible.  Hence the Concertos for two Claviers were followed by
+</item>
+
+<item>5. <title>Two Concertos for three Claviers</title> with an accompaniment of Strings.<note place="foot">
+<p>
+In D minor and C major (P. bks. 258, 259).  The tradition is that Bach wrote these two Concertos in order to play them with his elder sons.  Spitta (iii. 144) finds the tradition trustworthy.  Hence the two works must have been written by c. 1733 at latest, before the sons left home.  See also Schweitzer, i. 414.
+</p>
+</note> These Concertos present a remarkable characteristic: besides the concertante combination of three Claviers, the stringed instruments also have concertante parts distinct from the accompaniment.  It is difficult to realise the art involved in this achievement.  For, in spite of their technical skill, the two works are so delicate, full of character, and expressive, that the composer might be treating a simple melody (note particularly the Concerto in D minor).  Words are inadequate to express the admiration they arouse.  But Bach was not satisfied.  Hence he wrote
+</item>
+
+<item>6. <title>A Concerto for four Claviers</title> and four stringed instruments.<note place="foot">
+<p>
+In A minor (P. bk. 260).  This is not an original composition, but is an arrangement by Bach of a Vivaldi Concerto for four Violins.  Spitta (iii. 149) assigns it to the same period as the Concertos for three Claviers, c. 1733.  See B.G. XLIII. (1) <foreign lang="la">infra.</foreign>
+</p>
+</note> I cannot judge the effect of this composition, for I have never been able to get together the four instruments and four performers 
+<pb n="133" />
+it requires.  But that it is admirably written can be seen from the parts.
+</item>
+</list>
+</div>
+
+<div>
+<head type="sub">III. Compositions For The Organ</head>
+<p>
+The pedal is the distinctive feature of the Organ which places it above all other instruments, and gives it its magnificence, sonority, and majesty.  Deprive it of the pedal and you take from it the solemn and imposing tones which are its distinctive utterance, reducing it to the level of a <q>positiv,</q> or Chamber-organ, an instrument relatively insignificant.
+</p>
+<p>
+But an Organ equipped with a pedal must be able to employ it in its full compass,<note place="foot">
+<p>
+The pedal on the small German Organ had only the compass of an octave.
+</p>
+</note> and both composer and organist must know the proper use of it.  No one excelled Bach in this knowledge.  Not only is his rich harmony and melody singularly adapted to the instrument, but he gave the pedal a part of its own, even in his early compositions.  Yet it was only gradually that he mastered its technique; for his Organ masterpieces belong to the period in which those for the Clavier began to be classics.  His early and immature Organ works are widely dispersed; for as soon as a composer begins to be distinguished everybody is anxious to possess a specimen of his art.  Public curiosity, however, generally dies down long before a composer comes to maturity,
+<pb n="134" />
+particularly if his work is over the heads of the public.  And this seems to have been Bach's fortune.  Consequently his mature Organ works are less familiar than his early efforts.  The latter, however, cannot possibly be admitted to a <q>correct and critical</q> edition of his works, and I mention here only those whose merit is as incontestable as that of the Clavier works enumerated in the preceding paragraphs.
+</p>
+<p>
+Bach's finest Organ music falls into three groups:
+</p>
+
+<list>
+<item>1. <title>The Great Preludes and Fugues</title>, with obbligato pedal.  Their number cannot be stated, but I believe it not to exceed a dozen.<note place="foot">
+<p>
+The Great Preludes and Fugues are, with one exception, in B.G. XV.  The Prelude and Fugue in E flat was published by Bach in the third Part of the <title>Clavier&uuml;bung.</title>  Its Fugue is known as the <q>St. Anne's.</q>
+</p>
+</note> At least, after prolonged search I have not been able to collect more than that number.<note place="foot">
+<p>
+From the figures printed by Forkel the twelve can be identified as follows (the references in parentheses are to the Novello edition of Bach's Organ works):
+</p>
+<list>
+<item>Prelude and Fugue in C minor, the <q>Great</q> (bk. vii. 64).</item>
+<item>Prelude and Fugue in A minor, (bk. vii. 42).</item>
+<item>Prelude and Fugue in G major, (bk. viii. 112).</item>
+<item>Prelude and Fugue in E minor, (bk. viii. 98).</item>
+<item>Prelude and Fugue in B minor, (vii. 52).</item>
+<item>Prelude and Fugue in C major, (bk. ix. 156).</item>
+<item>Prelude and Fugue in D minor, (bk. ix. 150).</item>
+<item>Prelude and Fugue in C major (bk iii. 70).</item>
+<item>Tocatta and Fugue in D minor (bk. x. 196).</item>
+<item>Tocatta and Fugue in F major (bk. ix. 176).</item>
+<item>Prelude and Fugue in G minor (bk. viii. 120).</item>
+<item>Prelude and Fugue in E minor (bk. ii. 44).</item>
+</list>
+
+</note> To these I must add a very clever and original Passacaglia, which,
+<pb n="135" />
+however, seems suitable rather for a two-manual Clavicembalo and pedal than for the Organ.<note place="foot">
+<p>
+The Passacaglia in C minor (Novello bk. 10 p. 214) was written originally for the Clavicembalo and pedal.  It belongs to the later Weimar period, 
+<foreign lang="la">i.e. circ.</foreign> 1715.  See Spitta, i. 588 and Schweitzer, i. 280.
+</p>
+</note>
+</item>
+
+<item>2. <title>Preludes on Choral Melodies</title>. It was at Arnstadt that Bach began to compose Variations on Choral melodies, under the title <title>Partite diverse.</title><note place="foot">
+<p>
+They are all printed in Novello bk. 19, and are three in number, on the melodies <q>Christ, der du bist der helle Tag</q>, <q>O Gott, du frommer Gott,</q> and <q>Sei gegr&uuml;sset, Jesu g&uuml;tig.</q>  The pedal is only required in one movement of the first, in none of the second, and considerably in the third.  Without question all three date from Bach's earliest period, but whether they were written at Arnstadt or L&uuml;neburg cannot be stated.
+</p>
+</note> Most of them can be played on the manuals alone.  Those which I include here are an exception and require the obbligato pedal.  Their number may amount to one hundred.  I myself possess above seventy, and more survive elsewhere.<note place="foot">
+<p>
+The fullest collection of these miscellaneous Organ Choral Preludes is in B.G. XL. Not counting variant readings they number fifty-two, besides two fragments and thirteen of doubtful authenticity, of which two are sets of Variations.  The Novello edition contains fifty-two in bks. 18 and 19.  To these must be added the <q>Eighteen</q> Preludes on Choral Melodies, which Forkel nowhere mentions, as well as the third Part of the <title>Clavier&uuml;bung,</title> the <title>Sch&uuml;bler Chorals,</title> and the Variations on <title>Vom Himmel hoch,</title> to which he has already made reference in the first section of this chapter.  As he does not mention it specifically, it is to be inferred that Forkel was ignorant of the existence of the <title>Orgelb&uuml;chlein</title>; otherwise he could hardly have failed to introduce it in this section.  All Bach's Choral Preludes, miscellaneous and in collections made by himself, are in Novello's edition, bks. 15-19.  A useful key to their melodies is provided by bk. 20.  For more detailed information see Terry, <title>Bach's Chorals,</title> Part III.
+</p>
+</note> No other Choral Preludes approach them in religious feeling, dignity, and sublimity of expression.  I cannot notice them individually; they are too numerous. Besides the larger, there is a great number of shorter and easier ones, particularly useful for young players.  MSS. of them exist in considerable number.<note place="foot">
+<p>
+The large number of MSS. of many of the miscellaneous Preludes is made evident in the introduction to B.G. XL.
+</p>
+</note>
+</item>
+
+<item>3. <title>Six Sonatas</title>, or Trios, for two manuals and an obbligato pedal.<note place="foot">
+<p>
+The Sonatas in E flat major, C minor, and D minor are in N. bk. 4; E minor, C major, G major in N. bk. 5.
+</p>
+</note> Bach wrote them for his eldest son, Wilhelm Friedemann, whom they helped to become the great performer he was when I knew him.  It is impossible to overpraise their beauty.  Bach composed them when he was in the full vigour of his powers, and they may be considered his <foreign lang="fr">chef d'oeuvre</foreign> in this form.<note place="foot">
+<p>
+The so-called <q>Sonatas</q> were actually written for a Clavicembalo with two manuals and a pedal.  Bach's Autograph of them belonged to his second son and an earlier copy of them to Wilhelm Friedemann.  Both are now in the Berlin Royal Library.  Friedemann went to Dresden as Organist in 1733 and Spitta is of opinion that the whole of the six Sonatas were in existence by or soon after 1727.  If so, they must be regarded as the outcome of Bach's early years at Leipzig.  See Spitta, iii. 212 ff. and Schweitzer, i. 278.
+</p>
+</note> He also wrote other Organ Sonatas, the MSS. of which are in various collections.  They are fine compositions, though they do not equal the Six in merit.<note place="foot">
+<p>
+None are extant.  Spitta, iii. 213 n., conjectures that Forkel refers to the Trios in D minor and C minor (N. bks. 2 p. 54, 12 p. 108) and the Pastorale in F major (N. bk. 12 p. 102.) His incomplete knowledge of the Organ works is revealed by Appendix V. <foreign lang="la">infra.</foreign>
+</p>
+</note>
+</item>
+</list>
+</div>
+
+<div>
+<head type="sub">IV. Instrumental Music</head>
+<p>
+There are few instruments for which Bach did not write.  In his day it was usual to play a Concerto or instrumental Solo during the Communion office.<note place="foot">
+<p>
+This is a pure conjecture and Schweitzer scouts it (i. 416 n.).
+</p>
+</note> Bach composed many of these pieces himself, and always with a view to their improving the technique of the player.  Most of them are lost.  But two important works of another kind survive and to some extent compensate us.  They are:
+</p>
+<list>
+<item>1. Six Solos for Violin, unaccompanied.<note place="foot">
+<p>
+The oldest copy of them dates from circ. 1720; they belong therefore to the late C&ouml;then period.  The 1720 MS. is in A. M. Bach's handwriting and was discovered in 1814 at Petrograd among old papers about to be sent away to a butter dealer.  The Sonatas are in P. bk. 228.
+</p>
+</note>
+</item>
+
+<item>2. Six Solos for Violoncello, unaccompanied.<note place="foot">
+<p>
+They also date from the C&ouml;then period and are in P. bk. 238a, 238b.
+</p>
+</note> The Violin Solos have long been considered by
+the finest players to be the best instructor for the instrument. The Violoncello Solos are equally effective.<note place="foot">
+<p>
+Forkel omits to mention the Brandenburg Concertos (P. bks. 261-266); the Overtures in C major (P. bk. 267), B minor (P. bk. 268), D major (P. bk. 269), D major (P. bk. 2068); and the Violin Concertos in A minor (P. bk. 229), E major (P. bk. 230), and (for two Violins) in D minor (P. bk. 231). In B.G. XXI. (1) is a Symphonic movement, in D major, for Violin and orchestra.  A Sinfonia in F major (B.G. XXXI. 96) is another version of the first Brandenburg Concerto.  The Clavier Concertos have been mentioned <foreign lang="la">supra.</foreign>
+</p>
+</note>
+</item>
+</list>
+</div>
+
+<div>
+<head type="sub">V. Vocal Music</head>
+<list>
+<item>1. Five complete sets of church Cantatas for the Sundays and Festivals of the year.<note place="foot">
+<p>The set of five is complete only for Christmas Day, Feast of the Circumcision, Whitsunday (one of the five is of doubtful authenticity), Purification of the B.V.M., and Feast of St. Michael the Archangel.  See Terry, <title>Bach's Chorals,</title> Part II. 2 ff.
+</p>
+</note></item>
+
+<item>2. Five compositions for Holy Week, one of which is for double chorus.<note place="foot">
+<p>
+In giving the number of <title>Passions</title> as five, Forkel repeats the statement of the <title>Nekrolog.</title>  The number corresponds with the five sets of Church Cantatas which Bach is known to have written.  It is, however, exceedingly doubtful whether Bach wrote more than four <title>Passions.</title>  Only those according to St. Matthew and St. John have come down to us from C. P. E. Bach, who was left the Autographs of both by his father.  The <title>St. John Passion</title> was first performed in 1724 and the <title>St. Matthew Passion</title> in 1729. Picander, Bach's librettist, certainly wrote two other Passion texts, one of which was written for Good Friday 1725, and the second, based on St. Mark's Gospel, was actually performed at St. Thomas', Leipzig, on Good Friday 1731.  Spitta (ii. 505) gives good reason to hold that Bach's music for this Passion was adapted from the <title>Trauer-Ode,</title> which he had written in 1727 in memory of Queen Christiane Eberhardine.  But of the 1725 <title>Passion</title> there is no trace.  If it ever existed, its loss probably may be assigned to Wilhelm Friedemann's carelessness, to whom presumably it was assigned in the division of Bach's property after his death.  But even so, we have no more than four <title>Passions.</title> There exists, however, a fifth <title>Passion according to St. Luke,</title> which is undoubtedly in Bach's Autograph, and which Spitta is inclined to attribute to Bach himself.  It is published by Breitkopf and Haertel, but is generally regarded as being by another composer than Bach, who probably copied it for use at Leipzig.  On the whole matter see Spitta, ii. 504 ff., Schweitzer, chap. xxvi., and the Bach-Jahrbuch for 1911 (Publications of the New Bachgesellschaft XII. (2)).
+</p>
+</note></item>
+
+
+<item>3. Several Oratorios,<note place="foot">
+<p>
+Other than the <title>Passions,</title> the only Oratorios are the <title>Christmas Oratorio</title>, (1734), the <title>Easter Oratorio</title> (c. 1736), and <title>Ascension Oratorio</title> (c. 1735).
+</p>
+</note> Masses,<note place="foot">
+<p>
+Besides the B minor Mass (1733-? 38) Bach wrote four miscalled <q>short</q> Masses, in F major, A major, G minor, and G major.  They all belong to the Leipzig period (c. 1739).
+</p>
+</note> a <title>Magnificat,</title>
+settings of the Sanctus,<note place="foot">
+<p>
+Besides the setting of the Sanctus in the B minor Mass there are four detached settings, in C major, D major, D minor, and G major.  Of these only that in D major is probably by Bach (c. 1723).
+</p>
+</note> compositions for birthdays and Saints' Days,<note place="foot">
+<p>
+The music for Saints' Days is included in the church Cantatas.  For the Birthday Odes see <foreign lang="la">supra</foreign>, Chap. IIA.
+</p>
+</note> funerals,<note place="foot">
+<p>
+Besides the <title>Trauer-Ode,</title> three or four of the church Cantatas and certainly three of the Motets were written for funerals.  See Terry, op. cit., pp. 24, 44.
+</p>
+</note> marriages,<note place="foot">
+<p>
+Among the church Cantatas there are at least five for use at weddings.  Bach wrote also three secular wedding Cantatas: <title>Weichet nur, betr&uuml;bte Schatten</title> (c. 1730); <title>O holder Tag</title> (11749); the third (1728) has disappeared.
+</p>
+</note> and some Italian Cantatas.<note place="foot">
+<p>
+Two Italian Cantatas&mdash;<title>Amore traditore</title> and <title>Non sa che sia dolore</title>&mdash;have come down to us.  A third, <title>Andro dall colle al prato,</title> is lost.  See B.G. XI. (ii.), XXIX.
+</p>
+</note>
+</item>
+
+<item>4. Several Motets for single and double chorus.<note place="foot">
+<p>
+Only six are genuine. See <foreign lang="la">infra</foreign>, p. 141.
+</p>
+</note>
+</item>
+</list>
+
+<p>
+Most of these works are now dispersed.  The Church Cantatas were divided between his elder sons after their composer's death.  Wilhelm Friedemann had the larger share because, being organist at Halle, he could make use of them.  Later, circumstances compelled him to part with them gradually.  I know of no other collection of Bach's larger choral works.  There exist, however, eight or ten Motets for double chorus, but they are dispersed in various hands.<note place="foot">
+<p>
+Of the Motets that have come down to us as his, only six are Bach's.  Forkel mentions five of them in secs. 7 and 3 of the next paragraph; he omits <title>Lobet den Herrn, alle Heiden.</title>  In 1802-3 Breitkopf and Haertel published six Motets&mdash;the five mentioned by Forkel and another, <title>Ich lasse dich nicht,</title> of which Bach made a copy, but whose composer actually was Johann Christoph Bach.  We know that Bach composed at least one Latin Motet for double chorus, and Friedemann's share of his father's autographs may have contained it and others known to Forkel but no longer extant.
+</p>
+</note> In the collection
+bequeathed by the Princess Amalia of Prussia to the Joachimsthal Gymnasium at Berlin there are some of Bach's vocal compositions.<note place="foot">
+<p>
+The Amalienbibliothek of the Joachimsthal Gymnasium, Berlin, contains one of the most important Bach collections, but it has long been superseded by the Royal Library there as the chief repository of Bach's Autographs.
+</p>
+</note>  Their number is not considerable, but among them are the following:
+</p>
+
+<list>
+<item>1. Twenty-one Church Cantatas.<note place="foot">
+<p>
+The Amalienbibliothek has only one Autograph, namely, Cantata 34, <title>O ewiges Feuer.</title> The rest are early copies.
+</p>
+</note> In one of them, set to the words, <title>Schlage doch, gew&uuml;nschte Stunde,</title><note place="foot">
+<p>
+Cantata 53.  No Autograph of this Cantata exists, and the copies from which the B.G. edition was printed are in the Amalienbibliothek.
+</p>
+</note>
+the composer introduces a bell obbligato.  From that fact we may conclude that the Cantata was not composed in the period of Bach's maturity,<note place="foot">
+<p>
+On the contrary, the Cantata belongs to the Leipzig period, 1723-34.
+</p>
+</note> for the use of bells is of doubtful taste.</item>
+
+<item>2. Two Masses for five voices with instrumental accompaniment.<note place="foot">
+<p>
+None of the four <q>short</q> Masses is in five parts.  All have instrumental accompaniments.  The autograph scores of the Masses in A major and G major are in Messrs. Breitkopf and Haertel's possession.  Copies of the other two scores, in Altnikol's handwriting, are in the Berlin Royal Library.  See Introduction to B.G. VIII.
+</p>
+</note>
+</item>
+
+<item>3. A Mass for double chorus, the first being
+<pb n="141" />
+accompanied by Strings and the second by wind instruments.<note place="foot">
+<p>
+An eight-part Mass in G was performed at a Leipzig Gewandhaus Concert on March 7, 1805, and was published later in the year by Breitkopf and Haertel.  The score is admittedly, for the greater part of the work, in Bach's hand and is in the Berlin Royal Library.  The publication of the work was under consideration by the Bachgesellschaft in 1858.  That it is not by Bach is generally held.  It has been attributed to Johann Ludwig Bach (d. 1741).  See Genealogical Table II.
+</p>
+</note>
+</item>
+
+<item>4. A <title>Passion,</title> for double Chorus,<note place="foot">
+<p>
+The <title>St. Matthew Passion.</title>
+</p>
+</note> the text by Picander.<note place="foot">
+<p>
+A <foreign lang="fr">nom de plume</foreign> for Christian Friedrich Henrici (1700-64), who wrote a large number of Bach's Leipzig texts.
+</p>
+</note></item>
+
+<item>5. A <title>Sanctus,</title> for four voices and instrumental accompaniment.<note place="foot">
+<p>
+Perhaps Forkel indicates the short <title>Sanctus</title> in Richter's edition of the <title>Choralges&auml;nge</title>, No. 123, or that in B.G. XLI. p. 177.
+</p>
+</note>
+</item>
+
+<item>6. A Motet, for four voices, <title>Aus tiefer Noth schrei ich zu dir.</title><note place="foot">
+<p>
+This is the first Chorus of Cantata No. 38.  It is printed as a separate Motet in Erk, No. 150.
+</p>
+</note>
+</item>
+
+<item>7. A Motet for five voices, <title>Jesu, meine Freude.</title></item>
+
+<item>8. Four Motets, for eight voices in double chorus:
+<list>
+<item>(a) <title>F&uuml;rchte dich nicht, ich bin dei dir.</title></item>
+<item>(b) <title>Der Geist hilft unserer Schwachheit auf.</title></item>
+<item>(c) <title>Komm, Jesu, komm.</title></item>
+<item>(d) <title>Singet dem Herrn ein neues Lied.</title><note place="foot">
+<p>
+Forkel's list is complete except for <title>Lobet den Herrn, alle Heiden.</title>
+</p>
+</note>
+</item>
+</list>
+</item>
+
+<item>9. A detached four-part fugal chorus, <title>Nimm was dein ist, und gehe hin.</title><note place="foot">
+<p>
+The opening Chorus of Cantata 144.
+</p>
+</note>
+</item>
+<pb n="142" />
+<item>10. A bucolic Cantata, with Recitatives, Aria, Duet, and Chorus.  A note is prefixed to it.<note place="foot">
+<p>
+Forkel refers to the <title>Peasant Cantata,</title> or <title>Mer hahn en neue Oberkeet,</title> performed on August 30, 1742.  Forkel clearly was not familiar with Bach's other secular Cantatas.  See B.G. XI. (ii.), XX. (ii.), XXIX.  The Autograph score of the Peasant Cantata is in the Berlin Royal Library.
+</p>
+</note>
+<p>
+On the MS. of the last-named Cantata and of the Mass for double chorus (No. 3 
+<foreign lang="la">supra</foreign>) there is a note by Kirnberger analysing the skill and merit of the compositions.
+</p>
+</item>
+</list>
+</div>
+
+</div>
+
+<pb n="143" />
+<div rend="page-break-before: right">
+  <index index="toc" />
+  <index index="pdf" />
+<head>CHAPTER X.  BACH'S MANUSCRIPTS</head>
+<p>
+It has been remarked more than once that Bach, throughout his life, devoted much thought to the improvement of his compositions.  I have had frequent occasion to compare the original and subsequent texts of his works, and confess to have experienced both surprise and pleasure in observing his care to improve whatever he thought faulty, to make good better, and better perfect.  Nothing is more instructive than a collation of this kind, whether to the experienced musician or the instructed amateur.  I should like to see a supplement to the complete edition of Bach's works showing these variant readings.<note place="foot">
+<p>
+Forkel's suggestion was carried out, with varying thoroughness, in the Bachgesellschaft edition.
+</p>
+</note> The collation would be in the highest degree instructive, and to attempt it is as appropriate to the works of the composer, a poet in sound, as to those of the poet in words.
+</p>
+<p>
+In Bach's early texts he often repeats a phrase to other words with some melodic variety, in a 
+<pb n="144" />
+lower or even in the same octave.  In his riper experience he could not tolerate such poverty of workmanship, and cut out these passages remorselessly, without regard for the number and quality of the persons who had approved them in their original state.  There occur to me two good examples of this, the C major and C sharp minor Preludes in the first part of the <title>Well-tempered Clavier.</title> Bach revised them so drastically as to cut them down by one-half, sacrificing passages that he thought redundant.<note place="foot">
+<p>
+Forkel's judgment is at fault.  See Schweitzer, i. 336.
+</p>
+</note>
+</p>
+<p>
+In other places Bach tends to be over-concise; he expresses an idea, but does not fully develop it.  The best illustration that occurs to me is the D minor Prelude in the second part of the <title>Well-tempered Clavier.</title>  I possess several texts of it.  In the oldest the first transposition of the theme in the Bass and several other details essential to a complete development of the idea are wanting.  A second MS. gives the theme to the Bass wherever the latter is in a key nearly related to that of the tonic.  In a third MS. these addenda are developed more fully and are joined more skilfully.  But melodic details are present of doubtful relevance to the rest of the composition.  In a fourth MS. these disappear or are amended, so that, as we have it, the Prelude stands as one of the most beautiful and least faulty in the <title>Well-tempered Clavier.</title> Many people, no doubt, 
+<pb n="145" />
+preferred the movement in its original form.  But Bach was not a man to be influenced by approbation or criticism.  He went on correcting until he satisfied himself.
+</p>
+<p>
+In the early part of the seventeenth century it was the fashion in instrumental music to overload single notes with ornaments and add florid runs.  Lately it has become the fashion to do so in vocal music as well.  That Bach shared this disposition may be inferred from certain pieces that he wrote in this style.  An instance is the Prelude in E minor in the first part of the <title>Well-tempered Clavier.</title>  But he soon returned to his natural better taste, and altered the movement to the form in which it is engraved.<note place="foot">
+<p>
+Also in Wilhelm Friedemann's <title>Clavierb&uuml;chlein.</title>  See Schweitzer, i. 279; Spitta, ii. 166.
+</p>
+</note>
+</p>
+<p>
+Every decade has its own style of melody, distinctive of itself and evanescent.  A composer must carefully avoid it if he hopes to be listened to by posterity.  In his young days even Bach ran upon this rock.  His early compositions for the Organ, and the two-part <title>Inventions</title> in their original form, are full of <foreign lang="it">fiorituri</foreign> such as the taste of his period approved.  His Organ compositions remain comparatively untouched, but the <title>Inventions</title> he closely revised.  The public will soon be able to compare them in their first and later forms, as the publishers, with admirable spirit, have resolved to discontinue the present edition
+<pb n="146" />
+and to send out to subscribers a revised one based on Bach's corrected text.
+</p>
+<p>
+Bach's processes of revision so far mentioned, however, merely correct faults of form, that is, diffuseness or incomplete development of a musical thought.  But Bach employed other methods which are less easy to describe because they are more subtle.  He often rivets the style and character of a piece by changing a single note, strictly correct grammatically and yet disagreeable to an artist such as himself.  Even commonplace passages he could convert into phrases of beauty by the addition or alteration of a single note.  Only the most sensitive taste and trained experience can decide in such cases, and Bach possessed both in the highest perfection.  He developed them to such a pitch, indeed, that his brain eventually rejected any idea which, in all its properties and relations, did not accord inevitably and naturally with the whole composition.  Consequently his later works display such consistency of merit that all of them seem to have been cast complete in a mould, so smooth, facile and abundant is the flow of his rich fancy.  It is on the highest summits of the art that harmony and melody find their ideal union, and as yet Bach dwells there in majestic isolation.
+</p>
+</div>
+
+<pb n="147" />
+<div rend="page-break-before: right">
+  <index index="toc" />
+  <index index="pdf" />
+<head>CHAPTER XI. THE GENIUS OF BACH</head>
+<p>
+It is surely unnecessary to ask whether that artist is a genius who, in every form of his art, has produced masterpiece after masterpiece, of an originality which sets them above the achievements of all other ages, distinguished also by a wealth of originality and agreeableness that enslaves every hearer.  The most fertile fancy, invention inexhaustible, a judgment so nice as to reject intuitively every irrelevant and jarring detail, unerring ingenuity in employing the most delicate and minute resources of his art, along with an unrivalled technique&mdash;these qualities, whose expression demands the outpouring of a man's whole soul, are the signboards of genius.  The man who cannot find them in Bach's music either is not acquainted with it at all or knows it imperfectly.  One needs to be steeped in it thoroughly to appreciate the genius of its author.  For the greater the work the closer study is demanded for its apprehension.  The butterfly method, a sip here and there, is of little use.  But admirable as were the gifts Bach received
+<pb n="148" />
+from nature, he could never have become an accomplished genius had he not learned betimes to avoid the rocks on which many artists, some of them perhaps not less gifted than he, too often founder.  I will communicate to the reader some scattered thoughts on the subject and conclude this essay with an indication of the characteristics of Bach's genius.
+</p>
+<p>
+Even the largest natural gifts, coupled with the strongest propensity for a particular art, offer no more than fruitful soil on which that art may thrive by patient cultivation.  Industry, the true begetter of every art and science, is an indispensable factor.  Not only does it enable genius to master technique, but it stimulates the critical and reflective faculties also.  The very ease with which genius acquires and applies the apparatus of musical composition frequently entices it to leap over root principles in its plunge into deeper waters, or to fly before its wings are grown.  In such a case, unless genius is guided back to neglected fundamentals and forced to build itself upon the great examples of the past, it will inevitably expend its treasure uselessly and never attain to its promised dimensions.  For it is an axiom, that real progress can never be made, nor the highest perfection be attained, if the foundations are insecure.  If arduous heights are to be achieved, the easier obstacles must first be approached and overcome.  Guided by his own 
+<pb n="149" />
+inexperience no one ever can hope to become great.  He must profit by the practice and example of others.
+</p>
+<p>
+Bach did not founder on this rock.  His soaring genius attended an equally ardent industry which incessantly impelled him, whenever he found his own equipment insufficient, to seek guidance from others.  Vivaldi and his Concertos were the first from whom he sought counsel.  From them he turned to the principal Organ and Clavier composers of the period.  Nothing is more intellectually stimulating than counterpoint, and the composers Bach studied were distinguished by their mastery of it, as their fugal writing attests.  Hence Bach's diligent study and imitation of them pointed his taste and imagination to perceive wherein himself was lacking and what steps were needed to take him farther in his art.
+</p>
+<p>
+A second rock upon which genius often comes to grief is the public's undiscriminating applause.  To be sure, I do not undervalue public approval or commend without reserve the remark of a Greek teacher to his pupil, <q>You performed badly, otherwise the audience would not have applauded you.</q>  Yet it is none the less true that many artists are thrown off their balance by exaggerated and often unmerited plaudits, particularly in their early careers before they have acquired self-discipline and sound judgment.  The public merely asks for what it can understand, whereas the true
+<pb n="150" />
+artist ought to aim at an achievement which cannot be measured by popular standards.  How, then, can popular applause be reconciled with the true artist's aspirations towards the ideal?  Bach never sought applause, and held with Schiller:
+</p>
+<q rend="display">
+Kannst du nicht allen gefallen durch deine That und dein Kunstwerk,<lb/>
+Mach' es wenigen recht; vielen gefallen ist schlimm.<note place="foot">
+<p>
+<q>Since you cannot please everybody by your actions and work, strive at least to satisfy a few; popular appreciation encourages bad art.</q>&mdash;Schiller's <title> Votiftafeln</title>
+</p>
+</note>
+</q>
+<p>
+Like every true artist, Bach worked to please himself in his own way, obeying the summons of his own genius, choosing his own subjects, and finding satisfaction only in the approval of his own judgment.  He could count on the applause of all who understood good music, and never failed to receive it.  Under what other conditions can sound works of art emerge?  The composer who debases his muse to the popular mood either lacks real genius or, having it, abuses it.  For to catch the ear of the public is not a difficult task and merely connotes an agreeable facility.  Composers of that class are like artisans who frankly fashion their goods to suit their market.  But Bach never condescended to such artifices.  The artist, in his judgment, is the dictator of public taste, not its slave.  If, as often happened, he was asked to write something simple for the Clavier
+<pb n="151" />
+he would answer, <q>I will do what I can.</q>  He would choose an easy theme.  But when he began to develop it he always found so much to say that the piece soon became anything but simple.  If his attention was drawn to the fact, he would answer smilingly, <q>Practise it well and you will find it quite easy.  You have as many good fingers on each hand as I have.</q>  Nor was he prompted in this by mere contradictoriness, but exhibited the true artist spirit.
+</p>
+<p>
+It was, in fact, the artist temperament that led Bach to make the great and sublime his goal.  For that reason his music is not merely agreeable, like other composers', but transports us to the regions of the ideal.  It does not arrest our attention momentarily but grips us the stronger the oftener we listen to it, so that after a thousand hearings its treasures are still unexhausted and yield fresh beauties to excite our wonder.  Even the beginner who knows but the A B C of his art warms with pleasure when he hears Bach's music and can open his ear and heart to it.  It was the true artist spirit, too, that guided Bach to unite majesty and grandeur of design with meticulous care for detail and the most refined elegance, characteristics which we rather seek, perhaps, in works whose object is merely to give pleasure.  Bach held strongly that if the strands are imperfect, the whole design is faulty.  His genius is sublime and impressive, and he never 
+<pb n="152" />
+condescends to be frivolous even when he touches the lighter forms of art.
+</p>
+<p>
+To conclude: it was the union of astounding genius and indefatigable application that enabled Bach to widen at every point the domain of musical expression.  His successors have failed to maintain the art at the level to which he raised it.  If Bach was more successful, if he was able to produce great work of convincing beauty and imperishable as a model for those who came after him, we owe it as much to his application as to his genius.
+</p>
+<p>
+This man, the greatest orator-poet that ever addressed the world in the language of music, was a German!  Let Germany be proud of him!  Yes, proud of him, but worthy of him too!
+</p>
+
+<figure url="images/statue2.jpg" rend="page-float:'ht'; w90">
+<index index="fig" />
+<head>The Bach Statue at Leipzig</head>
+<figDesc>The Bach Statue at Leipzig</figDesc>
+</figure>
+
+</div>
+</body>
+
+<back>
+<pb n="153" />
+<div rend="page-break-before: right">
+  <index index="toc" />
+  <index index="pdf" />
+<head>APPENDIX I. CHRONOLOGICAL CATALOGUE OF BACH'S COMPOSITIONS</head>
+
+<div>
+<head type="sub">I. CATALOGUE OF BACH'S COMPOSITIONS PRIOR TO HIS APPOINTMENT TO WEIMAR IN JUNE 1708, in his twenty-fourth year.<note place="foot">
+<p>
+The Cantatas are classified under Appendix II.
+</p>
+</note>
+</head>
+
+<div>
+<head type="sub2">VOCAL:&mdash;</head>
+<p>
+Motet: Lobet den Herrn, alle Heiden. 
+</p>
+</div>
+
+<div>
+<head type="sub2">CLAVIER<note place="foot">
+<p>
+The references are to Peters' edition.  Excepting bk. 1959, which contains pieces of doubtful authenticity, every number printed by Peters is entered in the Chronological Catalogue.
+</p>
+</note>:&mdash;</head>
+<list>
+<item>Capriccio sopra la lontananza del suo fratello dilettissimo (bk. 208 p. 62) (1704).</item>
+<item>Capriccio in honorem Joh. Christoph Bachii, Ohrdruf (bk. 216 p. 34) (c. 1704).</item>
+<item>Sonata in D major (bk. 215 p. 44) (c. 1704).<note place="foot">
+<p>
+There are three other Sonatas, in A minor, C major, D minor, none of which is an original composition.  They are printed in P. bk. 213.  The first and second are adaptations of material in Reinken's <title>Hortus Musicus.</title>  The third is a transcription of the second Solo Sonata for Violin.
+</p>
+</note>
+</item>
+</list>
+<p>
+B.G. XXXVI. prints a number of pieces which, in general, may be assigned to Bach's immature years. They are reproduced in Peters' edition:
+</p>
+<list>
+<item>Book 200:
+<list>
+<item>Fughetta in C minor (p. 10).</item>
+<item>Prelude and Fughetta in D minor (p. 40).</item>
+<item>Prelude and Fughetta in E minor (p. 42).</item>
+<item>Prelude and Fughetta in A minor (p. 47).</item>
+<pb n="153" />
+<item>Fugue in C major (p. 54).</item>
+<item>Fugue in C major (p. 56).</item>
+</list>
+</item>
+
+<item>Book 207:
+<list>
+<item>Fantasia in C minor (p. 50).</item>
+</list>
+</item>
+
+<item>Book 212:
+<list>
+<item>Fantasia in C minor (p. 58).</item>
+<item>Fugue in D minor (p. 59).</item>
+<item>Fugue in D minor (p. 61).</item>
+<item>Fugue in E minor (p. 68).</item>
+</list>
+</item>
+
+<item>Book 214:
+<list>
+<item>Prelude and Fughetta in F major (p. 76).</item>
+<item>Prelude and Fughetta in G major (p. 78).</item>
+<item>Prelude in G major (p. 80). </item>
+</list>
+</item>
+
+<item>Book 215: Three Minuets (p. 62).</item>
+</list>
+<p>
+To these may be added (? authentic) from B.G. XLII.:
+</p>
+<list>
+<item>Book 212:
+<list>
+<item>Fantasia and Fughetta in B flat major (p 58).</item>
+<item>Do. do. D major (p. 60).</item>
+</list>
+</item>
+</list>
+</div>
+
+<div>
+<head type="sub2">Organ<note place="foot">
+<p>
+The references are to Novello's twelve Books of Bach's Organ Works, edited by J. F. Bridge and J. Higgs.  The edition is complete, and contains every movement included in Alfred Dorffel's <q>Thematisohos Verzeichniss</q> (second edition, 1882) except his No. 24 on p. 72; Nos. 6 and 8 on page 85; the <q>Kleines harmonisches Labyrinth</q> (D&ouml;rffel, p. 88, tigs. 131-33), the genuineness of which is questioned by Spitta (ii. 43); and figs. 136-37 on p. 88.  The Novello edition also follows Rust, against Spitta's judgment, in printing the <q>Fantasia con Imitazione</q> (bk. 12 p. 71) as an Organ instead of as a Clavier piece.  Books 15-19 print the Choral Preludes.  See the Peters and Novello editions collated in Appendix V.
+</p>
+</note>:&mdash;</head>
+<list>
+<item>Prelude and Fugue in C minor (bk. 2 p. 48) (c. 1704).</item>
+<item>Do. do. C major (bk. 8 p. 88) (? 1707).<note place="foot">
+<p>
+Printed as a <q>Toccata</q> in E major in B.G. XV. p. 276.
+</p>
+</note></item>
+<item>Do. do. the <q>Short,</q> A minor (bk. 10 p. 208).</item>
+<item>Fugue in C minor (bk. 12 p. 95) (c. 1704).</item>
+<item>Do. C minor, on a theme by Legrenzi (bk. 10 p. 230) (c. 1708).</item>
+<item>Do. B minor, on a theme by Corelli (bk. 3 p. 60).</item>
+<item>Do. D major (bk. 12 p. 83).</item>
+<item>Do. G major (bk. 12 p. 55).</item>
+<item>Do. G major (bk. 12 p. 86).</item>
+<item>Do. G minor (bk. 2 p. 41).</item>
+<item>Prelude in A minor (bk. 10 p. 238) (by 1706).</item>
+<item>Do. C major (bk. 12 p. 94).</item>
+<pb n="155" />
+<item>Fantasia and Fugue in A minor (bk. 12 p. 60).</item>
+<item>Fantasias in 6 major (bk. 9 p. 168; bk. 12 p. 75).</item>
+<item>Pastorale in F major (bk. 12 p. 102).</item>
+<item>Choral Partita: Christ, der du bist der helle Tag (bk. 19 p. 36).</item>
+<item>Do. O Gott, du frommer Gott (bk. 19 p. 44).</item>
+<item>Do. Sei gegr&uuml;sset, Jesu g&uuml;tig (bk. 19 p. 55).</item>
+</list>
+<p>
+Generally speaking, the Choral Preludes, other than those in the maturer collections made by Bach himself, may be regarded as youthful works (bks. 18, 19).
+</p>
+</div>
+</div>
+
+<div>
+<head type="sub">II. Catalogue Of Bach's Compositions At Weimar, 1708-17, from his twenty-fourth to his thirty-third year.</head>
+
+<div>
+<head type="sub2">Vocal:&mdash;</head>
+
+<list>
+<item>Secular Cantata: Was mir behagt (1716), <emph>or</emph>, Verlockender G&ouml;tterstreit.</item>
+</list>
+</div>
+
+<div>
+<head type="sub2">Clavier:&mdash;</head>
+
+<list>
+<item>Sixteen Concertos after Vivaldi (bk. 217) (c. 1708-12).</item>
+<item>Toccatas in D major (bk. 211 p. 28), G major (bk. 215 p. 19), D minor (bk. 210 p. 68), G minor (bk. 211 p. 4),  E minor (bk. 210 p. 23) (c. 1708-12).</item>
+<item>Aria variata alia maniera Italiana (bk. 215 p. 12) (c. 1708-12).</item>
+<item>Prelude and Fugue in A minor (bk. 211 p. 14) (c. 1715).</item>
+<item>Fugues in A major (bk. 215 pp. 52, 57).</item>
+<item>Do. B minor (bk. 214 p. 48).</item>
+<item>Do. A major (bk. 212 p. 66).</item>
+<item>Do. A minor (bk. 212 p. 70).</item>
+<item>Fantasia in G minor (bk. 215 p. 32).</item>
+<item>Do. B minor (bk. 215 p. 41). (For Organ, N. bk. 12 p. 71.)</item>
+<item>Do. D major (bk. 211 p. 28).</item>
+<item>Do. A minor (bk. 215 p. 5) (c. 1710).</item>
+</list>
+</div>
+
+<div>
+<head type="sub2">Organ:&mdash;</head>
+
+<list>
+<item>Passacaglia and Fugue in C minor (bk. 10 p. 214).</item>
+<item>Four Concertos after Vivaldi (bk. 11).</item>
+<pb n="156" />
+<item>Eight Short Preludes and Fugues (bk. 1).</item>
+<item>Orgelb&uuml;chlein (bk. 15) (1717).</item>
+<item>Aria in F major (bk. 12 p. 112).</item>
+<item>Fantasia con Imitazione (bk. 12 p. 71).</item>
+<item>Do. C major (bk. 12 p. 92).</item>
+<item>Do. C minor (bk. 3 p. 57).</item>
+<item>Trio in C minor (bk. 12 p. 108).</item>
+<item>Do. D minor (bk. 2 p. 54).</item>
+<item>Canzona in D minor (bk. 2 p. 34) (c. 1714).</item>
+<item>Allabreve in D major (bk. 2 p. 26).</item>
+<item>Prelude and Fugue in C major (bk. 7 p. 74).</item>
+<item>Do. do. the <q>Short,</q> E minor (bk. 2 p. 44).</item>
+<item>Do. do. D major (bk. 6 p. 10).</item>
+<item>Do. do. the <q>Great,</q> A minor (bk. 7 p. 42).</item>
+<item>Do. do. A major (bk. 3 p. 64).</item>
+<item>Do. do. the <q>Great,</q> C minor (bk. 7 p. 64).</item>
+<item>Do. do. F minor (bk. 6 p. 21).</item>
+<item>Do. do. G major (bk. 7 p. 80).</item>
+<item>Do. do. G minor (bk. 8 p. 120) (c. 1712).</item>
+<item>Toccata and Fugue in D minor (bk. 6 p. 2).</item>
+<item>Do. do. the <q>Great,</q> C major (bk. 9 p. 137).</item>
+<item>Do. do. the <q>Great,</q> F major (bk. 9 p. 176).</item>
+<item>Do. do. the Dorian, D minor (bk. 10 p. 196).</item>
+<item>Fantasia and Fugue in C minor (bk. 3 p. 76).</item>
+<item>Prelude in G major (bk. 2 p. 30).</item>
+<item>Do. C major (bk. 12 p. 91).</item>
+<item>Fugue, the <q>Short,</q> in G minor (bk. 3 p. 84).</item>
+<item>Do. C major (bk. 12 p. 100).</item>
+</list>
+</div>
+</div>
+
+<div>
+<head type="sub">III. Catalogue Of Bach's Compositions At C&ouml;then, 1717-23, from his thirty-third to his thirty-ninth year.</head>
+
+<div>
+<head type="sub2">Vocal:&mdash;</head>
+<list>
+<item>Secular Cantata: Durchlaucht'ster Leopold (1717).</item>
+<item>Do. Mit Gnaden bekr&ouml;ne der Himmel die Zeiten</item>
+<item>(?1721). Do. Weichetnur, betr&uuml;bte Schatten (?1717-23).<note place="foot">
+<p>
+Spitta (ii. 620, 718) mentions a Birthday Cantata written in 1717-1721(?), the title of which is lost.
+</p>
+</note></item>
+</list>
+</div>
+
+<div>
+<head type="sub2">Clavier:&mdash;</head>
+
+<list>
+<item>Clavier-B&uuml;chlein vor Wilhelm Friedemann Bach (1720).</item>
+<item>Chromatic Fantasia and Fugue (bk. 207 p. 4) (c. 1720-23).</item>
+<item>Clavier-B&uuml;chlein vor A. M. Bachin (bk 1959) (1722).</item>
+<item>The Well-tempered Clavier (Part i.) (bk. 2790a) (1722).</item>
+<item>Six French Suites (bks. 202 and 2793) (c. 1722).</item>
+<item>Six English Suites (bks. 203-4 and 2794-95) (before 1726).</item>
+<item>Fantasia and Fugue in A minor (bk. 208 p. 50).</item>
+<item>Fugue in A minor (bk. 207 p. 16) (B.G. III. p. 334).</item>
+<item>Twelve Little Preludes and Six Preludes for Beginners (bks. 200 and 2791) (c. 1722).</item>
+<item>Inventions and Symphonies (bks. 201 and 2792) (1723).</item>
+<item>Toccatas in F sharp minor and C minor (bk. 210 pp. 30 and 40).</item>
+<item>Suites in A minor, E flat major, E minor, F major, and F minor (fragment) (bk. 214 pp. 54,62, 68; bk. 215 p. 27; bk. 212 p. 84).</item>
+<item>Prelude and Fugue in E flat major (bk. 214 p. 40).</item>
+</list>
+</div>
+
+<div>
+<head type="sub2">Chamber<note place="foot">
+<p>
+The references are to Peters' edition.
+</p>
+</note>:&mdash;</head>
+
+<list>
+<item>Six Sonatas (Suites) for Violin Solo (bk. 228) (c. 1720).<note place="foot">
+<p>
+The D minor contains the famous Chaconne.
+</p>
+</note></item>
+<item>Six Sonatas (Suites) for Violoncello Solo (bk. 238a) (c. 1720).</item>
+<item>Six Sonatas for Violin and Clavier (bks. 232-33-232a-33a).</item>
+<item>Suite in A major for Violin and Clavier (bk. 236).</item>
+<item>Four Inventions for Violin and Clavier (bk. 2957).</item>
+<item>Sonata in E minor and Fugue in G minor for Violin and  Clavier (bk. 236) (?early work).</item>
+<item>Six Sonatas for Flute and Clavier (bks. 234-35).</item>
+<item>Sonata in C major for two Violins and Clavier (bk. 237).</item>
+<item>Three Sonatas for Viol da Gamba and Clavier (bk. 239).</item>
+<item>Sonata in G major for two Flutes and Clavier (bk. 239 p. 2).</item>
+<item>Sonata in G major for Violin, Flute, and Clavier (bk. 237).</item>
+</list>
+</div>
+
+<div>
+<head type="sub2">Orchestral:<note place="foot">
+<p>
+The references are to Peters' edition. In the B.G. edition the Orchestral music is included in the Chamber Music volumes.
+</p>
+</note>&mdash;</head>
+<list>
+<item>Six Brandenburg Concertos (bks. 261-66) (1721).</item>
+<item>Four Suites (Overtures) (bks. 267-69, 2068).<note place="foot">
+<p>
+Pirro, p. 228, holds that the first two (C major and B minor) were written at C&ouml;then and the last two (D major and D major) at Leipzig. Schweitzer (i. 402) regards it as not clear in which period the Overtures were written.
+</p>
+</note></item>
+<item>Three Concertos for Violin and Orchestra (bks. 229, 230).<note place="foot">
+<p>
+In A minor, E major, G major. The G major figures as the fourth Brandenburg (bk. 264) and as the Clavier Concerto in F major (bk. 248). The A minor and E major were also converted into Clavier Concerti (G minor and D major) (bks. 249, 251). The D minor Clavier Concerto (bk. 264) preserves a lost Violin Concerto in the same key, and the one in F minor (bk. 250) corresponds with a lost Violin Concerto in G minor (bks. 3068, 3069).
+</p>
+</note></item>
+<item>Concerto in D minor for two Violins and Orchestra (bk. 231).<note place="foot">
+<p>
+Also arranged as a Concerto for two Claviers (C minor) in P. bk. 257b.
+</p>
+</note></item>
+</list>
+</div>
+
+<div>
+<head type="sub2">Organ:&mdash;</head>
+<list>
+<item>Prelude (Fantasia) and Fugue, the <q>Great,</q> in G minor (bk. 8 p. 127) (?1720).</item>
+</list>
+</div>
+</div>
+
+<div>
+<head type="sub">IV. Catalogue Of Bach's Compositions At Leipzig, 1723-34, from his thirty-ninth to his fiftieth year.</head>
+
+<div>
+<head type="sub2">Vocal:&mdash;</head>
+<list>
+<item>Magnificat in D (?1723).<note place="foot">
+<p>
+Bach wrote another Magnificat, the music of which is lost. See Spitta, ii. 374.
+</p>
+</note></item>
+<item>Sanctus in C major, D major (c. 1723), D minor, and G major (P. bk. 29b).<note place="foot">
+<p>
+All except the Sanctus in D major are of doubtful authenticity. See Schweitzer, ii. 328 and Spitta, iii. 41 n.
+</p>
+</note></item>
+<item>St. John Passion (1723).</item>
+<item>Trauer-Ode (1727).</item>
+<item>St. Matthew Passion (1729).</item>
+<item>Mass in B minor (1733-?1738).</item>
+<item>Christmas Oratorio (1734).</item>
+<item>Three Wedding Chorals (P. bk. 1654).</item>
+<item>Motet: Jesu, meine Freude (1723).</item>
+<item>Do. Der Geist hilft unsrer Schwachheit auf (1729).</item>
+<item>Do. f&uuml;rchte dich nicht.</item>
+<item>Do. Singet dem Herrn ein neues Lied.</item>
+<pb n="159" />
+<item>Motet: Komm, Jesu, komm.</item>
+<item>Secular Cantata: Der zufriedengestellte Aeolus (1725); also entitled Blast Larmen, ihr Feinden (1734).</item>
+<item>Do. Vereinigte Zwietracht der wechselnden Saiten (1726), or, Auf schmetternde T&ouml;ne der muntern Trompeten (after 1733).</item>
+<item>Do. Schwingt freudig euch empor; <emph>also entitled</emph> Die Freude reget sich, <emph>or</emph> Steigt freudig in die Luft (1726).</item>
+<item>Do Entfernet euch, ihr heitern Sterne (1727; music lost).</item>
+<item>Do. Vergn&uuml;gte Pleissenstadt (1728; music lost).</item>
+<item>Do. Von der Vergn&uuml;gsamkeit, <emph>or</emph> Ich bin in mir vergn&uuml;gt (c. 1730).</item>
+<item>Do. Weichet nur, betr&uuml;bte Schatten (c. 1730).</item>
+<item>Do. Der Streit zwischen Phoebus und Pan 1731).</item>
+<item>Do. Froher Tag, verlangte Stunden (1732; music lost).</item>
+<item>Do. Schweigt stille (Coffee Cantata) (c. 1732).</item>
+<item>Do. Herkules auf dem Scheidewege, <emph>or</emph> Die Wahl des Herkules (1733).</item>
+<item>Do. T&ouml;net, ihr Pauken!  Erschallet, Trompeten (1733).</item>
+<item>Do. Preise dein Gl&uuml;cke, gesegnetes Sachsen (1734).</item>
+<item>Do. Schleicht, spielende Wellen (1734).</item>
+<item>Do. Thomana sass annoch betr&uuml;bt (1734; music lost).</item>
+<item>Graduation Cantata: Siehe, der H&uuml;ter Israels (music lost).</item>
+</list>
+</div>
+
+<div>
+<head type="sub2">Clavier:&mdash;</head>
+<list>
+<item>Notenbuch vor Anna Magdalena Bach (bk. 1959) (1725).</item>
+<item>Clavier&uuml;bung, Part I. containing the six Partitas, or German Suites (bks. 205-6 or 2796-97) (1731).</item>
+</list>
+</div>
+<pb n="160" />
+
+<div>
+<head type="sub2">Orchestral:&mdash;</head>
+<list>
+<item>Concertos in C major, C minor, and C minor for two Claviers and Orchestra (bks. 256, 257, 257b) (1727-36).<note place="foot">
+<p>
+The Concerto in C minor (P. bk. 257) is an arrangement of one for two Violins now lost. The third, also in C minor, is identical with the D minor Concerto for two Violins and is published in that key in the Peters edition.  The remaining Concerto, in C major, is the only one originally written for the Clavier.  See Schweitzer, i. 413.
+</p>
+</note></item>
+<item>Seven Concertos for Clavier and Orchestra (bks. 248-54) (1729-36).</item>
+<item>Concerto in A minor for Violin, Flute, Clavier, and Orchestra (bk. 255) (c. 1730).<note place="foot">
+<p>
+The work is an amplification of the Prelude and Fugue in A minor, already catalogued among the Clavier works of the C&ouml;then period.  Schweitzer (i. 340) concludes that it was rearranged as an orchestral Concerto early in the thirties, when Bach needed Concertos for the Telemann Society's Concerts.
+</p>
+</note></item>
+<item>Concerto in A minor for four Claviers and Orchestra (bk. 260) (c. 1733).</item>
+<item>Concertos in D minor and C major for three Claviers and Orchestra (bks. 258, 259) (c. 1733).</item>
+</list>
+</div>
+
+<div>
+
+<head type="sub2">Organ:&mdash;</head>
+<list>
+<item>Prelude and Fugue, the Great, in G major (bk. 8 p. 112) (1724 or 1725).<note place="foot">
+<p>
+The scheme of the G major and C major Preludes and Fugues dates back to the Weimar period. See Spitta, iii. 208; Parry, p. 67.
+</p>
+</note></item>
+<item>Six Sonatas in E flat major, C minor, D minor, E minor, C major, G major (bks. 4 and 5) (1727-33).<note place="foot">
+<p>
+These so-called <q>Organ</q> Sonatas were written for the Pedal Clavicembalo.
+</p>
+</note></item>
+<item>Prelude and Fugue in C major (bk. 3 p. 70) (c. 1730).</item>
+<item>Do. do. D minor (bk. 9 p. 150).</item>
+</list>
+</div>
+</div>
+
+<div>
+<head type="sub">V. Catalogue Of Bach's Compositions At Leipzig, 1735-50, from his fifty-first year to his death.</head>
+<div>
+<head type="sub2">Vocal:&mdash;</head>
+<list>
+<item>Ascension Oratorio (Cantata 11) (c. 1735).</item>
+<item>Schemelli's Hymn-book (1736).</item>
+<item>Easter Oratorio (c. 1736).</item>
+<pb n="161" />
+<item>Four Masses, in P major, A major (c. 1739), G minor, G major (c. 1739).</item>
+<item>Secular Cantata: Angenehmes Wiederau (1737).</item>
+<item>Do. Willkommen, ihr herrschenden G&ouml;tter der Erden (1738) (music lost).</item>
+<item>Do. Mer hahn en neue Oberkeet (Peasant Cantata) (1742).</item>
+<item>Do. O holder Tag (?1749), <emph>or</emph>, O angenehme Melodei.</item>
+<item>Italian Cantata: Amore traditore.</item>
+<item>Do. Andro dall' colle al prato (lost).</item>
+<item>Do. Non sa che sia dolore.</item>
+</list>
+</div>
+
+<div>
+<head type="sub2">Clavier:&mdash;</head>
+<list>
+<item>Clavier&uuml;bung, Part II. containing the Italian Concerto (bk. 207) and Partita in B minor (bk. 208) (1735).</item>
+<item>Fantasia and Fugue in C minor (bk. 207 p. 50 and bk. 212 p. 88) (c. 1738).</item>
+<item>Clavier&uuml;bung, Part III. containing the four Duetti (bk. 208) (1739).</item>
+<item>Clavier&uuml;bung, Part IV. containing the Goldberg Variations (bk. 209) (c. 1742).</item>
+<item>The Well-tempered Clavier, Part II. (bk. Ib or 2790b) (1744).</item>
+</list>
+</div>
+
+<div>
+<head type="sub2">Chamber:&mdash;</head>
+<list>
+<item>Sonata for Violin, Flute, and Clavier, in C minor (in the <q>Musical Offering</q>) (bk. 237 p. 3) (1747).</item>
+<item>Three Partitas for the Lute (?1740).<note place="foot">
+<p>
+The Clavier Suites in E minor, E major, and C minor are arrangements of these, otherwise lost, Lute Partitas. See Schweitzer, i. 344.
+</p>
+</note></item>
+</list>
+</div>
+
+<div>
+<head type="sub2">Organ:&mdash;</head>
+<list>
+<item>The Catechism Choral Preludes (in Clavier&uuml;bung, Part III.)  (bk. 16) (1739).</item>
+<item>Fugue in D minor (in ditto) (bk. 16 p. 49) (1739).</item>
+<item>Prelude and Fugue in E flat major (in ditto) (bk. 6 p. 28) (1739).</item>
+<item>Do. do. the <q>Great,</q> in C major (bk. 9 p. 156).</item>
+<item>Do. do. the <q>Great,</q> in B minor (bk. 7 p. 52) (1727-36).</item>
+<item>Do. do. the <q>Great,</q> in E minor (bk. 8 p. 98).</item>
+<pb n="162" />
+<item>Canonic Variations on <q>Vom Himmel hoch</q> (bk. 19) (1746).</item>
+<item>The Sch&uuml;bler Choral Preludes (bk. 16) (c. 1747-50).</item>
+<item>The Eighteen Choral Preludes (bk. 17) (c. 1747-50).</item>
+<item>The Musical Offering (P. bk. 219) (1747).</item>
+<item>The Art of Fugue (P. bk. 218) (1749).</item>
+</list>
+</div>
+</div>
+</div>
+
+<pb n="163" />
+
+<div rend="page-break-before: right">
+  <index index="toc" />
+  <index index="pdf" />
+<head>APPENDIX II. THE CHURCH CANTATAS ARRANGED CHRONOLOGICALLY</head>
+<p>
+We have the statement of Carl Philipp Emmanuel Bach,<note place="foot">
+<p>
+In Mizler's <title>Nekrolog.</title>
+</p>
+</note> confirmed by Forkel,<note place="foot">
+<p>
+<foreign lang="la">Supra</foreign>, p. 138.
+</p>
+</note> Bach's earliest biographer, that his father composed five Cantatas for every Sunday and Festival of the ecclesiastical year.  Concerted music was sung at Leipzig annually on forty-three Sundays and sixteen week-days.<note place="foot">
+<p>
+See the present writer's <title>Bach's Chorals,</title> Part II. p. 1.
+</p>
+</note> Bach therefore must have written at least 295 Cantatas.  Of this number he composed at least thirty before 1723.  Hence approximately 265 were written at Leipzig.  But Bach's fertility does not appear to have outlived the year 1744.  We have reason, therefore, to conclude that the 265 Leipzig Cantatas were written in the course of twenty-one years, that is, between 1723 and 1744.  To complete that number Bach must have composed a new Cantata every month, a surprising but demonstrable conclusion.
+</p>
+<p>
+Of the 295 Cantatas only 202 have come down to us, three of them in an incomplete state.<note place="foot">
+<p>
+<foreign lang="la">Ibid.</foreign>, p. 4.  Four more Cantatas, of doubtful authenticity, are published by the Bachgesellschaft, Jahrgang XLI.
+</p>
+</note> Of those written before 1723 the survivors are too scanty to indicate a rate of productivity.  But thereafter we have fuller materials for a calculation.  Bach, as Cantor, conducted his first Leipzig Cantata on May 30, 1723, and in the following sixteen months produced twenty-four Cantatas, at the 
+<pb n="164" />
+rate of more than one a month.<note place="foot">
+<p>
+See the Table of Cantatas set out in chronological order.
+</p>
+</note> Beginning at the New Year of 1725 he wrote eighteen Cantatas in nine months, some of which, however, may belong to the years 1726-7-8-9.  But even so, his monthly average seems to have been maintained.  For 1730 we have, perhaps, ten Cantatas.  For 1731 about twenty survive, of which half a dozen may belong to 1732, a deduction which still preserves Bach's steady average.  In 1735 he produced actually nineteen Cantatas between the New Year and the following November, though not all of them are positively dated.  Thereafter his activity is less certainly measured.  But from 1736 till the end of 1744 he composed fifty-three Cantatas, at the rate, that is, of at least six every year, without making allowance for Cantatas written and lost.
+</p>
+<p>
+There are few phenomena in the record of art more extraordinary than this unflagging cataract of inspiration, in which masterpiece followed masterpiece with the monotonous periodicity of a Sunday sermon.  Its musical significance has been presented with illuminating exegesis by more than one commentator.  But its literary apparatus has captured little attention.  Yet Bach's task must have been materially eased or aggravated according as the supply of libretti was regular or infrequent, while the flow of his inspiration must have been governed by their quality.  Moreover, the libretto was the medium through which he offered the homage of his art to the service of God.  The subject therefore deserves attention.  However trivial, measured against the immensities of Bach's genius, the study will at least provide a platform from which to contemplate it.
+</p>
+<p>
+At the outset the opinion may be hazarded that the provision of his weekly libretti caused Bach greater anxiety than the setting of them to music, a task which he accomplished with almost magical facility. It is 
+<pb n="165" />
+true that from the early part of the 18th century cycles of Cantata texts for the Church's year were not infrequently published.  Bach was in more or less intimate touch with the authors of four, perhaps five, printed collections of the kind.  But he used them with surprising infrequency.  Neumeister's published cycles provided him with seven libretti,<note place="foot">
+<p>
+Nos. 18, 24, 28, 59, 61, 142, 160.
+</p>
+</note> Franck's with sixteen,<note place="foot">
+<p>
+Nos. 31, 70, 72, 80, 132, 147, 152, 155, 161, 162, 163, 164, 166, 168, 185, 186 (part).
+</p>
+</note> Picander's with ten,<note place="foot">
+<p>
+Nos. 145, 148 (part), 156, 157, 159, 171, 174, 188, 190 (one version), <title>Ehre sei Gott</title> (incomplete).
+</p>
+</note> Marianne von Ziegler's with nine,<note place="foot">
+<p>
+Nos. 68, 74, 87, 103, 108, 128, 175, 176, 183.
+</p>
+</note> and Helbig's with two.<note place="foot">
+<p>
+Nos. 47, 141.
+</p>
+</note> He took three libretti from the Bible,<note place="foot">
+<p>
+Nos. 50, 191, 196.
+</p>
+</note> and the hymn-book furnished him with eleven more.<note place="foot">
+<p>
+Nos. 4, 97, 100, 107, 112, 117, 118, 129, 137, 177, 192.
+</p>
+</note> But all these published sources together only account for fifty-eight texts.  Bach possessed only one book that could assist his own efforts at authorship&mdash;Paul Wagner's eight-volumed Hymn-book&mdash;whence he took the stanzas which decorate his Cantatas like jewels in the rare settings he gave them.  It was, therefore, mainly upon writers with whom he was brought into occasional or official contact that Bach depended for his texts.
+</p>
+<p>
+At the beginning of his career Bach was thrown upon his inexperience.  His earliest libretti, consequently, are tentative and transitory in their construction.  His first Cantata was written at Arnstadt for the Easter Festival of 1704.<note place="foot">
+<p>
+No. 15: <title>Denn du wirst meine Seele nichfc in der H&ouml;lle lassen.</title>
+</p>
+</note> The core of the libretto is a seven-stanzaed Easter song by an unknown poet, eked out by two passages of Scripture, a Excitativo, Aria, and a verse of a congregational hymn.  The Aria and Recitativo are the only original numbers of the libretto, and there is little
+<pb n="166" />
+doubt that Bach wrote them himself.<note place="foot">
+<p>
+The intimate personal note of the opening words of the Recitative&mdash;<q>Mein Jesus ware tot</q>&mdash;reveals him.
+</p>
+</note> But the whole libretto is stamped by his personality, and reveals the inveterate subjectivity of his religion.  For, disregarding the general message of the Festival, the libretto opens on the soul's personal longing for immortality and closes on its song of victory over death.  In construction it is archaic, a survival of traditions acquired from central and northern Germany through Bach's earlier residence at L&uuml;neburg and intercourse with Hamburg.<note place="foot">
+<p>
+Spitta, i. 231.
+</p>
+</note>
+</p>
+
+<p>
+Three years passed before Bach produced his next extant Cantata. In the interval, on 29th June 1707, he resigned his Arnstadt appointment to become organist of the Church of St. Blasius at M&uuml;hlhausen.<note place="foot">
+<p>
+Schweitzer, i. 103.
+</p>
+</note> Here, within the space of ten months, he produced three Cantatas, the uniform character of whose libretti points to local and transitory influence upon the composer.  The first of them,<note place="foot">
+<p>
+No. 131: <title>Aus der Tiefe rufe ich, Herr, zu dir.</title>
+</p>
+</note> written in August 1707, is a setting of Psalm 130, with the addition of two hymn-stanzas.  The second<note place="foot">
+<p>
+No. 71: <title>Gott ist mein K&uuml;onig.</title>
+</p>
+</note> was performed on 4th February 1708, at the inauguration of the M&uuml;hlhausen Town Council, and consists of Old Testament passages, a verse of a hymn, and three original stanzas.  The third,<note place="foot">
+<p>
+No. 196: <title>Dorr Herr denket an uns.</title>
+</p>
+</note> a wedding Cantata, was performed at Dornheim, near Arnstadt, on 5th June 1708, at the marriage of Pastor Johann Lorenz Stauber to Frau Bach's aunt, and is set to four verses of Psalm 115.
+</p>
+<p>
+We can have little doubt regarding the authorship of these singularly austere libretti, so far removed in atmosphere from those of Bach's subsequent periods.  In fact, the clue is furnished by Bach himself.  A note in his handwriting on the score of the first of the three
+<pb n="167" />
+Cantatas (No. 131) states that he composed it at the request of Georg Christian Eilmar.  The man was a close friend, godfather of Bach's eldest daughter, Katharina Dorothea (b. 1708), chief pastor of the Church of the Blessed Virgin, and Consistorial Assessor, at M&uuml;hlhausen.  He was, moreover, an aggressive foe of Pietism, of which M&uuml;hlhausen was the citadel, and Bach's minister, Frohne, the protagonist.  Indeed, the two men waged so public and wordy a warfare<note place="foot">
+<p>
+See Spitta, i. 359 ff.
+</p>
+</note> that Bach's social relations with the one and official connection with the other must have been rendered difficult.  To his settled convictions regarding the fellowship of music and worship Pietism offered Puritan opposition.  In fact, its lack of sympathy eventually drove him from M&uuml;hlhausen, in hope, in his own words, <q>to realise my views upon the right ordering of Church music without vexation from others.</q><note place="foot">
+<p>
+<foreign lang="la">Ibid.</foreign>, i. 374.  On the other hand, Baoh's art was visibly affected by Pietistic influences, as Schweitzer, i. 169, shows.
+</p>
+</note> Eilmar, on the other hand, though he admitted the aesthetic value of music, conspicuously lacked the warmth and emotionalism of Bach's religious temperament.  To him undoubtedly we must attribute the cold austerity of the three M&uuml;hlhausen libretti and the suppression of the personal note already sounded in Bach's Arnstadt Cantata.  Nor did Eilmar's influence pass with Bach's departure from M&uuml;hlhausen.<note place="foot">
+<p>
+Eilmar died in 1715 (Spitta, i. 361).
+</p>
+</note> It is to be traced in the early libretti of the Weimar period.
+</p>
+<p>
+The Weimar Cantatas are twenty-two in number, of which all but three were written subsequently to Bach's appointment as Concertmeister early in 1714. He had been organist to the Ducal Court of Weimar since June 1708, a position which did not require him to compose for the Ducal Chapel. On the other hand, three Cantatas are attributed to the early Weimar years. But they
+<pb n="168" />
+cannot be positively dated, and their libretti bear such clear traces of Eilmar's influence that their composition may belong rather to the M&uuml;hlhausen period.  Their texts display Eilmar's preference for strictly Biblical material and a disinclination to employ secular forms.  The first of them<note place="foot">
+<p>
+No. 189: <title>Meine Seele r&uuml;hmt und preist.</title>
+</p>
+</note> is a paraphrase of the Magnificat. The second<note place="foot">
+<p>
+No. 150: <title>Nach dir, Herr, verlanget mich.</title>
+</p>
+</note> consists of four verses of Psalm 25, along with three simple rhymed stanzas which we have no difficulty in attributing to Bach himself.  The third, <title>Gottes Zeit ist die allerbeste Zeit</title> (No. 106), was composed, Spitta conjectures,<note place="foot">
+<p>
+Vol. i. 456.
+</p>
+</note> for the funeral of Philipp Grossgebauer, Rector of Weimar School, in 1711.  But more recently, and more probably, Pirro<note place="foot">
+<p>
+<title>J.S. Bach,</title> p. 87.
+</p>
+</note> has expressed the opinion that Bach wrote it for the funeral of his uncle, Tobias Lammerhirt, who was buried at Erfurt in September 1707.  The theory accords with the suggestion that all three Cantatas belong to the M&uuml;hlhausen period.  If so, it is probable that the libretto, a very ingenious mosaic of Scripture texts, was written by Eilmar for the occasion.  It is the last in which we detect his influence.
+</p>
+<p>
+Bach's appointment as Ducal Concertmeister at Weimar can be placed between 14th January and 19th March 1714<note place="foot">
+<p>
+The conclusion is based on letters printed by Spitta, i. 517.
+</p>
+</note>
+and, it is probable, was nearer the former date.  He seems to have produced the first Cantata his new post required him to write on Sexagesima Sunday, which fell on 4th February in that year.  From thence to the end of 1716 he produced nineteen Cantatas and collaborated with a writer whose libretti at length gave him a satisfactory literary medium.
+</p>
+<p>
+The new poet, Erdmann Neumeister, four of whose libretti Bach set to music immediately after his 
+<pb n="169" />
+appointment, and a fifth a year later,<note place="foot">
+<p>
+Nos. 18, 61, 142, 160, and 69.  See Table.
+</p>
+</note> was considerably Bach's senior.<note place="foot">
+<p>
+He was born May 12, 1671 (Spitta, i. 470).
+</p>
+</note> As far back as 1700 he had begun to write a cycle of Cantata texts for the Ducal Chapel at Weissenfels, and pubushed it in 1704, with an explanatory Preface referred to later.<note place="foot">
+<p>
+The volume is entitled <title>Erdmann Neumeisters Geistliche Cantaten statt einer Kirchen-Musik.  Die zweyte Auflage.</title>
+</p>
+</note> In 1708 he issued a second cycle for the Court of Rudolstadt, while in 1711 and 1714 third and fourth cycles were written for the Ducal Chapel at Eisenach.  All four cycles were reissued in 1716,<note place="foot">
+<p>
+Entitled <title>Herrn Erdmann Neumeisters F&uuml;nffache Kirchen-Andachten,</title> Leipzig, 1716.
+</p>
+</note> with the addition of a fifth and a Preface, which lauded Neumeister as <q>the first German to give sacred music its fitting position by introducing and perfecting the Church Cantata.</q><note place="foot">
+<p>
+Spitta, i. 474. 
+</p>
+</note>
+</p>
+
+<p>
+Spitta has dealt exhaustively<note place="foot">
+<p>
+Vol. i. 466 ff.
+</p>
+</note> with the evolution and construction of the Neumeister libretto.  It need only be remarked that it adapted a secular or operatic apparatus to the service of religion, and that the innovation, hateful to many, triumphed because of Neumeister's delicate handling of it.  He perfected the new form, however, in stages.  <q>A Cantata,</q> he insisted in his 1704 Preface, <q>is simply a fragment of Opera made up of Aria and Recitativo.</q>  But the restriction excluded from the Cantata its most appropriate material.  In his 1708 cycle he found a place for the chorus.  Finally, he admitted the Bible stanza and congregational hymn.  With their inclusion the Cantata libretto assumed the form familiar to us in Bach's use.  It represents a combination of secular Opera and ecclesiastical Motet.  The free Arias and Recitativi are derived from the one, the Bible stanzas and congregational hymns perpetuate the traditions of the other. Unity of design is stamped on
+<pb n="170" />
+the whole by its general subordination to the Gospel for the Day.  Thus, at the moment when Bach was about to devote his genius to the Cantata, Neumeister opportunely provided him with a libretto singularly adapted to the end Bach had in view, and appropriate to the musical expression by which he proposed to secure it.  He adhered to it almost to the end of his life, and found unfailing inspiration in Neumeister's sincerity, delicacy, and uniformly religious outlook.  Neumeister's Arias, with a single exception,<note place="foot">
+<p>
+See the Aria (Duetto) of Cantata No. 28.
+</p>
+</note> are hymn-like in mood and metre.  His Recitativi are reflective and prayerful, rarely oratorical or pictorial, simple communings upon the Gospel themes which the libretto handles.<note place="foot">
+<p>
+See particularly the Litanei in Cantata No. 18.
+</p>
+</note>
+</p>
+
+<p>
+Bach's early introduction to Neumeister's texts is explained by the close relations between the Courts of Weimar and Eisenach, by his associations with his own birthplace, and his intimacy with Georg Philipp Telemann, Kapellmeister there, for whose use Neumeister's third and fourth cycles were written.<note place="foot">
+<p>
+Telemann was Carl Philipp Emmanuel Bach's godfather (Spitta, i. 486).
+</p>
+</note> Bach set, in all, seven of the libretti&mdash;four from the fourth cycle,<note place="foot">
+<p>
+Nos. 24, 28, 69, 61. 
+</p>
+</note> one from the third,<note place="foot">
+<p>
+No. 18.
+</p>
+</note> and two from the first,<note place="foot">
+<p>
+Nos. 142, 160.
+</p>
+</note> one of which (No. 142) differs so much from the published version as to raise the question whether Bach did not receive it direct from Neumeister in the form in which he set it.<note place="foot">
+<p>
+See Spitta, i. 630.
+</p>
+</note>
+</p>
+<p>
+That Bach should have set no more than seven of Neumeister's texts<note place="foot">
+<p>
+His influence is also detected in Nos. 27, 56, 199.
+</p>
+</note> is strange.  He shrank, perhaps, from appropriating libretti on which his friend Telemann had a prior claim.<note place="foot">
+<p>
+Telemann also set the libretti of Bach's Nos. 18 and 142. See Spitta, i. 487.
+</p>
+</note> But the reason is found rather in the fact that at Weimar Bach discovered in 1715 a local
+<pb n="171" />
+poet of first-rate ability who, with perhaps but one exception, wrote the libretti of all the Cantatas he composed during the last two years of his Weimar appointment.
+</p>
+<p>
+Salomo Franck, Bach's new collaborator, was Curator of the Ducal Museum of Coins and Medals at Weimar.  He was twenty-six years older than Bach.  But Spitta's conjecture,<note place="foot">
+<p>
+Vol. i. 530.
+</p>
+</note> that the two men were not acquainted, is hardly tenable.  Both resided in the same small provincial town, both were in the Duke's service, and throughout 1715 and 1716 collaborated in at least ten Cantatas performed in the Ducal Chapel.  Moreover, though the Preface of Franck's first cycle is dated 4th June 1715,<note place="foot">
+<p>
+Wustmann, <title>Joh. Seb. Bach's Kantaten-Texte</title> (1913), p. xxii n. 
+The cycle is entitled <title>Evangelisches Andachts-Opffer.</title> 
+</p>
+</note> Bach had already set one of its libretti for Easter of that year. A second cycle of texts, of which Bach made little use,<note place="foot">
+<p>
+Only Nos. 70, 147, and 186 are taken from it. 
+</p>
+</note> was published by Franck in 1717.<note place="foot">
+<p>
+Entitled <title>Evangelische Sonn- und Fest-Tages Andachten.</title> 
+</p>
+</note>
+</p>
+
+<p>
+Schweitzer, no doubt, is correct in his conclusion<note place="foot">
+<p>
+Vol. ii. 131.
+</p>
+</note> that Bach was drawn to Franck by his poetic insight, his mysticism, and innate feeling for nature.  It must be remembered, too, that his libretti were, in some degree, official.  On the other hand, Franck was Neumeister's inferior in ability to conceive a picture fit to express Bach's larger moods, and on occasion could descend to sheer bathos.<note place="foot">
+<p>
+For instance, the Aria in Cantata No. 168, beginning:
+</p>
+<q rend="display">
+Kapital und Interessen 
+Meiner Schulden gross und klein, 
+Mussen einst verrechnet sein.
+</q>
+</note> But his texts have a rhythmic swing and melody which Bach found agreeable.  He set at least sixteen of them, and returned to them even after he settled at Leipzig.
+</p>
+<p>
+The circumstances which terminated Bach's service at Weimar are familiar, and need not be restated.  He received a new appointment at C&ouml;then on 1st August 1717, and took up his duties there, probably at Christmas, that year.<note place="foot">
+<p>
+Spitta, ii. 5; Schweitzer, i. 106.
+</p>
+</note> His position was that of Capellmeister to the princely Court.  He never styles himself Court Organist,<note place="foot">
+<p>
+Spitta, ii. 3.
+</p>
+</note> and his duties severed him for five years from the service of the Church, to which he had declared his particular dedication in 1708.  The C&ouml;then Court was unpretentious.  The Prince was a Calvinist.  Figurate music was not permitted in the Court Chapel, and its Organ was small and inadequate.  Hence Bach devoted himself chiefly to chamber music, and only two genuine Church Cantatas belong to this period of his career.  Both must have been written for performance elsewhere, possibly in connection with Bach's frequent Autumn tours as a performer.<note place="foot">
+<p>
+The two Cantatas are Nos. 47 and 141.
+</p>
+</note>
+</p>
+
+<p>
+For both Cantatas Bach employed a librettist, otherwise little known, named Johann Friedrich Helbig, State Secretory to the Eisenach Court. In March 1720,<note place="foot">
+<p>
+Wustmann, p. xxiii.
+</p>
+</note> more than two years after Bach's arrival at C&ouml;then, Helbig published a cycle of <q>Musical Texts on the Sunday and Saints' Day Gospels throughout the year,</q> for performance <q>in God's honour by the Prince's Kapelle at Eisenach.</q><note place="foot">
+<p>
+Spitta, ii. 12 n.
+</p>
+</note>
+How they came into Bach's hands we do not know, but can readily conjecture.  They are indifferent poetry, judging them by the two specimens Bach made use of, and are uniform in construction.  The first movement invariably is a Chorus upon a text from the Gospel for the Day, or a Scripture passage closely related to it.  Two Arias separated by a Recitative follow. A Choral brings the libretto to an end.<note place="foot">
+<p>
+The Choral is absent from No. 141.  It should be <q>Christe, du Lamm Gotten.</q>
+</p>
+</note>
+</p>
+
+<p>
+The first of the two Cantatas written to Helbig's words
+<pb n="173" />
+was designed for the Seventeenth Sunday after Trinity, which fell in 1720 on September 22.<note place="foot">
+<p>
+Schweitzer, ii. 147.  The Cantata is No. 47, <title>Wer sich selbst erh&ouml;het.</title>
+</p>
+</note> Spitta conjectures<note place="foot">
+<p>
+Vol. ii. 13.
+</p>
+</note> that Bach intended it for performance at Hamburg.  In fact, his wife's death postponed Bach's visit to that town until November, by which date the Sunday appropriate to the Cantata had passed. Spitta holds that the Cantata may have been performed, after all, during the visit. Schweitzer is sceptical.<note place="foot">
+<p>
+Vol. ii. 147. 
+</p>
+</note> But Bach certainly expended great pains upon the score.
+</p>
+
+<p>
+The second Helbig Cantata<note place="foot">
+<p>
+No. 141: <title>Das ist je gewisslich wahr.</title>
+</p>
+</note> is for the Third Sunday in Advent, and the date of it would appear to have been 1721.  It is one of the least agreeable of Bach's works.  Spitta <note place="foot">
+<p>
+Vol. ii. 15.
+</p>
+</note> declares it a juvenile composition hastily adapted to a new libretto. Schweitzer<note place="foot">
+<p>
+Vol. ii. 148.
+</p>
+</note> expresses the same opinion, and Sir Hubert Parry<note place="foot">
+<p>
+<title>Johann Sebastian Bach,</title> p. 108.
+</p>
+</note> finds the work <q>rather commonplace.</q>  Its genuineness is discussed by Max Schreyer in the <q>Bach-Jahrbuch</q> for 1912, and more recently Rudolf Wustmann has insisted that it does not bear the stamp of Bach's genius.<note place="foot">
+<p>
+<foreign lang="la">Op. cit.</foreign>, Note 195.
+</p>
+</note> If it actually was composed in 1721, its production must have coincided with Bach's second marriage on December 3 of that year.<note place="foot">
+<p>
+Spitta, ii. 147.
+</p>
+</note> In that case, his resort to old material is explicable.
+</p>
+<p>
+Only these two Cantatas were composed at C&ouml;then.  But later, at Leipzig, two others were manufactured out of secular material written there.<note place="foot">
+<p>
+Nos. 134 and 173.
+</p>
+</note> It is unnecessary to refer to them, except to remark that in each case Bach appears to have been the author of the new libretto.  In the first of them<note place="foot">
+<p>
+No. 134: <title>Ein Herz, das seinen Jesum lebend weiss.</title>
+</p>
+</note> it is clear that he was handicapped by the frankly secular metre of the original stanzas.  The 
+<pb n="174" />
+second of them,<note place="foot">
+<p>
+No. 173: <title>Erh&ouml;tes Fleisch und Blut.</title>
+</p>
+</note> originally a Birthday Ode to Prince Leopold of Anhalt-C&ouml;then, is a masterly conversion into a Whit-Monday text which, assuming that Bach wrote it, puts his literary facility beyond question.
+</p>
+<p>
+Bach made the last move in his professional career on May 31, 1723, when he was inducted Cantor of St. Thomas' School at Leipzig, with particular charge of the Churches of St. Thomas and St. Nicolas.  Here by far the greater number of his Cantatas appeared, and 172 of them survive.  They are too numerous to be considered individually, and their classification is rendered difficult by the fact that the authorship of most of their libretti is conjectural and not ascertained.  They fall, however, into two large categories, each of which exhibits characteristics of its own.
+</p>
+<p>
+The dividing year, clearly but not arbitrarily, is 1734.  Before it and after it Bach was aided by new writers.  But the earlier period pre-eminently was one of experiment, out of which emerged the glorified hymn-libretto, or Choral Cantata, of Bach's last years.  That it sprang, in some degree, from the difficulty of finding good original texts in sufficient number may be granted.  That it was adopted as an avenue of escape from Picander's coarser work is a conjecture based, apparently, upon a prevalent exaggeration of Bach's dependence on that writer.  The fundamental reason which led Bach to the hymn-libretto undoubtedly was the fact that it most closely fulfilled the ideals which informed his work.
+</p>
+<p>
+The first Cantata performed during Bach's Cantorship<note place="foot">
+<p>
+No. 75: <title>Die Elenden sollen essen,</title> sung on May 30, the day preceding Bach's formal induction.
+</p>
+</note> reveals a new author, whose assistance, if the conclusion is well grounded, was at Bach's disposal throughout the whole of the earlier Leipzig period.  Spitta's keen insight failed him in this instance.  He betrays no recognition of 
+<pb n="175" />
+the new writer, and occasionally<note place="foot">
+<p>
+For instance, Nos. 67 and 102.
+</p>
+</note> attributes his libretti to Picander.  The credit of the discovery belongs to Rudolf Wustmann, though he fails to work it out to its fullest conclusions.<note place="foot">
+<p>
+Wustmann, by implication, only associates eight libretti (Cantatas Nos. 37, 44, 75, 76, 86, 104, 166, 179) with Weiss.  All of them belong to the early years, 1723-27. 
+</p>
+</note>
+</p>
+<p>
+No one can read the early Leipzig libretti without being struck by the number of them that are not only uniform in structure, but similar in tone and point.  They all begin with a Bible text, chosen frequently, but not invariably, from the Gospel for the Day.  Every one of them ends with a hymn-stanza.  Their Arias, with hardly an exception,<note place="foot">
+<p>
+See Nos. 75 and 105.
+</p>
+</note> are written in what, compared with Picander's rollicking dactyls, may be held hymn-metres.  Their Recitativi, almost invariably, are didactic or exegetical.<note place="foot">
+<p>
+See Nos. 25, 42, 77.  As an extreme illustration, the first Recitative of No. 25 begins with the words, <title>Die ganze Welt ist nur ein Hospital.</title>
+</p>
+</note> They do not display the vapid rhetoric of Picander.  Nor do they express the reflective or prayerful mood that reveals Bach.  They are essentially expositive and, it is noticeable, are studded with direct or veiled references to Bible passages which expand or enforce the lesson of the initial text.  In a word, they suggest the work of a preacher casting his sermon notes into lyrical form, an impression which is strengthened by the fact that the libretto invariably opens with a Scripture passage and frequently blends the Gospel and Epistle for the Day in one harmonious teaching.  Spitta detected this characteristic.  But he failed to follow up the clue.  He speaks<note place="foot">
+<p>
+Vol. ii. 388.
+</p>
+</note> of one of these texts<note place="foot">
+<p>
+Cantata No. 65: <title>Sie werden aus Saba Alle kommen.</title>
+</p>
+</note> as a <q>moralising homily,</q> a phrase concisely appropriate to them all.  Moreover, a remark of his,<note place="foot">
+<p>
+Vol. i. 361.
+</p>
+</note> pointing the significance
+<pb n="176" />
+of the god-parents chosen by Bach for his children&mdash;Eilmar, for instance&mdash;as revealing Bach's intimate associates at the moment, affords another clue to the personality of the new writer.
+</p>
+<p>
+Among the clergy of St. Thomas' during Bach's Cantorate were two men, father and son, each of whom bore the name Christian Weiss.  The elder was Pastor of the Church from 1714 till his death in 1737.  He was a cultured man, in touch with the University, and possibly formed a link between it and Bach, to whom he showed greater cordiality than the Cantor received from other clerical colleagues.  In 1732 his daughter, Dorothea Sophia stood godmother to Bach's son, Johann Christoph Friedrich, afterwards famous as the <q>B&uuml;ckeburg Bach.</q><note place="foot">
+<p>
+Wustmann, p. xxiv.
+</p>
+</note> In 1737 his son stood sponsor to Bach's daughter, Johanna Caroline.<note place="foot">
+<p>
+<foreign lang="la">Ibid.</foreign>
+</p>
+</note> Nor can it be altogether without significance that the names Dorothea, Sophia, Christian, are borne by others of Bach's children by his second marriage.  There is sufficient evidence, therefore, that Bach's relations with the elder Weiss were intimate enough to support a literary partnership.  Moreover, circumstances lend weight to the inference.  For some years before Bach's arrival in Leipzig, Weiss suffered from an affection of the throat which kept him from the pulpit.  But, during the first year of Bach's Cantorate, he was able to resume his preaching.  If he was, in fact, the author of the libretti, we can have little difficulty in concluding that they and his sermons were built on the same text.
+</p>
+<p>
+So far as they can be identified&mdash;the attempt is somewhat speculative&mdash;Weiss provided Bach with at least thirty-three libretti.  He set five of them in 1723, three in 1724, nine in or about 1725, one in 1727, two in 1730, six in 1731, three in 1732, and four in the later Leipzig period.<note place="foot">
+<p>
+See the Table.
+</p>
+</note> Fourteen others bear a constructional
+<pb n="177" />
+resemblance to Weiss's texts,<note place="foot">
+<p>
+They ore Nos. 6, 17, 22, 43, 48, 57, 144, 148, 157, 159,171, 190,195, and the incomplete Cantata, <title>Ehre sei Gott in der H&ouml;he.</title>
+</p>
+</note> but their character refers them rather to Bach or Picander.  Even so, if we do not exaggerate his activity, Weiss seems to have written at least one-sixth of the Leipzig libretti and more than a quarter of those of the earlier period.  Without a doubt he eased a difficult situation in Bach's experience before his regular association with Picander began.
+</p>
+<p>
+Apart from their revelation of Christian Weiss, the libretti of Bach's first year at Leipzig do not call for comment.  Franck and Neumeister appear among them, and we trace Bach's hand in nine.<note place="foot">
+<p>
+Nos. 16, 23, 63, 81, 83, 153, 154, 184, 194.  See the Table.
+</p>
+</note> But at Easter, 1724, he broke new ground with a libretto whence developed the Cantata form of his latest period.
+</p>
+<p>
+The Cantata for Easter Day 1724,<note place="foot">
+<p>
+No. 4: <title>Christ lag in Todesbanden.</title>
+</p>
+</note> is Bach's earliest setting of an entire congregational hymn.  Spitta suggests<note place="foot">
+<p>
+Vol. ii. 393. 
+</p>
+</note> that he felt the fitness of giving the libretto an antique character to match the hymn's melody.  However that may be, Bach would appear already to have been groping towards the Choral Cantata of the late '30's.  And though he did not repeat the experiment until the Easter of 1731,<note place="foot">
+<p>
+See the Table: No. 112, <title>Derr herr ist mein getreuer Hirt.</title>
+</p>
+</note> he treated three hymn-libretti in the interval in a manner which shows him already to have worked out the essentials of the Choral Cantata form.<note place="foot">
+<p>
+Nos. 8, 20, 93. 
+</p>
+</note>
+</p>
+<p>
+Another landmark meets us a year and a half after the Easter experiment.  On September 23, 1725(?)&mdash;the Seventeenth Sunday after Trinity&mdash;Bach produced a Cantata<note place="foot">
+<p>
+No. 148: <title>Bringet dem Herrn Ehre seines Namens.</title>
+</p>
+</note> whose Arias are set to words which had appeared in print in the preceding year.  Their author was a hack writer named Christian Friedrich Henrici, or, as he preferred to style himself, Picander.  His hand probably
+<pb n="178" />
+is also traced in the libretto used by Bach on the preceding Sunday<note place="foot">
+<p>
+No. 8: <title>Liebster Gott, wann werd' ich sterben.</title>
+</p>
+</note> and again in that for Sexagesima in the same year.<note place="foot">
+<p>
+No. 181: <title>Leichtgesinnte Flattergeister.</title>
+</p>
+</note> But the evidence is only inferential.  That he collaborated with Bach on September 23, 1725 (?), is incontestable, and the work defines the beginning of a long and fruitful partnership.
+</p>
+<p>
+Spitta,<note place="foot">
+<p>
+ Vol. ii. 340 ff.
+</p>
+</note> who tells us all that is known of Picander, has sufficiently exposed his superficial literary facility.  He commenced to write sacred poetry in 1724, and on Advent Sunday of that year began a cycle of <q>Profitable Thoughts,</q> so he termed them, upon the Sunday and Saints' Day Gospels.  He published them in 1725, when the cycle was complete.<note place="foot">
+<p>
+The volume is entitled <title>Sammlung Erbaulicher Gedancken, Bey und &uuml;ber gewohnlichen Sonn- und Festtags-Evangelien,</title> Leipzig.
+</p>
+</note> Three years later he issued a cycle of Cantata texts for 1728-29 in the Neumeister form.<note place="foot">
+<p>
+<title>Cantaten auf die Sonn- und Fest-Tage durch das gantze Jahr,</title> Leipzig, 1728.  He reprinted them in 1732 in his <title>Satyrische Gedichte.</title>
+</p>
+</note> That he intended them for Bach's use is apparent in the fact that he expressly dedicated them to the service of <q>our incomparable Capellmeister.</q>  But Bach made the sparest use of them and of the earlier <q>Profitable Thoughts</q> alike.  From the latter he took not one libretto.<note place="foot">
+<p>
+But see Cantata No. 148 and Spitta, ii. 693.  Also No. 19.
+</p>
+</note> Of the 1728-29 cycle he used only eight texts.<note place="foot">
+<p>
+Cantatas Nos. 145, 156, 159, 171, 174, 188, 190 (one version), and the Cantata <title>Ehre sei Gott.</title>
+</p>
+</note> One more libretto can be referred to Picander's later publications,<note place="foot">
+<p>
+No. 157.
+</p>
+</note> and of six others we can be sure that they are based upon his texts.<note place="foot">
+<p>
+Nos. 19, 30, 36, 84, 148, 197. 
+</p>
+</note> In other words, of the original libretti of the Leipzig period we can trace Picander's hand positively in no more than fifteen.
+</p>
+<p>
+It is necessary to emphasise this point. For Spitta<note place="foot">
+<p>
+Vol. ii. 346.
+</p>
+</note> has stated positively that Picander wrote <q>most</q> of the Leipzig libretti, and his opinion has been generally
+<pb n="179" />
+accepted.  But its correctness may be contested.  It is suspicious, to begin with, that Picander never published the texts which Spitta asserts him to have poured out in such profusion. <q>He placed no value,</q> Spitta answers readily, <q>on these manufactured compositions, put together hastily to please his friend.</q>  But the argument cannot stand.  Why should Picander have thought less of libretti actually used by his <q>incomparable Capellmeister</q> than of those published for and rejected by him?&mdash;for Spitta does not venture to declare that as literature the rejected were superior to the accepted texts.  If out of a published cycle of libretti expressly written for him Bach chose only eight texts, are Picander's <q>manufactured compositions,</q> as Spitta calls them, likely to have attracted him to a greater degree?  We can detect his hand perhaps in six Cantatas<note place="foot">
+<p>
+Nos. 32, 48, 67, 90, 144, 181.
+</p>
+</note> besides those already mentioned, and Bach relied on him exclusively for his secular texts.  One concludes, none the less, that Bach rarely accepted an original Cantata libretto from Picander, and employed him chiefly on the Choral Cantatas of his latest period.  Excluding them, and adding the probable to the actual original Picander texts, they total only twenty-one, a fraction inadequate to support Spitta's sweeping statement.
+</p>
+<p>
+From the advent of Picander in 1725, to the end of the first Leipzig period nine years later, Bach does not seem to have gone outside the circle of familial authors for his regular Cantata texts.  On October 17, 1727, however, he produced a funeral Cantata, or <q>Trauer-Musik,</q> in memory of the late Queen of Poland, the libretto of which was written by Professor J. C. Gottsched.  The partnership, in fact, was accidental: the libretto was supplied to Bach with the commission to set it to music, and, so far as is known, Gottsched and he did not collaborate again.
+</p>
+<pb n="180" />
+<p>
+So, reviewing Bach's activities during his first eleven years at Leipzig, we find that of the hundred libretti set by him to music Christian Weiss heads the list as the presumed author of twenty-nine.  Bach follows him with eighteen.<note place="foot">
+<p>
+Nos. 16, 22, 23, 27, 35, 51, 56, 58, 63, 66, 81, 82, 83, 153, 154, 194, 195. No. 184 is an adaptation. See also Nos. 19, 36, 84, 144, 145, 148, for Bach's collaboration with Picander.
+</p>
+</note> Picander's hand appears in fifteen, Franck's in eight,<note place="foot">
+<p>
+Besides No. 80, a Choral Cantata.
+</p>
+</note> Neumeister's and Gottsched's in one each.  Fifteen libretti are congregational hymns in their original or paraphrased form.  One is the <title>Gloria in Excelsis</title> of the B minor Mass adapted as a Christmas Cantata (No. 190).  Twelve are by authors not identified.
+</p>
+<p>
+Passing to the later Leipzig period, seventy-two surviving Cantatas are attributed to the years 1735-50.  They reveal one, perhaps two, new writers.  The first of them, Marianne von Ziegler, was identified by Spitta in 1892.  She was the widow of an officer, resident in Leipzig, a cultured woman, in touch with University life, her house a salon for music and musicians.<note place="foot">
+<p>
+Schweitzer, ii. 332 ff.
+</p>
+</note> There is no reason to suppose Bach to have been of her circle, or that he was acquainted with her literary gifts.  Indeed the contrary is to be inferred from the fact that, though she published her poems in 1728,<note place="foot">
+<p>
+Entitled <title>Versuch in gebundener Schreibart.</title>
+</p>
+</note> he does not seem to have known them until seven years later, when he used them for nine consecutive Sundays and Festivals in 1735, beginning on the Third Sunday after Easter, and ending on Trinity Sunday.
+</p>
+<p>
+In addition to these nine libretti, both Spitta<note place="foot">
+<p>
+Vol. iii. 71.
+</p>
+</note>and Schweitzer<note place="foot">
+<p>
+Vol. ii. 331 n.
+</p>
+</note> attribute to her the text of Bach's Cantata for the Second Sunday after Easter in the same year.<note place="foot">
+<p>
+No. 85: <title>Ich bin ein guter Hirt.</title>
+</p>
+</note> It is uniform in construction with the authentic nine, but is not among the authoress's published works. Wustmann<note place="foot">
+<p>
+Note 60.
+</p>
+</note>
+<pb n="181" />
+finds the tone of the libretto less ardent and its rhythm rougher than those published under her name.  Admitting the soundness of Wustmann's criticism, one hazards the opinion that the challenged text was written at the period when Bach set it, namely, in 1735, eight years after the poetess published her earlier texts.  The difference of time may account for the difference of texture to which Wustmann draws attention, but leaves undecided the question whether Bach was drawn to the earlier through the later and unpublished texts or vice versa.  It is quite probable that he set other libretti by the same writer, though Schweitzer's<note place="foot">
+<p>
+Vol. ii. 331 n.
+</p>
+</note> attribution to her of a second text for Ascension Day, 1735, must be rejected.<note place="foot">
+<p>
+No. 33: <title>Gott f&auml;ret auf mit Jauchzen.</title>
+</p>
+</note>
+</p>
+<p>
+It is worth noticing, since it certainly reveals Bach's preference, that Marianne von Ziegler's libretti are constructed almost invariably in the Weiss form.  Every one of them but three<note place="foot">
+<p>
+See Table.
+</p>
+</note> opens with a Bible passage, invariably taken from St. John's Gospel, which provides the Gospel for the Day from the First Sunday after Easter down to Trinity Sunday, excepting Ascension Day.  All but one (No. 68) of the libretti conclude with a Choral, and their Arias are hymn-like in metre.  The tone of them, however, is warmer, more personal, less didactic than the Weiss texts.  That Bach regarded them with particular favour is apparent in the circumstance that he took the trouble to revise all but one of them.<note place="foot">
+<p>
+No. 74.
+</p>
+</note> That they stirred his genius deeply is visible in the settings he gave them.
+</p>
+<p>
+After 1735 the chronology of the Cantatas is not certainly ascertained.  Of those that fall after the Ziegler year, as we may term it, the majority can only be dated approximately as circa 1740, that is, anywhere between 1735 and 1744.  Nor, except rarely, can we detect in their libretti the work of those on whom Bach elsewhere
+<pb n="182" /> relied.  Weiss, who died late in 1737, is only an occasional contributor.  The texts of this period, in fact, are the outcome of Bach's own experiments in libretto form.  Thirty-three of them are Choral Cantatas, whose evolution it remains to trace concisely.
+</p>
+<p>
+That Bach should have turned to Lutheran hymnody, chiefly of the fifteenth and sixteenth centuries, and that the Cantatas built upon it should be his most perfect religious work is not surprising.  The hymns and their melodies were the foundations upon which the temple of German Protestantism had been reared.  They appealed vividly and powerfully to Bach's spiritual nature, and profoundly influenced his musical utterance.  His whole career, as Sir Hubert Parry points out,<note place="foot">
+<p>
+<foreign lang="de">Op. cit., </foreign>p. 377.
+</p>
+</note> was an effort to widen his means for self-expression.  And the Choral Cantata, in effect, was the reconciliation or blending of this self-discipline.  It was the supreme achievement of Bach's genius to assert the faith and idealism of Lutheran hymnody with the fullest resources of his technique.
+</p>
+<p>
+It is not our task to consider the hymn libretto in its relation to the structure of Bach's latest Cantatas.  Necessarily it tied him to a stereotyped design, which he clung to with greater persistency because it exactly fulfilled his devotional purpose.  But experience compelled him, after a brief trial, to discard the simple hymn libretto.  In the earlier Leipzig years as many as eight Choral Cantatas<note place="foot">
+<p>
+See Table.
+</p>
+</note> are set to the unaltered text of a congregational hymn.  In the later Leipzig period only two<note place="foot">
+<p>
+Nos. 100 and 107, both of them c. 1735.
+</p>
+</note> libretti are of that character.  Bach, in fact, soon realised that, while the unaltered hymn-stanza, with its uniform metre and balanced rhyme, was appropriate to the simple Choral or elaborate Fantasia, it was unmalleable for use as an Aria or Recitative.  Hence, retaining the unaltered Hymn-stanza for the musical movements
+<pb n="183" />
+congruous to it, he was led to paraphrase, in free madrigal form, those stanzas which he selected for the Arias and Recitativi.
+</p>
+<p>
+As early as September 16, 1725,<note place="foot">
+<p>
+No. 8, for the Sixteenth Sunday after Trinity.
+</p>
+</note> Bach was moving towards this solution.  And it is significant that Picander's hand is visible in the libretto.  The next example<note place="foot">
+<p>
+No. 93, for the Fifth Sunday after Trinity (1728).
+</p>
+</note> occurs three years later, and again reveals Picander's authorship.  Two other instances also occur in the early Leipzig period.<note place="foot">
+<p>
+Nos. 9 (? 1731), 99 (c. 1733).
+</p>
+</note> To that point, however, it is clear that Bach was not satisfied as to the most effective treatment of the hymn-libretto.  But in the second Leipzig period, after his collaboration with Marianne von Ziegler, he arrived at and remained constant to a uniform design.  Of the thirty-nine Choral Cantatas of the whole period only two exhibit the earlier form.  Of all the others the libretto consists partly of unaltered hymn-stanzas&mdash;invariably used for the first and last movements, and occasionally elsewhere&mdash;but chiefly of paraphrased stanzas of the hymn, whose accustomed melody, wherever else it may be introduced, is associated invariably with the hymn when the text is used in its unaltered form.  We, to whom both words and melody are too frequently unfamiliar, may view the perfections of the Choral Cantata with some detachment.  But Bach's audience listened to hymns and tunes which were in the heart of every hearer and a common possession of them all.  The appeal of his message was the more arresting because it spoke as directly to himself as to those he addressed.
+</p>
+<p>
+It would be satisfactory and interesting to point positively to Bach's own handiwork in these libretti, of which he set fifty-four in the period 1724-44.  Unfortunately it is impossible to do so, except, perhaps, in a single case,<note place="foot">
+<p>
+No. 122.
+</p>
+</note>
+<pb n="184" />
+where we can reasonably infer that the libretto is his.  Of the rest, one is by Franck.<note place="foot">
+<p>
+No. 80.
+</p>
+</note> In eighteen of them the hand of Picander is more or less patent.<note place="foot">
+<p>
+Nos. 1, 2, 5, 8, 20, 26, 62, 78, 91, 92, 93, 96, 115, 121, 124, 127, 138, 140.
+</p>
+</note> Nineteen<note place="foot">
+<p>
+Nos. 7, 9, 10, 14, 33, 41, 94, 99, 101, 111, 113, 114, 116, 125, 126, 130, 139, 178, 180.
+</p>
+</note> we can only venture to mark <q>anonymous,</q> though Picander is probably present in most of them.  Ten are unaltered congregational hymns.<note place="foot">
+<p>
+Nos. 4, 97, 100, 107, 112, 117, 129, 137, 177, 192.
+</p>
+</note> There remain, however, five<note place="foot">
+<p>
+Nos. 3, 38, 123, 133, 135.
+</p>
+</note> in which, perhaps, we detect another, and the last, of Bach's literary helpers.
+</p>
+<p>
+Wustmann draws attention<note place="foot">
+<p>
+P. xxiv.
+</p>
+</note> to the libretto of Cantata No. 38, a paraphrase of Luther's Psalm 130.  He finds in it, and reasonably, an expression of <q>Jesus religion</q> very alien to Picander's muse, and suggests the younger Christian Weiss as the author of it.  Like his father, he was Bach's colleague, the godfather of his daughter, and undoubtedly on terms of close friendship with him.  But if he wrote the libretto of Cantata No. 38, probably it is not the only one.  The same note rings in four more of the Choral Cantatas,<note place="foot">
+<p>
+Nos. 3, 123, 133, 135.
+</p>
+</note> which may be attributed tentatively to Weiss, though their ascription to Bach would be equally congruous.
+</p>
+<p>
+Returning, however, to the seventy-two libretti of the later Leipzig period we reach this result: More than half of them (thirty-nine) are congregational hymns, all but two of which are of the paraphrased type in which we detect the work of Picander, Bach himself, and perhaps the younger Weiss.  Of the remaining thirty-three original libretti Marianne von Ziegler heads the list with nine, and perhaps ten.<note place="foot">
+<p>
+See 
+<foreign lang="la">supra</foreign>, p. 180.
+</p>
+</note>  Bach follows with a problematical
+<pb n="185" />
+six,<note place="foot">
+<p>
+Nos. 17, 34, 43, 151, 197, and <title>Herr Gott, Beherrsoher aller Dinge.</title>
+</p>
+</note> Picander with five,<note place="foot">
+<p>
+Nos. 30, 32, 48, 57, 90.
+</p>
+</note> the elder Weiss with four,<note place="foot">
+<p>
+Nos. 45, 79, 110, 143.
+</p>
+</note> Neumeister with one.<note place="foot">
+<p>
+No. 28. 
+</p>
+</note> One text is taken from the Bible.<note place="foot">
+<p>
+No. 50.
+</p>
+</note> Another consists of a single stanza of a hymn by Martin Behm.<note place="foot">
+<p>
+No. 118.
+</p>
+</note> Five are by authors unknown or undetected.<note place="foot">
+<p>
+Nos. 6, 11, 13, 146, 193.
+</p>
+</note>
+</p>
+<p>
+But, as was said at the outset, the attribution of particular libretti to individual writers is conjectural, except in comparatively few cases.  Yet, unsatisfying as it is, this guess-work reveals with approximate correctness the extent to which Bach drew upon his own and other people's abilities for the texts he needed.  Summarising our conclusions, we discover that about one-quarter (fifty-four) of the 202 libretti set by Bach between the years 1704 and 1744 were provided by the hymn-book.  It is shown elsewhere<note place="foot">
+<p>
+See <title>Bach's Chorals,</title> Part II., Introduction.
+</p>
+</note> that all but eleven of them are taken from Paul Wagner's volumes.  The elder Weiss comes next with thirty-three libretti.  Bach follows with thirty, Salomo Franck with twenty-one, Picander with twenty (exclusive of his arrangements of Choral Cantata texts).  Marianne von Ziegler contributes ten, Neumeister seven, Eilmar and Helbig two each, Gottsched and Martin Behm one each.  Three libretti are taken from the Bible or Church liturgy.  Eighteen remain anonymous.
+</p>
+<p>
+The literary qualities of the libretti are not under discussion here.  They have a characteristic, however, on which one cannot forbear from remarking.  Indifferent literature as, for the most part, they are&mdash;children of their period and blemished with its imperfections&mdash;they enshrine an extraordinarily interesting anthology of the religious poetry of the sixteenth, seventeenth, and eighteenth centuries.  They expose the evangelical thought of Germany from the age of Luther to that of Bach,
+<pb n="186" />
+and are particularly rich in the lyrical fervour of the Reformation itself.  Of the seventy-seven hymn-writers whom Bach includes in his collection, so many as forty-four belong to the sixteenth century.  Only thirteen of them touch Bach's own period.  And a similar bias to the Reformation epoch is observable in his choice of the tunes of the Chorals, which are absent from only twenty-one of the Cantatas.  By far the greater number of them are coeval with the hymns themselves; that is, they date from the Reformation and behind it.
+</p>
+<p>
+Here clearly is the source of Bach's inspiration, the master-key of his art.  He touches Luther, is in a sense his complement, his art builded on the foundations Luther laid, consecrated to the ends Luther vindicated, inspired by a dedication of himself to God's service not less exalted&mdash;a great artist, a great Protestant, a great man.<note place="foot">
+<p>
+The above article and the Table that follows were communicated originally to the Musical Association on March 28, 1918.
+</p>
+</note>
+</p>
+
+<p>
+NOTE.&mdash;Cantatas distinguished by an asterisk (*) are for Soli voices only (S.A.T.B. unless the particular voices are stated); those marked (&dagger;) include, in addtion, simple four-part Chorals: the rest contain concerted Choruses.
+</p>
+
+<div>
+<pb n="187" />
+<head type="sub">(1) COMPOSED AT ARNSTADT (see also Nos. 150, 189.)</head>
+<table cols="5" rend="rules:all;
+      latexcolumns: '|p{1.8cm}|p{1.8cm}|p{1.8cm}|p{1.8cm}|p{1.8cm}|';
+      tblcolumns: 'l|l|l|l|l(30m)'">
+
+<row><cell>
+No.
+</cell><cell>
+Date.
+</cell><cell>
+Title.
+</cell><cell>
+Author of Libretto.
+</cell><cell>
+Composition of the Text.
+</cell></row>
+
+<row><cell>
+15
+</cell><cell>
+1704. Easter Day (revised for subsequent performance).
+</cell><cell>
+Den du wirst meine Seele nicht in der H&uuml;lle lassen (Psalm xvi. 10).
+</cell><cell>
+?Bach
+</cell><cell>
+<emph>Part I.</emph> Psalm xvi. 10; St. Mark xvi. 6; <emph>Part II.</emph> seven (six) stanzas of the anonymous hymn, <q>Auf freue dich, Seele, du bist nun getr&ouml;st</q>; Stanza iv. of Nikolaus Hermann's hymn <q>Wenn mein St&uuml;ndlein vorhanden ist.</q> The rest of the libretto perhaps is by Bach.
+</cell></row>
+</table>
+</div>
+
+<div>
+<head type="sub">(2) COMPOSED AT M&Uuml;LHAUSEN (see also Nos. 150, 189.)</head>
+
+<table cols="5" rend="rules:all;
+      latexcolumns: '|p{1.8cm}|p{1.8cm}|p{1.8cm}|p{1.8cm}|p{1.8cm}|';
+      tblcolumns: 'l|l|l|l|l(30m)'">
+	  
+<row><cell>
+No.
+</cell><cell>
+Date.
+</cell><cell>
+Title.
+</cell><cell>
+Author of Libretto.
+</cell><cell>
+Composition of the Text.
+</cell></row>
+
+<row><cell>
+131
+</cell><cell>
+1707. ? for llth, 19th, 21st, or 22nd S. after Trinity.
+</cell><cell>
+Aus der Tiefe rufe ich, Herr,   zu   dir   (Psalm cxxx.)
+</cell><cell>
+Georg Christian Eilmar.
+</cell><cell>
+Psalm cxxx.; Stanzas ii. and v. of Bartholom&auml;us Ringwaldt's hymn, <q>Herr Jesu Christ, du h&ouml;chstes Gut.</q> T. B. Soli.
+</cell></row>
+
+<row><cell>
+71
+</cell><cell>
+1708. Feb. 4. Town Council Inauguration.
+</cell><cell>
+Gott ist mein Konig (Psalm lxxiv. 12).
+</cell><cell>
+Bach (or Eilmar).
+</cell><cell>
+Psalm lxxiv. 12, 16, 17, 19;  2 Sam. xix. 35, 37; Deuteronomy xxxiii. 25; Gen. xxi. 22;   Stanza vi.  of Johann  Heermann's hymn, <q>O Gott, du frommer Gott</q>;  rest of libretto original.    A. T. B. Soli.
+</cell></row>
+
+<pb n="188" />
+
+<row><cell>
+196
+</cell><cell>
+1708. June 5. Wedding of Johann Lorenz Stauber (at Dornheim).
+</cell><cell>
+Der Herr denket an uns (Psalm cxv. 12).
+</cell><cell>
+Psalm cxv. 12-15.
+</cell><cell>
+The libretto consists exclusively of the Psalm verses. S. T. B. Soli.
+</cell></row>
+</table>
+</div>
+
+<div>
+<head type="sub">(3) COMPOSED AT WEIMAR. (See also Nos. 12, 72, 80, 164, 168, 186.)</head>
+
+
+
+
+<table cols="5" rend="rules:all;
+      latexcolumns: '|p{1.8cm}|p{1.8cm}|p{1.8cm}|p{1.8cm}|p{1.8cm}|';
+      tblcolumns: 'l|l|l|l|l(30m)'">
+	  
+<row><cell>
+No.
+</cell><cell>
+Date.
+</cell><cell>
+Title.
+</cell><cell>
+Author of Libretto.
+</cell><cell>
+Composition of the Text.
+</cell></row>
+
+<row><cell>
+*189
+</cell><cell>
+c. 1707-10. Visitation of the B.V.M.
+</cell><cell>
+Meine Seele r&uuml;hmt und preist.
+</cell><cell>
+Author unknown. ?Composed at Muhlhausen.
+</cell><cell>
+A paraphrase of the <q>Magnificat.</q>    Tenor Solo.
+</cell></row>
+
+
+<row><cell>
+150
+</cell><cell>
+c. 1710. ?Occasion.
+</cell><cell>
+Nach dir, Herr, verlanget mich (Psalm xxv. 1).
+</cell><cell>
+?Bach. ?Composed at M&uuml;hlhausen.
+</cell><cell>
+Psalm xxv. 1, 2, 5, 15; rest of libretto perhaps by Bach. See <title>Bach-Jahrbuch</title> for 1913, p. 39, on authenticity of Cantata.
+</cell></row>
+
+
+
+<row><cell>
+106
+</cell><cell>
+?1711. Funeral of Rector Philipp Grossgebauer (Weimar); or ?1707 (Sept.) funeral of Thomas Lammerhirt (Erfurt).
+</cell><cell>
+Gottes Zeit ist die aller-beste Zeit <foreign lang="la">(Actus tragicus).</foreign>
+</cell><cell>
+?G. C. Eilmar (or Bach). ?Composed at M&uuml;hlhausen.
+</cell><cell>
+Acts xvii;. 28; Psalm xc. 12; Isaiah xxxviii. 1; Ecclesiasticus xiv. 17; Rev. xxii; 20; Psalm xxxi. 5; St. Luke xxiii. 43; Stanza i. of Luther's hymn, <q>Mit Fried' und Freud' ich fahr' dahin</q>; Stanza vii;. of Adam Reissner's hymn, <q>In dich hab' ich gehoffet, Herr.</q> A. B. Soli.
+</cell></row>
+
+
+<row><cell>
+18
+</cell><cell>
+1714 (or 1713). Sexagesima.
+</cell><cell>
+Gleich wie der Regen und Schnee vom Himmel f&auml;llt (Isaiah lv. 10-11).
+</cell><cell>
+Erdmann Neumeister <q>F&uuml;nffache Kirchen-Andachten</q> (Leipzig, 1716) (Ser. iii.).
+</cell><cell>
+Isaiah lv. 10, 11; four clauses of the Litany; Stanza viii. of Lazarus Spengler's hymn, <q>Durch Adams Fall ist ganz verderbt</q>; rest of libretto original. S. T. B. Soli.
+</cell></row>
+
+<pb n="189" />
+
+<row><cell>
+*160
+</cell><cell>
+1714 (or 1713). Easter Day.
+</cell><cell>
+Ich weiss, dass mein Erl&ouml;ser lebt.
+</cell><cell>
+Erdmann Neumeister <foreign lang="la">(Ibid.</foreign>, Ser. I.). Slight verbal alterations by Bach.
+</cell><cell>
+Original throughout.   Tenor Solo.
+</cell></row>
+
+
+<row><cell>
+21
+</cell><cell>
+1714. Third S. after Trinity and General Use.
+</cell><cell>
+Ich  hatte  viel Bek&uuml;mmernis (Psalm xciv. 19)
+</cell><cell>
+Spitta (i. 531) attributes text to Salomo Franck.
+</cell><cell>
+<emph>Part I,:</emph> Psalm xciv. 19; Psalm xlii. 5. <emph>Part ii.:</emph> Psalm cxvi. 7; Rev. v. 12, 13; Stanzas ii. and v. of Georg Neumark's hymn, <q>Wer nur den lieben Gott lasst walten</q>; rest of libretto original.
+</cell></row>
+
+<row><cell>
+*199 N.B.G.
+</cell><cell>
+c. 1714. Eleventh S. after Trinity.
+</cell><cell>
+Mein Herze schwimmt im Blut.
+</cell><cell>
+The title is from a Neumeister text for this Sunday. ?By Bach.
+</cell><cell>
+Stanza  iii. of Johann Heermann's hymn, <q>Wo soll ich fliehen hin</q>; rest of libretto original. Soprano solo.
+</cell></row>
+
+
+
+<row><cell>
+61
+</cell><cell>
+1714. First S. in Advent.
+</cell><cell>
+Nun komm, der Heiden Heiland.
+</cell><cell>
+Erdmann Neumeister, <q>F&uuml;nffache Kirchen-Andachten</q> (Leipzig, 1716), (Ser. IV).
+</cell><cell>
+Stanza i. of Luther's hymn, <q>Nun komm, der Heiden Heiland</q>; Rev. iii. 20; part of stanza vii. of Philipp Nicolai's hymn, <q>Wie sch&ouml;n leuchtet der Morgenstern</q>; rest original. S. T. B. Soli.
+</cell></row>
+
+
+<row><cell>
+142
+</cell><cell>
+1714 (or 1712). Christmas Day.
+</cell><cell>
+Uns ist ein Kind geboren (Isaiah ix. 6).
+</cell><cell>
+Erdmann Neumeister <foreign lang="la">(Ibid.,</foreign> Ser. I.). Textually, the last three movements are altered, perhaps by Bach, whose authorship of the Cantata, however, is questioned (<title>Bach-Jahrbuch,</title> 1912, p. 132).
+</cell><cell>
+Isaiah ix. 9; Psalm lxix. 30; Stanza v. of Caspar Fuger's hymn, <q>Wir Christenleut</q>; rest of libretto original (see Spitta i. 630 on Bach's emendations). A. T. B. Soli.
+</cell></row>
+
+<pb n="190" />
+
+<row><cell>
+182
+</cell><cell>
+1715 (or l714).Palm Sunday (used also for the Annunciation).
+</cell><cell>
+Himmelsk&ouml;nig, sei wilkommen.
+</cell><cell>
+Spitta (i.   539) suggests Salomo Franck, whose characteristics it displays.
+</cell><cell>
+Psalm xl. 7, 8; Stanza xxxiii. of Paul Stockmann's hymn, <q>Jesu Leiden, Pein und Tod</q>; rest of libretto original. A. T. B. Soli.
+</cell></row>
+
+<row><cell>
+31
+</cell><cell>
+1715. Easter Day. Revised in ?1723. (Schweitzer, ii. 141n).
+</cell><cell>
+Der Himmel lacht,  die Erde jubiliret.
+</cell><cell>
+Salomo Franck (<q>Evangelisches Andachts-Opffer</q> Weimar, 1715, p. 75).
+</cell><cell>
+Stanza v. (posthumous) of Nikolaus Herman's hymn, <q>Wenn mein St&uuml;ndlem vorhanden ist</q>; rest of libretto original. S. T. B. Soli.
+</cell></row>
+
+
+<row><cell>
+&dagger;l85
+</cell><cell>
+1716. Fourth S. after Trinity.
+</cell><cell>
+Barmherziges Herze der ewigen Liebe.
+</cell><cell>
+Salomo Franck <foreign lang="la">(Ibid.,</foreign>p. 128).
+</cell><cell>
+Stanza i. of Johannes Agricola's hymn, <q>Ich ruf' zu dir, Herr Jesu Christ</q>; rest of libretto original.
+</cell></row>
+
+<row><cell>
+161
+</cell><cell>
+1715. Sixteenth S. after Trinity (also for Purification).
+</cell><cell>
+Komm, du s&uuml;sse Todesstunde.
+</cell><cell>
+Salomo Franck <foreign lang="la">(Ibid.,</foreign> p. 162); verbal alterations by Bach.
+</cell><cell>
+Stanza   iv.   of   Christoph   Knoll's   hymn, <q>Herzlich thut mich verlangen</q>; rest original. A. T. Soli.
+</cell></row>
+
+<row><cell>
+&dagger;162
+</cell><cell>
+1715. Twentieth S. after Trinity.
+</cell><cell>
+Ach, ich sehe, jetzt da ich zur Hochzeit gehe.
+</cell><cell>
+Salomo Franck <foreign lang="la">(Ibid.,</foreign> p. 172).
+</cell><cell>
+Stanza vii. of Johann Georg Albinus' hymn, <q>Alle Menschen m&uuml;ssen sterben</q>; rest of libretto original.
+</cell></row>
+
+<row><cell>
+&dagger;163
+</cell><cell>
+1715. Twenty-third S. after Trinity.
+</cell><cell>
+Nur Jedem das Seine.
+</cell><cell>
+Salomo Franck <foreign lang="la">(Ibid.,</foreign> p. 182).
+</cell><cell>
+Stanza xi. (suggested by Spitta i. 557) of Johann Heermann's hymn, <q>Wo soll ich fliehen hin</q>; rest of libretto original.
+</cell></row>
+
+<row><cell>
+*132
+</cell><cell>
+1715. Fourth S. in Advent.
+</cell><cell>
+Bereitet die Wege, bereitet die Bahn.
+</cell><cell>
+Salomo Franck <foreign lang="la">(Ibid.,</foreign> p. 8)
+</cell><cell>
+Stanza v.  of Elisabethe Cruciger's hymn, <q>Herr Christ, der einig' Gott's Sohn</q>; rest of libretto original.
+</cell></row>
+
+<pb n="191" />
+
+<row><cell>
+*152
+</cell><cell>
+1715 (or 1714). S. after Christmas
+</cell><cell>
+Tritt auf die Glaubensbahn.
+</cell><cell>
+Salomo Franck <foreign lang="la">(Ibid.,</foreign> p. 19).
+</cell><cell>
+Original throughout. S. and B. Soli.
+</cell></row>
+
+
+<row><cell>
+&dagger;155
+</cell><cell>
+1716. Second S. after the Epiphany.
+</cell><cell>
+Mein Gott, wie lang', ach lange.
+</cell><cell>
+Salomo Franck <foreign lang="la">(Ibid.,</foreign> p. 32).
+</cell><cell>
+Stanza xii. of Paul Speratus' hymn, <q>Es ist das Heil uns kommen her</q>; rest of libretto original.
+</cell></row>
+
+<row><cell>
+&dagger;59
+</cell><cell>
+1716. WhitSunday Expanded in ?1736 (No.74 <foreign lang="la">infra</foreign>).
+</cell><cell>
+Wer mich liebet, der wird mein Wort halten (St. John xiv. 23).
+</cell><cell>
+Erdmann Neumeister (<q>Funffache Kirchen-Andachten,</q> Ser. IV.).
+</cell><cell>
+St. John xiv. 23; Stanza i. of Luther's hymn, <q>Komm, heiliger Geist, Herre Gott</q>; rest of libretto original. S. and B. Soli.
+</cell></row>
+
+
+<row><cell>
+70
+</cell><cell>
+1716. Second S. in Advent; later (c. 1723). Twenty-sixth S. after Trinity.
+</cell><cell>
+Wachet, betet, betet, wachet.
+</cell><cell>
+Salomo Franck (<q>Evangelische Sonn- und Fest-Tages Andachten,</q> Weimar, 1717, p. 4) (opening chorus and Arias only). Recitativi added by a later (c. 1723) hand (? Bach).
+</cell><cell>
+<emph>Part I.: </emph> Stanza x. of the anonymous hymn, <q>Freu' dich sehr, O meine Seele.</q> <emph>Part. ii.:</emph> Stanza v. of Christian Keimann's hymn, <q>Meinen Jesum lass' ich nicht.</q> Rest of libretto, both parts, original.
+</cell></row>
+
+<row><cell>
+147
+</cell><cell>
+1716. Fourth S. in Advent; later (c. ?1727). Feast of the Visitation.
+</cell><cell>
+Herz und Mund und That und Leben.
+</cell><cell>
+Salomo Franck <foreign lang="la">(Ibid.).</foreign> (Opening chorus and first three Arias only). Recitativi and fourth Aria added by a later hand (?Bach).
+</cell><cell>
+<emph>Part I.:</emph> Stanza vi. of Martin Janus' hymn, <q>Jesu, meiner Seelen Wonne.</q> <emph>Part II.:</emph> Stanza xvii. of the same hymn.  Rest of libretto, both parts, original.
+</cell></row>
+
+<pb n="192" />
+
+<row><cell>
+&dagger;158
+</cell><cell>
+c. 1708-16. Purification of the B.V.M.; later (at Leipzig) adapted to Easter Tuesday
+</cell><cell>
+Der Friede sei mit dir.
+</cell><cell>
+Spitta  (ii. 688) suggests Franck as author of the Aria and following Recitativo, both of which bear on the Gospel for the Purification.  The opening Recitative and choice of the concluding Choral, both of which are relevant to the Gospel for Easter Tuesday, must be attributed to a later hand (?Bach).
+</cell><cell>
+Stanza i. of Johann Georg Albinus' hymn, <q>Welt, ade! ich bin dein m&uuml;de</q>; Stanza v. of Luther's hymn, <q>Christ lag in Todesbanden</q>; rest of libretto original. S. and B. Soli.
+</cell></row>
+</table>
+</div>
+
+<div>
+<head type="sub">(4) COMPOSED AT C&Ouml;THEN. (See also Nos. 22 and 23.)</head>
+
+
+<table cols="5" rend="rules:all;
+      latexcolumns: '|p{1.8cm}|p{1.8cm}|p{1.8cm}|p{1.8cm}|p{1.8cm}|';
+      tblcolumns: 'l|l|l|l|l(30m)'">
+
+<row><cell>
+No.
+</cell><cell>
+Date.
+</cell><cell>
+Title.
+</cell><cell>
+Author of Libretto.
+</cell><cell>
+Composition of the Text.
+</cell></row>
+
+<row><cell>
+173
+</cell><cell>
+c. 1718. Birthday Serenade; new text (c. 1730) for Whit Monday.
+</cell><cell>
+Erh&ouml;tes Fleisch und Blut.
+</cell><cell>
+The music of the Cantata is that of the Birthday Serenade, <q>Durehlaucht'-ster Leopold</q> (omitting numbers 5 and 6). Cantata text probably by Bach.
+</cell><cell>
+Original throughout.
+</cell></row>
+
+
+<row><cell>
+47
+</cell><cell>
+?1720. Seventeenth S. after Trinity.
+</cell><cell>
+Wer sich selbst erh&ouml;het, der soll erniedriget werden (St. Luke xiv. 11).
+</cell><cell>
+Johann Friedrich Helbig (<q>Aufmunterung zur Andacht,</q> Eisenach, 1720, p. 114.
+</cell><cell>
+St. Luke xiv. 11; Stanza xi. of anonymous (?Hans Sachs) hymn, <q>Warum betrubst du dich, mein Herz</q>; rest original. S. B. Soli.
+</cell></row>
+
+<pb n="193" />
+
+<row><cell>
+141
+</cell><cell>
+1721 or 1722. Third S. in Advent.
+</cell><cell>
+Das ist je gewisslich wahr (I. Timothy i. 15).
+</cell><cell>
+Johann Fr. Helbig <foreign lang="la">Ibid.</foreign>, p. 5). Bach's authorship of the music is questioned (<title>Bach-Jahrbuch,</title> 1912).
+</cell><cell>
+1 Timothy i. 15; rest of libretto is original. The concluding Choral is omitted by Bach. It should be <q>Christe, du Lamm Gottes</q> (Spitta. ii. 15n.). A. T. B. Soli.
+</cell></row>
+
+<row><cell>
+134
+</cell><cell>
+c. 1717-22. Secular Cantata; later adapted for Easter Tuesday (c. 1731).
+</cell><cell>
+Ein   Herz,    das   seinen Jesum lebend weiss.
+</cell><cell>
+?Bach
+</cell><cell>
+Text original throughout.  A. T. Soli.
+</cell></row>
+</table>
+</div>
+
+<div>
+<head type="sub">(5) COMPOSED AT LEIPZIG. 1723-34. (See also Nos. 31, 70, 134, 147,  158, 173.)</head>
+
+
+<table cols="5" rend="rules:all;
+      latexcolumns: '|p{1.8cm}|p{1.8cm}|p{1.8cm}|p{1.8cm}|p{1.8cm}|';
+      tblcolumns: 'l|l|l|l|l(30m)'">
+	  
+<row><cell>
+No.
+</cell><cell>
+Date.
+</cell><cell>
+Title.
+</cell><cell>
+Author of Libretto.
+</cell><cell>
+Composition of the Text.
+</cell></row>
+
+<row><cell>
+22
+</cell><cell>
+1723. Quinquagesima. (<q>Estomihi</q>).
+</cell><cell>
+Jesus nahm zu sich die Zw&ouml;lfe (St. Luke xviii. 31). [See No. 31 (1715).]
+</cell><cell>
+?Bach (composed at C&ouml;then). Trial Cantata (February 7, 1723).
+</cell><cell>
+St. Luke xviii. 31, 34; Stanza v. of Elisabothe Gruciger's hymn, <q>Herr Christ, der einig' Gott's Sohn</q>; rest original. A. T. B. Soli.
+</cell></row>
+
+<row><cell>
+75
+</cell><cell>
+1723 (May 30). First S. after Trinity.
+</cell><cell>
+Die Elenden sollen essen (Psalm xxii. 26).
+</cell><cell>
+?Christian Weiss, senr.
+</cell><cell>
+<emph>Part I.:</emph> Psalm xxii. 26; Stanza v. of Samuel Rodigast's hymn, <q>Was Gott thut, das ist wohlgethan</q>; <emph>Part II.:</emph> Stanza v. of the same hymn (repeated); rest of libretto, both parts, original.
+</cell></row>
+
+<row><cell>
+76
+</cell><cell>
+1723. Second S. after Trinity. Also for Reformation Festival.
+</cell><cell>
+?Christian Weiss, senr.
+</cell><cell>
+Die Himmel erzahlon die Ehre Gottes (Psalm xix. 1, 3).
+</cell><cell>
+<emph>Part I.:</emph> Psalm xix. 1,3; Stanza i. of Luther's hymn, <q>Es woll' uns Gott gen&auml;dig sein</q>; <emph>Part II.:</emph> Stanza iii. of the same hymn; rest of libretto original. See Spitta ii. 357n.
+</cell></row>
+
+<row><cell>
+24
+</cell><cell>
+1723.      Fourth S. after Trinity.
+</cell><cell>
+Ein ungefarbt Gem&uuml;the.
+</cell><cell>
+Erdmann Neumeister (<q>F&uuml;nffache Kirchen-Andachten</q>) (Ser. IV.).
+</cell><cell>
+St. Matthew vii. 12; Stanza i. of Johann Heer-mann's hymn, <q>O Gott, du frommer Gott</q>; rest of libretto original. A. T. B. Soli.
+</cell></row>
+
+<pb n="194" />
+
+<row><cell>
+186
+</cell><cell>
+1723. Seventh S. after Trinity.
+</cell><cell>
+Aergre dich, O Seele, nicht.
+</cell><cell>
+The opening chorus and first two Arias are by Salomo Franck (<q>Evangelische Sonn- und Fest-Tages,</q> p. 6), written for the Third S. in Advent, perhaps composed by Bach at Weimar. The remainder of the libretto was added in 1723 for the Seventh S. after Trinity. Both Gospels relate Christ's miracles.
+</cell><cell>
+<emph>Part I.:</emph> Stanza xii. of Paul Speratus' hymn, <q>Es ist das Heil uns kommen her.</q>
+</cell></row>
+
+<row><cell>
+&dagger;164
+</cell><cell>
+1723 (or 1724). Thirteenth S. after Trinity.
+</cell><cell>
+Ihr, die ihr euch von Christo nennet.
+</cell><cell>
+Salomo Franck (<q>Evangelisches Andachts-Opffer,</q> 1715, p. 152).
+</cell><cell>
+Stanza v. of Elisabethe Cruciger's hymn, <q>Herr Christ, der einig' Gott's Sohn</q>; rest of libretto original. Perhaps written at Weimar.
+</cell></row>
+
+<row><cell>
+119
+</cell><cell>
+1723. Inauguration of Town Council (Aug. 30).
+</cell><cell>
+Preise, Jerusalem, den Herrn (Psalm cxlvii. 12.)
+</cell><cell>
+?Christian Weiss, senr.
+</cell><cell>
+Psalm cxlvii. 12-14; clauses xxii. and xxiii. of the <q>Te Deum</q>; rest of libretto original.
+</cell></row>
+
+<row><cell>
+194
+</cell><cell>
+1723. Opening of the Organ at St&ouml;rmthal (November 2); later (1731) for Trinity Sunday. [See   No.   70 (1716).]
+</cell><cell>
+H&ouml;chsterw&uuml;nschtes Freudenfest.
+</cell><cell>
+?Bach.
+</cell><cell>
+<emph>Part I.:</emph> Stanzas vi. and vii. of Johann Heermann's hymn, <q>Treuer Gott, ich muss dir klagen</q>; <emph>Part II.:</emph> Stanzas ix. and x. of Paul Gerhardt's hymn, <q>Wach auf, mein Herz, und singe.</q> Rest of libretto original. S. T. B. Soli.
+</cell></row>
+
+<pb n="195" />
+
+<row><cell>
+63
+</cell><cell>
+?1723.   Christmas Day.
+</cell><cell>
+Christen &auml;tzet diesen Tag.
+</cell><cell>
+?Bach. The opening two lines suggested by a poem in Joh. Jakob Bambach's <q>Geistliche Poesien</q> (Halle, 1720).
+</cell><cell>
+Original throughout.
+</cell></row>
+
+<row><cell>
+40
+</cell><cell>
+?1723. Feast of St. Stephen.
+</cell><cell>
+Dazu ist erschienen der Sohn Gottes (1 John iii. 8).
+</cell><cell>
+Christian Weiss, senr. Wustmann (note 8) suggests Bach. Certainly same author as Nos. 64, 65 <emph>infra.</emph>
+</cell><cell>
+1 John iii. 8; Stanza iii. of Caspar Fuger's hymn, <q>Wir Christenleut'</q>; Stanza ii. of Paul Gerhardt's hymn, <q>Schwing' dich auf zu deinem Gott</q>; Stanza iv. of Christian Keimann's hymn, <q>Freuet euch, ihr Christen alle</q>; rest of libretto original. A. T. B. Soli.
+</cell></row>
+
+<row><cell>
+64
+</cell><cell>
+?1723. Feast of St. John the Evangelist.
+</cell><cell>
+Sehet, welch' eine Liebe hat uns der Vater erzeiget (1 John iii. 1).
+</cell><cell>
+Christian Weiss, senr. Certainly same author as Nos. 40 <foreign lang="la">supra</foreign> and 65 <foreign lang="la">infra.</foreign>
+</cell><cell>
+1 John &uuml;i. 1; Stanza v&uuml;. of Luther's hymn, <q>Gelobet seist du, Jesu Christ</q>; Stanza i. of Georg Michael Pfefferkorn's hymn, <q>Was frag ich nach der Welt</q>; Stanza v. of Johann Franck's hymn, <q>Jesu, meine Freude</q>; rest of libretto original. S. A. B. Soli.
+</cell></row>
+
+
+<row><cell>
+16
+</cell><cell>
+?1724. New Year's Day. Spitta (ii. 386, 413) regards No. 190 <foreign lang="la">(infra) </foreign> as Bach's first Leipzig New Year Cantata, and dates No. 16, 1723-27.
+</cell><cell>
+Herr Gott dich loben wir.
+</cell><cell>
+?Bach.
+</cell><cell>
+Clauses i. and ii. of Luther's <q>Te Deum</q>; Stanza vi. of Paul Eber's hymn, <q>Helft mir Gott's G&uuml;te preisen</q>; rest of libretto original. A. T. B. Soli.
+</cell></row>
+
+
+<pb n="196" />
+
+<row><cell>
+&dagger;153
+</cell><cell>
+1724. Sunday after the Circumcision.
+</cell><cell>
+Schau', lieber Gott, wie meine Feind'.
+</cell><cell>
+?Bach.
+</cell><cell>
+Stanza  i.   of  David  Denicke's (?)  hymn,
+<q>Schau', lieber Gott, wie meine Feind'</q>;
+Isaiah xli. 10; Stanza v. of Paul Gerhardt's
+hymn, <q>Befiehl du deine Wege</q>; Stanzas
+xi.  and xii.  (as three verses) of Martin
+Moller's (?) hymn, <q>Ach Gott, wie manches
+Herzeleid</q>; rest of libretto original.
+A. T. B. Soli.
+</cell></row>
+
+<row><cell>
+65
+</cell><cell>
+1724.   Feast of the Epiphany.
+</cell><cell>
+Sie werden aus Saba Alle kommen (Isaiah lx. 6).
+</cell><cell>
+?Christian  Weiss, senr. Wustmann (note 23) attributes text to author
+of Nos. 40 and 64 <emph>supra,</emph> <emph>i.e. </emph>Bach.
+</cell><cell>
+Isaiah lx. 6;   Stanza iv. of the anonymous hymn, <q>Ein Kind geborn zu Bethlehem</q>;
+Stanza x. of Paul Gerhardt's hymn, <q>Ich hab' in Gottes Herz und Sinn</q>; rest original.    A. T. B. Soli.
+</cell></row>
+
+<row><cell>
+&dagger;154
+</cell><cell>
+1724. First S. after the Epiphany.
+</cell><cell>
+Mein liebster Jesus ist verloren.
+</cell><cell>
+?Bach.   Wustmann (note 25) attributes it to an anonymous author.
+</cell><cell>
+Stanza ii. of  Martin  Janus'  hymn, <q>Jesu, meiner Seelen Wonne</q>;  St. Luke &uuml;. 49;
+Stanza vi. of Christian Keimann's hymn,
+<q>Meinen Jesum lass' ich nicht</q>; rest original. A. T. B. Soli.
+</cell></row>
+
+<row><cell>
+&dagger;81
+</cell><cell>
+1724. Fourth S. after   the   Epiphany.
+</cell><cell>
+Jesus schlaft, was soll ich hoffen?
+</cell><cell>
+?Bach. Wustmann  regards texts of Nos. 81 and 154 as being by the same hand (note 35).
+</cell><cell>
+St. Matthew viii. 26; Stanza ii. of Johann Franck's hymn, <q>Jesu, meine Freude</q>; rest of libretto original. A. T. B. Soli.
+</cell></row>
+
+<row><cell>
+&dagger;83
+</cell><cell>
+?1724. Feast of the Purification.
+</cell><cell>
+Erfreute Zeit im neuen Bunde.
+</cell><cell>
+?Bach.
+</cell><cell>
+St. Luke ii. 29, 30;   Stanza iv. of Luther's hymn, <q>Mit Fried' und Freud' ich fahr'
+dahin</q>; rest of libretto original. A. T. B. Soli.
+</cell></row>
+
+<pb n="197" />
+
+<row><cell>
+23
+</cell><cell>
+1724. Quinquagesima (<q>Estomihi</q>). ?Composed at C&ouml;then. Spitta (ii. 679) holds this, and not No. 22, to have been Bach's first Quinquagesima Cantata at Leipzig.
+</cell><cell>
+Du wahrer Gott und Davids Sohn.
+</cell><cell>
+?Bach
+</cell><cell>
+Three stanzas of <q>Christe, du Lamm Gottes</q>; rest of libretto original. S. A. T. Soli.
+</cell></row>
+
+<row><cell>
+4
+</cell><cell>
+1724. Easter Day (<q>Am Osterfeste</q>)
+</cell><cell>
+Christ lag in Todesbanden
+</cell><cell>
+Luther.
+</cell><cell>
+Choral Cantata. The seven stanzas of the hymn are set in their original form.
+</cell></row>
+
+<row><cell>
+12
+</cell><cell>
+1724 (or 1725). Third S. after Easter
+</cell><cell>
+Weinen, Klagen, Sorgen, Zagen.
+</cell><cell>
+?Salomo Franck.
+</cell><cell>
+Acts xiv. 22; Stanza vi. of Samuel Rodigast's hymn, <q>Was Gott thut, das ist wohlgethan</q>; rest of libretto original. A. T. B. Soli.
+</cell></row>
+
+<row><cell>
+172
+</cell><cell>
+1724 (or 1725). Whit Sunday. Perhaps revised c. 1727-30 (see Schweitzer, ii. 162).
+</cell><cell>
+Erschallet ihr Lieder.
+</cell><cell>
+?Salomo Franck (Spitta ii. 398). Wustmann (note 73) does not support the conjecture.
+</cell><cell>
+St.  John xiv. 23  Stanza iv. of Philipp Nicolai's hymn, <q>Wie sch&ouml;n leuchtet der Morgenstern</q>; rest of libretto original. Organ obbligato.
+</cell></row>
+
+<row><cell>
+184
+</cell><cell>
+1724.  Whit Tuesday.
+</cell><cell>
+Erwunschtes Freudenlicht.
+</cell><cell>
+?Bach. An adaptation of an earlier secular Cantata (Spitta, ii. 399).
+</cell><cell>
+Stanza v&uuml;i. of Anark of Wildenfeis' (?) hymn, <q>O Herre Gott, dein g&ouml;ttlich Wort</q>; rest of libretto original. S. A. T. Soli.
+</cell></row>
+
+<pb n="198" />
+
+<row><cell>
+&dagger;165
+</cell><cell>
+?1724. Trinity Sunday.
+</cell><cell>
+O heil'ges Geist und Wasserbad
+</cell><cell>
+Salomo Franck (<q>Evangelisches Andachte-Opffer</q>, 1715, p. 111)
+</cell><cell>
+Stanza v. of Ludwig Helmbold's hymn <q>Nun lasst uns Gott dem Herren</q>, rest of libretto original.
+</cell></row>
+
+<row><cell>
+179
+</cell><cell>
+?1724. Eleventh S. after Trinity.
+</cell><cell>
+Siehe zu, dass deine Gottesfurcht nicht Heuchelei sei (Ecclesiastes i. 28)
+</cell><cell>
+?Christian Weiss, senr.
+</cell><cell>
+Ecclesiastes i. 28, Stanza i. of Christph Tietze's hymn, <q>Ich armer Mensch, ich armer S&uuml;nder</q>, rest original S. T. B. Soli.
+</cell></row>
+
+<row><cell>
+69
+</cell><cell>
+?1724. Twelfth S. after Trinity, <foreign lang="la">c.</foreign> 1730 adapted as a Ratswahl cantata.
+</cell><cell>
+Loben dem herren, meine Seele (Psalm cxlix. 1).
+</cell><cell>
+As extended in 1730 the text is in Picander's <q>Cantaten</q>, 1728-29. His authorship of the 1725 text is not therefore established.
+</cell><cell>
+Psalm cxlix. 1, Psalm cl. 4,6; Clauses i. and ii. of the <q>Te Deum</q>, Stanza ii. of Johann Hermann's hymn, <q>Jesu, nun sei gepreiset</q>; rest of libretto original. A. T. B. Soli.
+</cell></row>
+
+<row><cell>
+190
+</cell><cell>
+c. 1725 (or 1724).  New Year's Day; revised to celebrate the Augsburg Confession Jubilee on June 25, 1730.
+</cell><cell>
+Singet dein Herrn ein neues Lied (Psalm cxlix. 1).
+</cell><cell>
+As extended in 1730 the text is in Picander's <q>Cantaten</q>, 1728-29.  His authorship of the 1725 text is not therefore established.
+</cell><cell>
+Psalm cxlix 1; Psalm cl. 4,6; Clauses i. and ii. of the <q>Te Deum</q>; Stanza ii. of of Johann Hermann's hymn, <q>Jesu, nun se gepreiset</q>, rest of libretto original.  A. T. B. Soli.
+</cell></row>
+
+<row><cell>
+&dagger;73.
+</cell><cell>
+<foreign lang="la">c.</foreign> 1725. Third S. after the Epiphany
+</cell><cell>
+Herr, wie du willt, so shick's mit mir.
+</cell><cell>
+Author unknown.  Spitta's (ii. 414) attribution of the text to Picander is inadequately founded.
+</cell><cell>
+Stanza i. of Caspar Bienemann's hymn, <q>Herr, wie du willt, so shick's mit mir</q>; Stanza ix. of Ludwig Helmhold's hymn, <q>Von Gott will ich nich lassen</q>; rest original. S. T. B. Soli
+</cell></row>
+
+<pb n="199" />
+
+<row><cell>
+144
+</cell><cell>
+c. 1725. Septuagesima
+</cell><cell>
+Nimm was dein ist, und gehe hin (St. Matthew xx. 14).
+</cell><cell>
+Wustmann (note 37) suggests Picander, with Bach's additions. Schweitzer (ii. 200)
+supposes that the music is adapted.
+</cell><cell>
+St. Matthew xx. 14; Stanza i. of Samuel Rodigast's hymn, <q>Was Gott thut, das ist wohlgethan</q>; Stanza i. of Albrecht of Brandenburg-Culmbach's hymn, <q>Was mein Gott will, das g'scheh' allzeit</q>; rest of libretto original. S. A. T. Soli.
+</cell></row>
+
+<row><cell>
+181
+</cell><cell>
+1725. Sexagesima.
+</cell><cell>
+Leichtgesinnte Flattergeister.
+</cell><cell>
+?Picander.
+</cell><cell>
+Original throughout.
+</cell></row>
+
+
+<row><cell>
+67
+</cell><cell>
+c. 1725. First S. after Easter (<q>Quasi-modogeniti</q>).
+</cell><cell>
+Halt' im Gedachtniss Jesum Christ (2 Timothy ii. 8).
+</cell><cell>
+?Christian Weiss, senr. Certainly not Picander, as Spitta (ii. 417) suggests.
+</cell><cell>
+2 Timothy &uuml;. 8; Stanza i. of Nikolaus Herman's hymn, <q>Erschienen ist der herrlich' Tag</q>; Stanza i. of Jakob Ebert's hymn, <q>Du Friedenf&uuml;rst, Herr Jesu Christ</q>; rest of libretto original. A. T. B. Soli.
+</cell></row>
+
+<row><cell>
+104
+</cell><cell>
+c. 1725. Second S. after      Easter (<q>Misericordias Domini</q>).
+</cell><cell>
+Du Hirte Israel, h&ouml;re (Psalm lxxi. 1).
+</cell><cell>
+?Christian Weiss, senr.
+</cell><cell>
+Psalm lxxx. 1; Stanza i. of Cornelius Becker's hymn, <q>Der Herr ist mein getreuer Hirt</q>; rest of libretto original. T. B. Soli.
+</cell></row>
+
+<row><cell>
+&dagger; 166
+</cell><cell>
+c. 1725. Fourth S. after Easter (<q>Cantate</q>).
+</cell><cell>
+Wo gehest du hin? (St. John xvi. 6).
+</cell><cell>
+?Christian Weiss, senr.
+</cell><cell>
+St. John xvi. 5; Stanza iii. of Bartholom&auml;us Ringwaldt's hymn, <q>Herr Jesu Christ, ich weiss gar wohl</q>; Stanza i. of Emilie Juliane of Schwarzburg-Rudolstadt's hymn, <q>Wer weiss, wie nahe mir mein Ende</q>; rest of libretto original.
+</cell></row>
+
+<pb n="200" />
+
+<row><cell>
+&dagger;86
+</cell><cell>
+c. 1725. Fifth S. after Easter (<q>Rogate</q>).
+</cell><cell>
+Wahrlich, wahrlich, ich sage euch (St. John xvi. 23).
+</cell><cell>
+?Christian Weiss, senr.
+</cell><cell>
+St. John xvi. 23; Stanza xvi. of Georg Gr&uuml;enwald's hymn, <q>Kommt her zu mir, spricht Gottes Sohn</q>; Stanza xi. of Paul Speratus' hymn, <q>Es ist das Heil uns kommen her</q>; rest of libretto original.
+</cell></row>
+
+<row><cell>
+44
+</cell><cell>
+c. 1725. Sixth S. after Easter  (S. after the Ascension) (<q>Exaudi</q>).
+</cell><cell>
+Sie werden euch in den Bann  thun (St. John xvi. 2)
+</cell><cell>
+?Christian Weiss, senr.
+</cell><cell>
+St. John xvi. 2; Stanza i. of Martin Moller's(?) hymn, <q>Ach Gott, wie manches Herzeleid</q>; Stanza xv. of  Paul Flemming's hymn, <q>In allen meinen Thaten</q>;  rest of the libretto original.
+</cell></row>
+
+<row><cell>
+20
+</cell><cell>
+c. 1725. First S. after Trinity.  In its existing form the work is c. 1735.
+</cell><cell>
+O Ewigkeit, du Donnerwort.
+</cell><cell>
+Johann Rist (arranged). (?Picander).
+</cell><cell>
+Choral Cantata (2 Parts).  Stanzas i., xi.,  xvi.  are retained in  thoir original form.      Stanzas ii.-x. are paraphrased in the Arias and Recitativi. A. T. B. Soli.                         
+</cell></row>
+
+<row><cell>
+&dagger;167
+</cell><cell>
+c. 1725. Feast of St. John Baptist (MidsummerDay)
+</cell><cell>
+Ihr Menschen, r&uuml;hmet Gottes liebe.
+</cell><cell>
+Author unknown. Spitta (ii. 423) remarks on the <q>vapid emptiness</q> of the text.
+</cell><cell>
+Stanza v. of Johann Graumann's hymn, <q>Nun lob', mein' Seel', den Herren</q>; rest of libretto original. The Choral is extended.
+</cell></row>
+
+<row><cell>
+136
+</cell><cell>
+c. 1725 (or  later). Eighth  S. after Trinity.
+</cell><cell>
+Erforsche mich, Gott, und erfahre mein Herz (Psalm cxxxix. 23).
+</cell><cell>
+?Christian  Weiss,   senr. Schweitzer (ii. 200) supposes that the music is adapted.
+</cell><cell>
+Psalm cxxxix.  23; Stanza ix. of Johann Heermann's hymn, <q>Wo  soll ich fliehen hin</q>;   rest of libretto original. A. T. B. Soli.
+</cell></row>
+
+<pb n="201" />
+
+<row><cell>
+&dagger;168
+</cell><cell>
+c. 1725. Ninth S. after Trinity. Perhaps composed at Weimar.
+</cell><cell>
+Thue Rechnung! Donnerwort!
+</cell><cell>
+Salomo Franck (<q>Evangelisches Andachts-Opffer,</q> 1715, p. 141).
+</cell><cell>
+Stanza  viii. of Bartholomaus Ringwaldt's hymn, <q>Herr Jesu Christ, du hochstes Gut</q>; rest of libretto original.
+</cell></row>
+
+<row><cell>
+105
+</cell><cell>
+c. 1725. Ninth S. after Trinity.
+</cell><cell>
+Herr, gehe nicht in's Gericht (Psalm cxliii. 2).
+</cell><cell>
+?Christian Weiss, senr.
+</cell><cell>
+Psalm cxliii. 2; Stanza xi. of Johann Rist's hymn, <q>Jesu, der du moine Seele</q>; rest of libretto original.
+</cell></row>
+
+
+<row><cell>
+46
+</cell><cell>
+c. 1725. Tenth S. after Trinity.
+</cell><cell>
+Schauet doch und sehet, ob irgend ein Schmerz sei (Lam. i. 12).
+</cell><cell>
+?Christian Weiss, senr.
+</cell><cell>
+Lamentations i. 12; Stanza ix. (apocryphal) of Balthasar Schnurr's hymn, <q>O grosser Gott von Macht</q>; rest original. A. T. B. Soli.
+</cell></row>
+
+<row><cell>
+77
+</cell><cell>
+1725. Thirteenth S. after Trinity.
+</cell><cell>
+Du  sollst Gott, deinen Herren, lieben (St. Luke x. 27).
+</cell><cell>
+?Christian Weiss, senr.
+</cell><cell>
+St. Luke x. 27; Stanza viii. of David Denicke's (?) hymn, <q>Wenn einer alle Ding verst&uuml;nd</q> (posthumously added to Bach's text); rest of libretto original.
+</cell></row>
+
+<row><cell>
+8
+</cell><cell>
+c. 1725.    Sixteenth S. after Trinity.
+</cell><cell>
+Liebster Gott, wann werd' ich sterben?
+</cell><cell>
+Caspar Neumann (arranged by ?Picander).
+</cell><cell>
+Choral Cantata.  Stanzas i. and v. are retained in their original form.  Stanzas ii.-iv. are paraphrased in the Arias and Recitativi.
+</cell></row>
+
+<row><cell>
+148
+</cell><cell>
+c. 1725. Seventeenth S. after Trinity.
+</cell><cell>
+Bringet dem Herrn Ehre seines Namens (Psalm xcvi. 8).
+</cell><cell>
+The groundwork is by Picander (<q>Sammlung Erbaulicher Gedancken,</q> Leipzig, 1725, p. 428), arranged by Bach. This is the earliest ascertained association of Bach and Picander (date ?Sept. 23, 1725).
+</cell><cell>
+Psalm xcvi. 8, 9; Stanza xi. of Johann Heermann's hymn, <q>Wo soll ich fliehen hin</q> (suggested by Spitta, ii. 694; wanting in the score); rest of libretto original. A. T. B. Soli.
+</cell></row>
+
+<pb n="202" />
+
+<row><cell>
+72
+</cell><cell>
+c. 1726 (or earlier). Third S. after the Epiphany.
+</cell><cell>
+Alles nur nach Gottes Willen.
+</cell><cell>
+Salomo Franck (<q>Evangelisches Andachts-Opffer,</q> 1715, p. 35).
+</cell><cell>
+Stanza i. of Albrecht of Brandenburg-Culmbach's hymn, <q>Was mein Gott will, das g'scheh' allzeit</q>; rest original. A. S. B. Soli.
+</cell></row>
+
+<row><cell>
+19
+</cell><cell>
+1726. Feast of St. Michael the Archangel.
+</cell><cell>
+Es erhub sich ein Streit.
+</cell><cell>
+The groundwork of the text is a libretto for the season published by Picander in 1725. The Cantata version probably is by Bach himself.  Spitta's (ii. 344) attribution of it to Picander is ill-founded.
+</cell><cell>
+Stanza ix. of the anonymous hymn, <q>Freu' dich sehr, O meine Seele</q>; rest of libretto original. S. T. B. Soli.
+</cell></row>
+
+<row><cell>
+195
+</cell><cell>
+?c. 1726. For a Wedding.
+</cell><cell>
+Dem Gerechten muss das Licht (Psalm xcvii. 11).
+</cell><cell>
+?Bach. Spitta (ii. 469) supposes that the music is adapted.
+</cell><cell>
+Psalm xcvii. 11, 12; Stanza i. of Paul Gerhardt's hymn, <q>Nun danket all' und bringet Ehr'</q>; rest of libretto original.
+</cell></row>
+
+<row><cell>
+&dagger;157
+</cell><cell>
+1727. Feast of the Purification. Also for a Funeral.
+</cell><cell>
+Ich lasse dich nicht, du segnest mich denn (Gen. xxxii. 26).
+</cell><cell>
+Picander (<q>Satyrische Gedichte,</q> vol. i. p. 210).
+</cell><cell>
+Genesis xxxii. 26; Stanza vi. of Christian Keimann's hymn, <q>Meinen Jesum lass' ich nicht</q>; rest by Picander. T. B. Soli
+</cell></row>
+
+<row><cell>
+37
+</cell><cell>
+c. 1727. (Schweitzer ii. 260, dates it 1728-34). Ascension Day. [See Nos. 147 (1716) and 172 (1724).]
+</cell><cell>
+Wer da glaubet und getauft wird (St. Mark xvi. 16).
+</cell><cell>
+?Christian Weiss, senr.
+</cell><cell>
+St. Mark xvi. 16; Stanza v. of Philipp Nicolai's hymn, <q>Wie sch&ouml;n leuchtet der Morgenstern</q>; Stanza iv. of Johann Kolross' hymn, <q>Ich dank' dir, lieber Herre</q>; rest of libretto original.
+</cell></row>
+
+<pb n="203" />
+
+<row><cell>
+198
+</cell><cell>
+1727. October 17.
+</cell><cell>
+Trauer-Musik: for Queen Christiane Eberhardine of Poland <note place="foot">
+General mourning for the Queen lasted from Sept. 7, 1727, to Jan. 6, 1728. No Cantatas were sung in the period.
+</note>
+</cell><cell>
+Prof. J. C. Gottsched.  (d. Sept. 7, 1727).
+</cell><cell>
+Original throughout.
+</cell></row>
+
+<row><cell>
+93
+</cell><cell>
+?1728. Fifth S. after Trinity.
+</cell><cell>
+Wer nur den lieben Gott l&auml;sst walten.
+</cell><cell>
+Georg Neumark (arranged by ?Picander).
+</cell><cell>
+Choral Cantata; Stanzas i., iv., v., vii. of Neumark's hymn are retained in their original form; Stanzas ii., iii., vi. are inserted or paraphrased in the Arias and Recitativi.
+</cell></row>
+
+<row><cell>
+&dagger;Incomplete
+</cell><cell>
+?1728. Christmas Day.
+</cell><cell>
+Ehre sei Gott in der H&ouml;he (St. Luke ii. 14).
+</cell><cell>
+Picander (<q>Cantaten,</q> 1728-29, p. 71).
+</cell><cell>
+St. Luke ii. 14; Stanza iv. of Caspar Ziegler's hymn, <q>Ich freue mich in dir</q>; rest original. A. B. Soli.
+</cell></row>
+
+<row><cell>
+&dagger;159
+</cell><cell>
+?1729. Quinquagesima (<q>Estomihi</q>).
+</cell><cell>
+Sehet, wir geh'n hinauf nach Jerusalem (St. Luke xviii. 31).
+</cell><cell>
+Picander (<foreign lang="la">Ibid.</foreign>, p. 106).
+</cell><cell>
+St. Luke xviii. 31; Stanza vi. of Paul Gerhardt's hymn, <q>O Haupt voll Blut und Wunden</q>; Stanza xxxiii. of Paul Stockmann's hymn, <q>Jesu Leiden, Pein und Tod</q>; rest original.
+</cell></row>
+
+<row><cell>
+145
+</cell><cell>
+1729 (or 1730). Easter Tuesday (<q>Am Osterfeste</q>)
+</cell><cell>
+So du mit deinem Munde bekennest Jesum (Romans x. 9), <emph>or</emph> Auf, mein Herz! des Herren Tag, <emph>or</emph> Ich lebe, mein Herze.
+</cell><cell>
+Picander (<q>Cantaten,</q> 1728-29, p. 125), with the addition (by Bach) of the opening Choral and Bible verse. See Spitta, ii. 442 n.
+</cell><cell>
+Stanza i. of Caspar Neumann's hymn, <q>Auf, mein Herz! des Herren Tag</q>; Romans x. 9; Stanza xiv. of Nikolaus Herman's hymn, <q>Erschienen ist der herrlich' Tag</q>; rest of libretto by Picander. S. T. B. Soli.
+</cell></row>
+
+
+<row><cell>
+171
+</cell><cell>
+1730 (or 1731) Feast of the Circumcision (New Year's Day).
+</cell><cell>
+Gott, wie dein Name, so ist auch dein Ruhm (Psalm xlviii. 10).
+</cell><cell>
+Picander (<foreign lang="la">Ibid.</foreign> p. 81).
+</cell><cell>
+Psalm xlviii. 10; Stanza iii. of Johann Heermann's hymn, <q>Jesu, nun sei gepreiset</q>; rest of libretto original.
+</cell></row>
+
+<pb n="204" />
+
+<row><cell>
+&dagger;156
+</cell><cell>
+1730 (or 1729). Third S. after the Epiphany.�[See No. 173 (1718).]
+</cell><cell>
+Ich steh' mit einem Fuss�im Grabe.
+</cell><cell>
+Picander (<foreign lang="la">Ibid.</foreign>Ibid., p. 91).
+</cell><cell>
+Stanza i. of Joh. Hermann Schein's hymn, <q>Mach's mit mir, Gott, nach deiner G&uuml;t'</q>; Stanza i. of Caspar Bienemann's hymn, <q>Herr, wie du will't, so schick's mit mir</q>; rest of libretto original.
+</cell></row>
+
+<row><cell>
+120
+</cell><cell>
+1730. Inauguration of the Town Council (Aug. 24). Used also for Augsburg Confession celebration on June 26, 1730. [See Nos. 69 (1724), 190 (1725).]
+</cell><cell>
+Gott, man lobet dich in der Stille (Psalm lxv. 1).
+</cell><cell>
+?Christian Weiss, senr.
+</cell><cell>
+Psalm lxv. i.;  clauses xx.-xxiii. of the <q>Te Deum</q>; rest of libretto original.
+</cell></row>
+
+<row><cell>
+&dagger;l88
+</cell><cell>
+1730 (or 1731). Twenty-first S. after Trinity. Incorporates  older instrumental material.
+</cell><cell>
+Ich habe meine Zuver-sicht.
+</cell><cell>
+Picander (<q>Cantaten,</q> 1728-29, p. 47). Music probably by Wilhelm Friedemann Bach to a large extent.
+</cell><cell>
+Stanza i. of  Sigismund Weing&auml;rtner's (?) hymn, <q>Auf meinen lieben Gott</q>; rest of libretto original. Organ obbligato.
+</cell></row>
+
+<row><cell>
+80
+</cell><cell>
+1730. Reformation Festival (c. Oct.�31). Composed mainly at Weimar (1716).
+</cell><cell>
+Ein' feste Burg ist unser Gott.
+</cell><cell>
+Luther and Salomo Franck (<q>Evangelisches Andachts-Opffer,</q> p. 60).
+</cell><cell>
+Choral Cantata. Stanzas i., ii., iii., iv. of Luther's hymn, <q>Ein' feste Burg ist unser Gott,</q> are set in their original form; rest of libretto by Franck.
+</cell></row>
+
+<pb n="205" />
+
+<row><cell>
+&dagger;89
+</cell><cell>
+c. 1730. Twenty-second S. after Trinity.
+</cell><cell>
+Was soll ich aus dir machen, Ephraim? (Hosea xi. 8).
+</cell><cell>
+?Christian Weiss, senr.
+</cell><cell>
+Hosea xi. 8; Stanza vii. of Johann Heermann's hymn, <q>Wo soll ich fliehen hin</q>; rest of libretto original. S. A. B. Soli.
+</cell></row>
+
+<row><cell>
+&dagger;52
+</cell><cell>
+<emph>c. </emph>1730. Twenty-third S. after Trinity. Incorporates older instrumental material.
+</cell><cell>
+Falsche Welt, dir trau ich nicht.
+</cell><cell>
+Author unknown.
+</cell><cell>
+Stanza i. of Adam Reissner's hymn, <q>In dich hab' ich gehoffet, Herr</q>; rest of libretto original. Soprano Solo.
+</cell></row>
+
+<row><cell>
+36
+</cell><cell>
+c. 1730. First S. in Advent.
+</cell><cell>
+Schwingt freudig euch empor.
+</cell><cell>
+The opening Chorus and three Arias are adaptations by Bach of a secular Ode, having the same title, written by Picander and performed Nov. 30, 1720.  The four Chorals replace Picander's original Recitativi. The music (excepting the Recitativi and final Chorus of the Ode) of the two works is identical.
+</cell><cell>
+<emph>Part I.:</emph> Stanza i. of Luther's hymn, <q>Nun komm, der Heiden Heiland</q>; Stanza vi. of Philipp Nicolai's hymn, <q>Wie schon leuchtet der Morgenstern</q>; <emph>Part II.:</emph> Stanzas vi. and viii. of Luther's hymn; remaining movements adapted by Bach from Picander.
+</cell></row>
+
+
+<row><cell>
+Incomplete
+</cell><cell>
+c. 1730? For a Wedding.
+</cell><cell>
+O ewiges Feuer, O Ursprung der Liebe.
+</cell><cell>
+Author unknown. See No. 34 <foreign lang="la">infra </foreign> (c. 1740).
+</cell><cell>
+Psalm cxxviii. 4, 5, 6; Benediction; rest of libretto original.
+</cell></row>
+
+
+<row><cell>
+*82
+</cell><cell>
+c. 1731. Feast of the Purification.
+</cell><cell>
+Ich habe genug.
+</cell><cell>
+?Bach.
+</cell><cell>
+Original throughout. Spitta (ii. 346) points out that the Aria <q>Schlummert ein</q> seems to have been suggested by a text by Johann Jakob Rambach for the same season. Bass Solo.
+</cell></row>
+
+
+<pb n="206" />
+
+<row><cell>
+&dagger;84
+</cell><cell>
+1731 (or 1732). Septuagesima.
+</cell><cell>
+Ich bin vergn&uuml;gt mit meinem Gl&uuml;cke.
+</cell><cell>
+A revision (?by Bach) of a text by Picander (<q>Cantaten,</q> 1728-29, p. 101).
+</cell><cell>
+Stanza xii. of Emilie Juliane of Schwarzburg-Rudolstadt's hymn, <q>Wer weiss, wie nahe mir mein Ende</q>; rest original. Soprano Solo.
+</cell></row>
+
+<row><cell>
+66
+</cell><cell>
+1731 (not 1735). Easter Monday. [See No. 134 (1717-22).]
+</cell><cell>
+Erfreut euch, ihr Herzen.
+</cell><cell>
+?Bach.
+</cell><cell>
+Stanza iii. of the hymn, <q>Christ ist erstanden</q>; rest of libretto original. A. T. B. Soli.
+</cell></row>
+
+<row><cell>
+&dagger;42
+</cell><cell>
+1731 (not c. 1740). First S. after Easter. (<q>Quasi-modogeniti</q>).
+</cell><cell>
+Am Abend aber desselbigen Sabbaths (St. John xx. 19).
+</cell><cell>
+?Christian Weiss, senr.  Wustmann (note 37) suggests Bach.
+</cell><cell>
+St. John xx. 19;  Stanza i. of Joh. Michael Altenburg's hymn,  <q>Verzage nicht, du Hauflein klein</q>; Stanza i.  of  Luther's Antiphon, <q>Verleih' uns   Frieden</q> and addendum; rest original.
+</cell></row>
+
+
+<row><cell>
+112
+</cell><cell>
+1731. Second S. after Easter (<q>Misericordias Domini</q>).
+</cell><cell>
+Der  Herr  ist  mein  getreuer Hirt (Psalm xxiii.).
+</cell><cell>
+Wolfgang Meusel.
+</cell><cell>
+Choral Cantata.  The  five stanzas  of  the hymn are set in their original form.
+</cell></row>
+
+<row><cell>
+&dagger;174
+</cell><cell>
+1731 (or 1732). Whit Monday.  Incorporates older instrumental material. [See No. 194 (1723).]
+</cell><cell>
+Ich liebe den Hochsten von ganzem Gem&uuml;the.
+</cell><cell>
+Picander (<q>Cantaten,</q> 1728-29, p. 147).
+</cell><cell>
+Stanza i. of Martin Schalling's hymn, <q>Herzlich lieb hab' ich dich, O Herr</q>; rest of libretto original. A. T. B. Soli.
+</cell></row>
+
+<pb n="207" />
+
+<row><cell>
+9
+</cell><cell>
+?1731 Sixth S. after Trinity
+</cell><cell>
+Es ist das Heil uns kommen her.
+</cell><cell>
+Paul Speratus (arranged).
+</cell><cell>
+Choral Cantata. Stanzas i. and xii. are set in their original form. The intermediate stanzas are paraphrased in the Arias and Recitativi.
+</cell></row>
+
+<row><cell>
+102
+</cell><cell>
+?1731. Tenth S. after Trinity.
+</cell><cell>
+Herr, deine Augen sehen nach dem Glauben (Jeremiah v. 3).
+</cell><cell>
+?Christian Weiss, senr. Spitta (ii. 464) suggests Picander.
+</cell><cell>
+<emph>Part I.: </emph> Jeremiah v. 3; Romans ii. 4, 5; <emph>Part II.:</emph> Stanzas vi. and vii. of Johann Heermann's hymn, <q>So wahrichlebe, spricht dein Gott</q>; rest original. A. T. B. Soli.
+</cell></row>
+
+<row><cell>
+*35
+</cell><cell>
+?1731.   Twelfth S. after Trinity.
+</cell><cell>
+Geist und Seele wird verwirret.
+</cell><cell>
+The probability that the Cantata is a converted chamber music composition supports the inference that Bach wrote the text. See Spitta, ii. 447.
+</cell><cell>
+Original  throughout  (2  parts).  Alto  Solo and Organ obbligato.
+</cell></row>
+
+<row><cell>
+25
+</cell><cell>
+c. 1731. Fourteenth S. after Trinity.
+</cell><cell>
+Es ist nichts gesundes an meinem Leibe (Psalm xxxviii. 3).
+</cell><cell>
+?Christian Weiss, senr.
+</cell><cell>
+Psalm  xxxviii. 3; Stanza xii. of Johann Heermann's hymn, <q>Treuer Gott, ich muss dir klagen</q>; rest of libretto original. S. T. B. Soli.
+</cell></row>
+
+<row><cell>
+29
+</cell><cell>
+1731. Inauguration of the Town Council (Aug. 27).  Incorporates older instrumental material.
+</cell><cell>
+Wir danken dir, Gott (Psalm lxxv. i).
+</cell><cell>
+?Christian Weiss, Sr.
+</cell><cell>
+Pslam lxxv. 1; Stanza v. (posthumous) of Johann Graumann's hymn <q>Nun lob' mein Seel' den Herren</q>, rest of libretto original.  Organ obbligato.
+</cell></row>
+
+
+<row><cell>
+*51
+</cell><cell>
+1731 (or 1732). Fifteenth S. after Trinity.
+</cell><cell>
+Jauchzet Gott in allen Landen.
+</cell><cell>
+?Bach. A version for Michaelmas (?1737) also exists. See Spitta, ii. 473n.
+</cell><cell>
+Stanza  v. of Johann Graumann's hymn, <q>Nun lob', mein' Seel', den Herren</q>; rest of libretto original. Soprano Solo.
+</cell></row>
+
+<pb n="208" />
+
+<row><cell>
+&dagger;27
+</cell><cell>
+1731.   Sixteenths, after Trinity.
+</cell><cell>
+Wer weiss, wie nahe mir mein Ende.
+</cell><cell>
+?Bach. The  first Aria is suggested by a Neumeister stanza (<q>Kirchen-Andachten,</q> p. 294). See Spitta, ii. 451.
+</cell><cell>
+Stanza i. of Emilie Juliane of Schwarzburg-Rudolstadt's hymn, <q>Wer weiss, wie nahe mir mein Ende</q>;  Stanza i. of Joh. Georg Albinus' hymn, <q>Welt ade! ich bin dein m&uuml;de</q>; rest of libretto original.    Organ obbligato.    Choral extended.
+</cell></row>
+
+<row><cell>
+&dagger;169
+</cell><cell>
+1731 (or 1732). Eighteenth S. after Trinity. 
+</cell><cell>
+Gott   soll allein mein Herzehaben.
+</cell><cell>
+Author unknown.
+</cell><cell>
+Stanza iii. of Luther's hymn, <q>Nun bitten wir den heiligen Geist</q>; rest of libretto original.  Alto Solo and Organ obbligato.
+</cell></row>
+
+<row><cell>
+149
+</cell><cell>
+1731. Feast of St. Michael the Arch-angel.
+</cell><cell>
+Man singet mit Freuden vom Sieg (Psalm cxviii. 15).
+</cell><cell>
+Christian  Weiss,  senr. First Chorus borrowed from <q>Was mir behagt.</q>
+</cell><cell>
+Psalm cxviii. 15, 16; Stanza iii. of Martin Schalling's hymn, <q>Herzlich lieb hab' ich dich, O Herr</q>; rest of libretto original.
+</cell></row>
+
+<row><cell>
+&dagger;56
+</cell><cell>
+1731 (or 1732). Nineteenth S. after  Trinity.
+</cell><cell>
+Ich will den Kreuzstab gerne tragen.
+</cell><cell>
+?Bach, working on a Neumeister text (<q>Kirchen-Andachten,</q> p. 514).
+</cell><cell>
+Stanza vi. of Johann Franck's hymn, <q>Du, O schones Weltgeb&auml;ude</q>; rest of libretto original. Bass Solo.
+</cell></row>
+
+<row><cell>
+*49
+</cell><cell>
+c. 1731. Twentieth S. after Trinity. Incorporates older instrumental material.
+</cell><cell>
+Ich geh' und suche mit Verlangen.
+</cell><cell>
+Author unknown.
+</cell><cell>
+Stanza vii. of Philipp Nicolai's hymn, <q>Wie sch&ouml;n leuchtet der Morgenstern</q>;  rest of libretto original. S.  B. Soli and Organ obbligato.
+</cell></row>
+
+<pb n="209" />
+
+<row><cell>
+109
+</cell><cell>
+c. 1731. Twenty-first S. after Trinity.
+</cell><cell>
+Ich glaube, lieber Herre, hilf meinem Unglauben (St. Mark ix. 24).
+</cell><cell>
+?Christian Weiss, senr.
+</cell><cell>
+St. Mark ix. 24; Stanza vii. of Lazarus Spengler's hymn, <q>Durch Adams Fall ist ganz verderbt</q>; rest original. A. T. Soli.
+</cell></row>
+
+<row><cell>
+&dagger;55
+</cell><cell>
+1731 (or 1732). Twenty-second S. after Trinity.
+</cell><cell>
+Ich  armor Mensch, ich S&uuml;ndenknecht.
+</cell><cell>
+Author unknown.
+</cell><cell>
+Stanza vi. of Johann Rist's hymn, <q>Werde munter, mein Gemuthe</q>; rest of libretto original. Tenor Solo.
+</cell></row>
+
+<row><cell>
+140
+</cell><cell>
+1731 (or later). Twenty-seventh S. after Trinity.
+</cell><cell>
+Wachet auf, ruft uns die Stimme.
+</cell><cell>
+Philipp Nicolai (arranged by ?Picander).
+</cell><cell>
+Choral Cantata. All three stanzas of the hymn are set in their original form. The rest of the libretto is original. S. T. B. Soli.
+</cell></row>
+
+
+<row><cell>
+129
+</cell><cell>
+1732. Trinity Sunday.
+</cell><cell>
+Gelobet sei der Herr.
+</cell><cell>
+Johannes Olearius.
+</cell><cell>
+Choral Cantata. The five stanzas of the hymn are set in their original form. S. A. B. Soli. 
+</cell></row>
+
+<row><cell>
+39
+</cell><cell>
+1732 (not c. 1740). First S. after Trinity.
+</cell><cell>
+Brich dem Hungrigen dein Brod (Isaiah lviii. 7).
+</cell><cell>
+?Christian Weiss, senr. Schweitzer (ii. 343) attributes the text to Picander.
+</cell><cell>
+<emph>Part I.:</emph> Isaiah lviii. 7, 8; <emph>Part II.:</emph> Hebrews xiii. 16; Stanza vi. of David Denicke's hymn, <q>Kommt, lasst euch den Herren lehren</q>; rest of libretto original. S. A. B. Soli.
+</cell></row>
+
+<row><cell>
+177
+</cell><cell>
+1732. Fourth S. after Trinity.
+</cell><cell>
+Ich ruf' zu dir, Herr Jesu Christ.
+</cell><cell>
+Johannes Agricola.
+</cell><cell>
+Choral Cantata. The five stanzas of the hymn are set in their original form. S. A. T. Soli. 
+</cell></row>
+
+<row><cell>
+&dagger;88
+</cell><cell>
+1732.  Fifth S. after Trinity.
+</cell><cell>
+Siehe, ich will viel Fischer aussenden (Jer. xvi. 16).
+</cell><cell>
+?Christian Weiss, senr.
+</cell><cell>
+<emph>Part I.:</emph> Jeremiah xvi. 16; <emph>Part II.:</emph> St. Luke v. 10; Stanza vii. of Georg Neumark's hymn, <q>Wer nur den lieben Gott lasst walten</q>; rest of libretto original.
+</cell></row>
+
+<row><cell>
+*170
+</cell><cell>
+?1732. Sixth S. after Trinity.
+</cell><cell>
+Vergn&uuml;gte Ruh, beliebte Seelenlust.
+</cell><cell>
+Author unknown.
+</cell><cell>
+Original throughout. See Spitta, ii. 453n. Alto Solo and Organ obbligato.
+</cell></row>
+
+<pb n="210" />
+
+<row><cell>
+187
+</cell><cell>
+1732. Seventh S. after Trinity.
+</cell><cell>
+Es wartet Alles auf dich (Psalm civ. 27).
+</cell><cell>
+?Christian Weiss, senr.  Schweitzer (ii. 343) attributes the text to Picander.
+</cell><cell>
+<emph>Part I.: </emph> Psalm civ. 27, 28;  <emph>Part II.: </emph> St. Matthew vi. 31, 32; Stanzas iv. and vi. of the anonymous hymn, <q>Singen wir aus Herzensgrund</q>; rest original. S. A. B. Soli.
+</cell></row>
+
+<row><cell>
+137
+</cell><cell>
+?1732. Twelfth S. after Trinity.
+</cell><cell>
+Lobe   den  Herren, den m&auml;chtigen  K&ouml;nig der�Ehren.
+</cell><cell>
+Joachim Neander.
+</cell><cell>
+Choral Cantata. The five stanzas of the hymn are set in their original form. S. A. T. Soli.
+</cell></row>
+
+<row><cell>
+95
+</cell><cell>
+?1732. Sixteenth S. after Trinity.
+</cell><cell>
+Christus, der ist mein Leben.
+</cell><cell>
+Author unknown.
+</cell><cell>
+Stanza i. of the anonymous hymn, <q>Christus, der ist mein Leben</q>; Stanza i. of Luther's hymn, <q>Mit Fried' und Freud' ich fahr' dahin</q>; Stanza i. of Valerius Herberger's hymn, <q>Valet will ich dir geben</q>; Stanza iv. of Nikolaus Herman's hymn, <q>Wenn mein St&uuml;ndlein vorhanden ist</q>; rest original. S. T. B. Soli.
+</cell></row>
+
+<row><cell>
+98
+</cell><cell>
+<emph>c. </emph>1732. Twenty-first S. after Trinity.
+</cell><cell>
+Was Gott thut, das ist wohlgethan.
+</cell><cell>
+Author unknown.
+</cell><cell>
+Stanza i. of Samuel Rodigast's hymn, <q>Was Gott thut, das ist wohlgethan</q>;  rest of libretto original.
+</cell></row>
+
+<row><cell>
+&dagger;60
+</cell><cell>
+1732. Twenty-fourth S. after Trinity.
+</cell><cell>
+O Ewigkeit, du Donnerwort.
+</cell><cell>
+Author unknown.
+</cell><cell>
+Stanza i. of Johann Rist's hymn, <q>O Ewigkeit du Donnerwort</q>; Psalm cxix. 166; Revelation xiv. 13; Stanza v. of Franz Joachim Burmeister's hymn, <q>Es ist genug</q>;  rest of libretto original. A. T. B. Soli.
+</cell></row>
+
+<pb n="211" />
+
+<row><cell>
+102
+</cell><cell>
+<emph>c.</emph> 1733. Occasion not specified.
+</cell><cell>
+Nun danket alle Gott.
+</cell><cell>
+Martin Rinkart.
+</cell><cell>
+Choral Cantata. The three stanzas of the hymn are set in their original form. S. A. B. Soli.
+</cell></row>
+
+<row><cell>
+*58
+</cell><cell>
+1733. Sunday after the Circumcision.
+</cell><cell>
+Ach Gott, wie manches Herzeleid.
+</cell><cell>
+?Bach.
+</cell><cell>
+Stanza i. of Martin Moller's(?) hymn, <q>Ach Gott, wie manches Herzeleid</q>; Stanza ii. of Martin Behm's hymn, <q>O Jesu Christ, mein's Lebens Licht</q>; rest original. S. B. Soli.
+</cell></row>
+
+<row><cell>
+99
+</cell><cell>
+<emph>c.</emph> 1733. Fifteenth S. after Trinity.
+</cell><cell>
+Was Gott thut, das ist wohlgethan.
+</cell><cell>
+Samuel Rodigast (arranged).
+</cell><cell>
+Choral Cantata. Stanzas i. and vi. of the hymn are set in their original form. The intervening stanzas are paraphrased in the Arias and Recitativi.
+</cell></row>
+
+<row><cell>
+191
+</cell><cell>
+<emph>c.</emph> 1733. Christmas Day (<q>Am Weinachtsfeste</q>).
+</cell><cell>
+Gloria in excelsis Deo.
+</cell><cell>
+St. Luke ii. 14.
+</cell><cell>
+The <q>Gloria</q> of the B minor Mass.
+</cell></row>
+
+<row><cell>
+117
+</cell><cell>
+<emph>c.</emph> 1733. Occasion not specified. 
+</cell><cell>
+Sei Lob und Ehr' dem hochsten Gut.
+</cell><cell>
+Johann Jakob Sch&uuml;tz.
+</cell><cell>
+Choral Cantata. The nine stanzas of the hymn are set in their original form. A. T. B. Soli.
+</cell></row>
+
+<row><cell>
+97
+</cell><cell>
+1734. ?For a Wedding, or general use.
+</cell><cell>
+In allen meinen Thaten.
+</cell><cell>
+Paul Flemming. See Schweitzer, ii. 242n.
+</cell><cell>
+Choral Cantata. The nine stanzas of the hymn are set in their original form.
+</cell></row>
+
+<row><cell>
+*54
+</cell><cell>
+1723-34.   Occasion not specified.
+</cell><cell>
+Wideratehe doch der Sunde.
+</cell><cell>
+Author unknown.
+</cell><cell>
+Original throughout. Alto Solo.
+</cell></row>
+
+<row><cell>
+*53
+</cell><cell>
+1723-34. ?For a Funeral.
+</cell><cell>
+Schlage doch, gew&uuml;nschte Stunde.
+</cell><cell>
+?Salomo Franck.
+</cell><cell>
+A single eight-lined original stanza. Alto Solo.
+</cell></row>
+</table>
+</div>
+
+<div>
+<pb n="212" />
+<head type="sub">(6) COMPOSED AT LEIPZIG: 1735-50</head>
+
+
+<table cols="5" rend="rules:all;
+      latexcolumns: '|p{1.8cm}|p{1.8cm}|p{1.8cm}|p{1.8cm}|p{1.8cm}|';
+      tblcolumns: 'l|l|l|l|l(30m)'">
+
+<row><cell>
+No.
+</cell><cell>
+Date.
+</cell><cell>
+Title.
+</cell><cell>
+Author of Libretto.
+</cell><cell>
+Composition of the Text.
+</cell></row>
+
+<row><cell>
+43
+</cell><cell>
+1735. New Year's Day.
+</cell><cell>
+Lobe den Herrn, meine Seele (Psalm cxlvi. 1).
+</cell><cell>
+?Christian Weiss, senr. Wustmann (note 19) suggests Bach.
+</cell><cell>
+Psalm cxlvi. 1, 5, 10;  Stanzas i. and iii. of Jakob Ebert's  hymn, <q>Du  Friedefurst, Herr Jesu Christ</q>; the rest of the libretto (two Arias) original. S. T. B. Soli.
+</cell></row>
+
+<row><cell>
+14
+</cell><cell>
+1735. Fourth S. after the Epiphany.
+</cell><cell>
+War' Gott nicht mit uns diese Zeit (Psalm cxxiv.).
+</cell><cell>
+Luther (arranged).
+</cell><cell>
+Choral Cantata. Stanzas i. and iii. are set in their original form. Stanza ii. is paraphrased in the intervening Arias and Recitativo. S. T. B. Soli.
+</cell></row>
+
+<row><cell>
+&dagger;85
+</cell><cell>
+1735. Second S. after Easter. (<q>Misericordias Domini</q>).
+</cell><cell>
+Ich bin ein guter Hirt (St. John x. 11).
+</cell><cell>
+Spitta (iii. 71) and Schweitzer (ii. 331n) attribute the text to Marianne von Ziegler.          Wustmann (note 60) disagrees.
+</cell><cell>
+St. John x. 11; Stanza i. of Cornelius Becker's hymn, <q>Derr Herr ist mein getreuer Hirt</q>; Stanza iv. of Ernst Christoph Homburg's hymn, <q>Ist Gott mein Schild und Helfersmann</q>;  rest of libretto original.
+</cell></row>
+
+<row><cell>
+103
+</cell><cell>
+?1735. Third S. after Easter (<q>Jubilate</q>).
+</cell><cell>
+Ihr werdet weinen und heulen (St. John xvi. 20).
+</cell><cell>
+Marianne von Ziegler (<q>Versuch in gebundener Schreibart,</q> Leipzig,1728). Emended by Bach.
+</cell><cell>
+St. John xvi. 20;   Stanza ix. of Paul Gerhardt's hymn, <q>Barmherzger Vater, hochster Gott</q>; rest of libretto original. A. T. Soli.
+</cell></row>
+
+<row><cell>
+108
+</cell><cell>
+?1735. Fourth S. after Easter. (<q>Cantate</q>).
+</cell><cell>
+Es ist euch gut, dass ich hingehe (St. John xvi. 7).
+</cell><cell>
+Marianne von Ziegler <emph>(Ibid.).</emph> Emended  by Bach.
+</cell><cell>
+St. John xvi. 7, 13;  Stanza x. of Paul Gerhardt's hymn, <q>Gott Vater, sende deinen Geist</q>; rest of libretto original. A. T. B. Soli.
+</cell></row>
+
+<pb n="213" />
+
+<row><cell>
+&dagger;87
+</cell><cell>
+?1735. Fifth S. after Easter (<q>Rogate</q>)
+</cell><cell>
+Bisher habt ihr nichts gebeten in meinem Namen (St. John xvi. 24).
+</cell><cell>
+Marianne von Ziegler <emph>(Ibid.).</emph> Emended  by Bach.
+</cell><cell>
+St. John xvi. 24,33; Stanza ix. of Heinrich M&uuml;ller's hymn <q>Selig ist die Seele</q>; rest of libretto original.  A. T. B. Soli.
+</cell></row>
+
+<row><cell>
+43
+</cell><cell>
+1735. Ascension Day.
+</cell><cell>
+Gott f&auml;hret auf mit Jauchzen (Psalm xlvii. 5).
+</cell><cell>
+?Bach.  Schweitzer (ii. 331n) wrongly attributes text to Marianne von Ziegler.
+</cell><cell>
+<emph>Part I.</emph>: Pslm xlvii. 5,6; St. Mark xvi. 19; <emph>Part II.</emph>: Stanzas i. and xiii. of Johann Rist's hymn, <q>Du Lebenf&uuml;st, Herr Jesu Christ</q>, rest of libretto original, excepting the second, third, and fourth Arias.  Original portion perhaps by Bach.
+</cell></row>
+
+<row><cell>
+11
+</cell><cell>
+c. 1735. Ascension Day.
+</cell><cell>
+Lobet Gott in seinen Reichen.
+</cell><cell>
+Author unknown.
+</cell><cell>
+St. Luke xxiv. 50-52; Acts i. 9-11; Stanza iv. of Johann Rist's hymn, <q>Du Lebenf&uuml;st, Herr Jesu Christ</q>; Stanza vii. of Gottfried Wilhelm Sacer's hymn <q>Gott f&auml;hret auf gen Himmel</q>; rest of libretto original.
+</cell></row>
+
+<row><cell>
+128
+</cell><cell>
+?1735. Ascension Day.
+</cell><cell>
+Auf Christi Himmelfahrt allein.
+</cell><cell>
+Marianne von Ziegler <emph>(Ibid.).</emph> Emended  by Bach.
+</cell><cell>
+Stanza i. of Josua Wegelin's hymn, <q>Auf Christi Himmelfahrt allein</q>; Stanza iv. of Matth&auml;us Avenarius's hymn, <q>O Jesu, meine Lust</q>; rest of libretto original.  A. T. B. Soli.
+</cell></row>
+
+<row><cell>
+&dagger;183
+</cell><cell>
+?1735. Sunday after the Ascension (<q>Exaudi</q>)
+</cell><cell>
+Sie werden euch in den Bann thun (St. John xvi. 2)
+</cell><cell>
+Marianne von Ziegler <emph>(Ibid.).</emph> Emended  by Bach.
+</cell><cell>
+S. John xvi. 2; Stanza v. of Paul Gerhardt's hymn <q>Zeuch ein zu deinen Thoren</q>; rest of libretto original.
+</cell></row>
+
+<row><cell>
+74
+</cell><cell>
+?1735. Whit Sunday. An expansion of No. 59 (1716).
+</cell><cell>
+Wer mich liebst, der wird mein Wort halten (St. John xiv. 23).
+</cell><cell>
+Marianne von Ziegler <emph>(Ibid.).</emph> Emended  by Bach.
+</cell><cell>
+St. John 23, 28; Romans viii. 1; Stanza ii. of Paul Gerhardt's hymn, <q>Gott Vater, sende deinen Geist</q> rest of libretto original.
+</cell></row>
+
+<pb n="214" />
+
+<row><cell>
+68
+</cell><cell>
+?1735. Whit Monday. Contains old (1716) secular material.
+</cell><cell>
+Also hat Gott die Welt geliebt.
+</cell><cell>
+Marianne von Ziegler <emph>(Ibid.).</emph> Emended   by Bach. See <q>Was mir behagt.</q>
+</cell><cell>
+Stanza i. of Salomo  Liscow's hymn, <q>Also hat Gott die Welt geliebt</q>;  St. John iii. 18; rest of libretto original. S. B. Soli.
+</cell></row>
+
+<row><cell>
+&dagger;175
+</cell><cell>
+?1735. Whit Tuesday.
+</cell><cell>
+Er rufet seinen Schafen mit Namen (St. John x. 3).
+</cell><cell>
+Marianne  von Ziegler <emph>(Ibid.).</emph> Emended slightly by Bach.
+</cell><cell>
+St. John x. 3, 6; Stanza ix. of Johann Rist's hymn, <q>O Gottes Geist, mein Trost und Rath </q>; rest of libretto original. A. T. B. Soli.
+</cell></row>
+
+<row><cell>
+176
+</cell><cell>
+?1735. Trinity Sunday. [See No. 20 (1725).]
+</cell><cell>
+Es ist ein trotzig und verzagt  Ding. (Cf.  Jer. xvii. 9).
+</cell><cell>
+Marianne von Ziegler <emph>(Ibid.).</emph> Emended   by Bach.
+</cell><cell>
+Stanza viii. of Paul Gerhardt's hymn, <q>Was alle Weisheit in der Welt</q>;  rest original. S. A. B. Soli.
+</cell></row>
+
+<row><cell>
+107
+</cell><cell>
+c. 1735. Seventh S. after Trinity.
+</cell><cell>
+Was willst du dich betr&uuml;ben.
+</cell><cell>
+Johann Heermann.
+</cell><cell>
+Choral Cantata. Six stanzas of the hymn are set in their original form.  The final Choral is stanza xiv. of David Denicke's hymn, <q>Ich will zu aller Stunde.</q> S. T. B. Soli.
+</cell></row>
+
+<row><cell>
+94
+</cell><cell>
+?1735. Ninth S. after Trinity.
+</cell><cell>
+Was frag ich nach der Welt.
+</cell><cell>
+Georg Michael Pfefferkorn (arranged).
+</cell><cell>
+Choral  Cantata. Stanzas  i.,  iii.,  v.,  vii., viii. are set in their original form.    Stanzas ii., iv., vi. are paraphrased in the Arias.
+</cell></row>
+
+<row><cell>
+133
+</cell><cell>
+1735 (or 1737). Feast of St. John the Evangelist.
+</cell><cell>
+Ich freue mich in dir.
+</cell><cell>
+Caspar Ziegler (arranged by ?Christian Weiss, junr.).
+</cell><cell>
+Choral Cantata. Stanzas i. and iv. of the hymn are set in their original form. The intervening stanzas are paraphrased in the Arias and Recitativi.
+</cell></row>
+
+
+<pb n="215" />
+
+<row><cell>
+100
+</cell><cell>
+c. 1735. ?Fifteenth S. after Trinity, for a Wedding.
+</cell><cell>
+Was Gott thut, das ist wohlgethan.
+</cell><cell>
+Samuel Rodigast.
+</cell><cell>
+Choral Cantata.   The six stanzas of the hymn are set in their original form.
+</cell></row>
+
+<row><cell>
+5
+</cell><cell>
+1735. Nineteenth S. after Trinity.
+</cell><cell>
+Wo soll ich fliehen hin. 
+</cell><cell>
+Johann   Heermann    (arranged by ?Picander).
+</cell><cell>
+Choral Cantata. Stanzas i. and xi. of the hymn are set in their original form. The intervening Arias and Recitativi are based particularly on stanzas iii., iv., vii., viii., ix.
+</cell></row>
+
+<row><cell>
+79
+</cell><cell>
+1735. Reformation Festival (Oct. 30).
+</cell><cell>
+Gott, der Herr, ist Sonn und Schild (Psalm Ixxxiv. 11).
+</cell><cell>
+?Christian Weiss, senr.
+</cell><cell>
+Psalm lxxxiv. 11; Stanza i. of Martin Rinkart's hymn, <q>Nun danket alle Gott</q>; Stanza viii. of Ludwig Helmbold's hymn, <q>Nun lasst uns Gott dem Herren</q>; rest of libretto original. S. A. B. Soli.
+</cell></row>
+
+<row><cell>
+41
+</cell><cell>
+?1736. New Year's Day.
+</cell><cell>
+Jesu, nun sei gepreiset.
+</cell><cell>
+Johann Heermann (arranged).
+</cell><cell>
+Choral Cantata. Stanzas i. and iii. of the hymn are set in their original form. Stanza ii. is paraphrased in the intervening Arias and Recitativi.
+</cell></row>
+
+<row><cell>
+&dagger;13
+</cell><cell>
+<emph>c.</emph> 1736. Second S. after the Epiphany.
+</cell><cell>
+Meine Seufzer, meine Thr&auml;nen.
+</cell><cell>
+Author unknown.
+</cell><cell>
+Stanza  ii. of Johann Heermann's hymn, <q>Zion klagt mit Angst und Schmerzen</q>; Stanza xv. of Paul Flemming's hymn, <q>In allen meinen Thaten</q>; rest original.
+</cell></row>
+
+<row><cell>
+</cell><cell>
+[1736. Easter Day]
+</cell><cell>
+Kommt, eilet und laufet.
+</cell><cell>
+?Picander.]
+</cell><cell>
+</cell></row>
+
+<row><cell>
+6
+</cell><cell>
+1736. Easter Monday.
+</cell><cell>
+Bleib' bei uns, denn es will Abend werdeu (St. Luke xxiv. 29).
+</cell><cell>
+Author unknown. Wustmann (note 53) suggests Picander.
+</cell><cell>
+St.  Luke xxiv. 29; Stanzas i. and ii. of Nikolaus Selnecker's hymn, <q>Ach bleib' bei uns, Herr Jesu Christ</q>; Stanza ii. of Luther's hymn, <q>Erhalt' uns, Herr, bei deinem Wort</q>; rest original.
+</cell></row>
+
+<pb n="216" />
+
+<row><cell>
+28
+</cell><cell>
+c.  1736. Sunday after  Christmas. Spitta, ii. 433, dates it 1725-27.
+</cell><cell>
+Gottlob! nun geht das Jahr zu Ende.
+</cell><cell>
+Erdmann Neumeister (<q>F&uuml;nffache Kirchen-Andachten,</q> 1716. Ser. IV.
+</cell><cell>
+Stanza  i.   of  Johann   Graumann's  hymn, <q>Nun lob', mein Seel', den Herren</q>; Jeremiah xxxii. 41; Stanza vi. of Paul Eber's  hymn, <q>Helft  mir  Gott's G&uuml;tte preisen</q>; rest of libretto original.
+</cell></row>
+
+<row><cell>
+17
+</cell><cell>
+c. 1737. Fourteenth S. after Trinity.
+</cell><cell>
+Wer Dank opfert, der preiset mich (Psalm 1., 23).
+</cell><cell>
+?Bach. Schweitzer (ii. 343) attributes the text to Picander.
+</cell><cell>
+<emph>Part I.:</emph> Psalm 1. 23;  <emph>Part II.:</emph> St. Luke xvii. 15, 16; Stanza iii. of Johann Graumann's hymn, <q>Nun lob', mein' Seel', den Herren</q>; rest original.
+</cell></row>
+
+<row><cell>
+118
+</cell><cell>
+c. 1737. ?For a Funeral.
+</cell><cell>
+O Jesu Christ, mein's Lebens Licht.
+</cell><cell>
+Martin Behm.
+</cell><cell>
+Stanza i. of Martin Behm's hymn, <q>O Jesu Christ, mein's Lebens Licht.</q> A Motet; <foreign lang="la">cf.</foreign> No. 50 (<foreign lang="la">c.</foreign> 1740.
+</cell></row>
+
+<row><cell>
+197
+</cell><cell>
+?1737. For a Wedding. Contains older material (?1728).
+</cell><cell>
+Gott  ist  uns're Zuversicht.
+</cell><cell>
+?Bach. Pt. II.'s Arias are based on the Christmas Cantata <q>Ehre sei Gott</q> (?1728).
+</cell><cell>
+Stanza iii. of Luther's hymn, <q>Nun bitten wir den heiligen Geist</q>; Stanza vii. (partly rewritten) of Georg Neumark's hymn, <q>Wer nur den lieben Gott l&auml;sst walten</q>; rest original. S. A. B. Soli.
+</cell></row>
+
+<row><cell>
+30
+</cell><cell>
+1738. Feast of St. John Baptist (Midsummer Day).
+</cell><cell>
+Freue dich, erloste Schaar.
+</cell><cell>
+Reconstruction, by ?Picander, of his <q>Angenehmes Wiederau,</q> 1737, from  which the music also is in part borrowed.
+</cell><cell>
+<emph>Part I.:</emph> Stanza iii. of Johannes Olearius' hymn, <q>Tr&ouml;stet, tr&ouml;stet, meine Lieben</q>; rest of libretto original.
+</cell></row>
+
+<pb n="217"/>
+
+<row><cell>
+123
+</cell><cell>
+1740. Feast of the Epiphany.
+</cell><cell>
+Liebster Immanuel, Herzog der Frommen.
+</cell><cell>
+Ahasuerus Fritsch (arranged by ?Christian Weiss, junr.).
+</cell><cell>
+Choral Cantata. Stanzas i. and v. of the hymn are set in their original form. Stanzas ii., iii., iv. are paraphrased in the intervening Arias and Recitativi. A. T. B. Soli.
+</cell></row>
+
+<row><cell>
+&dagger;32
+</cell><cell>
+c. 1740. First S. after the Epiphany.
+</cell><cell>
+Leibster Jesu, mein Verlangen.
+</cell><cell>
+?Picander.
+</cell><cell>
+St. Luke ii. 49; Stanza xii. of Paul Gerhardt's hymn, <q>Weg, mein Herz, mit den Gedanken</q>; rest of libretto original. S. B. Soli.
+</cell></row>
+
+<row><cell>
+124
+</cell><cell>
+c.  1740. First S. after the Epiph-any.
+</cell><cell>
+Meinen Jesum lass' ich nicht.
+</cell><cell>
+Christian   Keimann   (arranged by ?Picander).
+</cell><cell>
+Choral Cantata. Stanzas i. and vi. of the hymn are set in their original form.  Stanzas ii.-v. are paraphrased in the intervening Arias and Recitativi.
+</cell></row>
+
+<row><cell>
+3
+</cell><cell>
+c. 1740. Second S. after the Epiphany.
+</cell><cell>
+Ach Gott, wie manches Herzeleid.
+</cell><cell>
+Martin Moller (arranged by ?Christian Weiss, junr.).
+</cell><cell>
+Choral Cantata. Stanzas i., ii., xii. of the hymn are set in their original form.  Stanzas iv.-vi., ix., x. are paraphrased in the Arias and Recitativo.
+</cell></row>
+
+<row><cell>
+111
+</cell><cell>
+c. 1740. Third S. after the Epiphany.
+</cell><cell>
+Was mein Gott will, das g'scheh' allzeit.
+</cell><cell>
+Albrecht, Margrave of Brandenburg-Culmbach (arranged).
+</cell><cell>
+Choral Cantata. Stanzas i. and iv. of the hymn are set in their original form. Stanzas ii. and iii. are paraphrased in the Arias and Recitativi.
+</cell></row>
+
+<row><cell>
+92
+</cell><cell>
+c.  1740. Septuagesima.
+</cell><cell>
+Ich hab' in Gottes Herz und Sinn.
+</cell><cell>
+Paul Gerhardt (arranged by ?Picander).
+</cell><cell>
+Choral Cantata. Stanzas i., ii., v., x., xii. of the hymn are set in their original form. Stanzas iii., iv., vi.-viii., ix. are paraphrased in the Arias and Recitativo.
+</cell></row>
+
+<pb n="218" />
+
+<row><cell>
+125
+</cell><cell>
+<foreign lang="la">c. </foreign>1740. Feast of the Purification.
+</cell><cell>
+Mit Fried' und Freud' ich fahr' dahin.
+</cell><cell>
+Luther (arranged).
+</cell><cell>
+Choral Cantata.  Stanzas i., ii. , iv. are set in their original form.  Stanza iii. is paraphrased in the second Aria and Recitative. A. T. B. Soli.
+</cell></row>
+
+<row><cell>
+126
+</cell><cell>
+<foreign lang="la">c. </foreign>1740. Sexagesima.
+</cell><cell>
+Erhalt' uns, Heir, bei deinem Wort.
+</cell><cell>
+Luther (arranged).
+</cell><cell>
+Choral Cantata.   Stanzas i., iii., and Luther's <q>Verleih' uns Frieden gn&auml;diglich</q> are set in their original form. The other stanzas are paraphrased in the Arias and second Recit. A. T. B. Soli.
+</cell></row>
+
+<row><cell>
+127
+</cell><cell>
+<foreign lang="la">c. </foreign> 1740. Quinquagesima (<q>Esto-mihi</q>).
+</cell><cell>
+Herr Jesu Christ, wahr'r Mensch und Gott.
+</cell><cell>
+Paul Eber  (arranged by ?Picander).
+</cell><cell>
+Choral Cantata.  Stanzas i. and viii. of the hymn are set in their original form.  The intervening stanzas are paraphrased in the Recitativi and Arias. S. T. B. Soli.
+</cell></row>
+
+<row><cell>
+1
+</cell><cell>
+<foreign lang="la">c. </foreign> 1740. Feast of the Annunciation.
+</cell><cell>
+Wie sch&ouml;n leuchtet der Morgenstern.
+</cell><cell>
+Philipp Nicolai (arranged by ?Picander).
+</cell><cell>
+Choral Cantata.  Stanzas i. and vii. of the hymn are set in their original form.  Stanzas ii.-vi. are paraphrased in the intervening Recitativi and Arias.  S. T. B. Soli.
+</cell></row>
+
+<row><cell>
+146
+</cell><cell>
+<foreign lang="la">c. </foreign> 1740. Third S. after Easter (<q>Jubilate</q>).
+Incorporates older instrumental material.
+</cell><cell>
+Wir m&uuml;ssen durch  viel Tr&uuml;bsal in das Reich Gottes eingehen (Acts xiv. 22).
+</cell><cell>
+Author unknown. Schweitzer (ii. 343) names Picander.
+</cell><cell>
+Acts xiv. 22; excepting the concluding Choral (words wanting in the score) the rest of the libretto is original.
+</cell></row>
+
+<pb n="219" />
+
+<row><cell>
+34
+</cell><cell>
+c. 1740 (or  1741). Whit�Sunday�(<q>Am�Pfingst-feste</q>. Incorporates (modified) parts of  the Wedding Cantata (c. 1730) bearing the same title
+</cell><cell>
+O ewiges Feuer, O Ursprung der Liebe.
+</cell><cell>
+?by Bach.
+</cell><cell>
+Original throughout. Movements 1, 3, 5, follow the Wedding Cantata, words and music. A. T. B. Soli.
+</cell></row>
+
+<row><cell>
+2
+</cell><cell>
+c. 1740. Second S. after Trinity.
+</cell><cell>
+Ach Gott, vom Himmel sieh darein.
+</cell><cell>
+Luther (arranged by ?Picander).
+</cell><cell>
+Choral Cantata. Stanzas i. and vi. of the hymn are set in their original form. The intervening stanzas are paraphrased in the Arias and Recitativi. A. T. B. Soli.
+</cell></row>
+
+<row><cell>
+135
+</cell><cell>
+c. 1740. Third S. after Trinity.
+</cell><cell>
+Ach Herr, mich armen Sunder.
+</cell><cell>
+Cyriacus Schneegass. Also attributed to Christoph Demantius (arranged by ?Christian Weiss, junr.).
+</cell><cell>
+Choral Cantata. Stanzas i. and vi. of the hymn (see Psalm vi.) are set in their original form.  The intervening stanzas are paraphrased in the Arias and Recitativi. A. T. B. Soli.
+</cell></row>
+
+<row><cell>
+7
+</cell><cell>
+<foreign lang="la">c.</foreign>1740. Feast of St. John Baptist (Midsummer Day).
+</cell><cell>
+Christ  unser  Herr zum Jordan kam.
+</cell><cell>
+Luther (arranged).
+</cell><cell>
+Choral Cantata. Stanzas i. and vii. of the hymn are set in their original form. The intervening stanzas are paraphrased in the Arias and Recitativi. A. T. B. Soli.
+</cell></row>
+
+<row><cell>
+10
+</cell><cell>
+c. 1740. Feast of the  Visitation.
+</cell><cell>
+Meine Seel' erhebt den Herren. (St. Luke, i. 46).
+</cell><cell>
+St. Luke, i. 46-55 (arranged).
+</cell><cell>
+Choral Cantata. Verses 46-48, 54, and the Doxology, are set in their original form. The other verses are paraphrased in the Arias and Recitativi.
+</cell></row>
+
+<pb n="220" />
+
+<row><cell>
+45
+</cell><cell>
+c. 1740. Eighth S. after Trinity.
+</cell><cell>
+Est ist dir gesagt, Mensch, was gut ist (Micah vi., 8).
+</cell><cell>
+?Christian   Weiss,   senr. Schweitzer (ii. 343) attributes the text to Picander.
+</cell><cell>
+<emph>Part I.:</emph> Micah vi. 8; <emph>Part II.:</emph> St. Matthew vii. 22, 23;   Stanza ii. of Johann Heermann's hymn, <q>O Gott, du frommer Gott</q>; rest original. A. T. B. Soli.
+</cell></row>
+
+<row><cell>
+178
+</cell><cell>
+c. 1740. Eighth S. after Trinity.
+</cell><cell>
+Wo Gott der Herr nicht bei uns halt (Psalm cxxiv.).
+</cell><cell>
+Justus Jonas (arranged).
+</cell><cell>
+Choral Cantata. Stanzas i., ii., iv., v., vii., viii., of the hymn are set in their original form.  The other stanzas are paraphrased. A. T. B. Soli.                                                                   
+</cell></row>
+
+<row><cell>
+101
+</cell><cell>
+c. 1740. Tenth S. after Trinity.
+</cell><cell>
+Nimm von uns, Herr, du treuer Gott.
+</cell><cell>
+Martin Moller (arranged). Schweitzer (ii. 375) names Picander.
+</cell><cell>
+Choral Cantata.    Stanzas i., iii., v., vii. are  set in their original form. Stanzas ii., iv., vi. are paraphrased in the Arias.
+</cell></row>
+
+<row><cell>
+113
+</cell><cell>
+c. 1740. Eleventh S. after Trinity.
+</cell><cell>
+Heir Jesu Christ, du h&ouml;chstes Gut.
+</cell><cell>
+Bartholoma&uuml;ws Ringwaldt(arranged).
+</cell><cell>
+Choral Cantata. Stanzas i., ii., iv., viii. of the
+hymn are set in their original form. Stanzas iii., v.-vii. are paraphrased in the Arias and Recitativo.
+</cell></row>
+
+<row><cell>
+193
+</cell><cell>
+c. 1740. Inauguration of the Town Council (c. August 24). Incomplete.
+</cell><cell>
+Ihr Pforten [Tore] zu Zion
+</cell><cell>
+Author unknown.
+</cell><cell>
+Original throughout. S. A. T. (or B.) Soli.
+</cell></row>
+
+<row><cell>
+33
+</cell><cell>
+c. 1740.  Thirteenth S. after Trinity.
+</cell><cell>
+Allein zu dir, Herr Jesu Christ.
+</cell><cell>
+Johannes Schneesing.  Attributed also to Conrad Hubert. Arranged.
+</cell><cell>
+Choral Cantata. Stanzas i. and iv. of the hymn are set in their original form.    The intervening stanzas  are paraphrased. A. T. B. Soli.
+</cell></row>
+
+<pb n="221" />
+
+<row><cell>
+78
+</cell><cell>
+c. 1740 (or after 1734) Fourteenth S. after Trinity.
+</cell><cell>
+Jesu, der du meine Seele.
+</cell><cell>
+Johann Rist (arranged by ?Picander).
+</cell><cell>
+Choral Cantata. Stanzas i. and xii. of the hymn are set in their original form. Four lines of Stanza x. are inserted into the last Recitativo.
+</cell></row>
+
+<row><cell>
+138
+</cell><cell>
+c. 1740 (or earlier). Fifteenth S. after Trinity.
+</cell><cell>
+Warum betr&uuml;bst du dich, mein Herz.
+</cell><cell>
+?Hans Sachs and ?Picander.
+</cell><cell>
+Choral Cantata. Stanzas i., ii., iii. of the hymn are set in their original form.  Rest of libretto original. A. T. B. Soli.
+</cell></row>
+
+<row><cell>
+114
+</cell><cell>
+c. 1740. Seventeenth S. after Trinity.
+</cell><cell>
+Ach, lieben Christen, seid getrost.
+</cell><cell>
+Johannes Gigas (arranged).
+</cell><cell>
+Choral Cantata. Stanzas i., iii., vi. of the hymn are set in their original form. The other stanzas are paraphrased in the remaining movements.
+</cell></row>
+
+<row><cell>
+96
+</cell><cell>
+c. 1740. Eighteenth S. after Trinity.
+</cell><cell>
+Herr  Christ, der ein'ge Gottes-Sohn.
+</cell><cell>
+Elisabethe Cruciger (arranged by ?Picander).
+</cell><cell>
+Choral Cantata. Stanzas i. and v. of the hymn are set in their original form. The intervening stanzas are paraphrased in the Recitativi and Arias.
+</cell></row>
+
+<row><cell>
+130
+</cell><cell>
+c. 1740. Feast of St. Michael the Archangel.
+</cell><cell>
+Herr Gott, dich loben alle wir.
+</cell><cell>
+Paul Eber (arranged).
+</cell><cell>
+Choral Cantata. Stanzas i., xi., xii. (in score only) of the hymn are set in their original form. The remaining stanzas are paraphrased.
+</cell></row>
+
+<row><cell>
+50
+</cell><cell>
+c. 1740. Feast of St. Michael the Archangel.
+</cell><cell>
+Nun ist das Heil und die Kraft.
+</cell><cell>
+Revelation xii 10.
+</cell><cell>
+Rev. xii. 10; a single Bible passage. A Motet. <foreign lang="la">Cf.</foreign> No. 118 (c. 1737).
+</cell></row>
+
+<pb n="222" />
+
+<row><cell>
+48
+</cell><cell>
+<foreign lang="la">c.</foreign>1740. Nineteenth S. after Trinity.
+</cell><cell>
+Ich elender Mensch, wer wird mich erlosen (Rom. vii. 24).
+</cell><cell>
+?Picander.
+</cell><cell>
+Romans vii. 24; Stanza iv. of the anonymous hymn, <q>Ach Gott und Herr</q>; Stanza xii. of the anonymous hymn, <q>Herr Jesu Christ, ich schrei zu dir</q>; rest original. A. T. Soli.
+</cell></row>
+
+<row><cell>
+180
+</cell><cell>
+c. 1740.  Twentieth S. after Trinity.
+</cell><cell>
+Schmucke dich, O liebe Seele.
+</cell><cell>
+Johann Franck (arranged).
+</cell><cell>
+Choral Cantata. Stanzas i., iv., ix. of the hymn are set in their original form. The remaining stanzas are paraphrased.
+</cell></row>
+
+<row><cell>
+38
+</cell><cell>
+c. 1740. Twenty-first S. after Trinity.
+</cell><cell>
+Aus tiefer Noth schrei ich zu dir (Psalm cxxx.).
+</cell><cell>
+Luther (arranged by ?Christian Weiss, junr.).
+</cell><cell>
+Choral Cantata. Stanzas i. and v. of the hymn are set in their original form. The intervening stanzas are paraphrased.
+</cell></row>
+
+<row><cell>
+115
+</cell><cell>
+c. 1740. Twenty-second S. after Trinity.
+</cell><cell>
+Mache dich, mein Geist, bereit.
+</cell><cell>
+Johann Burchard Freystein (arranged by ?Picander.
+</cell><cell>
+Choral Cantata. Stanzas i. and x. of the hymn are set in their original form. The intervening ones are paraphrased.
+</cell></row>
+
+<row><cell>
+139
+</cell><cell>
+c. 1740. Twenty-third S. after Trinity.
+</cell><cell>
+Wohl dem, der sich auf seinen Gott.
+</cell><cell>
+Johann Christoph Rube (arranged).
+</cell><cell>
+Choral Cantata. Stanzas i. and v. are set in their original form. The intervening ones are paraphrased.
+</cell></row>
+
+<row><cell>
+26
+</cell><cell>
+<foreign lang="la">c.</foreign> 1740. Twenty-fourth S. after Trinity.
+</cell><cell>
+Ach wie fluchtig.
+</cell><cell>
+Michael Franck (arranged by ?Picander).
+</cell><cell>
+Choral Cantata. Stanzas i. and xiii. of the hymn are set in their original form. Stanzas ii.-xii. are paraphrased.
+</cell></row>
+
+<pb n="223" />
+
+<row><cell>
+&dagger;90
+</cell><cell>
+c. 1740. Twenty-fifth S. after Trinity.
+</cell><cell>
+Es reifet euch ein sohrecklich Ende.
+</cell><cell>
+?Picander.
+</cell><cell>
+Stanza vii. of Martin Holler's hymn, <q>Nimm von uns, Herr, du treuer Gott</q>; rest of libretto original. A. T. B. Soli.
+</cell></row>
+
+<row><cell>
+62
+</cell><cell>
+c. 1740 (after 1734). First S. in Advent.
+</cell><cell>
+Nun komm, der Heiden Heiland.
+</cell><cell>
+Luther (arranged by ?Picander).
+</cell><cell>
+Choral Cantata. Stanzas i. and viii. are set in their original form. The intervening stanzas are paraphrased.
+</cell></row>
+
+<row><cell>
+91
+</cell><cell>
+c. 1740.   Christmas Day.
+</cell><cell>
+Gelobet seist du, Jesu Christ.
+</cell><cell>
+Luther (arranged by ?Picander).
+</cell><cell>
+Choral Cantata. Stanzas i., ii., vii. of the hymn are set in their original form. The remaining stanzas are paraphrased.
+</cell></row>
+
+<row><cell>
+110
+</cell><cell>
+Unser Mund sei voll Lachens (Psalm cxxvi. 2).
+</cell><cell>
+After 1734. Christmas Day. Has older instrumental material.
+</cell><cell>
+?Christian Weiss, senr. Schweitzer (ii. 343) suggests Picander.
+</cell><cell>
+Psalm cxxvi. 2, 3; Jeremiah x. 6; St. Luke ii. 14; Stanza v. of Caspar Fuger's hymn, <q>Wir Christenleut'</q>; rest of libretto original.
+</cell></row>
+
+<row><cell>
+&dagger;57
+</cell><cell>
+c. 1740. Feast of St. Stephen.
+</cell><cell>
+Selig ist der Mann (St. James i. 12).
+</cell><cell>
+?Picander.
+</cell><cell>
+St. James i. 12; Stanza vi. of Ahasuerus Fritsch's hymn, <q>Hast du, denn, Jesu, dein Angesicht gantzlich verborgen</q>; rest of libretto original. S. B. Soli.
+</cell></row>
+
+<row><cell>
+121
+</cell><cell>
+c. 1740. Feast of St. Stephen.
+</cell><cell>
+Christum wir sollen loben schon.
+</cell><cell>
+Luther (arranged by ?Picander).
+</cell><cell>
+Choral Cantata. Stanzas i. and viii. of the hymn are set in their original form. Stanzas ii.-vi. are paraphrased. A. T. B. Soli.
+</cell></row>
+
+<pb n="224" />
+
+<row><cell>
+&dagger;l51
+</cell><cell>
+<foreign lang="la">c.</foreign> 1740. Feast of St. John the Evangelist.
+</cell><cell>
+S&uuml;sser Trost, main Jesus kommt.
+</cell><cell>
+?Bach.
+</cell><cell>
+Stanza viii. of Nikolaus  Herman's hymn, <q>Lobt Gott, ihr Christen alle gleich</q>; rest of libretto original.
+</cell></row>
+
+<row><cell>
+Incomplete
+</cell><cell>
+<foreign lang="la">c.</foreign> 1740 (after 1734). For a Wedding.
+</cell><cell>
+Herr  Gott,  Beherrseher aller Dinge.
+</cell><cell>
+?Bach.
+</cell><cell>
+Stanzas iv.  and v. of Joachim Neander's hymn, <q>Lobe den Herren</q>; rest original. S. B. Soli.
+</cell></row>
+
+<row><cell>
+122
+</cell><cell>
+<foreign lang="la">c.</foreign> 1742. Sunday after Christmas Day.
+</cell><cell>
+Das neugebor'ne Kindelein.
+</cell><cell>
+Cyriacus Schneegass and ?Bach.
+</cell><cell>
+Choral Cantata. Stanzas i., iii., iv. of the hymn are set in their original form.  Stanza ii. is paraphrased in the first Aria. The two Recitativi are original.
+</cell></row>
+
+<row><cell>
+116
+</cell><cell>
+1744 (Nov. 15). Twenty-fifth S. after Trinity.
+</cell><cell>
+Du Friedef&uuml;rst, Herr Jesu Christ.
+</cell><cell>
+Jakob Ebert. Also attributed to Ludwig Helmbold (arranged).
+</cell><cell>
+Choral Cantata. Stanzas i. and vii. of the hymn are set in their original form. The intervening stanzas are paraphrased.
+</cell></row>
+
+</table>
+</div>
+
+
+</div>
+
+<pb n="143" />
+<div rend="page-break-before: right">
+  <index index="toc" />
+  <index index="pdf" />
+<head>APPENDIX III.  THE BACHGESELLSCHAFT EDITIONS OF BACH'S WORKS</head>
+<p>
+The Bachgesellschaft was founded on December 15, 1850, issued its first volume in 1851, and was dissolved on January 27, 1900, upon the publication of its sixtieth and concluding volume.  The Society had fulfilled its fundamental purpose&mdash;the publication of Bach's works&mdash;and on the very date of its dissolution the Neue Bachgesellschaft was founded with the object of popularising Bach's music by publishing it in practicable form and by holding Bach Festivals.  A secondary object, the foundation of a Bach Museum at Eisenach, in the house in which Bach was born, already has been achieved.  Bach Festivals have been held at regular intervals&mdash;at Berlin in 1901, Leipzig in 1904, Eisenach&mdash;in connection with the opening of the Museum&mdash;in 1907, at Chemnitz in 1908, Duisburg in 1910, Breslau in 1912, Vienna in 1914.  The publications of the new Society necessarily are unimportant by the side of those of its predecessor.  It has, however, brought to light and published a Cantata overlooked by the old Bachgesellschaft.  (See New B.G. XIII. (2).)
+</p>
+<p>
+The publications of both Societies are quoted here by their year of issue&mdash;I., II., III., and so forth.  When more than one volume has been published in a single year they are differentiated thus: XV.(1), XV.(2).  When a volume appeared upon a date subsequent to the Vereinsjahr it
+<pb n="226" />
+bears, the date of the Preface is indicated in a bracket, e.g. 1872[1876].
+</p>
+<p>
+The editorial work of the original Bachgesellschaft was undertaken, in unequal proportions, by ten editors during fifty years.  Of the Society's sixty volumes three were edited by Moritz Hauptmann (1851-58), one by Carl F. Becker (1853), two by Julius Rietz (1854-56), twenty-seven by Wilhelm Rust (1855-81), one by Franz Kroll (1866), eleven by Alfred D&ouml;rffel (1876-98), six by Paul Graf Waldersee (1881-94), five by Ernst Naumann (1886-94), two by Franz W&uuml;llner (1887-92), and two by Hermann Kretzschmar (1895-1900).
+</p>
+
+<div>
+<head type="sub">(A) PUBLICATIONS OF THE BACHGESELLSCHAFT</head>
+
+<list>
+<item n="I."> 1851. Kirchencantaten. Erster Band. Ed. Moritz 
+Hauptmann.<note place="foot">
+<p>
+The Church Cantatas are published by Peters and also by Breitkopf and Haertel.  A prefixed asterisk indicates that an English edition of the Cantata or Oratorio is published by Novello or Breitkopf and Haertel.
+</p>
+<p>
+The Organ music is published by Novello, to whose edition references are given (N.), Peters, and Breitkopf and Haertel.   collation of the Peters and Novello editions is given in Appendix V.
+</p>
+<p>
+The Clavier and Instrumental music is published by Peters, to whose edition references are given (P.).
+</p>
+</note>
+
+<list>
+<item>No. *1. Wie sch&ouml;n leuchtet der Morgenstern.</item>
+<item>No. *2. Ach Gott, vom Himmel sieh darein.</item>
+<item>No. *3. Ach Gott, wie manches Herzeleid (c. 1740).</item>
+<item>No. *4. Christ lag in Todesbanden.</item>
+<item>No.  5. Wo soll ich fliehen hin.</item>
+<item>No. *6. Bleib' bei uns, denn es will Abend werden.</item>
+<item>No.  7. Christ unser Herr zura Jordan kam.</item>
+<item>No. *8. Liebster Gott, warm werd' ich sterben?</item>
+<item>No.  9. Es ist das Heil uns kommen her.</item>
+<item>No. *10. Meine Seel' erhebt den Herren!</item>
+<item>Frontispiece: G. Haussmann's portrait of Bach, in the 
+possession of St. Thomas' School, Leipzig.</item>
+</list>
+</item>
+
+<pb n="227" />
+<item n="II.">1852. Kirchencantaten. Zweiter Band. Ed. Moritz Hauptmann.
+<list>
+<item>*No. 11. Lobet Gott in seinen Reichen.</item>
+<item>No. *12. Weinen, Klagen, Sorgen, Zagen.</item>
+<item>No. 13. Meine Seufzer, meine Thr&auml;nen.</item>
+<item>No. 14. War' Gott nicht mit uns diese Zeit.</item>
+<item>No. 15. Denn du wirst meine Seele nicht in der H&ouml;lle lassen.</item>
+<item>No. 16. Herr Gott dich loben wir.</item>
+<item>No. 17. Wer Dank opfert, der preiset mich.</item>
+<item>No. 18. Gleich vie der Begen uud Schnee vom Himmel fallt.</item>
+<item>No. 19. Es erhub sich ein Streit.</item>
+<item>No. 20. O Ewigkeit, du Donnerwort (<foreign lang="la">c.</foreign> 1725).</item>
+</list>
+</item>
+
+<item n="III.">1853. Clavierwerke. Erster Band. Ed. Carl F. Becker.
+<list>
+<item n="(1)">Fifteen Inventions and Fifteen Symphonies (Sinfonie) (P. bk. 201).<note place="foot">
+<p>
+A Variant of the first Invention is on p. 342 of the volume.  A Variant of Sinfonia ix. is on p. vi. of the Nachtrag.
+</p>
+</note>
+</item>
+
+<item n="(2)"> Clavier&uuml;bung, Part I.:&mdash;
+  <list>
+  <item>Partiten 1-6 (P. bka. 205, 206).</item>
+  </list>
+</item>
+
+<item n="(3)"> Clavier&uuml;bung, Part II.:&mdash;
+  <list>
+  <item>Concerto, in F major, in the Italian style (P bk. 207).</item>
+  <item>Partita (Overture) in B minor (P. bk. 208).</item>
+  </list>
+</item>
+ 
+<item n="(4)"> Clavier&uuml;bung, Part III.:&mdash;
+  <list>
+  <item>Organ Prelude and Fugue in E flat major (N. bk. 16 pp. 19, 83).</item>
+  <item>Four Duetti (P. bk. 208 p. 78).</item>
+  <item>Catechism Choral Preludes (Organ):&mdash;
+    <list>
+      <item n="1.">
+        <list>
+        <item>Kyrie, Gott Vater in Ewigkeit (N. bk. 16 p. 28).</item> 
+        <item>Christe, aller Welt Trost (ib. p. 30).</item>
+        <item>Kyrie, Gott heiliger Geist (ib. p. 33).</item>
+        </list>
+      </item>
+      <item n="2.">
+       <list>
+        <item>Kyrie, Gott Vater in Ewigkeit (alio modo) (<foreign lang="la">ib.</foreign> p. 36).</item>
+        <item>Christe, aller Welt Trost (ib. p. 37).</item>
+        <item>Kyrie, Gott heiliger Geist (ib. p. 38).</item>
+       </list>
+	  </item>
+      <item n="3."> Allein Gott in der Hoh' sei Ehr' (ib. p. 39).</item>
+      <item n="4."> Ditto (<foreign lang="la">ib.</foreign> p. 40*).<note place="foot">
+           <p>
+           A Variant is in B.G. XI.
+          </p>
+          </note></item>
+<pb n="228" />
+      <item n="5."> Allein Gott in der Hoh' sei Ehr' (Fughetta) (N. bk. 16 p. 41).</item>
+      <item n="6."> Dies sind die heil'gen zehn Gebot' (ib. p. 42).</item>
+      <item n="7."> Ditto (Fughetta) (ib. p. 47).</item>
+      <item n="8."> Wir glauben all' an einen Gott (ib. p. 49).</item>
+      <item n="9."> Ditto (Fughetta) (ib. p. 52).</item>
+      <item n="10."> Vater unser im Himmelreich (ib. p. 53).</item>
+      <item n="11."> Ditto (ib. p. 61).<note place="foot">
+         <p>
+         A Variant is in P. bk. 244 p. 109.
+         </p>
+         </note></item>
+      <item n="12."> Christ unser Herr zum Jordan kam (ib. p. 62).</item>
+      <item n="13."> Ditto (ib. p. 67).</item>
+      <item n="14."> Aus tiefer Noth schrei ich zu dir (ib. p. 68).</item>
+      <item n="15."> Ditto (ib. p. 72).</item>
+      <item n="16."> Jesus Christus unser Heiland (ib. p. 74).</item>
+      <item n="17."> Ditto (Fugue) (ib. p. 80).</item>
+     </list>
+	 </item>
+    </list>
+	</item>
+
+<item n="(5)"> Clavier&uuml;bung, Part IV.:&mdash;
+  <list>
+   <item>Aria and thirty Variations (Goldberg) (P. bk. 209).</item>
+</list>
+</item>
+
+<item n="(6)">
+  <list>
+    <item>Toccata in F sharp minor (P. bk. 210 p. 30).</item>
+    <item>Ditto. C minor (P. bk. 210 p. 40).</item>
+    <item>Fugue (with Fantasia) in A minor (P. bk. 207 p. 16).</item>
+  </list>
+ </item>
+ </list>
+ </item>
+
+<item n="IV.">1854. *Passionsmusik nach dem Evangelisten Matth&auml;us.  Ed. Julius Rietz.</item>
+
+<item n="V(1).">1855. Kirchencantaten. Dritter Band. Ed. Wilhelm Rust.
+   <list>
+    <item>*21. Ich hatte viel Bek&uuml;mmerniss.</item>
+    <item>22. Jesus nahm zu sich die Zw&ouml;lfe.</item>
+    <item>*23. Du wahrer Gott und Davids Sohn.</item>
+    <item>24. Ein ungef&auml;rbt Gem&uuml;the.</item>
+    <item>*25. Es ist nichts Gesundes an meinem Leibe.</item>
+    <item>26. Ach wie fl&uuml;chtig, ach wie nichtig.</item>
+    <item>*27. Wer weiss, wie nahe mir mein Ende.</item>
+    <item>*28. Gottlob! nun geht das Jahr zu Ende.</item>
+    <item>29. Wir danken dir, Gott, wir danken dir.</item>
+    <item>*30. Freue dich, erl&ouml;ste Schaar.</item>
+   </list>
+</item>
+
+
+<item n="V(2).">1855 [1856]. Weinachts-Oratorium. Ed. Wilhelm Rust.</item>
+
+<item n="VI.">1856. *Messe. H moll. Ed. Julius Rietz.</item>
+
+<item n="VI.">VII. 1857. Kirchencantaten. Vierter Band. Ed. Wilhelm Rust.
+  <list>
+   <item>No. 31. Der Himmel lacht, die Erde jubiliret.</item>
+   <item>*32. Liebster Jesu, mein Verlangen.</item> 
+   <item>33. Allein zu dir, Herr Jesu Christ.</item> 
+   <item>*34. O ewiges Feuer, O Ursprung der Liebe.</item> 
+   <item>35. Geist und Seele wird verwirrt.</item>
+   <item>36. Schwingt freudig euch empor.</item>
+   <item>37. Wer da glaubet und getauft wird.</item>
+   <item>*38. Aus tiefer Noth schrei ich zu dir.</item>
+   <item>*39. Brich dem Hungrigen dein Brod.</item>
+   <item>*40. Dazu ist erschienen der Sohn Gottes.</item>
+  </list>
+</item>
+
+<item n="VIII."> 1858. Vier Messen. F dur, *A dur, G moll, G dur. Ed. Moritz Hauptmann.</item>
+
+<item n="IX."> 1859 [I860]. Kammermusik. Erster Band. Ed. Wilhelm Rust.
+   <list>
+    <item>Three Sonatas, in B minor, E flat major, A minor (and Variant), for Clavier and Flute (P. bk. 234).</item>
+    <item>Suite in A major, for Clavier and Violin (P. bk. 236).</item>
+    <item>Six Sonatas, in B minor, A major, E major, C minor, F minor (and Variant), G major (and Variants), for Clavier and Violin (P. bks. 232, 233).</item>
+    <item>Three Sonatas, in G major (or 2 Flutes), D major, G minor for Clavier and Viola da Gamba (P. bk. 239).</item>
+    <item>Sonata in G major, for Flute, Violin, and Clavier (P. bk. 237).</item>
+    <item>Sonata in C major, for two Violins and Clavier (P. bk. 237).</item>
+    <item>Sonata in G minor, for Clavier and Violin (not in P.).<note place="foot">
+<p>
+<q>If genuine, the Sonata is a youthful work,</q> remarks Schweitzer, i. 401 n.
+</p>
+</note>
+</item>
+   </list>
+</item>
+
+<item n="X.">1860. Kirchencantaten. F&uuml;nfter Band. Ed. Wilhelm Rust.
+   <list>
+     <item>No. *41. Jesu, nun sei gepreiset.</item>
+     <item>42. Am Abend aber desselbigen Sabbaths.</item>
+     <item>*43. Gott fahret auf mit Jauchzen.</item>
+     <item>*44. Sie werden euch in den Bann thun (<foreign lang="la">c.</foreign> 1725).</item>
+     <item>45. Es ist dir gesagt, Mensch, was gut ist.</item>
+     <item>46. Schauet doch und sehet, etc.</item>
+     <item>47. Wer sich selbst erh&ouml;het, der soll emiedriget werden</item>
+     <item>48. Ich elender Mensch, wer wird mich erl&ouml;sen?</item>
+     <item>49. Ich geh' und suche mit Verlangen.</item>
+     <item>*50. Nun ist das Heil und die Kraft.</item>
+   </list>
+</item>
+
+<item n="XI (1).">1861 [1862]. *Magnificat, D dur, und vier Sanctus, C dur, D dur, D moll, G dur. Ed. Wilhelm Rust.
+  <list>
+    <item>The Appendix contains four additional numbers which are found in one of the two Autograph scores of the Magnificat.</item>
+  </list>
+</item>
+
+<item n="XI (2)."> 1861 [1862]. Kammermusik f&uuml;r Gesang. Erster Band. Ed. Wilhelm Rust.
+   <list>
+    <item>Secular Cantata: *Phoebus und Pan.</item>
+    <item>Secular Cantata: Weichet nur, betr&uuml;bte Schatten.</item>
+    <item>Secular Cantata: Amore traditore.</item>
+    <item>Secular Cantata: Von der Vergn&uuml;gsamkeit, or, Ich bin in mir vergn&uuml;gt.</item>
+    <item>Secular Cantata: Der zufriedengestellte Aeolus, or, Zer reisset, zersprenget, zertr&uuml;mmert die Gruft.</item>
+    </list>
+</item>
+
+<item n="XII (1).">1862 [1863]. *Passionsmusik nach dem Evangelisten Johannes. Ed. Wilhelm Rust.</item>
+
+<item n="XII (2).">1862 [1863]. Kirchencantaten. Sechster Band. Ed. Wilhelm Rust.
+   <list>
+    <item>No. 51. Jauchzet Gott in allen Landen.</item>
+    <item>52. Falsche Welt, dir trau ich nicht.</item>
+    <item>*53. Schlage doch, gew&uuml;nschte Stunde.</item>  
+    <item>*54. Widerstehe doch der S&uuml;nde.</item>
+    <item>55. Ich armer Mensch, ich S&uuml;ndenknecht.</item>
+    <item>*56. Ich will den Kreuzstab gerne tragen.</item>
+    <item>57. Selig ist der Mann.</item>
+    <item>58. Ach Gott, wie manches Herzeleid (1733).</item>
+    <item>59. Wer mich liebet, der wird mein Wort halten (1716).</item>
+    <item>60. O Ewigkeit, du Donnerwort (1732).</item>
+   </list>
+</item>
+
+
+<item n="XIII (1).">1863 [1864]. Trauungs-Cantaten. Ed. Wilhelm Rust.
+   <list>
+     <item>No. *195. Dem Gerechten muss das Licht.</item>
+     <item>196. Der Herr denket an uns.</item>
+     <item>197.
+       <list>
+        <item>Gott ist uns're Zuversicht.</item>
+        <item>Drei Chorale zu Trauungen : (1) Was Gott thut, (2) Sei Lob und Ehr', (3) Nun danket alle Gott.</item>
+       </list></item>
+    </list>
+</item>
+ 
+<item n="XIII (2)."> 1863. Clavierwerke. Zweiter Band. Ed. Wilhelm Rust.
+   <list>
+     <item>Six Great Suites, in A major, A minor, G minor, F major, E minor, D minor, known as the <q>English Suites</q> (P. bks. 203,204).</item>
+     <item>Six Small Suites, in D minor, C minor, B minor, E flat major, G major, E major, known as the <q>French Suites</q> (P. bk. 202).<note place="foot">
+<p>
+Additional movements of the second, third, and fourth Suites are in Appendix II. of B.G. XXXVI.
+</p>
+</note></item>
+   </list>
+</item>
+
+<item n="XIII (3)."> 1863 [1865]. *Trauer-Ode. Ed. Wilhelm Rust.
+</item>
+
+<item n="XIV."> 1864 [1866]. Clavierwerke. Dritter Band. Das wohltemperirte Clavier (P. bks. 2790 a-b.). Ed. Franz Kroll.<note place="foot">
+<p>
+The volume contains an Appendix of Variants, etc. See also B.G. XLV. (1) Appendix. Variants of Nos. 1, 3, 6 of Part II. are in Appendix I. of B.G. XXXVI.
+</p>
+</note>
+<list>
+  <item>Erster Theil, 1722.</item>
+  <item>Zweiter Theil, 1744.</item>
+</list>
+</item>
+
+<item n="XV."> 1865 [1867]. Orgelwerke. Erster Band. Ed. Wilhelm Rust.
+  <list>
+    <item>Six Sonatas, in E flat major, C minor, D minor, E minor, 
+C major, G major (N. bks. 4, 5), for 2 Claviers and Pedal.</item>
+    <item>Eighteen Preludes and Fugues:&mdash;
+     <list>
+       <item>Prelude and Fugue in C major (N. bk. 7 p. 74).</item>
+       <item>Prelude and Fugue in D major (N. bk. 6 p. 10).</item>
+       <item>Prelude and Fugue in E minor (N. bk. 2 p. 44).</item>
+       <item>Prelude and Fugue in F minor (N. bk. 6 p. 21).</item>
+       <item>Prelude and Fugue in G minor (N. bk. 8 p. 120).</item>
+       <item>Prelude and Fugue in A major (N. bk. 3 p. 64).</item>
+       <item>Prelude (Fantasia) and Fugue in C minor (N. bk. 3 p. 76).</item>
+       <item>Prelude (Toccata) in D minor (N. bk. 10 p. 196).</item>
+       <item>Prelude and Fugue in D minor (N. bk. 9 p. 150).</item>
+       <item>Prelude and Fugue (Toccata) in F major (N. bk. 9 p. 176).</item>
+       <item>Prelude and Fugue the Great, in G major (N. bk. 8 p. 112).</item>
+       <item>Prelude (Fantasia) and Fugue in G minor (N. bk. 8 p. 127).<note place="foot">
+              <p>
+              See publications of the N.B.G. xiv. (2) no. 5.
+              </p>
+              </note></item>
+       <item>Prelude (Fantasia) and Fugue in A minor (N. bk. 7 p. 42).<note place="foot">
+              <p>
+              See publications of the N.B.G. vii. (3) no. 3.
+              </p>
+              </note></item>
+       <item>Prelude (Fantasia) and Fugue in B minor (N. bk. 7 p. 52).</item>
+       <item>Prelude (Fantasia) and Fugue in C minor (N. bk. 7 p. 64).</item>
+       <item>Prelude (Fantasia) and Fugue in C major (N. bk. 9 p. 156).</item>
+       <item>Prelude (Fantasia) and Fugue in E minor (N. bk. 8 p. 98).</item>
+       <item>Prelude and Fugue in C major (N. bk. 3 p. 70).</item>
+</list>
+</item>
+<item>
+<list>
+  <item>Three Toccatas and Fugues, in C major, the <q>Great</q> (N. bk. 9 p. 137).</item>
+  <item>Toccata and Fugue D minor (N. bk. 6 p. 2).</item>
+  <item>Toccata and Fugue E major (N. bk. 8 p. 88, as Prelude and Fugue in C major)</item>
+</list>
+</item>
+<item>Passacaglia, in C minor (N. bk. 10 p. 214).</item>
+</list>
+</item>
+
+
+<item n="XVI."> 1866 [1868]. Kirchencantaten. Siebenter Band. Ed. Wilhelm Rust.
+ <list>
+   <item>No. *61. Nun komm, der Heiden Heiland (1714).</item>
+   <item>62. Nun komm, der Heiden Heiland (c. 1740).</item>
+   <item>63. Christen, &auml;tzet diesen Tag.</item>
+   <item>64. Sehet, welch' eine Liebe.</item>
+   <item>*65. Sie werden aus Saba Alle kommen.</item>
+   <item>66. Erfreut euch, ihr Herzen.</item>
+   <item>*67. Halt' im Gedachtniss Jesum Christ.</item>
+   <item>*68. Also hat Gott die Welt geliebt.</item>
+   <item>69. Lobe den Herren, meine Seele.</item>
+   <item>*70. Wachet, betet, seid bereit allezeit.</item>
+ </list>
+</item>
+
+<item n="XVII."> 1867 [1869]. Kammermusik. Zweiter Band. Ed. Wilhelm Rust.
+  <list>
+   <item>Seven Concertos, in D minor (and Variant),<note place="foot">
+      <p>
+      For this work, in its original form as a Violin Concerto, see N.B.G. XVIII. (1 and     2).
+      </p>
+     </note>
+ E major (and Variant), D major (and Variant), A major (and Variant), F minor, F major, G minor, for Clavier and Orchestra (Strings; two flutes added in Concerto VI. (P. bks. 248-254).<note place="foot">
+     <p>
+     The D major (No. 3) and G minor (No. 7) Concertos are identical with the Violin Concertos in E major and A minor. See B.G. XXI. (1). No. 6 (F. major) is the fourth Brandenburg Concerto (in G.). See B.G. XIX. no. 4.
+     </p>
+      </note>
+</item>
+   <item>Triple Concerto in A minor, for Flute, Violin, Clavier, and Orchestra (Strings). (P. bk. 255).</item>
+</list>
+</item>
+
+<item n="XVIII."> 1868 [1870]. Kirchencantaten. Achter Band. Ed. Wilhelm Rust.
+  <list>
+    <item>No. 71. Gott ist mem K&uuml;onig.</item>
+    <item>72. Alles nur nach Gottes Willen.</item>
+    <item>73. Herr, wie du willt, so schick's mit mir.</item>
+    <item>74. Wer mich liebet, der wird mein Wort halten (? 1735).</item>
+    <item>75. Die Elenden sollen essen.</item>
+    <item>76. Die Himmel erzahlen die Ehre Gottes.</item>
+    <item>77. Du sollst Gott, deinen Herren, lieben.</item>
+    <item>78. Jesu, der du meine Seele.</item>
+    <item>*79. Gott, der Herr, ist Sonn' und Schild.</item>
+    <item>*80. Ein' feste Burg ist unser Gott.</item>
+</list>
+</item>
+
+<item n="XIX."> 1869 [1871]. Kammermusik. Dritter Band. Ed. 
+Wilhelm Rust.
+<p>
+Six Concertos (<q>Brandenburg</q>) for Orchestra and Continuo:&mdash;
+</p>
+   <list>
+    <item>No. I. in F major (Strings, 3 Ob., Fag., 2 Cor. (P. bk. 261).<note place="foot">
+          <p>
+          In a shortened form this work appears also as a Sinfonia in F major. See B.G. XXXI. (1) no. 5, and N.B.G. X. (2).
+          </p>
+          </note></item>
+
+    <item>No. II. in F major (Strings, Flute, Oboe, Tromba) (P. bk. 262).</item>
+    <item>No. III. in G major (Strings) (P. bk. 263). [N.B.G. IX. (3)]. </item>
+    <item>No. IV. in G major (Strings and 2 Flutes) (P. bk. 264). </item>
+    <item>No. V. in D major (Strings, Flute, Clavier) (P. bk. 265). </item>
+    <item>No. VI. in B flat major (2 Violas, 2 Violas da Gamba, Violoncello, Contrabasso) (P. bk. 266).</item>
+</list>
+</item>
+
+<item n="XX (1)."> 1870 [1872]. Kirchencantaten. Neunter Band. Ed. 
+Wilhelm Rust. 
+  <list>
+   <item>No. *81. Jesus schl&auml;ft, was soll ich hoffen?</item>
+   <item>*82. Ich habe genug.</item>
+   <item>83. Erf route Zeit im neuen Bunde.</item>
+   <item>84. Ich bin vergn&uuml;gt mit meinem Gl&uuml;cke.</item>
+   <item>85. Ich bin ein guter Hirt. [Score, N.B.G. IX. (1)].</item>
+   <item>86. Wahrlich, wahrlich, ich sage euch.</item>
+   <item>87. Bisher habt ihr nichts gebeten in meinem Namen.</item>
+   <item>88. Siehe, ich will viel Fischer aussenden. [Score, N.B.G. VII. (1)].</item>
+   <item>89. Was soll ich aus dir machen, Ephraim?</item>
+   <item>90. Es reifet euch ein schrecklich Ende.</item>
+ </list>
+</item>
+
+<item n="XX (2)."> 1870 [1873]. Kammermusik f&uuml;r Gesang. Zweiter Band. Ed. Wilhelm Rust.
+ <list>
+   <item>Secular Cantata: Schleicht, spielende Wellen.</item>
+   <item>Secular Cantata: Vereinigte Zwietracht der wechsehiden Saiten. </item>
+   <item>Secular Cantata: Auf, schmetternde Tone der muntern Trompeten. [See B.G. XXXIV].</item>
+ </list>
+</item>
+
+<item n="XXI (1)."> 1871 [1874]. Kammermusik. Vierter Band. Ed. Wilhelm Rust.
+  <list>
+  <item>Three Concertos for Violin and Orchestra (Strings):&mdash;
+    <list>
+      <item>No. I. in A minor (P. bk. 229).<note place="foot">
+         <p>
+         Identical with the G minor Clavier Concerto. See B.G. XVII. no. 7, and also B.G. XLV. (1), Appendix, p. 233.
+         </p>
+      </note>
+      </item>
+      <item>No. II. in E major (P. bk. 230).<note place="foot">
+        <p>
+        Identical with the D major Clavier Concerto. See B.G. XVII. no. 3, and N.B.G. VIII. (1)
+        </p>
+        </note>
+      </item>
+      <item>No. III. in D minor (two Violins) (P. bk. 231).<note place="foot">
+            <p>
+            Identical with the Concerto for two Claviers in C minor. See B.G. XXI. (2) no. 3.
+            </p>
+            </note>
+      </item>
+	  </list>
+	  </item>
+      <item> Symphonic movement, in D major, for Violin and Orchestra (Strings, 2 Ob., 3 Trombe, Timp.).<note place="foot">
+       <p>
+       The movement is described as being from <q>einer unbekannten Kirchencantate</q> for four voices and Orchestra. The Autograph is incomplete. The movement is not published elsewhere than in the B.G. edition.
+       </p>
+       </note>
+      </item>
+ </list>
+</item>
+
+
+<item n="XXI (2)."> 1871 [1874]. Kammermusik. F&uuml;nfter Band. Ed. 
+Wilhelm Rust. 
+ <list>
+  <item>Three Concertos for two Claviers and Orchestra (Strings):&mdash;</item>
+  <item>No. I. in C minor (P. bk. 257). </item>
+  <item>No. II. in C major (P. bk. 256). </item>
+  <item>No. III. in C minor (P. bk. 257b).<note place="foot">
+        <p>
+         Identical with the Concerto for 2 Violins, in D minor. See B.G. XXI. (1) no. 3. Also pp. 131, 158, 160, <foreign lang="la">supra.</foreign>
+        </p>
+        </note>
+   </item>
+ </list>
+</item>
+
+<item n="XXI (3)."> 1871 [1874]. *0ster-0ratorium: <q>Kommt, eilet und laufet.</q> Ed. Wilhelm Rust.
+</item>
+
+<item n="XXII."> 1872 [1875]. Kirchencantaten. Zehnter Band. Ed. Wilhelm Rust.
+  <list>
+    <item>No. 91. Gelobet seist du, Jesu Christ.</item>
+    <item>92. Ich hab' in Gottes Herz und Sinn.</item>
+    <item>*93. Wer nur den lieben Gott l&auml;sst walten.</item>
+    <item>94. Was frag ich nach der Welt.</item>
+    <item>95. Christus, der ist mein Leben.</item>
+    <item>96. Herr Christ, der ein'ge Gottes-Sohn.</item>
+    <item>97. In allen meinen Thaten.</item>
+    <item>98. Was Gott thut, das ist wohlgethan, in B major (c. 1732).</item>
+    <item>99. Was Gott thut, das ist wohlgethan, in G major (c. 1733).</item>
+    <item>100. Was Gott thut, das ist wohlgethan, in G major (c. 1735).</item>
+  </list>
+</item>
+
+
+<item n="XXIII."> 1873 [1876]. Kirchencantaten. Elfter Band. Ed. Wilhelm Rust.
+ <list>
+  <item>No. 101. Nimm von uns, Herr, du treuer Gott.</item>
+  <item>102. Herr, deine Augen sehen nach dem Glauben.</item>
+  <item>103. Ihr werdet weinen und heulen.</item>
+  <item>*104. Du Hirte Israel, h&ouml;re.</item>
+  <item>105. Herr, gehe nicht in's Gericht.</item>
+  <item>*106. Gottes Zeit ist die allerbeste Zeit (Actus tragicus).</item>
+  <item>107. Was willst du dich betr&uuml;ben.</item>
+  <item>108. Es ist euch gut, dass ich hingehe.</item>
+  <item>109. Ich glaube, lieber Herre.</item>
+  <item>110. Unser Mund sei voll Lachens.</item>
+ </list>
+</item>
+
+<item n="XXIV."> 1874 [1876]. Kirchencantaten. Zw&ouml;lfter Band. Ed. Alfred D&ouml;rffel.
+ <list>
+  <item>No. 111. Was mein Gott will, das g'scheh' allzeit.</item>
+  <item>*112. Der Herr ist mein getreuer Hirt.</item>
+  <item>113. Herr Jesu Christ, du h&ouml;chstes Gut.</item>
+  <item>114. Ach, lieben Christen, seid getrost.</item>
+  <item>*115. Mache dich, mem Geist, bereit.</item>
+  <item>*116. Du Friedef&uuml;rst, Herr Jesu Christ.</item>
+  <item>117. Sei Lob und Ehr' dem h&ouml;chsten Gut.</item>
+  <item>118. O Jesu Christ, mein's Lebens Licht.<note place="foot">
+        <p>
+        Also in N.B.G. XVII. (1 and 2).
+        </p>
+        </note></item>
+  <item>*119. Preise, Jerusalem, den Herrn.</item>
+  <item>120. Gott, man lobet dich in der Stille.</item>
+ </list>
+</item>
+
+<item n="XXV (1)."> 1875 [1878]. Die Kunst der Fuge: 1749-1750 Ed. Wilhelm Rust. (P. bk. 218)
+ <list>
+  <item>Contrapunctus 1-14</item>
+  <item>Four Canons I</item>
+  <item>Two Fugues for two Claviers)</item>
+  <item>Fugue on three subjects )</item>
+ </list>
+</item>
+
+<item n="XXV (2)"> 1875 [1878], Orgelwerke. Zweiter Band. Ed. Wilhelm Rust.
+ <list>
+  <item>(1) Orgelb&uuml;chlein (N. bk. 15), containing Preludes on the following melodies:<note place="foot">
+        <p>
+        For an exposition of Bach's design in the <q>Orgelb&uuml;chlein,</q> see the present writer's articles in <q>The Musical Times</q> for January_March 1917, and <q>Bach's Chorals,</q> Part III. See N.B.G. II. (1) for an arrangement of the Preludes for two pianofortes.
+        </p>
+        </note>
+   <list>
+    <item><emph>Advent&mdash;</emph>
+     <list>
+       <item n="1.">Nun komm der Heiden Heiland.</item>
+       <item n="2.">Gott, durch deine G&uuml;te, or, Gottes Sohn ist kommen.</item>
+       <item n="3.">Herr Christ, der ein'ge Gottes-Sohn, or, Herr Gott, nun sei gepreiset.</item>
+       <item n="4."> Lob sei dem allm&auml;chtigen Gott.</item>
+	 </list>
+	</item>
+    <item><emph>Christmas&mdash;</emph>
+	 <list>
+       <item n="5.">Puer natus in Bethlehem.</item>
+       <item n="6.">Gelobet seist du, Jesu Christ.</item>
+       <item n="7.">Der Tag, der ist so freudenreich.</item>
+       <item n="8.">Vom Himmel hoch, da komm' ich her.</item>
+       <item n="9.">Vom Himmel kam der Engel Schaar.</item>
+       <item n="10.">In dulci jubilo.</item>
+       <item n="11.">Lobt Gott, ihr Christen, allzugleich.</item>
+       <item n="12.">Jesu, meine Freude.</item>
+       <item n="13.">Christum wir sollen loben schon.</item>
+       <item n="14.">Wir Christenleut'.</item>
+      </list>
+	  </item>
+    <item><emph>New Year&mdash;</emph>
+     <list>
+       <item n="15."> Helft mir Gottes G&uuml;te preisen.</item>
+       <item n="16."> Das alte Jahr vergangen ist.</item>
+       <item n="17."> In dir ist Freude.</item>
+      </list>
+	 </item>
+    <item><emph>Feast of the Purification of the B.V.M.&mdash;</emph>
+     <list>
+       <item n="18."> Mit Fried' und Freud' ich fahr' dahin.</item>
+       <item n="19."> Herr Gott, nun schleuss den Himmel auf.</item>
+      </list>
+	 </item>
+    <item><emph>Passiontide&mdash;</emph>
+	  <list>
+       <item n="20.">O Lamm Gottes, unschuldig.</item>
+       <item n="21.">Christe, du Lamm Gottes.</item>
+       <item n="22.">Christ us, der uns selig macht.</item>
+       <item n="23.">Da Jesus an dem Kreuze stund.</item>
+       <item n="24.">O Mensch, bewein' dein' S&uuml;nde gross.</item>
+       <item n="25.">Wir danken dir, Herr Jesu Christ.</item>
+       <item n="26.">Hilf Gott, dass mir's gelinge.</item>
+      </list>
+	</item>
+    <item><emph>Easter&mdash;</emph>
+     <list>
+       <item n="27.">Christ lag in Todesbanden.</item>
+       <item n="28.">Jesus Christus, unser Heiland, der den Tod.</item>
+       <item n="29.">Christ ist erstanden (three verses).</item>
+       <item n="30.">Erstanden ist der heil'ge Christ.</item>
+       <item n="31.">Erschienen ist der herrliche Tag.</item>
+       <item n="32.">Heut' triumphiret Gottes Sohn.</item>
+      </list>
+	</item>
+    <item><emph>Whitsunday&mdash;</emph>
+     <list>
+       <item n="33.">Komm, Gott, Sch&ouml;pfer, heiliger Geist.</item>
+      </list>
+	</item>
+    <item><emph>Trinity Sunday&mdash;</emph>
+     <list>
+       <item n="34.">Herr Jesu Christ, dich zu uns wend'.</item>
+       <item n="35-6.">Liebster Jesu, wir sind hier (two settings). </item>
+      </list>
+	</item>
+    <item><emph>The Catechism&mdash;</emph>
+	  <list>
+       <item n="37.">Dies sind die heil'gen zehn Gebot.</item>
+       <item n="38.">Vater unser im Himmelreich.</item>
+      </list>
+	  </item>
+    <item><emph>Penitence and Amendment&mdash;</emph>
+     <list>
+       <item n="39.">Durch Adam's Fall ist ganz verderbt.</item>
+       <item n="40.">Es ist das Heil uns kommen her.</item>
+      </list>
+	</item>
+    <item><emph>Christian Conduct and Experience&mdash;</emph>
+     <list>
+       <item n="41.">Ich ruf' zu dir, Herr Jesu Christ.</item>
+      </list>
+	</item>
+    <item><emph>In Time of Trouble&mdash;</emph>
+     <list>
+       <item n="42.">In dich hab' ich gehoffet, Herr.</item>
+       <item n="43.">Wenn wir in h&ouml;chsten Nothen sein.</item>
+       <item n="44.">Wer nur den lieben Gott l&auml;sst walten.</item>
+      </list>
+	</item>
+    <item><emph>Death and the Grave&mdash;</emph>
+     <list>
+       <item n="45.">Alle Menschen m&uuml;ssen sterben.</item>
+      </list>
+	</item>
+    <item><emph>The Life Eternal&mdash;</emph>
+     <list>
+       <item n="46.">Ach wie nichtig, ach wie fl&uuml;chtig.</item>
+      </list>
+	</item>
+</list>
+</item>
+
+  <item>(2) Six Chorals (Sch&uuml;bler) (N. bk. 16) on the following melodies:
+   <list>
+    <item>Wachet auf, ruft uns die Stimme.</item>
+    <item>Wo soll ich fliehen hin, <emph>or</emph>, Auf meinen lieben Gott.</item>
+    <item>Wer nur den lieben Gott l&auml;sst walten.</item>
+    <item>Meine Seele erhebt den Herren.</item>
+    <item>Ach bleib bei uns, Herr Jesu Christ.</item>
+    <item>Kommst du nun, Jesu, vom Himmel herunter.</item>
+   </list>
+  </item>
+
+  <item>(3) Eighteen Chorals (N. bk. 17) on the following melodies:
+   <list>
+    <item n="1., 2.">Komm, heiliger Geist, Herre Gott (two settings).</item>
+    <item n="3.">An Wasserfl&uuml;ssen Babylon.</item>
+    <item n="4.">Schm&uuml;cke dich, O liebe Seele.</item>
+    <item n="5.">Herr Jesu Christ, dich zu uns wend'.</item>
+    <item n="6.">O Lamm Gottes unschuldig (three verses).</item>
+    <item n="7.">Nun danket Alle Gott.</item>
+    <item n="8.">Von Gott will ich nicht lassen.</item>
+    <item n="9, 10, 11.">Nun komm der Heiden Heiland (three settings).</item>
+    <item n="12, 13, 14.">Allein Gott in der H&ouml;h' sei Ehr' (three settings).</item>
+    <item n="15, 16.">Jesus Christus, unser Heiland, der von uns (two settings).</item>
+    <item n="17.">Komm, Gott, Sch&ouml;pfer, heiliger Geist.</item>
+    <item n="18.">Vor deinen Thron tret' ich, or, Wenn wir in h&ouml;chsten N&ouml;then sein.</item>
+  </list>
+</item>
+
+  <item>(4) Older texts of the <q>Orgelb&uuml;lein</q> and <q>Eighteen</q> Chorals:
+    <list>
+    <item n="1.">Christus, der uns selig macht (Orgelb&uuml;lein No. 22) (P. bk. 244 p. 108).</item>
+    <item n="2.">Komm, Gott, Sch&ouml;pfer, heiliger Geist (Orgelb&uuml;lein No. 33) (P. bk. 246 p. 86A).</item>
+    <item n="3.">Komm, heiliger Geist, Herre Gott (Eighteen No. 1) (P. bk. 246 p. 86).</item>
+    <item n="4.">Ditto (Eighteen No. 2) (P. bk. 246 p. 88).</item>
+    <item n="5.">An Wasserfl&uuml;ssen Babylon (Eighteen No. 3) (P. bk. 245 p. 103).</item>
+    <item n="6.">Herr Jesu Christ, dich zu uns wend' (Eighteen No. 5) (P. bk. 245 pp. 107, 108 prints two of the three Variants).</item>
+    <item n="9.">O Lamm Gottes unschuldig (Eighteen No. 6)(P. bk. 246 p. 97).</item>
+    <item n="10.">Von Gott will ich nicht lassen (Eighteen No. 8) (P. bk. 246 p. 102).</item>
+    <item n="11.">Nun komm der Heiden Heiland (Eighteen No. 9) (P. bk. 246 p. 92).</item>
+    <item n="12.">Ditto (Eighteen No. 10) (P. bk. 246 pp. 93, 94).</item>
+    <item n="14.">Ditto (Eighteen No. 11) (P. bk. 246 p. 96).</item>
+    <item n="15.">Allein Gott in der H&ouml;h' sei Ehr' (Eighteen No. 13) (P. bk. 245 p. 100).</item>
+    <item n="16.">Allein Gott in der H&ouml;' sei Ehr' (Eighteen No. 14) (P. bk. 245 p. 97).</item>
+    <item n="17.">Jesus Christus unser Heiland (Eighteen No. 15) (P. bk. 245 p. 112).</item>
+    </list>
+  </item>
+ </list>
+</item>
+
+<item n="XXVI."> 1876 [1878]. Kirchencantaten. Dreizehnter Band. Ed. Alfred D&ouml;rffel.
+  <list>
+    <item n="121.">Christum wir sollen loben schon.</item>
+    <item n="122.">Das neugebor'ne Kindelein.</item>
+    <item n="123.">Liebster Immanuel, Herzog der Frommen.</item>
+    <item n="124.">Meinen Jesum lass' ich nicht.</item>
+    <item n="125.">Mit Fried' und Freud' ich fahr' dahin.</item>
+    <item n="126.">Erhalt' uns, Herr, bei deinem Wort.</item>
+    <item n="127.">Herr Jesu Christ, wahr'r Mensch und Gott.</item>
+    <item n="128.">Auf Christi Himmelfahrt allein.</item>
+    <item n="129.">Gelobet sei der Herr.</item>
+    <item n="130.">Herr Gott, dich loben alle wir.</item>
+  </list>
+</item>
+
+<item n="XXVII (1)."> 1877 [18791. Kammermusik. Sechster Band. Ed. Alfred D&ouml;rffel.
+  <list>
+   <item>Three Sonatas (Suites), in G minor, A minor,<note place="foot">
+           <p>
+           See B.G. XLII. for a Clavier version.
+           </p>
+           </note>
+          C major,<note place="foot">
+           <p>
+           See B.G. XLII. for a Clavier version.
+           </p>
+           </note>
+          for Violin Solo (Nos. 1, 3, 5 in P. bk. 228).</item>
+   <item>Three Partitas (Suites, Sonatas), in B minor, D minor, E major,1 for Violin Solo (Nos. 2, 4, 6 in P. bk. 228).</item>
+   <item>Six Suites (Sonatas), in G major, D minor, C major, E flat major, C minor, D major, for Violoncello Solo (P. bks. 238a, 238).</item>
+  </list>
+</item>
+
+<item n="XXVII (2)."> 1877 [1878]. Thematisches Verzeichniss der Kirchencantaten No. 1-120. Ed. Alfred D&ouml;rffel.
+<p>
+[Note.&mdash;The Thematic Catalogue is completed in B.G. XLVI. (P. bk. 270b).]
+</p>
+</item>
+
+<item n="XXVIII."> 1878 [1881]. Kirchencantaten. Vierzehnter Band Ed. Wilhelm Rust.
+  <list>
+   <item n="131.">Aus der Tiefe rufe ich, Herr, zu dir.</item>
+   <item n="132.">Bereitet die Wege, bereitet die Bahn.</item>
+   <item n="133.">Ich freue mich in dir.</item>
+   <item n="134.">Ein Herz, das seinen Jesum lebend weiss [and Variant].</item>
+   <item n="135.">Ach Herr, mich armen Sunder.</item>
+   <item n="136.">Erforsche mich, Gott.</item>
+   <item n="137.">Lobe den Herren, den m&auml;chtigen K&uuml;onig.</item>
+   <item n="138.">Warum betr&uuml;bst du dich, mein Herz?</item>
+   <item n="139.">Wohl dem, der sioh auf seinen Gott.</item>
+   <item n="*140.">Wachet auf, ruft uns die Stimme.<note place="foot">
+          <p>
+          Boosey and Co. also publish an English edition.
+          </p>
+          </note>
+Mit Gnaden bekrone der Himmel die Zeiten (No. 134 adapted).</item>
+  </list>
+</item>
+
+<item n="XXIX."> 1879 [1881]. Kammermusik f&uuml;r Gesang, Dritter Band. Ed. Paul Graf Waldersee.
+  <list>
+    <item>Secular Cantata: Was mir behagt, ist nur die muntre Jagd.</item>
+    <item>Secular Cantata: Non sa che sia dolore.</item>
+    <item>Secular Cantata: O holder Tag, erw&uuml;nschte Zeit (Wedding).</item>
+    <item>Church Cantata No. 194: Hochsterw&uuml;nschtes Freudenfest.</item>
+    <item>Secular Cantata: Schweigt stille, plaudert nicht.</item>
+    <item>Secular Cantata: Mer hahn en neue Oberkeet.</item>
+    <item>Secular Cantata: Mit Gnaden bekr&ouml;ne der Himmel die Zeiten.</item>
+    <item>Secular Cantata: O angenehme Melodei.</item>
+    <item>Instrumental Piece for Violin, Flute, and Continuo. (Not in P.).</item>
+  </list>
+</item>
+
+
+<item n="XXX."> 1880 [1884]. Kirchencantaten. F&uuml;nfzehnter Band. Ed. Paul Graf Waldersee.
+  <list>
+    <item>141. Das ist je gewisslich wahr.</item>
+    <item>142. Uns ist ein Kind geboren.</item>
+    <item>143. Lobe den Herren, meine Seele.</item>
+    <item>144. Nimm, was dein ist, und gehe hin.</item>
+    <item>145. So du mit deinem Munde bekennest Jesum.</item>
+    <item>146. Wir m&uuml;ssen durch viel Tr&uuml;bsal in das Reich Gottes eingehen.</item>
+    <item>147. Herz und Mund und That und Leben.</item>
+    <item>148. Bringet dem Herrn Ehre seines Namens.</item>
+    <item>*149. Man singet mit Freuden vom Sieg.</item>
+    <item>150. Nach dir, Herr, verlanget mich.</item>
+  </list>
+</item>
+
+<pb n="242" />
+
+<item n="XXXI (1)."> 1881 [1885] Orchesterwerke. Ed. Alfred D&ouml;rffel. (P. bk. 219)
+  <list>
+    <item>Overture in C major (Strings, Ob. 1 and 2, Fagotto) (P. bk. 267).</item>
+    <item>Overture B minor (Strings, Flauto traverso) (P. bk. 268). </item>
+    <item>Overture D major (Strings, Ob. 1 and 2, Trombe 1, 2, 3, Timpani) (P. bk. 269). </item>
+    <item>Overture D major (Strings, Ob. 1, 2, 3, Fagotto, Trombe 1, 2, 3, Timpani) (P. bk. 2068).</item>
+    <item>Sinfonia in F major (Strings, Ob. 1, 2, 3, Fagotto, Corno da caccia 1 and 2).<note place="foot">
+<p>
+This is a shortened form of the first Brandenberg Concerto (see B.G. XIX. no. 1).  It consists of the Allegro, Adagio, Minuet, Trio I. and Trio II. of the latter, and omits its second Allegro and Polacca.
+</p>
+</note></item>
+  </list>
+</item>
+
+<item n="XXXI (2)."> 1881 [1885] Musikalisches Opfer. 1747. Ed. Alfred D&ouml;rffel.
+  <list>
+    <item>Ricercare a tre voci.</item>
+    <item>Canon perpetuus super thema regium.</item>
+    <item>Canones diversi 1-5.</item>
+    <item>Fuga canonica in Epidiapente.</item>
+    <item>Ricercare a sei voci.</item>
+<item>Two Canons.</item>
+<item>Sonata in C minor, for Flute, Violin, Clavier</item>
+<item>Canone perpetuo (Flute, Violin, Clavier)<note place="foot">
+<p>
+The Appendix contains Joh. Philipp Kernberger's solutions of the Canons and his expansion of the figured bass of the Clavier part of the Sonata.
+</p>
+</note></item>
+  </list>
+</item>
+
+<item n="XXXI (3)."> 1881 [1885]. Kammermusik. Siebenter Band. Ed. Paul Graf Waldersee.       <list>
+  <item>Two Concertos for three Claviers and Orchestra (Strings): No. 1 in D minor (P. bk. 258).<note place="foot">
+<p>
+See publications of the N.B.G. XIV. (2) no. 2.
+</p>
+</note></item>
+    <item>No. 2 in C major (P. bk. 259).).<note place="foot">
+<p>
+See publications of the N.B.G. XIV. (2) no. 2.
+</p>
+</note></item>
+  </list>
+</item>
+
+<pb n="243" />
+
+<item n="XXXII."> 1882 [1886]. Kirchencantaten. Sechzehnter Band. Ed. Ernst Naumann.
+  <list>
+    <item>151. S&uuml;sser Trost, mein Jesus kommt.</item>
+    <item>*152. Tritt auf die Glaubensbahn.</item>
+    <item>153. Schau', lieber Gott, wie meine Feind'.</item>
+    <item>154. Mein liebster Jesus ist verloren.</item>
+    <item>155. Mein Gott, wie lang', ach lange.</item>
+    <item>156. Ich steh' mit einem Fuss im Grabe.</item>
+    <item>157. Ich lasse dich nicht.</item>
+    <item>158. Der Friede sei mit dir.</item>
+    <item>159. Sehet, wir geh'n binauf gen Jerusalem.</item>
+    <item>160. Ich weiss, das mein Erl&ouml;ser lebt.</item>
+  </list>
+</item>
+
+<item n="XXXIII."> 1883 [1887]. Kirchencantaten. Siebzehnter Band: Ed. Franz W&uuml;lner.
+  <list>
+    <item>161. Komm, du s&uuml;sse Todesstunde.</item>
+    <item>162. Ach, ich sehe, jetzt da ich zur Hochzeit gehe.</item>
+    <item>163. Nur Jedem das Seine.</item>
+    <item>164. Ihr, die ihr euch von Christo nennet.</item>
+    <item>165. O heil'ges Geist- und Wasserbad.</item>
+    <item>166. Wo gehest du bin?</item>
+    <item>*167. Ihr Menschen, r&uuml;hmet Gottes Liebe.</item>
+    <item>168. Thue Rechnung! Donnerwort.</item>
+    <item>169. Gott soll allein mein Herze haben.</item>
+    <item>170. Vergn&uuml;gte Ruh', beliebte Seelenlust.</item>
+  </list>
+</item>
+
+<item n="XXXIV."> 1884 [1887]. Kammermusik f&uuml;r Gesang. Vierter Band. Ed. Paul Graf Waldersee.
+  <list>
+    <item>Secular Cantata: Durchlaucht'ster Leopold.</item>
+    <item>Secular Cantata: Schwingt freudig euch empor, <emph>or</emph>, Die Freude reget sich.</item>
+    <item>Secular Cantata: Hercules auf dem Scheidewege, <emph>or</emph>, Lasst uns sorgen, lasst uns wachen.</item>
+    <item>Secular Cantata: T&ouml;net, ihr Pauken! Erschallet, Trompeten.</item>
+    <item>Secular Cantata: Preise dein Gl&uuml;cke, gesegnetes Sachsen.</item>
+<pb n="244" />
+    <item>Secular Cantata: Angenehmes Wiederau.</item>
+    <item>Secular Cantata: Auf, schmetternde T&ouml;ne der muntern Trompeten.<note place="foot">
+<p>
+Text and music are identical with the version in B.G. XX. (2).
+</p>
+</note></item>
+  </list>
+</item>
+
+<item n="XXXV."> 1885 [1888]. Kirchencantaten. Achtzehnter Band. Ed. Alfred D&ouml;rffel.
+  <list>
+    <item>171. Gott, wie dein Name, so ist auch dein Ruhm.</item>
+    <item>172. Erschallet, ihr Lieder.</item>
+    <item>173. Erh&ouml;tes Fleisch und Blut.</item>
+    <item>174. Ich liebe den H&ouml;chsten von ganzem Gem&uuml;the.</item>
+    <item>175. Er rufet seinen Schafen mit Namen.</item>
+    <item>176. Es ist ein trotzig und verzagt Ding.</item>
+    <item>177. Ich ruf' zu dir, Herr Jesu Christ.</item>
+    <item>178. Wo Gott der Herr nicht bei uns h&auml;lt.</item>
+    <item>179. Siehe zu, dass deine Gottesfurcht nicht Heuchelei sei.</item>
+    <item>*180. Schm&uuml;cke dich, O liebe Seele.</item>
+  </list>
+</item>
+
+<item n="XXXVI."> 1886 [1890]. Clavierwerke. Vierter Band. Ed. Ernst Naumann.
+  <list>
+  <item n="1."> Suite in A minor (Appendix version in P. bk. 214).</item>
+  <item n="2."> Suite in E flat major (P. bk. 214).<note place="foot">
+<p>
+Another Allemande to the Suite is in B.G. XXXVI. 217 (also in P.).
+</p>
+</note></item>
+  <item n="3."> Suite (Overture), in F major (P. bk. 215).</item>
+  <item n="4."> Sonata in D major (P. bk. 215).</item>
+  <item n="10."> Chromatic Fantasia and Fugue in D minor (P. bk. 207).</item>
+  <item n="11."> Fantasia and Fugue in A minor (P. bk. 208).</item>
+  <item n="12."> Prelude and Fugue in E flat major (not in P.).</item>
+  <item n="13."> Prelude and Fugue in A minor (P. bk. 211).</item>
+  <item n="14."> Prelude and Fugue in A minor (P. bk. 200).</item>
+  <item n="15."> Prelude and Fughetta in D minor (P. bk. 200).</item>
+  <item n="16."> Prelude and Fughetta in E minor (P. bk. 200).</item>
+  <item n="17."> Prelude and Fughetta in F major (P. bk. 214).<note place="foot">
+<p>
+The subject of the Fughetta is the same as that of Fugue No. 17 in the second part of the <q>Well-tempered Clavier.</q>
+</p>
+</note></item>
+  <item n="18."> Do. do. G major (P. bk. 214).<note place="foot">
+<p>
+The Prelude is No. 11 in Peters (B.G. xxxvi. 220). The Fughetta is his No. 10. It is the same subject an that of Fugue 16 in the second part of the <q>Well-tempered Clavier.</q> An alternative Prelude (P. 214 p. 78) is in the Appendix (p. 220).
+</p>
+</note></item>
+  <item n="19."> Twelve Preludes for Beginners (P. bk. 200). 20 Six Little Preludes (P. bk. 200).</item>
+  <item n="21."> Prelude in C major (for Organ, N. bk. 12 p. 94).</item>
+  <item n="22."> Do. (Fantasia) in C minor (not in P.).</item>
+  <item n="23."> Do. do. in A minor (P. bk. 215).</item>
+  <item n="24."> Fantasia in G minor (P. bk. 215).</item>
+  <item n="25."> Do. C minor (P. bk. 207).</item>
+  <item n="26."> Do. (on a Rondo), in C minor (not in P.).</item>
+  <item n="27."> Do. C minor (P. bk. 212).</item>
+  <item n="28."> Fughetta in C minor (two-parte) (P. bk. 200).</item>
+  <item n="29."> Fugue in E minor (P. bk. 212).</item>
+  <item n="30."> Do. A major (P. bk. 212).</item>
+  <item n="31."> Do. C major (for Organ, N. bk. 12 p. 100).</item>
+  <item n="32."> Do. A minor (P. bk. 212).</item>
+  <item n="33."> Do. D minor (P. bk. 212 p. 61).</item>
+  <item n="34."> Do. A major (P. bk. 215 p. 52).</item>
+  <item n="35."> Do. A major (P. bk. 215 p. 57).</item>
+  <item n="36."> Do. B minor (Theme by Albinoni) (P. bk. 214).</item>
+  <item n="37."> Do. C major (P. bk. 200 p. 54).</item>
+  <item n="38."> Do. C major (P. bk. 200 p. 56).</item>
+  <item n="39."> Do. D minor (P. bk. 212 p. 59).</item>
+  <item n="40."> Capriccio in B flat major, sopra la lontananza del suo fratello dilettissimo (P. bk. 208).</item>
+  <item n="41."> Do. E major, in honorem J.C.Bach (P. bk. 215).</item>
+  <item n="42."> Aria variata in A minor (P. bk. 215).</item>
+  <item n="43."> Three Minuets, in G major, G minor, G major (P. bk. 215).</item>
+  <item n="44."> Fragment of a Suite in F minor (P. bk. 212).</item>
+  <item n="45."> Do. do. A major (P. bk. 1959, p. 3).</item>
+  <item n="46."> Prelude, Gavotte II, and Minuet in E flat major.<note place="foot">
+<p>
+They are described as <q>zur vierten franz&ouml;sischen Suite.</q> The Prelude is in P. bk. 1959 p. 67.
+</p>
+</note></item>
+
+<pb n="246" />
+  <item n="47."> Two Minuet-Trios, in C minor and B minor.<note place="foot">
+<p>
+Written respectively for the second and third French Suites (not in P.).
+</p>
+</note></item>
+  <item n="48."> <q>Applicatio</q> in C major.<note place="foot">
+<p>
+A fingered exercise.
+</p>
+</note></item>
+  <item n="49."> Prelude in A minor (not in P.).</item>
+  <item n="50."> Do. (unfinished) in E minor (not in P.).</item>
+  <item n="51."> Fugue (unfinished) in C minor (P. bk. 212 p. 88). <note place="foot">
+<p>
+The Appendices of the volume contain variant readings of movements elsewhere contained in it, and of the first, third, and sixth Preludes and Fugues in the second part of the <q>Well-tempered Clavier.</q>
+</p>
+</note></item>
+</list>
+</item>
+
+<item n="XXXVII."> 1887 [1891]. Kirchencantaten. Neunzehnter Band. Ed. Alfred D&ouml;rffel.
+ <list>
+   <item n="181.">Leichtgesinnte Flattergeister.</item>
+   <item n="182.">Himmelsk&ouml;nig, sei willkommen.</item>
+   <item n="183.">Sie werden euch in den Bann thun (?1735).</item>
+   <item n="184.">Erw&uuml;nschtes Freudenlicht.</item>
+   <item n="185.">Barmherziges Herze der ewigen Liebe.</item>
+   <item n="186.">Aergre dich, 0 Seele, nicht.</item>
+   <item n="187.">Es wartet Alles auf dich.</item>
+   <item n="188.">Ich habe meine Zuversicht.<note place="foot">
+<p>
+See B.G. XLV. (1) Appendix.
+</p>
+</note></item>
+   <item n="189.">Meine Seele r&uuml;hmt und preist.</item>
+   <item n="*190.">Singet dem Herrn ein neues Lied.</item>
+ </list>
+</item>
+
+
+<item n="XXXVIII."> 1888 [1891]. Orgelwerke. Dritter Band. Ed. Ernst Naumann.
+  <list>
+   <item n="1.">Prelude and Fugue in C minor (N. bk. 2 p. 48).</item>
+   <item n="2.">Prelude and Fugue in G major (N. bk. 7 p. 80).</item>
+   <item n="3.">Prelude and Fugue in A minor (N. bk. 10 p. 208).</item>
+   <item n="4."> Eight Short Preludes and Fugues in C major, D minor, E minor, F major, G major, G minor, A minor, B flat major (N. bk. 1).</item>
+   <item n="5.">Fantasia and Fugue in A minor (N. bk. 12 p. 60).</item>
+   <item n="6.">Fantasia con Imitazione in B minor (N. bk. 12 p. 71).</item>
+<pb n="247" />
+   <item n="7.">Fantasia in C major (N. bk. 12 p. 92).</item>
+   <item n="8.">Fantasia in C minor (N. bk. 3 p. 57).</item>
+   <item n="9.">Fantasia in G major (N. bk. 12 p. 75).</item>
+   <item n="10.">Fantasia in G major (N. bk. 9 p. 168).</item>
+   <item n="11.">Prelude in C major (N. bk. 12 p. 91).</item>
+   <item n="12.">Prelude in G major (N. bk. 2 p. 30).</item>
+   <item n="13.">Prelude in A minor (N. bk. 10 p. 238).</item>
+   <item n="14.">Fugue (Theme by Legrenzi) in C minor (and Variant) (N. bk. 10 p. 230).</item>
+   <item n="15.">Fugue in C minor (N. bk. 12 p. 95). 16� Do. G major (N. bk. 12 p. 86).</item>
+   <item n="17.">Fugue G major (N. bk. 12 p. 55).</item>
+   <item n="18.">Fugue G minor (N. bk. 3 p. 84).</item>
+   <item n="19.">Fugue B minor (Theme by Corelli) (N. bk. 3 p. 60).</item>
+   <item n="20.">Canzona in D minor (N. bk. 2 p. 34).</item>
+   <item n="21.">Allabreve in D major (N. bk. 2 p. 26).</item>
+   <item n="22.">Pastorale in F major (N. bk. 12 p. 102).</item>
+   <item n="23.">Trio in D minor (N. bk. 2 p. 54).</item>
+   <item n="24.">Four Concertos after Antonio Vivaldi:<note place="foot">
+<p>
+Only nos. 2 and 3 are derived from Vivaldi.
+</p>
+     
+</note>
+      <list>
+        <item>No. 1, in G major (N. bk. 11 no. I).<note place="foot">
+              <p>
+              A variant text is in B.G. XLII. 282.
+              </p>
+              </note></item>
+        <item>No. 2, in A minor (N. bk. 11 no. 2).<note place="foot">
+               <p>
+                Vivaldi's text of the first movement is in the Appendix (p. 229).
+               </p>
+               </note></item>
+        <item>No. 3, in C major (N. bk. 11 no. 3).</item>
+        <item>No. 4, in C major (N. bk. 11 no. 4).</item>
+      </list>
+      </item>
+
+   <item n="25."> Fantasia (incomplete) in C major (not in N. or P.).<note place="foot">
+          <p>
+          See B.G. XLIII. (2) sec. 1 no. 2.
+          </p>
+          </note></item>
+
+   <item n="26."> Fugue (incomplete) in C minor (not in N. or P.).</item>
+   <item n="27."> Pedal Exercise in G minor (not in N. or P.).</item>
+   <item n="28."> Fugue (authenticity doubtful) in C major (not in N. or P.).</item>
+   <item n="29."> Fugue (authenticity doubtful) in D major (N. bk. 12 p. 83).<note place="foot">
+              <p>
+              The fugal subject is taken from the Allabreve.
+              </p>
+              </note></item>
+   <item n="30."> Fugue (authenticity doubtful) in G minor (N. bk. 2 p. 41).</item>
+   <item n="31."> Trio in C minor (N. bk. 12 p. 108).</item>
+   <item n="32."> Aria in F major (N. bk. 12 p. 112).</item>
+   <item n="33."> Kleinea harmonisches Labyrinth (authenticity doubtful) (P. bk. 2067 p. 16) (not in N.).</item>
+  </list>
+ </item>
+
+<pb n="248" />
+
+<item n="XXXIX.">1889 [1892]. Motetten, Chor&auml;le und Lieder. Ed. Franz W&uuml;llner.
+  <list>
+    <item n="(1)">Motets:
+     <list>
+       <item>Motet: *Singet dem Herrn ein neues Lied.</item>
+       <item>Motet: *Der Geist hilft unsrer Schwachheit auf.<note place="foot">
+          <p>
+          Bach's instrumental accompaniments are in the Appendix (p. 143).
+          </p>
+          </note></item>
+       <item>Motet: *Jesu, meine Freude.</item>
+       <item>Motet: *F&uuml;rchte dich nicht, ich bin bei dir.</item>
+       <item>Motet: *Komm, Jesu, komm.</item>
+       <item>Motet: * Lobet den Herrn, alle Heiden.</item>
+       <item>Motet: *Ich lasse dich nicht, du segnest mich denn (by Johann Christoph Bach).</item>
+       <item>Motet: *Sei Lob und Preis mit Ehren (the second number, Nun lob' mein' Seel' den Herrn, of Cantata 28).</item>
+     </list>
+    </item>
+    <item n="(2)">185 Chorals harmonised by Bach, from the collection made by Carl Philipp Emmanuel Bach:<note place="foot">
+        <p>
+C. P. E. Bach's collection of his father's Choral settings was published by Immanuel Breitkopf in four volumes between the years 1784-87.  They are all inoluded in Breitkopf and Haertel's edition (1898) of Bach s <q>Choralges&auml;nge</q>; the numerals in brackets in the above list indicate the position of each Choral in that collection.  The latter includes also the simple four-part Chorals from the Oratorios and Cantatas; hence the numeration of that volume and B.G. XXXIX. is not uniform.
+        </p>
+        </note>
+      <list>
+
+        <item n="1 (1)."> Ach bleib' bei uns, Herr Jesu Christ.</item>
+        <item n="2 (2)."> Ach Gott, erh&ouml;r' mein Seufzen und Wehklagen.</item>
+        <item n="3 (3)."> Ach Gott und Herr, wie gross und schwer.</item>
+        <item n="4 (385)."> Ach lieben Christen, seid getrost (Wo Gott der Herr nicht bei uns h&auml;lt).</item>
+        <item n="5 (388)."> W&auml;r' Gott nicht mit uns diese Zeit (Wo Gott der Herr nicht bei uns h&auml;lt).<note place="foot">
+           <p>
+           The bracket states the title by which the tune is better known.
+           </p>
+           </note></item>
+        <item n="6 (383).">Wo Gott der Herr nicht bei uns h&auml;lt.</item>
+        <item n="7(10).">Ach, was soll ich S&uuml;nder machen.</item>
+        <item n="8 (12).">Allein Gott in der H&ouml;h' sei Ehr.</item>
+        <item n="9 (15).">Allein zu dir, Herr Jesu Christ.</item>
+        <item n="10 (17).">Alle Menschen m&uuml;ssen sterben.</item>
+        <item n="11 (19).">Alles ist an Gottes Segen.</item>
+<pb n="249" />
+        <item n="12(20)."> Als der g&uuml;tige Gott.</item>
+        <item n="13 (21)."> Als Jesus Christus in der Nacht.</item>
+        <item n="14 (22)."> Als vierzig Tag' nach Ostern war'n.</item>
+        <item n="15 (23)."> An Wassern&uuml;ssen Babylon.</item>
+        <item n="16(24)."> Auf, auf mein Herz.</item>
+        <item n="17 (30)."> Aus meines Herzens Grunde.</item>
+        <item n="18 (157)."> Befiehl du deine Wege (Herzlich thut mich verlangen).</item>
+        <item n="19 (158)."> Ditto.</item>
+        <item n="20 (32)."> Befiehl du deine Wege.</item>
+        <item n="21 (33)."> Christ, der du bist der helle Tag.</item>
+        <item n="22 (34)."> Christe, der du bist Tag und Licht.</item>
+        <item n="23 (35)."> Christe, du Beistand deiner Kreuzgemeinde.</item>
+        <item n="24 (36)."> Christ ist erstanden.</item>
+        <item n="25 (38)."> Christ lag in Todesbanden.</item>
+        <item n="26(39)."> Ditto.</item>
+        <item n="27 (43)."> Christ, unser Herr, zum Jordan kam.</item>
+        <item n="28 (46)."> Christus, der ist mein Leben.</item>
+        <item n="29 (47)."> Ditto.</item>
+        <item n="30 (48)."> Christus, der uns selig macht.</item>
+        <item n="31 (51)."> Christus ist erstanden.</item>
+        <item n="32 (52)."> Da der Herr zu Tische sass.</item>
+        <item n="33 (53)."> Danket dem Herren, denn er ist sehr freundlich. </item>
+        <item n="34 (54)."> Dank sei Gott in der H&ouml;he.</item>
+        <item n="35 (55)."> Das alte Jahr vergangen ist.</item>
+        <item n="36 (56)."> Ditto.</item>
+        <item n="37 (57)."> Das walt' Gott Vater und Gott Sohn.</item>
+        <item n="38 (58)."> Das walt' mein Gott, Vater, Sohn.</item>
+        <item n="39 (59)."> Den Vater dort oben.</item>
+        <item n="40 (60)."> Der du bist drei in Einigkeit.</item>
+        <item n="41 (61)."> Der Tag, der ist so freudenreich.</item>
+        <item n="42 (62)."> Des heil'gen Geistes reiche Gnad'.</item>
+        <item n="43 (63)."> Die Nacht ist kommen.</item>
+        <item n="44 (64)."> Die Sohn' hat sich mit ihrem Glanz.</item>
+        <item n="45 (65)."> Dies sind die heil'gen zehn Gebot.</item>
+        <item n="46 (67)."> Dir, dir, Jehovah, will ich singen (Bach's   melody).</item>
+        <item n="47 (70)."> Du grosser Schmerzensmann.</item>
+        <item n="48 (71)."> Du, 0 sch&ouml;nes Weltgeb&auml;ude.</item>
+        <item n="49 (74)."> Ein' feste Burg ist unser Gott.</item>
+        <item n="50 (75)."> Ditto.</item>
+        <item n="51 (77)."> Eins ist noth, ach Herr, dies Eine.</item>
+        <item n="52 (78)."> Erbarm' dich mein, 0 Herre Gott.</item>
+        <item n="53 (85)."> Erstanden ist der heil'ge Christ.</item>
+        <item n="54 (262)."> Est ist gewisslich an der Zeit (Nun freut euch, lieben Christen g'mein).</item>
+        <item n="55 (92)."> Es spricht der Unweisen Mund wohl.</item>
+        <item n="56 (93)."> Es steh'n vor Gottes Throne.</item>
+        <item n="57 (94)."> Es wird schier der letzte Tag herkommen.</item>
+        <item n="58 (95)."> Es wol' uns Gott gen&auml;dig sein.</item>
+        <item n="59 (96)."> Ditto.</item>
+        <item n="60 (106)."> F&uuml;r Freuden lasst uns springen.</item>
+        <item n="61 (107)."> Gelobet seist du, Jesu Christ.</item>
+        <item n="62 (111)."> Gieb dich zufrieden und sei stille (Bach's melody).</item>
+        <item n="63 (112)."> Gott, der du selber bist das Licht.</item>
+        <item n="64 (113)."> Gott der Vater wohn' uns bei.</item>
+        <item n="65 (115)."> Gottes Sohn ist kommen.</item>
+        <item n="66 (116)."> Gott hat das Evangelium.</item>
+        <item n="67 (117)."> Gott lebet noch.</item>
+        <item n="68 (118)."> Gottlob, es geht nunmehr zum Ende.</item>
+        <item n="69 (119)."> Gott sei gelobet und gebenedeiet.</item>
+        <item n="70 (120)."> Gott sei uns gn&auml;dig und barmherzig.</item>
+        <item n="71 (121)."> Meine Seele erhebet den Herrn.</item>
+        <item n="72 (123a)."> Heilig, Heilig, Heilig!</item>
+        <item n="73 (129)."> Herr Gott, dich loben alle wir.</item>
+        <item n="74 (132)."> F&uuml;r deinen Thron tret' ich hiermit (Herr Gott dich loben alle wir).</item>
+        <item n="75 (133)."> Herr Gott dich loben wir.</item>
+        <item n="76 (136)."> Herr, ich denk' an jene Zeit.</item>
+        <item n="77 (137)."> Herr, ich habe missgehandelt.</item>
+        <item n="78 (138)."> Ditto.</item>
+        <item n="79 (139)."> Herr Jesu Christ, dich zu uns wend'.</item>
+        <item n="80 (140)."> Herr Jesu Christ, du hast bereit't.</item>
+        <item n="81 (141)."> Herr Jesu Christ, du h&ouml;chstes Gut.</item>
+        <item n="82 (145)."> Herr Jesu Christ, mein's Lebens Licht.</item>
+        <item n="83 (146)."> Herr Jesu Christ, wahr' Mensch und Gott.</item>
+        <item n="84 (148)."> Herr, nun lass in Friede.</item>
+        <item n="85 (149)."> Herr, straf' mich nicht in deinem Zorn.</item>
+        <item n="86 (151)."> Herr, wie du willst, so Schick's mit mir.</item>
+        <item n="87 (152)."> Herzlich lieb hab' ich dich, 0 Herr.</item>
+        <item n="88 (170)."> Heut' ist, O Mensch, ein grosser Trauertag.</item>
+        <item n="89 (171)."> Heut' triumphiret Gottes Sohn.</item>
+        <item n="90 (172)."> Hilf, Gott, dass mir's gelinge.</item>
+        <item n="91 (173)."> Hilf, Herr Jesu, lass gelingen.</item>
+        <item n="92 (174)."> Ich bin ja, Herr, in deiner Macht (Bach's melody).</item>
+        <item n="93 (175)."> Ich dank' dir, Gott, f&uuml;r all' Wohlthat.</item>
+        <item n="94 (176)."> Ich dank' dir, lieber Herre.</item>
+        <item n="95 (177)."> Ditto.</item>
+        <item n="96 (179)."> Ich dank' dir schon durch deinen Sohn.</item>
+        <item n="97 (180)."> Ich danke dir, O Gott, in deinem Throne.</item>
+        <item n="98 (182)."> Ich hab' mein' Sach' Gott heimgestellt.</item>
+        <item n="99 (185)."> Jesu, der du meine Seele.</item>
+        <item n="100 (186)."> Ditto.</item>
+        <item n="101 (187)."> Ditto.</item>
+        <item n="102 (189)."> Jesu, der du selbst so wohl.</item>
+        <item n="103 (190)."> Jesu, du mein liebstes Leben.</item>
+        <item n="104 (191)."> Jesu, Jesu, du bist mein (Bach's melody).</item>
+        <item n="105 (195)."> Jesu, meine Freude.</item>
+        <item n="106 (363)."> Jesu, meiner Seelen Wonne (Werde munter, mein Gem&uuml;the).</item>
+        <item n="107 (364)."> Ditto.</item>
+        <item n="108 (202)."> Jesu, meines Herzens Freud'.</item>
+        <item n="109 (203)."> Jesu, nun sei gepreiset.</item>
+        <item n="110 (206)."> Jesus Christus, unser Heiland, der von uns.</item>
+        <item n="111 (207)."> Jesus Christus, unser Heiland, der den Tod.</item>
+        <item n="112 (208)."> Jesus, meine Zuversicht.</item>
+        <item n="113 (210)."> Ihr Gestirn', ihr hohlen L&uuml;fte.</item>
+        <item n="114 (211)."> In allen meinen Thaten.</item>
+        <item n="115 (215)."> In dulci jubilo.</item>
+        <item n="116 (217)."> Keinen hat Gott verlassen.</item>
+        <item n="117 (218)."> Komm, Gott, Sch&ouml;pfer, heiliger Geist.</item>
+        <item n="118 (225)."> Kyrie! Gott Vater in Ewigkeit.</item>
+        <item n="119 (226)."> Lass, O Herr, dein Ohr sich neigen.</item>
+        <item n="120 (228)."> Liebster Jesu, wir sind hier.</item>
+<pb n="252" />
+        <item n="121 (232)."> Lobet den Herren, denn er ist sehr freundlich.</item>
+        <item n="122 (233)."> Lobt Gott, ihr Christen allzugleich.</item>
+        <item n="123 (234)."> Ditto.</item>
+        <item n="124 (237)."> Mach's mit mir, Gott, nach deiner G&uuml;t.'</item>
+        <item n="125 (240)."> Mein' Augen schliess' ich jetzt.</item>
+        <item n="126 (241)."> Meinen Jesum lass' ich nicht, Jesus.</item>
+        <item n="127 (242)."> Meinen Jesum lass' ich nicht, weil.</item>
+        <item n="128 (248)."> Meines Lebens letzte Zeit.</item>
+        <item n="129 (249)."> Mit Fried' und Freud' ich fahr' dahin.</item>
+        <item n="130 (252)."> Mitten wir im Leben sind.</item>
+        <item n="131 (253)."> Nicht so traurig, nicht so sehr (Bach's melody).</item>
+        <item n="132 (254)."> Nun bitten wir den heiligen Geist.</item>
+        <item n="133 (257)."> Nun danket Alle Gott.</item>
+        <item n="134 (260)."> Nun freut euch, Gottes Kinder all.</item>
+        <item n="135 (261)."> Nun freut euch, lieben Christen g'mein.</item>
+        <item n="136 (269)."> Nun lob', mein' Seel', den Herren.</item>
+        <item n="137 (270)."> Ditto.</item>
+        <item n="138 (273)."> Nun preiset alle Gottes Barmherzigkeit.</item>
+        <item n="139 (298)."> Nun ruhen alle W&auml;lder (0 Welt, ich muss dich lassen)</item>
+        <item n="140 (289)."> 0 Welt, sieh' hier dein Leben (O Welt, ich muss dich lassen).</item>
+        <item n="141 (290)."> Ditto.</item>
+        <item n="142 (291)."> Ditto.</item>
+        <item n="143 (274)."> Nun sich der Tag geendet hat.</item>
+        <item n="144 (275)."> O Ewigkeit, du Donnerwort.</item>
+        <item n="145 (277)."> O Gott, du frommer Gott (1679 tune).</item>
+        <item n="146(282)."> Ditto (1693 tune).</item>
+        <item n="147 (284)."> O Herzensangst, O Bangigkeit und Zagen (Bach's melody).</item>
+        <item n="148 (285)."> 0 Lamm Gottes, unschuldig.</item>
+        <item n="149 (286)."> O Mensch, bewein' dein S&uuml;nde gross.</item>
+        <item n="150 (287)."> 0 Mensch, schau' Jesum Christum an.</item>
+        <item n="151 (288)."> 0 Traurigkeit, 0 Herzeleid.</item>
+        <item n="152 (299)."> O wie selig seid ihr doch, ihr Frommen (1649).</item>
+        <item n="153 (300)."> Ditto (1566).</item>
+        <item n="154 (301)."> O wir armen S&uuml;nder.</item>
+        <item n="155 (303)."> Schaut, ihr S&uuml;nder.</item>
+        <item n="156(306)."> Seelenbr&auml;utigam, Jesu, Gottes Lamm.</item>
+        <item n="157 (307)."> Sei gegr&uuml;sset, Jesu g&uuml;tig.</item>
+        <item n="158 (309)."> Singt dem Herrn ein neues Lied.</item>
+        <item n="159 (310)."> So giebst du nun, mein Jesu, gute Nacht.</item>
+        <item n="160 (311)."> Sollt' ich meinem Gott nicht singen.</item>
+        <item n="161 (313)."> Uns ist ein Kindlein heut' gebor'n.</item>
+        <item n="162 (314)."> Valet will ich dir geben.</item>
+        <item n="163 (316)."> Vater unser im Himmelreich.</item>
+        <item n="164 (324)."> Von Gott will ich nicht lassen.</item>
+        <item n="165 (325)."> Ditto.</item>
+        <item n="166 (326)."> Ditto.</item>
+        <item n="167 (331)."> Warum betr&uuml;bst du dich, mein Herz.</item>
+        <item n="168 (332)."> Ditto.</item>
+        <item n="169 (334)."> Warum sollt' ich mich denn gr&auml;men.</item>
+        <item n="170 (336)."> Was betr&uuml;bst du dich, mein Herze (Bach's melody).</item>
+        <item n="171 (337)."> Was bist du doch, 0 Seele, so betr&uuml;bet.</item>
+        <item n="172 (349)."> Was willst du dich, 0 meine Seele.</item>
+        <item n="173 (351)."> Weltlich Ehr' und zeitlich Gut.</item>
+        <item n="174 (352)."> Wenn ich in Angst und Noth.</item>
+        <item n="175 (353)."> Wenn mein St&uuml;ndlein vorhanden ist.</item>
+        <item n="176 (354)."> Ditto.</item>
+        <item n="177 (355)."> Ditto.</item>
+        <item n="178 (358)."> Wenn wir in h&ouml;chsten N&ouml;then sein.</item>
+        <item n="179 (359)."> Ditto.</item>
+        <item n="180 (366)."> Wer Gott vertraut, hat wohlgebaut.</item>
+        <item n="181 (367)."> Wer nur den lieben Gott l&auml;sst walten.</item>
+        <item n="182 (374)."> Wie bist du, Seele, in mir so gar betr&uuml;bt.</item>
+        <item n="183 (375)."> Wie sch&ouml;n leuchtet der Morgenstern.</item>
+        <item n="184 (382)."> Wir glauben all' an einen Gott, Sch&ouml;pfer.</item>
+        <item n="185 (389)."> Wo Gott zum Haus nicht gibt sein' Gunst.</item>
+       </list>
+       </item>
+
+    <item n="(3)">Seventy-five Chorals harmonised by Bach:<note place="foot">
+          <p>
+The Chorals are taken from two sources, Anna Magdalena Bach's <q>Notenbuch</q> (1726; see B.G. XLIII. (2)), and Schemelli's <q>Musicalisches Gesang-Buch</q> (1736), of which Bach was the musical editor.  The latter contains sixty-nine melodies (with figured bass), the former seven: one melody (No. 14) is in both collections.  The Schemelli tunes are indicated by an S within a bracket after the numeral.  One melody (No. 71) is indubitably by Bach himself.  It, and others, which may be attributed to him on good evidence, are marked by an asterisk.  The seventy-five settings are published in practicable form by the N.B.G. I. (1) and I. (2).
+          </p>
+          </note>
+       <list>
+         <item n="*1"> (S). Ach, dass ich nicht die
+letzte Stunde.</item>
+         <item n="2 (S)."> Auf, auf! die rechte Zeit ist hier.</item>
+         <item n="3 (S)."> Auf, auf! mein Herz, mit Freuden.</item>
+         <item n="4 (S)."> Begl&uuml;ckter Stand getreuer Seelen.</item>
+         <item n="*5 (S)."> Beschr&auml;nkt, ihr Weisen dieser Welt.</item>
+         <item n="6 (S)."> Brich entzwei, mein armes Herze.</item>
+         <item n="7 (S)."> Brunnquell aller G&uuml;ter.</item>
+         <item n="8 (S)."> Der lieben Sonne Lacht und Pracht.</item>
+         <item n="9 (S)."> Der Tag ist hin, die Sonne gehet nieder.</item>
+         <item n="10 (S)."> Der Tag mit seinem Lichte.</item>
+         <item n="*11 (S)."> Dich bet' ich an, mein h&ouml;chster Gott.</item>
+         <item n="12 (S)."> Die bitt're Leidenszeit beginnet.</item>
+         <item n="13 (S)."> Die gold'ne Sonne, voll Freud' und Wonne.</item>
+         <item n="*14 (S)."> Dir, dir, Jehova, will ich singen.</item>
+         <item n="*15 (S)."> Eins ist noth, ach Herr, dies Eine.</item>
+         <item n="16 (S)."> Ermuntre dich, mein schwacher Geist.</item>
+         <item n="17 (S)."> Erw&uuml;rgtes Lamm, das die verwahrten Siegel.</item>
+         <item n="18 (S)."> Es gl&auml;nzet der Christen inwendiges Leben.</item>
+         <item n="19 (S)."> Es ist nun aus mit meinem Leben.</item>
+         <item n="20 (S)."> Es ist vollbracht! Vergiss ja nicht dies Wort.</item>
+         <item n="21 (S)."> Es kostet viel, ein Christ zu sein.</item>
+         <item n="*22."> Gieb dich zufrieden und sei stille (erste Composition).</item>
+         <item n="*23."> Ditto. (zweite Composition).<note place="foot">
+           <p>
+           Nos. 22 and 23 are the same tune.
+          </p>
+          </note></item>
+         <item n="24 (S)."> Ditto. (dritte Composition).</item>
+         <item n="25 (S)."> Gott lebet noch! Seele, was verzagst du doch?</item>
+         <item n="*26 (S)."> Gott, wie gross ist deine G&uuml;te.</item>
+         <item n="27 (S)."> Herr, nicht schricke deine Rache.</item>
+         <item n="*28 (S)."> Ich bin ja, Herr, in deiner Macht.</item>
+         <item n="29 (S)."> Ich freue mich in dir.</item>
+         <item n="*30 (S)."> Ich halte treulich still.</item>
+         <item n="31 (S)."> Ich lass' dich nicht.</item>
+         <item n="32 (S)."> Ich liebe Jesum alle Stund'.</item>
+<pb n="255" />
+         <item n="*33 (8)."> Ich steh' an deiner Krippen hier.</item>
+         <item n="*34 (8)."> Jesu, Jesu, du bist mein.</item>
+         <item n="35 (S)."> Jesu, deine Liebeswunden.</item>
+         <item n="36 (8)."> Jesu, meines Glaubens Zier.</item>
+         <item n="37 (8)."> Jesu, meines Herzens Freud'.</item>
+         <item n="38 (8)."> Jesus ist das sch&ouml;nste Licht.</item>
+         <item n="39 (8)."> Jesus, unser Trost und Leben.</item>
+         <item n="40 (8)."> Ihr Gestirn', ihr hohlen L&uuml;fte.</item>
+         <item n="41 (8)."> Kein St&uuml;ndlein geht dahin.</item>
+         <item n="*42 (8)."> Komm, s&uuml;sser Tod, komm, sel'ge Ruh'!</item>
+         <item n="*43 (8)."> Kommt, Seelen, dieser Tag.</item>
+         <item n="*44 (8)."> Kommt wieder aus der finst'ren Gruft.</item>
+         <item n="46 (8)."> Lasset uns mit Jesu ziehen.</item>
+         <item n="46 (S)."> Liebes Herz, bedenke doch.</item>
+         <item n="47 (8)."> Liebster Gott, wann werd' ioh sterben.</item>
+         <item n="*48 (S)."> Liebeter Herr Jesu, wo bleibst du so lange.</item>
+		 <item n="49 (S)."> Laebster Immanuel.</item>
+		 <item n="60 (S)."> Mein Jesu, dem die Seraphinen.</item>
+         <item n="*61 (S)."> Mein Jesu, was f&uuml;r Seelenweh.</item>
+         <item n="62 (S)."> Meines Lebens letzte Zeit.</item>
+         <item n="*63 (S)."> Nicht so traurig, nicht so sehr.</item>
+         <item n="64 (S)."> Nur mein Jesus 1st mein Leben.</item>
+		 <item n="66 (S)."> O du Liebe, meiner Liebe.</item>
+         <item n="66.">O Ewigkeit, du Donnerwort.</item>
+         <item n="*67 (S)."> O finst're Nacht, wann wirst du doch vergehen.</item>
+	     <item n="68 (S)."> O Jesulein s&uuml;ss, O Jesulein mild.</item>
+         <item n="*69 (S)."> O liebe Seele, zieh' die Sinnen.</item>
+		 <item n="60 (8)."> O wie selig seid ihr doch.</item>
+         <item n="*61."> Schaffs mit mir, Gott, naoh deinem Willen.</item>
+         <item n="62 (8)."> Seelenbr&auml;utigam, Jesu, Gottes Lamm.</item>
+         <item n="63 (8)."> Seelenweide, meine Freude.</item>
+         <item n="64 (S)."> Selig, wer an Jesum denkt.</item>
+         <item n="66 (8)."> Sei gegr&uuml;sset, Jesu g&uuml;tig.</item>
+         <item n="66 (8)."> So gehest du nun, mein Jesu, hin.</item>
+         <item n="67 (8)."> So giebst du nun, mein Jesu, gute Nacht.</item>
+         <item n="68 (8)."> So w&uuml;nsch' ich mir zu guter Letzt.</item>
+         <item n="69 (S)."> Steh' ioh bei meinein Gott.</item>
+         <item n="70 (8)."> Vergiss  mein  nioht,  date  ich  dein  nicht vergesse.</item>
+<pb n="256" />
+         <item n="*71 (S)."> Vergiss mein nicht, mein allerliebster Gott.</item>
+         <item n="*72."> Warum betr&uuml;bst du dich und beugest. </item>
+         <item n="73 (S)."> Was bist du doch, 0 Seele, so betr&uuml;bet.</item>
+         <item n="*74."> Wie wohl ist mir, 0 Freund der Seelen.</item>
+         <item n="75 (S)."> Wo ist mein Sch&auml;flein, das ich liebe.<note place="foot">
+            <p>
+For a discussion of Bach's original hymn-tunes see the present writer's <q>Bach's Chorals,</q> Part II. Introduction, pp. 67 ff. Six more of Bach's original hymn-tunes are printed there.
+            </p>
+            </note></item>
+   </list>
+</item>
+
+<item n="(4)"> Five Arias from Anna Magdalena Bach's <q>Notenbuch</q> (1725)"<note place="foot">
+<p>
+The first three Arias are published by Novello, and also by the N.B.G. I. (1).
+</p>
+</note>
+  <list>
+    <item n="*1."> So oft ich meine Tabakspfeife.</item>
+    <item n="*2."> Bist bu bei mir.</item>
+    <item n="*3."> Gedenke doch, mein Geist, zur&uuml;cke.</item>
+    <item n="4."> Gieb dich zufrieden und sei stille.</item>
+    <item n="5."> Willst du dein Herz mir schenken (Aria di Giovannini).</item>
+  </list>
+</item>
+</list>
+</item>
+
+<item n="XL."> 1890 [1893]. Orgelwerke. Vierter Band. Ed. Ernst Naumann.
+  <list>
+    <item n="(1)"> Choral Preludes, from Kirnberger's collection.<note place="foot">
+<p>
+In the Royal Library, Berlin.  Kirnberger was a pupil of Bach.  See section on Variants 
+<foreign lang="la">infra.</foreign>
+</p>
+</note>
+    <list>
+      <item n="1."> Wer nur den lieben Gott l&auml;sst walten (N. bk. 19 p. 21).</item>
+      <item n="2."> Ditto (N. bk. 19 p. 22).</item>
+      <item n="3."> Ach Gott und Herr (N. bk. 18 p. 1).</item>
+      <item n="4."> Ditto (N. bk. 18 p. 2).</item>
+      <item n="5."> Wo soll ich fliehen hin (N. bk. 19 p. 32).</item>
+      <item n="6."> Christ lag in Todesbanden (Fantasia) (N. bk. 18 p. 16).</item>
+      <item n="7."> Christum wir sollen loben schon, <emph>or</emph>, Was f&uuml;rcht'st du, Feind Herodes, sehr (N. bk. 18 p. 23).</item>
+      <item n="8."> Gelobet seist du, Jesu Christ (Fughetta) (N. bk. 18 p. 38).</item>
+      <item n="9."> Herr Christ, der ein'ge Gottes-Sohn (Fughetta) (N. bk. 18 p. 43).</item>
+      <item n="10."> Nun komm der Heiden Heiland (Fughetta) (N.bk. 18 p. 83).</item>
+      <item n="11."> Vom Himmel hoch da komm ich her (N. bk. 19 p. 16).</item>
+      <item n="12."> Ditto. (Fughetta) (N. bk. 19 p. 14).</item>
+      <item n="13."> Das Jesulein soll doch mein Trost (Fughetta) (N. bk. 18 p. 24).</item>
+      <item n="14."> Gottes Sohn ist kommen (Fughetta) (N. bk. 18 p. 41).</item>
+      <item n="15."> Lob sei dem allm&auml;chtigen Gott (Fughetta) (N. bk. 18 p. 73).</item>
+      <item n="16."> Durch Adams Fall ist ganz verderbt (N. bk. 18 p. 28).</item>
+      <item n="17."> Liebster Jesu wir sind hier (N. bk. 18 p. 72a).</item>
+      <item n="18."> Ditto. (N. bk. 18 p. 72b).</item>
+      <item n="19."> Ich hab' mein' Sach' Gott hergestellt (N. bk. 18 p. 54)<note place="foot">
+          <p>
+           Novello omits the concluding four-part Choral.
+          </p>
+          </note></item>
+      <item n="20."> Ditto. (N. bk. 18 p. 58a). </item>
+      <item n="21."> Herr Jesu Christ, dich zu uns wend' (N. bk. 18 p. 50).</item>
+      <item n="22."> Wir Christenleut' (N. bk. 19 p. 28b).<note place="foot">
+           <p>
+           The Prelude is also attributed to J. L. Krebs, a pupil of Bach. 
+           </p>
+           </note></item>
+      <item n="23."> Allein Gott in der H&ouml;h' sei Ehr (Bicinium) (N. bk. 18 p. 5).</item>
+      <item n="24."> In dich hab' ich gehoffet, Herr (N. bk. 18 p. 59).</item>
+      <item n="25."> Jesu, meine Freude (Fantasia) (N. bk. 18 p. 64).</item>
+     </list>
+    </item>
+
+<item n="(2)"> Twenty-eight other Choral Preludes<note place="foot">
+     <p>
+     See section on Variants <foreign lang="la">infra.</foreign>:
+     </p>
+     </note>
+     <list>
+      <item n="1."> Ach Gott und Herr (Canon) (N. bk. 18 p. 3).</item>
+      <item n="2."> Allein Gott in der H&ouml;h' sei Ehr' (N. bk. 18 p. 4).</item>
+      <item n="3."> Ditto. (Fuga) (N. bk. 18 p. 7).</item>
+      <item n="4."> Ditto. (N. bk. 18 p. 11).</item>
+      <item n="5."> An Wasserfl&uuml;ssen Babylon (N. bk. 18 p. 13).</item>
+      <item n="6."> Christ lag in Todesbanden (N. bk. 18 p. 19).</item>
+      <item n="7."> Der Tag der ist so freudenreich (N. bk. 18 p. 26).</item>
+      <item n="8."> Ein' feste Burg ist unser Gott (N. bk. 18 p. 30).</item>
+      <item n="9."> Erbarm' dich mein, 0 Herre Gott (N. bk. 18 p. 35).</item>
+      <item n="10."> Gelobet seist du, Jesu Christ (N. bk. 18 p. 37).</item>
+<pb n="258" />
+      <item n="11."> Gelobet seist du, Jesu Christ (N. bk. 18 p. 39).</item>
+      <item n="12."> Gottes Sohn ist kommen (N. bk. 18 p. 42).</item>
+      <item n="13."> Herr Gott, dich loben wir (N. bk. 18 p. 44).</item>
+      <item n="14."> Herr Jesu Christ, dich zu uns wend' (N. bk. 18 p. 52).</item>
+      <item n="15."> Herzlich thut mich verlangen (N. bk. 18 p. 53).</item>
+      <item n="16."> Jesus, meine Zuversicht (N. bk. 18 p. 69).</item>
+      <item n="17."> In dulci jubilo (N. bk. 18 p. 61).</item>
+      <item n="18."> Liebster Jesu, wir sind hier (N. bk. 18 p. 70).</item>
+      <item n="19."> Ditto. (N. bk. 18 p. 71).</item>
+      <item n="20."> Lobt Gott, ihr Christen allzugleich (N. bk. 18 p. 74).</item>
+      <item n="21."> Meine Seele erhebt den Herren (Magnificat) (Fuga) (N. bk. 18 p. 75).</item>
+      <item n="22."> Nun freut euch, lieben Christen g'mein, <emph>or</emph>, Es ist gewisslich an der Zeit (N. bk. 18 p. 80).</item>
+      <item n="23."> Valet will ich dir geben (Fantasia) (N. bk. 19 p. 2).</item>
+      <item n="24."> Ditto. (N. bk. 19 p. 7).</item>
+      <item n="25."> Vaterunser im Himmelreich (N. bk. 19 p. 12).</item>
+      <item n="26."> Vom Himmel hoch da komm ich her (N. bk. 19 p. 19).</item>
+      <item n="27."> Wie sch&ouml;n leuchtet der Morgenstern (N. bk. 19 p. 23).</item>
+      <item n="28."> Wir glauben all' an einen Gott (N. bk. 19 p. 30).</item>
+     </list>
+    </item>
+
+ <item n="(3)">Choral Variations:
+    <list>
+      <item n="1."> Christ, der du bist der helle Tag (N. bk. 19 p. 36).</item>
+      <item n="2."> 0 Gott, du frommer Gott (N. bk. 19 p. 44).</item>
+      <item n="3."> Sei gegr&uuml;sset, Jesu g&uuml;tig (N. bk. 19 p. 55).</item>
+      <item n="4."> Vom Himmel hoch da komm ich her (N. bk. 19 p. 73).</item>
+    </list>
+   </item>
+
+ <item n="(4)"> Variant texts and fragments:
+  <list>
+      <item n="1."> Variant of Kirnberger's No. 2 (P. bk. 244 p. 111).</item>
+      <item n="2."> Variant of Kirnberger's No. 3 (not in N. or P.).</item>
+      <item n="3."> Ich hab' mein' Sach' Gott heimgestellt (N. bk. 18 p. 58b). </item>
+      <item n="4."> Variant of Kirnberger's No. 6 (P. bk. 245 p. 104).</item>
+      <item n="5."> Variant of Kirnberger's No. 25 (P. bk. 245 p. 110).</item>
+      <item n="6."> Variant of No. 10 of the Twenty-eight <foreign lang="la">supra</foreign> (not in N. or P.).</item>
+<pb n="259" />
+      <item n="7."> Variant of No. 17 (not in N. or P.).</item>
+      <item n="8."> Variant of No. 20 (not in N. or P.).</item>
+      <item n="9."> Variant of No. 26 (not in N. or P.).</item>
+      <item n="10."> Variant of No. 22 (P. bk. 246 p. 91).</item>
+      <item n="11."> Variant of No. 23 (P. bk. 246 p. 100).</item>
+      <item n="12."> Jesu, meine Freude (fragment) (P. bk. 244 p. 112).</item>
+      <item n="13."> Wie sch&ouml;n leuchtet der Morgenstern (fragment) (not in N. or P.).</item>
+     </list>
+    </item>
+
+ <item n="(5)"> Choral Preludes and Variations of faulty text or doubtful authenticity:
+   <list>
+      <item n="1."> Ach Gott vom Himmel sieh' darein (P. bk. 2067 p.44).</item>
+      <item n="2."> Auf meinen lieben Gott (P. bk. 2067 p. 39).</item>
+      <item n="3."> Aus der Tiefe rufe ich (P. bk. 2067 p. 64).</item>
+      <item n="4."> Christ ist erstanden (not in N. or P.).</item>
+      <item n="5."> Christ lag in Todesbanden (P. bk. 2067 p. 56).</item>
+      <item n="6."> Gott der Vater wohn' uns bei (P. bk. 245 p. 62) (by J. G. Walther).<note place="foot">
+     <p>
+     Variant, P. bk. 245 p. 106.
+     </p>
+     </note></item>
+      <item n="7."> O Vater, allm&auml;chtiger Gott (not in N. or P.).</item>
+      <item n="8."> Schm&uuml;cke dich, O liebe Seele (not in N. or P.) (also attributed to G. A. Homilius).</item>
+      <item n="9."> Vater unser im Himmelreich (not in N. or P.) (also attributed to G. B&ouml;hm).</item>
+      <item n="10."> Ditto.</item>
+      <item n="11."> Wir glauben all' an einen Gott, Sch&ouml;pfer (P. bk. 2067 p. 40).<note place="foot">
+   <p>
+    Ernst Naumann remarks, <q>Das St&uuml;ck kann recht gut von Seb. Baoh herr&uuml;hren.</q> The text is complete, and the omission of the Prelude from the Novello edition is to be regretted.
+   </p>
+    </note></item>
+
+      <item n="12."> Variations on Ach, was soll ich S&uuml;nder machen (not in N. or P.).</item>
+      <item n="13."> Variations on Allein Gott in der H&ouml;h' sei Ehr' (not in N. or P.).</item>
+   </list>
+  </item>
+
+ <item n="(6)">Addendum to B.G. III.:
+   <list>
+    <item>Allein Gott in der H&ouml;h' sei Ehr' (an early version of N. bk. 16 p. 40*) (P. bk. 245 p. 96).</item>
+   </list>
+  </item>
+ </list>
+</item>
+
+<pb n="260" />
+
+<item n="XLI."> 1891 [1894]. Kirchenmusikwerke. Erganzungsband. Ed. Alfred D&ouml;ffel.
+  <list>
+   <item>Cantata No. 191: Gloria in excelsis (the B minor Mass <q>Gloria</q>).</item>
+   <item>Cantata No. 192: Nun danket Alle Gott (incomplete).</item>
+   <item>Cantata No.193: Ihr Pforten zu Zion (incomplete).</item>
+   <item>Ehre sei Gott in der Hone (incomplete).</item>
+   <item>Wedding Cantata: O ewiges Feuer, O Ursprung der Liebe (incomplete).</item>
+   <item>Wedding Cantata: Herr Gott, Beherrscher aller Dinge (incomplete).</item>
+   <item>Sanctus in D major.</item>
+   <item>Kyrie eleison (Christe, du Lamm Gottes).</item>
+   <item>Christe eleison (Johann Ludwig Bach). </item>
+   <item>Jesum lass' ich nicht von mir (the original concluding Choral of the first Part of the <q>St. Matthew Passion</q> (Breitkopf and Haertel's <q>Choralgesange,</q> No. 247).</item>
+   <item>Four Cantatas of doubtful authenticity:
+     <list>
+      <item>Gedenke, Herr, wie es uns gehet.</item>
+      <item>Gott der Hoffnung erfulle euch.</item>
+      <item>Siehe, es hat iiberwunden der Lowe.</item>
+      <item>Lobt ihn mit Herz und Munde.</item>
+     </list>
+    </item>
+   </list>
+</item>
+
+<item n="XLII."> 1892 [1894]. Clavierwerke. Funfter Band. Ed. Ernst Naumann.
+  <list>
+    <item>Sonata in D minor (P. bk. 213 p. 24).<note place="foot">
+        <p>
+        A transcription of the second Sonata for Solo Violin, in A minor, See B.G. XXVII. (1).
+        </p>
+        </note></item>
+    <item>Suite in E major (not in P.).<note place="foot">
+        <p>
+        A transcription of the third Partita, in E major, for Solo Violin. See <foreign lang="la">ibid.</foreign>
+        </p>
+        </note></item>
+    <item>Adagio in G major (P. bk. 213 p. 1).<note place="foot">
+        <p>
+        From the third Sonata for Solo Violin, in C major. See <foreign lang="la">ibid.</foreign>
+        </p>
+        </note></item>
+    <item>Sonata in A minor (P. bk. 213 p. 2).<note place="foot">
+       <p>
+       Both Sonatas are arrangements of instrumental Sonatas in J. A. Reinken's <q>Hortus Musicus.</q> See Spitta, i. 430.
+       </p>
+       </note></item>
+    <item>Sonata in C major (P. bk. 213 p. 16).<note place="foot">
+       <p>
+       Both Sonatas are arrangements of instrumental Sonatas in J. A. Reinken's <q>Hortus Musicus.</q> See Spitta, i. 430.
+       </p>
+       </note></item>
+    <item>Fugue in B flat major (P. bk. 1959 p. 75).<note place="foot">
+       <p>
+       After a Sonata movement by J. A. Reinken.
+       </p>
+       </note></item>
+<pb n="261" />
+    <item>Fugue in B flat major (P. bk. 1959 p. 90).<note place="foot">
+       <p>
+       After a Fugue by J. C. Erselius. The original is given in Anhang II. of the volume.
+       </p>
+       </note></item>
+
+    <item>Sixteen Concertos after Antonio Vivaldi (P. bk. 217).<note place="foot">
+       <p>
+       Only Nos. 1, 2, 4, 5, 7, 9, 14 are derived from Vivaldi. The others are founded on Benedetto Marcello (No. 3), Duke Johann Ernst of Weimar (Nos. 11, 16, and perhaps 13).
+       </p>
+       </note></item>
+
+    <item>Fifteen Compositions of probable authenticity :
+      <list>
+        <item n="1."> Prelude and Fugue in A minor (P. bk. 1959 p. 84).</item>
+        <item n="2."> Fantasia and Fugue in D minor (P. bk. 1959 p. 80).</item>
+        <item n="3."> Fantasia in G minor (P. bk. 1959 p. 94).</item>
+        <item n="4."> Concerto and Fugue in C minor (not in P.).</item>
+        <item n="5."> Fugato in E minor (P. bk. 1959 p. 24).</item>
+        <item n="6."> Fugue in E minor (P. bk. 1959 p. 72).</item>
+        <item n="7."> Fugue in G major (P. bk. 1959 p. 68).</item>
+        <item n="8."> Fugue in A minor (not in P.).</item>
+        <item n="9."> Fugue in A minor (not in P.).</item>
+        <item n="10."> Prelude in B minor (and Variant) (not in P.).</item>
+        <item n="11."> Suite in B flat major (P. bk. 1959 p. 54).</item>
+        <item n="12."> Andante in G minor (P. bk. 1959 p. 63).</item>
+        <item n="13."> Scherzo in D minor (and Variant) (P. bk. 1959 p. 62).</item>
+        <item n="14."> Sarabande con Partite in C major (P. bk. 1959 p. 26).</item>
+        <item n="15."> Passacaglia in D minor (P. bk. 1959 p. 40).</item>
+      </list>
+     </item>
+
+    <item>Ten Compositions of doubtful authenticity :
+      <list>
+        <item n="1."> Fantasia in C minor (not in P.).</item>
+        <item n="2."> Toccata quasi Fantasia con Fuga in A major (not in P.).<note place="foot">
+           <p>
+           The Toccata is by Henry Purcell. See Grove, vol. iii. p. 857.
+           </p>
+           </note></item>
+        <item n="3."> Partie in A major (not in P.).</item>
+        <item n="4."> Allemande in C minor (not in P.).</item>
+        <item n="5."> Gigue in F minor (not in P.).</item>
+        <item n="6."> Allemande and Courante in A major (not in P.).</item>
+        <item n="7."> Allemande in A minor (not in P.).</item>
+        <item n="8."> Fantasia and Fughetta in B flat major (P. bk. 212 p. 58).</item>
+        <item n="9."> Do. D major (P. bk. 212 p. 60).</item>
+        <item n="10."> Fugue (unfinished) in E minor (not in P.).</item>
+      </list>
+     </item>
+
+    <item>Concerto in G major by Antonio Vivaldi (original of the second Clavier Concerto <foreign lang="la">supra</foreign>).<note place="foot">
+         <p>
+         The volume also contains a Variant of the first Organ Concerto (B.G. XXXVIII.).
+         </p>
+         </note> </item>
+  </list>
+</item>
+
+<pb n="262" />
+
+<item n="XLIII(l)."> 1893 [1894]. Kammermusik. Achter Band. Ed. Paul Graf Waldersee.
+  <list>
+   <item>Three Sonatas for Flute and Clavier:
+    <list>
+     <item>1. In C major (P. bk. 235 p. 33).</item>
+     <item>2. In E minor (ib. p. 39).</item>
+     <item>3. In E major (ib. p. 51).</item>
+    </list>
+    </item>
+   <item>Sonata in E minor, for Violin and Clavier (P. bk. 236).</item>
+   <item>Fugue in G minor for Violin and Clavier (P. bk. 236).</item>
+   <item>Sonata in F major for two Claviers (by Wilhelm Friedemann Bach). </item>
+   <item>Concerto in A minor for four Claviers and Orchestra (Strings) (P. bk. 260 p. 3).<note place="foot">
+        <p>
+        The Concerto is an arrangement of one by Antonio Vivaldi for four Violins, the original of which (in B minor) is given in the Appendix to the volume.
+        </p>
+        </note></item>
+  </list>
+</item>
+
+<item n="XLIII (2)."> 1893 [1894]. Musikst&uuml;cke in den Notenb&uuml;chen der Anna Magdalena Bach. Ed. Paul Graf Waldersee.
+  <list>
+   <item n="(1)"> The Notebook of the year 1722 contains:
+    <list>
+     <item n="1."> The French Suites (incomplete) (see B.G. an. (2)).</item>
+     <item n="2."> Fantasia in C major for the Organ (see B.G. XXXVIII. No. 25).</item>
+     <item n="3."> Air (unfinished) in C minor (not in P.).</item>
+     <item n="4."> Choral Prelude, ' Jesus, meine Zuversicht' (see B.G. XL. sec. 2 No. 16).</item>
+     <item n="5."> Minuet in G major (see B.G. xxxvi. and P. bk. 215 p. 62).</item>
+    </list>
+    </item>
+
+   <item n="(2)"> The Notebook of the year 1725 contains:<note place="foot">
+     <p>
+     Omitting the vocal numbers, movements printed elsewhere, and the <q>Menuet fait par Mons. B&ouml;hm,</q> Peters' Bk. 1959 contains the remaining twenty numbers of the Notebook. They are indicated in the above index by a P in a bracket.
+      </p>
+      </note>
+     <list>
+      <item n="1."> Partita III. (A minor) from the <q>Clavier&uuml;bung,</q> Part I. (see B.G. III.).</item>
+      <item n="2."> Partita VI. (E minor) from the same (see B.G. III.).</item>
+      <item n="3 (P)."> Minuet in F major.</item>
+      <item n="4 (P)."> Minuet in G major.</item>
+      <item n="5 (P)."> Minuet in G minor.</item>
+
+<pb n="263" />
+
+      <item n="6 (P)."> Rondeau in B flat major (by Couperin).</item>
+      <item n="7 (P)."> Minuet in G major.</item>
+      <item n="8 (P)."> Polonaise in F major (two versions).</item>
+      <item n="9 (P)."> Minuet in B flat major.</item>
+      <item n="10 (P)."> Polonaise in G minor.</item>
+      <item n="11."> Choral Prelude, <q>Wer nur den lieben Gott l&auml;sst alten</q> (see B.G. XL., Kirnberger's Collection, no. 2).</item>
+      <item n="12."> Choral, <q>Gieb dich zufrieden und sei stille</q> see B.G. XXXIX. see. 4 no. 4).</item>
+      <item n="13."> Aria, <q>Gieb dich zufrieden un sei stille</q> (see B.G. XXXIX. sec. 2 no. 62).</item>
+      <item n="14 (P)."> Minuet in A minor.</item>
+      <item n="15 (P)."> Do. C minor.</item>
+      <item n="16 (P)."> March in D major.</item>
+      <item n="17 (P)."> Polonaise in G minor.</item>
+      <item n="18 (P)."> March in A major.</item>
+      <item n="19 (P)."> Polonaise in G minor.</item>
+      <item n="20."> Aria, <q>So oft ich meine Tabakspfeife</q> (see B.G. XXXIX. sec. 4 no. 1).</item>
+      <item n="21."> Minuet in G major, <q>fait par M&ouml;ns. B&ouml;hm.</q></item>
+      <item n="22 (P)."> Musette in D major.</item>
+      <item n="23 (P)."> March in E flat major.</item>
+      <item n="24 (P)."> Polonaise in D minor.</item>
+      <item n="25."> Aria, <q>Bist du bei mir</q> (see B.G. XXIX. sec. 4 no. 2).</item>
+      <item n="26."> Aria in G major (the Aria of the Goldberg Variations. See B.G. III.).</item>
+      <item n="27 (P)."> Solo per il Cembalo in E flat major.</item>
+      <item n="28 (P)."> Polonaise in G major.</item>
+      <item n="29."> Prelude in C major (Prelude i. of the first Part of the <q>Well-tempered Clavier.</q> See B.G. XIV.).</item>
+      <item n="30."> Suite in D minor (the first of the French Suites. See B.G. XIII (2)).</item>
+      <item n="31."> Suite in C minor (the first three movements of the second French Suite. See B.G. XIII (2)).</item>
+      <item n="32."> Choral (wordless) in F. major.</item>
+
+<pb n="264" />
+
+      <item n="33."> Aria, <q>Warum betr&uuml;bst du dich</q> (see B.G. XXXIX. sec. 3 no. 72).</item>
+      <item n="34."> Recitativo and Aria, <q>Ich habe genug,</q> and <q>Schlummert ein,</q> for Basso (from Cantata 82, nos. 2 and 3), transposed.</item>
+      <item n="35."> Aria, <q>Schaff's mit mir, Gott, nach deinem Willen</q> (see B.G. xxxrx. sec. 3 no. 61).</item>
+      <item n="36 (P)."> Minuet in D minor.</item>
+      <item n="37."> Aria, <q>Willst du dein Herz mir schenken</q> (di Giovannini) (see B.G. XXXIX. sec. 4 no. 5).</item>
+      <item n="38."> Aria, No. 34 <foreign lang="la">supra.</foreign> </item>
+      <item n="39."> Choral, <q>Dir, dir Jehovah, will ich singen</q> (see B.G. XXXIX. sec. 2 no. 46).</item>
+      <item n="40."> Aria, <q>Wie wohl ist mir, 0 Freund der Seelen</q> (see B.G. XXXIX. sec. 3 no. 74).</item>
+      <item n="41."> Aria, <q>Gedenke doch, mein Geist, zurticke</q> (see B.G. XXXIX. sec. 4 no. 3).</item>
+      <item n="42."> Choral, <q>O Ewigkeit, du Donnerwort</q> (see B.G. XXXIX. sec. 2 no. 144).</item>
+     </list>
+	</item>
+ </list>
+</item>
+
+<item n="XLIV."> 1894 [1895]. Handschrift in zeitlich geordneten Nachbildungen. Ed. Hermann Kretzschmar. Contains facsimiles of Bach's handwriting and autograph MSS.
+</item>
+
+<item n="XLV(1)."> 1895 [1897]. Clavierwerke. Zweiter Band (neue berichtigte Ausgabe). Ed. Alfred D&ouml;ffel.<note place="foot">
+     <p>
+     A separate Preface to the reprinted Suites is by Ernst Naumann. It is dated 1895.
+     </p>
+     </note>
+  <list>
+    <item>The Six English Suites (see B.G. XIII. (2)). (P. bks. 2794, 2795.)</item>
+    <item>The Six French Suites (see B.G. XIII. (2)). (P. bk. 2793.)</item>
+    <item>Five Canons in 4, 6, 7, 8 parts.</item>
+    <item>Prelude and Fugue in E flat major (P. bk. 214 p. 40).</item>
+    <item>Suite in E minor (P. bk. 214 p. 68).</item>
+    <item>Suite in C minor (not in P.).</item>
+    <item>Sonata (first movement) in A minor (not in P.).<note place="foot">
+      <p>Perhaps an arrangement of an orchestral piece. See Schweitzer, i. 342 n.
+      </p>
+      </note></item>
+
+<pb n="265" />
+
+    <item>Four Inventions, in B minor, B flat major, C minor, D major, for Violin and Clavier (P. bk. 2957).</item>
+    <item>Overture in G minor for Strings and Clavier (not in P.).</item>
+    <item>The <q>Clavier-B&uuml;chlein</q> of Wilhelm Friedemann Bach contains:
+  <list>
+    <item n="1."> Applicatio in C major (see B.G. XXXVI. no. 48).</item>
+    <item n="2."> Prelude in C major (the first of the Twelve Little Preludes) (see B.G. XXXVI. no. 19).</item>
+    <item n="3."> Choral Prelude, <q>Wer nur den lieben Gott l&auml;sst walten</q> (see B.G. XL., Kirnberger's Collection, no. 2).</item>
+    <item n="4."> Prelude in D minor (the fifth of the Little Preludes) (see B.G. XXXVI. no. 19).</item>
+    <item n="5."> Choral Prelude, <q>Jesu meine Freude</q> (fragment) (see B.G. XL. sec 4 no. 12).</item>
+    <item n="6."> Allemande in G minor (not in P.).</item>
+    <item n="7."> Allemande (fragment) in G minor (not in P.).</item>
+    <item n="8."> Prelude in F major (the eighth of the Little Preludes) (see B.G. XXXVI. no. 19).</item>
+    <item n="9."> Prelude in G minor (the eleventh of the Little Preludes) (see B.G. XXXVI. no. 19).</item>
+    <item n="10."> Prelude in F major (the ninth of the Little Preludes) (see B.G. XXXVI. no. 19).</item>
+    <item n="11."> Minuet in G major (the first of the three Minuets) (see B.G. XXXVI. no. 43).</item>
+    <item n="12."> Minuet in G minor (the second of the three Minuets) (see B.G. XXXVI. no. 43).</item>
+    <item n="13."> Minuet in G major (the third of the three Minuets) (see B.G. XXXVI. no. 43).</item>
+    <item n="14."> Prelude in C major (the first Prelude of the first Part of the <q>Well-tempered Clavier.</q> See B.G. XIV.).</item>
+    <item n="15."> Do. C minor (the second Prelude of the first Part of the same. See B.G. XIV.).</item>
+    <item n="16."> Do. D minor (the sixth Prelude of the first Part of the same. See B.G. XIV.).</item>
+    <item n="17."> Do. D major (the fifth Prelude of the first Part of the same. See B.G. XIV.).</item>
+
+<pb n="266" />
+
+    <item n="18."> Prelude in E minor (the tenth Prelude of the first Part of the same. See B.G. XIV.).</item>
+    <item n="19."> Prelude in E major (the ninth Prelude of the first Part of the same. See B.G. XIV.).</item>
+    <item n="20."> Prelude in F major (the eleventh Prelude of the first Part of the same. See B.G. XIV.).</item>
+    <item n="21."> Prelude in C sharp major (the third Prelude of the first Part of the same. See B.G. XIV.).</item>
+    <item n="22."> Prelude in C sharp minor (the fourth Prelude of the first Part of the same. See B.G. XIV.).</item>
+    <item n="23."> Prelude in E flat minor (the eighth Prelude of the first Part of the same. See B.G. XIV.).</item>
+    <item n="24."> Prelude in F minor (the twelfth Prelude of the first Part of the same. See B.G. XIV.)</item>
+    <item n="25."> Allemande and Courante in C major, by J. C. Richter.</item>
+    <item n="26."> Prelude in C major (first of the Little Preludes. See B.G. XXXVI. no. 19).</item>
+    <item n="27."> Prelude in D major (fourth of the Little Preludes. See B.G. XXXVI. no. 19).</item>
+    <item n="28."> Prelude in E minor (see B.G. xxxvi. no. 50).</item>
+    <item n="29."> Prelude in A minor (B.G. xxxvi. no. 49).</item>
+    <item n="30."> Prelude in G minor (not in P.).</item>
+    <item n="31."> Fugue in C major (see B.G. xxxvi. no. 38).</item>
+    <item n="32."> Prelude in C major (Invention i. See B.G. m.).</item>
+    <item n="33."> Prelude in D minor (Invention iv. See B.G. m.).</item>
+    <item n="34."> Prelude in E minor (Invention vii. See B.G. m.).</item>
+    <item n="35."> Prelude in F major (Invention viii. See B.G. m.).</item>
+    <item n="36."> Prelude in G major (Invention x. See B.G. in.).</item>
+    <item n="37."> Prelude in A minor (Invention xiii. See B.G. m.).</item>
+    <item n="38."> Prelude in B minor (Invention xv. See B.G. m.).</item>
+    <item n="39."> Prelude in B flat major (Invention xiv. See B.G. III.).</item>
+    <item n="40."> Prelude in A major (Invention xii. See B.G. III.).</item>
+    <item n="41."> Prelude in G minor (Invention xi. See B.G. III.).</item>
+    <item n="42."> Prelude in F minor (Invention ix. See B.G. III.).</item>
+    <item n="43."> Prelude in E major (Invention vi. See B.G. III.).</item>
+    <item n="44."> Prelude in E flat major (Invention v. See B.G. III.).</item>
+    <item n="45."> Prelude in D major (Invention iii. See B.G. III.).</item>
+    <item n="46."> Prelude in C minor (Invention ii. See B.G. III.).</item>
+    <item n="47."> Suite in A major (fragment) (see B.G. XXXVI. no. 45).</item>
+    <item n="48."> Partita in G minor by Steltzel, including a Minuet Trio by J. S. B. (Minuet in P. bk. 1959 p. 8).</item>
+    <item n="49."> Fantasia in C major (Sinfonia i. See B.G. III.).</item>
+    <item n="50."> Fantasia inD minor (Sinfonia iv. See B.G. III.).</item>
+    <item n="51."> Fantasia in E minor (Sinfonia vii. See B.G. III.).</item>
+    <item n="52."> Fantasia in F major (Sinfonia viii. See B.G. III.).</item>
+    <item n="53."> Fantasia in G major (Sinfonia x. See B.G. III.).</item>
+    <item n="54."> Fantasia in A minor (Sinfonia xiii. See B.G. III.).</item>
+    <item n="55."> Fantasia in B minor (Sinfonia xv. See B.G. III.).</item>
+    <item n="56."> Fantasia in B flat major (Sinfonia xiv. See B.G. III.).</item>
+    <item n="57."> Fantasia in A major (Sinfonia xii. See B.G. III.).</item>
+    <item n="58."> Fantasia in G minor (Sinfonia xi. See B.G. III.).</item>
+    <item n="59."> Fantasia in F minor (Sinfonia ix. See B.G. III.).</item>
+    <item n="60."> Fantasia in E major (Sinfonia vi. See B.G. III.).</item>
+    <item n="61."> Fantasia in E flat major (Sinfonia v. See B.G. III.).</item>
+    <item n="62."> Fantasia in D major (Sinfonia iii. See B.G. III.).<note place="foot">
+         <p>
+         The Appendix to the volume contains addenda to the Violin Concerto in A minor (see B.G. XXL. (1)) and Cantata 188 (see B.G. XXXVII.). Also the Zurich and London texts of the <q>Welltempered Clavier</q> (B.G. XIV.), with critical notes.
+         </p>
+         </note></item>
+    </list>
+	</item>
+  </list>
+</item>
+
+<item n ="XLV (2)."> 1895 [1898]. Passionsmusik nach dem Evangelisten Lucas. Ed. Alfred D&ouml;ffel.
+ <p>
+ Though the Score is in Bach's autograph, the work is generally held not to be his. 
+ </p>
+</item>
+
+<item n="XLVI."> 1896 [1899].<note place="foot">
+<p>
+The Preface is dated 1899. The volume was issued in 1900.
+</p>
+</note> Schlussband. Bericht und Verzeichnisse. Ed. Hermann Kretzschmar.
+ <p>
+ The volume contains:&mdash;
+ </p>
+ <list>
+  <item>Historical retrospect of the Society and its activities.</item>
+  <item>Thematic Index to Cantatas 121-191 (see B.G. XXVII (2)), unfinished Cantatas, Cantatas of doubtful authenticity, Christmas Oratorio, Easter Oratorio, St. Matthew Passion, St. John Passion, St. Luke Passion, Mass in B minor, the four Masses in F major, A major, G minor, G major, the four Sanctus in C major, D major, D minor, G major, Magnificat in D major, the <q>Trauer-Ode</q> Wedding Cantatas and Chorals, Motets, Secular Cantatas (P. bk. 270b).</item>
+  <item>Alphabetical Index of the movements throughout the vocal works.</item>
+  <item>Thematic Index to the Clavier music.</item>
+  <item>Thematic Index to the Chamber music.</item>
+  <item>Thematic Index to the Orchestral music.</item>
+  <item>Thematic Index to the Organ music.</item>
+  <item>Thematic Index to the <q>Musikalisches Opfer</q>.</item>
+  <item>Thematic Index to the <q>Kunst der Fuge</q></item>
+   <item>Index to the several movements throughout the instrumental works.</item>
+  <item>Index of names and places occurring in the Prefaces of the B.G. volumes.</item>
+  <item>Bach's vocal and instrumental works arranged (1) in the order of the yearly volumes, (2) in groups.</item>
+ </list>
+</item>
+
+</list>
+</div>
+
+<div>
+<head type="sub">(B) PUBLICATIONS OF THE NEW BACHGESELLSCHAFT</head>
+<list>
+ <item n="1(1)."> 1901. Lieder und Arien. Fur eine Singstimme mit Pianoforte (Orgel oder Harmonium). Ed. Ernst Naumann
+  <p>
+  The seventy-eight Songs are those contained in B.G. XXXIX. secs. 3 and 4 (first three only) <foreign lang="la">supra.</foreign>
+  </p>
+  </item>
+ <item n="I (2)."> 1901. Lieder und Arien. Furvierstimmigen gemischten Chor. Ed. Franz W&uuml;llner.
+  <p>
+  The seventy-five Songs are those contained in I (1), omitting those in sec. 4 of B.G. XXXIX. <foreign lang="la">supra.</foreign>
+  </p>
+  </item>
+
+ <item n="1(3)."> 1901. Erstes deutsches Bach-Fest in Berlin 21 bis 23 Marz 1901. Festschrift.
+  <p>
+  The frontispiece is Carl Seffner's bust of Bach.
+  </p>
+  </item>
+
+ <item n="II (1)."> 1902. Orgelb&uuml;chlein. 46 k&uuml;rzere Choralbearbeitungen f&uuml;r Klavier zu vier Handen. Ed. Bernhard Fr. Richter.
+  <p>
+  The original forty-six Organ Preludes, here arranged for two pianofortes (see B.G. XXV (2), sec. 1).
+  </p>
+  </item>
+
+ <item n="II(2)."> 1902. Kirchen-Kantaten. Klavierauszug. Erstes Heft. Ed. Gustav Schreck and Ernst Naumann.
+  <p>
+  Contains Breitkopf and Haertel's vocal scores of&mdash;
+  </p>
+  <list>
+    <item>Cantata 61: Nun komm, der Heiden Heiland.</item>
+    <item>Cantata 64: Sehet, welch' eine Liebe.</item>
+    <item>Cantata 28: Gottlob! nun geht das Jahr zu Ende.</item>
+    <item>Cantata 65: Sie werden aus Saba Alle kommen.</item>
+    <item>Cantata 4: Christ lag in Todesbanden.</item>
+   </list>
+  </item>
+
+<item n="III (1)."> 1903. Kirchen-Kantaten. Klavierauszug. Zweites Heft. Ed. Ernst Naumann.
+ <p>
+ Contains Breitkopf and Haertel's vocal scores of&mdash;
+ </p>
+ <list>
+    <item>Cantata 104: Du Hirte Israel, h&ouml;re. </item>
+    <item>Cantata 11: Lobet Gott in seinen Reichen. </item>
+    <item>Cantata 34: O ewiges Feuer. </item>
+    <item>Cantata 45: Es ist dir gesagt. </item>
+    <item>Cantata 80: Bin' feste Burg.</item>
+ </list>
+ </item> 
+
+<item n="III(2)."> 1903. Drei Sonaten f&uuml;r Klavier und Violine. Ed. Ernst Naumann.
+ <list>
+  <item>Sonata I. in B minor.</item>
+  <item>Sonata II. in A major. (See B.G. IX.) </item>
+  <item>Sonata III. in E major.) </item>
+ </list>
+</item>
+
+<item n="IV (1)."> 1904. Drei Sonaten f&uuml;r Klavier und Violine. Ed. Ernst Naumann.
+  <list>
+   <item>Sonata IV. in C minor.</item>
+   <item>Sonata V. in F minor (See BG. IX)</item>
+   <item>Sonata VI. in G major.</item>
+  </list>
+</item>
+
+<item n="IV (2)."> 1904. Joh. Seb. Bach, Bildnis in Heliogravure.
+ <p>
+ A print of the portrait discovered by Dr. Fritz Volbach reproduced at p. 92 of this present volume.
+ </p>
+ </item>
+
+<item n="IV (3)."> 1904. Zweites deutsches Bach-Fest in Leipzig 1 bis 3 Oktober 1904. Festschrift.</item>
+
+<item n="V (1)."> 1905. Fest-Gottesdienst zum deutschen Bachfeste in der Thomaskirche zu Leipzig. Ed. Georg Rietschel.
+ <p>
+  Contains the order of service and music sung on the occasion.
+ </p>
+</item>
+
+<item n="V (2)."> 1905. Ausgewahlte Arien und Duette mit einem obligaten Instrument und Klavier- oder Orgelbegleitung.
+  <p>
+  I Abteilung: Arien f&uuml;r Sopran Ed. Eusebius Mandyczewski.
+  </p>
+  <list>
+   <item n="1."> Auch mit ged&auml;mpften schwachen Stimmen (Cantata 36: Violin).</item>
+   <item n="2."> Die Armen will der Herr unarmen (Cantata 186: Violin).</item>
+   <item n="3."> Es halt' es mit der blinden Welt (Cantata 94: Oboe d'amore).</item>
+   <item n="4."> Gerechter Gott, ach, rechnest du (Cantata 89 : Oboe).</item>
+   <item n="5."> Gott versorget alles Leben (Cantata 187 : Oboe).</item>
+   <item n="6."> Hochster, was ich habe, ist nur deine Gabe (Cantata 39: Flauto).</item>
+   <item n="7."> H&ouml;rt, ihr Augen, auf zu weinen (Cantata 98 : Oboe).</item>
+   <item n="8."> Ich bin vergn&uuml;gt in meinem Leiden (Cantata 58: Violin).</item>
+   <item n="9."> Ich ende behende mein irdisches Leben (Cantata 57: Violin).</item>
+   <item n="10."> Ich nehme mein Leiden mit Freuden auf mich (Cantata 75: Oboe d'amore).</item>
+   <item n="11."> Ich will auf den Herren schau'n (Cantata 93: Oboe).</item>
+   <item n="12."> Seufzer, Thranen, Kummer, Noth (Cantata 21 : Oboe).</item>
+  </list>
+</item>
+
+<pb n="271" />
+
+<item n="V(3)."> 1905. Bach-Jahrbuch 1904. Herausgegeben von der Neuen Bachgesellschaft.
+<p>
+In addition to sermons and addresses on the occasion of the second Bach Festival at Leipzig in 1904, the volume contains the following articles:
+</p>
+  <list>
+   <item n="1."> Bach und der evangelische Gottesdienst. By Karl Greulich.</item>
+   <item n="2."> Praktische Bearbeitungen Bachscher Kompositionen. By Max Seiffert.</item>
+   <item n="3."> Bachs Rezitativbehandlung mit besonderer Ber&uuml;ck sichtigung der Passionen. By Alfred Heuss.</item>
+   <item n="4."> Verschwundene Traditionen des Bachzeit alters. By Arnold Schering.</item>
+ </list>
+</item>
+
+<item n="VI (1)."> 1906. Ausgewahlte Arien und Duette mit einem obligaten Instrument und Klavier- oder Orgelbegleitung. II Abteilung: Arien f&uuml;r Alt. Ed. Eusebius Mandyczewski.
+ <list>
+  <item n="1."> Ach, bleibe doch, mein liebstes Leben (Cantata 11: Violin).</item>
+  <item n="2."> Ach, es bleibt in meiner Liebe (Cantata 77: Tromba).</item>
+  <item n="3."> Ach Herr! was ist ein Menschenkind (Cantata 110: Oboe d'amore).</item>
+  <item n="4."> Ach, unaussprechlich ist die Noth (Cantata 116: Oboe d'amore).</item>
+  <item n="5."> Christen m&uuml;ssen auf der Erden (Cantata 44: Oboe).</item>
+  <item n="6."> Christi Glieder, ach, bedenket (Cantata 132: Violin).</item>
+  <item n="7."> Es kommt ein Tag (Cantata 136: Oboe d'amore).</item>
+  <item n="8."> Gelobet sei der Herr, mein Gott (Cantata 129: Oboe d'amore).</item>
+  <item n="9."> Ich will doch wohl Rosen brechen (Cantata 86: Violin).</item>
+  <item n="10."> Jesus macht mich geistlich reich (Cantata 75: Violin).</item>
+  <item n="11."> Kein Arzt ist ausser dir zu finden (Cantata 103: Flauto).</item>
+  <item n="12."> Was Gott thut, das ist wohlgethan (Cantata 100: Oboe d'amore).</item>
+ </list>
+</item>
+
+<pb n="272" />
+
+<item n="VI (2)."> 1906. Ausgewahlte Arien und Duette mit einem obligaten Instrument und Klavier- odor Orgelbegleitung. III Abteilung: Duette f&uuml;r Sopran und Alt. Ed. Eusebius Mandyczewski.
+  <list>
+  <item n="1."> Die Armuth, so Gott auf sich nimmt (Cantata 91: Violin).</item>
+  <item n="2."> Wenn Sorgen auf mich dringen (Cantata 3: Violin or Oboe d'amore).</item>
+  <item n="3."> Er kennt die rechten Freudenstunden (Cantata 93: Violin).</item>
+  </list>
+</item>
+
+<item n="VI (3)."> 1906. Bach-Jahrbuch 1905. Herausgegeben von der Neuen Bachgesellschaft.
+ <p>
+ Contains the following articles:
+ </p>
+ <list>
+  <item n="1.">Johann Sebastian Bachs Kapelle zu C&ouml;then und deren nachgelassene Instrumente. By Rudolf Bunge.</item>
+  <item n="2."> Geleitwort. By Arnold Sobering.</item>
+  <item n="3."> Die Wahl Joh. Seb. Bachs zum Kantor der Thomaschule i. J. 1723. By Bernhard Fr. Richter.</item>
+  <item n="4."> Ein' feste Burg ist unser Gott. Kantata von Joh. Seb. Bach. By Fritz Volbach.</item>
+  <item n="5."> Verzeichnis der bisher erschienenen Literatur &uuml;ber Johann Sebastian Bach. By Max Schneider.</item>
+  <item n="6."> Reviews of books.</item>
+ </list>
+</item>
+
+<item n="VII (1)."> 1907. Kantate No. 88: <q>Siehe, ich will viel Fischer aussenden.</q> Partitur. Ed. Max Seiffert.
+</item>
+
+<item n="VII (2)."> 1907. Kantate No. 88: <q>Siehe, ich will viel Fischer aussenden.</q> Klavierauszug mit Text. Ed. Max Seiffert und Otto Taubmann.
+</item>
+
+<item n="VII (3)."> 1907. Bach-Jahrbuch 1906. Herausgegeben von der Neuen Bachgesellschaft.
+ <p>
+ Contains the following articles:
+ </p>
+ <list>
+  <item n="1."> Erfahrungen und Ratschl&uuml;ger bez&uuml;glich der Auff&uuml;hrung Bachscher Kirchenkantaten. By Wilhelm Voigt.</item>
+<pb n="273" />
+  <item n="2."> &Uuml;ber die Schickssle der der Thomasschule zu Leipzig angehorenden Kantaten Joh. Seb. Bachs. By Bernhard Fr. Richter.</item>
+  <item n="3."> Die grosse A-moll Fuge f&uuml;r Orgel [Novello bk. 7 p. 42] und ihre Vorlage. By Reinhardt Oppel.</item>
+  <item n="4."> Zur Rritik der Gesamtausgabe von Bachs Werken. By Max Seiffert.</item>
+  <item n="5."> Verzeichnis der bis zum Jahre 1851 gedruckten (und der geschrieben im Handel gewesenen) Werke von Johann Sebastian Bach. By Max Schneider.</item>
+  <item n="6."> &Uuml;bersicht der Auff&uuml;hrungen J. S. Bachscher Werke von Ende 1904 bis Anfang 1907.</item>
+  <item n="8."> Notes.</item>
+ </list>
+</item>
+
+<item n="VII (4)."> 1907. Drittes deutsches Bach-Fest zur Einweihung von Johann Sebastian Bachs Geburtshaus als BachMuseum [at Eisenach]. Fest- und Programmbuch [26-28 May 1907].
+ <p>
+ The frontispiece is Carl Seffner's bust of Bach.
+ </p>
+</item>
+
+<item n="VIII (1)."> 1908. Violinkonzert No. 2 in E dur. Partitur. Ed. Max Seiffert.
+ <p>
+ See B.G. XXI (1) no. 2.
+ </p>
+</item>
+
+<item n="VIII (2)."> 1908. Violinkonzert No. 2 in E dur fur Violine und Klavier. Ed. Max Seiffert and A. Saran.
+</item>
+
+<item n="VIII (3)."> 1908. Bach-Jahrbuch. 4 Jahrgang 1907: Im Auftrage der Neuen Bachgesellschaft herausgegeben von Arnold Schering.
+ <p>
+ In addition to a sermon by Professor Georg Rietschel and an obituary notice of Joseph Joachim, the volume contains the following articles:
+ </p>
+ <list>
+  <item n="1."> Sebastian Bach und Paul Gerhardt. By Wilhelm Nolle.</item>
+  <item n="2."> Stadtpfeifer und Alumnen der Thomasschule in Leipzig zu Bachs Zeit. By Bernhard Fr. Richter.</item>
+
+<pb n="274" />
+
+  <item n="3."> Angeblich von J. S. Bach komponierte Oden von Chr. H. Hoffmannswaldau. By &mdash;. Landmann.</item>
+  <item n="4."> Die neuen deutschen Ausgaben der zwei- und dreistimmigen Inventionen [Peters bk. 2792]. By Reinhardt Oppel.</item>
+  <item n="5."> Thematisches Verzeichnis der musikalischen Werke der Familie Bach. I. Theil. By Max Schneider.</item>
+  <item n="6."> Notes and Reviews of books.</item>
+ </list>
+</item>
+
+<item n="IX (1)."> 1909. Kantate No. 85: <q>Ich bin ein guter Hirt.</q> Partitur. Ed. Max Seiffert.
+</item>
+
+<item n="IX (2)."> 1909. Kantate No. 85: <q>Ich bin ein guter Hirt.</q> Klavierauszug mit Text. Ed. Max Seiffert and Max Schneider.
+</item>
+
+<item n="IX (3)."> 1909. Brandenburgisches Konzert No. 3. Partitur. Ed. Max Seiffert.
+  <p>
+  See B.G. XIX. no. 3.
+  </p>
+</item>
+
+<item n="IX (4)."> 1909. Brandcnburgisches Konzert No. 3 f&uuml;r Klavier zu vier H&auml;nden. Ed. Max Seiffert and Max Schneider.
+</item>
+
+<item n="IX (5)."> 1909. Viertes deutsches Bach-Fest in Chemnitz 3-5 Oktober 1908. Fest- und Programmbuch.
+  <p>
+  The frontispiece is a photograph of Carl Seffner's statue of Bach, unveiled at Leipzig May 17, 1908.
+  </p>
+</item>
+
+<item n="IX (6)."> 1909. Bach-Jahrbuch. 5 Jahrgang 1908: Im Auftrage der Neuen Bachgesellschaft herausgegeben von Arnold Schering.
+  <p>
+  Contains the following articles:
+  </p>
+  <list>
+  <item n="1."> Zu Bachs Weihnachtsoratorium, Theil 1 bis 3. By Woldemar Voigt.</item>
+  <item n="2."> &Uuml;ber Seb. Bachs Kantaten mit obligater Pedal. By Bernhard Fr. Richter.</item>
+  <item n="3."> Cembalo oder Pianoforte? By Richard Buchmayer.</item>
+  <item n="4."> Bearbeitung Bachscher Kantaten. By Max Schneider.</item>
+
+<pb n="275" />
+
+  <item n="5."> Nachrichten &uuml;ber das Leben Georg B&ouml;hms mit spezieller Ber&uuml;cksichtigung seiner Beziehungen zur Bachschen Familie. By Richard Buchmayer.</item>
+  <item n="6."> Ein interessantes Beispiel Bachscher Textauffassung. By Alfred Heuss.</item>
+  <item n="7."> Edgar Tinel &uuml;ber Seb. Bach.</item>
+  <item n="8."> Notes.</item>
+  </list>
+</item>
+
+<item n="X (I)."> 1910. Ausgewahlte Arien und Duette mit einem obligaten Instrument und Klavier- oder Orgelbegleitung. IV Abteilung: Arien f&uuml;r Tenor. Ed. Eusebius Mandyczewski.
+  <list>
+   <item n="1."> Dein Blut, so meine Schuld durchstreit (Cantata 78: Flauto).</item>
+   <item n="2."> Die Liebe zieht mit sanften Schritten (Cantata 36: Oboe d'amore).</item>
+   <item n="3."> Ergiesse dich reichlich, du gottliche Quelle (Cantata 5: Viola).</item>
+   <item n="4."> Handle nicht nach deiuen Bechten mit uns (Cantata 101: Violin).</item>
+   <item n="5."> Ich will an den Himmel denken (Cantata 166 : Oboe).</item>
+   <item n="6."> Ja, tausendmal Tausend (Cantata 43 : Violin).</item>
+   <item n="7."> Mich kann kein Zweifel st&ouml;ren (Cantata 108 : Violin).</item>
+   <item n="8."> Seht, was die Liebe thut! (Cantata 85 : Violin or Viola).</item>
+   <item n="9."> Tausendfaches Ungl&uuml;ck, Schrecken, Tr&uuml;bsal (Cantata 143: Violin).</item>
+   <item n="10."> Wir waren schon zu tief gesunken (Cantata 9 : Violin).</item>
+   <item n="11."> Woferne du den edlen Frieden (Cantata 41 : Violoncello).</item>
+   <item n="12."> Wo wird in diesem Jammerthale (Cantata 114: Flauto).</item>
+  </list>
+</item>
+
+<item n="X (2)."> 1910. Brandenburgisches Konzert No. 1. Partitur. Ed. Max Seiffert.
+  <p>
+  See B.G. XIX. no. 1.
+  </p>
+</item>
+
+<item n="X(3)."> 1910. Brandenburgisches Konzert No. 1 fur Klavier zu vier Handen. Ed. Max Seiffert and Max Schneider.
+</item>
+
+<item n="X(4)."> 1910. Bach-Jahrbuch. 6 Jahrgang 1909: Im Auftrage der Neuen Bachgesellschaft herausgegeben von Arnold Schering.
+ <p>
+ The volume contains the following articles:
+ </p>
+ <list>
+  <item n="1."> Zum Linearprinzip J. S. Bachs. By Robert Handke.</item>
+  <item n="2."> Bachs Verh&auml;ltnis zur Klaviermusik. By Karl Nes.</item>
+  <item n="3."> Zur Tenorarie [<q>Ich will an den Himmel denken</q>: See X (1) no. 5, <foreign lang="la">supra</foreign>] der Kantate 166. By Reinhard Oppel.</item>
+  <item n="4."> Die Verzierungen in den Werken von J. S. Bach. By E. Dannreuther.</item>
+  <item n="5."> Konnte Bachs Gemeinde bei seinen einfachen Choral-s&auml;tzen mitsingen? By Rudolf Wustmann.</item>
+  <item n="6."> Buxtehudes musikalischer Nachrnf heim Tode seines Vaters (mit einer Notenbeilage). By Reinhard Oppel. </item>
+  <item n="7."> <q>Matthauspassion,</q> erster Theil. By Rudolf Wustmann.</item>
+  <item n="8."> Zu den Beschl&uuml;ssen des Dessauer Kirchengesangver einstages. By Arnold Schering.</item>
+  <item n="9."> Notes.</item>
+  </list>
+</item>
+
+<item n="X (5)."> 1910. F&uuml;nftes deutsches Bach-Fest in Duisburg 4 bis
+7 Juni 1910. Fest- und Programmbuch.
+  <p>
+  Frontispiece, St. Thomas' Church and School, Leipzig, in 1723. Reproduced at p. 28 of the present volume.
+  </p>
+</item>
+
+<item n="XI (1)."> 1911. Ausgewahlte Arien und Duetto mit einem obligaten Instrument und Klavier- oder Orgelbegleitung V Abteilung: Arien f&uuml;r Bass, Ed. Eusebius Mandyczewski.
+ <list>
+  <item n="1."> Achzen und erb&auml;rmlich Weinen (Cantata 13: Violin or Flute).</item>
+
+<pb n="277" />
+
+  <item n="2."> Die Welt mit allen K&ouml;nigreichen (Cantata 59: Violin).</item>
+  <item n="3."> Endlicb, endlich wird niein Joch (Cantata 56: Oboe).</item>
+  <item n="4."> Erleucht' auch meine finstre Sinnen (<q>Christmas
+Oratorio,</q> Part V. no. 5: Oboe d'amore).</item>
+  <item n="5."> Gleichwie die wilden Meeres-Wellen (Cantata 178: Violin or Viola).</item>
+  <item n="6."> Greifet zu, fasst das Heil (Cantata 174: Violin or Viola).</item>
+  <item n="7."> Herr, nun l&auml;ssest du deinen Diener (Cantata 83: Violin or Viola).</item>
+  <item n="8."> Hier, in meines Vatera St&auml;tte (Cantata 32: Violin).</item>
+  <item n="9."> Komm, s&uuml;sses Kreuz (<q>St. Matthew Passion,</q> no. 57: Violoncello).</item>
+  <item n="10."> Lass', O Welt, mich aus Verachtung (Cantata 123: Flauto).</item>
+  <item n="11."> Tritt auf die Glaubensbahn (Cantata 152: Oboe d'amore).</item>
+  <item n="12."> Wenn Trost und H&uuml;lf' ermangeln muss (Cantata 117: Violin).</item>
+ </list>
+</item>
+
+
+<item n="XI (2)."> 1911. Bach-Jahrbuch. 7 Jahrgang 1910: Im Auftrage der Neuen Bachgesellschaft herausgegeben von Arnold Sobering.
+<p>
+The volume contains the following articles:
+</p>
+  <list>
+   <item n="1.">Die Diatonik in ihrem Einfluss auf die thematische Gestaltung des Fugenbaues. By Robert Handke.</item>
+   <item n="2.">Bach und die franzosische Klaviermusik. By Wanda Landowska.</item>
+   <item n="3.">Sebastian Bachs Kirchenkantatentexte. By Rudolf Wustmann.</item>
+   <item n="4.">Uber Joh. Kasp. Fred. Fischers Einfluss auf Joh. Seb. Bach. By Reinhard Oppel.</item>
+   <item n="5.">Hans Bach, der Spielmann. By Werner Wolffheim.</item>
+   <item n="6.">Vom Rhythmus des evangelischen Chorals. By Rudolf Wustmann.</item>
+   <item n="7.">W. Friedemann Bach und seine hallische Wirksamkeit. By C. Zehler.</item>
+<pb n="278" />
+   <item n="8.">Neues Material zum Verzeichnis der bisher erschienenen Literatur &uuml;ber Johann Sebastian Bach. By Max Schneider. </item>
+   <item n="9.">Reviews of books.</item>
+  </list>
+</item>
+
+<item n="XII (1)."> 1912. Ausgewahlte Arien und Duette mit einem obligaten Instrument und Klavier- oder Orgelbegleitnng. VI Abteilung: Arien fur Sopran. 2 Heft. Ed. Eusebius Mandyczewski.
+ <list>
+  <item n="1."> Bereite dir, Jesu, noch itzo die Bahn (Cantata 147: Violin).</item>
+  <item n="2."> Eilt, ihr Stunden, kommt herbei (Cantata 30: Violin).</item>
+  <item n="3."> Erf&uuml;llet, ihr bimmlischen, g&ouml;ttlichen Flammen (Cantata 1: Oboe da caccia).</item>
+  <item n="4."> Gen&uuml;gsamkeit ist ein Schatz in diesem Leben (Cantata 144: Oboe d'amore).</item>
+  <item n="5."> H&ouml;rt, ihr V&ouml;lker, Gottes Stimme (Cantata 76: Violin).</item>
+  <item n="6."> Ich folge dir gleichfalls (<q>St. John Passion,</q> no. 9: Flauto).</item>
+  <item n="7."> Jesus soll mein erstes Wort (Cantata 171: Violin).</item>
+  <item n="8."> Liebster Jesu, mein Verlangen (Cantata 32: Oboe).</item>
+  <item n="9."> Meinem Hirten bleib' ich treu (Cantata 92: Oboe d'amore).</item>
+  <item n="10."> Seele, deine Spezereien sollen nicht (<q>Easter Oratorio,</q> no. 4: Flauto or Violin).</item>
+  <item n="11."> Was Gott thut, das ist wohlgethan (Cantata 100: Flauto).</item>
+  <item n="12."> Wie zittern und wanken der S&uuml;nder Gedanken (Cantata 105: Oboe).</item>
+  </list>
+</item>
+
+<item n="XII (2)."> 1912. Bach-Jahrbuch. 8 Jaargang 1911: Im Auftrage der Neuen Bachgesellschaft herausgegeben von Arnold Schering. Mit 2 Bildnissen und 8 Faksimiles.
+<p>
+The volume contains the following articles:
+</p>
+  <list>
+   <item n="1."> <q>Mein Herze schwimmt im Blut</q> [see infra XIII (2)]. By Werner Wolffheim.</item>
+<pb n="279" />
+   <item n="2."> Das sogensante Orgelkonzert D-moll, von Wilhelm Friedemann Bach [Peters bk. 3002]. By Max Schneider. </item>
+   <item n="3."> Bachiana. By Werner Wolffheim.</item>
+   <item n="4."> Zur Geschichte der Passionsauff&uuml;hrungen in Leipzig. By Bernhard Fr. Richter.</item>
+   <item n="5."> Tonartensymbolik zu Bachs Zeit. By Rudolf Wustmann.</item>
+   <item n="6."> &Uuml;ber die Viola da Gamba und ihre Verwendung bei Joh. Seb. Bach. By Christian Dobereiner.</item>
+   <item n="7."> Carl Philipp Emanuel Bach und Joh. Gottl. Im. Breitkopf. By Hermann von Hase.</item>
+   <item n="8."> Zur <q>Lukaspassion.</q> By Max Schneider.</item>
+   <item n="9."> Verzeichnis der Sammlung alter Musikinstrumente im Bachhaus zu Eisenach. By G. Bornemann.</item>
+  </list>
+<p>
+The illustrations are, portraits of W. Friedemann Bach (aet. 72) and Johann Sebastian Bach (son of Carl P. E. Bach); facsimiles of Bach's arrangement of the D minor Vivaldi Organ Concerto (attributed to W. F. Bach) and <q>Lukaspassion,</q> and of a letter written to J. G. I. Breitkopf by C. P. E. Bach, dated 28th February 1786.
+</p>
+</item>
+
+<item n="XII (3)."> 1912. Sechstes Deuteches Bach-Fest in Breslau 15 bis 17 Juni 1912. Fest- und Frogrammbuch.
+<p>
+Frontispiece, J. S. Bach after the oil-painting by G. Haussmann in possession of St. Thomas' School, Leipzig (see Spitta, vol. i. frontispiece and XVI (1) infra).
+</p>
+</item>
+
+<item n="XIII (1)."> 1913. Ausgewahlte Arien mit obligaten Instrumenten und Klavierbegleitung. VII Abteilung: Arien fur Sopran. 3 Heft. Weltliche Arien. Ed. Eusebius Mrmdyczewski.
+ <list>
+  <item n="1."> Wenn die Fruhlingsl&uuml;fte streichen (<q>Weichet nur betr&uuml;bte Schatten</q>: Violin).</item>
+  <item n="2."> Sich &uuml;ben im Lieben (<q>Weichet nur betr&uuml;bte Schatten</q>: Oboe).</item>
+<pb n="280" />
+  <item n="3."> Des Reichtums Glanz (<q>Ich bin in mir vergn&uuml;gt</q>:
+Violin).<note place="foot">
+<p>
+The original words are <q>Die Sch&auml;tzbarkeit der weiten Erden.</q>
+</p>
+</note></item>
+  <item n="4."> Meine Seele, sei vergn&uuml;gt (<q>Ich bin in mir vergn&uuml;gt</q>:
+Flauto).</item>
+  <item n="5."> Angenehmer Zephryus (<q>Der zufnedengestellte Aeolus</q>: Violin).</item>
+  <item n="6."> Schweigt, ihr Fl&ouml;ten (<q>O holder Tag</q>: Flauto).</item>
+  <item n="7."> Ei! wie schmeckt der Coffee s&uuml;sse (<q>Schweigt stille, plaudert nicht</q>: Flauto).</item>
+  <item n="8."> Ruhig und in sich zufrieden (<q>Ich bin in mir vergn&uuml;gt</q>: 2 Oboi).</item>
+  <item n="9."> Schafe k&ouml;nnen sicher weiden (<q>Was mir behagt</q>: 2 Flauti).</item>
+  <item n="10."> Ruhet hie, matte T&ouml;ne (<q>O holder Tag</q>: Violin and Oboe d'amore).</item>
+  <item n="11."> Jagen ist die Lust der G&ouml;tter (<q>Was mir behagt</q>: 2 Horns).</item>
+  <item n="12."> H&ouml;rt doch! der sanften Fl&ouml;ten Chor (<q>Schleicht, spielende Wellen</q>: 3 Flauti).</item>
+ </list>
+</item>
+
+<item n="XIII (2)."> 1913. Solo-Kantate f&uuml;r Sopran, <q>Mein Herze schwimmt im Blut,</q> ausgefunden und herausgegeben von C. A. Martiensen. Partitur.
+</item>
+
+<item n="XIII (3)."> 1913. Solo-Kantate f&uuml;r Sopran, <q>Mein Herze schwimmt im Blut.</q> Klavierauszug mit Text von Max Schneider.
+</item>
+
+<item n="XIII (4)."> 1913. Bach-Jahrbuch. 9 Jahrgang 1912: Im Auftrage der Neuen Bachgesellschaft herausgegeben von Arnold Schering. Mit 2 Noten-Anh&auml;ngen.
+<p>
+The volume contains the following articles:
+</p>
+ <list>
+  <item n="1."> Uber die Motetten Seb. Bachs. By Bernhard Ft. Richter.</item>
+  <item n="2."> Uber die F-dur Toccata [N. bk. 9 p. 176] von J. S. Bach. By Woldemar Voigt.</item>
+<pb n="281" />
+
+  <item n="3."> Die M&ouml;llersche Handschrift. Ein unbekanntes Gegenst&uuml;ck zum Andreas-Bach-Buche (mit einem Notenanhange). By Werner Wolffheim.</item>
+  <item n="4."> Bachs Bearbeitungen und Umarbeitungen eigener und fremder Werke. By Karl Grunsky.</item>
+  <item n="5."> &Uuml;ber die Kirchenkantaten vorbachischer Thomaskantoren (mit einem Notenanhange). By Arnold Sobering.</item>
+  <item n="6."> Beitr&auml;ge zur Bachkritik. By Arnold Sobering.</item>
+  <item n="7."> Auff&uuml;hrungen von Joh. Seb. Bachs Kompositionen. By Th. Biebrich.</item>
+  <item n="8."> Notes.</item>
+ </list>
+</item>
+
+<item n="XIV (1)."> 1914.<note place="foot">
+<p>
+The title-page is dated 1913 and the Preface <q>Im Advent auf 1914.</q>
+</p>
+</note> Joh. Seb. Bachs Kantatentexte. Im Auftrage der Neuen Bachgesellsehaft herausgegeben von Rudolf Wustmann.
+<p>
+Contains the literary texts of the Church Cantatas, with critical notes.
+</p>
+</item>
+
+<item>XIV (2). 1914. Bach-Jahrbuch. 10 Jahrgang 1913. Im Auftrage der Neuen Bachgesellsehaft herausgegeben von Arnold Sobering. Mit einem Titelbilde und einer Beilage.
+<p>
+The volume contains the following articles:
+</p>
+ <list>
+   <item n="1."> Studien zu J. S. Bachs Klavierkonzerten. By Adolf Aber.</item>
+   <item n="2."> &Uuml;ber Joh. Seb. Bachs Konzerte fur drei Klaviere. By Hans Boas.</item>
+   <item n="3."> Die Kantata Nr. 150, <q>Nach dir, Herr, verlanget mich.</q> By Arnold Sobering.</item>
+   <item n="4."> &Uuml;ber die C-dur-Fuge aus dem I. Theil des <q>Wohltemperierten Klaviers.</q> By Wanda Landowska.</item>
+   <item n="5."> Die Varianten der grossen G-moll-Fuge f&uuml;r Orgel
+[Novello bk. 8 p. 127]. By Hermann Keller.</item>
+   <item n="6."> Ein Bachkonzert in Kamenz. By Hermann Kretzschmar.</item>
+<pb n="282" />
+   <item n="7."> Breitkopfsche Textdrucke zu Leipziger Musikauff&uuml;hrungen zu Bachs Zeiten. By Hermann von Hase.</item>
+   <item n="8."> J. S. Bachs Aria, <q>Erbauliche Gedanken ernes Tabakrauchers.</q> By Alfred Heuss.<note place="foot">
+<p>
+The Aria is no. 20 of A. M. Bach's <q>Notenbuch</q> for 1725. See E.G. XLII. (2) no. 20.
+</p>
+</note></item>
+   <item n="9."> Johann Seb. Bachs und Christoph Graupners Kompositionen zur Bewerbung um das Thomaskantorat in Leipzig 1722-23. By Bernhard Fr. Richter.</item>
+   <item n="10."> Register zu den ersten 10 Jahrgangen des Bach Jahrbuchs 1904-13. By Arnold Schering.</item>
+ </list>
+<p>
+The frontispiece is a portrait of Bach, about thirty-five years old, after the original in the Eisenach Museum by Job. Jak. Ihle. See frontispiece of this volume.
+</p>
+</item>
+
+<item n="XIV (3)."> 1914. Fest- und Programmbuch zum 7 Deutschen Bachfest der Neuen Bachgesellschaft. Wien. 9 bis 11 May 1914.
+<p>
+The frontispiece is a picture of St. Thomas' Church and School in 1723 (see p. 28 supra).
+</p>
+</item>
+
+<item n="XV (1)."> 1914. Ausgew&auml;hlte Arien und Duette mit einem obligaten Instrument und Klavier- oder Orgelbegleitung. VIII Abteilung: Arien f&uuml;r Alt. 2 Heft. Ed. Eusebius Mandyczewski.
+ <list>
+  <item n="1."> Beth&ouml;rte Welt (Cantata 94: Flauto).</item>
+  <item n="2."> Ein ungef&auml;rbt Gem&uuml;te (Cantata 24: Violin or Viola).</item>
+  <item n="3."> Ermuntert euch (Cantata 176: Oboe).</item>
+  <item n="4."> Gott ist unser Sonn' und Schild (Cantata 79: Oboe or Flauto).</item>
+  <item n="5."> In Jesu Demuth (Cantata 151: Oboe d'amore or Violin).</item>
+  <item n="6."> Jesus ist ein guter Hirt (Cantata 85: Violin or Violoncello).</item>
+  <item n="7."> Kreuz und Krone (Cantata 12: Oboe).</item>
+  <item n="8."> Sch&auml;me dich, O Seele, nicht (Cantata 147: Oboe d'amore).</item>
+<pb n="283" />
+  <item n="9."> Von der Welt verlang' ich nichts (Cantata 64: Oboe d'amore).</item>
+  <item n="10."> Weh der Seele (Cantata 102 : Oboe).</item>
+  <item n="11."> Willkommen! will ich sagen (Cantata 27: Cor Anglais).</item>
+  <item n="12."> Zum reinen Wasser (Cantata 112: Oboe d'amore).</item>
+ </list>
+</item>
+
+<item n="XV (2)."> 1915. Bach-Jahrbuch. 11 Jahrgang 1914: Im Anftrage der Neuen Bachgesellschaft herausgegeben von Arnold Schering (Leipzig). Mit einem Titelbilde und einer Bilderbeilage.
+<p>
+The volume contains the following articles:
+</p>
+ <list>
+  <item n="1."> Neues &uuml;ber das Bachbildnis der Thomasschule und andere Bildnisse Johann Sebastian Bachs. By Albrecht Kurzwelly.</item>
+  <item n="2."> Zur Geschichte der Bachbewegung. Bericht &uuml;ber eine bisher unbekannte fr&uuml;he Auff&uuml;hrung der Mattha&uuml;uspassion. By Karl Anton.</item>
+  <item n="3."> Johann Christoph Friedrich Bach. By Georg Sch&uuml;nemann.</item>
+  <item n="4."> Die Wiederbelebung der Kurrende in Eisenach. By W. Nicolai.</item>
+  <item n="5."> Auff&uuml;hrungen von Joh. Seb. Bachs Kompositionen in der Zeit vom Oktober 1912 bis Juli 1914. By Th. Biebrich.</item>
+  <item n="6."> Bachauff&uuml;hrungen im ersten Jahre des deutschen Krieges. By Th. Biebrich.</item>
+  <item n="7."> Mitgliederversammlung der Neuen Bachgesellschaft. Montag, den 11 Mai 1914.</item>
+  <item n="8."> Reviews.</item>
+ </list>
+<p>
+The frontispiece is a picture of Bach by Daniel Greiner.
+</p>
+</item>
+
+<item n="XVI (1)."> 1916. Das Bachbildnis der Thomasschule zu Leipzig, nach seiner Wiederherstellung im Jahre 1913. Gemalt von E. G. Haussmanu 1746.
+<p>
+A print of the renovated picture is at p. 48 of this volume.
+</p>
+</item>
+<pb n="284" />
+
+<item n="XVI (2)."> 1916. Bach-Genealogie mit zwei Briefen von Carl Philipp Emanuel Bach. Herausgegeben von Professor Max Schneider in Breslau.<note place="foot">
+<p>
+This publication, announced for 1916, appears under a different title as the third issue for 1917. See infra, XVII. (3).
+</p>
+</note>
+</item>
+
+<item n="XVI (3)."> 1916. Bach-Jahrbuch. 12 Jahrgang 1915. Im Auftrage der Neuen Bachgesellschaft herausgegeben von Arnold Sobering (Leipzig). Mit dem Bildnisse J. S. Bachs nach der Gedenkb&uuml;ste in der Walhalla.
+<p>
+The volume contains the following articles:
+</p>
+ <list>
+  <item n="1."> Johann Sebastian Bach im Gottesdienst der Thomaner. By Bernhard Friedrich Richter.</item>
+  <item n="2."> Karl Philipp Emanuel Bach und der Dresdner Kreuz kantor Gottfried August Homilius im Musikleben ihrer Zeit. Ein Beitrag zur Geschichte der Stilwandlung des 18 Jahrhunderts. By Rudolf Steglich.</item>
+  <item n="3."> Eine Umdichtung des <q>Zufriedengestellten Aeolus</q> (Mit einem Anhang &uuml;ber die Kantata <q>Schleicht, spielende Wellen</q>). By Woldemar Voigt.</item>
+  <item n="4."> Eine alte, unbekannte Skizze von Sebastian Bachs Leben. By Arthur Pr&uuml;fer.</item>
+  <item n="5."> Bachauffuhrungen im zweiten Jahre des deutschen Krieges. By Th. Biebrich.</item>
+  <item n="6."> Reviews.</item>
+ </list>
+<p>
+The frontispiece is a photograph of Professor F. Behn's bust of Bach in the Walhalla.
+</p>
+</item>
+
+
+
+<item n="XVII (1)."> 1916. Motette <q>O Jesu Christ, mein's Lebens Licht.</q> Nach Bachs Handschrift zum ersten Male herausgegeben von Max Schneider. Partitur, [See E.G. XXIV.]
+</item>
+
+<item n="XVII (2)."> 1916. Motette <q>O Jesu Christ, mein's Lebens Licht.</q> Klavierauszug mit Text von Max Schneider. [See B.G. XXIV.]
+</item>
+
+<pb n="285" />
+
+<item n="XVII (3)."> 1917. Bach-Urkunden. Ursprung der musikalisch-Bachischen Familie. Nachrichten &uuml;ber Johann Sebastian Bach von Carl Philipp Emanuel Bach. Herausgegeben von Max Schneider.
+<p>
+The volume contains a facsimile of the Bach Genealogy compiled by Joh. Seb. Bach and formerly in Carl Philipp Emanuel's possession, and two letters from the latter to J. N. Forkel.
+</p>
+</item>
+
+<item n="XVII (4)."> 1917. Bach-Jahrbuch. 13 Jahrgang 1916. Im Auftrage der Neuen Bachgesellschaft herausgegeben von Arnold Schering (Leipzig).
+<p>
+The volume contains the following articles:
+</p>
+ <list>
+  <item n="1."> Die F.-Trompete im 2 Brandenburgischen Konzert von Joh. Seb. Bach. By Richard Hofmann.</item>
+  <item n="2."> Zur Frage der Ausf&uuml;hrung der Ornamente bei Bach. Z&auml;hlzeit oder Notenwert? By Hans Joachim  Moser. </item>
+  <item n="3."> Friedrich Bachs Briefwechsel mit Gerstenberg und Breitkopf. By Georg Schunemann.</item>
+  <item n="4."> Bachauff&uuml;hrurgen im dritten Jahre des deutschen Krieges. By Th. Biebrich.</item>
+  <item n="5."> Laterarische Beigabe: <q>Der Thomaskantor.</q> Ein Gem&uuml;th-erfreuend Spiel von deme Herren Cantori Sebastian Bachen, vorgestellt in zween Auffz&uuml;gen durch Bernhard Christoph Breitkopfen seel. Erben: Breitkopf und Hartel 1917. By Arnold Schering.</item>
+ </list>
+</item>
+
+<item n="XVIII (1)."> 1917. Konzert in D moll nach der urspr&uuml;nglichen Fassung fur Violine wiederhergestellt von Robert Reitz. Partitur. [See B.G. XVII.]
+</item>
+
+<item n="XVIII (2)."> 1917. Konzert in D moll nach der urspr&uuml;nglichen Fassung f&uuml;r Violine wiederhergestellt von Robert Reitz. Ausgabe fur Violine und Klavier. [See B.G. XVII.]
+</item>
+
+<pb n="286" />
+
+<item n="XVIII (3)."> 1918. Bach-Jahrbuch. 14 Jahrgang 1917: Im Auftrage der Neuen Bachgesellschaft herausgegeben von Arnold Schering (Leipzig). Mit einem Eildnis.
+<p>
+The volume contains the following articles :
+</p>
+ <list>
+  <item n="1."> Gustav Schreck [d. 22 Jan. 1918].</item>
+  <item n="2."> Das dritte kleine Bachfest zu Eisenach:
+   <list>
+    <item n="I."> Der Festgottesdienst in der St. Georgenkirche zu Eisenach am 30 September 1917.</item>
+    <item n="II."> Vortrage und Verhandlungen der Mitgliederversammlung des dritten kleinen Bachfestes in Eisenach am 29 September 1917.</item>
+    </list></item>
+  <item n="3."> Seb. Bachs Stellung zur Choralrhythmik der Lutherzeit. By Hans Joachim Moser.</item>
+  <item n="4."> Zur Motivbildung Bachs. Kin Beitrag zur Stilpsychologie. By Ernst Kurth.</item>
+  <item n="5."> Ein Programmtrio Karl Philipp Emanuel Bachs. By Hans Mersmann.</item>
+  <item n="6."> Hermann Kretzschmar [b. 19 Jan. 1848].</item>
+  <item n="7."> Review.</item>
+ </list>
+<p>
+The frontispiece is a copy of the oil portrait of Bach after Haussmann, copied by J. M. David in 1746.
+</p>
+</item>
+
+</list>
+</div>
+
+</div>
+
+<pb n="227" />
+<div rend="page-break-before: right">
+  <index index="toc" />
+  <index index="pdf" />
+<head>APPENDIX IV. BIBLIOGRAPHY OF BACH LITERATURE</head>
+<p>
+The following list does not include magazine articles or 
+technical works.  A comprehensive bibliography, compiled by Max Schneider, will be found in the Bach-Jahrbuch for 1905 and 1910.  Shorter lists are in 
+C. F. Abdy Williams' <title>Bach</title> (1900) and Andre Pirro's 
+<title>J.-S. Bach</title> (1906).  Titles within square brackets in 
+the following list are inserted upon the authority of the 
+<title>Bach-Jahrbuch,</title> but are not discoverable in the annual 
+Book Catalogues.  Since the absence of an Italian section 
+may be remarked, it should be said that the <title>Catalogo 
+generate della Libreria Italiana, 1847-1899</title> (published in 
+1910) contains no reference to Bach.  Nor does the 
+Supplement of 1912. 
+</p>
+
+<div>
+<head type="sub">I. Germany</head>
+<list>
+<item>Johann Christoph W. K&uuml;hnau, <title>Die blinden Tonk&uuml;stler.</title> Berlin. 1810.</item>
+<item>J. E. Grosser, <title>Lebensbeschreibung des Kapellmeisters Johann Sebastian Bach.</title> Breslau. 1834.</item>
+<item>Albert Schiffner, <title>Sebastian Bachs geistige Nachkommenschaft.</title> Leipzig. 1840.</item>
+<item>Johann T. Mosewius, <title>Johann Sebastian Bach in seinen 
+Kirch-Kantaten und Choralges&auml;ngen.</title> Berlin. 1846.</item>
+<item>Johann Carl Schauer, <title>Johann Sebastian Bachs Lebensbild: Eine Denkschrift auf seinen 100j&auml;hringen Todestag.</title> Jena. 1850.</item>
+<item>C. L. Hilgenfeldt, <title>Johann Sebastian Bachs Leben, Wirken und Werke.</title> Leipzig. 1850.</item>
+<item>[W. Naumann, <title>Johann Sebastian Bach. Eine Biographie.</title> Cassell. 1855.]</item>
+<item>[Anon., <title>Biographien und Charakteristiken der grossen Meister: Bach, H&auml;ndel, Gluck, Haydn, Mozart, Beethoven, mit Portrats.</title> 2nd ed. Leipzig. 1860.]</item>
+<item>C. H. Bitter, <title>Johann Sebastian Bach.</title> 2 vols. Berlin. 1865. 2nd ed. 1880.</item>
+<item>C. Albert Ludwig, <title>Johann Sebastian Bach in seiner Bedeutung f&uuml;r Cantoren, Organisten, und Schullehrer.</title> Bleichroder. 1865.</item>
+<item>Alfred D&ouml;rffel, <title>Thematisches Verzeichniss der Instrumentalwerke von Joh. Seb. Bach.</title> Auf Grund der Gesammtausgabe von C. P. Peters. Leipzig. 1867. 2nd ed. 1882.</item>
+<item>Carl Tamme, <title>Thematisches Verzeichniss der Vocalwerke von Joh. Seb. Bach. Auf Grund der Gesammtausgaben von F. Peters und der Bach-Gesellschaft.</title> Leipzig, n.d.</item>
+<item>C. H. Bitter, <title>C. P. E. und W. F. Bach und deren Br&uuml;der.</title> 2 vols. Berlin. 1868. New ed. 1880.</item>
+<item>[Anon., <title>J. S. Bach. Biographie.</title> Leipzig. 1869.] </item>
+<item>L. Ramann, <title>Bach und Handel.</title> Leipzig. 1869.</item>
+<item>W. Junghans, <title>Johann Sebastian Bach als Schuler der Partikularschule zu St. Michaelis in L&uuml;neburg.</title> L&uuml;neburg. 1870.</item>
+<item>Emil Naumann, <title>Deutsche Tondichter von Sebastian Bach bis auf die Gegenwart.</title> Berlin. 1871. 5th ed. 1882.</item>
+<item>M. Schick, <title>J. S. Bach: ein musikalisches Lebensbild.</title> Reutlingen. 1873.</item>
+<item>Philipp Spitta, <title>Johann Sebastian Bach.</title> 2 vols. Leipzig. 1873-1880.</item>
+<item>E. Frommel, <title>H&auml;ndel und Bach.</title> Berlin. 1878.</item>
+<item>Elise Polko, <title>Unsere Musikklassiker. Sechs biographische Lebensbilder</title> [Bach, etc.]. Leipzig. 1880.</item>
+<item>[Anon., <title>J. S. Bach. Biographie.</title> [In <title>Meister der Tonkunst,</title> no. 2.] Leipzig. 1880.]</item>
+<item>August Reissmann, <title>Johann Sebastian Bach. Sein Leben und seine Werke.</title> Berlin and Leipzig. 1881.</item>
+<item>Otto Gumprecht, <title>Warum treiben wir Musik?</title> [Bach and others.] Leipzig. 1883.</item>
+<item>C. H. Bitter, <title>Die S&ouml;hne Seb. Bachs.</title> Leipzig. 1883.</item>
+<item>Jul. Sch&uuml;mann, <title>Joh. Seb. Bach, der Kantor der Thomas-schule zu Leipzig.</title> Leipzig. 1884.</item>
+<item>A. L. Gr&auml;bner, <title>Johann Sebastian Bach.</title> Dresden. 1885.</item>
+<item>Fr. Spitta, <title>Haendel und Bach. Zwei Festreden.</title> Bonn. 1884.</item>
+<item>E. Heinrich, <title>Johann Sebastian Bach. Ein kurzes Lebensbild.</title> Berlin. 1885.</item>
+<item>E. Naumann, <title>Deutsche Tondichter von J. S. Bach bis Richard Wagner.</title> Leipzig. 1886. 6th ed. 1896.</item>
+<item>Paul Meyer, <title>Joh. Seb. Bach. Vortrag.</title> Basel. 1887.</item>
+<item>Ludwig Ziemssen, <title>Johann Sebastian Bach. Lebensbild.</title> Glogau. 1889.</item>
+<item>Richard Batka, <title>J. S. Bach.</title> Leipzig. 1893.</item>
+<item>Wilhelm His, <title>Johann Sebastian Bach. Forschungen &uuml;ber dessen Grabst&auml;tte, Gebeine und Antlitz.</title> Leipzig. 1895.</item>
+<item>Wilhelm His, <title>Anatomisches Forschungen &uuml;ber J. S. Bach's Gebeine und Antlitz, nebst Bemerkungen &uuml;ber dessen Bilder.</title> Leipzig. 1895.</item>
+<item>Armin Stein, <title>J. S. Bach. Ein K&uuml;ntstlerleben.</title> Halle. 1896.</item>
+<item>Hans von Wolzogen, <title>Bach</title> [In <title>Grossmeister deutscher Musik</title>]. Berlin. 1897.</item>
+<item>[W. Kleefeld, <title>Bach und Graupner.</title> Leipzig. 1898.]</item>
+<item>[Fr. Thomas, <title>Der Stammbaum des Ohrdruffer Zweigs der Familie von J. S. Bach.</title> Ohrdruf. 1899.]</item>
+<item>[Fr. Thomas, <title>Einige Ergebnisse &uuml;ber J. S. Bachs Ohrdruffer Schulzeit.</title> Ohrdruf. 1900.]</item>
+<item>B. Stein, <title>Johann Sebastian Bach und die Familie der <q>Bache.</q></title> Bielefeld. 1900.</item>
+<item>Fr. von Hausegger, <title>Unsere deutschen Meister</title> [Bach and others]. Munich. 1901.</item>
+<item>Arnold Sobering, <title>Bachs Textbehandlung.</title> Leipzig. 1901.</item>
+<item>[W. Tappert, <title>Sebastian Bachs Kompositionen f&uuml;r die Laute.</title> Berlin. 1901.]</item>
+<item>K. S&ouml;hle, <title>Sebastian Bach in Arnstadt</title> Berlin. 1902. 2nd ed. 1904.</item>
+<item>Arthur Pr&uuml;fer, <title>Sebastian Bach und die Tonkunst des XIX. Jahrhunderts.</title> Leipzig. 1902.</item>
+<item>H. Barth, <title>Joh. Sebastian Bach: Lebensbild.</title> Berlin. 1902.</item>
+<item>Gustav H&ouml;cker, <title>Johann Sebastian Bach.</title> Gotha. 1903.</item>
+<item>Paul von Bojanowski, <title>Das Weimar Johann Sebastian Bachs.</title> Weimar. 1903.</item>
+<item>Jul. Schumann, <title>Bach, H&auml;ndel, Mendelssohn. Die protestantische Kirchenmusik in Lebensbildern.</title> Calw and Stuttgart. 1903.</item>
+<item>[&mdash;. Weissgerber, <title>J. S. Bach in Arnstadt.</title> Arnstadt. 1904.] </item>
+<item>[K. Storck, <title>J. S. Bach: Charakter und Lebensgang.</title> Berlin. 1905.]</item>
+<item>[A. Pischinger, <title>J. S. Bach.</title> Munich. 1905.]</item>
+<item>Philipp Wolfrum, <title>Joh. Seb. Bach.</title> Berlin. 1906.</item>
+<item>Albert Schweitzer, <title>J. S. Bach.</title> Berlin. 1908.</item>
+<item>Friedrich Hashagen, <title>Joh. Sebastian Bach als S&auml;nger und Musiker des Evangeliums.</title> Wismar. 1909.</item>
+<item>Max Tr&uuml;mpelmann, <title>Joh. Sebastian Bach und seine Bedeutung f&uuml;r die Choralkomposition unserer Zeit.</title> Magdeburg. 1909.</item>
+<item>August Wildenhahn, <title>Joh. Sebastian Bach.</title> Eisenach. 1909.</item>
+<item>Philipp Wolfrum, <title>Johann Sebastian Bach.</title> 2 vols. Leipzig. 1910.</item>
+<item>Andr&eacute; Pirro, <title>Johann Sebastian Bach. Sein Leben und seine Werke.</title> [Translated from the French by Bernhard Engelke.] Berlin. 1910.</item>
+<item>Johannes Schreyer, <title>Beitr&auml;ge zur Bach-Kritik.</title> Leipzig. 1911.</item>
+<item>Martin Falck, <title>Wilhelm Friedemann Bach. Sein Leben und seine Werke, mit thematischem Verzeichnis seiner Kompositionen und zwei Bildern.</title> Leipzig, c. 1911-14.</item>
+<item>K. Glebe, <title>Johann Sebastian Bach.</title> Halle. 1912.</item>
+<item>La Mara, <title>Johann Sebastian Bach.</title> 5th edition. Leipzig. 1912.</item>
+<item>H. Reimann, <title>Johann Sebastian Bach.</title> 1912.</item>
+<item>Armin Stein, <title>Johann Sebastian Bach.</title> Halle. 1912.</item>
+<item>Rudolf Wustmann, <title>Joh. Seb. Bachs Kantatentexte.</title> Leipzig. 1914.</item>
+<item>Max Bitter, <title>Der Stil Joh. Seb. Bachs in seinem Choralsatze.</title> Bremen. 1913.</item>
+<item>Ernst Kurth, <title>Grundlagen des linearen Kontrapunkts.
+Einf&uuml;hrung in Stil und Technik von Bachs melodischer Polyphonie.</title> Bern. 1917.</item>
+</list>
+</div>
+
+<div>
+<head type="sub">II. France</head>
+<list>
+<item>Johann Nikolaus Forkel, <title>Vie, talents et travaux de Jean S&eacute;bastien Bach.</title> [Translated from the German by Fel&iacute;x Grenier.] Paris. 1876.</item>
+<item>Ernest David, <title>La vie et les &oelig;uvres de J.-S. Bach, sa famille, ses &eacute;l&egrave;ves, ses contemporains.</title> [An abridged translation of Spitta.] Paris. 1882.</item>
+<item>William Cart, <title>Un maitre deux fois centenaire: &eacute;tude sur J.-S. Bach, 1685-1750.</title> Paris. 1884. New ed. 1898.</item>
+<item>Andr&eacute; Pirro, <title>L'Orgue de Jean-S&eacute;bastien Bach.</title> Paris. 1895.</item>
+<item>[G. Fink, <title>&Eacute;tude biographique sur Jean-S&eacute;bastien Bach.</title> Angoul&egrave;me. 1899.]</item>
+<item>[&mdash;. Daubresse, <title>Haendel et Bach.</title> Paris. 1901.]</item>
+<item>Albert Schweitzer, <title>J. S. Bach, le musicien-po&egrave;te.</title> Leipzig. 1905.</item>
+<item>Andr&eacute; Pirro, <title>J.-S. Bach.</title> Paris. 1906. 4th edition. 1913.</item>
+<item>Andr&eacute; Pirro, <title>L'Esth&eacute;tique de Jean-S&eacute;bastien Bach.</title> Paris. 1907.</item>
+</list>
+</div>
+
+<div>
+<head type="sub">III. Great Britain</head>
+<list>
+<item>Johann Nikolaus Forkel, <title>Life of John Sebastian Bach. Translated from the German</title> [by &mdash; Stephenson]. London. 1820.</item>
+<item>C. H. Bitter, <title>The Life of J. Sebastian Bach. An abridged translation from the German.</title> [By Janet Elizabeth Kay Shuttleworth.] London. 1873.</item>
+<item>R. Lane Poole, <title>Sebastian Bach.</title> London. 1881.</item>
+<item>Sedley Taylor, <title>The Life of J. S. Bach in relation to his work as a Church musician and composer.</title> Cambridge. 1897.</item>
+<item>Philipp Spitta, <title>Johann Sebastian Bach: His work and influence on the music of Germany, 1685-1750.</title> Translated from the German by Clara Bell and J. A. Fuller Maitland. 3 vols. London. 1899.</item>
+<item>C. F. Abdy Williams, <title>Bach.</title> London. 1900.</item>
+<item>A. Maczewski and F. G. Edwards, art. <title>Bach</title> in <title>Grove's  Dictionary,</title> vol. i. 1904.</item>
+<item>E. H. Thome, <title>Bach.</title> London. 1904.</item>
+<item>C. H. H. Parry, <title>Johann Sebastian Bach.</title> London and New York. 1909.</item>
+<item>Donald F. Tovey, art. <title>J. S. Bach,</title> in <title>Encyclopaedia Britannica.</title> Vol. iii. 1910.</item>
+<item>Albert Schweitzer, <title>J. S. Bach. With a Preface by C. M. Widor. English translation by Ernest Newman.</title> 2 vols. London. 1911.</item>
+<item>C. Sanford Terry, <title>Bach's Chorals.</title> 3 vols. Cambridge. 1915, 1917, 1920.</item>
+<item>W. G. Whittaker, <title>Fugitive Notes on certain Cantatas and Motets by J. S. Bach.</title> London. 1920.</item>
+</list>
+</div>
+
+<div>
+<head type="sub">IV. United States Of America</head>
+<list>
+<item>Andr&eacute; Pirro, <title>Johann Sebastian Bach, the Organist, and his works.</title> [Translated from the French by Wallace Goodrich.] New York. 1902.</item>
+<item>Elbert Hubbard, <title>Little voyages to the homes of great musicians.</title> New York. 1902.</item>
+<item>Ludwig Ziemssen, <title>Johann Sebastian Bach.</title> [Translated from the German by G. Putnam Upton.] Chicago. 1905.</item>
+<item>Rutland Boughton, <title>Bach.</title> New York. 1907.</item>
+</list>
+</div>
+
+<div>
+<head type="sub">V. Holland</head>
+<list>
+<item>A. M. Oordt, <title>Een koort woord over Bach.</title> Leiden. 1873.</item>
+</list>
+</div>
+
+<div>
+<head type="sub">VI. Belgium</head>
+<list>
+<item>Charles Martens, <title>Un livre nouveau sur J.-S. Bach.</title> Brussels. 1905.</item>
+<item>Victor Hallut, <title>Les Ma&icirc;tres classiques du dix-huiti&egrave;me siecle.</title> [Bach and others.] Brussels. 1909.</item>
+</list>
+</div>
+
+<div>
+<head type="sub">VII. Russia</head>
+<list>
+<item>[Kuschenaw Dmitrevsky, <title>Das lyrische Museum</title> (no. 25)]. [The oldest Russian biography of Bach.] Petrograd. 1831].</item>
+<item>[W. Th. Odoewsky, <title>Sebastian Bach.</title> Petrograd. 1890.]</item>
+<item>[G. M. Bazunow, <title>J. S. Bach.</title> Petrograd. 1894.]</item>
+<item>[S. M. Haljutin, <title>J. S. Bach.</title> Minsk. 1894.]</item>
+<item>[Adolf Chybinski, <title>J. S. Bach.</title> Warsaw. 1910.]</item>
+</list>
+</div>
+
+</div>
+
+<pb n="294" />
+<div rend="page-break-before: right">
+  <index index="toc" />
+  <index index="pdf" />
+<head>APPENDIX V.  A COLLATION OF THE NOVELLO AND PETERS EDITIONS OF THE ORGAN WORKS</head>
+<list>
+<item>Novello: Book I. Eight Short Preludes And Fugues.
+  <list>
+    <item>Page 2. Prelude and Fugue in C major (P. bk. 247 p. 48).</item>
+    <item>Page 5. Do. do. D minor (<foreign lang="la">ib.</foreign> 51).</item>
+    <item>Page 8. Do. do. E minor (<foreign lang="la">ib.</foreign> 54).</item>
+    <item>Page 11. Do. do. F major (<foreign lang="la">ib.</foreign> 57).</item>
+    <item>Page 14. Do. do. Q major (<foreign lang="la">ib.</foreign> 60).</item>
+    <item>Page 17. Do. do. G minor (<foreign lang="la">ib.</foreign> 63).</item>
+    <item>Page 20. Do. do. A minor (<foreign lang="la">ib.</foreign> 66).</item>
+    <item>Page 23. Do. do. B flat major (<foreign lang="la">ib.</foreign> 69).</item>
+   </list>
+</item>
+
+<item>Novello: Book II. Preludes, Fugues, And Trio.
+  <list>
+    <item>Page 26. Allabreve in D major (P. bk. 247 p. 72).</item>
+    <item>Page 30. Prelude in G major (ib. 82). </item>
+    <item>Page 34. Canzona in D minor (P. bk. 243 p. 54).</item>
+    <item>Page 38. Fugue (The Giant) in D minor (P. bk. 246 p. 78).</item> 
+    <item>Page 41. Fugue in G minor (P. bk. 247 p. 85).</item>
+    <item>Page 44. Prelude and Fugue (the Short) in E minor (P. bk. 242 p. 88).</item>
+    <item>Page 48. Prelude and Fugue in C minor (P. bk. 243 p. 32).</item>
+    <item>Page 54. Trio in D minor (ib. 72).</item>
+  </list>
+</item>
+
+<item>Novello: Book III. Fantasias, Preludes, And Fugues.
+  <list>
+    <item>Page 57. Fantasia in C minor (5 parts) (P. bk. 243 p. 66).</item>
+    <item>Page 60. Fugue in B minor (on a theme by Corelli) (ib. 46).</item>
+    <item>Page 64. Prelude and Fugue in A major (P. bk. 241 p. 14)</item>
+    <item>Page 70. Do. do. C major (ib. p. 2).</item>
+<pb n="295" />
+    <item>Page 76. Fantasia and Fugue in C minor (P. bk. 242 p. 55).</item>
+    <item>Page 84. Fugue (the Short) in G minor (P. bk. 243 p. 42).</item>
+  </list>
+</item>
+
+
+<item>Novello: Book IV. Sonatas Or Trios For Two Manuals And Pedal.
+  <list>
+    <item>Page 88. Sonata in E flat major (P. bk. 240 p. 2).</item>
+    <item>Page 97. Do. C minor (ib. 11).</item>
+    <item>Page 110. Do. D minor (ib. 24).</item>
+  </list>
+</item>
+
+<item>Novello: Book V. Sonatas Or Trios For Two Manuals And Pedal (IV.-VI.).
+  <list>
+    <item>Page 124. Sonata in E minor (P. bk. 240 p. 36).</item>
+    <item>Page 134. Do. C major (ib. 46).</item>
+    <item>Page 151. Do. G major (ib. 63).</item>
+  </list>
+</item>
+
+<item>Novello: Book VI. Toccata, Preludes, And Fugues.
+  <list>
+    <item>Page 2. Toccata and Fugue in D minor (P. bk. 243 p. 24).</item>
+    <item>Page 10. Prelude and Fugue in D major (ib. p. 14).</item>
+    <item>Page 21. Do. do. F minor (P. bk. 241 p. 29).</item>
+    <item>Page 28. Do. do. E flat major (P. bk. 242 p. 2).</item>
+  </list>
+</item>
+
+<item>Novello: Book VII. Preludes And Fugues.
+  <list>
+    <item>Page 42. Prelude and Fugue (the Great) in A minor (P. bk. 241 p. 54).</item>
+    <item>Page 52. Do. do. B minor (ib. 78).</item>
+    <item>Page 64. Do. do. C minor (ib. 36).</item>
+    <item>Page 74. Prelude and Fugue in C major (P. bk. 243 p. 2).</item>
+    <item>Page 80. Do. do. G major (ib. 8).</item>
+  </list>
+</item>
+
+<item>Novello: Book VIII. Preludes And Fugues.
+  <list>
+    <item>Page 88. Prelude and Fugue in C major (P. bk. 242 p. 62). </item>
+    <item>Page 98. Do. (the Great) in E minor (P. bk. 241 p. 64).</item>
+    <item>Page 112. Do. do. G major (ib p. 7).</item>
+    <item>Page 120. Do. in G minor (P. bk. 242 p. 48).</item>
+    <item>Page 127. Fantasia and Fugue (the Great) in G minor (P. bk. 241 p. 20).</item>
+  </list>
+</item>
+<pb n="296" />
+
+<item>Novello: Book IX. Preludes And Fugues. 
+  <list>
+    <item>Page 137. Toccata and Fugue (the Great) in C major (P. bk. 242 p. 72).</item>
+    <item>Page 150. Prelude and Fugue in D minor (ib. 42). </item>
+    <item>Page 156. Do. (the Great) in C major (P. bk. 241 p. 46).</item>
+    <item>Page 168. Fantasia in G major (P. bk. 243 p. 58). </item>
+    <item>Page 176. Toccata and Fugue (the Great) in F major (P. bk. 242 p. 16).</item> 
+  </list>
+</item>
+
+<item>Novello: Book X. Toccata, Preludes, And Fugues. 
+  <list>
+    <item>Page Page 196. Toccata and Fugue (the Dorian) in D minor (P. bk. 242 p. 30.)</item>
+    <item>Page 208. Prelude and Fugue (the Short) in A minor (ib. 84). </item>
+    <item>Page 214. Passacaglia in C minor (P. bk. 240 p. 75). </item>
+    <item>Page 230. Fugue in C minor (P. bk. 243 p. 36). </item>
+    <item>Page 238. Prelude in A minor (ib. 68). </item>
+  </list>
+</item>
+
+<item>Novello: Book XI. Four Concertos [after Antonio Vivaldi].
+  <list>
+    <item>Page 1. Concerto in G major (P. bk. 247 p. 2). </item>
+    <item>Page 10. Do. A minor (ib. 10).</item>
+    <item>Page 24. Do. C major (ib. 22).</item>
+    <item>Page 49. Do. C major (ib. 44).</item>
+  </list>
+</item>
+
+<item>Novello: Book XII. Preludes, Fantasias, Fugues, Trios, Etc.
+  <list>
+    <item>Page 55. Fugue in G major (P. bk. 2067 p. 18).</item>
+    <item>Page 60. Fantasia and Fugue in A minor (ib. 3).</item>
+    <item>Page 71. Fantasia with Imitation in B minor (P. bk. 215 p. 41).</item>
+    <item>Page 75. Fantasia in G major (P. bk. 2067 p. 25). </item>
+    <item>Page 83. Fugue in D major (P. bk. 2067 p. 22). </item>
+    <item>Page 86. Do. G major (ib. 12). </item>
+    <item>Page 91. Prelude in C major (P. bk. 247 p. 77).</item>
+    <item>Page 92. Fantasia in C major (ib. 78).</item>
+    <item>Page 94. Prelude in C major (ib. 76).</item>
+    <item>Page 95. Fugue in C minor (P. bk. 243 p. 50).</item>
+<pb n="297" />
+    <item>Page 100. Fugue in C major (P. bk. 247 p. 80). </item>
+    <item>Page 102. Pastorale in F major (P. bk. 240 p. 86). </item>
+    <item>Page 108. Trio in C minor (P. bk. 2067 p. 30). </item>
+    <item>Page 112. Aria in F major (ib. 34). </item>
+  </list>
+</item>
+
+<item>
+[Novello's Books XIII. and XIV. (Choral Preludes and 
+Variations) are superseded by Books XV.-XIX.] 
+</item>
+
+
+<item>Novello: Book XV. Orgelb&uuml;chlein (little Organ Book).
+  <list>
+    <item>Page 3. Nun komm, der Heiden Heiland (P. bk. 244 p. 44). </item>
+    <item>Page 5. Gott durch deine G&uuml;te, or, Gottes Sohn ist Kommen (ib. 20).</item>
+    <item>Page 9. Herr Christ, der ein'ge Gottes-Sohn, or, Herr Gott, nun sei gepreiset (ib. 24).</item>
+    <item>Page 11. Lob sei dem allm&auml;chtigen Gott (ib. 40).</item>
+    <item>Page 13. Puer natus in Bethlehem (ib. 50).</item>
+    <item>Page 15. Gelobet seist du, Jesu Christ (ib. 19).</item>
+    <item>Page 18. Der Tag, der ist so freudenreich (ib. 13).</item>
+    <item>Page 21. Vom Himmel hoch, da komm ich her (ib. 53).</item>
+    <item>Page 23. Vom Himmel kam der Engel Schaar (ib. 54).</item>
+    <item>Page 26. In dulci jubilo (ib. 38).</item>
+    <item>Page 29. Lobt Gott, ihr Christen, allzugleich (ib. 42).</item>
+    <item>Page 31. Jesu, meine Freude (ib. 34).</item>
+    <item>Page 33. Christum wir sollen loben schon (ib. 8).</item>
+    <item>Page 36. Wir Christenleut' (ib. 58).</item>
+    <item>Page 39. Helft mir Gottes G&uuml;te preisen (ib. 23).</item>
+    <item>Page 43. Das alte Jahr vergangen ist (ib. 12).</item>
+    <item>Page 45. In dir ist Freude (ib. 36).</item>
+    <item>Page 50. Mit Fried' und Freud' ich fahr' dahin (ib. 42).</item>
+    <item>Page 53. Herr Gott, nun schleuss den Himmel auf (ib. 26).</item>
+    <item>Page 58. O Lamm Gottes unschuldig (ib. 46).</item>
+    <item>Page 61. Christe, du Lamm Gottes (ib. 3).</item>
+    <item>Page 64. Christus, der uns selig macht (ib. 10).</item>
+    <item>Page 67. Da Jesus an dem Kreuze stund (ib. 11).</item>
+    <item>Page 69. O Mensch, bewein' dein' S&uuml;nde gross (ib. 48).</item>
+    <item>Page 73. Wir danken dir, Herr Jesu Christ (ib. 59).</item>
+    <item>Page 76. Hilf Gott, dass mir's gelinge (ib. 32).</item>
+    <item>Page 79. Christ lag in Todesbanden (ib. 7). 81. Jesus Christus, unser Heiland (ib. 34).</item>
+    <item>Page 83. Christ ist eratanden (ib. 4).</item>
+<pb n="298" />
+    <item>Page 89. Erstanden ist der heil'ge Christ (P. bk. 244 p. 16).</item>
+    <item>Page 91. Erschienen ist der herrliche Tag (ib. 17).</item>
+    <item>Page 94. Heut' triumphiret Gottes Sohn (ib. 30).</item>
+    <item>Page 97. Komm, Gott, Sch&ouml;pfer, heiliger Geist (P. bk. 246 p. 86).</item>
+    <item>Page 99. Herr Jesu Christ, dich zu uns wend' (P. bk. 244 p. 28).</item>
+    <item>Page 101. Liebster Jesu, wir sind hier (ib. 40). </item>
+    <item>Page 103. Dies sind die heil'gen zehn Gebot' (ib. 14). </item>
+    <item>Page 105. Vater unser im Himmelreich (ib. 52). </item>
+    <item>Page 107. Durch Adams Fall ist ganz verderbt (ib. 15). </item>
+    <item>Page 109. Es ist das Heil uns kommen her (ib. 18). </item>
+    <item>Page 111. Ich ruf' zu dir, Herr Jesu Christ (ib. 33). </item>
+    <item>Page 113. In dich hab' ich gehoffet, Herr (ib. 35).</item> 
+    <item>Page 115. Wenn wir in h&ouml;chsten Nothen sein (ib. 55). </item>
+    <item>Page 117. Wer nur den lieben Gott l&auml;sst walten (ib. 57). </item>
+    <item>Page 119. Alle Menschen m&uuml;ssen sterben (ib. 2).</item> 
+    <item>Page 121. Ach wie nichtig, ach wie fl&uuml;chtig (ib. 2). </item>
+  </list>
+</item>
+
+<item>Novello: Book XVI. The Six <q>Sch&uuml;bler Chorale 
+Preludes</q> And The <q>Clavier&uuml;bung,</q> Part III. 
+  <list>
+    <item>(a) The Sch&uuml;bler Preludes.
+    <list>
+      <item>Page 1. Wachet auf, ruft uns die Stimme (P. bk. 246p. 72).</item>
+      <item>Page 4. Wo soll ich fliehen hin, or, Auf meinen lieben Gott (ib. 84).</item>
+      <item>Page 6. Wer nur den lieben Gott l&auml;sst walten (ib. 76).</item>
+      <item>Page 8. Meine Seele erhebt den Herren (Hi. 33).</item>
+      <item>Page 10. Ach bleib bei uns, Herr Jesu Christ (P. bk. 245 p. 4).</item>
+      <item>Page 14. Kommst du nun, Jesu, vom Himmel herunter (P. bk. 246 p. 16).<lb/>(b) The <q>Clavier&uuml;bung,</q> Part III. </item> 
+      <item>Page 19. Prelude in E flat major (P. bk. 242 p. 2).</item>
+      <item>Page 28. Kyrie, Gott Vater in Ewigkeit (P. 246 p. 18).</item>
+      <item>Page 30. Christe, aller Welt Trost (ib. 20).</item>
+      <item>Page 33. Kyrie, Gott heiliger Geist (ib. 23).</item>
+      <item>Page 36. Kyrie, Gott Vater in Ewigkeit (ib. 26).</item>
+      <item>Page 37. Christe, aller Welt Trost (ib. 27).</item>
+<pb n="299" />
+      <item>Page 38. Kyrie, Gott heiliger Geist (P. 246 p. 28).</item>
+      <item>Page 39. Allein Gott in der H&ouml;h' sei Ehr' (Pk. b. 245 p. 10).</item>
+      <item>Page 40. Do. do. do (ib. 12).</item>
+      <item>Page 41. Do. do. do. (ib. 29).</item>
+      <item>Page 42. Dies sind die heil'gen zehn Gebot' (ib. 50).</item>
+      <item>Page 47. Do. do. do (ib. 54).</item>
+      <item>Page 49. Wir glauben all' an einen Gott, Sch&ouml;pfer (P. bk. 246 p. 78).</item>
+      <item>Page 52. Do. do. do. (ib. 81).</item>
+      <item>Page 53. Vater unser im Himmelreich (ib. 60).</item>
+      <item>Page 61. Do. do. (P. bk. 244 p. 51).</item>
+      <item>Page 62. Christ, unser Herr, zum Jordan kam (P. bk. 245 p. 46).</item>
+      <item>Page 67. Do. do. do. (ib. 49).</item>
+      <item>Page 68. Aus tiefer Noth schrei' ich zu dir (ib. 36).</item>
+      <item>Page 72. Do. do. do. (ib. 38).</item>
+      <item>Page 74. Jesus Christus unser Heiland (ib. 82).</item>
+      <item>Page 80. Do. do. (ib. 92).</item>
+      <item>Page 83. Fugue in E flat major (P. bk. 242 p. 10).</item>
+  </list>
+  </item>
+</list>
+</item>
+
+<item>Novello: Book XVII. The Eighteen Chorale Preludes.
+  <list>
+    <item>Page 1. Komm, heiliger Geist, Herre Gott (P. bk. 246 p.4).</item>
+    <item>Page 10. Do. do. do. (ib. 10).</item>
+    <item>Page 18. An Wasserfl&uuml;ssen Babylon (P. bk. 245 p. 34).</item> 
+    <item>Page 22. Schm&uuml;cke dich, O liebe Seele (P. bk. 246 p. 50). </item>
+    <item>Page 26. Herr Jesu Christ, dich zu uns wend' (P. bk. 245 p. 70).</item>
+    <item>Page 32. O Lamm Gottes unschuldig (P. bk. 246 p. 45). </item>
+    <item>Page 40. Nun danket alle Gott (ib. 34). </item>
+    <item>Page 43. Von Gott will ich nicht lassen (ib. 70). </item>
+    <item>Page 46. Nun komm, der Heiden Heiland (ib. 38). </item>
+    <item>Page 49. Do. do. do. (ib. 40). </item>
+    <item>Page 52. Do. do. do. (ib. 42).</item>
+    <item>Page 56. Allein Gott in der H&ouml;h' sei Ehr' (P. bk. 245 p. 26).</item>
+    <item>Page 60. Do. do. do (ib. 22).</item>
+    <item>Page 66. Do. do. do. (ib. 17).</item>
+    <item>Page 74. Jesus Christus, unser Heiland, der von uns (ib. 87).</item>
+    <item>Page 79. Do. do. do. (ib. 90).</item>
+<pb n="300" />
+    <item>Page 82. Komm, Gott, Sch&ouml;pfer, heiliger Geist (P. bk. 246 p. 2).</item>
+    <item>Page 85. Wenn wir in h&ouml;chsten N&ouml;then sein, or, Vor deinen Thron tret' ich allhier (ib. 74).</item>
+  </list>
+ </item>
+
+<item>Novello: Book XVIII. Miscellaneous Chorale Preludes (Part I.).
+  <list>
+    <item>Page 1. Ach Gott und Herr (P. bk. 2067 p. 38). </item>
+    <item>Page 2. Do. do. (P. bk. 245 p. 3).</item>
+    <item>Page 3. Do. do. (P. bk. 2067 p. 39).</item>
+    <item>Page 4. Allein Gott in der H&ouml;h' sei Ehr' (not in P.).</item>
+    <item>Page 5. Do. do. do. (P. bk. 245 p. 6)</item>
+    <item>Page 7. Do. do. do. (ib. 30).</item>
+    <item>Page 11. Do. do. do. (ib. 8).</item>
+    <item>Page 13. An Wasserfl&uuml;ssen Babylon (ib. 32). </item>
+    <item>Page 16. Christ lag in Todesbanden (ib. 43). </item>
+    <item>Page 19. Do. do. (ib. 40). </item>
+    <item>Page 23. Christum wir sollen loben schon, or, Was f&uuml;rcht'st du, Feind Herodes, sehr (P. bk. 244 p. 9).</item>
+    <item>Page 24. Das Jesulein soll doch mein Trost (P. bk. 2067 p. 47).</item>
+    <item>Page 26. Der Tag der ist so freudenreich (not in P.). </item>
+    <item>Page 28. Durch Adams Fall ist ganz verderbt (P. bk. 245 p. 66).</item>
+    <item>Page 30. Ein' feste Burg ist unser Gott (ib. 68). </item>
+    <item>Page 35. Erbarm' dich mein, O Herre Gott (not in P.). </item>
+    <item>Page 37. Gelobet seist du, Jesu Christ (P. bk. 244 p. 102).</item>
+    <item>Page 38. Do. do. do. (ib. 20).</item>
+    <item>Page 39. Do. do. do. (P. bk. 245 p. 61).</item>
+    <item>Page 41. Gottes Sohn ist kommen (P. bk. 244 p. 22).</item>
+    <item>Page 42. Do. do. (P. bk. 245 p. 64).</item>
+    <item>Page 43. Herr Christ, der ein'ge Gottes-Sohn (P. bk. 244 p. 25).</item>
+    <item>Page 44. Herr Gott, dich loben wir (Te Deum Laudamus) (P. bk. 245 p. 65).</item>
+    <item>Page 60. Herr Jesu Christ, dich zu uns wend' (P. bk. 244 p. 28).</item>
+    <item>Page 52. Do. do. do. (not in P.).</item>
+    <item>Page 53. Herzlich thut mich verlangen (P. bk. 244 p. 30).</item>
+<pb n="301" />
+    <item>Page 54. Ich hab' mein' Sach Gott heimgestellt (P. bk. 245 p. 74).</item>
+    <item>Page 58. Do. do. do. (not in P.).</item>
+    <item>Page 59. In dich hab' ich gehoffet, Herr (P. bk. 245 p. 94).</item>
+    <item>Page 61. In dulci jubilo (P. bk. 244 p. 103).</item>
+    <item>Page 64. Jesu, meine Freude (P. bk. 245 p. 78).</item>
+    <item>Page 69. Jesus, meine Zuversicht (P. bk. 244 p. 103).</item>
+    <item>Page 70. Liebster Jesu, wir sind hier (ib. 105).</item>
+    <item>Page 71. Do. do. (ib. 105).</item>
+    <item>Page 72. Do. do. (ib. 39).</item>
+    <item>Page 73. Lob sei dem allm&auml;chtigen Gott (ib. 41).</item>
+    <item>Page 74. Lobt Gott, ihr Christen, allzugleich (ib. 106).</item>
+    <item>Page 75. Meine Seele erhebt den Herren (Magnificat) (P. bk. 246 p. 29).</item>
+    <item>Page 80. Nun freut euch, lieben Christen g'mein, or, Es ist gewisslich an der Zeit (ib. 36). </item>
+    <item>Page 83. Nun komm, der Heiden Heiland (P. bk. 244 p. 45).</item>
+  </list>
+</item>
+
+<item>Novello: Book XIX. Miscellaneous Chorale Preludes (part II.) And Variations.
+  <p>(a) Preludes.</p>
+    <list>
+    <item>Page 2. Valet will ich dir geben (P. bk. 246 p. 53). </item>
+    <item>Page 7. Do. do. (ib. 56). </item>
+    <item>Page 12. Vater unser im Himmelreich (ib. 66). </item>
+    <item>Page 14. Vom Himmel hoch, da komm ich her (ib. 67). </item>
+    <item>Page 16. Do. do. do. (ib 68). </item>
+    <item>Page 19. Do. do. do. (P. bk. 244 p. 106).</item>
+    <item>Page 21. Wer nur den lieben Gott l&auml;sst walten (ib. 56).</item>
+    <item>Page 22. Do. do. do. (ib. 56).</item>
+    <item>Page 23. Wie sch&ouml;n leuchtet der Morgenstern (not in P.).</item>
+    <item>Page 28. Wir Christenleut' (P. bk. 2067 p. 52).</item>
+    <item>Page 30. Wir glauben all' an einen Gott, Vater (P. bk. 246 p. 82). </item>
+    <item>Page 32. Wo soll ich fliehen hin (P. bk. 2067 p. 48). (6) Variations. </item>
+    <item>Page 36. Christ, der du bist der helle Tag (P. bk. 244 p. 60). </item>
+<pb n="302" />
+    <item>Page 44. O Gott, du frommer Gott (P. bk. 244 p. 68).</item>
+    <item>Page 55. Sei gegr&uuml;sset, Jesu g&uuml;tig (ib. 76).</item>
+    <item>Page 73. Vom Himmel hoch, da komm ich her (ib. 92).</item>
+    </list>
+  </item>
+</list>
+<p>The Peters volumes 244, 245, 246, 2067 contain movements excluded from the Novello edition, <foreign lang="la">viz.</foreign>:&mdash;
+</p>
+  <list>
+    <item>Book 244: the figured Choral (Herr Christ, der ein'ge Gottes-Sohn) on p. 107, and the Variant texts on pp. 108-112.</item>
+    <item>Book 245: the Variant texts on pp. 96-113.</item>
+    <item>Book 246: the Variant texts on pp. 86-103 (excepting the B version of <q>Komm, Gott, Sch&ouml;pfer, heiliger Geist</q>).</item>
+    <item>Book 2067: the Choral Preludes on pp. 39 (Auf meinen lichen Gott), 40 (Wir glauben all' an einen Gott), 42 (Jesu Leiden, Pein und Tod), 44 (Ach Gott, vom Himmel sieh darein), 54 (Aus der Tiefe ruf ich), 56 (Christ lag in Todesbanden), and the <q>Kleines harmonisches Labyrinth</q> on p. 16.</item>
+  </list>
+
+</div>
+
+<div rend="page-break-before: right">
+  <index index="toc" />
+  <index index="pdf" />
+<head>APPENDIX VI. GENEALOGY OF THE FAMILY OF BACH</head>
+<p>
+</p>
+
+<figure url="images/gene303.jpg" rend="page-float:'h'; w90">
+<index index="fig" />
+<figDesc>Genealogy Table, p. 303</figDesc>
+</figure>
+
+<figure url="images/gene304.jpg" rend="page-float:'h'; w80">
+<index index="fig" />
+<figDesc>Genealogy Table, p. 304</figDesc>
+</figure>
+
+<figure url="images/gene305.jpg" rend="page-float:'h'; w90">
+<index index="fig" />
+<figDesc>Genealogy Table, p. 305</figDesc>
+</figure>
+
+<figure url="images/gene306.jpg" rend="page-float:'h'; w90">
+<index index="fig" />
+<figDesc>Genealogy Table, p. 306</figDesc>
+</figure>
+
+<figure url="images/gene307.jpg" rend="page-float:'h'; w90">
+<index index="fig" />
+<figDesc>Genealogy Table, p. 307</figDesc>
+</figure>
+
+<figure url="images/gene308.jpg" rend="page-float:'h'; w90">
+<index index="fig" />
+<figDesc>Genealogy Table, p. 308</figDesc>
+</figure>
+
+<figure url="images/gene309.jpg" rend="page-float:'h'; w90">
+<index index="fig" />
+<figDesc>Genealogy Table, p. 309</figDesc>
+</figure>
+
+<figure url="images/gene310.jpg" rend="page-float:'h'; w90">
+<index index="fig" />
+<figDesc>Genealogy Table, p. 310</figDesc>
+</figure>
+
+</div>
+
+<div id="footnotes">
+<index index="toc" />
+<index index="pdf" />
+<head>Footnotes</head>
+<divGen type="footnotes"/>
+</div>
+
+<div rend="page-break-before: right">
+<divGen type="pgfooter" />
+</div>
+</back>
+
+</text>
+</TEI.2>
+
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@@ -0,0 +1,9806 @@
+The Project Gutenberg EBook of Johann Sebastian Bach by Johann Nikolaus
+Forkel and Charles Sanford Terry
+
+
+
+This eBook is for the use of anyone anywhere at no cost and with almost no
+restrictions whatsoever. You may copy it, give it away or re-use it under
+the terms of the Project Gutenberg License included with this eBook or
+online at http://www.gutenberg.org/license
+
+
+
+Title: Johann Sebastian Bach
+
+
+Author: Johann Nikolaus Forkel and Charles Sanford Terry
+
+Release Date: January 24, 2011 [Ebook #35041]
+
+Language: English
+
+Character set encoding: US-ASCII
+
+
+***START OF THE PROJECT GUTENBERG EBOOK JOHANN SEBASTIAN BACH
+***
+
+
+
+
+
+                         [Johann Sebastian Bach]
+
+  _Johann Sebastian Bach.  About 1720. (From the picture by Johann Jakob
+                  Ihle, in the Bach Museum, Eisenach)._
+
+
+
+
+
+Johann Sebastian Bach
+
+His Life, Art and Work.  Translated from the German of Johann Nikolaus
+Forkel.  With notes and appendices by Charles Sanford Terry, Litt.D.
+Cantab.
+
+
+Johann Nikolaus Forkel and Charles Sanford Terry
+
+
+
+Harcourt, Brace and Howe, New York
+1920
+
+
+
+
+
+CONTENTS
+
+
+Introduction
+FORKEL'S PREFACE
+CHAPTER I. THE FAMILY OF BACH
+Chapter II. THE CAREER OF BACH
+CHAPTER IIA. BACH AT LEIPZIG, 1723-1750
+CHAPTER III. BACH AS A CLAVIER PLAYER
+CHAPTER IV.  BACH THE ORGANIST
+CHAPTER V. BACH THE COMPOSER
+CHAPTER VI. BACH THE COMPOSER (continued)
+CHAPTER VII. BACH AS A TEACHER
+CHAPTER VIII.  PERSONAL CHARACTERISTICS
+CHAPTER IX. BACH'S COMPOSITIONS
+CHAPTER X.  BACH'S MANUSCRIPTS
+CHAPTER XI. THE GENIUS OF BACH
+APPENDIX I. CHRONOLOGICAL CATALOGUE OF BACH'S COMPOSITIONS
+APPENDIX II. THE CHURCH CANTATAS ARRANGED CHRONOLOGICALLY
+APPENDIX III.  THE BACHGESELLSCHAFT EDITIONS OF BACH'S WORKS
+APPENDIX IV. BIBLIOGRAPHY OF BACH LITERATURE
+APPENDIX V.  A COLLATION OF THE NOVELLO AND PETERS EDITIONS OF THE ORGAN
+WORKS
+APPENDIX VI. GENEALOGY OF THE FAMILY OF BACH
+Footnotes
+
+
+
+
+
+ILLUSTRATIONS
+
+
+_Johann Sebastian Bach.  About 1720. (From the picture by Johann Jakob
+Ihle, in the Bach Museum, Eisenach)._
+Bach's Home at Eisenach
+The Church and School of St. Thomas, Leipzig, in 1723.
+Johann Sebastian Bach, circa 1746. _From the picture by Haussmann._
+Divided Harmony, Bach treatment
+Divided Harmony, conventional treatment
+The Bach Statue at Eisenach
+Johann Sebastian Bach. _From the picture discovered by Professor Fritz
+Volbach_
+The Bach Statue at Leipzig
+Genealogy Table, p. 303
+Genealogy Table, p. 304
+Genealogy Table, p. 305
+Genealogy Table, p. 306
+Genealogy Table, p. 307
+Genealogy Table, p. 308
+Genealogy Table, p. 309
+Genealogy Table, p. 310
+
+
+
+
+
+INTRODUCTION
+
+
+Johann Nikolaus Forkel, author of the monograph of which the following
+pages afford a translation, was born at Meeder, a small village in
+Saxe-Coburg, on February 22, 1749, seventeen months before the death of
+Johann Sebastian Bach, whose first biographer he became.  Presumably he
+would have followed the craft of his father, the village shoemaker, had
+not an insatiable love of music seized him in early years.  He obtained
+books, and studied them with the village schoolmaster. In particular he
+profited by the "Vollkommener Kapellmeister" of Johann Mattheson, of
+Hamburg, the sometime friend of Handel.  Like Handel, he found a derelict
+Clavier in the attic of his home and acquired proficiency upon it.
+Forkel's professional career, like Bach's half a century earlier, began at
+Lueneburg, where, at the age of thirteen (1762), he was admitted to the
+choir of the parish church.  Thence, at the age of seventeen (1766), he
+proceeded to Schwerin as "Chorpraefect," and enjoyed the favour of the
+Grand Duke.  Three years later he betook himself (1769), at the age of
+twenty, to the University of Goettingen, which he entered as a law student,
+though a slender purse compelled him to give music lessons for a
+livelihood.  He used his opportunity to acquire a knowledge of modern
+languages, which stood him in good stead later, when his researches
+required him to explore foreign literatures. Concurrently he pursued his
+musical activities, and in 1774 published at Goettingen his first work,
+_Ueber die Theorie der Musik,_ advocating the foundation of a music
+lectureship in the University. Four years later (1778) he was appointed
+its Director of Music, and from 1779 to 1815 conducted the weekly concerts
+of the Sing-Akademie. In 1780 he received from the University the
+doctorate of philosophy.  The rest of his life was spent at Goettingen,
+where he died on March 17, 1818, having just completed his sixty-ninth
+year.
+
+That Forkel is remembered at all is due solely to his monograph on Bach.
+Written at a time when Bach's greatness was realised in hardly any
+quarter, the book claimed for him pre-eminence which a tardily enlightened
+world since has conceded him.  By his generation Forkel was esteemed
+chiefly for his literary activity, critical ability, and merit as a
+composer.  His principal work, _Allgemeine Geschichte der Musik,_ was
+published in two volumes at Leipzig in 1788 and 1801.  Carl Friedrich
+Zelter, Goethe's friend and correspondent, dismissed the book
+contemptuously as that of an author who had "set out to write a history of
+music, but came to an end just where the history of music begins."
+Forkel's work, in fact, breaks off at the sixteenth century. But the
+curtailed _ History_ cleared the way for the monograph on Bach, a more
+valuable contribution to the literature of music.  Forkel already had
+published, in three volumes, at Gotha in 1778, his _Musikalisch-kritische
+Bibliothek,_ and in 1792 completed his critical studies by publishing at
+Leipzig his _Allgemeine Literatur der Musik._
+
+Forkel was also a student of the music of the polyphonic school.  He
+prepared for the press the scores of a number of sixteenth century Masses,
+Motets, etc., and fortunately received proofs of them from the engraver.
+For, in 1806, after the Battle of Jena, the French impounded the plates
+and melted them down.  Forkel's proofs are still preserved in the Berlin
+Royal Library.  He was diligent in quest of Bach's scattered MSS., and his
+friendship with Bach's elder sons, Carl Philipp Emmanuel and Wilhelm
+Friedemann, enabled him to secure precious relics which otherwise might
+have shared the fate of too many of Bach's manuscripts. He took an active
+interest in the proposal of Messrs. Hoffmeister and Kuehnel, predecessors
+of C. F. Peters at Leipzig, to print a "kritisch-korrecte" edition of
+Bach's Organ and Clavier works.  Through his friend, Johann Gottfried
+Schicht, afterwards Cantor at St. Thomas's, Leipzig, he was also
+associated with Breitkopf and Haertel's publication of five of Bach's six
+extant Motets in 1802-3.
+
+As a composer Forkel has long ceased to be remembered.  His works include
+two Oratorios, _ Hiskias_ (1789) and _Die Hirten bey der Krippe_; four
+Cantatas for chorus and orchestra; Clavier Concertos, and many Sonatas and
+Variations for the Harpsichord.
+
+In 1802, for reasons which he explains in his Preface, Forkel published
+from Hoffmeister and Kuehnel's "Bureau de Musique" his _Ueber Johann
+Sebastian Bachs Leben, Kunst und Kunstwerke. Fuer patriotische Verehrer
+echter musikalischer Kunst,_ of which a new edition was issued by Peters
+in 1856.  The original edition bears a dedication to Gottfried Baron van
+Swieten(1) (1734-1803), Prefect of the Royal Library, Vienna, and sometime
+Austrian Ambassador in Berlin, a friend of Haydn and Mozart, patron of
+Beethoven, a man whose age allowed him to have seen Bach, and whose career
+makes the association with Bach that Forkel's dedication gives him not
+undeserved. It was he, an ardent Bach enthusiast, who introduced the
+youthful Mozart to the music of the Leipzig Cantor. "I go every Sunday at
+twelve o'clock to the Baron van Swieten," Mozart writes in 1782, "where
+nothing is played but Handel and Bach, and I am now making a collection of
+the Fugues of Bach."  The merit and limitations of Forkel's book will be
+considered later.  For the moment the fact deserves emphasis that,
+inadequate as it is, it presented a fuller picture of Bach than so far had
+been drawn, and was the first to render the homage due to his genius.
+
+In an illuminating chapter (xii.), _Death and Resurrection_, Schweitzer
+has told the story of the neglect that obscured Bach's memory after his
+death in 1750.  Isolated voices, raised here and there, acclaimed his
+genius.  With Bach's treatise on _The Art of Fugue_ before him, Johann
+Mattheson (1681-1664), the foremost critic of the day, claimed that
+Germany was "the true home of Organ music and Fugue."  Friedrich Wilhelm
+Marpurg (1718-95), the famous Berlin theorist, expressed the same opinion
+in his preface to the edition of that work published shortly after Bach's
+death.  But such appreciations were rare.  Little of Bach's music was in
+print and available for performance or critical judgment.  Even at St.
+Thomas's, Leipzig, it suffered almost complete neglect until a generation
+after Forkel's death. The bulk of Bach's MSS. was divided among his
+family, and Forkel himself, with unrivalled opportunity to acquaint
+himself with the dimensions of Bach's industry, knew little of his music
+except the Organ and Clavier compositions.
+
+In these circumstances it is not strange that Bach's memory waited for
+more than half a century for a biographer.  Forkel, however, was not the
+first to assemble the known facts of Bach's career or to assert his place
+in the music of Germany.
+
+Putting aside Johann Gottfried Walther's brief epitome in his _Lexikon_
+(1732), the first and most important of the early notices of Bach was the
+obituary article, or "Nekrolog," contributed by his son, Carl Philipp
+Emmanuel, and Johann Friedrich Agricola, one of Bach's most distinguished
+pupils, to the fourth volume of Mizler's _Musikalische Bibliothek,_
+published at Leipzig in 1754.  The authors of this appreciation give it an
+intimacy which renders it precious.  But Mizler's periodical was the organ
+of a small Society, of which Bach had been a member, and outside its
+associates can have done little to extend a knowledge of the subject of
+the memoir.
+
+Johann Friedrich Agricola contributed notes on Bach to Jakob Adlung's
+_Musica mechanica Organoedi,_ published in two volumes at Berlin in 1768.
+The article is valuable chiefly for Agricola's exposition of Bach's
+opinions upon Organ and Clavier building.
+
+With the intention to represent him as "the coryphaeus of all organists,"
+Johann Adam Hiller, who a few years later became Cantor at St. Thomas's,
+Leipzig, published there in 1784 a brief account of Bach in his
+_Lebensbeschreibungen beruehmter Musikgelehrten und Tonkuenstler neuerer
+Zeit._
+
+Four years after Hiller's notice, Ernst Ludwig Gerber published at
+Leipzig, in two volumes, 1790-92, his _Historisch-biographische Lexikon
+der Tonkuenstler._  As in Hiller's case, Gerber, whose father had been
+Bach's pupil, was chiefly interested in Bach as an organist.
+
+Coincidently with Gerber, another of Bach's pupils, Johann Martin
+Schubart, who succeeded him at Weimar in 1717, sketched his
+characteristics as a performer in the _Aesthetik der Tonkunst_, published
+at Berlin by his son in the _Deutschen Monatsschrift_ in 1793.
+
+In 1794 appeared at Leipzig the first volume of a work which Spitta
+characterises as fantastic and unreliable, so far as it deals with Bach,
+Friedrich Carl Gottlieb Hirsching's _Historisch-literarisches Handbuch_ of
+notable persons deceased in the eighteenth century.
+
+Last of Forkel's forerunners, A. E. L. Siebigke published at Breslau in
+1801 his _Museum deutscher Tonkuenstler,_ a work which adds nothing to our
+knowledge of Bach's life, but offers some remarks on his style.
+
+Little, if any, information of value, therefore, had been added to the
+_Nekrolog_ of 1754 when Forkel, in 1802, produced his monograph on Bach
+and his music.  Nor, viewed as a biography, does Forkel much enlarge our
+knowledge of the conditions of Bach's life.  He had the advantage of
+knowing Bach's elder sons, but appears to have lacked curiosity regarding
+the circumstances of Bach's career, and to have made no endeavour to add
+to his imperfect information, even regarding his hero's life at Leipzig,
+upon which it should have been easy for him to obtain details of utmost
+interest.  His monograph, in fact, is not a "Life" in the biographic
+sense, but a critical appreciation of Bach as player, teacher, and
+composer, based upon the Organ and Clavier works, with which alone Forkel
+was familiar.
+
+It would be little profitable to weigh the value of Forkel's criticism.
+We are tempted to the conclusion that Bach appealed to him chiefly as a
+supreme master of technique, and our hearts would open to him more widely
+did not his appreciation of Bach march with a narrow depreciation of
+Haydn, Mozart, and Beethoven, the last of whom, he declared ex cathedra,
+had not produced "a single work which can be called a masterpiece." Gluck
+he frankly detested.
+
+But Forkel's monograph is notable on other grounds.  It was the first to
+claim for Bach a place among the divinities.  It used him to stimulate a
+national sense in his own people. Bach's is the first great voice from out
+of Germany since Luther.  Of Germany's own Kisorgimento, patently
+initiated by Goethe a generation after Johann Sebastian's death, Bach
+himself is the harbinger.  In his assertion of a distinctive German
+musical art he set an example followed in turn by Mozart, Weber, and
+Wagner.  "With Bach," wrote Wagner, "the German Spirit was born anew."  It
+is Forkel's perpetual distinction that he grasped a fact hidden from
+almost all but himself.  In his Preface, and more emphatically in the
+closing paragraph of his last Chapter, he presents Bach as the herald of a
+German nation yet unformed.
+
+It is a farther distinction of Forkel's monograph that it made converts.
+With its publication the clouds of neglect that too long had obscured
+Bach's grandeur began to melt away, until the dizzy altitude of his genius
+stood revealed.  The publication of the five Motets (1803) was followed by
+that of the Magnificat in 1811, and of the Mass in A in 1818.  A beginning
+was made with the Cantatas in 1821, when Breitkopf and Haertel published
+"Ein' feste Burg" (No. 80), commended in an article written (1822) by
+Johann Friedrich Rochlitz (1769-1842), the champion of Beethoven, as now
+of Bach.  Another enthusiastic pioneer was Carl Friedrich Zelter
+(1758-1832), conductor of the Berlin Sing-Akademie, who called Bach "a
+sign of God, clear, yet inexplicable." To him in large measure was due the
+memorable revival of the _St. Matthew Passion_ at Berlin, which the
+youthful Mendelssohn, Zelter's pupil, conducted in March 1829, exactly one
+hundred years after the first production of the mighty work at Leipzig.
+In the following years it was given at Dresden and many other German
+towns. Leipzig heard it again after a barren interval in 1841, and did
+tardy homage to its incomparable composer by erecting (1843) the statue
+that stands in the shadow of St. Thomas's Church, hard by the Cantor's
+home for a quarter of a century.
+
+Meanwhile, in 1830 and 1831 the _St. Matthew Passion_ and _St. John
+Passion_ had been engraved, and by 1845 the B minor Mass was in print.
+The credit of having revived it belongs to Johann Nepomuk Schelble
+(1789-1837), conductor of the Frankfort Caecilienverein, though the Berlin
+Sing-Akademie was the first to give a performance, considerably curtailed,
+of the whole work in 1835. A little later, in the middle of the forties,
+Peters began to issue his "kritisch-korrecte" edition of the Organ works,
+which at length made Bach widely known among organists.  But the
+publication of the Cantatas proceeded slowly.  Only fourteen of them were
+in print in 1850, when the foundation of the Bachgesellschaft, on the
+centenary of Bach's death, focused a world-wide homage. When it dissolved
+in 1900 its mission was accomplished, the entire works(2) of Bach were
+published, and the vast range of his genius was patent to the world.
+
+It remains to discuss the first English version of Forkel's monograph,
+published in 1820, with the following title-page:
+
+
+    LIFE OF JOHN SEBASTIAN BACH; with a Critical View of his
+    Compositions. By J. N. Forkel, Author of The Complete History of
+    Music, etc., etc. Translated from the German.  London: Printed for
+    T. Boosey and Co., Holles-Street, Cavendish-Square. 1820.
+
+
+The book was published in February 1820; it was announced, with a slightly
+differently worded title-page, in the _New Monthly Magazine and Universal
+Register_ for March 1820 (p. 341), and the _Scots Magazine_ for the same
+month ( vol. lxxxv. p. 263).  The _New Monthly_ states the price as 5s.,
+the _Quarterly Review_ (vol. xxiii. p. 281) as 6s.  The book contains
+xi+116+3 pages of Music Figures, crown octavo, bound in dark unlettered
+cloth.  It has neither Introduction, notes (other than Forkel's), nor
+indication of the translator's identity.  Much of the translation is so
+bad as to suggest grave doubts of the translator's comprehension of the
+German original; while his rendering of Forkel's critical chapters rouses
+a strong suspicion that he also lacked technical equipment adequate to his
+task.  It is, in fact, difficult to understand how such an unsatisfactory
+piece of work found its way into print.
+
+The character of the 1820 translation has a close bearing upon its
+authorship.  In the article on Bach in the new _Grove_ it is attributed to
+Samuel Wesley (1766-1837), an attractive suggestion, since Wesley was as
+enthusiastic a Bach pioneer in this country as Forkel himself was in
+Germany. But the statement is not correct.  In Samuel Wesley's _Letters to
+Mr. Jacobs relating to the Introduction into this Country of the Works of
+J. S. Bach_ (London, 1875) we find the clue.  On October 17, 1808, Wesley
+writes: "We are (in the first place) preparing for the Press an authentic
+and accurate Life of Sebastian, which Mr. Stephenson the Banker (a most
+zealous and scientific member of our Fraternity) has translated into
+English from the German of Forkel."
+
+Unfortunately, it is impossible to identify Stephenson precisely, or to
+detect his activities in the musical circle in which Wesley includes him.
+In 1820 there was in Lombard Street a firm of bankers under the style of
+"Remington, Stephenson, Remington, and Toulmin," the active partner being
+Mr. Rowland Stephenson, a man of about forty in that year.  The firm was
+wound up in bankruptcy in 1829, Stephenson having absconded to America the
+previous year.  He appears to have been the only banker of that name
+holding such a recognised position as Wesley attributes to him, though it
+remains no more than a conjecture that he was the author of the
+translation issued in 1820.(3) But whoever "Stephenson the Banker" may
+have been, the poverty of his work fails to support Wesley's commendation
+of his "scientific" equipment, and suggests that his purse rather than his
+talents were serviceable to Wesley's missionary campaign.
+
+For the facts of Bach's life, and as a record of his artistic activities,
+Forkel admittedly is inadequate and often misleading.  Stephenson
+necessarily was without information to enable him to correct or supplement
+his author.  Recent research, and particularly the classic volumes of
+Spitta and Schweitzer, have placed the present generation in a more
+instructed and therefore responsible position.  The following pages,
+accordingly, have been annotated copiously in order to bring Forkel into
+line with modern scholarship. His own infrequent notes are invariably
+indicated by a prefixed asterisk.  It has been thought advisable to write
+an addendum to Chapter II. in order to supplement Forkel at the weakest
+point of his narrative.
+
+Readers of Spitta's first volume probably will remember the effort to
+follow the ramifications of the Bach pedigree unaided by a genealogical
+Table.  It is unfortunate that Spitta did not set out in that form the
+wealth of biographical material his pages contain.  To supply the
+deficiency, and to illustrate Forkel's first Chapter, a complete
+Genealogical Table is provided in Appendix VI., based mainly upon the
+biographical details scattered over Spitta's pages.
+
+In Chapter IX. Forkel gives a list of Bach's compositions known to him.
+It is, necessarily, incomplete.  For that reason Appendices I. and II.
+provide a full catalogue of Bach's works arranged under the periods of his
+career.  In the case of the Oratorios, Cantatas, Motets, and "Passions,"
+it is not difficult to distribute them upon a chronological basis.  The
+Clavier works also can be dated with some approximation to closeness.  The
+effort is more speculative in the case of the Organ music.
+
+In his Preface Forkel suggests the institution of a Society for the
+publication and study of Bach's works.  The proposal was adopted after
+half a century's interval, and in Appendix III. will be found a complete
+and detailed catalogue of the publications of the Old and New
+Bachgesellschaft from 1850 to 1918 inclusive.  The Society's issues for
+1915-18 have not yet reached this country. The present writer had an
+opportunity to examine them in the Library of the Cologne Conservatorium
+of Music in the spring of this year.
+
+In this Introduction will be found a list of works bearing on Bach, which
+preceded Forkel's monograph.  Appendix IV. provides a bibliography of Bach
+literature published subsequently to it.
+
+Grateful acknowledgment is made to Mr. Ivor Atkins, of Worcester
+Cathedral, and to Mr. W. G. Whittaker, of Newcastle-upon-Tyne, who have
+read these pages in proof, and improved them by their criticism.
+
+                                                                  C. S. T.
+October 1, 1919.
+
+
+
+
+
+FORKEL'S PREFACE
+
+
+Many years ago I determined to give the public an account of the life of
+Johann Sebastian Bach, with some reflections upon his genius and his
+works.  The brief article by Carl Philipp Emmanuel Bach(4) and Herr
+Agricola,(5) formerly composer to the Court of Prussia, contributed to the
+fourth volume of Mizler's _Musical Library,_(6) can hardly be deemed
+adequate by Bach's admirers and, but for the desire to complete my
+_General History of Music,_(7) I should have fulfilled my purpose long
+ago.  As Bach, more than any other artist, represents an era in the
+history of music, it was my intention to devote to the concluding volume
+of that work the materials I had collected for a history of his career.
+But the announcement that Messrs. Hoffmeister and Kuehnel, the Leipzig
+music-sellers and publishers, propose to issue a complete and critical
+edition of Bach's works has induced me to change my original plan.(8)
+
+Messrs. Hoffmeister and Kuenel's project promises at once to advance the
+art of music and enhance the honour of the German name.  For Bach's works
+are a priceless national patrimony; no other nation possesses a treasure
+comparable to it.  Their publication in an authoritative text will be a
+national service and raise an imperishable monument to the composer
+himself.  All who hold Germany dear are bound in honour to promote the
+undertaking to the utmost of their power.  I deem it a duty to remind the
+public of this obligation and to kindle interest in it in every true
+German heart.  To that end these pages appear earlier than my original
+plan proposed; for they will enable me to reach a larger number of my
+fellow countrymen.  The section on Bach in my _History of Music_ probably
+would have been read by a handful of experts or musical artists.  Here I
+hope to speak to a larger audience. For, let me repeat, not merely the
+interests of music but our national honour are concerned to rescue from
+oblivion the memory of one of Germany's greatest sons.
+
+One of the best and most effective means of popularising musical
+masterpieces is to perform them in public.  In that way works of merit
+secure a widening audience.  People listen to them with pleasure in the
+concert room, church, or theatre, remember the agreeable impression they
+created, and purchase them when published, even though they cannot always
+play them.  But Bach's works unfortunately are rarely heard nowadays; for
+the number of persons capable of playing them adequately is at best
+inconsiderable. It would have been otherwise had Bach given touring
+performances of his music,(9) a labour for which he had neither time nor
+liking. Many of his pupils did so, and though their skill was inferior to
+their master's, the admiration and astonishment they excited revealed the
+grandeur of his compositions.  Here and there, too, were found persons who
+desired to hear on their own instrument pieces which the performer had
+played best or gave them most pleasure. They could do so more easily for
+having heard how the piece ought to sound.
+
+But, to awaken a wide appreciation of musical masterpieces depends upon
+the existence of good teachers.  The want of them is our chief difficulty.
+In order to safeguard their credit, the ignorant and incompetent of their
+number are disposed to decry good music, lest they should be asked to play
+it.  Consequently, their pupils, condemned to spend time, labour, and
+money on second-rate material, will not after half a dozen years, perhaps,
+show themselves farther advanced in sound musical appreciation than they
+were at the outset.  Whereas, under a good teacher, half the time, labour,
+and money produces progressive improvement.  Time will show whether this
+obstacle can be surmounted by making Bach's works accessible in the music
+shops and by forming a Society among the admirers of his genius to make
+them known and promote their study.(10)
+
+At any rate, if music is really an art, and not a mere pastime, its
+masterpieces must be more widely known and performed than in fact they
+are.  And here Bach, prince of classic composers, can render yeoman
+service.(11) For his music is so well calculated to educate the student to
+distinguish what is trivial from what is good, and to comport himself as
+an artist in whatever branch of the art he makes his own.  Moreover, Bach,
+whose influence pervades every musical form, can be relied on more than
+any other composer to correct the superficiality which is the bane of
+modern taste.  Neglect of the classics is as prejudicial to the art of
+music as it would be fatal to the interests of general culture to banish
+Greek and Latin writers from our schools.  Modern taste exhibits no shame
+in its preference for agreeable trifles, in its neglect of everything that
+makes a demand, however slight, upon its attention.  To-day we are menaced
+by a proposal to banish the classics from our schoolrooms. Equally
+short-sighted vision threatens to extinguish our musical classics as well.
+And is it surprising?  Modern art displays such poverty and frivolity that
+it well may shrink from putting itself in context with great literature,
+particularly with Bach's mighty and creative genius, and seek rather to
+proscribe it.
+
+I fain would do justice to the sublime genius of this prince of musicians,
+German and foreign! Short of being such a man as he was, dwarfing all
+other musicians from the height of his superiority, I can conceive no
+greater distinction than the power to comprehend and interpret him to
+others.(12) The ability to do so must at least connote a temperament not
+wholly alien from his own. It may even hint the flattering prospect that,
+if circumstances had opened up the same career, similar results might have
+been forthcoming.  I am not presumptuous to suggest such a result in my
+own case.  On the contrary I am convinced that there are no words adequate
+to express the thoughts Bach's transcendent genius stirs one to utter.
+The more intimately we are acquainted with it the greater must be our
+admiration.  Our utmost eulogy, our deepest expressions of homage, must
+seem little more than well-meant prattle. No one who is familiar with the
+work of other centuries will contradict or hold my statement exaggerated,
+that Bach cannot be named except in tones of rapture, and even of devout
+awe, by those who have learnt to know him.  We may discover and lay bare
+the secrets of his technique. But his power to inspire into it the breath
+of genius, the perfection of life and charm that moves us so powerfully,
+even in his slightest works, must always remain extraordinary and
+insoluble.
+
+I do not choose to compare Bach with other artists.  Whoever is interested
+to measure him with Handel will find a just and balanced estimate of their
+relative merits, written by one fully informed for the task, in the first
+number of the eighty-first volume of the _Universal German Library,_ pages
+295-303.(13)
+
+So far as it is not derived from the short article in Mizler's _Library_
+already mentioned,(14) I am indebted for my information to the two eldest
+sons of Bach himself.(15) Not only was I personally acquainted with them,
+but I corresponded regularly for many years with both,(16) particularly
+Carl Philipp Emmanuel.  The world knows them as great artists.  But
+probably it is not aware that to the last moment of their lives they spoke
+of their father's genius with enthusiastic admiration.(17) From my early
+youth I have been inspired by an appreciation no less deep than theirs. It
+was a frequent theme of conversation and correspondence between us.
+
+Thus, having been in a position to inform myself on all matters relating
+to Bach's life, genius, and work, I may fairly hold myself competent to
+communicate to the public what I have learnt and to offer useful
+reflections upon it.  I take advantage of my opportunity the more readily
+because it permits me to draw attention to an enterprise(18) that promises
+to provide a worthy monument to German art, a gallery of most instructive
+models to the sincere artist, and to afford music lovers an inexhaustible
+source of sublimest pleasure.
+
+
+
+
+
+
+CHAPTER I. THE FAMILY OF BACH
+
+
+If there is such a thing as inherited aptitude for art it certainly showed
+itself in the family of Bach. For six successive generations scarcely two
+or three of its members are found whom nature had not endowed with
+remarkable musical talent, and who did not make music their
+profession.(19)
+
+Veit Bach,(20) ancestor of this famous family, gained a livelihood as a
+baker at Pressburg in Hungary.  When the religious troubles of the
+sixteenth century broke out he was driven to seek another place of abode,
+and having got together as much of his small property as he could, retired
+with it to Thuringia, hoping to find peace and security there.  He settled
+at Wechmar, a village near Gotha,(21) where he continued to ply his trade
+as a baker and miller.(22) In his leisure hours he was wont to amuse
+himself with the lute,(23) playing it amid the noise and clatter of the
+mill.  His taste for music descended to his two sons(24) and their
+children, and in time the Bachs grew to be a very numerous family of
+professional musicians, Cantors, Organists, and Town Musicians,(25)
+throughout  Thuringia.
+
+Not all the Bachs, however, were great musicians. But every generation
+boasted some of them who were more than usually distinguished.  In the
+first quarter of the seventeenth century three of Veit Bach's
+grandchildren showed such exceptional talent that the Count of
+Schwarzburg-Arnstadt thought it worth while to send them at his expense to
+Italy, then the chief school of music, to perfect themselves in the
+art.(26)
+
+We do not know whether they rewarded the expectations of their patron, for
+none of their works has survived. The fourth generation(27) of the family
+produced musicians of exceptional distinction, and several of their
+compositions, thanks to Johann Sebastian Bach's regard for them, have come
+down to us. The most notable of these Bachs are:
+
+   1. Johann Christoph Bach, Court and Town Organist at Eisenach.(28) He
+      was particularly happy in his beautiful melodies and in setting
+      words to music. In the _Archives of the Bachs,_(29) which was in
+      Carl Philipp Emmanuel's possession at Hamburg, there is a Motet by
+      Johann Christoph in which he boldly uses the augmented sixth, a
+      proceeding considered extremely daring in his day.(30) He was also
+      an uncommon master of harmony, as may be inferred from a Cantata
+      composed by him for Michaelmas, to the words "Es erhub sich ein
+      Streit," etc., which has twenty-two obbligato parts in correct
+      harmony.(31) Yet another proof of his rare skill is in the alleged
+      fact that he never played the Organ or Clavier in less than five
+      parts.(32) Carl Philipp Emmanuel had a particularly warm regard for
+      him.(33) I remember the old man playing some of his compositions to
+      me on the Clavier at Hamburg, and how quizzically he looked at me
+      when one of these daring passages occurred.(34)
+   2. Johann Michael Bach, Organist and Town Clerk at Gehren.(35) He was
+      the younger brother of Johann Christoph, and like him, a
+      particularly good composer.  The Archives already mentioned(36)
+      contain several of his Motets, including one for eight voices in
+      double chorus,(37) and many compositions for Church use.
+   3. Johann Bernhard Bach, Musician in the Prince's Kapelle and Organist
+      at Eisenach.(38)He is said to have composed remarkably fine Suites,
+      or Overtures, in the French style.(39)
+
+Besides these three men, the Bachs boasted several able composers in the
+generations preceding Johann Sebastian,(40) men who undoubtedly would have
+obtained higher positions, wider reputation, and more brilliant fortune if
+they could have torn themselves from their native Thuringia to display
+their gifts elsewhere in Germany or abroad. But none of the Bachs seems to
+have felt an inclination to migrate. Modest in their needs, frugal by
+nature and training, they were content with little, engrossed in and
+satisfied by their art, and wholly indifferent to the decorations which
+great men of that time were wont to bestow on artists as special marks of
+honour. The fact that others who appreciated them were thus distinguished
+did not rouse the slightest envy in the Bachs.
+
+The Bachs not only displayed a happy contentedness, indispensable for the
+cheery enjoyment of life, but exhibited a clannish attachment to each
+other.  They could not all live in the same locality.  But it was their
+habit to meet once a year at a time and place arranged beforehand.  These
+gatherings generally took place at Erfurt, Eisenach, and sometimes at
+Arnstadt.  Even after the family had grown very large, and many of its
+members had left Thuringia to settle in Upper and Lower Saxony and
+Franconia, the Bachs continued their annual meetings.  On these occasions
+music was their sole recreation.  As those present were either Cantors,
+Organists, or Town Musicians, employed in the service of the Church and
+accustomed to preface the day's work with prayer, their first act was to
+sing a Hymn.  Having fulfilled their religious duty, they spent the rest
+of the time in frivolous recreations.  Best of all they liked to
+extemporise a chorus out of popular songs, comic or jocular, weaving them
+into a harmonious whole while declaiming the words of each. They called
+this hotch-potch a "Quodlibet," laughed uproariously at it, and roused
+equally hearty and irrepressible laughter in their audience.(41) It is
+suggested that German Comic Opera has its origin in these trifles.  But
+the "Quodlibet" was a familiar institution in Germany at a much earlier
+period.  I possess a collection of them printed and published at Vienna in
+1542.(42)
+
+But these light-hearted Thuringians, and even those of their family who
+treated their art more seriously and worthily, would not have escaped
+oblivion had there not emerged in the fulness of time one whose genius and
+renown reflected their splendour and brilliancy on his forbears.  This
+man, the glory of his family, pride of his countrymen, most gifted
+favourite of the Muse of Music, was Johann Sebastian Bach.
+
+                        [Bach's Home at Eisenach]
+
+                         Bach's Home at Eisenach
+
+
+
+
+
+CHAPTER II. THE CAREER OF BACH
+
+
+Johann Sebastian Bach was born on March 21, 1685,(43) at Eisenach, where
+his father, Johann Ambrosius Bach, was Court and Town Musician.(44) Johann
+Ambrosius had a twin brother, Johann Christoph, Musician to the Court and
+Town of Arnstadt,(45) who so exactly resembled him that even their wives
+could distinguish them only by their dress.  The twins appear to have been
+quite remarkable.  They were deeply attached, alike in disposition, in
+voice, and in the style of their music.  If one was ill, so was the other.
+They died within a short time of each other, and were objects of wondering
+interest to all who knew them.(46)
+
+In 1695, when Johann Sebastian was not quite ten years old, his father
+died. He lost his mother at an earlier period.(47) So, being left an
+orphan, he became dependent on his eldest brother, Johann Christoph,
+Organist at Ohrdruf,(48) from whom he received his earliest lessons on the
+Clavier.(49) His inclination and talent for music must already have been
+pronounced.  For his brother no sooner had given him one piece to learn
+than the boy was demanding another more difficult.  The most renowned
+Clavier composers of that day were Froberger,(50) Fischer,(51) Johann
+Caspar Kerl,(52) Pachelbel,(53) Buxtehude,(54) Bruhns,(55) and Boehm.(56)
+Johann Christoph possessed a book containing several pieces by these
+masters, and Bach begged earnestly for it, but without effect.  Refusal
+increasing his determination, he laid his plans to get the book without
+his brother's knowledge.  It was kept on a book-shelf which had a latticed
+front.  Bach's hands were small.  Inserting them, he got hold of the book,
+rolled it up, and drew it out.  As he was not allowed a candle, he could
+only copy it on moonlight nights, and it was six months before he finished
+his heavy task.  As soon as it was completed he looked forward to using in
+secret a treasure won by so much labour.  But his brother found the copy
+and took it from him without pity, nor did Bach recover it until his
+brother's death soon after.(57)
+
+Being once more left destitute,(58) Johann Sebastian set out for Lueneburg
+with one of his Ohrdruf schoolfellows, named Erdmann(59) (afterwards
+Russian Resident at Danzig), and entered the choir of St. Michael's
+Convent.  His fine treble voice procured him a fair livelihood. But
+unfortunately he soon lost it and did not at once develop another. (60)
+
+Meanwhile his ambition to play the Organ and Clavier remained as keen as
+ever, and impelled him to hear and practise everything that promised him
+improvement.  For that purpose, while he was at Lueeburg, he several times
+travelled to Hamburg to hear the famous organist,(61) Johann Adam
+Reinken.(62) Often, too, he walked to Celle to hear the Duke's French band
+play French music, which was a novelty in those parts.(63)
+
+The date and circumstances of his removal from Lueneburg to Weimar are not
+precisely known.(64) He certainly became Court Musician there in 1703,
+when he was just over eighteen years of age.(65) But in the following year
+he gave up the post on his appointment as Organist to the new Church at
+Arnstadt, probably desiring to develop his taste for the Organ and
+realising that he would have better opportunities to do so at Arnstadt
+than at Weimar, where he was engaged simply to play the Violin.(66) At
+Arnstadt he set himself assiduously to study the works of the celebrated
+organists of the period, so far as his modest means permitted him, and in
+order to improve himself in composition(67) and Organ playing,(68) walked
+the whole way to Luebeck to hear Dietrich Buxtehude, Organist of St. Mary's
+Church in that city, with whose compositions he was acquainted already. He
+remained there about three months,(69) listening to the celebrated
+Organist, but without making himself known to him, and returned to
+Arnstadt with his experience much increased.
+
+Bach's zeal and persevering diligence had already drawn attention to him,
+as is evident from the fact that he received in succession several offers
+of vacant organistships, one of which, at the Church of St. Blasius,
+Muehlhausen, he accepted in 1707.(70) Barely a year after he entered upon
+his duties there(71) he again visited Weimar and played to the Duke, who
+was so pleased with his performance that he offered him the post of Court
+Organist, which he accepted.(72) Weimar promised him a particularly
+agreeable atmosphere in which to cultivate his genius.(73) He applied
+himself closely to his work, and probably at this period achieved the
+mastery of the Organ that he ever afterwards possessed.  At Weimar also he
+wrote his great compositions for that instrument.(74) In 1717(75) the Duke
+appointed him Concertmeister, a post which gave him further opportunity to
+develop his art, since it required him to compose and direct Church music.
+
+It was about this time that Zachau, Handel's master, died at Halle, where
+he was Organist.(76) Bach, who by now had acquired a great reputation, was
+invited to succeed him.(77) He visited Halle and composed a work as a
+specimen of his skill But for some reason unknown he did not obtain the
+post.  It was given to a clever pupil of Zachau, named Kirchhoff.(78)
+
+Johann Sebastian was now thirty-two years old. He had made good use of his
+opportunities, had studied hard as a player and composer, and by tireless
+enthusiasm had so completely mastered every branch of his art, that he
+towered like a giant above his contemporaries. Both amateurs and
+professional musicians already regarded him with admiration when, in 1717,
+Marchand, the French virtuoso, a celebrated Clavier and Organ player,
+visited Dresden.  He played before the King-Elector(79) and won such
+approbation that he was offered a large salary to enter His Majesty's
+service.(80) Marchand's chief merit was his finished technique.  Like
+Couperin,(81) his musical ideas were weak to the point of banality, as we
+may judge from his compositions.(82) Bach was an equally finished player,
+and so rich in ideas that Marchand's head would have swollen had he been
+equally gifted.  Volumier, Concertmeister at Dresden,(83) was aware of
+these circumstances, and knowing that the young German had his instrument
+and his imagination under the fullest control, determined to arrange a
+contest between the two men in order to give his sovereign the
+satisfaction of judging their merits.  With the King's approbation, a
+message was dispatched to Bach at Weimar(84) inviting him to a contest
+with Marchand.  Bach accepted the invitation and set out at once on his
+journey.  Upon his arrival at Dresden Volumier procured him an opportunity
+to hear Marchand secretly.  Far from being discouraged by what he heard,
+Bach wrote a polite note to the French artist challenging him to a trial
+of skill, and offering to play at sight anything Marchand put before him,
+provided the Frenchman submitted himself to a similar test.  Marchand
+accepted the challenge, a time and place for the contest were fixed, and
+the King gave his approval.  At the appointed hour a large and
+distinguished company assembled in the house of Marshal Count
+Flemming.(85) Bach arrived punctually; Marchand did not appear.  After
+considerable delay he was sought at his lodging, when it was discovered,
+to the astonishment of all, that he had left Dresden that morning without
+taking leave of anybody.  Bach therefore performed alone, and excited the
+admiration of all who heard him, though Volumier was cheated of his
+intention to exhibit the inferiority of French to German art.  Bach was
+overwhelmed with congratulations; but the dishonesty of a Court official
+is said to have intercepted a present of one hundred louis d'or sent to
+him by the King.(86)
+
+Bach had not long returned to Weimar when Prince Leopold of Anhalt-Coethen,
+a good judge of music and a first-rate amateur,(87) offered him the post
+of Kapellmeister.  He entered at once upon his new office(88) and held it
+for about six years.(89) At this period, about 1722,(90) he visited
+Hamburg, played the Organ there, and excited general admiration.  The
+veteran Reinken--he was nearly one hundred years old--was particularly
+impressed by Bach's performance.  After he had treated the Choral _An
+Wasserfluessen Babylon_ for half an hour in variation after variation in
+the true Organ style,(91) Reinken paid him the compliment of saying, "I
+thought this art was dead, but I see that it survives in you."  Reinken
+had treated the same Choral in a similar manner some years before and had
+had his work engraved, showing that he thought highly of it.  His praise
+therefore was particularly flattering to Bach.(92)
+
+On the death of Kuhnau in 1723(93) Bach was appointed Director of Music
+and Cantor to St. Thomas' School, Leipzig,(94) a position which he
+occupied until his death.  Prince Leopold of Anhalt-Coethen had great
+regard for him and Bach left his service with regret.(95) But he saw the
+finger of Providence in the event; for the Prince died shortly
+afterwards.(96) The loss of his patron affected him deeply, and moved him
+to compose a funeral Cantata containing remarkably fine double choruses
+which he himself conducted at Coethen.(97) While he was at St. Thomas' he
+was appointed honorary Kapellmeister to the Duke of Weissenfels(98) and,
+in the following year (1736), received the title of Court Composer to the
+King-Elector of Poland-Saxony.(99) The two compliments are not of great
+consequence, and the second was to some degree corollary to Bach's
+position as Cantor of St. Thomas' School.(100)
+
+Carl Philipp Emmanuel, Bach's second son, entered the service of Frederick
+the Great of Prussia in 1740.  So widely was Bach's skill recognised by
+this time that the King, who often heard him praised, was curious to meet
+so great an artist.  More than once he hinted to Carl Philipp Emmanuel
+that it would be agreeable to welcome his father to Potsdam, and as Bach
+did not appear, desired to know the reason.  Carl Philipp did not fail to
+acquaint his father with the King's interest.  But for some time Bach was
+too occupied with his duties to accede to the invitation.  However, as
+Carl Philipp continued to urge him, he set out for Potsdam towards the end
+of 1747, in company with his eldest son, Wilhelm Friedemann.(101) It was
+the King's custom to hold a private concert every evening, and to take
+part on the flute in a Concerto or two. One evening,(102) when he had got
+out his flute and the musicians were at their desks, an official brought
+him a list of the strangers newly arrived at Potsdam.  Flute in hand the
+King ran through the names, and suddenly turning to the waiting musicians,
+said with considerable excitement, "Gentlemen, Old Bach has arrived."  The
+flute was put away for the evening, and Bach, who had alighted at his
+son's lodging, was summoned immediately to the Palace.  Wilhelm
+Friedemann, who accompanied his father, often told me the story.  Nor am I
+likely to forget the racy manner in which he related it.  The courtesy of
+those days demanded rather prolix compliments, and the first introduction
+of Bach to so illustrious a monarch, into whose presence he had hurried
+without being allowed time to change his travelling dress for a Cantor's
+black gown, obviously invited ceremonial speeches on both sides.  I will
+not dwell on them; Wilhelm Friedemann related a lengthy and formal
+conversation between the King and the Cantor.(103)
+
+More worthy of record is the fact that the King gave up his concert for
+that evening and invited Bach, already known as "Old Bach," to try the
+Silbermann pianofortes(104) which stood in various parts of the
+Palace.(105) Accompanied from room to room by the King and the musicians,
+Bach tried the instruments and improvised upon them before his illustrious
+companion.  After some time he asked the King to give him a subject for a
+Fugue, that he might treat it extempore.  The King did so, and expressed
+his astonishment at Bach's profound skill in developing it.  Anxious to
+see to what lengths the art could be carried, the King desired Bach to
+improvise a six-part Fugue.  But as every subject is not suitable for
+polyphonic treatment, Bach himself chose a theme and, to the astonishment
+of all who were present, developed it with the skill and distinction he
+had shown in treating the King's subject.  His Majesty expressed a wish to
+hear him on the Organ also. Accordingly, next day, Bach inspected all the
+Organs in Potsdam,(106) as the evening before he had tried the Silbermann
+pianofortes. On his return to Leipzig he developed the King's theme in
+three and six parts, added Canones diversi upon it, engraved the whole
+under the title _Musikalisches Opfer_ and dedicated it to the royal author
+of the theme.(107)
+
+His visit to Potsdam was Bach's last journey.  The indefatigable diligence
+he had shown all his life, and particularly in his younger years, when
+successive days and nights were given to study, seriously affected his
+eye-sight.  The weakness grew with age and became very distressing in
+character.  On the advice of friends who placed great confidence in the
+skill of a London oculist lately come to Leipzig,(108) Bach submitted to
+an operation, which twice failed.  He lost his sight completely in
+consequence, and his hitherto vigorous constitution was undermined by the
+drugs administered to him.  He sank gradually for full half a year, and
+expired on the evening of July 30, 1760, in the sixty-sixth year of his
+age.(109) Ten days before his death(110) he was suddenly able to see again
+and to bear the light.  A few hours later he was seized by an apoplexy and
+inflammatory fever, and notwithstanding all possible medical aid, his
+weakened frame succumbed to the attack.
+
+Such was the career of this remarkable man.  I will only add that he was
+twice married, and that he had by his first wife seven, and by his second
+wife thirteen children; in all, eleven sons and nine daughters.(111) All
+of his sons had an admirable talent for music, but only the elder ones
+fully developed it.(112)
+
+         [The Church and School of St. Thomas, Leipzig, in 1723.]
+
+          The Church and School of St. Thomas, Leipzig, in 1723.
+
+
+
+
+
+CHAPTER IIA.(113) BACH AT LEIPZIG, 1723-1750
+
+
+Bach was inducted into his office as Cantor of St. Thomas' School at nine
+o'clock on the morning of Monday, May 31, 1723.  He died in his official
+residence there at a quarter to nine on the evening of Tuesday, July 28,
+1750.  He was buried early on the morning of Friday, July 31, in the
+churchyard of St. John's, Leipzig.
+
+The announcement of his death, made from the pulpit of St. Thomas' on the
+day of his funeral, described him as "Court Composer to His Majesty the
+King of Poland and Electoral and Serene Highness of Saxony, Kapellmeister
+to His Highness the Prince of Anhalt-Cothen, and Cantor to St. Thomas'
+School of this town."  Bach usually designated himself "Director Chori
+Musici Lipsiensis," or shortly, "Director Musices."  Circumstances led him
+to emphasise a title which asserted a musical prerogative not confined to
+the School and the churches it served.
+
+The Cantor of St. Thomas' was charged formerly with the musical direction
+of four Leipzig churches: St. Thomas', St. Nicolas', St. Peter's, and the
+New Church.  He was also responsible for the music in the University
+Church of St. Paul, the so-called "old service," held originally on the
+Festivals of Easter, Whit, Christmas, and the Reformation, and once during
+each University quarter. On high days music also had to be provided at St.
+John's Church.
+
+Bach, as Cantor, succeeded to a more restricted responsibility, which
+dated from the early years of the eighteenth century.  The New Church,
+originally the Church of the Franciscans, had been restored to use in
+1699.  In 1704 Georg Philipp Telemann, who came to Leipzig as a law
+student three years before, was appointed Organist there. He also founded
+the Collegium Musicum, or University Musical Society, a farther slight
+upon the Cantor's position.  Not until 1729 did the Society pass under
+Bach's direction and its members become available as auxiliaries in the
+church choirs under his charge.  Notwithstanding that Bach's predecessor
+Kuhnau had protested against Telemann's independence, the direction of the
+New Church's music passed out of the Cantor's control, though the School
+continued to provide the choristers.  Six years later the University
+Church of St. Paul also began an independent course.  In 1710 the
+authorities resolved to hold a University service in the church every
+Sunday. Kuhnau asserted his prerogative as Cantor. But he was only able to
+maintain it by offering to provide the music for the "new service" as well
+as for the "old service" at the fee of twelve thalers which the University
+so far had paid for the latter.  After his death the University appointed
+(April 3, 1723) Johann Gottlieb Goerner, already Organist of St. Nicolas'
+since 1721, to control the music both of the "old" and "new" services, for
+which the University provided the choir.  Not until after a direct appeal
+to the King did Bach succeed, in 1726, in compelling the University to
+restore to the Cantor his emoluments in regard to the "old service," the
+conduct of which had been restored to him on his appointment as Cantor.
+The "new service" remained under Goerner's direction.  As to St. Peter's,
+its services, which had entirely ceased, were revived in 1711. The music,
+however, was simple, and consisted only of hymns.
+
+Thus Bach, as Cantor, was responsible for the music in the two principal
+churches, St. Thomas' and St. Nicolas'.  The School also provided the
+choir for St. Peter's and the New Church.  The junior and least competent
+singers sang at St. Peter's.  The rest were pretty equally distributed
+between the other three churches.  At the New Church the music was
+performed under the direction of a Chorpraefect.  At St. Thomas' and St.
+Nicolas' Bach personally directed the concerted music.  On ordinary
+Sundays a Cantata or Motet was performed in each church alternately.  At
+the great Festivals, New Year, Epiphany, Ascension Day, Trinity Sunday,
+and the Annunciation, Cantatas were sung at both churches, the two choirs
+singing at Vespers in the second church the Cantata performed by them in
+the morning at the other church.  On these occasions the second choir was
+conducted by a Chorpraefect. The principal Sunday service in both churches
+began at seven in the morning, ended at eleven, and observed the following
+order:
+
+      1. Organ Prelude.
+      2. Motet, related to the Gospel for the Day; (omitted in Lent and
+      replaced by the Benedictus).
+      3. Introit.
+      4. Kyrie, sung alternately, in German and Latin.
+      5. The Lord's Prayer, intoned at the altar.
+      6. Gloria, intoned at the altar and answered either by the Choir's
+      Et in terra pax hominibus, or by the congregation with the Hymn,
+      Allein Gott in der Hoeh' sei Ehr, the German version of the Gloria.
+      7. Collect, intoned in Latin; preceded by the preces Dominus
+      vobiscum and Et cum spiritu tuo.
+      8. Epistle.
+      9. Litany, in Advent and Lent only; intoned by four boys, the Choir
+      responding.
+      10. Hymn, appropriate to the Gospel.
+      11. Gospel.
+      12. Credo, intoned; (in Lent, last three Sundays of Advent, and
+      Festivals of Apostles, the Nicene Creed, sung in Latin).
+      13. Prelude, followed by a Cantata, lasting about twenty minutes; on
+      alternate Sundays in each church.
+      14. The Creed in German, Wir glauben all' an einen Gott, sung by the
+      congregation.
+      15. Sermon, lasting one hour (8-9 A.M.).
+      16. Hymn, Herr Jesu Christ, dich zu uns wend, followed by the
+      reading of the Gospel, on which the Sermon had been based.
+      17. General Confession, prayers, and Lord's Prayer.
+      18. Blessing.
+      19. Hymn.
+      20. Communion Service; Hymns and Organ extemporisation.
+      21. Benediction.
+
+Vespers began at a quarter past one and was a comparatively simple
+service; the music consisted of Hymns, a Motet, and the Magnificat. On the
+last three Sundays in Advent and throughout Lent neither Cantatas nor
+Motets were sung. The Organ was silent. On the three great Festivals the
+appointed Hymn for the season was sung at the beginning of the principal
+service, before the Organ Prelude: at Christmas, Puer natus in Bethlehem;
+at Easter, Heut' triumphiret Gottes Sohn; at Whitsuntide, Spiritus Sancti
+gratia.  During the Communion service the Sanctus and concerted music were
+sung.  A festal hymn followed the Benediction.  The three great Festivals
+were each observed for three consecutive days, on the first and second of
+which Cantatas were sung at both churches.  On the third day concerted
+music was sung at only one of the two churches.
+
+The other week-day Festivals for which Cantatas were provided were the
+Feast of the Circumcision (New Year's Day), Epiphany, Ascension Day,
+Purification of the B.V.M., Annunciation of the B.V.M., Visitation of the
+B.V.M., Feast of St. John Baptist (Midsummer Day), Feast of St. Michael
+the Archangel. The Reformation Festival was kept on October 31, or if that
+date was a Saturday or Monday, on the previous or following Sunday.
+
+On Good Friday the Passion was performed in the two principal churches
+alternately. Leipzig adopted no official Hymn-book.  The compilation from
+which the Hymns were chosen by Bach was the eight-volumed Gesangbuch of
+Paul Wagner, published at Leipzig for Dresden use in 1697.  It contained
+over five thousand Hymns but no music, merely the name of the tune being
+stated above the Hymn.  For the most part the Hymns for special, and even
+for ordinary, occasions were prescribed by custom. Otherwise the power of
+selection was in the hands of the Cantor, and Bach's exercise of it caused
+some friction with the clergy in 1728.
+
+The provision and direction of the music at weddings and funerals was in
+the Cantor's hands. He arranged the choirs and the music sung at the
+scholars' annual processions and perambulations of the town, which took
+place at Michaelmas, New Year, and on St. Martin's and St. Gregory's Days.
+
+Augmenting the School's choristers, the Town Musicians took part in the
+Church services and were under the Cantor's direction. Their numbers and
+efficiency were inadequate.
+
+Upon the staff of the School the Cantor ranked third after the Rector and
+Sub-Rector, and took a share in the general instruction of the scholars.
+Class III. went to Bach for Latin lessons, a duty which the Council
+eventually permitted him to fulfil by deputy.  Singing classes were held
+by the Cantor on three days of the week, Mondays, Tuesdays, and
+Wednesdays, at nine and noon, and on Fridays at noon.  His instruction in
+singing was given to the four upper classes only.  On Saturday afternoons
+the Cantata was rehearsed. Once in four weeks the Cantor took his turn to
+inspect the scholars.  Like the other masters, he was required to conform
+to the regulations of the School House, in which he lived.  He rose at
+five in summer, at six in winter, dined at ten and supped at five in the
+afternoon.
+
+Holidays were numerous.  A week's vacation was given at the Easter,
+Michaelmas, and New Year Fairs.  At Midsummer the School had a month of
+half-holidays.  Whole holidays were given on the birthdays of the four
+upper masters. There were no morning lessons on Saints' Days, on the
+occasion of funeral orations in the University Church, and on the
+quarterly Speech Days. Hence, though Bach's office carried large
+responsibility, it left him considerable leisure for composition.
+
+As Cantor Bach had an official residence in the left wing of the School
+House.  In 1723, the Cantor's wing was of two storeys only, dwarfed by the
+greater elevation of the main edifice and under the shadow of the church.
+Bach brought to Leipzig four children of his first marriage, and his
+second wife, Anna Magdalena, presented him with a son or daughter annually
+from 1723 to 1729.  The accommodation of the Cantor's lodging therefore
+rapidly became inadequate.  In the spring of 1731 Bach found a house
+elsewhere while an additional storey was added to it, which provided a new
+music-room, a good-sized apartment whence a passage led to the big
+schoolroom in the main building.  The new wing was formally opened and
+dedicated on June 5, 1732, when Bach's secular Cantata Froher Tag,
+verlangte Stunden was performed; the libretto being by his colleague
+Winkler.  From thenceforward till his death eighteen years later Bach's
+occupancy was not disturbed.  The wing continued to be the official
+residence of the Cantor until the School moved to the suburbs of the city
+in 1877.
+
+In addition to his residence, which he occupied rent free, the Cantor
+enjoyed a revenue from various and fluctuating sources, amounting in gross
+to 700 thalers (=L106 per annum).  His fixed stipend was only 100 thalers
+(=L15).  About 12 thalers came to him from endowments.  In kind he was
+entitled to 16 bushels of corn and 2 cords of firelogs, together with 2
+measures of wine at each of the three great Festivals.  From the
+University, after his successful protest, he received 12 thalers for
+directing the "old service." By far the larger part of Bach's income was
+derived from fluctuating sources.  They were of three kinds: (1) School
+monies, (2) funeral fees, (3) wedding fees.  The School monies represented
+perquisites derived from funds obtained by the scholars, partly by their
+weekly collections from the public, partly from the four annual
+processions or perambulations of the city.  From the weekly collections a
+sum of six pfennigs multiplied by the number of the scholars was put aside
+for the four upper masters, among whom the Cantor ranked third.  From the
+money collected at the New Year, Michaelmas, and St. Martin's Day
+processions the Rector took a thaler, the Cantor and the Sub-Rector each
+took one-eleventh of the balance, sixteen thirty-thirds went to the
+singers, and one-quarter of what remained fell to the Cantor.  Out of the
+money collected on St. Gregory's Day (March 12) the Rector took one-tenth
+for the entertainment of the four upper masters, and the Cantor took
+one-third of the residue.  For funerals one thaler 15 groschen was paid
+when the whole school accompanied the procession and a Motet was sung at
+the house of the deceased.  When no Motet was sung the Cantor's fee was 15
+groschen. For weddings he received two thalers.
+
+Reckoned in modern currency, and judged by the standard of the period, the
+Cantor's income was not inadequate and served to maintain Bach's large
+family in comfort.  When he died in 1750, in addition to a mining share
+valued at 60 thalers, he possessed in cash or bonds about 360 thalers,
+silver plate valued at 251 thalers, instruments valued at 371 thalers,
+house furniture valued at 29 thalers, and books valued at 38 thalers.  His
+whole estate was declared at 1158 thalers, or somewhat less than the
+savings of two years' income.  But for the inequitable distribution of his
+property, owing to his intestacy, which left Anna Magdalena only about 400
+thalers and the mining share, Bach's widow and unmarried daughters ought
+not to have been afflicted with excessive poverty, as in fact they were.
+
+At the beginning of his Cantorate Bach worked amid discouraging and
+unsatisfactory conditions. The Rector, Johann Heinrich Ernesti, was over
+seventy years of age in 1723.  The School was badly managed, its
+discipline was relaxed, the better-to-do citizens withheld their sons from
+it, and its numbers were seriously diminished.  In 1717 the junior classes
+contained only 53 as against 120 in Ernesti's earlier years.  The
+proximity and operatic traditions of Dresden and Weissenfels also had a
+bad effect; the St. Thomas' boys, after attaining musical proficiency,
+were apt to become restless, demanding release from their indentures, and
+even running away to more attractive and lucrative occupations.  Moreover,
+the governors of the School were the Town Council, a body which had little
+sympathy with or appreciation of Bach's artistic aims and temperament. To
+these difficulties must be added another.  The Town Musicians, on whom
+Bach relied for the nucleus of his orchestra, were few in number and
+inefficient.
+
+So long as Ernesti lived, there was little prospect of reform.  But, after
+his death, in October 1729, Bach made vigorous representations to the Town
+Council.  Already he had remonstrated with the Council for presenting to
+foundation scholarships boys who lacked musical aptitude.  The Council
+retaliated by accusing Bach of neglecting his singing classes, absenting
+himself without leave, and of other irregularities.  He was declared to be
+"incorrigible" and it was resolved (August 2, 1730) to sequestrate the
+Cantor's income, in other words, to withhold from him the perquisites to
+which he was entitled for the conduct of the Church services.(114)
+
+Bach was not deterred from offering, three weeks later (August 23, 1730),
+a "sketch of what constitutes well-appointed Church music, with a few
+impartial reflections on its present state of decay" in Leipzig.  The
+document reveals the conditions amid which Bach worked.  Its
+representations may be summarised:
+
+The foundation scholars of St. Thomas' are of four classes: Trebles,
+Altos, Tenors, Basses.
+
+A choir needs from four to eight "concertists" ( solo singers) and at
+least two "ripienists" to each chorus part, i.e. a minimum of twelve
+voices.
+
+The foundation scholars number fifty-five, by whom the choirs of the four
+Churches, St. Thomas', St. Nicolas', St. Peter's, and the New Church are
+provided.  For the instrumental accompaniments at least twenty players are
+required: viz., 2 or 3 first Violins, 2 or 3 second Violins, 4 Violas, 2
+Violoncelli, 1 Contrabasso, 2 or more Flutes, 2 or 3 Oboi, 1 or 2 Fagotti,
+3 Trombe, 1 Timpani.  To fill these places there are eight Town Musicians,
+and at the moment there are no players available for third Tromba,
+Timpani, Viola, Violoncello, Contrabasso, third Oboe (or Taille).
+
+To augment the Town Musicians the Cantor has been wont in the past to
+employ University students and instrumental players in the School. Upon
+the former "at all times" he relies for Viola, Violoncello, and
+Contrabasso, and "generally" for the second Violins.  But the Council, by
+its recent resolution, no longer affords the Cantor the means to employ
+them.  To place the scholars in the orchestra weakens the choir, to which
+they naturally belong.
+
+By presenting to foundation scholarships boys unskilled and ignorant of
+music, the resources at the Cantor's disposal are still farther lessened.
+
+Hence, Bach concludes, "in ceasing to receive my perquisites I am deprived
+of the power of putting the music into a better condition."
+
+No answer was made to Bach's memorial, and he contemplated resigning his
+position.  But with the advent of Johann Matthias Gesner as Rector in
+September 1730 a happier period dawned upon the "incorrigible" Cantor.  In
+1732 Gesner procured the withdrawal of the Council's ban on Bach's
+perquisites.  The fallen fortunes of the School revived, and Bach did not
+again make an effort to leave Leipzig.  In 1736 the grant of the post of
+Hof-Componist to the Saxon Court gave him at length a title which
+compelled the deference of his civic masters.
+
+Bach's early misunderstanding with the University cut him off from
+association with the most dignified, if not the most important,
+institution in Leipzig, and deprived him of opportunity to display his
+genius beyond the radius of his Church duties.  The situation changed in
+1729, when he became director of the University Society, and he held the
+post for about ten years.  The Society gave weekly concerts on Fridays,
+from 8 to 10, and an extra concert, during the Fair season, on Thursdays
+at the same hour.  It performed vocal and instrumental music and was the
+medium through which Bach presented his secular Cantatas, Clavier and
+Violin Concertos, and Orchestral Suites to the public.  The proficiency of
+his elder sons and pupils, and his wife's talent as a singer, were a
+farther source of strength to the Society, whose direction undoubtedly
+made these years the happiest in Bach's life.  He took his rightful place
+in the musical life of the city, and relegated to a position of
+inferiority the smaller fry, such as Goerner, who had presumed on Bach's
+aloofness from the University and Municipality to insinuate themselves.
+His increasing reputation as an organist, gained in his annual autumn
+tours, also enlightened his fellow-townsmen regarding the superlative
+worth of one whom at the outset they were disposed to treat as a
+subordinate official.
+
+The Leipzig of Bach's day offered various opportunities for musical
+celebration; official events in the University, "gratulations" or
+"ovations" of favourite professors by their students, as well as patriotic
+occasions in which town and gown participated. The recognised fee for
+pieces d'occasion of a public character was fifty thalers.  Bach's
+conductorship of the University Society enabled him to perform festival
+works with the resources they required, and to augment the band and chorus
+needed for their adequate performance.
+
+Even before he undertook the direction of the University Society, Bach
+more than once provided the music for University celebrations.  On August
+3, 1725, his secular Cantata, _Der zufried-engestellte Aeolus,_ was
+performed at the students' celebration of Doctor August Friedrich Mueller's
+name-day.  In 1726 he revived an old Cantata(115) to celebrate the
+birthday of another of the Leipzig teachers.  In the same year the
+appointment of Dr. Gottlieb Kortte as Professor of Roman Law was
+celebrated by Bach's Cantata _Vereinigte Zwietracht der wechselnden
+Saiten._ In 1733 the birthday of another Professor was marked by the
+performance of the Coethen Cantata to yet another text (_Die Freude reget
+sich_). On November 21, 1734, the lost Cantata _Thomana sass annoch
+betruebt_ was sung at the induction of Gesner's successor, Johann August
+Ernesti, as Rector of St. Thomas' School.
+
+But Bach's activity as a secular composer at Leipzig was chiefly expended
+on patriotic celebrations. His compositions of this character are
+particularly numerous during the years 1733-36, while he was seeking from
+the Dresden Court the post of Hof-Componist.  The first of these
+celebrations took place on May 12, 1727, the birthday of Augustus II. of
+Poland-Saxony, when Bach's Cantata, _Entfernet euch, ihr heitern Sterne,_
+was performed in the Market Place by the University Society.  The King was
+present and listened to the performance from a convenient window.  The
+music is lost.  Six years elapsed before Bach was invited to collaborate
+in another celebration of the royal House.  On September 5, 1733, less
+than two months after his application for the post of Hof-Componist, the
+University Society celebrated the eleventh birthday of the Electoral
+Prince by performing Bach's dramma per musica, _Die Wahl des Herkules,_ or
+_Herkules auf dem Scheidewege._ Barely three months later, on December 8,
+1733, Bach produced another Cantata in honour of the royal family, _Toenet,
+ihr Pauken, erschallet Trompeten,_ of which he was both author and
+composer.  On no less than three occasions in 1734 Bach did homage to his
+unheeding sovereign.  In January the University Society, under Bach's
+direction, performed his Cantata _Blast Larmen, ihr Feinde_ to celebrate
+the coronation of Augustus III.  The music had already done duty in Dr.
+Mueller's honour in 1725.  On the following October 5, 1734, when the King
+visited Leipzig, Bach's hurriedly written Cantata, _Preise dein Gluecke,
+gesegnetes Sachsen,_ whose first chorus became the Osanna of the B minor
+Mass, was performed in the Market Place.  Two days later, on October 7,
+1734, the King's birthday was celebrated by another Bach Cantata,
+_Schleicht spielende Wellen,_ performed by the Collegium Musicum. In 1738,
+having received the coveted title of Hof-Componist in the interval (1736),
+Bach performed a work--_Willkommen, ihr herrschenden Goetter der Erden_--now
+lost, in honour of the marriage of the Princess Maria Amalia of Saxony to
+Charles of Sicily, afterwards Charles III. of Spain.
+
+Apart from his musical activities and the house in which he lived there is
+little that permits us to picture Bach's life at Leipzig.  Association
+with his friends Johann Christian Hoffmann, Musical Instrument Maker to
+the Court, Marianne von Ziegler, J. C. Gottsched and his musical wife,
+Johann Abraham Birnbaum, among the Professoriate, Picander and Christian
+Weiss, Bach's regular librettists, suggests the amenities of an academic
+and literary circle. But the claims of his art and the care of his large
+family had the first call upon Bach's interest.  And few men had a happier
+home life.  While his elder sons were at home the family concerts were
+among his most agreeable experiences.  As his fame increased, his house
+became the resort of many seeking to know and hear the famous organist.
+Late in the thirties he resigned his directorship of the University
+Society.  His sons were already off his hands and out of his house, and he
+turned again to the Organ works of his Weimar period.  Their revision
+occupied the last decade of his life, and the hitherto constant flow of
+Church Cantatas ceased. Pupils resorted to him and filled his empty house,
+to one of whom, Altnikol, he gave a daughter in marriage.
+
+A man of rigid uprightness, sincerely religious; steeped in his art,
+earnest and grave, yet not lacking naive humour; ever hospitable and
+generous, and yet shrewd and cautious; pugnacious when his art was
+slighted or his rights were infringed; generous in the extreme to his wife
+and children, and eager to give the latter advantages which he had never
+known himself; a lover of sound theology, and of a piety as deep as it was
+unpretentious--such were the qualities of one who towers above all other
+masters of music in moral grandeur.
+
+Four, perhaps only three, contemporary portraits of Bach are known.  One
+is in the possession of the firm of Peters at Leipzig and once belonged to
+Carl Philipp Emmanuel's daughter, who with inherited impiety sold it to a
+Leipzig flute player.  The second hung in St. Thomas' School and is
+reproduced at p. 48 of this volume.  It was painted in 1746 and restored
+in 1913.  Both portraits are by Elias Gottlieb Haussmann, Court Painter at
+Dresden. The third portrait belonged to Bach's last pupil, Kittel, and
+used to hang on the Organ at Erfurt, whence it disappeared after 1809,
+during the Napoleonic wars.  Recently Professor Fritz Volbach of Mainz has
+discovered a fourth portrait, which is printed at p. 92 of the present
+volume. He supposes it to be none other than the Erfurt portrait, as
+indeed it well may be, since it represents a man of some sixty years,
+austere in countenance, but of a dignity that is not so apparent in
+Haussmann's portraiture.(116)
+
+Bach left no will.  In consequence his widow, Anna Magdalena, burdened
+with the charge of a step-daughter and two daughters, was entitled to only
+one-third of her husband's estate.  Neither Carl Philipp Emmanuel nor
+Wilhelm Friedemann was her own child.  But the fact cannot excuse gross
+neglect of their father's widow. Her own sons were in a position to make
+such a contribution to her income as would at least have kept want from
+her door.  In fact she was permitted to become dependent on public
+charity, and died, an alms-woman, on February 27, 1760, nearly ten years
+after her great husband.  The three daughters survived her.  One died in
+1774, the second in 1781.  The third, Regine Susanna, survived them, her
+want relieved by gifts from a public that at last was awakening to the
+grandeur of her father.  Beethoven contributed generously.  Regine Susanna
+died in December 1809, the last of Bach's children.  In 1845 her nephew,
+Johann Christoph Friedrich's son, also died.  With him the line of Johann
+Sebastian Bach expired.
+
+   [Johann Sebastian Bach, circa 1746. From the picture by Haussmann.]
+
+   Johann Sebastian Bach, circa 1746. _From the picture by Haussmann._
+
+
+
+
+
+CHAPTER III. BACH AS A CLAVIER PLAYER
+
+
+As a Clavier player Bach was admired by all who had the good fortune to
+hear him and was the envy of the virtuosi of his day.  His method greatly
+differed from that of his contemporaries and predecessors, but so far no
+one has attempted to explain in what the difference consisted. The same
+piece of music played by ten different performers equally intelligent and
+competent will produce a different effect in each case.  Each player will
+emphasise this or that detail.  This or that note will stand out with
+differing emphasis, and the general effect will vary consequently.  And
+yet, if all the players are equally competent, ought not their
+performances to be uniform?  The fact that they are not so is due to
+difference of touch, a quality which to the Clavier stands as enunciation
+to human speech.  Distinctness is essential for the enunciation of vowels
+and consonants, and not less so for the articulation of a musical phrase.
+But there are gradations of distinctness.  If a sound is emitted
+indistinctly it is comprehensible only with effort, which occasions us to
+lose much of the pleasure we should otherwise experience. On the other
+hand, over-emphasis of words or notes is to be avoided.  Otherwise the
+hearer's attention will be diverted from the tout ensemble. To permit the
+general effect to be appreciated every note and every vowel must be
+sounded with balanced distinctness.
+
+I have often wondered why Carl Philipp Emmanuel Bach's _Essay on the Right
+Manner of playing the Clavier_(117) does not elucidate the qualities that
+constitute a good touch.  For he possessed in high degree the technique
+that made his father pre-eminent as a player.  True, in his chapter on
+"Style in Performance," he writes, "Some persons play as if their fingers
+were glued together; their touch is so deliberate, and they keep the keys
+down too long; while others, attempting to avoid this defect, play too
+crisply, as if the keys burnt their fingers.  The right method lies
+between the two extremes." But it would have been more useful had he told
+us how to reach this middle path.  As he has not done so, I must try to
+make the matter as clear as is possible in words.
+
+Bach placed his hand on the finger-board so that his fingers were bent and
+their extremities poised perpendicularly over the keys in a plane parallel
+to them.(118) Consequently none of his fingers was remote from the note it
+was intended to strike, and was ready instantly to execute every command.
+Observe the consequences of this position.  First of all, the fingers
+cannot _fall_ or (as so often happens) be _thrown_ upon the notes, but are
+_placed_ upon them in full control of the force they may be called on to
+exert.  In the second place, since the force communicated to the note
+needs to be maintained with uniform pressure, the finger should not be
+released perpendicularly from the key, but can be withdrawn gently and
+gradually towards the palm of the hand.  In the third place, when passing
+from one note to another, a sliding action instinctively instructs the
+next finger regarding the amount of force exerted by its predecessor, so
+that the tone is equally regulated and the notes are equally distinct.  In
+other words, the touch is neither too long nor too short, as Carl Philipp
+Emmanuel complains, but is just what it ought to be.(119) Many advantages
+arise from holding the hand in Bach's position and from adopting his
+touch, on the Clavichord and Harpsichord,(120) and on  the Organ as well.
+I point out merely the most important of them.   To begin with, if the
+fingers are bent, their movements are free.  The notes are struck without
+effort and with less risk of missing or hitting too hard, a frequent fault
+with people who play with their fingers elongated or insufficiently bent.
+In the second place, the sliding finger-tip, and the consequently rapid
+transmission of regulated force from one finger to another, tend to bring
+out each note clearly and to make every passage sound uniformly brilliant
+and distinct to the hearer without exertion.  In the third place, stroking
+the note with uniform pressure permits the string to vibrate freely,
+improves and prolongs the tone, and though the Clavichord is poor in
+quality, allows the player to sustain long notes upon it.  And the method
+has this advantage: it prevents over-expenditure of strength and excessive
+movement of the hand. We gather that the action of Bach's fingers was so
+slight as to be barely perceptible.  Only the top joint seemed to move.
+His hand preserved its rounded shape even in the most intricate passages.
+His fingers rested closely upon the keys, very much in the position
+required for a "shake."  An unemployed finger remained in a position of
+repose.  It is hardly necessary to say that that other limbs of his body
+took no part in his performance, as is the case with many whose hands lack
+the requisite agility.(121)
+
+A man may possess all these qualities, however, and remain an indifferent
+performer on the Clavier, just as clear and agreeable enunciation does not
+necessarily make a good speaker.  To be a first-rate performer many other
+qualities are needed, and Bach possessed them all in a notable degree.
+
+Some fingers are longer and stronger than others. Hence players are
+frequently seduced to use the stronger whenever they can readily do so.
+Consequently successive notes become unequal in tone, and passages which
+leave no choice as to the finger to be used may become impossible to play.
+Bach recognised this fact very early in his career.  To get over the
+difficulty he invented exercises for his own use in which the fingers of
+both hands were made to practise passages in every conceivable position.
+By this means every finger on both hands equally became strong and
+serviceable, so that he could play a rapid succession of chords, single
+and double "shakes," and running passages with the utmost finish and
+delicacy, and was equally fluent in passages where some fingers play a
+"shake" while the others on the same hand continue the melody.
+
+Besides these improvements, Bach invented a new system of fingering.(122)
+Before his time, and even in his early years, it was usual for the player
+to pay attention to harmony rather than counterpoint. Even so it was not
+customary to use every one of the twenty-four major and minor keys.  The
+Clavichord was still what we term "gebunden"; that is, several keys struck
+the same string, which, therefore, could not be accurately tuned.(123)
+Consequently it was usual to employ only those keys whose notes were tuned
+with some approximation to accuracy.  Again, good players in those days
+hardly ever used the thumb, except when a large interval had to be
+stretched.  But when Bach began to melodise harmony so that his middle
+parts not merely filled in but had a tune of their own, when, too, he
+began to deviate from the Church modes then in general vogue in secular
+music, using the diatonic and chromatic scales indifferently, and tuning
+the Clavier in all the twenty-four keys, he found himself compelled to
+introduce a system of fingering better adapted to his innovations than
+that in use, and in particular, to challenge the convention which
+condemned the thumb to inactivity. It is held by some writers that
+Couperin forestalled Bach's method of fingering, in his _L'Art de toucher
+le Clavecin,_ published in 1716.  But that is not the case.  In the first
+place, Bach was above thirty years old in 1716, and had already developed
+a distinctive method of his own.  And in the second place, Couperin's
+system differs materially from Bach's, though both made more frequent use
+of the thumb than was so far customary.  When I say "more frequent use" I
+do so advisedly; for whereas in Bach's system the thumb is the principal
+finger--for the difficult keys, as they are called, are unplayable without
+it--it is not equally indispensable with Couperin, whose thematic material
+was not so intricate as Bach's, nor did he compose or play in such
+difficult keys.  Consequently Couperin had not an equally urgent need to
+use the thumb. We need only compare Couperin's with Bach's system of
+fingering, as Carl Philipp Emmanuel explains it,(124) to discover that
+Bach's permits every passage, however intricate and polyphonic, to be
+played with ease, whereas Couperin's is hardly effective even for his own
+compositions.  Bach was acquainted with Couperin's works and highly
+esteemed them,(125) as he did those of other French Clavier composers, for
+their finish and brilliance. But he considered them affected in their
+excessive use of ornaments, scarcely a single note being free from them.
+He held them, also, superficial in matter.
+
+Bach's easy, unconstrained use of the fingers, his musical touch, the
+clearness and precision of every note he struck, the resourcefulness of
+his fingering, his thorough training of every finger of both hands, the
+luxuriance of his thematic material and his original method of stating it,
+all contributed to give him almost unlimited power over his instrument, so
+easily did he surmount the difficulties of its keyboard.  Whether he
+improvised or played his compositions from notes, he systematically
+employed every finger of each hand, and his fingering was as uncommon as
+the compositions themselves, yet so accurate that he never missed a note.
+Moreover, he read at sight other people's compositions (which, to be sure,
+were much easier than his own) with the utmost facility.  Indeed, he once
+boasted to a friend at Weimar that he could play at sight and without a
+mistake anything put before him.  But he was mistaken, as his friend
+convinced him before the week was out.  Having invited Bach to breakfast
+one morning, he placed on the Clavier, among other music, a piece which,
+at a first glance, seemed perfectly easy.  On his arrival, Bach, as was
+his custom, sat down at the Clavier to play or look through the music.
+Meanwhile his friend was in the next room preparing breakfast.  In a short
+time Bach took up the piece of music destined to change his opinion and
+began to play it.  He had not proceeded far before he came to a passage at
+which he stopped.  After a look at it he began again, only to stop at the
+same place. "No," he called out to his friend, who was laughing heartily
+in the next room, "the man does not exist who can play everything at
+sight.  It can't be done." With that he got up from the Clavier in some
+annoyance.(126)
+
+Bach also could read scores with remarkable facility and play them on the
+Clavier. He found no more difficulty in piecing together the separate
+parts when laid side by side before him.(127) He often did so when a
+friend brought him a new Trio or Quartet for Strings and wished to hear
+how it sounded.  If a Continuo part, however badly figured, was put before
+him he could improvise a Trio or Quartet upon it.  Nay, when he was in the
+mood and at the height of his powers, he would convert a Trio into a
+Quartet by extemporising a fourth part.  On such occasions he used a
+Harpsichord with two manuals and pedal attachment.
+
+Bach preferred the Clavichord to the Harpsichord, which, though
+susceptible of great variety of tone, seemed to him lacking in soul.  The
+Pianoforte was still in its infancy and too coarse.(128) Both for practice
+and intimate use he regarded the Clavichord as the best instrument and
+preferred to express on it his finest thoughts.  He held the Harpsichord,
+or Clavicembalo, incapable of the gradations of tone obtainable on the
+Clavichord, an instrument which, though feeble in quality, is extremely
+flexible.
+
+No one could adjust the quill plectrums of his Harpsichord to Bach's
+satisfaction; he always did it himself.  He tuned his Harpsichord and
+Clavichord, and was so skilful in the operation that it never took him
+more than a quarter of an hour.  It enabled him to play in any key he
+preferred, and placed the whole twenty-four of them at his disposal, so
+that he could modulate into the remoter as easily and naturally as into
+the more nearly related keys.  Those who heard him frequently could hardly
+detect the fact that he had modulated into a distant key, so smooth were
+his transitions.  In chromatic movements his modulation was as easy and
+sequent as in diatonic.  His _Chromatic Fantasia,_ which is now
+published,(129) bears out my statement.  In his extemporisation he was
+even freer, more brilliant and expressive.
+
+When he played his own music Bach usually adopted a brisk pace.  He
+contrived to introduce so much variety that every piece became a sort of
+conversation between its parts.  If he wished to express deep emotion he
+did not strike the notes with great force, as many do, but expressed his
+feeling in simple melodic and harmonic figures,(130) relying rather on the
+internal resources of his art than external dynamics.  Therein he was
+right. True emotion is not suggested by hammering the Clavier. All that
+results is that the notes cannot be heard distinctly, much less be
+connected coherently.
+
+
+
+
+
+CHAPTER IV.  BACH THE ORGANIST
+
+
+What has been said regarding Bach's admirable Clavier playing applies
+generally to his skill as an organist.  The Clavier and Organ have points
+in common, but in style and touch are as different as their respective
+uses.  What sounds well on the Clavier is ineffective on the Organ, and
+vice versa.  The most accomplished Clavier player may be, and usually is,
+a bad organist unless he realises the differing natures of the two
+instruments and the uses they serve.  I have come across only two men who
+can be regarded as exceptions to this general rule--Bach and his eldest
+son, Wilhelm Friedemann.  Both were finished Clavier performers, but no
+trace of the Clavier style was apparent when they played the Organ.
+Melody, harmony, and pace were carefully selected with due regard to the
+nature and distinctive use of each instrument.  When Wilhelm Friedemann
+played the Clavier his touch was elegant, delicate, agreeable.  When he
+played the Organ he inspired a feeling of reverent awe. On the one he was
+charming.  On the other he was solemn, impressive. So also was his father,
+and to an even greater degree.  Wilhelm Friedemann was a mere child to him
+as an organist, and frankly admitted the fact.(131) The music that
+extraordinary man wrote for the Organ is full of dignity, awe-inspiring,
+saturated with the atmosphere of devotion.  His improvisation was even
+more inspired, dignified, and impressive: for then his imagination was
+untrammelled by the irksomeness of expressing himself on paper.  What is
+the essence of this art? Let me, though imperfectly, attempt an answer.
+
+When we compare Bach's Clavier compositions with those written for the
+Organ it is at once apparent that they differ essentially in melodic and
+harmonic structure.  Hence we conclude that a good organist must select
+fitting themes for his instrument, and let himself be guided by its
+character and that of the place in which it stands and by the objects of
+its use.  Its great body of tone renders the Organ ill-adapted to light
+and jaunty music.  Its echoes must have liberty to rise and fall in the
+dim spaces of the church, otherwise the sound becomes confused, blurred,
+and unintelligible.  What is played upon it must be suited to the place
+and the instrument, in other words, must be congruous to a solemn and
+majestic fabric.  Occasionally and exceptionally a solo stop may be used
+in a Trio, etc.  But the proper function of the Organ is to support church
+singing and to stimulate devotional feeling.  The composer therefore must
+not write music for it which is congruous to secular surroundings.  What
+is commonplace and trite can neither impress the hearer nor excite
+devotional feeling.  It must therefore be banished from the Organ-loft.
+How clearly Bach grasped that fact!  Even his secular music disdained
+trivialities.  Much more so his Organ music, in which he seems to soar as
+a spirit above this mortal planet.
+
+Of the means by which Bach attained to such an altitude as a composer for
+the Organ we may notice his harmonic treatment of the old Church modes,
+his use of the obbligato pedal, and his original registration.  The
+remoteness of the ecclesiastical modes from our twenty-four major and
+minor keys renders them particularly appropriate to the service of
+religion.  Any one who looks at Bach's simple four-part Hymn tunes
+(Choralgesaenge) will at once convince himself of the fact.  But no one can
+realise how the Organ sounds under a similar system of harmonic treatment
+unless he has heard it.  It becomes a choir of four or five parts, each in
+its natural compass.  Compare the following chords in divided harmony:
+
+                    [Divided Harmony, Bach treatment]
+
+with these:
+
+                [Divided Harmony, conventional treatment]
+
+which is the more usual form organists employ. We realise instantly the
+effect when music in four or more parts is played in the same manner. Bach
+always played the Organ so, adding the obbligato pedal, which few
+organists know how to use properly.  He employed it not only to sound the
+low notes which organists usually play with the left hand, but he gave it
+a regular part of its own, often so complicated that many organists would
+find it difficult to play with their five fingers.
+
+To these qualities must be added the exquisite art Bach displayed in
+combining the stops of the Organ.  His registration frequently astonished
+organists and Organ builders, who ridiculed it at first, but were obliged
+in the end to admit its admirable results and to confess that the Organ
+gained in richness and sonority.(132)
+
+Bach's peculiar registration was based on his intimate knowledge of Organ
+building and of the properties of each individual stop.  Very early in his
+career he made a point of giving to each part of the Organ the utterance
+best suited to its qualities, and this led him to seek unusual
+combinations of stops which otherwise would not have occurred to him.
+Nothing escaped his notice which had the slightest bearing on his art or
+promised to advance it.  For instance, he made a point of observing the
+effect of large musical compositions in different surroundings.  The
+practised ear, which enabled him to detect the slightest error in music
+even of the fullest and richest texture, and the art and rapidity with
+which he tuned his instrument, alike attest his intuitive skill and
+many-sidedness.  When he was at Berlin in 1747 he was shown the new Opera
+House.  He took in its good and bad qualities at a glance, whereas others
+had done so only after experience. He was shown the large adjoining Saloon
+and went up into the gallery that runs round it. Merely glancing at the
+roof he remarked, "The architect has secured a novel effect which,
+probably, neither himself nor any one else suspected." The Saloon, in
+fact, is a parallelogram. If a person puts his face to the wall in one
+corner of it and whispers a few words, another person at the corner
+diagonally opposite can hear them distinctly, though to others between
+them the words are inaudible.  The effect arises from the span of the
+arches in the roof, as Bach saw at a glance.  These and similar
+observations suggested to him striking and unusual combinations of Organ
+stops.
+
+Bach brought the methods I have indicated to bear upon Church music, and
+they help to explain his extraordinarily dignified and inspired playing,
+which was at once so appropriate and filled the listener with deep awe and
+admiration.  His profound knowledge of harmony, unfailing originality,
+freedom from a secular style, his complete command of the instrument, both
+manuals and pedals, whence flowed a generous stream of the richest and
+most abundant fancy, the infallible and swift judgment which allowed him
+always to select from the treasury of his mind precisely the musical ideas
+best suited to the occasion immediately before him, his intuitive grasp of
+every detail, and his power to make it serve his artistic ends--in a word,
+his transcendent genius brought the art of Organ playing to a degree of
+perfection which, till then, it had never attained and hardly will attain
+again.  Quantz(133) has expressed the same opinion. "The admirable Johann
+Sebastian Bach," he writes, "brought the art of Organ playing to its
+highest perfection.  It is to be hoped that when he dies it will not be
+suffered to decline or be lost, as is to be feared from the small number
+of people who nowadays bestow pains upon it."(134)
+
+Strangers often asked Bach to play to them between the hours of divine
+service.  On those occasions he was wont to select and treat a theme in
+various ways, making it the subject of each extemporisation even if he
+continued playing for two hours.  As a beginning he played a Prelude and
+Fugue on the Great Organ.  Then he developed it with solo stops in a Trio
+or Quartet.  A Hymn-tune followed, whose melody he interrupted in the
+subtlest fashion with fragments of the theme in three or four parts.  Last
+came a Fugue, with full Organ, in which he treated the subject alone or in
+association with one or more accessory themes. Here we have the art which
+old Reinken of Hamburg considered to be lost, but which, as he afterwards
+found, not only survived but attained its greatest perfection in Bach.
+
+Bach's pre-eminent position and his high reputation often caused him to be
+invited to examine candidates for vacant organistships, and to report on
+new Organs.  In both cases he acted so conscientiously and impartially
+that he generally made enemies.  Scheibe, late Director of Music at the
+Danish Court, who as a young man was examined by Bach on such an occasion,
+was so incensed by Bach's unfavourable verdict that he afterwards avenged
+himself in his "Critical Musician" by violently attacking his
+examiner.(135) In his examination of Organs Bach equally exposed himself
+to trouble.  He could as little prevail on himself to praise a bad
+instrument as to recommend a bad organist.  He was, therefore, severe,
+though always fair, in the tests he applied, and as he was thoroughly
+acquainted with the construction of the instrument it was hopeless to
+attempt to deceive him.  First of all he drew out all the stops, to hear
+the Full Organ.  He used to say jokingly, that he wanted to find out
+whether the instrument had good lungs!  Then he gave every part of it a
+most searching test.  But his sense of fairness was so strong that, if he
+found the work really well done, and the builder's remuneration too small,
+so that he was likely to be a loser, Bach endeavoured, and often
+successfully, to procure for him an adequate addition to the purchase
+price.
+
+When the examination was over, especially if the instrument pleased him,
+Bach liked to exhibit his splendid talent, both for his own pleasure and
+the gratification of those who were present.  Such demonstrations of his
+powers invariably invited the verdict, that he was conclusively "the
+prince of Clavier and Organ players," a title which Sorge, the late
+highly-esteemed organist at Lobenstein,(136) once gave him in a dedicatory
+Preface.
+
+
+
+
+
+CHAPTER V. BACH THE COMPOSER
+
+
+Bach's first attempts at composition, like all early efforts, were
+unsatisfactory.  Lacking special instruction to direct him towards his
+goal, he was compelled to do what he could in his own way, like others who
+have set out upon a career without a guide.  Most youthful composers let
+their fingers run riot up and down the keyboard, snatching handfuls of
+notes, assaulting the instrument in wild frenzy, in hope that something
+may result from it.  Such people are merely Finger Composers--in his riper
+years Bach used to call them Harpsichord Knights--that is to say, their
+fingers tell them what to write instead of being instructed by the brain
+what to play.(137) Bach abandoned that method of composition when he
+observed that brilliant flourishes lead nowhere.  He realised that musical
+ideas need to be subordinated to a plan and that the young composer's
+first need is a model to instruct his efforts.  Opportunely Vivaldi's
+Concertos for the Violin,(138) then recently published, gave him the
+guidance he needed.  He had often heard them praised as admirable works of
+art, and conceived the happy idea of arranging them for the Clavier.(139)
+Hence he was led to study their structure, the musical ideas on which they
+are built, the variety of their modulations, and other characteristics.
+Moreover, in adapting to the Clavier ideas and phrases originally written
+for the Violin Bach was compelled to put his brain to work, and so freed
+his inspiration from dependence on his fingers.  Henceforth he was able to
+draw ideas out of his own storehouse, and having placed himself on the
+right road, needed only perseverance and hard work to succeed. And how
+persevering he was!  He even robbed himself of sleep to practise in the
+night what he had written during the day!  But the diligence he bestowed
+upon his own compositions did not hinder him from studying the works of
+Frescobaldi,(140) Froberger, Kerl, Pachelbel, Fischer, Strungk,(141)
+Buxtehude, Reinken, Bruhns, Boehm, and certain French organists who were
+famed in those days as masters of harmony and fugue.(142)
+
+The models he selected--Church musicians for the most part--and his own
+disposition inclined him to serious and exalted subjects.  But in that
+kind of music little can be accomplished with inadequate technique.
+Bach's first object, therefore, was to develop his power of expressing
+himself before he attempted to realise the ideal that beckoned him.  Music
+to him was a language, and the composer a poet who, whatever the idiom he
+affects, must first of all have at his disposal the means of making
+himself intelligible to others. But the technique of his period Bach found
+limited in variety and insufficiently pliable.  Therefore he set himself
+at the outset to refashion the accepted harmonic system.  He did so in a
+manner characteristically individual and bearing the impress of his
+personality.
+
+If the language of music is merely the utterance of a melodic line, a
+simple sequence of musical notes, it can justly be accused of poverty.
+The addition of a Bass puts it upon a harmonic foundation and clarifies
+it, but defines rather than gives it added richness.  A melody so
+accompanied--even though all the notes are not those of the true Bass--or
+treated with simple embellishments in the upper parts, or with simple
+chords, used to be called "homophony."  But it is a very different thing
+when two melodies are so interwoven that they converse together like two
+persons upon a footing of pleasant equality.  In the first case the
+accompaniment is subordinate, and serves merely to support the first or
+principal part.  In the second case the two parts are not similarly
+related.  New melodic combinations spring from their interweaving, out of
+which new forms of musical expression emerge.  If more parts are
+interwoven in the same free and independent manner, the apparatus of
+language is correspondingly enlarged, and becomes practically
+inexhaustible if, in addition, varieties of form and rhythm are
+introduced.  Hence harmony becomes no longer a mere accompaniment of
+melody, but rather a potent agency for augmenting the richness and
+expressiveness of musical conversation.  To serve that end a simple
+accompaniment will not suffice.  True harmony is the interweaving of
+several melodies, which emerge now in the upper, now in the middle, and
+now in the lower parts.
+
+From about the year 1720, when he was thirty-five, until his death in
+1750, Bach's harmony consists in this melodic interweaving of independent
+melodies, so perfect in their union that each part seems to constitute the
+true melody. Herein Bach excels all the composers in the world.(143) At
+least, I have found no one to equal him in music known to me.  Even in his
+four-part writing we can, not infrequently, leave out the upper and lower
+parts and still find the middle parts melodious and agreeable.
+
+But in harmony of this kind each part must be highly plastic; otherwise it
+cannot play its role as an actual melody and at the same time combine with
+the other parts.  To produce it Bach followed a course of his own, upon
+which the textbooks of his day were silent, but which his genius suggested
+to him.  Its originality consists in the freedom of his part writing, in
+which he transgresses, seemingly, at any rate, rules long established and
+to his contemporaries almost sacred. Bach, however, realised their object,
+which was simply to facilitate the flow of pure melody on a sound harmonic
+basis, in other words, successive and coexistent euphony, and he succeeded
+with singular success though by unfamiliar means.  Let me explain my
+meaning more closely.
+
+Between simple intervals there is little difficulty in deciding whether
+the second note must rise or fall.  And in regard to phrases, or sections
+of a phrase, if we analyse their structure and follow out their harmonic
+tendency, their resolution is equally clear.  But this sense of
+destination may be provoked in each part by different intervals.  As we
+have observed already, every one of the four parts must flow melodically
+and freely.  But to secure that result it will be necessary to introduce
+between the notes which begin a phrase and establish its general
+atmosphere other notes which often are not consonant with those employed
+in the other parts and whose incidence is governed by the accent.  This is
+what we call a transitus regularis et irregularis.(144) Each part starts
+from a fixed point, and returns to it, but travels freely between them.
+No one has made more use of such progressions than Bach in order to colour
+his parts and give them a characteristic melodic line.  Hence, unless his
+music is played with perfect fluency, occasional passages will sound
+harshly and we may be tempted to accuse him of exaggeration.  But the
+charge is ill founded. Once we play them as Bach intended them, such
+passages reveal their full beauty and their attractive though bizarre
+dissonance opens up new vistas in the realm of sound.
+
+But, to speak in detail of Bach's transgression of recognised rules.  To
+begin with, he admitted octaves and fifths provided they sounded well;
+that is, when the cause of their being forbidden did not arise.(145)
+Everybody knows that there are positions in which they sound well, and
+others when they should be avoided, owing to the harsh effect or thin
+harmony they produce.  Bach's octaves and fifths never produce bad or thin
+harmony, and he was very definite as to when they could and could not be
+used.  In certain circumstances he would not permit hidden fifths and
+octaves even between the middle parts, though we exclude them only between
+the outer parts.  Yet, on occasion he used them in such a barefaced manner
+as to puzzle the beginner in composition.  But their use very soon
+commends itself.  Even in the last revision of his early compositions we
+find him altering passages, which at first sight appear impeccable, with
+the object of enriching their harmony and without scrupling to use hidden
+octaves.  A remarkable instance occurs in the first part of the
+_Well-tempered Clavier,_ in the E major Fugue, between the fifth and
+fourth bars from the end.(146) I regret to this hour that, on looking over
+the later text, from which Hoffmeister and Kuehnel's edition of that work
+is printed,(147) I was so foolish as to reject Bach's amended reading
+there, merely because the harmony is unorthodox though more pleasing.  I
+stupidly preferred the older, more correct, and harsher reading, though in
+the later text the three parts run easily and smoothly. And what more can
+one demand?
+
+Again, there is a rule that every note raised by an accidental cannot be
+doubled in the chord, because the raised note must, from its nature,
+resolve on the note above.  If it is doubled, it must rise doubled in both
+parts and, consequently, form consecutive octaves.  Such is the rule.  But
+Bach frequently doubles not only notes accidentally raised elsewhere in
+the scale but actually the semitonium modi or leading-note itself.  Yet he
+avoids consecutive octaves.  His finest works yield examples of this.
+
+Again, Bach's statement that "over a pedal point all intervals are
+permissible that occur in the three scales"(148) should be regarded rather
+an expansion than a violation of the recognised rule.  In general what is
+called an Organ point is merely a retarded close.  Bach, however, did not
+hesitate to employ it in the middle of a piece; a striking example occurs
+in the last Gigue of the _English Suites._(149) On a first hearing this
+Gigue, imperfectly rendered, may not sound well.  But it grows more
+beautiful as it becomes more familiar, and what seemed harsh is found to
+be smooth and agreeable, until one never tires of playing and hearing it.
+
+Bach's modulation was as original and characteristic as his harmony, and
+as closely related to it.  But the two things, though closely associated,
+are not the same.  By harmony we mean the concordance of several parts; by
+modulation, their progression through keys.  Modulation can take place in
+a single part.  Harmony requires more than one.  I will endeavour to make
+my meaning clearer.
+
+Most composers stick closely to their tonic key and modulate out of it
+with deliberation.  In music that requires a large number of performers,
+and in a building, for instance a church, where the large volume of sound
+dies away slowly, such a habit shows good sense in the composer who wishes
+his work to produce the best possible effect.  But in chamber or
+instrumental music it is not always a proof of wisdom, but rather of
+mental poverty. Bach saw clearly that the two styles demand different
+treatment.  In his large choral compositions he bridles his exuberant
+fancy.  In his instrumental works he lets himself go.  As he never courted
+popularity, but always pursued his ideal, Bach had no reason to suppress
+the nobility of his inspirations, or to lower their standard for public
+consumption.  Nor did he ever do so.  Therefore every modulation in his
+instrumental work is a new thought, a constantly progressive creation in
+the plane of the chosen keys and those related to them.  He holds fast to
+the essentials of harmony, but with every modulation introduces a new
+suggestion and glides so smoothly to the end of a piece that no creaking
+of machinery is perceptible; yet no single bar--I might almost say no part
+of a bar--is like another.  Every modulation bears a strict relationship to
+the key from which it proceeds, and springs naturally from it.  Bach
+ignored, or rather despised, the sudden sallies by which many composers
+seek to surprise their hearers.  Even in his chromatic passages his
+progressions are so smooth and easy that we are hardly conscious of them,
+however extreme they may be.  He makes us feel that he has not stepped
+outside the diatonic scale, so quick is he to seize upon the consonances
+common to dissonant systems and combine them to his sure purpose.
+
+                      [The Bach Statue at Eisenach]
+
+                       The Bach Statue at Eisenach
+
+
+
+
+
+CHAPTER VI. BACH THE COMPOSER (CONTINUED)
+
+
+Bach's treatment of harmony and modulation powerfully influenced his
+melody.  The strands of his harmony are really concurrent melodies. They
+flow easily and expressively, never engross the hearer's attention, but
+divide his interest, as now one now the other becomes prominent. Even when
+they are noticeable they seem obscured by the melodic parts that accompany
+them--I say "seem obscured," for if the hearer is sufficiently instructed
+to distinguish the several melodies in the ensemble he will discover them
+to be more clearly defined by their accompaniment.
+
+The combination of several melodic lines obliges the composer to use
+devices which are unnecessary in homophonic music.  A single melody can
+develop as it pleases.  But when two or more are combined each must be so
+delicately and cleverly fashioned that it can be interwoven with the
+others in this direction and in that.  And here we detect one at least of
+the reasons why Bach's melodies are so strangely original, and his tunes
+so clearly distinguishable from those of other composers.  Provided that
+novelty does not degenerate into eccentricity or extravagance, and that
+clearness and facility of expression march with agreeableness, a
+composer's meritoriousness is proclaimed in his originality.(150) The one
+drawback is that the ordinary hearer cannot appreciate melodic beauties
+which are patent only to the expert.
+
+But Bach's melodies are not invariably so handicapped. They are always
+original, it is true. But in his free compositions the melodies are so
+natural and spontaneous that, while they sound differently from those of
+other composers, their naturalness, and the sincerity of feeling that
+inspires them, make them intelligible to every listener.  Most of the
+Preludes in the _Well-tempered Clavier_ as well as a number of movements
+in the Suites are of this character.
+
+Bach's melody, then, bears the unmistakable stamp of originality.  And so
+does his passage work, as it is called.  Such novelty, originality, and
+brilliancy are not found in any other composer. Examples are to be found
+in all Bach's Clavier works. But the most striking and original are in the
+_Great Variations,_(151) in the first Part of the _Clavieruebung,_(152) in
+the _English Suites,_(153) and the _Chromatic Fantasia._(154) In the last
+particularly Bach's fertility impresses us.  The greater part of its
+passage work is in the form of harmonic arpeggios whose richness and
+originality match the chords they represent.
+
+In order to realise the care and skill Bach expended on his melody and
+harmony, and how he put the very best of his genius into his work, I need
+only instance his efforts to construct a composition incapable of being
+harmonised with another melodic part.  In his day it was regarded as
+imperative to perfect the harmonic structure of part-writing.
+Consequently the composer was careful to complete his chords and leave no
+door open for another part.  So far the rule had been followed more or
+less closely in music for two, three, and four parts, and Bach observed it
+in such cases.  But he applied it also to compositions consisting of a
+single part, and to a deliberate experiment in this form we owe the six
+Violin and the six Violoncello Solo Suites,(155) which have no
+accompaniment and do not require one.  So remarkable is Bach's skill that
+the solo instrument actually produces all the notes required for complete
+harmony, rendering a second part unnecessary and even impossible.
+
+Bach's melody never palls on us, because of the presence in it of those
+qualities to which I have referred.  It remains "ever fair and young,"
+like Nature herself.  In his earlier works, in which we find him still in
+bondage to the prevailing mode, there is a good deal that to-day seems
+antiquated.  But when, as in his later works, he draws his melody from the
+living wells of inspiration and cuts himself adrift from convention, all
+is as fresh and new as if it had been written yesterday.  Of how many
+compositions of that period can the same be said?  Even the works of
+ingenious composers like Reinhard Keiser(156) and Handel have become
+old-fashioned sooner than we or their composers might have supposed. Like
+other caterers for the public, they were obliged to pander to its taste,
+and such music endures no longer than the standard which produced it.
+Nothing is more inconstant and fickle than popular caprice and, in
+general, what is called fashion.  It must be admitted, however, that
+Handel's Fugues are not yet out of date, though there are probably few of
+his Arias that we now find agreeable.(157)
+
+Bach's melody and harmony are rendered still more distinctive by their
+inexhaustible rhythmic variety.  Hitherto we have discussed his music
+merely subjectively as harmony and melody.  But to display vivacity and
+variety music needs to be uttered with rhythmic point and vigour.  More
+than those of any other period composers of Bach's time found no
+difficulty in this, for they acquired facility in the management of rhythm
+in the "Suite," which held the place of our "Sonata." Between the initial
+Prelude and closing Gigue the Suite includes a number of characteristic
+French dance measures, whose rhythm is their distinguishing
+characteristic.  Composers of Bach's day, therefore, were familiar with
+measures and rhythms which are now obsolete.  Moreover skilful treatment
+was necessary in order that each dance might exhibit its own distinctive
+character and swing.  Herein Bach exceeded his predecessors and
+contemporaries.  He experimented with every kind of key and rhythm in
+order to give variety and colour to each movement.  Out of his experience
+he acquired such facility that, even in Fugue, with its complex
+interweaving of several parts, he was able to employ a rhythm as easy as
+it was striking, as characteristic as it was sustained from beginning to
+end, as natural as a simple Minuet.
+
+The source of Bach's astonishing pre-eminence is to be sought in his
+facile and constant application of the methods we have discussed.  In
+whatever form he chose to express himself, easy or difficult, he was
+successful and seemingly effortless.(158) There is not a note in his music
+that does not suggest consummate ease of workmanship. What he sets out to
+do he concludes triumphantly. The result is complete and perfect; no one
+could wish for a single note to be other than it is.  Some illustrations
+will make my point clearer.
+
+Carl Philipp Emmanuel, in the preface to his father's _Vierstimmige
+Choralgesaenge_ ("Four-part Hymn-tunes"), which he edited,(159) says that
+the world was accustomed to look for nothing but masterpieces from Bach.
+Some reviewers thought this praise exaggerated.  But if the term
+"masterpiece" is restricted to works written during the years of Bach's
+maturity(160) it is nothing less than the truth.  Others have produced
+masterpieces in various forms which may be placed honourably by the side
+of his.  For instance, certain Allemandes, Courantes, etc., by Handel and
+others are not less beautiful, though less richly wrought, than Bach's.
+But in Fugue, Counterpoint, and Canon he stands alone, in a grandeur so
+isolated that all around him seems desert and void.  No one ever wrote
+Fugues to compare with his; indeed, persons unacquainted with them cannot
+imagine what a Fugue is and ought to be.  The ordinary Fugue follows a
+rule of thumb development.  It takes a theme, puts another beside it,
+passes them into related keys, and writes other parts round them over a
+Continuo.  Certainly this is Fugue: but of what merit?  Persons who know
+no other not unnaturally hold the whole species in little esteem, and the
+player who hopes to make such commonplace material convincing will need
+all his skill and imagination.
+
+Bach's Fugue is of quite another kind.  It presents all the
+characteristics we are accustomed to in freer musical forms: a flowing and
+distinctive melody, ease, clarity, and facility in the progression of the
+parts, inexhaustible variety of modulation, purest harmony, the exclusion
+of every jarring or unnecessary note, unity of form and variety of style,
+rhythm, and measure, and such superabundant animation that the hearer may
+well ask himself whether every note is not actually alive.  Such are the
+properties of Bach's Fugues, properties which excite the admiration and
+astonishment of all who can appreciate the intellectual calibre their
+composition demands. How great a tribute of homage is due to work of this
+kind, which exhibits all the qualities which lend distinction to
+compositions in other musical forms!  Moreover, while all Bach's Fugues of
+his mature period have the foregoing properties in common, each is endowed
+with peculiar excellencies of its own, has its own distinctive
+individuality, and displays a melodic and harmonic scheme in keeping with
+it.  The man who can play one of Bach's Fugues is familiar with, and can
+play, one only; whereas knowing one, we can perform portfolios of Fugues
+by other performers of Bach's period.
+
+To what a height was the art of Counterpoint carried by Bach's genius!  It
+enabled him to develop out of a given subject a whole family of related
+and contrasted themes, of every form and design.  It taught him to develop
+an idea logically from the beginning to the end.  It gave him such a
+command of harmony and its infinite combinations that he could invert
+whole themes, note by note, in every part, without impairing in the least
+the flow of melody or purity of his harmony.  It taught him to write in
+canon at all intervals and in movements of all kinds so easily and
+naturally that the workmanship is not perceptible and the composition
+sounds as smoothly as though it were in the free style. Lastly, it has
+given to posterity a legacy of works immensely various, which are, and
+will remain, models of contrapuntal form as long as music endures.(161)
+
+I have written exclusively so far of Bach's Clavier and Organ work.  But
+in its expression music has two branches, instrumental and vocal, and as
+Bach excels in both of them, the reader will desire to hear somewhat
+respecting his vocal writings.
+
+It was at Weimar that Bach first had occasion to write for the voice,(162)
+upon his appointment to the Kapelle, which imposed on him the provision of
+music for the ducal chapel.  His church music, like his Organ works, is
+devout and serious, and in every respect what church music ought to be. He
+makes a point also of not elaborating individual words, which leads to
+mere trifling, but interprets the text as a whole.(163) His choruses
+invariably are magnificent and impressive, and he frequently introduces
+Chorals into them,(164) making the other parts accompany their Cantus
+fugally, as was the practice in a Motet.  As elsewhere in his works, the
+harmonic structure of his voice parts and instrumental accompaniment is
+rich.  The declamation of the recitatives is expressive, and the latter
+have fine Continuo parts.(165) In his Arias, hardly one of which is not
+beautiful and expressive, Bach seems to have been handicapped by the
+inefficiency of his singers and instrumentalists, who constantly
+complained of the difficulty of his music.  If he had been fortunate
+enough to have capable performers the merits of his church music would
+have been established and, like his other works, they would still be sung
+and admired; for they contain treasures which deserve immortality.(166)
+
+Among the works composed at Leipzig I single out two Cantatas, one of
+which was performed at Coethen at the funeral of Bach's beloved Prince
+Leopold, and the other in St. Paul's Church, Leipzig, on the occasion of
+the funeral sermon in honour of Christiana Eberhardine, Queen of Poland
+and Electress of Saxony.(167) The first contains double choruses of
+uncommon magnificence and most affecting sentiment.(168) The second has
+only four-part choruses, but they are so delightful and fresh that he who
+begins the work will not pause till he has reached the end of it. It was
+written in October 1727.
+
+Bach also composed a great number of Cantatas, chiefly for the choir of
+St. Thomas' School, Leipzig.(169) The choir ordinarily numbered fifty
+singers, and sometimes more, over whose musical training Bach presided
+like a father.  He practised them so hard in Cantatas for single and
+double chorus that they became excellent singers.  Among these works are
+some which, in profundity of conception, magnificence, richness of harmony
+and melody, and animation, surpass everything of their kind. But, like all
+Bach's works, and in common with other masterpieces, they are difficult to
+perform and need a numerous orchestra to produce their full effect.
+
+Such are Bach's most important vocal compositions. (170) In minor forms of
+the art, morceaux for social entertainments and the like, he wrote
+little,(171) though he was of a most sociable disposition. For instance,
+he is said never to have composed a song.(172) And why should he?  They
+produce themselves so spontaneously that there is little call for genius
+to aid their gestation.
+
+  [Johann Sebastian Bach. From the picture discovered by Professor Fritz
+                                 Volbach]
+
+  Johann Sebastian Bach. _From the picture discovered by Professor Fritz
+                                 Volbach_
+
+
+
+
+
+CHAPTER VII. BACH AS A TEACHER
+
+
+It not infrequently happens that talented composers and players are
+incapable of imparting their skill to others.  Either they have never
+troubled to probe the mechanism of their own facility, or, through the
+excellence of their instructors, have taken the short cut to proficiency
+and allowed their teacher and not their own judgment to decide how a thing
+should be done.  Such people are useless to instruct beginners.  True,
+they may succeed in teaching the rudiments of technique, assuming that
+they have been properly taught themselves.  But they are certainly
+unqualified to teach in the full sense of the word.  There is, in fact,
+only one way to become a good teacher, and that is to have gone through
+the discipline of self-instruction, a path along which the beginner may go
+astray a thousand times before attaining to perfection. For it is just
+this stumbling effort that reveals the dimensions of the art. The man who
+has adventured it learns the obstacles that obstruct his path, and how to
+surmount them. To be sure, it is a lengthy method. But if a man has
+patience to persevere he will reap a sure reward after an alluring
+pilgrimage.  No musician ever founded a school of his own who has not
+followed such a course, and to his experience his teaching has owed its
+distinctive character.
+
+This is so with Bach, who, only gradually discovering his full stature,
+was thirty years old before unremitting application raised him above the
+difficulties of his art.  But he reaped his reward.  Self-discipline set
+him on the fairest and most alluring path that it has ever been given to a
+musician to tread.
+
+To teach well a man needs to have a full mind. He must have discovered how
+to meet and have overcome the obstacles in his own path before he can be
+successful in teaching others how to avoid them.  Bach united both
+qualities.  Hence, as a teacher he was the most instructive, clear, and
+definite that has ever been.  In every branch of his art he produced a
+band of pupils who followed in his footsteps, without, however, equalling
+his achievement.
+
+First of all let me show how he taught the Clavier.(173) To begin with,
+his pupils were made to acquire the special touch of which I have already
+spoken.(174) To that end for months together he made them practise nothing
+but simple exercises for the fingers of both hands, at the same time
+emphasising the need for clearness and distinctness. He kept them at these
+exercises for from six to twelve months, unless he found his pupils losing
+heart, in which case he so far met them as to write short studies which
+incorporated a particular exercise.  Of this kind are the _Six Little
+Preludes for Beginners,_(175) and the _Fifteen Two-part Inventions,_(176)
+both of which Bach wrote during the lesson for a particular pupil and
+afterwards improved into beautiful and expressive compositions.  Besides
+this finger practice, either in regular exercises or in pieces composed
+for the purpose, Bach introduced his pupils to the use of the various
+ornaments in both hands.
+
+Not until this stage was reached did Bach allow his pupils to practise his
+own larger works, so admirably calculated, as he knew, to develop their
+powers.  In order to lessen their difficulty, it was his excellent habit
+to play over to them the pieces they were to study, with the remark,
+"That's how it ought to sound."(177) It would be difficult to exaggerate
+the helpfulness of this method. The pupil's interest was roused by hearing
+the piece properly played. But that was not the sole result.  Without the
+help thus given the pupil could only hope to overcome the difficulties of
+the piece after considerable effort, and would find it much less easy to
+realise a proper rendering of it.  As it was, he received at once an ideal
+to aim at and was taught how to surmount the difficulties the piece
+presented.  Many a young performer, still imperfect after a year's
+practice, probably would master his music in a month if he once had it
+played over to him.
+
+Bach's method of teaching composition was equally sure and effective.(178)
+He did not begin with the dry details of counterpoint, as was the custom
+of other teachers in his day.  Still less did he burden his pupils with
+the physical properties of sound, which he held to be matter for the
+theorist and instrument-maker rather than the composer.  He started them
+off at once on four-part harmony over a figured Bass, making his pupils
+write each part on a separate stave in order to impress on them the need
+for accurate harmonic progression.  Then he passed to Hymn tunes, setting
+the Bass himself and making his pupils write the Tenor and Alto parts.  In
+time he let them write the Bass also.  He insisted on correct harmony and
+on each part having a real melodic line.  Every musician knows what models
+Bach has left us in this form.  The inner parts of his four-part
+Hymn-tunes are so smooth and melodious that often they might be taken for
+the melody.  He made his pupils aim at similar tunefulness, and until they
+showed a high standard of merit did not permit them to write compositions
+of their own.  Meanwhile he aimed at cultivating their feeling for pure
+harmony and for the order and connection of ideas and parts by
+familiarising them with the compositions of others.  Until they had
+acquired facility in those qualities he neither permitted them nor held
+them competent to put pen to paper.
+
+Bach required his pupils in composition to work out their musical ideas
+mentally.  If any of them lacked this faculty he admonished him not to
+compose and discountenanced even his sons from attempting to write until
+they had first given evidence of genuine musical gifts.  Having completed
+their elementary study of harmony, Bach took his pupils on to the theory
+of Fugue, beginning with two-part writing.  In these and other exercises
+he insisted on the pupil composing away from the Clavier.(179) Those who
+did otherwise he ridiculed as "Harpsichord Knights."  In the second place
+he required rigorous attention to each part and its relation to the
+concurrent parts, permitting none, not even an inner one, to break off
+before it had finished what it had to say.  He insisted upon a correct
+relation between each note and its predecessor.  If he came upon one whose
+derivation or destination was not perfectly clear he struck it out as
+faulty.  It is, indeed, a meticulous exactitude in each individual part
+that makes Bach's harmony really multiple melody.  Confused part-writing,
+where a note that belongs to the Tenor is given to the Alto, or vice
+versa, or the haphazard addition of extraneous parts to a chord which
+suddenly shows an increase of notes as if fallen from the sky, to vanish
+as suddenly as they came, are faults found neither in his own nor his
+pupils' writing.  He regarded his musical parts as so many persons engaged
+in conversation. If there are three, each of them on occasion may be
+silent and listen to the others until it finds something relevant to say
+itself.  But if, at an interesting point of the conversation, an
+interloping voice intervened, Bach regarded it as an intruder and let his
+pupils understand that it could not be admitted.
+
+Notwithstanding his strictness on this point, Bach allowed his pupils
+considerable licence in other respects.  In their use of certain
+intervals, as in their treatment of harmony and melody, he let them
+experiment within the limits of their ability, taking care to
+discountenance ugliness and to insist on their giving appropriate
+expression to the character of the composition.  Beauty of expression, he
+postulated, was only attainable on a foundation of pure and accurate
+harmony.  Having experimented in every form himself, he liked to see his
+pupils equally adventurous. Earlier teachers of composition, for instance,
+Berardi,(180) Buononcini,(181) and Fux,(182) did not allow such liberty.
+They were afraid to trust their pupils to encounter difficulties, and
+short-sightedly prevented them from learning how to overcome them.  Bach's
+system was wiser, for it took his pupils farther, since he did not limit
+their attention, as his predecessors did, to the harmonic structure, but
+extended it to the qualities that constitute good writing, namely,
+consistency of expression, variety of style, rhythm, and melody.  Those
+who would acquaint themselves with Bach's method of teaching composition
+will find it fully set forth in Kirnberger's _Correct Art of
+Composition._(183)
+
+As long as his pupils were under his instruction Bach did not allow them
+to study any but his own works and the classics.  The critical sense,
+which permits a man to distinguish good from bad, develops later than the
+aesthetic faculty and may be blunted and even destroyed by frequent
+contact with bad music.  The best way to instruct youth is to accustom it
+early to consort with the best models.  Time brings experience and an
+instructed judgment to confirm the pupil's early attraction to works of
+true art.
+
+Under this admirable method of teaching all Bach's pupils became
+distinguished musicians, some more so than others, according as they came
+early or late under his influence, and had opportunity and encouragement
+to perfect and apply the instruction they received from him.  His two
+eldest sons, Wilhelm Friedemann and Carl Philipp Emmanuel, were his most
+distinguished pupils, not because he gave them better instruction than the
+rest, but because from their earliest youth they were brought up amid good
+music at home.  Even before they began their lessons they knew what was
+good.  On the other hand, others, before they became Bach's pupils, either
+had heard no good music or their taste had been already vitiated by
+contact with bad.  It at least attests the excellence of Bach's method
+that even his pupils thus handicapped took high rank in their profession
+and distinguished themselves in one or other of its branches.(184)
+
+Bach's first pupil was JOHANN CASPAR VOGLER, who received instruction from
+him in his early days at Amstadt and Weimar and, on Bach's testimony, was
+an exceedingly able player.  He became organist, and later burgomaster, at
+Weimar, retaining his professional position.  Some Choral Preludes by him
+for a two-manualed Organ with pedals were engraved about 1737.(185)
+
+Other pupils of Bach who became famous were:
+
+      1. HOMILIUS, of Dresden.  He was not only an excellent organist but
+      a distinguished composer of church music as well.(186)
+      2. TRANSCHEL, of Dresden. He was a fine musician and performer on
+      the Clavier. There exist in MS. six Polonaises by him which perhaps
+      are superior to those of any composer but Wilhelm Friedemann
+      Bach.(187)
+      3. GOLDBERG, of Koenigsberg. He was a very finished player on the
+      Clavier, but without any marked talent for composition.(188)
+      4. KREBS, Organist at Altenburg. He was not only a player of the
+      first rank, but also a prolific composer for the Organ, Clavier, and
+      of church music. He was fortunate in having Bach's instruction for
+      nine years.(189)
+      5. ALTNIKOL, Organist at Naumburg.  He was Bach's son-in-law and is
+      said to have been a very competent player and composer.(190)
+      6. AGRICOLA, Court Composer at Berlin.(191) He is less known as a
+      composer than as a theorist. He translated Tosi's(192) _II canto
+      figurato_ from Italian into German and provided the work with an
+      instructive commentary.
+      7. MUeTHEL, of Riga.  He was a good Clavier player and wrote for that
+      instrument.  His Sonatas and a Duet for two Claviers attest his
+      ability as a composer.(193)
+      8. KIRNBERGER,(194) Court Musician at Berlin to the Princess Amalia
+      of Prussia.(195) He was one of the most distinguished of Bach's
+      pupils, full of genuine enthusiasm for his art and eager to assure
+      its interests.  Besides his exposition of Bach's system of teaching
+      composition, we are indebted to him for the first logical treatise
+      on harmony, in which he sets forth his master's teaching and
+      practice.  The first work is entitled _Kunst des reinen Satzes,_ and
+      the second, _Wahre Grundsaetze zum Gebrauch der Harmonie._(196) He
+      served the interests of his art also by other writings and
+      compositions, and was an excellent teacher. The Princess Amalia was
+      his pupil.
+      9. KITTEL, Organist at Erfurt.  He is a sound, though not a
+      finished, player, and is distinguished as a composer by several
+      Organ Trios, so excellent that Bach himself might have written them.
+      He is the sole survivor (1802) of Bach's pupils.(197)
+      10. VOIGT, of Anspach,(198) and an organist named SCHUBART(199) were
+      mentioned to me by Carl Philipp Emmanuel as having been Bach's
+      pupils.  He knew nothing about them except that they entered his
+      father's house after he left it.(200)
+
+I have said already that Bach's sons were his most distinguished pupils.
+The eldest, WILHELM FRIEDEMANN BACH, came nearest to his father in the
+originality of his genius.  His melodies have quite a different character
+from those of other composers.  They are exceedingly clever, elegant, and
+spontaneous.  When performed with delicacy, as he played them, they cannot
+fail to charm every hearer.  It is greatly to be regretted that he
+preferred to follow his fancy in extemporisation and to expend his genius
+on fugitive thoughts rather than to work them out on paper.  The number of
+his compositions therefore is small, but all are beautiful.
+
+CARL PHILIPP EMMANUEL BACH, who comes next, went out into the world
+sufficiently early to discover that it is a good thing for a composer to
+have a large public behind him.  Hence, in the clearness and easy
+intelligibility of his compositions, he approaches the popular style,
+though he scrupulously avoids the commonplace.(201) Both he and his elder
+brother admitted that they were driven to adopt a style of their own by
+the wish to avoid comparison with their incomparable father.
+
+JOHANN CHRISTOPH FRIEDRICH BACH, Concertmeister at the Court of Bueckeburg,
+imitated Carl Philipp's style, but was not his equal. According to Wilhelm
+Friedemann, he was the best player among the brothers, and the most
+effective performer of their father's Clavier compositions.
+
+JOHANN CHRISTIAN BACH, called "Bach of Milan," and afterwards "Bach of
+London," was the youngest son of Bach's second marriage and of too tender
+an age when his father died ever to have had lessons from him.  Hence,
+perhaps, the absence of Bach's style in his music.  He was, in fact, a
+popular composer universally admired in his day.(202)
+
+
+
+
+
+CHAPTER VIII.  PERSONAL CHARACTERISTICS
+
+
+Distinguished as a player, composer, and teacher, Bach was also an
+indulgent father, a good friend, and a loyal citizen.  His paternal
+devotion is shown by his care for his children's education, and he was
+equally assiduous in the performance of his civil and social duties.  His
+acquaintance was agreeable to everybody.  Every lover of music, whatever
+his nationality, was sure of a friendly reception at his house, and his
+sociability and reputation caused him to be seldom without visitors.
+
+As an artist Bach was exceptionally modest. Notwithstanding his
+pre-eminence in his profession, a superiority of which he could not but be
+conscious, and in spite of the admiration and respect daily shown him, he
+never gave himself airs.  If he was asked the secret of his mastership he
+would answer, "I was made to work; if you are equally industrious you will
+be equally successful,"(203) a remark which made no allowance for his own
+exceptional genius.  His opinion of other composers and their work was
+invariably fair and generous.  Naturally, much of their work struck him as
+somewhat trivial, viewed from his own altitude.  But he never uttered a
+harsh criticism, unless it were to a pupil, to whom he held himself bound
+to say what he thought.  Still less did he presume on his acknowledged
+superiority to indulge in braggadocio, as often happens with performers
+brought into touch with those whom they regard as their inferiors.  Herein
+Bach's modesty went so far that he never spoke voluntarily of his
+frustrated contest with Marchand, though the latter was the
+challenger.(204) Many absurd stories are told of Bach; for instance that,
+dressed up as a village schoolmaster, he liked to enter a church and ask
+the organist to let him play a Choral, in order to enjoy the astonishment
+excited by his playing, or to hear the Organist declare, "This must be
+Bach or the Devil."(205) He always ridiculed such stories, and indeed had
+too much respect for his art to make it cloak his vanity.
+
+At musical parties where Quartet or other instrumental music was
+performed, Bach liked to play the Viola, an instrument which put him, as
+it were, in the middle of the harmony in a position from which he could
+hear and enjoy it on both sides.  On those occasions he would sometimes
+join in a Trio or other piece on the Harpsichord. If he was in the mood
+and the composer was agreeable, he would, as has been told already,
+extemporise a new Trio from the Continuo part, or, adding a new part,
+convert the Trio into a Quartet. But these were the only occasions on
+which he was ready to display his great powers before others.  One
+Hurlebusch, of Brunswick,(206) a conceited and arrogant Clavier player,
+once visited Bach at Leipzig, not to hear him play, but to play to him.
+Bach received him politely and listened patiently to his very indifferent
+performance. On taking leave Hurlebusch made Bach's eldest sons a present
+of his published Sonatas, exhorting them to study them diligently. Bach,
+knowing the kind of music his sons were wont to play, smiled at
+Hurlebusch's naivete but did not permit him to suspect his amusement.(207)
+
+Bach was fond of listening to the music of other composers. If he and one
+of his elder sons happened to be in church when a Fugue was played,
+directly the subject had been stated he always pointed out how it ought to
+be developed.  If the composer knew his business and fulfilled Bach's
+anticipations, he was pleased and nudged his son to draw his attention to
+the fact.  Is this not evidence of his impartial interest in other
+people's compositions?
+
+I have mentioned already the composers whom in his youth Bach esteemed,
+loved, and studied. Later, when experience ripened his critical faculty,
+he had other favourites, among them Imperial Kapellmeister Fux, Handel,
+Caldara,(208) Reinhard Keiser, Hasse,(209) the two Grauns,(210)
+Telemann,(211) Zelenka,(212) Benda,(213) etc., and, in general, the
+distinguished musicians at Dresden and Berlin.  He was acquainted with all
+except the first four of those I mention.  In his youth Bach was intimate
+with Telemann.(214) He also had a very warm regard for Handel and often
+expressed a desire to know him.  As Handel, like himself, was a famous
+performer on the Organ and Clavier, many in Leipzig and its neighbourhood
+wished to bring the two great men together.  But Handel, then living in
+London, never found time for a meeting during the visits he paid to Halle,
+his native town.  On his first visit in 1719, Bach was at Coethen, only
+some twenty miles distant.  As soon as he was informed of Handel's arrival
+he lost not a moment in setting out to visit him, but on his arrival found
+that Handel had returned to England.  At the time of Handel's second
+visit, between 1730 and 1740,(215) Bach was prevented from leaving Leipzig
+by indisposition.  But no sooner was he advised of Handel's arrival at
+Halle than he sent his eldest son, Wilhelm Friedemann, to beg him to visit
+Leipzig, an invitation which Handel was unable to accept.  In 1752 or
+1753, when Handel paid his third visit to Germany,(216) Bach was dead. He
+had always expressed the strongest desire to know Handel, and the Leipzig
+people were disappointed in their wish to hear the two great men together.
+
+While Hasse was Kapellmeister at Dresden both the Opera and Kapelle
+flourished.  Bach had many friends at Dresden, who held him in high
+regard.  Among them may be mentioned Hasse and his wife, the celebrated
+Faustina.(217) They often visited Leipzig and were admirers of the
+Cantor's rare talents.  Hence, at Dresden he was always received in the
+most respectful manner and often visited the Opera, generally accompanied
+by his eldest son.  When the time for their journey approached Bach would
+say in fun, "Well, Friedemann, shall we go to Dresden to hear the pretty
+tunes(218) again?" Innocent as the jest was, I am sure Bach would not have
+uttered it to any but his son, who already could distinguish between great
+music and agreeable trifles.
+
+Bach was never in a position to make what is called a brilliant
+fortune.(219) He held a fairly lucrative office, but his income had to
+maintain and educate a large family.  He neither possessed nor sought
+other means of livelihood, and was too absorbed in his art and work to
+think of accepting engagements which, in those days, and to a man of his
+genius, certainly would have brought riches. Had he possessed a taste for
+travel he would, as even one of his detractors admits, have "drawn upon
+himself the admiration of the whole world." But he preferred a quiet
+domestic life, constant occupation in his work, with contentment and a
+moderate competence, like his forbears. His modesty, however, did hot
+prevent him from receiving manifold proofs of regard and affection and
+marks of honourable distinction. Prince Leopold of Coethen, Duke Ernst
+August of Weimar,(220) and Duke Christian of Weissenfels, all showed
+sincere regard for him, which must have been the more agreeable to him
+seeing that they were all sound judges of music.  At Berlin, as at
+Dresden, he was universally honoured and respected. If we add to these
+testimonies the fact that he captured the admiration of all who heard him
+play or were acquainted with his music, then we may be sure that Bach,
+"singing for himself and the Muses," received at the hands of Fame the
+recognition he valued most, and cherished it far more than the trivial
+honour of a ribbon or gold chain.
+
+I add that, in 1747, Bach became a member of the "Society of the Musical
+Sciences," founded by Mizler, only because we owe to the circumstance his
+admirable Choral Variations on _Vom Himmel hoch._(221) He presented them
+to the Society on his admission and they were engraved subsequently.(222)
+
+
+
+
+
+CHAPTER IX. BACH'S COMPOSITIONS
+
+
+To have produced so many great works in all forms of musical expression
+Bach necessarily must have been a prolific writer.  For if a composer be
+the greatest genius in the world, unless he constantly exercises his art
+he cannot hope to produce real masterpieces.  Superlative excellence is
+the fruit of indefatigable application.  Yet in Bach's case we should be
+wrong to acclaim as masterpieces all the products of his great activity
+just because masterpieces at length were the fruit of it.  Already in his
+early compositions we find undeniable evidence of genius.  But they are
+blemished by faults, passages poor in quality, extravagant, insipid, that
+are hardly worth preserving, though of interest to the student who wishes
+to trace from its source the development of Bach's genius.
+
+It is not difficult to distinguish with exactitude those of Bach's early
+compositions which are of the first excellence; for he has been at pains
+to give us the clue.  As he did not publish his first work until he was
+about forty years old (223) we are justified in assuming the merit of
+what, at so mature an age, he thought worthy to put into print, and in
+concluding generally that all his engraved works are of first-rate
+merit.(224)
+
+With respect to his unpublished compositions, and they are by far the most
+numerous, we must in order to distinguish their merit rely partly on a
+critical examination of their texts, partly on Bach's own judgment.  Like
+all great composers, he was continually working on his compositions with a
+view to making them still more finished.  Indeed, he actually attempted to
+improve some of them that were already perfect.  Any that were susceptible
+of improvement he improved, even those already engraved.  Such is the
+origin of the variant readings of his works found in older and more recent
+texts.  By constantly retouching his compositions Bach aimed at making
+them indisputable masterpieces.  In this category I place most of what he
+wrote before the year 1725, as I show in detail in the following
+catalogue.  A great many compositions subsequent to 1725, which for
+reasons easily understood are still in MS., bear too evidently the stamp
+of perfection to leave us in doubt whether to class them as early essays
+or as the finished work of an accomplished master.
+
+The following are those of Bach's works which have been engraved:
+
+      1. _Clavieruebung_, or "Exercises for the Clavier, consisting of
+      Preludes, Allemandes, Courantes, Sarabandes, Gigues, Minuets, etc.,
+      for the Diversion of Amateurs. Opus I. Published by the Composer,
+      1731."  This was Bach's first published work and contains six
+      Suites.  The first of them came out in 1726;(225) the others
+      followed in successive years until all were engraved together in
+      1731.(226) The work was much noticed at the time.  Such compositions
+      for the Clavier had not been seen or heard before, and the man who
+      could play them was sure of a success.  Our young players to-day
+      would profit by the study of them, so brilliant, agreeable,
+      expressive, and original are they. In the new edition(227) they are
+      entitled, "Exercises for the Clavier."
+      2. _Clavieruebung_, or "Exercises for the Clavier, Part II.,
+      consisting of a Concerto in the Italian style and an Overture in the
+      French manner(228) for a Clavier with two manuals.  Published by
+      Christopher Weigel, Junior, in Nuernberg."(229)
+      3. _Clavieruebung_, or "Exercises for the Clavier, Part III.,
+      consisting of various Organ Preludes to the Catechism and other
+      Hymns, composed for the diversion of amateurs and particularly of
+      competent judges of such works.  Published by the Composer."
+      Besides the Preludes and Fugues for the Organ, all of which are
+      masterly, the book contains four Duetti for the Clavier,(230) models
+      of their kind.
+      4. _Sechs Choraele_, or "Six Choral Melodies of different kinds, for
+      an Organ with two manuals and pedal.  Zella, in the Thuringian
+      Forest.  Published by Johann G. Schuebler."(231) They are full of
+      dignity and religious feeling.  In some of them, too, we have
+      instances of Bach's original management of the stops.(232) Thus, in
+      the second Choral, _Wo soll ich fliehen hin,_ he gives to the first
+      manual an 8 foot, to the second a 16 foot, and to the pedal a 4 foot
+      stop.  The pedal has the cantus firmus.(233)
+      5. _Clavieruebung_, or "Exercises for the Clavier, consisting of an
+      Aria with several Variations, for a Clavier with two manuals.
+      Published by Balthasar Schmidt at Nuernberg."(234) This admirable
+      work consists of thirty Variations, some in canon, in a variety of
+      movements and at all intervals from the unison to the ninth, with
+      easy flowing melody.  It includes a regular fourpart Fugue,(235)
+      several extremely brillant Variations for two Claviers,(236) and
+      concludes with a Quodlibet, as it is called, which alone would
+      render its composer immortal, though it is not the best thing in the
+      volume.(237)
+
+      The Variations are models of what such compositions ought to be,
+      though no one has been so rash as to attempt to follow Bach's
+      footsteps. We owe them to Count Kaiserling, formerly Russian
+      Ambassador at the Saxon Electoral Court, who frequently visited
+      Leipzig with Goldberg, already mentioned(238) among Bach's pupils.
+      The Count was a great invalid and suffered from insomnia.  Goldberg
+      lived in the Ambassador's house, and slept in an adjoining room, to
+      be ready to play to him when he was wakeful.  One day the Count
+      asked Bach to write for Goldberg some Clavier music of a soothing
+      and cheerful character, that would relieve the tedium of sleepless
+      nights.  Bach thought a set of Variations most likely to fulfil the
+      Count's needs, though, on account of the recurrence of the same
+      basic harmony throughout, it was a form to which he had hitherto
+      paid little attention.  Like all his compositions at this period,
+      however, the Variations are a masterpiece, and are the only example
+      he has left us of this form.(239) The Count always called them "my
+      Variations" and was never weary of hearing them.  For long
+      afterwards, when he could not sleep, he would say, "Play me one of
+      my Variations, Goldberg." Perhaps Bach was never so well rewarded
+      for any composition as for this.  The Count gave him a golden goblet
+      containing one hundred louis d'ors, though, as a work of art, Bach
+      would not have been overpaid had the present been a thousand times
+      as large.  It may be observed, that in the engraved copy of the
+      Variations there are serious mistakes, which the composer has
+      corrected in his own copy.(240)
+
+      6. _Einige kanonische Verdaederungen,_ "Canonic Variations on the
+      Christmas Hymn 'Vom Himmel hoch da komm ich her,' for an Organ with
+      two manuals and pedal. Published at Nuernberg by Balthasar Schmidt."
+      The work contains five canonic variations of the utmost
+      ingenuity.(241)
+      7. _Musikalisches Opfer_, or "A Musical Offering," dedicated to
+      Frederick II., King of Prussia.  The theme received by Bach from the
+      King(242) is treated first as a three-part Fugue under the acrostic
+      title "Ricercare" (Regis iussu cantio et reliqua canonica arte
+      resoluta). There follows a six-part "Ricercare" and Thematis regii
+      elaborationes canonicae of various kinds.(243) The work includes a
+      Trio for Flute, Violin, and Clavier upon the same subject.(244)
+      8. _Die Kunst der Fuge_, or "The Art of Fugue."  This work, unique
+      of its kind, did not appear till about 1752, after Bach's death,
+      though the greater part of it had been engraved by his sons during
+      his lifetime.(245) Marpurg,(246) the leading German musical critic
+      of that day, contributed a preface to this edition which contains
+      many just observations on the value and utility of such
+      treatises.(247) But, being too good for the general public, the work
+      found only a small circulation among those who discerned its merit
+      and eagerly bought copies. The plates were never used again and
+      eventually were sold(248) by Bach's heirs at the price of old
+      copper.  Written by a man of Bach's transcendent genius, and
+      commended as a masterpiece by a critic so highly regarded as
+      Marpurg, a work of this kind, if published in any other country than
+      Germany, would have passed through at least ten editions by now, if
+      only at the bidding of patriotism.  But in Germany not a sufficient
+      number of copies was sold to pay for the plates used in engraving
+      the work!
+
+      The work consists of fugal Variations planned on the most elaborate
+      scale.(249) The composer's intention was to show in what a variety
+      of ways the same theme can be treated fugally.  The Variations (here
+      called "Contrapunctus")(250) are complete Fugues upon the same
+      theme.  The last Fugue of all has three subjects, in the third of
+      which the composer signs his name, B A C H.(251) Bach was prevented
+      from finishing it by the disorder of his eyes, and as an operation
+      brought no relief the movement was never completed.  It is said that
+      Bach intended to introduce four themes into it and to bring it to an
+      impressive conclusion by inverting them all. All the Fugues in the
+      work are equally smooth and melodious.
+
+      To make up for the unfinished Fugue Bach concluded the work with a
+      Choral Prelude upon the tune "Wenn wir in hoechsten Noethen sein,"
+      which he dictated to his son-in-law, Altnikol, a few days before his
+      death.(252) Of the extraordinary skill it displays I do not speak,
+      save to remark that even in his last illness it proclaims Bach's
+      skill undiminished.  The pious resignation and devotion that
+      characterise it move me deeply whenever I play it.  Nor should I
+      find it easy to say which I had rather had been omitted, the Choral
+      Prelude, or the conclusion of the unfinished Fugue.
+
+      9. Lastly, after Bach's death, his four-part Chorals were collected
+      by his son, Carl Philipp Emmanuel, and were published by Birnstiel
+      (Berlin and Leipzig), Part I. in 1765, Part II. in 1769.(253) Each
+      Part contains one hundred Chorals, mostly taken from the composer's
+      church Cantatas.
+
+      More recently Kirnberger edited, in four volumes, a collection of
+      Bach's Chorals. They are published by Breitkopf.(254)
+
+      Bach's works, still in MS., consist of compositions for the Clavier,
+      Organ, with and without other instruments, Strings, and the voice.
+      I will enumerate them in that order.
+
+
+
+
+                     I. Compositions For The Clavier
+
+
+      1. _Six Little Preludes far Beginners_.(255)
+      2. _Fifteen Two-part Inventions_.  An Invention is a musical theme
+      so constructed that by imitation and inversion a whole movement can
+      be evolved from it.  The subject having been first stated, the rest
+      develops naturally out of it.  For the instruction of a young
+      Clavier player these fifteen Inventions are of great value, seeing
+      that the composer has been careful not only to provide exercises for
+      both hands but for every finger as well.  They were composed at
+      Coethen in 1723, with a long title which begins: "An honest Guide, in
+      which lovers of the Clavier are shown a clear method of playing
+      correctly in two parts," etc.(256)
+
+      It cannot be denied that, among other blemishes, the Inventions
+      occasionally exhibit melodic poverty and roughness.  But finding
+      them useful to his pupils, Bach eventually revised them and removed
+      from them everything that offended his maturer taste, so that they
+      now stand as masterpieces of pure music.  Moreover they are
+      invaluable exercises for the fingers and hands and are sound
+      instructors of taste.  There is no better introduction to Bach's
+      larger works than they afford.
+
+      3. _Fifteen three-part Inventions_, also called Symphonies.  They
+      were written for the same purpose as the Inventions, but are more
+      advanced.(257)
+      4. _The Well-tempered Clavier_, or, Preludes and Fugues in all tones
+      and semitones, composed for the profit and use of young musicians
+      desirous of knowledge, as also for those who are skilled already in
+      this studio.  Part I. was finished in 1722.  Part II., like Part I.,
+      contains twenty-four Preludes and twenty-four Fugues in every key,
+      and was composed at a later period.(258) Every number of it, from
+      first to last, is a masterpiece.  In Part I., however, certain
+      Preludes and Fugues bear marks of immaturity and are included
+      probably only in order to complete the series.  But here again Bach
+      eventually corrected whatever seemed to him lacking in finish.  He
+      altered or rewrote entire passages, so that in the later texts few
+      movements are not perfect.  Among these few I reckon the Fugues in A
+      minor,(259) G major and G minor,(260) C major,(261) F major and F
+      minor.(262) The rest are excellent, some of them so superlatively
+      good as to be not inferior to those in Part II.(263) Even Part II.,
+      for all its original perfection, has been improved by the composer,
+      as may be observed by comparing the original and later texts.  Both
+      Parts contain treasures of art not to be found outside Germany.
+      5. _Chromatic Fantasia and Fugue._(264) I have taken considerable
+      pains to discover a similar piece of music by Bach, but without
+      success.  The Fantasia is unique and unequalled.  Wilhelm Friedemann
+      sent it to me from Brunswick inscribed with these words by a mutual
+      friend. "Anbey kommt an etwas Musik von Sebastian, sonst genannt:
+      Fantasia chromatica; bleibt schoen in alle Saecula."
+
+      It is remarkable that this piece, for all its technical skill,
+      appeals to the most unpractised hearer, if it is performed at all
+      tolerably.
+
+      6. A _Fantasia in C minor_.  It is not of the same character as the
+      preceding work, but resembles rather the Allegro of a Sonata.  It is
+      divided into two parts, but must be played as a single movement.  It
+      is an excellent work, and in old copies an unfinished Fugue follows,
+      which, however, cannot belong to it.(265) The first thirty bars
+      certainly are by Bach, for they are marked by an extremely bold use
+      of augmented and diminished intervals and their inversions, in
+      three-part harmony.  None but Bach attempted such things. The rest
+      of the movement seems to have been added by another hand and bears
+      no trace of Bach's style.
+      7. _Six large Suites_, consisting of Preludes, Allemandes,
+      Courantes, Sarabandes, etc.  They are known as the "English Suites,"
+      because the composer wrote them for an Englishman of rank.(266)  All
+      of them are of great merit as works of art, and some movements, in
+      particular the Gigues of the fifth and sixth Suites, are perfect
+      masterpieces of harmony and melody.
+      8. _Six small Suites_, consisting of Allemandes, Courantes, etc.
+      They are generally called the "French Suites," because they are
+      written in the French style.(267) The composer is intentionally less
+      academic in them than in his larger Suites, and their melodies are
+      more than usually pleasant and agreeable.  In particular the fifth
+      Suite deserves to be noticed: all its movements are most melodious,
+      and in the concluding Gigue only consonant intervals, especially
+      thirds and sixths, are used.
+
+These are Bach's principal works for the Clavier which can be considered
+classics.(268) A great number of single Suites,(269)Toccatas and
+Fugues,(270) besides those already mentioned, have great and varying
+merit, but are youthful works.(271) At the most, ten or twelve of them
+seem to me worth preserving, some of them because they would be useful as
+finger exercises, for which their author originally intended them, others
+because they are at least better than similar works by other composers.
+As an exercise for the fingers of both hands I particularly single out a
+Fugue in A minor,(272) in which the composer has been at great pains to
+write florid passages in order to give equal strength and suppleness to
+both hands.  For beginners a little two-part Fugue(273) should also prove
+useful.  It is melodious, flowing, and not at all old-fashioned.
+
+
+
+
+             II. Music For The Clavier With Other Instruments
+
+
+      1. _Six Sonatas for Clavier with Violin obbligato_.  Composed at
+      Coethen, they are among Bach's masterpieces in this form and display
+      fugal and canonic writing which is both natural and full of
+      character.  The Violin part needs a master to play it; for Bach knew
+      the capabilities of the instrument and spared it as little as the
+      Clavier.  The six Sonatas are in the keys of B minor, A major, E
+      major, C minor, F minor, and G major.(274)
+      2. _Several Sonatas for Harpsichord and Violin_,(275) _Harpsichord
+      and Flute_,(276) _Harpsichord and Viol da Gamba_.(277) They are
+      admirably written and most of them are pleasant to listen to even
+      today.(278)
+      3. _Several Concertos for the Clavier and other instruments_.  They
+      contain real gems of art but are antiquated in form.(279)
+      4. _Two Concertos for two Claviers_, with an accompaniment of two
+      Violins, Viola, and Violoncello.  The first, in C minor,(280) has an
+      antique flavour. But the second, in C major,(281) is as fresh as if
+      it had been written yesterday.(282) It may be played without the
+      String quartet and still sounds admirable.  The final Allegro is a
+      majestic movement and strictly fugal.  Compositions of this form
+      were first perfected, indeed, we may conjecture, were first
+      attempted, by Bach.  At least, I have met with only a single example
+      by another composer that may perhaps be older--namely, Pachelbel of
+      Nuernberg's Toccata, as he called it.  Pachelbel, however, was a
+      contemporary of Bach and may have taken the idea from him.  However,
+      his work is not worth considering.  One instrument merely repeats
+      the other's phrases without being at all concertante.  It almost
+      seems as if Bach at this period had made up his mind to discover
+      what could be done with any number of parts. Having already written
+      for a single solo instrument music which required no accompaniment,
+      he next experimented in dividing his material between as large a
+      number of solo instruments as possible.  Hence the Concertos for two
+      Claviers were followed by
+      5. _Two Concertos for three Claviers_ with an accompaniment of
+      Strings.(283) These Concertos present a remarkable characteristic:
+      besides the concertante combination of three Claviers, the stringed
+      instruments also have concertante parts distinct from the
+      accompaniment.  It is difficult to realise the art involved in this
+      achievement.  For, in spite of their technical skill, the two works
+      are so delicate, full of character, and expressive, that the
+      composer might be treating a simple melody (note particularly the
+      Concerto in D minor).  Words are inadequate to express the
+      admiration they arouse.  But Bach was not satisfied.  Hence he wrote
+      6. _A Concerto for four Claviers_ and four stringed
+      instruments.(284) I cannot judge the effect of this composition, for
+      I have never been able to get together the four instruments and four
+      performers it requires.  But that it is admirably written can be
+      seen from the parts.
+
+
+
+
+                     III. Compositions For The Organ
+
+
+The pedal is the distinctive feature of the Organ which places it above
+all other instruments, and gives it its magnificence, sonority, and
+majesty.  Deprive it of the pedal and you take from it the solemn and
+imposing tones which are its distinctive utterance, reducing it to the
+level of a "positiv," or Chamber-organ, an instrument relatively
+insignificant.
+
+But an Organ equipped with a pedal must be able to employ it in its full
+compass,(285) and both composer and organist must know the proper use of
+it.  No one excelled Bach in this knowledge.  Not only is his rich harmony
+and melody singularly adapted to the instrument, but he gave the pedal a
+part of its own, even in his early compositions.  Yet it was only
+gradually that he mastered its technique; for his Organ masterpieces
+belong to the period in which those for the Clavier began to be classics.
+His early and immature Organ works are widely dispersed; for as soon as a
+composer begins to be distinguished everybody is anxious to possess a
+specimen of his art.  Public curiosity, however, generally dies down long
+before a composer comes to maturity, particularly if his work is over the
+heads of the public.  And this seems to have been Bach's fortune.
+Consequently his mature Organ works are less familiar than his early
+efforts.  The latter, however, cannot possibly be admitted to a "correct
+and critical" edition of his works, and I mention here only those whose
+merit is as incontestable as that of the Clavier works enumerated in the
+preceding paragraphs.
+
+Bach's finest Organ music falls into three groups:
+
+      1. _The Great Preludes and Fugues_, with obbligato pedal.  Their
+      number cannot be stated, but I believe it not to exceed a
+      dozen.(286) At least, after prolonged search I have not been able to
+      collect more than that number.(287) To these I must add a very
+      clever and original Passacaglia, which, however, seems suitable
+      rather for a two-manual Clavicembalo and pedal than for the
+      Organ.(288)
+      2. _Preludes on Choral Melodies_. It was at Arnstadt that Bach began
+      to compose Variations on Choral melodies, under the title _Partite
+      diverse._(289) Most of them can be played on the manuals alone.
+      Those which I include here are an exception and require the
+      obbligato pedal.  Their number may amount to one hundred.  I myself
+      possess above seventy, and more survive elsewhere.(290) No other
+      Choral Preludes approach them in religious feeling, dignity, and
+      sublimity of expression.  I cannot notice them individually; they
+      are too numerous. Besides the larger, there is a great number of
+      shorter and easier ones, particularly useful for young players.
+      MSS. of them exist in considerable number.(291)
+      3. _Six Sonatas_, or Trios, for two manuals and an obbligato
+      pedal.(292) Bach wrote them for his eldest son, Wilhelm Friedemann,
+      whom they helped to become the great performer he was when I knew
+      him.  It is impossible to overpraise their beauty.  Bach composed
+      them when he was in the full vigour of his powers, and they may be
+      considered his chef d'oeuvre in this form.(293) He also wrote other
+      Organ Sonatas, the MSS. of which are in various collections.  They
+      are fine compositions, though they do not equal the Six in
+      merit.(294)
+
+
+
+
+                          IV. Instrumental Music
+
+
+There are few instruments for which Bach did not write.  In his day it was
+usual to play a Concerto or instrumental Solo during the Communion
+office.(295) Bach composed many of these pieces himself, and always with a
+view to their improving the technique of the player.  Most of them are
+lost.  But two important works of another kind survive and to some extent
+compensate us.  They are:
+
+      1. Six Solos for Violin, unaccompanied.(296)
+      2. Six Solos for Violoncello, unaccompanied.(297) The Violin Solos
+      have long been considered by the finest players to be the best
+      instructor for the instrument. The Violoncello Solos are equally
+      effective.(298)
+
+
+
+
+                              V. Vocal Music
+
+
+      1. Five complete sets of church Cantatas for the Sundays and
+      Festivals of the year.(299)
+      2. Five compositions for Holy Week, one of which is for double
+      chorus.(300)
+      3. Several Oratorios,(301) Masses,(302) a _Magnificat,_ settings of
+      the Sanctus,(303) compositions for birthdays and Saints' Days,(304)
+      funerals,(305) marriages,(306) and some Italian Cantatas.(307)
+      4. Several Motets for single and double chorus.(308)
+
+Most of these works are now dispersed.  The Church Cantatas were divided
+between his elder sons after their composer's death.  Wilhelm Friedemann
+had the larger share because, being organist at Halle, he could make use
+of them.  Later, circumstances compelled him to part with them gradually.
+I know of no other collection of Bach's larger choral works.  There exist,
+however, eight or ten Motets for double chorus, but they are dispersed in
+various hands.(309) In the collection bequeathed by the Princess Amalia of
+Prussia to the Joachimsthal Gymnasium at Berlin there are some of Bach's
+vocal compositions.(310)  Their number is not considerable, but among them
+are the following:
+
+      1. Twenty-one Church Cantatas.(311) In one of them, set to the
+      words, _Schlage doch, gewuenschte Stunde,_(312) the composer
+      introduces a bell obbligato.  From that fact we may conclude that
+      the Cantata was not composed in the period of Bach's maturity,(313)
+      for the use of bells is of doubtful taste.
+      2. Two Masses for five voices with instrumental accompaniment.(314)
+      3. A Mass for double chorus, the first being accompanied by Strings
+      and the second by wind instruments.(315)
+      4. A _Passion,_ for double Chorus,(316) the text by Picander.(317)
+      5. A _Sanctus,_ for four voices and instrumental accompaniment.(318)
+      6. A Motet, for four voices, _Aus tiefer Noth schrei ich zu
+      dir._(319)
+      7. A Motet for five voices, _Jesu, meine Freude._
+      8. Four Motets, for eight voices in double chorus:
+
+            (a) _Fuerchte dich nicht, ich bin dei dir._
+            (b) _Der Geist hilft unserer Schwachheit auf._
+            (c) _Komm, Jesu, komm._
+            (d) _Singet dem Herrn ein neues Lied._(320)
+
+      9. A detached four-part fugal chorus, _Nimm was dein ist, und gehe
+      hin._(321)
+      10. A bucolic Cantata, with Recitatives, Aria, Duet, and Chorus.  A
+      note is prefixed to it.(322)
+
+      On the MS. of the last-named Cantata and of the Mass for double
+      chorus (No. 3 supra) there is a note by Kirnberger analysing the
+      skill and merit of the compositions.
+
+
+
+
+
+CHAPTER X.  BACH'S MANUSCRIPTS
+
+
+It has been remarked more than once that Bach, throughout his life,
+devoted much thought to the improvement of his compositions.  I have had
+frequent occasion to compare the original and subsequent texts of his
+works, and confess to have experienced both surprise and pleasure in
+observing his care to improve whatever he thought faulty, to make good
+better, and better perfect.  Nothing is more instructive than a collation
+of this kind, whether to the experienced musician or the instructed
+amateur.  I should like to see a supplement to the complete edition of
+Bach's works showing these variant readings.(323) The collation would be
+in the highest degree instructive, and to attempt it is as appropriate to
+the works of the composer, a poet in sound, as to those of the poet in
+words.
+
+In Bach's early texts he often repeats a phrase to other words with some
+melodic variety, in a lower or even in the same octave.  In his riper
+experience he could not tolerate such poverty of workmanship, and cut out
+these passages remorselessly, without regard for the number and quality of
+the persons who had approved them in their original state.  There occur to
+me two good examples of this, the C major and C sharp minor Preludes in
+the first part of the _Well-tempered Clavier._ Bach revised them so
+drastically as to cut them down by one-half, sacrificing passages that he
+thought redundant.(324)
+
+In other places Bach tends to be over-concise; he expresses an idea, but
+does not fully develop it.  The best illustration that occurs to me is the
+D minor Prelude in the second part of the _Well-tempered Clavier._  I
+possess several texts of it.  In the oldest the first transposition of the
+theme in the Bass and several other details essential to a complete
+development of the idea are wanting.  A second MS. gives the theme to the
+Bass wherever the latter is in a key nearly related to that of the tonic.
+In a third MS. these addenda are developed more fully and are joined more
+skilfully.  But melodic details are present of doubtful relevance to the
+rest of the composition.  In a fourth MS. these disappear or are amended,
+so that, as we have it, the Prelude stands as one of the most beautiful
+and least faulty in the _Well-tempered Clavier._ Many people, no doubt,
+preferred the movement in its original form.  But Bach was not a man to be
+influenced by approbation or criticism.  He went on correcting until he
+satisfied himself.
+
+In the early part of the seventeenth century it was the fashion in
+instrumental music to overload single notes with ornaments and add florid
+runs.  Lately it has become the fashion to do so in vocal music as well.
+That Bach shared this disposition may be inferred from certain pieces that
+he wrote in this style.  An instance is the Prelude in E minor in the
+first part of the _Well-tempered Clavier._  But he soon returned to his
+natural better taste, and altered the movement to the form in which it is
+engraved.(325)
+
+Every decade has its own style of melody, distinctive of itself and
+evanescent.  A composer must carefully avoid it if he hopes to be listened
+to by posterity.  In his young days even Bach ran upon this rock.  His
+early compositions for the Organ, and the two-part _Inventions_ in their
+original form, are full of fiorituri such as the taste of his period
+approved.  His Organ compositions remain comparatively untouched, but the
+_Inventions_ he closely revised.  The public will soon be able to compare
+them in their first and later forms, as the publishers, with admirable
+spirit, have resolved to discontinue the present edition and to send out
+to subscribers a revised one based on Bach's corrected text.
+
+Bach's processes of revision so far mentioned, however, merely correct
+faults of form, that is, diffuseness or incomplete development of a
+musical thought.  But Bach employed other methods which are less easy to
+describe because they are more subtle.  He often rivets the style and
+character of a piece by changing a single note, strictly correct
+grammatically and yet disagreeable to an artist such as himself.  Even
+commonplace passages he could convert into phrases of beauty by the
+addition or alteration of a single note.  Only the most sensitive taste
+and trained experience can decide in such cases, and Bach possessed both
+in the highest perfection.  He developed them to such a pitch, indeed,
+that his brain eventually rejected any idea which, in all its properties
+and relations, did not accord inevitably and naturally with the whole
+composition.  Consequently his later works display such consistency of
+merit that all of them seem to have been cast complete in a mould, so
+smooth, facile and abundant is the flow of his rich fancy.  It is on the
+highest summits of the art that harmony and melody find their ideal union,
+and as yet Bach dwells there in majestic isolation.
+
+
+
+
+
+CHAPTER XI. THE GENIUS OF BACH
+
+
+It is surely unnecessary to ask whether that artist is a genius who, in
+every form of his art, has produced masterpiece after masterpiece, of an
+originality which sets them above the achievements of all other ages,
+distinguished also by a wealth of originality and agreeableness that
+enslaves every hearer.  The most fertile fancy, invention inexhaustible, a
+judgment so nice as to reject intuitively every irrelevant and jarring
+detail, unerring ingenuity in employing the most delicate and minute
+resources of his art, along with an unrivalled technique--these qualities,
+whose expression demands the outpouring of a man's whole soul, are the
+signboards of genius.  The man who cannot find them in Bach's music either
+is not acquainted with it at all or knows it imperfectly.  One needs to be
+steeped in it thoroughly to appreciate the genius of its author.  For the
+greater the work the closer study is demanded for its apprehension.  The
+butterfly method, a sip here and there, is of little use.  But admirable
+as were the gifts Bach received from nature, he could never have become an
+accomplished genius had he not learned betimes to avoid the rocks on which
+many artists, some of them perhaps not less gifted than he, too often
+founder.  I will communicate to the reader some scattered thoughts on the
+subject and conclude this essay with an indication of the characteristics
+of Bach's genius.
+
+Even the largest natural gifts, coupled with the strongest propensity for
+a particular art, offer no more than fruitful soil on which that art may
+thrive by patient cultivation.  Industry, the true begetter of every art
+and science, is an indispensable factor.  Not only does it enable genius
+to master technique, but it stimulates the critical and reflective
+faculties also.  The very ease with which genius acquires and applies the
+apparatus of musical composition frequently entices it to leap over root
+principles in its plunge into deeper waters, or to fly before its wings
+are grown.  In such a case, unless genius is guided back to neglected
+fundamentals and forced to build itself upon the great examples of the
+past, it will inevitably expend its treasure uselessly and never attain to
+its promised dimensions.  For it is an axiom, that real progress can never
+be made, nor the highest perfection be attained, if the foundations are
+insecure.  If arduous heights are to be achieved, the easier obstacles
+must first be approached and overcome.  Guided by his own inexperience no
+one ever can hope to become great.  He must profit by the practice and
+example of others.
+
+Bach did not founder on this rock.  His soaring genius attended an equally
+ardent industry which incessantly impelled him, whenever he found his own
+equipment insufficient, to seek guidance from others.  Vivaldi and his
+Concertos were the first from whom he sought counsel.  From them he turned
+to the principal Organ and Clavier composers of the period.  Nothing is
+more intellectually stimulating than counterpoint, and the composers Bach
+studied were distinguished by their mastery of it, as their fugal writing
+attests.  Hence Bach's diligent study and imitation of them pointed his
+taste and imagination to perceive wherein himself was lacking and what
+steps were needed to take him farther in his art.
+
+A second rock upon which genius often comes to grief is the public's
+undiscriminating applause.  To be sure, I do not undervalue public
+approval or commend without reserve the remark of a Greek teacher to his
+pupil, "You performed badly, otherwise the audience would not have
+applauded you."  Yet it is none the less true that many artists are thrown
+off their balance by exaggerated and often unmerited plaudits,
+particularly in their early careers before they have acquired
+self-discipline and sound judgment.  The public merely asks for what it
+can understand, whereas the true artist ought to aim at an achievement
+which cannot be measured by popular standards.  How, then, can popular
+applause be reconciled with the true artist's aspirations towards the
+ideal?  Bach never sought applause, and held with Schiller:
+
+
+    Kannst du nicht allen gefallen durch deine That und dein
+    Kunstwerk,
+    Mach' es wenigen recht; vielen gefallen ist schlimm.(326)
+
+
+Like every true artist, Bach worked to please himself in his own way,
+obeying the summons of his own genius, choosing his own subjects, and
+finding satisfaction only in the approval of his own judgment.  He could
+count on the applause of all who understood good music, and never failed
+to receive it.  Under what other conditions can sound works of art emerge?
+The composer who debases his muse to the popular mood either lacks real
+genius or, having it, abuses it.  For to catch the ear of the public is
+not a difficult task and merely connotes an agreeable facility.  Composers
+of that class are like artisans who frankly fashion their goods to suit
+their market.  But Bach never condescended to such artifices.  The artist,
+in his judgment, is the dictator of public taste, not its slave.  If, as
+often happened, he was asked to write something simple for the Clavier he
+would answer, "I will do what I can."  He would choose an easy theme.  But
+when he began to develop it he always found so much to say that the piece
+soon became anything but simple.  If his attention was drawn to the fact,
+he would answer smilingly, "Practise it well and you will find it quite
+easy.  You have as many good fingers on each hand as I have."  Nor was he
+prompted in this by mere contradictoriness, but exhibited the true artist
+spirit.
+
+It was, in fact, the artist temperament that led Bach to make the great
+and sublime his goal.  For that reason his music is not merely agreeable,
+like other composers', but transports us to the regions of the ideal.  It
+does not arrest our attention momentarily but grips us the stronger the
+oftener we listen to it, so that after a thousand hearings its treasures
+are still unexhausted and yield fresh beauties to excite our wonder.  Even
+the beginner who knows but the A B C of his art warms with pleasure when
+he hears Bach's music and can open his ear and heart to it.  It was the
+true artist spirit, too, that guided Bach to unite majesty and grandeur of
+design with meticulous care for detail and the most refined elegance,
+characteristics which we rather seek, perhaps, in works whose object is
+merely to give pleasure.  Bach held strongly that if the strands are
+imperfect, the whole design is faulty.  His genius is sublime and
+impressive, and he never condescends to be frivolous even when he touches
+the lighter forms of art.
+
+To conclude: it was the union of astounding genius and indefatigable
+application that enabled Bach to widen at every point the domain of
+musical expression.  His successors have failed to maintain the art at the
+level to which he raised it.  If Bach was more successful, if he was able
+to produce great work of convincing beauty and imperishable as a model for
+those who came after him, we owe it as much to his application as to his
+genius.
+
+This man, the greatest orator-poet that ever addressed the world in the
+language of music, was a German!  Let Germany be proud of him!  Yes, proud
+of him, but worthy of him too!
+
+                       [The Bach Statue at Leipzig]
+
+                        The Bach Statue at Leipzig
+
+
+
+
+
+
+APPENDIX I. CHRONOLOGICAL CATALOGUE OF BACH'S COMPOSITIONS
+
+
+
+
+I. CATALOGUE OF BACH'S COMPOSITIONS PRIOR TO HIS APPOINTMENT TO WEIMAR IN
+                JUNE 1708, in his twenty-fourth year.(327)
+
+
+
+VOCAL:--
+
+
+Motet: Lobet den Herrn, alle Heiden.
+
+
+
+CLAVIER(328):--
+
+
+      Capriccio sopra la lontananza del suo fratello dilettissimo (bk. 208
+      p. 62) (1704).
+      Capriccio in honorem Joh. Christoph Bachii, Ohrdruf (bk. 216 p. 34)
+      (c. 1704).
+      Sonata in D major (bk. 215 p. 44) (c. 1704).(329)
+
+B.G. XXXVI. prints a number of pieces which, in general, may be assigned
+to Bach's immature years. They are reproduced in Peters' edition:
+
+      Book 200:
+
+            Fughetta in C minor (p. 10).
+            Prelude and Fughetta in D minor (p. 40).
+            Prelude and Fughetta in E minor (p. 42).
+            Prelude and Fughetta in A minor (p. 47).
+            Fugue in C major (p. 54).
+            Fugue in C major (p. 56).
+
+      Book 207:
+
+            Fantasia in C minor (p. 50).
+
+      Book 212:
+
+            Fantasia in C minor (p. 58).
+            Fugue in D minor (p. 59).
+            Fugue in D minor (p. 61).
+            Fugue in E minor (p. 68).
+
+      Book 214:
+
+            Prelude and Fughetta in F major (p. 76).
+            Prelude and Fughetta in G major (p. 78).
+            Prelude in G major (p. 80).
+
+      Book 215: Three Minuets (p. 62).
+
+To these may be added (? authentic) from B.G. XLII.:
+
+      Book 212:
+
+            Fantasia and Fughetta in B flat major (p 58).
+            Do. do. D major (p. 60).
+
+
+
+Organ(330):--
+
+
+      Prelude and Fugue in C minor (bk. 2 p. 48) (c. 1704).
+      Do. do. C major (bk. 8 p. 88) (? 1707).(331)
+      Do. do. the "Short," A minor (bk. 10 p. 208).
+      Fugue in C minor (bk. 12 p. 95) (c. 1704).
+      Do. C minor, on a theme by Legrenzi (bk. 10 p. 230) (c. 1708).
+      Do. B minor, on a theme by Corelli (bk. 3 p. 60).
+      Do. D major (bk. 12 p. 83).
+      Do. G major (bk. 12 p. 55).
+      Do. G major (bk. 12 p. 86).
+      Do. G minor (bk. 2 p. 41).
+      Prelude in A minor (bk. 10 p. 238) (by 1706).
+      Do. C major (bk. 12 p. 94).
+      Fantasia and Fugue in A minor (bk. 12 p. 60).
+      Fantasias in 6 major (bk. 9 p. 168; bk. 12 p. 75).
+      Pastorale in F major (bk. 12 p. 102).
+      Choral Partita: Christ, der du bist der helle Tag (bk. 19 p. 36).
+      Do. O Gott, du frommer Gott (bk. 19 p. 44).
+      Do. Sei gegruesset, Jesu guetig (bk. 19 p. 55).
+
+Generally speaking, the Choral Preludes, other than those in the maturer
+collections made by Bach himself, may be regarded as youthful works (bks.
+18, 19).
+
+
+
+
+    II. Catalogue Of Bach's Compositions At Weimar, 1708-17, from his
+                 twenty-fourth to his thirty-third year.
+
+
+
+Vocal:--
+
+
+      Secular Cantata: Was mir behagt (1716), _or_, Verlockender
+      Goetterstreit.
+
+
+
+Clavier:--
+
+
+      Sixteen Concertos after Vivaldi (bk. 217) (c. 1708-12).
+      Toccatas in D major (bk. 211 p. 28), G major (bk. 215 p. 19), D
+      minor (bk. 210 p. 68), G minor (bk. 211 p. 4),  E minor (bk. 210 p.
+      23) (c. 1708-12).
+      Aria variata alia maniera Italiana (bk. 215 p. 12) (c. 1708-12).
+      Prelude and Fugue in A minor (bk. 211 p. 14) (c. 1715).
+      Fugues in A major (bk. 215 pp. 52, 57).
+      Do. B minor (bk. 214 p. 48).
+      Do. A major (bk. 212 p. 66).
+      Do. A minor (bk. 212 p. 70).
+      Fantasia in G minor (bk. 215 p. 32).
+      Do. B minor (bk. 215 p. 41). (For Organ, N. bk. 12 p. 71.)
+      Do. D major (bk. 211 p. 28).
+      Do. A minor (bk. 215 p. 5) (c. 1710).
+
+
+
+Organ:--
+
+
+      Passacaglia and Fugue in C minor (bk. 10 p. 214).
+      Four Concertos after Vivaldi (bk. 11).
+      Eight Short Preludes and Fugues (bk. 1).
+      Orgelbuechlein (bk. 15) (1717).
+      Aria in F major (bk. 12 p. 112).
+      Fantasia con Imitazione (bk. 12 p. 71).
+      Do. C major (bk. 12 p. 92).
+      Do. C minor (bk. 3 p. 57).
+      Trio in C minor (bk. 12 p. 108).
+      Do. D minor (bk. 2 p. 54).
+      Canzona in D minor (bk. 2 p. 34) (c. 1714).
+      Allabreve in D major (bk. 2 p. 26).
+      Prelude and Fugue in C major (bk. 7 p. 74).
+      Do. do. the "Short," E minor (bk. 2 p. 44).
+      Do. do. D major (bk. 6 p. 10).
+      Do. do. the "Great," A minor (bk. 7 p. 42).
+      Do. do. A major (bk. 3 p. 64).
+      Do. do. the "Great," C minor (bk. 7 p. 64).
+      Do. do. F minor (bk. 6 p. 21).
+      Do. do. G major (bk. 7 p. 80).
+      Do. do. G minor (bk. 8 p. 120) (c. 1712).
+      Toccata and Fugue in D minor (bk. 6 p. 2).
+      Do. do. the "Great," C major (bk. 9 p. 137).
+      Do. do. the "Great," F major (bk. 9 p. 176).
+      Do. do. the Dorian, D minor (bk. 10 p. 196).
+      Fantasia and Fugue in C minor (bk. 3 p. 76).
+      Prelude in G major (bk. 2 p. 30).
+      Do. C major (bk. 12 p. 91).
+      Fugue, the "Short," in G minor (bk. 3 p. 84).
+      Do. C major (bk. 12 p. 100).
+
+
+
+
+    III. Catalogue Of Bach's Compositions At Coethen, 1717-23, from his
+                  thirty-third to his thirty-ninth year.
+
+
+
+Vocal:--
+
+
+      Secular Cantata: Durchlaucht'ster Leopold (1717).
+      Do. Mit Gnaden bekroene der Himmel die Zeiten
+      (?1721). Do. Weichetnur, betruebte Schatten (?1717-23).(332)
+
+
+
+Clavier:--
+
+
+      Clavier-Buechlein vor Wilhelm Friedemann Bach (1720).
+      Chromatic Fantasia and Fugue (bk. 207 p. 4) (c. 1720-23).
+      Clavier-Buechlein vor A. M. Bachin (bk 1959) (1722).
+      The Well-tempered Clavier (Part i.) (bk. 2790a) (1722).
+      Six French Suites (bks. 202 and 2793) (c. 1722).
+      Six English Suites (bks. 203-4 and 2794-95) (before 1726).
+      Fantasia and Fugue in A minor (bk. 208 p. 50).
+      Fugue in A minor (bk. 207 p. 16) (B.G. III. p. 334).
+      Twelve Little Preludes and Six Preludes for Beginners (bks. 200 and
+      2791) (c. 1722).
+      Inventions and Symphonies (bks. 201 and 2792) (1723).
+      Toccatas in F sharp minor and C minor (bk. 210 pp. 30 and 40).
+      Suites in A minor, E flat major, E minor, F major, and F minor
+      (fragment) (bk. 214 pp. 54,62, 68; bk. 215 p. 27; bk. 212 p. 84).
+      Prelude and Fugue in E flat major (bk. 214 p. 40).
+
+
+
+Chamber(333):--
+
+
+      Six Sonatas (Suites) for Violin Solo (bk. 228) (c. 1720).(334)
+      Six Sonatas (Suites) for Violoncello Solo (bk. 238a) (c. 1720).
+      Six Sonatas for Violin and Clavier (bks. 232-33-232a-33a).
+      Suite in A major for Violin and Clavier (bk. 236).
+      Four Inventions for Violin and Clavier (bk. 2957).
+      Sonata in E minor and Fugue in G minor for Violin and  Clavier (bk.
+      236) (?early work).
+      Six Sonatas for Flute and Clavier (bks. 234-35).
+      Sonata in C major for two Violins and Clavier (bk. 237).
+      Three Sonatas for Viol da Gamba and Clavier (bk. 239).
+      Sonata in G major for two Flutes and Clavier (bk. 239 p. 2).
+      Sonata in G major for Violin, Flute, and Clavier (bk. 237).
+
+
+
+Orchestral:(335)--
+
+
+      Six Brandenburg Concertos (bks. 261-66) (1721).
+      Four Suites (Overtures) (bks. 267-69, 2068).(336)
+      Three Concertos for Violin and Orchestra (bks. 229, 230).(337)
+      Concerto in D minor for two Violins and Orchestra (bk. 231).(338)
+
+
+
+Organ:--
+
+
+      Prelude (Fantasia) and Fugue, the "Great," in G minor (bk. 8 p. 127)
+      (?1720).
+
+
+
+
+    IV. Catalogue Of Bach's Compositions At Leipzig, 1723-34, from his
+                    thirty-ninth to his fiftieth year.
+
+
+
+Vocal:--
+
+
+      Magnificat in D (?1723).(339)
+      Sanctus in C major, D major (c. 1723), D minor, and G major (P. bk.
+      29b).(340)
+      St. John Passion (1723).
+      Trauer-Ode (1727).
+      St. Matthew Passion (1729).
+      Mass in B minor (1733-?1738).
+      Christmas Oratorio (1734).
+      Three Wedding Chorals (P. bk. 1654).
+      Motet: Jesu, meine Freude (1723).
+      Do. Der Geist hilft unsrer Schwachheit auf (1729).
+      Do. fuerchte dich nicht.
+      Do. Singet dem Herrn ein neues Lied.
+      Motet: Komm, Jesu, komm.
+      Secular Cantata: Der zufriedengestellte Aeolus (1725); also entitled
+      Blast Larmen, ihr Feinden (1734).
+      Do. Vereinigte Zwietracht der wechselnden Saiten (1726), or, Auf
+      schmetternde Toene der muntern Trompeten (after 1733).
+      Do. Schwingt freudig euch empor; _also entitled_ Die Freude reget
+      sich, _or_ Steigt freudig in die Luft (1726).
+      Do Entfernet euch, ihr heitern Sterne (1727; music lost).
+      Do. Vergnuegte Pleissenstadt (1728; music lost).
+      Do. Von der Vergnuegsamkeit, _or_ Ich bin in mir vergnuegt (c. 1730).
+      Do. Weichet nur, betruebte Schatten (c. 1730).
+      Do. Der Streit zwischen Phoebus und Pan 1731).
+      Do. Froher Tag, verlangte Stunden (1732; music lost).
+      Do. Schweigt stille (Coffee Cantata) (c. 1732).
+      Do. Herkules auf dem Scheidewege, _or_ Die Wahl des Herkules (1733).
+      Do. Toenet, ihr Pauken!  Erschallet, Trompeten (1733).
+      Do. Preise dein Gluecke, gesegnetes Sachsen (1734).
+      Do. Schleicht, spielende Wellen (1734).
+      Do. Thomana sass annoch betruebt (1734; music lost).
+      Graduation Cantata: Siehe, der Hueter Israels (music lost).
+
+
+
+Clavier:--
+
+
+      Notenbuch vor Anna Magdalena Bach (bk. 1959) (1725).
+      Clavieruebung, Part I. containing the six Partitas, or German Suites
+      (bks. 205-6 or 2796-97) (1731).
+
+
+
+Orchestral:--
+
+
+      Concertos in C major, C minor, and C minor for two Claviers and
+      Orchestra (bks. 256, 257, 257b) (1727-36).(341)
+      Seven Concertos for Clavier and Orchestra (bks. 248-54) (1729-36).
+      Concerto in A minor for Violin, Flute, Clavier, and Orchestra (bk.
+      255) (c. 1730).(342)
+      Concerto in A minor for four Claviers and Orchestra (bk. 260) (c.
+      1733).
+      Concertos in D minor and C major for three Claviers and Orchestra
+      (bks. 258, 259) (c. 1733).
+
+
+
+Organ:--
+
+
+      Prelude and Fugue, the Great, in G major (bk. 8 p. 112) (1724 or
+      1725).(343)
+      Six Sonatas in E flat major, C minor, D minor, E minor, C major, G
+      major (bks. 4 and 5) (1727-33).(344)
+      Prelude and Fugue in C major (bk. 3 p. 70) (c. 1730).
+      Do. do. D minor (bk. 9 p. 150).
+
+
+
+
+    V. Catalogue Of Bach's Compositions At Leipzig, 1735-50, from his
+                      fifty-first year to his death.
+
+
+
+Vocal:--
+
+
+      Ascension Oratorio (Cantata 11) (c. 1735).
+      Schemelli's Hymn-book (1736).
+      Easter Oratorio (c. 1736).
+      Four Masses, in P major, A major (c. 1739), G minor, G major (c.
+      1739).
+      Secular Cantata: Angenehmes Wiederau (1737).
+      Do. Willkommen, ihr herrschenden Goetter der Erden (1738) (music
+      lost).
+      Do. Mer hahn en neue Oberkeet (Peasant Cantata) (1742).
+      Do. O holder Tag (?1749), _or_, O angenehme Melodei.
+      Italian Cantata: Amore traditore.
+      Do. Andro dall' colle al prato (lost).
+      Do. Non sa che sia dolore.
+
+
+
+Clavier:--
+
+
+      Clavieruebung, Part II. containing the Italian Concerto (bk. 207) and
+      Partita in B minor (bk. 208) (1735).
+      Fantasia and Fugue in C minor (bk. 207 p. 50 and bk. 212 p. 88) (c.
+      1738).
+      Clavieruebung, Part III. containing the four Duetti (bk. 208) (1739).
+      Clavieruebung, Part IV. containing the Goldberg Variations (bk. 209)
+      (c. 1742).
+      The Well-tempered Clavier, Part II. (bk. Ib or 2790b) (1744).
+
+
+
+Chamber:--
+
+
+      Sonata for Violin, Flute, and Clavier, in C minor (in the "Musical
+      Offering") (bk. 237 p. 3) (1747).
+      Three Partitas for the Lute (?1740).(345)
+
+
+
+Organ:--
+
+
+      The Catechism Choral Preludes (in Clavieruebung, Part III.)  (bk. 16)
+      (1739).
+      Fugue in D minor (in ditto) (bk. 16 p. 49) (1739).
+      Prelude and Fugue in E flat major (in ditto) (bk. 6 p. 28) (1739).
+      Do. do. the "Great," in C major (bk. 9 p. 156).
+      Do. do. the "Great," in B minor (bk. 7 p. 52) (1727-36).
+      Do. do. the "Great," in E minor (bk. 8 p. 98).
+      Canonic Variations on "Vom Himmel hoch" (bk. 19) (1746).
+      The Schuebler Choral Preludes (bk. 16) (c. 1747-50).
+      The Eighteen Choral Preludes (bk. 17) (c. 1747-50).
+      The Musical Offering (P. bk. 219) (1747).
+      The Art of Fugue (P. bk. 218) (1749).
+
+
+
+
+
+APPENDIX II. THE CHURCH CANTATAS ARRANGED CHRONOLOGICALLY
+
+
+We have the statement of Carl Philipp Emmanuel Bach,(346) confirmed by
+Forkel,(347) Bach's earliest biographer, that his father composed five
+Cantatas for every Sunday and Festival of the ecclesiastical year.
+Concerted music was sung at Leipzig annually on forty-three Sundays and
+sixteen week-days.(348) Bach therefore must have written at least 295
+Cantatas.  Of this number he composed at least thirty before 1723.  Hence
+approximately 265 were written at Leipzig.  But Bach's fertility does not
+appear to have outlived the year 1744.  We have reason, therefore, to
+conclude that the 265 Leipzig Cantatas were written in the course of
+twenty-one years, that is, between 1723 and 1744.  To complete that number
+Bach must have composed a new Cantata every month, a surprising but
+demonstrable conclusion.
+
+Of the 295 Cantatas only 202 have come down to us, three of them in an
+incomplete state.(349) Of those written before 1723 the survivors are too
+scanty to indicate a rate of productivity.  But thereafter we have fuller
+materials for a calculation.  Bach, as Cantor, conducted his first Leipzig
+Cantata on May 30, 1723, and in the following sixteen months produced
+twenty-four Cantatas, at the rate of more than one a month.(350) Beginning
+at the New Year of 1725 he wrote eighteen Cantatas in nine months, some of
+which, however, may belong to the years 1726-7-8-9.  But even so, his
+monthly average seems to have been maintained.  For 1730 we have, perhaps,
+ten Cantatas.  For 1731 about twenty survive, of which half a dozen may
+belong to 1732, a deduction which still preserves Bach's steady average.
+In 1735 he produced actually nineteen Cantatas between the New Year and
+the following November, though not all of them are positively dated.
+Thereafter his activity is less certainly measured.  But from 1736 till
+the end of 1744 he composed fifty-three Cantatas, at the rate, that is, of
+at least six every year, without making allowance for Cantatas written and
+lost.
+
+There are few phenomena in the record of art more extraordinary than this
+unflagging cataract of inspiration, in which masterpiece followed
+masterpiece with the monotonous periodicity of a Sunday sermon.  Its
+musical significance has been presented with illuminating exegesis by more
+than one commentator.  But its literary apparatus has captured little
+attention.  Yet Bach's task must have been materially eased or aggravated
+according as the supply of libretti was regular or infrequent, while the
+flow of his inspiration must have been governed by their quality.
+Moreover, the libretto was the medium through which he offered the homage
+of his art to the service of God.  The subject therefore deserves
+attention.  However trivial, measured against the immensities of Bach's
+genius, the study will at least provide a platform from which to
+contemplate it.
+
+At the outset the opinion may be hazarded that the provision of his weekly
+libretti caused Bach greater anxiety than the setting of them to music, a
+task which he accomplished with almost magical facility. It is true that
+from the early part of the 18th century cycles of Cantata texts for the
+Church's year were not infrequently published.  Bach was in more or less
+intimate touch with the authors of four, perhaps five, printed collections
+of the kind.  But he used them with surprising infrequency.  Neumeister's
+published cycles provided him with seven libretti,(351) Franck's with
+sixteen,(352) Picander's with ten,(353) Marianne von Ziegler's with
+nine,(354) and Helbig's with two.(355) He took three libretti from the
+Bible,(356) and the hymn-book furnished him with eleven more.(357) But all
+these published sources together only account for fifty-eight texts.  Bach
+possessed only one book that could assist his own efforts at
+authorship--Paul Wagner's eight-volumed Hymn-book--whence he took the
+stanzas which decorate his Cantatas like jewels in the rare settings he
+gave them.  It was, therefore, mainly upon writers with whom he was
+brought into occasional or official contact that Bach depended for his
+texts.
+
+At the beginning of his career Bach was thrown upon his inexperience.  His
+earliest libretti, consequently, are tentative and transitory in their
+construction.  His first Cantata was written at Arnstadt for the Easter
+Festival of 1704.(358) The core of the libretto is a seven-stanzaed Easter
+song by an unknown poet, eked out by two passages of Scripture, a
+Excitativo, Aria, and a verse of a congregational hymn.  The Aria and
+Recitativo are the only original numbers of the libretto, and there is
+little doubt that Bach wrote them himself.(359) But the whole libretto is
+stamped by his personality, and reveals the inveterate subjectivity of his
+religion.  For, disregarding the general message of the Festival, the
+libretto opens on the soul's personal longing for immortality and closes
+on its song of victory over death.  In construction it is archaic, a
+survival of traditions acquired from central and northern Germany through
+Bach's earlier residence at Lueneburg and intercourse with Hamburg.(360)
+
+Three years passed before Bach produced his next extant Cantata. In the
+interval, on 29th June 1707, he resigned his Arnstadt appointment to
+become organist of the Church of St. Blasius at Muehlhausen.(361) Here,
+within the space of ten months, he produced three Cantatas, the uniform
+character of whose libretti points to local and transitory influence upon
+the composer.  The first of them,(362) written in August 1707, is a
+setting of Psalm 130, with the addition of two hymn-stanzas.  The
+second(363) was performed on 4th February 1708, at the inauguration of the
+Muehlhausen Town Council, and consists of Old Testament passages, a verse
+of a hymn, and three original stanzas.  The third,(364) a wedding Cantata,
+was performed at Dornheim, near Arnstadt, on 5th June 1708, at the
+marriage of Pastor Johann Lorenz Stauber to Frau Bach's aunt, and is set
+to four verses of Psalm 115.
+
+We can have little doubt regarding the authorship of these singularly
+austere libretti, so far removed in atmosphere from those of Bach's
+subsequent periods.  In fact, the clue is furnished by Bach himself.  A
+note in his handwriting on the score of the first of the three Cantatas
+(No. 131) states that he composed it at the request of Georg Christian
+Eilmar.  The man was a close friend, godfather of Bach's eldest daughter,
+Katharina Dorothea (b. 1708), chief pastor of the Church of the Blessed
+Virgin, and Consistorial Assessor, at Muehlhausen.  He was, moreover, an
+aggressive foe of Pietism, of which Muehlhausen was the citadel, and Bach's
+minister, Frohne, the protagonist.  Indeed, the two men waged so public
+and wordy a warfare(365) that Bach's social relations with the one and
+official connection with the other must have been rendered difficult.  To
+his settled convictions regarding the fellowship of music and worship
+Pietism offered Puritan opposition.  In fact, its lack of sympathy
+eventually drove him from Muehlhausen, in hope, in his own words, "to
+realise my views upon the right ordering of Church music without vexation
+from others."(366) Eilmar, on the other hand, though he admitted the
+aesthetic value of music, conspicuously lacked the warmth and emotionalism
+of Bach's religious temperament.  To him undoubtedly we must attribute the
+cold austerity of the three Muehlhausen libretti and the suppression of the
+personal note already sounded in Bach's Arnstadt Cantata.  Nor did
+Eilmar's influence pass with Bach's departure from Muehlhausen.(367) It is
+to be traced in the early libretti of the Weimar period.
+
+The Weimar Cantatas are twenty-two in number, of which all but three were
+written subsequently to Bach's appointment as Concertmeister early in
+1714. He had been organist to the Ducal Court of Weimar since June 1708, a
+position which did not require him to compose for the Ducal Chapel. On the
+other hand, three Cantatas are attributed to the early Weimar years. But
+they cannot be positively dated, and their libretti bear such clear traces
+of Eilmar's influence that their composition may belong rather to the
+Muehlhausen period.  Their texts display Eilmar's preference for strictly
+Biblical material and a disinclination to employ secular forms.  The first
+of them(368) is a paraphrase of the Magnificat. The second(369) consists
+of four verses of Psalm 25, along with three simple rhymed stanzas which
+we have no difficulty in attributing to Bach himself.  The third, _Gottes
+Zeit ist die allerbeste Zeit_ (No. 106), was composed, Spitta
+conjectures,(370) for the funeral of Philipp Grossgebauer, Rector of
+Weimar School, in 1711.  But more recently, and more probably, Pirro(371)
+has expressed the opinion that Bach wrote it for the funeral of his uncle,
+Tobias Lammerhirt, who was buried at Erfurt in September 1707.  The theory
+accords with the suggestion that all three Cantatas belong to the
+Muehlhausen period.  If so, it is probable that the libretto, a very
+ingenious mosaic of Scripture texts, was written by Eilmar for the
+occasion.  It is the last in which we detect his influence.
+
+Bach's appointment as Ducal Concertmeister at Weimar can be placed between
+14th January and 19th March 1714(372) and, it is probable, was nearer the
+former date.  He seems to have produced the first Cantata his new post
+required him to write on Sexagesima Sunday, which fell on 4th February in
+that year.  From thence to the end of 1716 he produced nineteen Cantatas
+and collaborated with a writer whose libretti at length gave him a
+satisfactory literary medium.
+
+The new poet, Erdmann Neumeister, four of whose libretti Bach set to music
+immediately after his appointment, and a fifth a year later,(373) was
+considerably Bach's senior.(374) As far back as 1700 he had begun to write
+a cycle of Cantata texts for the Ducal Chapel at Weissenfels, and pubushed
+it in 1704, with an explanatory Preface referred to later.(375) In 1708 he
+issued a second cycle for the Court of Rudolstadt, while in 1711 and 1714
+third and fourth cycles were written for the Ducal Chapel at Eisenach.
+All four cycles were reissued in 1716,(376) with the addition of a fifth
+and a Preface, which lauded Neumeister as "the first German to give sacred
+music its fitting position by introducing and perfecting the Church
+Cantata."(377)
+
+Spitta has dealt exhaustively(378) with the evolution and construction of
+the Neumeister libretto.  It need only be remarked that it adapted a
+secular or operatic apparatus to the service of religion, and that the
+innovation, hateful to many, triumphed because of Neumeister's delicate
+handling of it.  He perfected the new form, however, in stages.  "A
+Cantata," he insisted in his 1704 Preface, "is simply a fragment of Opera
+made up of Aria and Recitativo."  But the restriction excluded from the
+Cantata its most appropriate material.  In his 1708 cycle he found a place
+for the chorus.  Finally, he admitted the Bible stanza and congregational
+hymn.  With their inclusion the Cantata libretto assumed the form familiar
+to us in Bach's use.  It represents a combination of secular Opera and
+ecclesiastical Motet.  The free Arias and Recitativi are derived from the
+one, the Bible stanzas and congregational hymns perpetuate the traditions
+of the other. Unity of design is stamped on the whole by its general
+subordination to the Gospel for the Day.  Thus, at the moment when Bach
+was about to devote his genius to the Cantata, Neumeister opportunely
+provided him with a libretto singularly adapted to the end Bach had in
+view, and appropriate to the musical expression by which he proposed to
+secure it.  He adhered to it almost to the end of his life, and found
+unfailing inspiration in Neumeister's sincerity, delicacy, and uniformly
+religious outlook.  Neumeister's Arias, with a single exception,(379) are
+hymn-like in mood and metre.  His Recitativi are reflective and prayerful,
+rarely oratorical or pictorial, simple communings upon the Gospel themes
+which the libretto handles.(380)
+
+Bach's early introduction to Neumeister's texts is explained by the close
+relations between the Courts of Weimar and Eisenach, by his associations
+with his own birthplace, and his intimacy with Georg Philipp Telemann,
+Kapellmeister there, for whose use Neumeister's third and fourth cycles
+were written.(381) Bach set, in all, seven of the libretti--four from the
+fourth cycle,(382) one from the third,(383) and two from the first,(384)
+one of which (No. 142) differs so much from the published version as to
+raise the question whether Bach did not receive it direct from Neumeister
+in the form in which he set it.(385)
+
+That Bach should have set no more than seven of Neumeister's texts(386) is
+strange.  He shrank, perhaps, from appropriating libretti on which his
+friend Telemann had a prior claim.(387) But the reason is found rather in
+the fact that at Weimar Bach discovered in 1715 a local poet of first-rate
+ability who, with perhaps but one exception, wrote the libretti of all the
+Cantatas he composed during the last two years of his Weimar appointment.
+
+Salomo Franck, Bach's new collaborator, was Curator of the Ducal Museum of
+Coins and Medals at Weimar.  He was twenty-six years older than Bach.  But
+Spitta's conjecture,(388) that the two men were not acquainted, is hardly
+tenable.  Both resided in the same small provincial town, both were in the
+Duke's service, and throughout 1715 and 1716 collaborated in at least ten
+Cantatas performed in the Ducal Chapel.  Moreover, though the Preface of
+Franck's first cycle is dated 4th June 1715,(389) Bach had already set one
+of its libretti for Easter of that year. A second cycle of texts, of which
+Bach made little use,(390) was published by Franck in 1717.(391)
+
+Schweitzer, no doubt, is correct in his conclusion(392) that Bach was
+drawn to Franck by his poetic insight, his mysticism, and innate feeling
+for nature.  It must be remembered, too, that his libretti were, in some
+degree, official.  On the other hand, Franck was Neumeister's inferior in
+ability to conceive a picture fit to express Bach's larger moods, and on
+occasion could descend to sheer bathos.(393) But his texts have a rhythmic
+swing and melody which Bach found agreeable.  He set at least sixteen of
+them, and returned to them even after he settled at Leipzig.
+
+The circumstances which terminated Bach's service at Weimar are familiar,
+and need not be restated.  He received a new appointment at Coethen on 1st
+August 1717, and took up his duties there, probably at Christmas, that
+year.(394) His position was that of Capellmeister to the princely Court.
+He never styles himself Court Organist,(395) and his duties severed him
+for five years from the service of the Church, to which he had declared
+his particular dedication in 1708.  The Coethen Court was unpretentious.
+The Prince was a Calvinist.  Figurate music was not permitted in the Court
+Chapel, and its Organ was small and inadequate.  Hence Bach devoted
+himself chiefly to chamber music, and only two genuine Church Cantatas
+belong to this period of his career.  Both must have been written for
+performance elsewhere, possibly in connection with Bach's frequent Autumn
+tours as a performer.(396)
+
+For both Cantatas Bach employed a librettist, otherwise little known,
+named Johann Friedrich Helbig, State Secretory to the Eisenach Court. In
+March 1720,(397) more than two years after Bach's arrival at Coethen,
+Helbig published a cycle of "Musical Texts on the Sunday and Saints' Day
+Gospels throughout the year," for performance "in God's honour by the
+Prince's Kapelle at Eisenach."(398) How they came into Bach's hands we do
+not know, but can readily conjecture.  They are indifferent poetry,
+judging them by the two specimens Bach made use of, and are uniform in
+construction.  The first movement invariably is a Chorus upon a text from
+the Gospel for the Day, or a Scripture passage closely related to it.  Two
+Arias separated by a Recitative follow. A Choral brings the libretto to an
+end.(399)
+
+The first of the two Cantatas written to Helbig's words was designed for
+the Seventeenth Sunday after Trinity, which fell in 1720 on September
+22.(400) Spitta conjectures(401) that Bach intended it for performance at
+Hamburg.  In fact, his wife's death postponed Bach's visit to that town
+until November, by which date the Sunday appropriate to the Cantata had
+passed. Spitta holds that the Cantata may have been performed, after all,
+during the visit. Schweitzer is sceptical.(402) But Bach certainly
+expended great pains upon the score.
+
+The second Helbig Cantata(403) is for the Third Sunday in Advent, and the
+date of it would appear to have been 1721.  It is one of the least
+agreeable of Bach's works.  Spitta (404) declares it a juvenile
+composition hastily adapted to a new libretto. Schweitzer(405) expresses
+the same opinion, and Sir Hubert Parry(406) finds the work "rather
+commonplace."  Its genuineness is discussed by Max Schreyer in the
+"Bach-Jahrbuch" for 1912, and more recently Rudolf Wustmann has insisted
+that it does not bear the stamp of Bach's genius.(407) If it actually was
+composed in 1721, its production must have coincided with Bach's second
+marriage on December 3 of that year.(408) In that case, his resort to old
+material is explicable.
+
+Only these two Cantatas were composed at Coethen.  But later, at Leipzig,
+two others were manufactured out of secular material written there.(409)
+It is unnecessary to refer to them, except to remark that in each case
+Bach appears to have been the author of the new libretto.  In the first of
+them(410) it is clear that he was handicapped by the frankly secular metre
+of the original stanzas.  The second of them,(411) originally a Birthday
+Ode to Prince Leopold of Anhalt-Coethen, is a masterly conversion into a
+Whit-Monday text which, assuming that Bach wrote it, puts his literary
+facility beyond question.
+
+Bach made the last move in his professional career on May 31, 1723, when
+he was inducted Cantor of St. Thomas' School at Leipzig, with particular
+charge of the Churches of St. Thomas and St. Nicolas.  Here by far the
+greater number of his Cantatas appeared, and 172 of them survive.  They
+are too numerous to be considered individually, and their classification
+is rendered difficult by the fact that the authorship of most of their
+libretti is conjectural and not ascertained.  They fall, however, into two
+large categories, each of which exhibits characteristics of its own.
+
+The dividing year, clearly but not arbitrarily, is 1734.  Before it and
+after it Bach was aided by new writers.  But the earlier period
+pre-eminently was one of experiment, out of which emerged the glorified
+hymn-libretto, or Choral Cantata, of Bach's last years.  That it sprang,
+in some degree, from the difficulty of finding good original texts in
+sufficient number may be granted.  That it was adopted as an avenue of
+escape from Picander's coarser work is a conjecture based, apparently,
+upon a prevalent exaggeration of Bach's dependence on that writer.  The
+fundamental reason which led Bach to the hymn-libretto undoubtedly was the
+fact that it most closely fulfilled the ideals which informed his work.
+
+The first Cantata performed during Bach's Cantorship(412) reveals a new
+author, whose assistance, if the conclusion is well grounded, was at
+Bach's disposal throughout the whole of the earlier Leipzig period.
+Spitta's keen insight failed him in this instance.  He betrays no
+recognition of the new writer, and occasionally(413) attributes his
+libretti to Picander.  The credit of the discovery belongs to Rudolf
+Wustmann, though he fails to work it out to its fullest conclusions.(414)
+
+No one can read the early Leipzig libretti without being struck by the
+number of them that are not only uniform in structure, but similar in tone
+and point.  They all begin with a Bible text, chosen frequently, but not
+invariably, from the Gospel for the Day.  Every one of them ends with a
+hymn-stanza.  Their Arias, with hardly an exception,(415) are written in
+what, compared with Picander's rollicking dactyls, may be held
+hymn-metres.  Their Recitativi, almost invariably, are didactic or
+exegetical.(416) They do not display the vapid rhetoric of Picander.  Nor
+do they express the reflective or prayerful mood that reveals Bach.  They
+are essentially expositive and, it is noticeable, are studded with direct
+or veiled references to Bible passages which expand or enforce the lesson
+of the initial text.  In a word, they suggest the work of a preacher
+casting his sermon notes into lyrical form, an impression which is
+strengthened by the fact that the libretto invariably opens with a
+Scripture passage and frequently blends the Gospel and Epistle for the Day
+in one harmonious teaching.  Spitta detected this characteristic.  But he
+failed to follow up the clue.  He speaks(417) of one of these texts(418)
+as a "moralising homily," a phrase concisely appropriate to them all.
+Moreover, a remark of his,(419) pointing the significance of the
+god-parents chosen by Bach for his children--Eilmar, for instance--as
+revealing Bach's intimate associates at the moment, affords another clue
+to the personality of the new writer.
+
+Among the clergy of St. Thomas' during Bach's Cantorate were two men,
+father and son, each of whom bore the name Christian Weiss.  The elder was
+Pastor of the Church from 1714 till his death in 1737.  He was a cultured
+man, in touch with the University, and possibly formed a link between it
+and Bach, to whom he showed greater cordiality than the Cantor received
+from other clerical colleagues.  In 1732 his daughter, Dorothea Sophia
+stood godmother to Bach's son, Johann Christoph Friedrich, afterwards
+famous as the "Bueckeburg Bach."(420) In 1737 his son stood sponsor to
+Bach's daughter, Johanna Caroline.(421) Nor can it be altogether without
+significance that the names Dorothea, Sophia, Christian, are borne by
+others of Bach's children by his second marriage.  There is sufficient
+evidence, therefore, that Bach's relations with the elder Weiss were
+intimate enough to support a literary partnership.  Moreover,
+circumstances lend weight to the inference.  For some years before Bach's
+arrival in Leipzig, Weiss suffered from an affection of the throat which
+kept him from the pulpit.  But, during the first year of Bach's Cantorate,
+he was able to resume his preaching.  If he was, in fact, the author of
+the libretti, we can have little difficulty in concluding that they and
+his sermons were built on the same text.
+
+So far as they can be identified--the attempt is somewhat speculative--Weiss
+provided Bach with at least thirty-three libretti.  He set five of them in
+1723, three in 1724, nine in or about 1725, one in 1727, two in 1730, six
+in 1731, three in 1732, and four in the later Leipzig period.(422)
+Fourteen others bear a constructional resemblance to Weiss's texts,(423)
+but their character refers them rather to Bach or Picander.  Even so, if
+we do not exaggerate his activity, Weiss seems to have written at least
+one-sixth of the Leipzig libretti and more than a quarter of those of the
+earlier period.  Without a doubt he eased a difficult situation in Bach's
+experience before his regular association with Picander began.
+
+Apart from their revelation of Christian Weiss, the libretti of Bach's
+first year at Leipzig do not call for comment.  Franck and Neumeister
+appear among them, and we trace Bach's hand in nine.(424) But at Easter,
+1724, he broke new ground with a libretto whence developed the Cantata
+form of his latest period.
+
+The Cantata for Easter Day 1724,(425) is Bach's earliest setting of an
+entire congregational hymn.  Spitta suggests(426) that he felt the fitness
+of giving the libretto an antique character to match the hymn's melody.
+However that may be, Bach would appear already to have been groping
+towards the Choral Cantata of the late '30's.  And though he did not
+repeat the experiment until the Easter of 1731,(427) he treated three
+hymn-libretti in the interval in a manner which shows him already to have
+worked out the essentials of the Choral Cantata form.(428)
+
+Another landmark meets us a year and a half after the Easter experiment.
+On September 23, 1725(?)--the Seventeenth Sunday after Trinity--Bach
+produced a Cantata(429) whose Arias are set to words which had appeared in
+print in the preceding year.  Their author was a hack writer named
+Christian Friedrich Henrici, or, as he preferred to style himself,
+Picander.  His hand probably is also traced in the libretto used by Bach
+on the preceding Sunday(430) and again in that for Sexagesima in the same
+year.(431) But the evidence is only inferential.  That he collaborated
+with Bach on September 23, 1725 (?), is incontestable, and the work
+defines the beginning of a long and fruitful partnership.
+
+Spitta,(432) who tells us all that is known of Picander, has sufficiently
+exposed his superficial literary facility.  He commenced to write sacred
+poetry in 1724, and on Advent Sunday of that year began a cycle of
+"Profitable Thoughts," so he termed them, upon the Sunday and Saints' Day
+Gospels.  He published them in 1725, when the cycle was complete.(433)
+Three years later he issued a cycle of Cantata texts for 1728-29 in the
+Neumeister form.(434) That he intended them for Bach's use is apparent in
+the fact that he expressly dedicated them to the service of "our
+incomparable Capellmeister."  But Bach made the sparest use of them and of
+the earlier "Profitable Thoughts" alike.  From the latter he took not one
+libretto.(435) Of the 1728-29 cycle he used only eight texts.(436) One
+more libretto can be referred to Picander's later publications,(437) and
+of six others we can be sure that they are based upon his texts.(438) In
+other words, of the original libretti of the Leipzig period we can trace
+Picander's hand positively in no more than fifteen.
+
+It is necessary to emphasise this point. For Spitta(439) has stated
+positively that Picander wrote "most" of the Leipzig libretti, and his
+opinion has been generally accepted.  But its correctness may be
+contested.  It is suspicious, to begin with, that Picander never published
+the texts which Spitta asserts him to have poured out in such profusion.
+"He placed no value," Spitta answers readily, "on these manufactured
+compositions, put together hastily to please his friend."  But the
+argument cannot stand.  Why should Picander have thought less of libretti
+actually used by his "incomparable Capellmeister" than of those published
+for and rejected by him?--for Spitta does not venture to declare that as
+literature the rejected were superior to the accepted texts.  If out of a
+published cycle of libretti expressly written for him Bach chose only
+eight texts, are Picander's "manufactured compositions," as Spitta calls
+them, likely to have attracted him to a greater degree?  We can detect his
+hand perhaps in six Cantatas(440) besides those already mentioned, and
+Bach relied on him exclusively for his secular texts.  One concludes, none
+the less, that Bach rarely accepted an original Cantata libretto from
+Picander, and employed him chiefly on the Choral Cantatas of his latest
+period.  Excluding them, and adding the probable to the actual original
+Picander texts, they total only twenty-one, a fraction inadequate to
+support Spitta's sweeping statement.
+
+From the advent of Picander in 1725, to the end of the first Leipzig
+period nine years later, Bach does not seem to have gone outside the
+circle of familial authors for his regular Cantata texts.  On October 17,
+1727, however, he produced a funeral Cantata, or "Trauer-Musik," in memory
+of the late Queen of Poland, the libretto of which was written by
+Professor J. C. Gottsched.  The partnership, in fact, was accidental: the
+libretto was supplied to Bach with the commission to set it to music, and,
+so far as is known, Gottsched and he did not collaborate again.
+
+So, reviewing Bach's activities during his first eleven years at Leipzig,
+we find that of the hundred libretti set by him to music Christian Weiss
+heads the list as the presumed author of twenty-nine.  Bach follows him
+with eighteen.(441) Picander's hand appears in fifteen, Franck's in
+eight,(442) Neumeister's and Gottsched's in one each.  Fifteen libretti
+are congregational hymns in their original or paraphrased form.  One is
+the _Gloria in Excelsis_ of the B minor Mass adapted as a Christmas
+Cantata (No. 190).  Twelve are by authors not identified.
+
+Passing to the later Leipzig period, seventy-two surviving Cantatas are
+attributed to the years 1735-50.  They reveal one, perhaps two, new
+writers.  The first of them, Marianne von Ziegler, was identified by
+Spitta in 1892.  She was the widow of an officer, resident in Leipzig, a
+cultured woman, in touch with University life, her house a salon for music
+and musicians.(443) There is no reason to suppose Bach to have been of her
+circle, or that he was acquainted with her literary gifts.  Indeed the
+contrary is to be inferred from the fact that, though she published her
+poems in 1728,(444) he does not seem to have known them until seven years
+later, when he used them for nine consecutive Sundays and Festivals in
+1735, beginning on the Third Sunday after Easter, and ending on Trinity
+Sunday.
+
+In addition to these nine libretti, both Spitta(445)and Schweitzer(446)
+attribute to her the text of Bach's Cantata for the Second Sunday after
+Easter in the same year.(447) It is uniform in construction with the
+authentic nine, but is not among the authoress's published works.
+Wustmann(448) finds the tone of the libretto less ardent and its rhythm
+rougher than those published under her name.  Admitting the soundness of
+Wustmann's criticism, one hazards the opinion that the challenged text was
+written at the period when Bach set it, namely, in 1735, eight years after
+the poetess published her earlier texts.  The difference of time may
+account for the difference of texture to which Wustmann draws attention,
+but leaves undecided the question whether Bach was drawn to the earlier
+through the later and unpublished texts or vice versa.  It is quite
+probable that he set other libretti by the same writer, though
+Schweitzer's(449) attribution to her of a second text for Ascension Day,
+1735, must be rejected.(450)
+
+It is worth noticing, since it certainly reveals Bach's preference, that
+Marianne von Ziegler's libretti are constructed almost invariably in the
+Weiss form.  Every one of them but three(451) opens with a Bible passage,
+invariably taken from St. John's Gospel, which provides the Gospel for the
+Day from the First Sunday after Easter down to Trinity Sunday, excepting
+Ascension Day.  All but one (No. 68) of the libretti conclude with a
+Choral, and their Arias are hymn-like in metre.  The tone of them,
+however, is warmer, more personal, less didactic than the Weiss texts.
+That Bach regarded them with particular favour is apparent in the
+circumstance that he took the trouble to revise all but one of them.(452)
+That they stirred his genius deeply is visible in the settings he gave
+them.
+
+After 1735 the chronology of the Cantatas is not certainly ascertained.
+Of those that fall after the Ziegler year, as we may term it, the majority
+can only be dated approximately as circa 1740, that is, anywhere between
+1735 and 1744.  Nor, except rarely, can we detect in their libretti the
+work of those on whom Bach elsewhere relied.  Weiss, who died late in
+1737, is only an occasional contributor.  The texts of this period, in
+fact, are the outcome of Bach's own experiments in libretto form.
+Thirty-three of them are Choral Cantatas, whose evolution it remains to
+trace concisely.
+
+That Bach should have turned to Lutheran hymnody, chiefly of the fifteenth
+and sixteenth centuries, and that the Cantatas built upon it should be his
+most perfect religious work is not surprising.  The hymns and their
+melodies were the foundations upon which the temple of German
+Protestantism had been reared.  They appealed vividly and powerfully to
+Bach's spiritual nature, and profoundly influenced his musical utterance.
+His whole career, as Sir Hubert Parry points out,(453) was an effort to
+widen his means for self-expression.  And the Choral Cantata, in effect,
+was the reconciliation or blending of this self-discipline.  It was the
+supreme achievement of Bach's genius to assert the faith and idealism of
+Lutheran hymnody with the fullest resources of his technique.
+
+It is not our task to consider the hymn libretto in its relation to the
+structure of Bach's latest Cantatas.  Necessarily it tied him to a
+stereotyped design, which he clung to with greater persistency because it
+exactly fulfilled his devotional purpose.  But experience compelled him,
+after a brief trial, to discard the simple hymn libretto.  In the earlier
+Leipzig years as many as eight Choral Cantatas(454) are set to the
+unaltered text of a congregational hymn.  In the later Leipzig period only
+two(455) libretti are of that character.  Bach, in fact, soon realised
+that, while the unaltered hymn-stanza, with its uniform metre and balanced
+rhyme, was appropriate to the simple Choral or elaborate Fantasia, it was
+unmalleable for use as an Aria or Recitative.  Hence, retaining the
+unaltered Hymn-stanza for the musical movements congruous to it, he was
+led to paraphrase, in free madrigal form, those stanzas which he selected
+for the Arias and Recitativi.
+
+As early as September 16, 1725,(456) Bach was moving towards this
+solution.  And it is significant that Picander's hand is visible in the
+libretto.  The next example(457) occurs three years later, and again
+reveals Picander's authorship.  Two other instances also occur in the
+early Leipzig period.(458) To that point, however, it is clear that Bach
+was not satisfied as to the most effective treatment of the hymn-libretto.
+But in the second Leipzig period, after his collaboration with Marianne
+von Ziegler, he arrived at and remained constant to a uniform design.  Of
+the thirty-nine Choral Cantatas of the whole period only two exhibit the
+earlier form.  Of all the others the libretto consists partly of unaltered
+hymn-stanzas--invariably used for the first and last movements, and
+occasionally elsewhere--but chiefly of paraphrased stanzas of the hymn,
+whose accustomed melody, wherever else it may be introduced, is associated
+invariably with the hymn when the text is used in its unaltered form.  We,
+to whom both words and melody are too frequently unfamiliar, may view the
+perfections of the Choral Cantata with some detachment.  But Bach's
+audience listened to hymns and tunes which were in the heart of every
+hearer and a common possession of them all.  The appeal of his message was
+the more arresting because it spoke as directly to himself as to those he
+addressed.
+
+It would be satisfactory and interesting to point positively to Bach's own
+handiwork in these libretti, of which he set fifty-four in the period
+1724-44.  Unfortunately it is impossible to do so, except, perhaps, in a
+single case,(459) where we can reasonably infer that the libretto is his.
+Of the rest, one is by Franck.(460) In eighteen of them the hand of
+Picander is more or less patent.(461) Nineteen(462) we can only venture to
+mark "anonymous," though Picander is probably present in most of them.
+Ten are unaltered congregational hymns.(463) There remain, however,
+five(464) in which, perhaps, we detect another, and the last, of Bach's
+literary helpers.
+
+Wustmann draws attention(465) to the libretto of Cantata No. 38, a
+paraphrase of Luther's Psalm 130.  He finds in it, and reasonably, an
+expression of "Jesus religion" very alien to Picander's muse, and suggests
+the younger Christian Weiss as the author of it.  Like his father, he was
+Bach's colleague, the godfather of his daughter, and undoubtedly on terms
+of close friendship with him.  But if he wrote the libretto of Cantata No.
+38, probably it is not the only one.  The same note rings in four more of
+the Choral Cantatas,(466) which may be attributed tentatively to Weiss,
+though their ascription to Bach would be equally congruous.
+
+Returning, however, to the seventy-two libretti of the later Leipzig
+period we reach this result: More than half of them (thirty-nine) are
+congregational hymns, all but two of which are of the paraphrased type in
+which we detect the work of Picander, Bach himself, and perhaps the
+younger Weiss.  Of the remaining thirty-three original libretti Marianne
+von Ziegler heads the list with nine, and perhaps ten.(467)  Bach follows
+with a problematical six,(468) Picander with five,(469) the elder Weiss
+with four,(470) Neumeister with one.(471) One text is taken from the
+Bible.(472) Another consists of a single stanza of a hymn by Martin
+Behm.(473) Five are by authors unknown or undetected.(474)
+
+But, as was said at the outset, the attribution of particular libretti to
+individual writers is conjectural, except in comparatively few cases.
+Yet, unsatisfying as it is, this guess-work reveals with approximate
+correctness the extent to which Bach drew upon his own and other people's
+abilities for the texts he needed.  Summarising our conclusions, we
+discover that about one-quarter (fifty-four) of the 202 libretti set by
+Bach between the years 1704 and 1744 were provided by the hymn-book.  It
+is shown elsewhere(475) that all but eleven of them are taken from Paul
+Wagner's volumes.  The elder Weiss comes next with thirty-three libretti.
+Bach follows with thirty, Salomo Franck with twenty-one, Picander with
+twenty (exclusive of his arrangements of Choral Cantata texts).  Marianne
+von Ziegler contributes ten, Neumeister seven, Eilmar and Helbig two each,
+Gottsched and Martin Behm one each.  Three libretti are taken from the
+Bible or Church liturgy.  Eighteen remain anonymous.
+
+The literary qualities of the libretti are not under discussion here.
+They have a characteristic, however, on which one cannot forbear from
+remarking.  Indifferent literature as, for the most part, they
+are--children of their period and blemished with its imperfections--they
+enshrine an extraordinarily interesting anthology of the religious poetry
+of the sixteenth, seventeenth, and eighteenth centuries.  They expose the
+evangelical thought of Germany from the age of Luther to that of Bach, and
+are particularly rich in the lyrical fervour of the Reformation itself.
+Of the seventy-seven hymn-writers whom Bach includes in his collection, so
+many as forty-four belong to the sixteenth century.  Only thirteen of them
+touch Bach's own period.  And a similar bias to the Reformation epoch is
+observable in his choice of the tunes of the Chorals, which are absent
+from only twenty-one of the Cantatas.  By far the greater number of them
+are coeval with the hymns themselves; that is, they date from the
+Reformation and behind it.
+
+Here clearly is the source of Bach's inspiration, the master-key of his
+art.  He touches Luther, is in a sense his complement, his art builded on
+the foundations Luther laid, consecrated to the ends Luther vindicated,
+inspired by a dedication of himself to God's service not less exalted--a
+great artist, a great Protestant, a great man.(476)
+
+NOTE.--Cantatas distinguished by an asterisk (*) are for Soli voices only
+(S.A.T.B. unless the particular voices are stated); those marked ({~DAGGER~})
+include, in addtion, simple four-part Chorals: the rest contain concerted
+Choruses.
+
+
+
+
+            (1) COMPOSED AT ARNSTADT (see also Nos. 150, 189.)
+
+
+
+
+           (2) COMPOSED AT MUeLHAUSEN (see also Nos. 150, 189.)
+
+
+
+
+    (3) COMPOSED AT WEIMAR. (See also Nos. 12, 72, 80, 164, 168, 186.)
+
+
+
+
+            (4) COMPOSED AT COeTHEN. (See also Nos. 22 and 23.)
+
+
+
+
+ (5) COMPOSED AT LEIPZIG. 1723-34. (See also Nos. 31, 70, 134, 147,  158,
+                                  173.)
+
+
+
+
+                     (6) COMPOSED AT LEIPZIG: 1735-50
+
+
+
+
+
+APPENDIX III.  THE BACHGESELLSCHAFT EDITIONS OF BACH'S WORKS
+
+
+The Bachgesellschaft was founded on December 15, 1850, issued its first
+volume in 1851, and was dissolved on January 27, 1900, upon the
+publication of its sixtieth and concluding volume.  The Society had
+fulfilled its fundamental purpose--the publication of Bach's works--and on
+the very date of its dissolution the Neue Bachgesellschaft was founded
+with the object of popularising Bach's music by publishing it in
+practicable form and by holding Bach Festivals.  A secondary object, the
+foundation of a Bach Museum at Eisenach, in the house in which Bach was
+born, already has been achieved.  Bach Festivals have been held at regular
+intervals--at Berlin in 1901, Leipzig in 1904, Eisenach--in connection with
+the opening of the Museum--in 1907, at Chemnitz in 1908, Duisburg in 1910,
+Breslau in 1912, Vienna in 1914.  The publications of the new Society
+necessarily are unimportant by the side of those of its predecessor.  It
+has, however, brought to light and published a Cantata overlooked by the
+old Bachgesellschaft.  (See New B.G. XIII. (2).)
+
+The publications of both Societies are quoted here by their year of
+issue--I., II., III., and so forth.  When more than one volume has been
+published in a single year they are differentiated thus: XV.(1), XV.(2).
+When a volume appeared upon a date subsequent to the Vereinsjahr it bears,
+the date of the Preface is indicated in a bracket, e.g. 1872[1876].
+
+The editorial work of the original Bachgesellschaft was undertaken, in
+unequal proportions, by ten editors during fifty years.  Of the Society's
+sixty volumes three were edited by Moritz Hauptmann (1851-58), one by Carl
+F. Becker (1853), two by Julius Rietz (1854-56), twenty-seven by Wilhelm
+Rust (1855-81), one by Franz Kroll (1866), eleven by Alfred Doerffel
+(1876-98), six by Paul Graf Waldersee (1881-94), five by Ernst Naumann
+(1886-94), two by Franz Wuellner (1887-92), and two by Hermann Kretzschmar
+(1895-1900).
+
+
+
+
+                 (A) PUBLICATIONS OF THE BACHGESELLSCHAFT
+
+
+   I. 1851. Kirchencantaten. Erster Band. Ed. Moritz Hauptmann.(478)
+
+            No. *1. Wie schoen leuchtet der Morgenstern.
+            No. *2. Ach Gott, vom Himmel sieh darein.
+            No. *3. Ach Gott, wie manches Herzeleid (c. 1740).
+            No. *4. Christ lag in Todesbanden.
+            No.  5. Wo soll ich fliehen hin.
+            No. *6. Bleib' bei uns, denn es will Abend werden.
+            No.  7. Christ unser Herr zura Jordan kam.
+            No. *8. Liebster Gott, warm werd' ich sterben?
+            No.  9. Es ist das Heil uns kommen her.
+            No. *10. Meine Seel' erhebt den Herren!
+            Frontispiece: G. Haussmann's portrait of Bach, in the
+            possession of St. Thomas' School, Leipzig.
+
+  II. 1852. Kirchencantaten. Zweiter Band. Ed. Moritz Hauptmann.
+
+            *No. 11. Lobet Gott in seinen Reichen.
+            No. *12. Weinen, Klagen, Sorgen, Zagen.
+            No. 13. Meine Seufzer, meine Thraenen.
+            No. 14. War' Gott nicht mit uns diese Zeit.
+            No. 15. Denn du wirst meine Seele nicht in der Hoelle lassen.
+            No. 16. Herr Gott dich loben wir.
+            No. 17. Wer Dank opfert, der preiset mich.
+            No. 18. Gleich vie der Begen uud Schnee vom Himmel fallt.
+            No. 19. Es erhub sich ein Streit.
+            No. 20. O Ewigkeit, du Donnerwort (c. 1725).
+
+ III. 1853. Clavierwerke. Erster Band. Ed. Carl F. Becker.
+
+        (1) Fifteen Inventions and Fifteen Symphonies (Sinfonie) (P. bk.
+            201).(479)
+        (2) Clavieruebung, Part I.:--
+
+                  Partiten 1-6 (P. bka. 205, 206).
+
+        (3) Clavieruebung, Part II.:--
+
+                  Concerto, in F major, in the Italian style (P bk. 207).
+                  Partita (Overture) in B minor (P. bk. 208).
+
+        (4) Clavieruebung, Part III.:--
+
+                  Organ Prelude and Fugue in E flat major (N. bk. 16 pp.
+                  19, 83).
+                  Four Duetti (P. bk. 208 p. 78).
+                  Catechism Choral Preludes (Organ):--
+
+                              Kyrie, Gott Vater in Ewigkeit (N. bk. 16 p.
+                              28).
+                              Christe, aller Welt Trost (ib. p. 30).
+                              Kyrie, Gott heiliger Geist (ib. p. 33).
+
+                              Kyrie, Gott Vater in Ewigkeit (alio modo)
+                              (   2. ib.   1. p. 36).
+                              Christe, aller Welt Trost (ib. p. 37).
+                              Kyrie, Gott heiliger Geist (ib. p. 38).
+
+                     3. Allein Gott in der Hoh' sei Ehr' (ib. p. 39).
+                     4. Ditto (ib. p. 40*).(480)
+                     5. Allein Gott in der Hoh' sei Ehr' (Fughetta) (N.
+                        bk. 16 p. 41).
+                     6. Dies sind die heil'gen zehn Gebot' (ib. p. 42).
+                     7. Ditto (Fughetta) (ib. p. 47).
+                     8. Wir glauben all' an einen Gott (ib. p. 49).
+                     9. Ditto (Fughetta) (ib. p. 52).
+                    10. Vater unser im Himmelreich (ib. p. 53).
+                    11. Ditto (ib. p. 61).(481)
+                    12. Christ unser Herr zum Jordan kam (ib. p. 62).
+                    13. Ditto (ib. p. 67).
+                    14. Aus tiefer Noth schrei ich zu dir (ib. p. 68).
+                    15. Ditto (ib. p. 72).
+                    16. Jesus Christus unser Heiland (ib. p. 74).
+                    17. Ditto (Fugue) (ib. p. 80).
+
+        (5) Clavieruebung, Part IV.:--
+
+                  Aria and thirty Variations (Goldberg) (P. bk. 209).
+
+                  Toccata in F sharp minor (P. bk. 210 p. 30).
+                  Ditto. C minor (P. bk. 210 p. 40).
+                  Fugue (with Fantasia) in A minor (P. bk. 207 p. 16).
+
+  IV. 1854. *Passionsmusik nach dem Evangelisten Matthaeus.  Ed. Julius
+      Rietz.
+V(1). 1855. Kirchencantaten. Dritter Band. Ed. Wilhelm Rust.
+
+            *21. Ich hatte viel Bekuemmerniss.
+            22. Jesus nahm zu sich die Zwoelfe.
+            *23. Du wahrer Gott und Davids Sohn.
+            24. Ein ungefaerbt Gemuethe.
+            *25. Es ist nichts Gesundes an meinem Leibe.
+            26. Ach wie fluechtig, ach wie nichtig.
+            *27. Wer weiss, wie nahe mir mein Ende.
+            *28. Gottlob! nun geht das Jahr zu Ende.
+            29. Wir danken dir, Gott, wir danken dir.
+            *30. Freue dich, erloeste Schaar.
+
+V(2). 1855 [1856]. Weinachts-Oratorium. Ed. Wilhelm Rust.
+  VI. 1856. *Messe. H moll. Ed. Julius Rietz.
+  VI. VII. 1857. Kirchencantaten. Vierter Band. Ed. Wilhelm Rust.
+
+            No. 31. Der Himmel lacht, die Erde jubiliret.
+            *32. Liebster Jesu, mein Verlangen.
+            33. Allein zu dir, Herr Jesu Christ.
+            *34. O ewiges Feuer, O Ursprung der Liebe.
+            35. Geist und Seele wird verwirrt.
+            36. Schwingt freudig euch empor.
+            37. Wer da glaubet und getauft wird.
+            *38. Aus tiefer Noth schrei ich zu dir.
+            *39. Brich dem Hungrigen dein Brod.
+            *40. Dazu ist erschienen der Sohn Gottes.
+
+VIII. 1858. Vier Messen. F dur, *A dur, G moll, G dur. Ed. Moritz
+      Hauptmann.
+  IX. 1859 [I860]. Kammermusik. Erster Band. Ed. Wilhelm Rust.
+
+            Three Sonatas, in B minor, E flat major, A minor (and
+            Variant), for Clavier and Flute (P. bk. 234).
+            Suite in A major, for Clavier and Violin (P. bk. 236).
+            Six Sonatas, in B minor, A major, E major, C minor, F minor
+            (and Variant), G major (and Variants), for Clavier and Violin
+            (P. bks. 232, 233).
+            Three Sonatas, in G major (or 2 Flutes), D major, G minor for
+            Clavier and Viola da Gamba (P. bk. 239).
+            Sonata in G major, for Flute, Violin, and Clavier (P. bk.
+            237).
+            Sonata in C major, for two Violins and Clavier (P. bk. 237).
+            Sonata in G minor, for Clavier and Violin (not in P.).(  (6)
+            482)
+
+   X. 1860. Kirchencantaten. Fuenfter Band. Ed. Wilhelm Rust.
+
+            No. *41. Jesu, nun sei gepreiset.
+            42. Am Abend aber desselbigen Sabbaths.
+            *43. Gott fahret auf mit Jauchzen.
+            *44. Sie werden euch in den Bann thun (c. 1725).
+            45. Es ist dir gesagt, Mensch, was gut ist.
+            46. Schauet doch und sehet, etc.
+            47. Wer sich selbst erhoehet, der soll emiedriget werden
+            48. Ich elender Mensch, wer wird mich erloesen?
+            49. Ich geh' und suche mit Verlangen.
+            *50. Nun ist das Heil und die Kraft.
+
+XI (1). 1861 [1862]. *Magnificat, D dur, und vier Sanctus, C dur, D dur, D
+      moll, G dur. Ed. Wilhelm Rust.
+
+            The Appendix contains four additional numbers which are found
+            in one of the two Autograph scores of the Magnificat.
+
+XI (2). 1861 [1862]. Kammermusik fuer Gesang. Erster Band. Ed. Wilhelm
+      Rust.
+
+            Secular Cantata: *Phoebus und Pan.
+            Secular Cantata: Weichet nur, betruebte Schatten.
+            Secular Cantata: Amore traditore.
+            Secular Cantata: Von der Vergnuegsamkeit, or, Ich bin in mir
+            vergnuegt.
+            Secular Cantata: Der zufriedengestellte Aeolus, or, Zer
+            reisset, zersprenget, zertruemmert die Gruft.
+
+XII (1). 1862 [1863]. *Passionsmusik nach dem Evangelisten Johannes. Ed.
+      Wilhelm Rust.
+XII (2). 1862 [1863]. Kirchencantaten. Sechster Band. Ed. Wilhelm Rust.
+
+            No. 51. Jauchzet Gott in allen Landen.
+            52. Falsche Welt, dir trau ich nicht.
+            *53. Schlage doch, gewuenschte Stunde.
+            *54. Widerstehe doch der Suende.
+            55. Ich armer Mensch, ich Suendenknecht.
+            *56. Ich will den Kreuzstab gerne tragen.
+            57. Selig ist der Mann.
+            58. Ach Gott, wie manches Herzeleid (1733).
+            59. Wer mich liebet, der wird mein Wort halten (1716).
+            60. O Ewigkeit, du Donnerwort (1732).
+
+XIII (1). 1863 [1864]. Trauungs-Cantaten. Ed. Wilhelm Rust.
+
+            No. *195. Dem Gerechten muss das Licht.
+            196. Der Herr denket an uns.
+            197.
+
+                  Gott ist uns're Zuversicht.
+                  Drei Chorale zu Trauungen : (1) Was Gott thut, (2) Sei
+                  Lob und Ehr', (3) Nun danket alle Gott.
+
+XIII (2). 1863. Clavierwerke. Zweiter Band. Ed. Wilhelm Rust.
+
+            Six Great Suites, in A major, A minor, G minor, F major, E
+            minor, D minor, known as the "English Suites" (P. bks.
+            203,204).
+            Six Small Suites, in D minor, C minor, B minor, E flat major,
+            G major, E major, known as the "French Suites" (P. bk.
+            202).(483)
+
+XIII (3). 1863 [1865]. *Trauer-Ode. Ed. Wilhelm Rust.
+ XIV. 1864 [1866]. Clavierwerke. Dritter Band. Das wohltemperirte Clavier
+      (P. bks. 2790 a-b.). Ed. Franz Kroll.(484)
+
+            Erster Theil, 1722.
+            Zweiter Theil, 1744.
+
+  XV. 1865 [1867]. Orgelwerke. Erster Band. Ed. Wilhelm Rust.
+
+            Six Sonatas, in E flat major, C minor, D minor, E minor, C
+            major, G major (N. bks. 4, 5), for 2 Claviers and Pedal.
+            Eighteen Preludes and Fugues:--
+
+                  Prelude and Fugue in C major (N. bk. 7 p. 74).
+                  Prelude and Fugue in D major (N. bk. 6 p. 10).
+                  Prelude and Fugue in E minor (N. bk. 2 p. 44).
+                  Prelude and Fugue in F minor (N. bk. 6 p. 21).
+                  Prelude and Fugue in G minor (N. bk. 8 p. 120).
+                  Prelude and Fugue in A major (N. bk. 3 p. 64).
+                  Prelude (Fantasia) and Fugue in C minor (N. bk. 3 p.
+                  76).
+                  Prelude (Toccata) in D minor (N. bk. 10 p. 196).
+                  Prelude and Fugue in D minor (N. bk. 9 p. 150).
+                  Prelude and Fugue (Toccata) in F major (N. bk. 9 p.
+                  176).
+                  Prelude and Fugue the Great, in G major (N. bk. 8 p.
+                  112).
+                  Prelude (Fantasia) and Fugue in G minor (N. bk. 8 p.
+                  127).(485)
+                  Prelude (Fantasia) and Fugue in A minor (N. bk. 7 p.
+                  42).(486)
+                  Prelude (Fantasia) and Fugue in B minor (N. bk. 7 p.
+                  52).
+                  Prelude (Fantasia) and Fugue in C minor (N. bk. 7 p.
+                  64).
+                  Prelude (Fantasia) and Fugue in C major (N. bk. 9 p.
+                  156).
+                  Prelude (Fantasia) and Fugue in E minor (N. bk. 8 p.
+                  98).
+                  Prelude and Fugue in C major (N. bk. 3 p. 70).
+
+                  Three Toccatas and Fugues, in C major, the       "Great"
+                  (N. bk. 9 p. 137).
+                  Toccata and Fugue D minor (N. bk. 6 p. 2).
+                  Toccata and Fugue E major (N. bk. 8 p. 88, as Prelude
+                  and Fugue in C major)
+
+            Passacaglia, in C minor (N. bk. 10 p. 214).
+
+ XVI. 1866 [1868]. Kirchencantaten. Siebenter Band. Ed. Wilhelm Rust.
+
+            No. *61. Nun komm, der Heiden Heiland (1714).
+            62. Nun komm, der Heiden Heiland (c. 1740).
+            63. Christen, aetzet diesen Tag.
+            64. Sehet, welch' eine Liebe.
+            *65. Sie werden aus Saba Alle kommen.
+            66. Erfreut euch, ihr Herzen.
+            *67. Halt' im Gedachtniss Jesum Christ.
+            *68. Also hat Gott die Welt geliebt.
+            69. Lobe den Herren, meine Seele.
+            *70. Wachet, betet, seid bereit allezeit.
+
+XVII. 1867 [1869]. Kammermusik. Zweiter Band. Ed. Wilhelm Rust.
+
+            Seven Concertos, in D minor (and Variant),(487) E major (and
+            Variant), D major (and Variant), A major (and Variant), F
+            minor, F major, G minor, for Clavier and Orchestra (Strings;
+            two flutes added in Concerto VI. (P. bks. 248-254).(488)
+            Triple Concerto in A minor, for Flute, Violin, Clavier, and
+            Orchestra (Strings). (P. bk. 255).
+
+XVIII. 1868 [1870]. Kirchencantaten. Achter Band. Ed. Wilhelm Rust.
+
+            No. 71. Gott ist mem Kueonig.
+            72. Alles nur nach Gottes Willen.
+            73. Herr, wie du willt, so schick's mit mir.
+            74. Wer mich liebet, der wird mein Wort halten (? 1735).
+            75. Die Elenden sollen essen.
+            76. Die Himmel erzahlen die Ehre Gottes.
+            77. Du sollst Gott, deinen Herren, lieben.
+            78. Jesu, der du meine Seele.
+            *79. Gott, der Herr, ist Sonn' und Schild.
+            *80. Ein' feste Burg ist unser Gott.
+
+ XIX. 1869 [1871]. Kammermusik. Dritter Band. Ed. Wilhelm Rust.
+
+      Six Concertos ("Brandenburg") for Orchestra and Continuo:--
+
+            No. I. in F major (Strings, 3 Ob., Fag., 2 Cor. (P. bk.
+            261).(489)
+            No. II. in F major (Strings, Flute, Oboe, Tromba) (P. bk.
+            262).
+            No. III. in G major (Strings) (P. bk. 263). [N.B.G. IX. (3)].
+            No. IV. in G major (Strings and 2 Flutes) (P. bk. 264).
+            No. V. in D major (Strings, Flute, Clavier) (P. bk. 265).
+            No. VI. in B flat major (2 Violas, 2 Violas da Gamba,
+            Violoncello, Contrabasso) (P. bk. 266).
+
+XX (1). 1870 [1872]. Kirchencantaten. Neunter Band. Ed. Wilhelm Rust.
+
+            No. *81. Jesus schlaeft, was soll ich hoffen?
+            *82. Ich habe genug.
+            83. Erf route Zeit im neuen Bunde.
+            84. Ich bin vergnuegt mit meinem Gluecke.
+            85. Ich bin ein guter Hirt. [Score, N.B.G. IX. (1)].
+            86. Wahrlich, wahrlich, ich sage euch.
+            87. Bisher habt ihr nichts gebeten in meinem Namen.
+            88. Siehe, ich will viel Fischer aussenden. [Score, N.B.G.
+            VII. (1)].
+            89. Was soll ich aus dir machen, Ephraim?
+            90. Es reifet euch ein schrecklich Ende.
+
+XX (2). 1870 [1873]. Kammermusik fuer Gesang. Zweiter Band. Ed. Wilhelm
+      Rust.
+
+            Secular Cantata: Schleicht, spielende Wellen.
+            Secular Cantata: Vereinigte Zwietracht der wechsehiden Saiten.
+            Secular Cantata: Auf, schmetternde Tone der muntern Trompeten.
+            [See B.G. XXXIV].
+
+XXI (1). 1871 [1874]. Kammermusik. Vierter Band. Ed. Wilhelm Rust.
+
+            Three Concertos for Violin and Orchestra (Strings):--
+
+                  No. I. in A minor (P. bk. 229).(490)
+                  No. II. in E major (P. bk. 230).(491)
+                  No. III. in D minor (two Violins) (P. bk. 231).(492)
+
+            Symphonic movement, in D major, for Violin and Orchestra
+            (Strings, 2 Ob., 3 Trombe, Timp.).(493)
+
+XXI (2). 1871 [1874]. Kammermusik. Fuenfter Band. Ed. Wilhelm Rust.
+
+            Three Concertos for two Claviers and Orchestra (Strings):--
+            No. I. in C minor (P. bk. 257).
+            No. II. in C major (P. bk. 256).
+            No. III. in C minor (P. bk. 257b).(494)
+
+XXI (3). 1871 [1874]. *0ster-0ratorium: "Kommt, eilet und laufet." Ed.
+      Wilhelm Rust.
+XXII. 1872 [1875]. Kirchencantaten. Zehnter Band. Ed. Wilhelm Rust.
+
+            No. 91. Gelobet seist du, Jesu Christ.
+            92. Ich hab' in Gottes Herz und Sinn.
+            *93. Wer nur den lieben Gott laesst walten.
+            94. Was frag ich nach der Welt.
+            95. Christus, der ist mein Leben.
+            96. Herr Christ, der ein'ge Gottes-Sohn.
+            97. In allen meinen Thaten.
+            98. Was Gott thut, das ist wohlgethan, in B major (c. 1732).
+            99. Was Gott thut, das ist wohlgethan, in G major (c. 1733).
+            100. Was Gott thut, das ist wohlgethan, in G major (c. 1735).
+
+XXIII. 1873 [1876]. Kirchencantaten. Elfter Band. Ed. Wilhelm Rust.
+
+            No. 101. Nimm von uns, Herr, du treuer Gott.
+            102. Herr, deine Augen sehen nach dem Glauben.
+            103. Ihr werdet weinen und heulen.
+            *104. Du Hirte Israel, hoere.
+            105. Herr, gehe nicht in's Gericht.
+            *106. Gottes Zeit ist die allerbeste Zeit (Actus tragicus).
+            107. Was willst du dich betrueben.
+            108. Es ist euch gut, dass ich hingehe.
+            109. Ich glaube, lieber Herre.
+            110. Unser Mund sei voll Lachens.
+
+XXIV. 1874 [1876]. Kirchencantaten. Zwoelfter Band. Ed. Alfred Doerffel.
+
+            No. 111. Was mein Gott will, das g'scheh' allzeit.
+            *112. Der Herr ist mein getreuer Hirt.
+            113. Herr Jesu Christ, du hoechstes Gut.
+            114. Ach, lieben Christen, seid getrost.
+            *115. Mache dich, mem Geist, bereit.
+            *116. Du Friedefuerst, Herr Jesu Christ.
+            117. Sei Lob und Ehr' dem hoechsten Gut.
+            118. O Jesu Christ, mein's Lebens Licht.(495)
+            *119. Preise, Jerusalem, den Herrn.
+            120. Gott, man lobet dich in der Stille.
+
+XXV (1). 1875 [1878]. Die Kunst der Fuge: 1749-1750 Ed. Wilhelm Rust. (P.
+      bk. 218)
+
+            Contrapunctus 1-14
+            Four Canons I
+            Two Fugues for two Claviers)
+            Fugue on three subjects )
+
+XXV (2) 1875 [1878], Orgelwerke. Zweiter Band. Ed. Wilhelm Rust.
+
+            (1) Orgelbuechlein (N. bk. 15), containing Preludes on the
+            following melodies:(496)
+
+            _      Advent--_
+
+                     1. Nun komm der Heiden Heiland.
+                     2. Gott, durch deine Guete, or, Gottes Sohn ist
+                        kommen.
+                     3. Herr Christ, der ein'ge Gottes-Sohn, or, Herr
+                        Gott, nun sei gepreiset.
+                     4. Lob sei dem allmaechtigen Gott.
+
+            _      Christmas--_
+
+                     5. Puer natus in Bethlehem.
+                     6. Gelobet seist du, Jesu Christ.
+                     7. Der Tag, der ist so freudenreich.
+                     8. Vom Himmel hoch, da komm' ich her.
+                     9. Vom Himmel kam der Engel Schaar.
+                    10. In dulci jubilo.
+                    11. Lobt Gott, ihr Christen, allzugleich.
+                    12. Jesu, meine Freude.
+                    13. Christum wir sollen loben schon.
+                    14. Wir Christenleut'.
+
+            _      New Year--_
+
+                    15. Helft mir Gottes Guete preisen.
+                    16. Das alte Jahr vergangen ist.
+                    17. In dir ist Freude.
+
+            _      Feast of the Purification of the B.V.M.--_
+
+                    18. Mit Fried' und Freud' ich fahr' dahin.
+                    19. Herr Gott, nun schleuss den Himmel auf.
+
+            _      Passiontide--_
+
+                    20. O Lamm Gottes, unschuldig.
+                    21. Christe, du Lamm Gottes.
+                    22. Christ us, der uns selig macht.
+                    23. Da Jesus an dem Kreuze stund.
+                    24. O Mensch, bewein' dein' Suende gross.
+                    25. Wir danken dir, Herr Jesu Christ.
+                    26. Hilf Gott, dass mir's gelinge.
+
+            _      Easter--_
+
+                    27. Christ lag in Todesbanden.
+                    28. Jesus Christus, unser Heiland, der den Tod.
+                    29. Christ ist erstanden (three verses).
+                    30. Erstanden ist der heil'ge Christ.
+                    31. Erschienen ist der herrliche Tag.
+                    32. Heut' triumphiret Gottes Sohn.
+
+            _      Whitsunday--_
+
+                    33. Komm, Gott, Schoepfer, heiliger Geist.
+
+            _      Trinity Sunday--_
+
+                    34. Herr Jesu Christ, dich zu uns wend'.
+                  35-6. Liebster Jesu, wir sind hier (two settings).
+
+            _      The Catechism--_
+
+                    37. Dies sind die heil'gen zehn Gebot.
+                    38. Vater unser im Himmelreich.
+
+            _      Penitence and Amendment--_
+
+                    39. Durch Adam's Fall ist ganz verderbt.
+                    40. Es ist das Heil uns kommen her.
+
+            _      Christian Conduct and Experience--_
+
+                    41. Ich ruf' zu dir, Herr Jesu Christ.
+
+            _      In Time of Trouble--_
+
+                    42. In dich hab' ich gehoffet, Herr.
+                    43. Wenn wir in hoechsten Nothen sein.
+                    44. Wer nur den lieben Gott laesst walten.
+
+            _      Death and the Grave--_
+
+                    45. Alle Menschen muessen sterben.
+
+            _      The Life Eternal--_
+
+                    46. Ach wie nichtig, ach wie fluechtig.
+
+            (2) Six Chorals (Schuebler) (N. bk. 16) on the following
+            melodies:
+
+                  Wachet auf, ruft uns die Stimme.
+                  Wo soll ich fliehen hin, _or_, Auf meinen lieben Gott.
+                  Wer nur den lieben Gott laesst walten.
+                  Meine Seele erhebt den Herren.
+                  Ach bleib bei uns, Herr Jesu Christ.
+                  Kommst du nun, Jesu, vom Himmel herunter.
+
+            (3) Eighteen Chorals (N. bk. 17) on the following melodies:
+
+            1., 2. Komm, heiliger Geist, Herre Gott (two settings).
+               3. An Wasserfluessen Babylon.
+               4. Schmuecke dich, O liebe Seele.
+               5. Herr Jesu Christ, dich zu uns wend'.
+               6. O Lamm Gottes unschuldig (three verses).
+               7. Nun danket Alle Gott.
+               8. Von Gott will ich nicht lassen.
+            9, 10, 11. Nun komm der Heiden Heiland (three settings).
+            12, 13, 14. Allein Gott in der Hoeh' sei Ehr' (three settings).
+            15, 16. Jesus Christus, unser Heiland, der von uns (two
+                  settings).
+              17. Komm, Gott, Schoepfer, heiliger Geist.
+              18. Vor deinen Thron tret' ich, or, Wenn wir in hoechsten
+                  Noethen sein.
+
+            (4) Older texts of the "Orgelbuelein" and "Eighteen" Chorals:
+
+               1. Christus, der uns selig macht (Orgelbuelein No. 22) (P.
+                  bk. 244 p. 108).
+               2. Komm, Gott, Schoepfer, heiliger Geist (Orgelbuelein No.
+                  33) (P. bk. 246 p. 86A).
+               3. Komm, heiliger Geist, Herre Gott (Eighteen No. 1) (P.
+                  bk. 246 p. 86).
+               4. Ditto (Eighteen No. 2) (P. bk. 246 p. 88).
+               5. An Wasserfluessen Babylon (Eighteen No. 3) (P. bk. 245 p.
+                  103).
+               6. Herr Jesu Christ, dich zu uns wend' (Eighteen No. 5) (P.
+                  bk. 245 pp. 107, 108 prints two of the three Variants).
+               9. O Lamm Gottes unschuldig (Eighteen No. 6)(P. bk. 246 p.
+                  97).
+              10. Von Gott will ich nicht lassen (Eighteen No. 8) (P. bk.
+                  246 p. 102).
+              11. Nun komm der Heiden Heiland (Eighteen No. 9) (P. bk. 246
+                  p. 92).
+              12. Ditto (Eighteen No. 10) (P. bk. 246 pp. 93, 94).
+              14. Ditto (Eighteen No. 11) (P. bk. 246 p. 96).
+              15. Allein Gott in der Hoeh' sei Ehr' (Eighteen No. 13) (P.
+                  bk. 245 p. 100).
+              16. Allein Gott in der Hoe' sei Ehr' (Eighteen No. 14) (P.
+                  bk. 245 p. 97).
+              17. Jesus Christus unser Heiland (Eighteen No. 15) (P. bk.
+                  245 p. 112).
+
+XXVI. 1876 [1878]. Kirchencantaten. Dreizehnter Band. Ed. Alfred Doerffel.
+
+       121. Christum wir sollen loben schon.
+       122. Das neugebor'ne Kindelein.
+       123. Liebster Immanuel, Herzog der Frommen.
+       124. Meinen Jesum lass' ich nicht.
+       125. Mit Fried' und Freud' ich fahr' dahin.
+       126. Erhalt' uns, Herr, bei deinem Wort.
+       127. Herr Jesu Christ, wahr'r Mensch und Gott.
+       128. Auf Christi Himmelfahrt allein.
+       129. Gelobet sei der Herr.
+       130. Herr Gott, dich loben alle wir.
+
+XXVII (1). 1877 [18791. Kammermusik. Sechster Band. Ed. Alfred Doerffel.
+
+            Three Sonatas (Suites), in G minor, A minor,(497) C
+            major,(498) for Violin Solo (Nos. 1, 3, 5 in P. bk. 228).
+            Three Partitas (Suites, Sonatas), in B minor, D minor, E
+            major,1 for Violin Solo (Nos. 2, 4, 6 in P. bk. 228).
+            Six Suites (Sonatas), in G major, D minor, C major, E flat
+            major, C minor, D major, for Violoncello Solo (P. bks. 238a,
+            238).
+
+XXVII (2). 1877 [1878]. Thematisches Verzeichniss der Kirchencantaten No.
+      1-120. Ed. Alfred Doerffel.
+
+      [Note.--The Thematic Catalogue is completed in B.G. XLVI. (P. bk.
+      270b).]
+
+XXVIII. 1878 [1881]. Kirchencantaten. Vierzehnter Band Ed. Wilhelm Rust.
+
+       131. Aus der Tiefe rufe ich, Herr, zu dir.
+       132. Bereitet die Wege, bereitet die Bahn.
+       133. Ich freue mich in dir.
+       134. Ein Herz, das seinen Jesum lebend weiss [and Variant].
+       135. Ach Herr, mich armen Sunder.
+       136. Erforsche mich, Gott.
+       137. Lobe den Herren, den maechtigen Kueonig.
+       138. Warum betruebst du dich, mein Herz?
+       139. Wohl dem, der sioh auf seinen Gott.
+      *140. Wachet auf, ruft uns die Stimme.(499) Mit Gnaden bekrone der
+            Himmel die Zeiten (No. 134 adapted).
+
+XXIX. 1879 [1881]. Kammermusik fuer Gesang, Dritter Band. Ed. Paul Graf
+      Waldersee.
+
+            Secular Cantata: Was mir behagt, ist nur die muntre Jagd.
+            Secular Cantata: Non sa che sia dolore.
+            Secular Cantata: O holder Tag, erwuenschte Zeit (Wedding).
+            Church Cantata No. 194: Hochsterwuenschtes Freudenfest.
+            Secular Cantata: Schweigt stille, plaudert nicht.
+            Secular Cantata: Mer hahn en neue Oberkeet.
+            Secular Cantata: Mit Gnaden bekroene der Himmel die Zeiten.
+            Secular Cantata: O angenehme Melodei.
+            Instrumental Piece for Violin, Flute, and Continuo. (Not in
+            P.).
+
+ XXX. 1880 [1884]. Kirchencantaten. Fuenfzehnter Band. Ed. Paul Graf
+      Waldersee.
+
+            141. Das ist je gewisslich wahr.
+            142. Uns ist ein Kind geboren.
+            143. Lobe den Herren, meine Seele.
+            144. Nimm, was dein ist, und gehe hin.
+            145. So du mit deinem Munde bekennest Jesum.
+            146. Wir muessen durch viel Truebsal in das Reich Gottes
+            eingehen.
+            147. Herz und Mund und That und Leben.
+            148. Bringet dem Herrn Ehre seines Namens.
+            *149. Man singet mit Freuden vom Sieg.
+            150. Nach dir, Herr, verlanget mich.
+
+XXXI (1). 1881 [1885] Orchesterwerke. Ed. Alfred Doerffel. (P. bk. 219)
+
+            Overture in C major (Strings, Ob. 1 and 2, Fagotto) (P. bk.
+            267).
+            Overture B minor (Strings, Flauto traverso) (P. bk. 268).
+            Overture D major (Strings, Ob. 1 and 2, Trombe 1, 2, 3,
+            Timpani) (P. bk. 269).
+            Overture D major (Strings, Ob. 1, 2, 3, Fagotto, Trombe 1, 2,
+            3, Timpani) (P. bk. 2068).
+            Sinfonia in F major (Strings, Ob. 1, 2, 3, Fagotto, Corno da
+            caccia 1 and 2).(500)
+
+XXXI (2). 1881 [1885] Musikalisches Opfer. 1747. Ed. Alfred Doerffel.
+
+            Ricercare a tre voci.
+            Canon perpetuus super thema regium.
+            Canones diversi 1-5.
+            Fuga canonica in Epidiapente.
+            Ricercare a sei voci.
+            Two Canons.
+            Sonata in C minor, for Flute, Violin, Clavier
+            Canone perpetuo (Flute, Violin, Clavier)(501)
+
+XXXI (3). 1881 [1885]. Kammermusik. Siebenter Band. Ed. Paul Graf
+      Waldersee.
+
+            Two Concertos for three Claviers and Orchestra (Strings): No.
+            1 in D minor (P. bk. 258).(502)
+            No. 2 in C major (P. bk. 259).).(503)
+
+XXXII. 1882 [1886]. Kirchencantaten. Sechzehnter Band. Ed. Ernst Naumann.
+
+            151. Suesser Trost, mein Jesus kommt.
+            *152. Tritt auf die Glaubensbahn.
+            153. Schau', lieber Gott, wie meine Feind'.
+            154. Mein liebster Jesus ist verloren.
+            155. Mein Gott, wie lang', ach lange.
+            156. Ich steh' mit einem Fuss im Grabe.
+            157. Ich lasse dich nicht.
+            158. Der Friede sei mit dir.
+            159. Sehet, wir geh'n binauf gen Jerusalem.
+            160. Ich weiss, das mein Erloeser lebt.
+
+XXXIII. 1883 [1887]. Kirchencantaten. Siebzehnter Band: Ed. Franz Wuelner.
+
+            161. Komm, du suesse Todesstunde.
+            162. Ach, ich sehe, jetzt da ich zur Hochzeit gehe.
+            163. Nur Jedem das Seine.
+            164. Ihr, die ihr euch von Christo nennet.
+            165. O heil'ges Geist- und Wasserbad.
+            166. Wo gehest du bin?
+            *167. Ihr Menschen, ruehmet Gottes Liebe.
+            168. Thue Rechnung! Donnerwort.
+            169. Gott soll allein mein Herze haben.
+            170. Vergnuegte Ruh', beliebte Seelenlust.
+
+XXXIV. 1884 [1887]. Kammermusik fuer Gesang. Vierter Band. Ed. Paul Graf
+      Waldersee.
+
+            Secular Cantata: Durchlaucht'ster Leopold.
+            Secular Cantata: Schwingt freudig euch empor, _or_, Die Freude
+            reget sich.
+            Secular Cantata: Hercules auf dem Scheidewege, _or_, Lasst uns
+            sorgen, lasst uns wachen.
+            Secular Cantata: Toenet, ihr Pauken! Erschallet, Trompeten.
+            Secular Cantata: Preise dein Gluecke, gesegnetes Sachsen.
+            Secular Cantata: Angenehmes Wiederau.
+            Secular Cantata: Auf, schmetternde Toene der muntern
+            Trompeten.(504)
+
+XXXV. 1885 [1888]. Kirchencantaten. Achtzehnter Band. Ed. Alfred Doerffel.
+
+            171. Gott, wie dein Name, so ist auch dein Ruhm.
+            172. Erschallet, ihr Lieder.
+            173. Erhoetes Fleisch und Blut.
+            174. Ich liebe den Hoechsten von ganzem Gemuethe.
+            175. Er rufet seinen Schafen mit Namen.
+            176. Es ist ein trotzig und verzagt Ding.
+            177. Ich ruf' zu dir, Herr Jesu Christ.
+            178. Wo Gott der Herr nicht bei uns haelt.
+            179. Siehe zu, dass deine Gottesfurcht nicht Heuchelei sei.
+            *180. Schmuecke dich, O liebe Seele.
+
+XXXVI. 1886 [1890]. Clavierwerke. Vierter Band. Ed. Ernst Naumann.
+
+         1. Suite in A minor (Appendix version in P. bk. 214).
+         2. Suite in E flat major (P. bk. 214).(505)
+         3. Suite (Overture), in F major (P. bk. 215).
+         4. Sonata in D major (P. bk. 215).
+        10. Chromatic Fantasia and Fugue in D minor (P. bk. 207).
+        11. Fantasia and Fugue in A minor (P. bk. 208).
+        12. Prelude and Fugue in E flat major (not in P.).
+        13. Prelude and Fugue in A minor (P. bk. 211).
+        14. Prelude and Fugue in A minor (P. bk. 200).
+        15. Prelude and Fughetta in D minor (P. bk. 200).
+        16. Prelude and Fughetta in E minor (P. bk. 200).
+        17. Prelude and Fughetta in F major (P. bk. 214).(506)
+        18. Do. do. G major (P. bk. 214).(507)
+        19. Twelve Preludes for Beginners (P. bk. 200). 20 Six Little
+            Preludes (P. bk. 200).
+        21. Prelude in C major (for Organ, N. bk. 12 p. 94).
+        22. Do. (Fantasia) in C minor (not in P.).
+        23. Do. do. in A minor (P. bk. 215).
+        24. Fantasia in G minor (P. bk. 215).
+        25. Do. C minor (P. bk. 207).
+        26. Do. (on a Rondo), in C minor (not in P.).
+        27. Do. C minor (P. bk. 212).
+        28. Fughetta in C minor (two-parte) (P. bk. 200).
+        29. Fugue in E minor (P. bk. 212).
+        30. Do. A major (P. bk. 212).
+        31. Do. C major (for Organ, N. bk. 12 p. 100).
+        32. Do. A minor (P. bk. 212).
+        33. Do. D minor (P. bk. 212 p. 61).
+        34. Do. A major (P. bk. 215 p. 52).
+        35. Do. A major (P. bk. 215 p. 57).
+        36. Do. B minor (Theme by Albinoni) (P. bk. 214).
+        37. Do. C major (P. bk. 200 p. 54).
+        38. Do. C major (P. bk. 200 p. 56).
+        39. Do. D minor (P. bk. 212 p. 59).
+        40. Capriccio in B flat major, sopra la lontananza del suo
+            fratello dilettissimo (P. bk. 208).
+        41. Do. E major, in honorem J.C.Bach (P. bk. 215).
+        42. Aria variata in A minor (P. bk. 215).
+        43. Three Minuets, in G major, G minor, G major (P. bk. 215).
+        44. Fragment of a Suite in F minor (P. bk. 212).
+        45. Do. do. A major (P. bk. 1959, p. 3).
+        46. Prelude, Gavotte II, and Minuet in E flat major.(508)
+        47. Two Minuet-Trios, in C minor and B minor.(509)
+        48. "Applicatio" in C major.(510)
+        49. Prelude in A minor (not in P.).
+        50. Do. (unfinished) in E minor (not in P.).
+        51. Fugue (unfinished) in C minor (P. bk. 212 p. 88). (511)
+
+XXXVII. 1887 [1891]. Kirchencantaten. Neunzehnter Band. Ed. Alfred
+      Doerffel.
+
+       181. Leichtgesinnte Flattergeister.
+       182. Himmelskoenig, sei willkommen.
+       183. Sie werden euch in den Bann thun (?1735).
+       184. Erwuenschtes Freudenlicht.
+       185. Barmherziges Herze der ewigen Liebe.
+       186. Aergre dich, 0 Seele, nicht.
+       187. Es wartet Alles auf dich.
+       188. Ich habe meine Zuversicht.(512)
+       189. Meine Seele ruehmt und preist.
+      *190. Singet dem Herrn ein neues Lied.
+
+XXXVIII. 1888 [1891]. Orgelwerke. Dritter Band. Ed. Ernst Naumann.
+
+         1. Prelude and Fugue in C minor (N. bk. 2 p. 48).
+         2. Prelude and Fugue in G major (N. bk. 7 p. 80).
+         3. Prelude and Fugue in A minor (N. bk. 10 p. 208).
+         4. Eight Short Preludes and Fugues in C major, D minor, E minor,
+            F major, G major, G minor, A minor, B flat major (N. bk. 1).
+         5. Fantasia and Fugue in A minor (N. bk. 12 p. 60).
+         6. Fantasia con Imitazione in B minor (N. bk. 12 p. 71).
+         7. Fantasia in C major (N. bk. 12 p. 92).
+         8. Fantasia in C minor (N. bk. 3 p. 57).
+         9. Fantasia in G major (N. bk. 12 p. 75).
+        10. Fantasia in G major (N. bk. 9 p. 168).
+        11. Prelude in C major (N. bk. 12 p. 91).
+        12. Prelude in G major (N. bk. 2 p. 30).
+        13. Prelude in A minor (N. bk. 10 p. 238).
+        14. Fugue (Theme by Legrenzi) in C minor (and Variant) (N. bk. 10
+            p. 230).
+        15. Fugue in C minor (N. bk. 12 p. 95). 16" Do. G major (N. bk. 12
+            p. 86).
+        17. Fugue G major (N. bk. 12 p. 55).
+        18. Fugue G minor (N. bk. 3 p. 84).
+        19. Fugue B minor (Theme by Corelli) (N. bk. 3 p. 60).
+        20. Canzona in D minor (N. bk. 2 p. 34).
+        21. Allabreve in D major (N. bk. 2 p. 26).
+        22. Pastorale in F major (N. bk. 12 p. 102).
+        23. Trio in D minor (N. bk. 2 p. 54).
+        24. Four Concertos after Antonio Vivaldi:(513)
+
+                  No. 1, in G major (N. bk. 11 no. I).(514)
+                  No. 2, in A minor (N. bk. 11 no. 2).(515)
+                  No. 3, in C major (N. bk. 11 no. 3).
+                  No. 4, in C major (N. bk. 11 no. 4).
+
+        25. Fantasia (incomplete) in C major (not in N. or P.).(516)
+        26. Fugue (incomplete) in C minor (not in N. or P.).
+        27. Pedal Exercise in G minor (not in N. or P.).
+        28. Fugue (authenticity doubtful) in C major (not in N. or P.).
+        29. Fugue (authenticity doubtful) in D major (N. bk. 12 p.
+            83).(517)
+        30. Fugue (authenticity doubtful) in G minor (N. bk. 2 p. 41).
+        31. Trio in C minor (N. bk. 12 p. 108).
+        32. Aria in F major (N. bk. 12 p. 112).
+        33. Kleinea harmonisches Labyrinth (authenticity doubtful) (P. bk.
+            2067 p. 16) (not in N.).
+
+XXXIX. 1889 [1892]. Motetten, Choraele und Lieder. Ed. Franz Wuellner.
+
+        (1) Motets:
+
+                  Motet: *Singet dem Herrn ein neues Lied.
+                  Motet: *Der Geist hilft unsrer Schwachheit auf.(518)
+                  Motet: *Jesu, meine Freude.
+                  Motet: *Fuerchte dich nicht, ich bin bei dir.
+                  Motet: *Komm, Jesu, komm.
+                  Motet: * Lobet den Herrn, alle Heiden.
+                  Motet: *Ich lasse dich nicht, du segnest mich denn (by
+                  Johann Christoph Bach).
+                  Motet: *Sei Lob und Preis mit Ehren (the second number,
+                  Nun lob' mein' Seel' den Herrn, of Cantata 28).
+
+        (2) 185 Chorals harmonised by Bach, from the collection made by
+            Carl Philipp Emmanuel Bach:(519)
+
+            1 (1). Ach bleib' bei uns, Herr Jesu Christ.
+            2 (2). Ach Gott, erhoer' mein Seufzen und Wehklagen.
+            3 (3). Ach Gott und Herr, wie gross und schwer.
+            4 (385). Ach lieben Christen, seid getrost (Wo Gott der Herr
+                  nicht bei uns haelt).
+            5 (388). Waer' Gott nicht mit uns diese Zeit (Wo Gott der Herr
+                  nicht bei uns haelt).(520)
+            6 (383). Wo Gott der Herr nicht bei uns haelt.
+            7(10). Ach, was soll ich Suender machen.
+            8 (12). Allein Gott in der Hoeh' sei Ehr.
+            9 (15). Allein zu dir, Herr Jesu Christ.
+            10 (17). Alle Menschen muessen sterben.
+            11 (19). Alles ist an Gottes Segen.
+            12(20). Als der guetige Gott.
+            13 (21). Als Jesus Christus in der Nacht.
+            14 (22). Als vierzig Tag' nach Ostern war'n.
+            15 (23). An Wassernuessen Babylon.
+            16(24). Auf, auf mein Herz.
+            17 (30). Aus meines Herzens Grunde.
+            18 (157). Befiehl du deine Wege (Herzlich thut mich
+                  verlangen).
+            19 (158). Ditto.
+            20 (32). Befiehl du deine Wege.
+            21 (33). Christ, der du bist der helle Tag.
+            22 (34). Christe, der du bist Tag und Licht.
+            23 (35). Christe, du Beistand deiner Kreuzgemeinde.
+            24 (36). Christ ist erstanden.
+            25 (38). Christ lag in Todesbanden.
+            26(39). Ditto.
+            27 (43). Christ, unser Herr, zum Jordan kam.
+            28 (46). Christus, der ist mein Leben.
+            29 (47). Ditto.
+            30 (48). Christus, der uns selig macht.
+            31 (51). Christus ist erstanden.
+            32 (52). Da der Herr zu Tische sass.
+            33 (53). Danket dem Herren, denn er ist sehr freundlich.
+            34 (54). Dank sei Gott in der Hoehe.
+            35 (55). Das alte Jahr vergangen ist.
+            36 (56). Ditto.
+            37 (57). Das walt' Gott Vater und Gott Sohn.
+            38 (58). Das walt' mein Gott, Vater, Sohn.
+            39 (59). Den Vater dort oben.
+            40 (60). Der du bist drei in Einigkeit.
+            41 (61). Der Tag, der ist so freudenreich.
+            42 (62). Des heil'gen Geistes reiche Gnad'.
+            43 (63). Die Nacht ist kommen.
+            44 (64). Die Sohn' hat sich mit ihrem Glanz.
+            45 (65). Dies sind die heil'gen zehn Gebot.
+            46 (67). Dir, dir, Jehovah, will ich singen (Bach's   melody).
+            47 (70). Du grosser Schmerzensmann.
+            48 (71). Du, 0 schoenes Weltgebaeude.
+            49 (74). Ein' feste Burg ist unser Gott.
+            50 (75). Ditto.
+            51 (77). Eins ist noth, ach Herr, dies Eine.
+            52 (78). Erbarm' dich mein, 0 Herre Gott.
+            53 (85). Erstanden ist der heil'ge Christ.
+            54 (262). Est ist gewisslich an der Zeit (Nun freut euch,
+                  lieben Christen g'mein).
+            55 (92). Es spricht der Unweisen Mund wohl.
+            56 (93). Es steh'n vor Gottes Throne.
+            57 (94). Es wird schier der letzte Tag herkommen.
+            58 (95). Es wol' uns Gott genaedig sein.
+            59 (96). Ditto.
+            60 (106). Fuer Freuden lasst uns springen.
+            61 (107). Gelobet seist du, Jesu Christ.
+            62 (111). Gieb dich zufrieden und sei stille (Bach's melody).
+            63 (112). Gott, der du selber bist das Licht.
+            64 (113). Gott der Vater wohn' uns bei.
+            65 (115). Gottes Sohn ist kommen.
+            66 (116). Gott hat das Evangelium.
+            67 (117). Gott lebet noch.
+            68 (118). Gottlob, es geht nunmehr zum Ende.
+            69 (119). Gott sei gelobet und gebenedeiet.
+            70 (120). Gott sei uns gnaedig und barmherzig.
+            71 (121). Meine Seele erhebet den Herrn.
+            72 (123a). Heilig, Heilig, Heilig!
+            73 (129). Herr Gott, dich loben alle wir.
+            74 (132). Fuer deinen Thron tret' ich hiermit (Herr Gott dich
+                  loben alle wir).
+            75 (133). Herr Gott dich loben wir.
+            76 (136). Herr, ich denk' an jene Zeit.
+            77 (137). Herr, ich habe missgehandelt.
+            78 (138). Ditto.
+            79 (139). Herr Jesu Christ, dich zu uns wend'.
+            80 (140). Herr Jesu Christ, du hast bereit't.
+            81 (141). Herr Jesu Christ, du hoechstes Gut.
+            82 (145). Herr Jesu Christ, mein's Lebens Licht.
+            83 (146). Herr Jesu Christ, wahr' Mensch und Gott.
+            84 (148). Herr, nun lass in Friede.
+            85 (149). Herr, straf' mich nicht in deinem Zorn.
+            86 (151). Herr, wie du willst, so Schick's mit mir.
+            87 (152). Herzlich lieb hab' ich dich, 0 Herr.
+            88 (170). Heut' ist, O Mensch, ein grosser Trauertag.
+            89 (171). Heut' triumphiret Gottes Sohn.
+            90 (172). Hilf, Gott, dass mir's gelinge.
+            91 (173). Hilf, Herr Jesu, lass gelingen.
+            92 (174). Ich bin ja, Herr, in deiner Macht (Bach's melody).
+            93 (175). Ich dank' dir, Gott, fuer all' Wohlthat.
+            94 (176). Ich dank' dir, lieber Herre.
+            95 (177). Ditto.
+            96 (179). Ich dank' dir schon durch deinen Sohn.
+            97 (180). Ich danke dir, O Gott, in deinem Throne.
+            98 (182). Ich hab' mein' Sach' Gott heimgestellt.
+            99 (185). Jesu, der du meine Seele.
+            100 (186). Ditto.
+            101 (187). Ditto.
+            102 (189). Jesu, der du selbst so wohl.
+            103 (190). Jesu, du mein liebstes Leben.
+            104 (191). Jesu, Jesu, du bist mein (Bach's melody).
+            105 (195). Jesu, meine Freude.
+            106 (363). Jesu, meiner Seelen Wonne (Werde munter, mein
+                  Gemuethe).
+            107 (364). Ditto.
+            108 (202). Jesu, meines Herzens Freud'.
+            109 (203). Jesu, nun sei gepreiset.
+            110 (206). Jesus Christus, unser Heiland, der von uns.
+            111 (207). Jesus Christus, unser Heiland, der den Tod.
+            112 (208). Jesus, meine Zuversicht.
+            113 (210). Ihr Gestirn', ihr hohlen Luefte.
+            114 (211). In allen meinen Thaten.
+            115 (215). In dulci jubilo.
+            116 (217). Keinen hat Gott verlassen.
+            117 (218). Komm, Gott, Schoepfer, heiliger Geist.
+            118 (225). Kyrie! Gott Vater in Ewigkeit.
+            119 (226). Lass, O Herr, dein Ohr sich neigen.
+            120 (228). Liebster Jesu, wir sind hier.
+            121 (232). Lobet den Herren, denn er ist sehr freundlich.
+            122 (233). Lobt Gott, ihr Christen allzugleich.
+            123 (234). Ditto.
+            124 (237). Mach's mit mir, Gott, nach deiner Guet.'
+            125 (240). Mein' Augen schliess' ich jetzt.
+            126 (241). Meinen Jesum lass' ich nicht, Jesus.
+            127 (242). Meinen Jesum lass' ich nicht, weil.
+            128 (248). Meines Lebens letzte Zeit.
+            129 (249). Mit Fried' und Freud' ich fahr' dahin.
+            130 (252). Mitten wir im Leben sind.
+            131 (253). Nicht so traurig, nicht so sehr (Bach's melody).
+            132 (254). Nun bitten wir den heiligen Geist.
+            133 (257). Nun danket Alle Gott.
+            134 (260). Nun freut euch, Gottes Kinder all.
+            135 (261). Nun freut euch, lieben Christen g'mein.
+            136 (269). Nun lob', mein' Seel', den Herren.
+            137 (270). Ditto.
+            138 (273). Nun preiset alle Gottes Barmherzigkeit.
+            139 (298). Nun ruhen alle Waelder (0 Welt, ich muss dich
+                  lassen)
+            140 (289). 0 Welt, sieh' hier dein Leben (O Welt, ich muss
+                  dich lassen).
+            141 (290). Ditto.
+            142 (291). Ditto.
+            143 (274). Nun sich der Tag geendet hat.
+            144 (275). O Ewigkeit, du Donnerwort.
+            145 (277). O Gott, du frommer Gott (1679 tune).
+            146(282). Ditto (1693 tune).
+            147 (284). O Herzensangst, O Bangigkeit und Zagen (Bach's
+                  melody).
+            148 (285). 0 Lamm Gottes, unschuldig.
+            149 (286). O Mensch, bewein' dein Suende gross.
+            150 (287). 0 Mensch, schau' Jesum Christum an.
+            151 (288). 0 Traurigkeit, 0 Herzeleid.
+            152 (299). O wie selig seid ihr doch, ihr Frommen (1649).
+            153 (300). Ditto (1566).
+            154 (301). O wir armen Suender.
+            155 (303). Schaut, ihr Suender.
+            156(306). Seelenbraeutigam, Jesu, Gottes Lamm.
+            157 (307). Sei gegruesset, Jesu guetig.
+            158 (309). Singt dem Herrn ein neues Lied.
+            159 (310). So giebst du nun, mein Jesu, gute Nacht.
+            160 (311). Sollt' ich meinem Gott nicht singen.
+            161 (313). Uns ist ein Kindlein heut' gebor'n.
+            162 (314). Valet will ich dir geben.
+            163 (316). Vater unser im Himmelreich.
+            164 (324). Von Gott will ich nicht lassen.
+            165 (325). Ditto.
+            166 (326). Ditto.
+            167 (331). Warum betruebst du dich, mein Herz.
+            168 (332). Ditto.
+            169 (334). Warum sollt' ich mich denn graemen.
+            170 (336). Was betruebst du dich, mein Herze (Bach's melody).
+            171 (337). Was bist du doch, 0 Seele, so betruebet.
+            172 (349). Was willst du dich, 0 meine Seele.
+            173 (351). Weltlich Ehr' und zeitlich Gut.
+            174 (352). Wenn ich in Angst und Noth.
+            175 (353). Wenn mein Stuendlein vorhanden ist.
+            176 (354). Ditto.
+            177 (355). Ditto.
+            178 (358). Wenn wir in hoechsten Noethen sein.
+            179 (359). Ditto.
+            180 (366). Wer Gott vertraut, hat wohlgebaut.
+            181 (367). Wer nur den lieben Gott laesst walten.
+            182 (374). Wie bist du, Seele, in mir so gar betruebt.
+            183 (375). Wie schoen leuchtet der Morgenstern.
+            184 (382). Wir glauben all' an einen Gott, Schoepfer.
+            185 (389). Wo Gott zum Haus nicht gibt sein' Gunst.
+
+        (3) Seventy-five Chorals harmonised by Bach:(521)
+
+               *1 (S). Ach, dass ich nicht die letzte Stunde.
+            2 (S). Auf, auf! die rechte Zeit ist hier.
+            3 (S). Auf, auf! mein Herz, mit Freuden.
+            4 (S). Beglueckter Stand getreuer Seelen.
+            *5 (S). Beschraenkt, ihr Weisen dieser Welt.
+            6 (S). Brich entzwei, mein armes Herze.
+            7 (S). Brunnquell aller Gueter.
+            8 (S). Der lieben Sonne Lacht und Pracht.
+            9 (S). Der Tag ist hin, die Sonne gehet nieder.
+            10 (S). Der Tag mit seinem Lichte.
+            *11 (S). Dich bet' ich an, mein hoechster Gott.
+            12 (S). Die bitt're Leidenszeit beginnet.
+            13 (S). Die gold'ne Sonne, voll Freud' und Wonne.
+            *14 (S). Dir, dir, Jehova, will ich singen.
+            *15 (S). Eins ist noth, ach Herr, dies Eine.
+            16 (S). Ermuntre dich, mein schwacher Geist.
+            17 (S). Erwuergtes Lamm, das die verwahrten Siegel.
+            18 (S). Es glaenzet der Christen inwendiges Leben.
+            19 (S). Es ist nun aus mit meinem Leben.
+            20 (S). Es ist vollbracht! Vergiss ja nicht dies Wort.
+            21 (S). Es kostet viel, ein Christ zu sein.
+             *22. Gieb dich zufrieden und sei stille (erste Composition).
+             *23. Ditto. (zweite Composition).(522)
+            24 (S). Ditto. (dritte Composition).
+            25 (S). Gott lebet noch! Seele, was verzagst du doch?
+            *26 (S). Gott, wie gross ist deine Guete.
+            27 (S). Herr, nicht schricke deine Rache.
+            *28 (S). Ich bin ja, Herr, in deiner Macht.
+            29 (S). Ich freue mich in dir.
+            *30 (S). Ich halte treulich still.
+            31 (S). Ich lass' dich nicht.
+            32 (S). Ich liebe Jesum alle Stund'.
+            *33 (8). Ich steh' an deiner Krippen hier.
+            *34 (8). Jesu, Jesu, du bist mein.
+            35 (S). Jesu, deine Liebeswunden.
+            36 (8). Jesu, meines Glaubens Zier.
+            37 (8). Jesu, meines Herzens Freud'.
+            38 (8). Jesus ist das schoenste Licht.
+            39 (8). Jesus, unser Trost und Leben.
+            40 (8). Ihr Gestirn', ihr hohlen Luefte.
+            41 (8). Kein Stuendlein geht dahin.
+            *42 (8). Komm, suesser Tod, komm, sel'ge Ruh'!
+            *43 (8). Kommt, Seelen, dieser Tag.
+            *44 (8). Kommt wieder aus der finst'ren Gruft.
+            46 (8). Lasset uns mit Jesu ziehen.
+            46 (S). Liebes Herz, bedenke doch.
+            47 (8). Liebster Gott, wann werd' ioh sterben.
+            *48 (S). Liebeter Herr Jesu, wo bleibst du so lange.
+            49 (S). Laebster Immanuel.
+            60 (S). Mein Jesu, dem die Seraphinen.
+            *61 (S). Mein Jesu, was fuer Seelenweh.
+            62 (S). Meines Lebens letzte Zeit.
+            *63 (S). Nicht so traurig, nicht so sehr.
+            64 (S). Nur mein Jesus 1st mein Leben.
+            66 (S). O du Liebe, meiner Liebe.
+              66. O Ewigkeit, du Donnerwort.
+            *67 (S). O finst're Nacht, wann wirst du doch vergehen.
+            68 (S). O Jesulein suess, O Jesulein mild.
+            *69 (S). O liebe Seele, zieh' die Sinnen.
+            60 (8). O wie selig seid ihr doch.
+             *61. Schaffs mit mir, Gott, naoh deinem Willen.
+            62 (8). Seelenbraeutigam, Jesu, Gottes Lamm.
+            63 (8). Seelenweide, meine Freude.
+            64 (S). Selig, wer an Jesum denkt.
+            66 (8). Sei gegruesset, Jesu guetig.
+            66 (8). So gehest du nun, mein Jesu, hin.
+            67 (8). So giebst du nun, mein Jesu, gute Nacht.
+            68 (8). So wuensch' ich mir zu guter Letzt.
+            69 (S). Steh' ioh bei meinein Gott.
+            70 (8). Vergiss  mein  nioht,  date  ich  dein  nicht
+                  vergesse.
+            *71 (S). Vergiss mein nicht, mein allerliebster Gott.
+             *72. Warum betruebst du dich und beugest.
+            73 (S). Was bist du doch, 0 Seele, so betruebet.
+             *74. Wie wohl ist mir, 0 Freund der Seelen.
+            75 (S). Wo ist mein Schaeflein, das ich liebe.(523)
+
+        (4) Five Arias from Anna Magdalena Bach's "Notenbuch" (1725)"(524)
+
+              *1. So oft ich meine Tabakspfeife.
+              *2. Bist bu bei mir.
+              *3. Gedenke doch, mein Geist, zuruecke.
+               4. Gieb dich zufrieden und sei stille.
+               5. Willst du dein Herz mir schenken (Aria di Giovannini).
+
+  XL. 1890 [1893]. Orgelwerke. Vierter Band. Ed. Ernst Naumann.
+
+        (1) Choral Preludes, from Kirnberger's collection.(525)
+
+               1. Wer nur den lieben Gott laesst walten (N. bk. 19 p. 21).
+               2. Ditto (N. bk. 19 p. 22).
+               3. Ach Gott und Herr (N. bk. 18 p. 1).
+               4. Ditto (N. bk. 18 p. 2).
+               5. Wo soll ich fliehen hin (N. bk. 19 p. 32).
+               6. Christ lag in Todesbanden (Fantasia) (N. bk. 18 p. 16).
+               7. Christum wir sollen loben schon, _or_, Was fuercht'st du,
+                  Feind Herodes, sehr (N. bk. 18 p. 23).
+               8. Gelobet seist du, Jesu Christ (Fughetta) (N. bk. 18 p.
+                  38).
+               9. Herr Christ, der ein'ge Gottes-Sohn (Fughetta) (N. bk.
+                  18 p. 43).
+              10. Nun komm der Heiden Heiland (Fughetta) (N.bk. 18 p. 83).
+              11. Vom Himmel hoch da komm ich her (N. bk. 19 p. 16).
+              12. Ditto. (Fughetta) (N. bk. 19 p. 14).
+              13. Das Jesulein soll doch mein Trost (Fughetta) (N. bk. 18
+                  p. 24).
+              14. Gottes Sohn ist kommen (Fughetta) (N. bk. 18 p. 41).
+              15. Lob sei dem allmaechtigen Gott (Fughetta) (N. bk. 18 p.
+                  73).
+              16. Durch Adams Fall ist ganz verderbt (N. bk. 18 p. 28).
+              17. Liebster Jesu wir sind hier (N. bk. 18 p. 72a).
+              18. Ditto. (N. bk. 18 p. 72b).
+              19. Ich hab' mein' Sach' Gott hergestellt (N. bk. 18 p.
+                  54)(526)
+              20. Ditto. (N. bk. 18 p. 58a).
+              21. Herr Jesu Christ, dich zu uns wend' (N. bk. 18 p. 50).
+              22. Wir Christenleut' (N. bk. 19 p. 28b).(527)
+              23. Allein Gott in der Hoeh' sei Ehr (Bicinium) (N. bk. 18 p.
+                  5).
+              24. In dich hab' ich gehoffet, Herr (N. bk. 18 p. 59).
+              25. Jesu, meine Freude (Fantasia) (N. bk. 18 p. 64).
+
+        (2) Twenty-eight other Choral Preludes(528)
+
+               1. Ach Gott und Herr (Canon) (N. bk. 18 p. 3).
+               2. Allein Gott in der Hoeh' sei Ehr' (N. bk. 18 p. 4).
+               3. Ditto. (Fuga) (N. bk. 18 p. 7).
+               4. Ditto. (N. bk. 18 p. 11).
+               5. An Wasserfluessen Babylon (N. bk. 18 p. 13).
+               6. Christ lag in Todesbanden (N. bk. 18 p. 19).
+               7. Der Tag der ist so freudenreich (N. bk. 18 p. 26).
+               8. Ein' feste Burg ist unser Gott (N. bk. 18 p. 30).
+               9. Erbarm' dich mein, 0 Herre Gott (N. bk. 18 p. 35).
+              10. Gelobet seist du, Jesu Christ (N. bk. 18 p. 37).
+              11. Gelobet seist du, Jesu Christ (N. bk. 18 p. 39).
+              12. Gottes Sohn ist kommen (N. bk. 18 p. 42).
+              13. Herr Gott, dich loben wir (N. bk. 18 p. 44).
+              14. Herr Jesu Christ, dich zu uns wend' (N. bk. 18 p. 52).
+              15. Herzlich thut mich verlangen (N. bk. 18 p. 53).
+              16. Jesus, meine Zuversicht (N. bk. 18 p. 69).
+              17. In dulci jubilo (N. bk. 18 p. 61).
+              18. Liebster Jesu, wir sind hier (N. bk. 18 p. 70).
+              19. Ditto. (N. bk. 18 p. 71).
+              20. Lobt Gott, ihr Christen allzugleich (N. bk. 18 p. 74).
+              21. Meine Seele erhebt den Herren (Magnificat) (Fuga) (N.
+                  bk. 18 p. 75).
+              22. Nun freut euch, lieben Christen g'mein, _or_, Es ist
+                  gewisslich an der Zeit (N. bk. 18 p. 80).
+              23. Valet will ich dir geben (Fantasia) (N. bk. 19 p. 2).
+              24. Ditto. (N. bk. 19 p. 7).
+              25. Vaterunser im Himmelreich (N. bk. 19 p. 12).
+              26. Vom Himmel hoch da komm ich her (N. bk. 19 p. 19).
+              27. Wie schoen leuchtet der Morgenstern (N. bk. 19 p. 23).
+              28. Wir glauben all' an einen Gott (N. bk. 19 p. 30).
+
+        (3) Choral Variations:
+
+               1. Christ, der du bist der helle Tag (N. bk. 19 p. 36).
+               2. 0 Gott, du frommer Gott (N. bk. 19 p. 44).
+               3. Sei gegruesset, Jesu guetig (N. bk. 19 p. 55).
+               4. Vom Himmel hoch da komm ich her (N. bk. 19 p. 73).
+
+        (4) Variant texts and fragments:
+
+               1. Variant of Kirnberger's No. 2 (P. bk. 244 p. 111).
+               2. Variant of Kirnberger's No. 3 (not in N. or P.).
+               3. Ich hab' mein' Sach' Gott heimgestellt (N. bk. 18 p.
+                  58b).
+               4. Variant of Kirnberger's No. 6 (P. bk. 245 p. 104).
+               5. Variant of Kirnberger's No. 25 (P. bk. 245 p. 110).
+               6. Variant of No. 10 of the Twenty-eight supra (not in N.
+                  or P.).
+               7. Variant of No. 17 (not in N. or P.).
+               8. Variant of No. 20 (not in N. or P.).
+               9. Variant of No. 26 (not in N. or P.).
+              10. Variant of No. 22 (P. bk. 246 p. 91).
+              11. Variant of No. 23 (P. bk. 246 p. 100).
+              12. Jesu, meine Freude (fragment) (P. bk. 244 p. 112).
+              13. Wie schoen leuchtet der Morgenstern (fragment) (not in N.
+                  or P.).
+
+        (5) Choral Preludes and Variations of faulty text or doubtful
+            authenticity:
+
+               1. Ach Gott vom Himmel sieh' darein (P. bk. 2067 p.44).
+               2. Auf meinen lieben Gott (P. bk. 2067 p. 39).
+               3. Aus der Tiefe rufe ich (P. bk. 2067 p. 64).
+               4. Christ ist erstanden (not in N. or P.).
+               5. Christ lag in Todesbanden (P. bk. 2067 p. 56).
+               6. Gott der Vater wohn' uns bei (P. bk. 245 p. 62) (by J.
+                  G. Walther).(529)
+               7. O Vater, allmaechtiger Gott (not in N. or P.).
+               8. Schmuecke dich, O liebe Seele (not in N. or P.) (also
+                  attributed to G. A. Homilius).
+               9. Vater unser im Himmelreich (not in N. or P.) (also
+                  attributed to G. Boehm).
+              10. Ditto.
+              11. Wir glauben all' an einen Gott, Schoepfer (P. bk. 2067 p.
+                  40).(530)
+              12. Variations on Ach, was soll ich Suender machen (not in N.
+                  or P.).
+              13. Variations on Allein Gott in der Hoeh' sei Ehr' (not in
+                  N. or P.).
+
+        (6) Addendum to B.G. III.:
+
+                  Allein Gott in der Hoeh' sei Ehr' (an early version of N.
+                  bk. 16 p. 40*) (P. bk. 245 p. 96).
+
+ XLI. 1891 [1894]. Kirchenmusikwerke. Erganzungsband. Ed. Alfred Doeffel.
+
+            Cantata No. 191: Gloria in excelsis (the B minor Mass
+            "Gloria").
+            Cantata No. 192: Nun danket Alle Gott (incomplete).
+            Cantata No.193: Ihr Pforten zu Zion (incomplete).
+            Ehre sei Gott in der Hone (incomplete).
+            Wedding Cantata: O ewiges Feuer, O Ursprung der Liebe
+            (incomplete).
+            Wedding Cantata: Herr Gott, Beherrscher aller Dinge
+            (incomplete).
+            Sanctus in D major.
+            Kyrie eleison (Christe, du Lamm Gottes).
+            Christe eleison (Johann Ludwig Bach).
+            Jesum lass' ich nicht von mir (the original concluding Choral
+            of the first Part of the "St. Matthew Passion" (Breitkopf and
+            Haertel's "Choralgesange," No. 247).
+            Four Cantatas of doubtful authenticity:
+
+                  Gedenke, Herr, wie es uns gehet.
+                  Gott der Hoffnung erfulle euch.
+                  Siehe, es hat iiberwunden der Lowe.
+                  Lobt ihn mit Herz und Munde.
+
+XLII. 1892 [1894]. Clavierwerke. Funfter Band. Ed. Ernst Naumann.
+
+            Sonata in D minor (P. bk. 213 p. 24).(531)
+            Suite in E major (not in P.).(532)
+            Adagio in G major (P. bk. 213 p. 1).(533)
+            Sonata in A minor (P. bk. 213 p. 2).(534)
+            Sonata in C major (P. bk. 213 p. 16).(535)
+            Fugue in B flat major (P. bk. 1959 p. 75).(536)
+            Fugue in B flat major (P. bk. 1959 p. 90).(537)
+            Sixteen Concertos after Antonio Vivaldi (P. bk. 217).(538)
+            Fifteen Compositions of probable authenticity :
+
+               1. Prelude and Fugue in A minor (P. bk. 1959 p. 84).
+               2. Fantasia and Fugue in D minor (P. bk. 1959 p. 80).
+               3. Fantasia in G minor (P. bk. 1959 p. 94).
+               4. Concerto and Fugue in C minor (not in P.).
+               5. Fugato in E minor (P. bk. 1959 p. 24).
+               6. Fugue in E minor (P. bk. 1959 p. 72).
+               7. Fugue in G major (P. bk. 1959 p. 68).
+               8. Fugue in A minor (not in P.).
+               9. Fugue in A minor (not in P.).
+              10. Prelude in B minor (and Variant) (not in P.).
+              11. Suite in B flat major (P. bk. 1959 p. 54).
+              12. Andante in G minor (P. bk. 1959 p. 63).
+              13. Scherzo in D minor (and Variant) (P. bk. 1959 p. 62).
+              14. Sarabande con Partite in C major (P. bk. 1959 p. 26).
+              15. Passacaglia in D minor (P. bk. 1959 p. 40).
+
+            Ten Compositions of doubtful authenticity :
+
+               1. Fantasia in C minor (not in P.).
+               2. Toccata quasi Fantasia con Fuga in A major (not in
+                  P.).(539)
+               3. Partie in A major (not in P.).
+               4. Allemande in C minor (not in P.).
+               5. Gigue in F minor (not in P.).
+               6. Allemande and Courante in A major (not in P.).
+               7. Allemande in A minor (not in P.).
+               8. Fantasia and Fughetta in B flat major (P. bk. 212 p.
+                  58).
+               9. Do. D major (P. bk. 212 p. 60).
+              10. Fugue (unfinished) in E minor (not in P.).
+
+            Concerto in G major by Antonio Vivaldi (original of the second
+            Clavier Concerto supra).(540)
+
+XLIII(l). 1893 [1894]. Kammermusik. Achter Band. Ed. Paul Graf Waldersee.
+
+            Three Sonatas for Flute and Clavier:
+
+                  1. In C major (P. bk. 235 p. 33).
+                  2. In E minor (ib. p. 39).
+                  3. In E major (ib. p. 51).
+
+            Sonata in E minor, for Violin and Clavier (P. bk. 236).
+            Fugue in G minor for Violin and Clavier (P. bk. 236).
+            Sonata in F major for two Claviers (by Wilhelm Friedemann
+            Bach).
+            Concerto in A minor for four Claviers and Orchestra (Strings)
+            (P. bk. 260 p. 3).(541)
+
+XLIII (2). 1893 [1894]. Musikstuecke in den Notenbuechen der Anna Magdalena
+      Bach. Ed. Paul Graf Waldersee.
+
+        (1) The Notebook of the year 1722 contains:
+
+               1. The French Suites (incomplete) (see B.G. an. (2)).
+               2. Fantasia in C major for the Organ (see B.G. XXXVIII. No.
+                  25).
+               3. Air (unfinished) in C minor (not in P.).
+               4. Choral Prelude, ' Jesus, meine Zuversicht' (see B.G. XL.
+                  sec. 2 No. 16).
+               5. Minuet in G major (see B.G. xxxvi. and P. bk. 215 p.
+                  62).
+
+        (2) The Notebook of the year 1725 contains:(542)
+
+               1. Partita III. (A minor) from the "Clavieruebung," Part I.
+                  (see B.G. III.).
+               2. Partita VI. (E minor) from the same (see B.G. III.).
+            3 (P). Minuet in F major.
+            4 (P). Minuet in G major.
+            5 (P). Minuet in G minor.
+            6 (P). Rondeau in B flat major (by Couperin).
+            7 (P). Minuet in G major.
+            8 (P). Polonaise in F major (two versions).
+            9 (P). Minuet in B flat major.
+            10 (P). Polonaise in G minor.
+              11. Choral Prelude, "Wer nur den lieben Gott laesst alten"
+                  (see B.G. XL., Kirnberger's Collection, no. 2).
+              12. Choral, "Gieb dich zufrieden und sei stille" see B.G.
+                  XXXIX. see. 4 no. 4).
+              13. Aria, "Gieb dich zufrieden un sei stille" (see B.G.
+                  XXXIX. sec. 2 no. 62).
+            14 (P). Minuet in A minor.
+            15 (P). Do. C minor.
+            16 (P). March in D major.
+            17 (P). Polonaise in G minor.
+            18 (P). March in A major.
+            19 (P). Polonaise in G minor.
+              20. Aria, "So oft ich meine Tabakspfeife" (see B.G. XXXIX.
+                  sec. 4 no. 1).
+              21. Minuet in G major, "fait par Moens. Boehm."
+            22 (P). Musette in D major.
+            23 (P). March in E flat major.
+            24 (P). Polonaise in D minor.
+              25. Aria, "Bist du bei mir" (see B.G. XXIX. sec. 4 no. 2).
+              26. Aria in G major (the Aria of the Goldberg Variations.
+                  See B.G. III.).
+            27 (P). Solo per il Cembalo in E flat major.
+            28 (P). Polonaise in G major.
+              29. Prelude in C major (Prelude i. of the first Part of the
+                  "Well-tempered Clavier." See B.G. XIV.).
+              30. Suite in D minor (the first of the French Suites. See
+                  B.G. XIII (2)).
+              31. Suite in C minor (the first three movements of the
+                  second French Suite. See B.G. XIII (2)).
+              32. Choral (wordless) in F. major.
+              33. Aria, "Warum betruebst du dich" (see B.G. XXXIX. sec. 3
+                  no. 72).
+              34. Recitativo and Aria, "Ich habe genug," and "Schlummert
+                  ein," for Basso (from Cantata 82, nos. 2 and 3),
+                  transposed.
+              35. Aria, "Schaff's mit mir, Gott, nach deinem Willen" (see
+                  B.G. xxxrx. sec. 3 no. 61).
+            36 (P). Minuet in D minor.
+              37. Aria, "Willst du dein Herz mir schenken" (di Giovannini)
+                  (see B.G. XXXIX. sec. 4 no. 5).
+              38. Aria, No. 34 supra.
+              39. Choral, "Dir, dir Jehovah, will ich singen" (see B.G.
+                  XXXIX. sec. 2 no. 46).
+              40. Aria, "Wie wohl ist mir, 0 Freund der Seelen" (see B.G.
+                  XXXIX. sec. 3 no. 74).
+              41. Aria, "Gedenke doch, mein Geist, zurticke" (see B.G.
+                  XXXIX. sec. 4 no. 3).
+              42. Choral, "O Ewigkeit, du Donnerwort" (see B.G. XXXIX.
+                  sec. 2 no. 144).
+
+XLIV. 1894 [1895]. Handschrift in zeitlich geordneten Nachbildungen. Ed.
+      Hermann Kretzschmar. Contains facsimiles of Bach's handwriting and
+      autograph MSS.
+XLV(1). 1895 [1897]. Clavierwerke. Zweiter Band (neue berichtigte
+      Ausgabe). Ed. Alfred Doeffel.(543)
+
+            The Six English Suites (see B.G. XIII. (2)). (P. bks. 2794,
+            2795.)
+            The Six French Suites (see B.G. XIII. (2)). (P. bk. 2793.)
+            Five Canons in 4, 6, 7, 8 parts.
+            Prelude and Fugue in E flat major (P. bk. 214 p. 40).
+            Suite in E minor (P. bk. 214 p. 68).
+            Suite in C minor (not in P.).
+            Sonata (first movement) in A minor (not in P.).(544)
+            Four Inventions, in B minor, B flat major, C minor, D major,
+            for Violin and Clavier (P. bk. 2957).
+            Overture in G minor for Strings and Clavier (not in P.).
+            The "Clavier-Buechlein" of Wilhelm Friedemann Bach contains:
+
+               1. Applicatio in C major (see B.G. XXXVI. no. 48).
+               2. Prelude in C major (the first of the Twelve Little
+                  Preludes) (see B.G. XXXVI. no. 19).
+               3. Choral Prelude, "Wer nur den lieben Gott laesst walten"
+                  (see B.G. XL., Kirnberger's Collection, no. 2).
+               4. Prelude in D minor (the fifth of the Little Preludes)
+                  (see B.G. XXXVI. no. 19).
+               5. Choral Prelude, "Jesu meine Freude" (fragment) (see B.G.
+                  XL. sec 4 no. 12).
+               6. Allemande in G minor (not in P.).
+               7. Allemande (fragment) in G minor (not in P.).
+               8. Prelude in F major (the eighth of the Little Preludes)
+                  (see B.G. XXXVI. no. 19).
+               9. Prelude in G minor (the eleventh of the Little Preludes)
+                  (see B.G. XXXVI. no. 19).
+              10. Prelude in F major (the ninth of the Little Preludes)
+                  (see B.G. XXXVI. no. 19).
+              11. Minuet in G major (the first of the three Minuets) (see
+                  B.G. XXXVI. no. 43).
+              12. Minuet in G minor (the second of the three Minuets) (see
+                  B.G. XXXVI. no. 43).
+              13. Minuet in G major (the third of the three Minuets) (see
+                  B.G. XXXVI. no. 43).
+              14. Prelude in C major (the first Prelude of the first Part
+                  of the "Well-tempered Clavier." See B.G. XIV.).
+              15. Do. C minor (the second Prelude of the first Part of the
+                  same. See B.G. XIV.).
+              16. Do. D minor (the sixth Prelude of the first Part of the
+                  same. See B.G. XIV.).
+              17. Do. D major (the fifth Prelude of the first Part of the
+                  same. See B.G. XIV.).
+              18. Prelude in E minor (the tenth Prelude of the first Part
+                  of the same. See B.G. XIV.).
+              19. Prelude in E major (the ninth Prelude of the first Part
+                  of the same. See B.G. XIV.).
+              20. Prelude in F major (the eleventh Prelude of the first
+                  Part of the same. See B.G. XIV.).
+              21. Prelude in C sharp major (the third Prelude of the first
+                  Part of the same. See B.G. XIV.).
+              22. Prelude in C sharp minor (the fourth Prelude of the
+                  first Part of the same. See B.G. XIV.).
+              23. Prelude in E flat minor (the eighth Prelude of the first
+                  Part of the same. See B.G. XIV.).
+              24. Prelude in F minor (the twelfth Prelude of the first
+                  Part of the same. See B.G. XIV.)
+              25. Allemande and Courante in C major, by J. C. Richter.
+              26. Prelude in C major (first of the Little Preludes. See
+                  B.G. XXXVI. no. 19).
+              27. Prelude in D major (fourth of the Little Preludes. See
+                  B.G. XXXVI. no. 19).
+              28. Prelude in E minor (see B.G. xxxvi. no. 50).
+              29. Prelude in A minor (B.G. xxxvi. no. 49).
+              30. Prelude in G minor (not in P.).
+              31. Fugue in C major (see B.G. xxxvi. no. 38).
+              32. Prelude in C major (Invention i. See B.G. m.).
+              33. Prelude in D minor (Invention iv. See B.G. m.).
+              34. Prelude in E minor (Invention vii. See B.G. m.).
+              35. Prelude in F major (Invention viii. See B.G. m.).
+              36. Prelude in G major (Invention x. See B.G. in.).
+              37. Prelude in A minor (Invention xiii. See B.G. m.).
+              38. Prelude in B minor (Invention xv. See B.G. m.).
+              39. Prelude in B flat major (Invention xiv. See B.G. III.).
+              40. Prelude in A major (Invention xii. See B.G. III.).
+              41. Prelude in G minor (Invention xi. See B.G. III.).
+              42. Prelude in F minor (Invention ix. See B.G. III.).
+              43. Prelude in E major (Invention vi. See B.G. III.).
+              44. Prelude in E flat major (Invention v. See B.G. III.).
+              45. Prelude in D major (Invention iii. See B.G. III.).
+              46. Prelude in C minor (Invention ii. See B.G. III.).
+              47. Suite in A major (fragment) (see B.G. XXXVI. no. 45).
+              48. Partita in G minor by Steltzel, including a Minuet Trio
+                  by J. S. B. (Minuet in P. bk. 1959 p. 8).
+              49. Fantasia in C major (Sinfonia i. See B.G. III.).
+              50. Fantasia inD minor (Sinfonia iv. See B.G. III.).
+              51. Fantasia in E minor (Sinfonia vii. See B.G. III.).
+              52. Fantasia in F major (Sinfonia viii. See B.G. III.).
+              53. Fantasia in G major (Sinfonia x. See B.G. III.).
+              54. Fantasia in A minor (Sinfonia xiii. See B.G. III.).
+              55. Fantasia in B minor (Sinfonia xv. See B.G. III.).
+              56. Fantasia in B flat major (Sinfonia xiv. See B.G. III.).
+              57. Fantasia in A major (Sinfonia xii. See B.G. III.).
+              58. Fantasia in G minor (Sinfonia xi. See B.G. III.).
+              59. Fantasia in F minor (Sinfonia ix. See B.G. III.).
+              60. Fantasia in E major (Sinfonia vi. See B.G. III.).
+              61. Fantasia in E flat major (Sinfonia v. See B.G. III.).
+              62. Fantasia in D major (Sinfonia iii. See B.G. III.).(545)
+
+XLV (2). 1895 [1898]. Passionsmusik nach dem Evangelisten Lucas. Ed.
+      Alfred Doeffel.
+
+      Though the Score is in Bach's autograph, the work is generally held
+      not to be his.
+
+XLVI. 1896 [1899].(546) Schlussband. Bericht und Verzeichnisse. Ed.
+      Hermann Kretzschmar.
+
+      The volume contains:--
+
+            Historical retrospect of the Society and its activities.
+            Thematic Index to Cantatas 121-191 (see B.G. XXVII (2)),
+            unfinished Cantatas, Cantatas of doubtful authenticity,
+            Christmas Oratorio, Easter Oratorio, St. Matthew Passion, St.
+            John Passion, St. Luke Passion, Mass in B minor, the four
+            Masses in F major, A major, G minor, G major, the four Sanctus
+            in C major, D major, D minor, G major, Magnificat in D major,
+            the "Trauer-Ode" Wedding Cantatas and Chorals, Motets, Secular
+            Cantatas (P. bk. 270b).
+            Alphabetical Index of the movements throughout the vocal
+            works.
+            Thematic Index to the Clavier music.
+            Thematic Index to the Chamber music.
+            Thematic Index to the Orchestral music.
+            Thematic Index to the Organ music.
+            Thematic Index to the "Musikalisches Opfer".
+            Thematic Index to the "Kunst der Fuge"
+            Index to the several movements throughout the instrumental
+            works.
+            Index of names and places occurring in the Prefaces of the
+            B.G. volumes.
+            Bach's vocal and instrumental works arranged (1) in the order
+            of the yearly volumes, (2) in groups.
+
+
+
+
+               (B) PUBLICATIONS OF THE NEW BACHGESELLSCHAFT
+
+
+1(1). 1901. Lieder und Arien. Fur eine Singstimme mit Pianoforte (Orgel
+      oder Harmonium). Ed. Ernst Naumann
+
+      The seventy-eight Songs are those contained in B.G. XXXIX. secs. 3
+      and 4 (first three only) supra.
+
+I (2). 1901. Lieder und Arien. Furvierstimmigen gemischten Chor. Ed. Franz
+      Wuellner.
+
+      The seventy-five Songs are those contained in I (1), omitting those
+      in sec. 4 of B.G. XXXIX. supra.
+
+1(3). 1901. Erstes deutsches Bach-Fest in Berlin 21 bis 23 Marz 1901.
+      Festschrift.
+
+      The frontispiece is Carl Seffner's bust of Bach.
+
+II (1). 1902. Orgelbuechlein. 46 kuerzere Choralbearbeitungen fuer Klavier zu
+      vier Handen. Ed. Bernhard Fr. Richter.
+
+      The original forty-six Organ Preludes, here arranged for two
+      pianofortes (see B.G. XXV (2), sec. 1).
+
+II(2). 1902. Kirchen-Kantaten. Klavierauszug. Erstes Heft. Ed. Gustav
+      Schreck and Ernst Naumann.
+
+      Contains Breitkopf and Haertel's vocal scores of--
+
+            Cantata 61: Nun komm, der Heiden Heiland.
+            Cantata 64: Sehet, welch' eine Liebe.
+            Cantata 28: Gottlob! nun geht das Jahr zu Ende.
+            Cantata 65: Sie werden aus Saba Alle kommen.
+            Cantata 4: Christ lag in Todesbanden.
+
+III (1). 1903. Kirchen-Kantaten. Klavierauszug. Zweites Heft. Ed. Ernst
+      Naumann.
+
+      Contains Breitkopf and Haertel's vocal scores of--
+
+            Cantata 104: Du Hirte Israel, hoere.
+            Cantata 11: Lobet Gott in seinen Reichen.
+            Cantata 34: O ewiges Feuer.
+            Cantata 45: Es ist dir gesagt.
+            Cantata 80: Bin' feste Burg.
+
+III(2). 1903. Drei Sonaten fuer Klavier und Violine. Ed. Ernst Naumann.
+
+            Sonata I. in B minor.
+            Sonata II. in A major. (See B.G. IX.)
+            Sonata III. in E major.)
+
+IV (1). 1904. Drei Sonaten fuer Klavier und Violine. Ed. Ernst Naumann.
+
+            Sonata IV. in C minor.
+            Sonata V. in F minor (See BG. IX)
+            Sonata VI. in G major.
+
+IV (2). 1904. Joh. Seb. Bach, Bildnis in Heliogravure.
+
+      A print of the portrait discovered by Dr. Fritz Volbach reproduced
+      at p. 92 of this present volume.
+
+IV (3). 1904. Zweites deutsches Bach-Fest in Leipzig 1 bis 3 Oktober 1904.
+      Festschrift.
+V (1). 1905. Fest-Gottesdienst zum deutschen Bachfeste in der Thomaskirche
+      zu Leipzig. Ed. Georg Rietschel.
+
+      Contains the order of service and music sung on the occasion.
+
+V (2). 1905. Ausgewahlte Arien und Duette mit einem obligaten Instrument
+      und Klavier- oder Orgelbegleitung.
+
+      I Abteilung: Arien fuer Sopran Ed. Eusebius Mandyczewski.
+
+         1. Auch mit gedaempften schwachen Stimmen (Cantata 36: Violin).
+         2. Die Armen will der Herr unarmen (Cantata 186: Violin).
+         3. Es halt' es mit der blinden Welt (Cantata 94: Oboe d'amore).
+         4. Gerechter Gott, ach, rechnest du (Cantata 89 : Oboe).
+         5. Gott versorget alles Leben (Cantata 187 : Oboe).
+         6. Hochster, was ich habe, ist nur deine Gabe (Cantata 39:
+            Flauto).
+         7. Hoert, ihr Augen, auf zu weinen (Cantata 98 : Oboe).
+         8. Ich bin vergnuegt in meinem Leiden (Cantata 58: Violin).
+         9. Ich ende behende mein irdisches Leben (Cantata 57: Violin).
+        10. Ich nehme mein Leiden mit Freuden auf mich (Cantata 75: Oboe
+            d'amore).
+        11. Ich will auf den Herren schau'n (Cantata 93: Oboe).
+        12. Seufzer, Thranen, Kummer, Noth (Cantata 21 : Oboe).
+
+V(3). 1905. Bach-Jahrbuch 1904. Herausgegeben von der Neuen
+      Bachgesellschaft.
+
+      In addition to sermons and addresses on the occasion of the second
+      Bach Festival at Leipzig in 1904, the volume contains the following
+      articles:
+
+         1. Bach und der evangelische Gottesdienst. By Karl Greulich.
+         2. Praktische Bearbeitungen Bachscher Kompositionen. By Max
+            Seiffert.
+         3. Bachs Rezitativbehandlung mit besonderer Berueck sichtigung der
+            Passionen. By Alfred Heuss.
+         4. Verschwundene Traditionen des Bachzeit alters. By Arnold
+            Schering.
+
+VI (1). 1906. Ausgewahlte Arien und Duette mit einem obligaten Instrument
+      und Klavier- oder Orgelbegleitung. II Abteilung: Arien fuer Alt. Ed.
+      Eusebius Mandyczewski.
+
+         1. Ach, bleibe doch, mein liebstes Leben (Cantata 11: Violin).
+         2. Ach, es bleibt in meiner Liebe (Cantata 77: Tromba).
+         3. Ach Herr! was ist ein Menschenkind (Cantata 110: Oboe
+            d'amore).
+         4. Ach, unaussprechlich ist die Noth (Cantata 116: Oboe d'amore).
+         5. Christen muessen auf der Erden (Cantata 44: Oboe).
+         6. Christi Glieder, ach, bedenket (Cantata 132: Violin).
+         7. Es kommt ein Tag (Cantata 136: Oboe d'amore).
+         8. Gelobet sei der Herr, mein Gott (Cantata 129: Oboe d'amore).
+         9. Ich will doch wohl Rosen brechen (Cantata 86: Violin).
+        10. Jesus macht mich geistlich reich (Cantata 75: Violin).
+        11. Kein Arzt ist ausser dir zu finden (Cantata 103: Flauto).
+        12. Was Gott thut, das ist wohlgethan (Cantata 100: Oboe d'amore).
+
+VI (2). 1906. Ausgewahlte Arien und Duette mit einem obligaten Instrument
+      und Klavier- odor Orgelbegleitung. III Abteilung: Duette fuer Sopran
+      und Alt. Ed. Eusebius Mandyczewski.
+
+         1. Die Armuth, so Gott auf sich nimmt (Cantata 91: Violin).
+         2. Wenn Sorgen auf mich dringen (Cantata 3: Violin or Oboe
+            d'amore).
+         3. Er kennt die rechten Freudenstunden (Cantata 93: Violin).
+
+VI (3). 1906. Bach-Jahrbuch 1905. Herausgegeben von der Neuen
+      Bachgesellschaft.
+
+      Contains the following articles:
+
+         1. Johann Sebastian Bachs Kapelle zu Coethen und deren
+            nachgelassene Instrumente. By Rudolf Bunge.
+         2. Geleitwort. By Arnold Sobering.
+         3. Die Wahl Joh. Seb. Bachs zum Kantor der Thomaschule i. J.
+            1723. By Bernhard Fr. Richter.
+         4. Ein' feste Burg ist unser Gott. Kantata von Joh. Seb. Bach. By
+            Fritz Volbach.
+         5. Verzeichnis der bisher erschienenen Literatur ueber Johann
+            Sebastian Bach. By Max Schneider.
+         6. Reviews of books.
+
+VII (1). 1907. Kantate No. 88: "Siehe, ich will viel Fischer aussenden."
+      Partitur. Ed. Max Seiffert.
+VII (2). 1907. Kantate No. 88: "Siehe, ich will viel Fischer aussenden."
+      Klavierauszug mit Text. Ed. Max Seiffert und Otto Taubmann.
+VII (3). 1907. Bach-Jahrbuch 1906. Herausgegeben von der Neuen
+      Bachgesellschaft.
+
+      Contains the following articles:
+
+         1. Erfahrungen und Ratschlueger bezueglich der Auffuehrung Bachscher
+            Kirchenkantaten. By Wilhelm Voigt.
+         2. Ueber die Schickssle der der Thomasschule zu Leipzig
+            angehorenden Kantaten Joh. Seb. Bachs. By Bernhard Fr.
+            Richter.
+         3. Die grosse A-moll Fuge fuer Orgel [Novello bk. 7 p. 42] und
+            ihre Vorlage. By Reinhardt Oppel.
+         4. Zur Rritik der Gesamtausgabe von Bachs Werken. By Max
+            Seiffert.
+         5. Verzeichnis der bis zum Jahre 1851 gedruckten (und der
+            geschrieben im Handel gewesenen) Werke von Johann Sebastian
+            Bach. By Max Schneider.
+         6. Uebersicht der Auffuehrungen J. S. Bachscher Werke von Ende 1904
+            bis Anfang 1907.
+         8. Notes.
+
+VII (4). 1907. Drittes deutsches Bach-Fest zur Einweihung von Johann
+      Sebastian Bachs Geburtshaus als BachMuseum [at Eisenach]. Fest- und
+      Programmbuch [26-28 May 1907].
+
+      The frontispiece is Carl Seffner's bust of Bach.
+
+VIII (1). 1908. Violinkonzert No. 2 in E dur. Partitur. Ed. Max Seiffert.
+
+      See B.G. XXI (1) no. 2.
+
+VIII (2). 1908. Violinkonzert No. 2 in E dur fur Violine und Klavier. Ed.
+      Max Seiffert and A. Saran.
+VIII (3). 1908. Bach-Jahrbuch. 4 Jahrgang 1907: Im Auftrage der Neuen
+      Bachgesellschaft herausgegeben von Arnold Schering.
+
+      In addition to a sermon by Professor Georg Rietschel and an obituary
+      notice of Joseph Joachim, the volume contains the following
+      articles:
+
+         1. Sebastian Bach und Paul Gerhardt. By Wilhelm Nolle.
+         2. Stadtpfeifer und Alumnen der Thomasschule in Leipzig zu Bachs
+            Zeit. By Bernhard Fr. Richter.
+         3. Angeblich von J. S. Bach komponierte Oden von Chr. H.
+            Hoffmannswaldau. By --. Landmann.
+         4. Die neuen deutschen Ausgaben der zwei- und dreistimmigen
+            Inventionen [Peters bk. 2792]. By Reinhardt Oppel.
+         5. Thematisches Verzeichnis der musikalischen Werke der Familie
+            Bach. I. Theil. By Max Schneider.
+         6. Notes and Reviews of books.
+
+IX (1). 1909. Kantate No. 85: "Ich bin ein guter Hirt." Partitur. Ed. Max
+      Seiffert.
+IX (2). 1909. Kantate No. 85: "Ich bin ein guter Hirt." Klavierauszug mit
+      Text. Ed. Max Seiffert and Max Schneider.
+IX (3). 1909. Brandenburgisches Konzert No. 3. Partitur. Ed. Max Seiffert.
+
+      See B.G. XIX. no. 3.
+
+IX (4). 1909. Brandcnburgisches Konzert No. 3 fuer Klavier zu vier Haenden.
+      Ed. Max Seiffert and Max Schneider.
+IX (5). 1909. Viertes deutsches Bach-Fest in Chemnitz 3-5 Oktober 1908.
+      Fest- und Programmbuch.
+
+      The frontispiece is a photograph of Carl Seffner's statue of Bach,
+      unveiled at Leipzig May 17, 1908.
+
+IX (6). 1909. Bach-Jahrbuch. 5 Jahrgang 1908: Im Auftrage der Neuen
+      Bachgesellschaft herausgegeben von Arnold Schering.
+
+      Contains the following articles:
+
+         1. Zu Bachs Weihnachtsoratorium, Theil 1 bis 3. By Woldemar
+            Voigt.
+         2. Ueber Seb. Bachs Kantaten mit obligater Pedal. By Bernhard Fr.
+            Richter.
+         3. Cembalo oder Pianoforte? By Richard Buchmayer.
+         4. Bearbeitung Bachscher Kantaten. By Max Schneider.
+         5. Nachrichten ueber das Leben Georg Boehms mit spezieller
+            Beruecksichtigung seiner Beziehungen zur Bachschen Familie. By
+            Richard Buchmayer.
+         6. Ein interessantes Beispiel Bachscher Textauffassung. By Alfred
+            Heuss.
+         7. Edgar Tinel ueber Seb. Bach.
+         8. Notes.
+
+X (I). 1910. Ausgewahlte Arien und Duette mit einem obligaten Instrument
+      und Klavier- oder Orgelbegleitung. IV Abteilung: Arien fuer Tenor.
+      Ed. Eusebius Mandyczewski.
+
+         1. Dein Blut, so meine Schuld durchstreit (Cantata 78: Flauto).
+         2. Die Liebe zieht mit sanften Schritten (Cantata 36: Oboe
+            d'amore).
+         3. Ergiesse dich reichlich, du gottliche Quelle (Cantata 5:
+            Viola).
+         4. Handle nicht nach deiuen Bechten mit uns (Cantata 101:
+            Violin).
+         5. Ich will an den Himmel denken (Cantata 166 : Oboe).
+         6. Ja, tausendmal Tausend (Cantata 43 : Violin).
+         7. Mich kann kein Zweifel stoeren (Cantata 108 : Violin).
+         8. Seht, was die Liebe thut! (Cantata 85 : Violin or Viola).
+         9. Tausendfaches Unglueck, Schrecken, Truebsal (Cantata 143:
+            Violin).
+        10. Wir waren schon zu tief gesunken (Cantata 9 : Violin).
+        11. Woferne du den edlen Frieden (Cantata 41 : Violoncello).
+        12. Wo wird in diesem Jammerthale (Cantata 114: Flauto).
+
+X (2). 1910. Brandenburgisches Konzert No. 1. Partitur. Ed. Max Seiffert.
+
+      See B.G. XIX. no. 1.
+
+X(3). 1910. Brandenburgisches Konzert No. 1 fur Klavier zu vier Handen.
+      Ed. Max Seiffert and Max Schneider.
+X(4). 1910. Bach-Jahrbuch. 6 Jahrgang 1909: Im Auftrage der Neuen
+      Bachgesellschaft herausgegeben von Arnold Schering.
+
+      The volume contains the following articles:
+
+         1. Zum Linearprinzip J. S. Bachs. By Robert Handke.
+         2. Bachs Verhaeltnis zur Klaviermusik. By Karl Nes.
+         3. Zur Tenorarie ["Ich will an den Himmel denken": See X (1) no.
+            5, supra] der Kantate 166. By Reinhard Oppel.
+         4. Die Verzierungen in den Werken von J. S. Bach. By E.
+            Dannreuther.
+         5. Konnte Bachs Gemeinde bei seinen einfachen Choral-saetzen
+            mitsingen? By Rudolf Wustmann.
+         6. Buxtehudes musikalischer Nachrnf heim Tode seines Vaters (mit
+            einer Notenbeilage). By Reinhard Oppel.
+         7. "Matthauspassion," erster Theil. By Rudolf Wustmann.
+         8. Zu den Beschluessen des Dessauer Kirchengesangver einstages. By
+            Arnold Schering.
+         9. Notes.
+
+X (5). 1910. Fuenftes deutsches Bach-Fest in Duisburg 4 bis 7 Juni 1910.
+      Fest- und Programmbuch.
+
+      Frontispiece, St. Thomas' Church and School, Leipzig, in 1723.
+      Reproduced at p. 28 of the present volume.
+
+XI (1). 1911. Ausgewahlte Arien und Duetto mit einem obligaten Instrument
+      und Klavier- oder Orgelbegleitung V Abteilung: Arien fuer Bass, Ed.
+      Eusebius Mandyczewski.
+
+         1. Achzen und erbaermlich Weinen (Cantata 13: Violin or Flute).
+         2. Die Welt mit allen Koenigreichen (Cantata 59: Violin).
+         3. Endlicb, endlich wird niein Joch (Cantata 56: Oboe).
+         4. Erleucht' auch meine finstre Sinnen ("Christmas Oratorio,"
+            Part V. no. 5: Oboe d'amore).
+         5. Gleichwie die wilden Meeres-Wellen (Cantata 178: Violin or
+            Viola).
+         6. Greifet zu, fasst das Heil (Cantata 174: Violin or Viola).
+         7. Herr, nun laessest du deinen Diener (Cantata 83: Violin or
+            Viola).
+         8. Hier, in meines Vatera Staette (Cantata 32: Violin).
+         9. Komm, suesses Kreuz ("St. Matthew Passion," no. 57:
+            Violoncello).
+        10. Lass', O Welt, mich aus Verachtung (Cantata 123: Flauto).
+        11. Tritt auf die Glaubensbahn (Cantata 152: Oboe d'amore).
+        12. Wenn Trost und Huelf' ermangeln muss (Cantata 117: Violin).
+
+XI (2). 1911. Bach-Jahrbuch. 7 Jahrgang 1910: Im Auftrage der Neuen
+      Bachgesellschaft herausgegeben von Arnold Sobering.
+
+      The volume contains the following articles:
+
+         1. Die Diatonik in ihrem Einfluss auf die thematische Gestaltung
+            des Fugenbaues. By Robert Handke.
+         2. Bach und die franzosische Klaviermusik. By Wanda Landowska.
+         3. Sebastian Bachs Kirchenkantatentexte. By Rudolf Wustmann.
+         4. Uber Joh. Kasp. Fred. Fischers Einfluss auf Joh. Seb. Bach. By
+            Reinhard Oppel.
+         5. Hans Bach, der Spielmann. By Werner Wolffheim.
+         6. Vom Rhythmus des evangelischen Chorals. By Rudolf Wustmann.
+         7. W. Friedemann Bach und seine hallische Wirksamkeit. By C.
+            Zehler.
+         8. Neues Material zum Verzeichnis der bisher erschienenen
+            Literatur ueber Johann Sebastian Bach. By Max Schneider.
+         9. Reviews of books.
+
+XII (1). 1912. Ausgewahlte Arien und Duette mit einem obligaten Instrument
+      und Klavier- oder Orgelbegleitnng. VI Abteilung: Arien fur Sopran. 2
+      Heft. Ed. Eusebius Mandyczewski.
+
+         1. Bereite dir, Jesu, noch itzo die Bahn (Cantata 147: Violin).
+         2. Eilt, ihr Stunden, kommt herbei (Cantata 30: Violin).
+         3. Erfuellet, ihr bimmlischen, goettlichen Flammen (Cantata 1: Oboe
+            da caccia).
+         4. Genuegsamkeit ist ein Schatz in diesem Leben (Cantata 144: Oboe
+            d'amore).
+         5. Hoert, ihr Voelker, Gottes Stimme (Cantata 76: Violin).
+         6. Ich folge dir gleichfalls ("St. John Passion," no. 9: Flauto).
+         7. Jesus soll mein erstes Wort (Cantata 171: Violin).
+         8. Liebster Jesu, mein Verlangen (Cantata 32: Oboe).
+         9. Meinem Hirten bleib' ich treu (Cantata 92: Oboe d'amore).
+        10. Seele, deine Spezereien sollen nicht ("Easter Oratorio," no.
+            4: Flauto or Violin).
+        11. Was Gott thut, das ist wohlgethan (Cantata 100: Flauto).
+        12. Wie zittern und wanken der Suender Gedanken (Cantata 105:
+            Oboe).
+
+XII (2). 1912. Bach-Jahrbuch. 8 Jaargang 1911: Im Auftrage der Neuen
+      Bachgesellschaft herausgegeben von Arnold Schering. Mit 2 Bildnissen
+      und 8 Faksimiles.
+
+      The volume contains the following articles:
+
+         1. "Mein Herze schwimmt im Blut" [see infra XIII (2)]. By Werner
+            Wolffheim.
+         2. Das sogensante Orgelkonzert D-moll, von Wilhelm Friedemann
+            Bach [Peters bk. 3002]. By Max Schneider.
+         3. Bachiana. By Werner Wolffheim.
+         4. Zur Geschichte der Passionsauffuehrungen in Leipzig. By
+            Bernhard Fr. Richter.
+         5. Tonartensymbolik zu Bachs Zeit. By Rudolf Wustmann.
+         6. Ueber die Viola da Gamba und ihre Verwendung bei Joh. Seb.
+            Bach. By Christian Dobereiner.
+         7. Carl Philipp Emanuel Bach und Joh. Gottl. Im. Breitkopf. By
+            Hermann von Hase.
+         8. Zur "Lukaspassion." By Max Schneider.
+         9. Verzeichnis der Sammlung alter Musikinstrumente im Bachhaus zu
+            Eisenach. By G. Bornemann.
+
+      The illustrations are, portraits of W. Friedemann Bach (aet. 72) and
+      Johann Sebastian Bach (son of Carl P. E. Bach); facsimiles of Bach's
+      arrangement of the D minor Vivaldi Organ Concerto (attributed to W.
+      F. Bach) and "Lukaspassion," and of a letter written to J. G. I.
+      Breitkopf by C. P. E. Bach, dated 28th February 1786.
+
+XII (3). 1912. Sechstes Deuteches Bach-Fest in Breslau 15 bis 17 Juni
+      1912. Fest- und Frogrammbuch.
+
+      Frontispiece, J. S. Bach after the oil-painting by G. Haussmann in
+      possession of St. Thomas' School, Leipzig (see Spitta, vol. i.
+      frontispiece and XVI (1) infra).
+
+XIII (1). 1913. Ausgewahlte Arien mit obligaten Instrumenten und
+      Klavierbegleitung. VII Abteilung: Arien fur Sopran. 3 Heft.
+      Weltliche Arien. Ed. Eusebius Mrmdyczewski.
+
+         1. Wenn die Fruhlingsluefte streichen ("Weichet nur betruebte
+            Schatten": Violin).
+         2. Sich ueben im Lieben ("Weichet nur betruebte Schatten": Oboe).
+         3. Des Reichtums Glanz ("Ich bin in mir vergnuegt": Violin).(547)
+         4. Meine Seele, sei vergnuegt ("Ich bin in mir vergnuegt": Flauto).
+         5. Angenehmer Zephryus ("Der zufnedengestellte Aeolus": Violin).
+         6. Schweigt, ihr Floeten ("O holder Tag": Flauto).
+         7. Ei! wie schmeckt der Coffee suesse ("Schweigt stille, plaudert
+            nicht": Flauto).
+         8. Ruhig und in sich zufrieden ("Ich bin in mir vergnuegt": 2
+            Oboi).
+         9. Schafe koennen sicher weiden ("Was mir behagt": 2 Flauti).
+        10. Ruhet hie, matte Toene ("O holder Tag": Violin and Oboe
+            d'amore).
+        11. Jagen ist die Lust der Goetter ("Was mir behagt": 2 Horns).
+        12. Hoert doch! der sanften Floeten Chor ("Schleicht, spielende
+            Wellen": 3 Flauti).
+
+XIII (2). 1913. Solo-Kantate fuer Sopran, "Mein Herze schwimmt im Blut,"
+      ausgefunden und herausgegeben von C. A. Martiensen. Partitur.
+XIII (3). 1913. Solo-Kantate fuer Sopran, "Mein Herze schwimmt im Blut."
+      Klavierauszug mit Text von Max Schneider.
+XIII (4). 1913. Bach-Jahrbuch. 9 Jahrgang 1912: Im Auftrage der Neuen
+      Bachgesellschaft herausgegeben von Arnold Schering. Mit 2
+      Noten-Anhaengen.
+
+      The volume contains the following articles:
+
+         1. Uber die Motetten Seb. Bachs. By Bernhard Ft. Richter.
+         2. Uber die F-dur Toccata [N. bk. 9 p. 176] von J. S. Bach. By
+            Woldemar Voigt.
+         3. Die Moellersche Handschrift. Ein unbekanntes Gegenstueck zum
+            Andreas-Bach-Buche (mit einem Notenanhange). By Werner
+            Wolffheim.
+         4. Bachs Bearbeitungen und Umarbeitungen eigener und fremder
+            Werke. By Karl Grunsky.
+         5. Ueber die Kirchenkantaten vorbachischer Thomaskantoren (mit
+            einem Notenanhange). By Arnold Sobering.
+         6. Beitraege zur Bachkritik. By Arnold Sobering.
+         7. Auffuehrungen von Joh. Seb. Bachs Kompositionen. By Th.
+            Biebrich.
+         8. Notes.
+
+XIV (1). 1914.(548) Joh. Seb. Bachs Kantatentexte. Im Auftrage der Neuen
+      Bachgesellsehaft herausgegeben von Rudolf Wustmann.
+
+      Contains the literary texts of the Church Cantatas, with critical
+      notes.
+
+      XIV (2). 1914. Bach-Jahrbuch. 10 Jahrgang 1913. Im Auftrage der
+      Neuen Bachgesellsehaft herausgegeben von Arnold Sobering. Mit einem
+      Titelbilde und einer Beilage.
+
+      The volume contains the following articles:
+
+         1. Studien zu J. S. Bachs Klavierkonzerten. By Adolf Aber.
+         2. Ueber Joh. Seb. Bachs Konzerte fur drei Klaviere. By Hans Boas.
+         3. Die Kantata Nr. 150, "Nach dir, Herr, verlanget mich." By
+            Arnold Sobering.
+         4. Ueber die C-dur-Fuge aus dem I. Theil des "Wohltemperierten
+            Klaviers." By Wanda Landowska.
+         5. Die Varianten der grossen G-moll-Fuge fuer Orgel [Novello bk. 8
+            p. 127]. By Hermann Keller.
+         6. Ein Bachkonzert in Kamenz. By Hermann Kretzschmar.
+         7. Breitkopfsche Textdrucke zu Leipziger Musikauffuehrungen zu
+            Bachs Zeiten. By Hermann von Hase.
+         8. J. S. Bachs Aria, "Erbauliche Gedanken ernes Tabakrauchers."
+            By Alfred Heuss.(549)
+         9. Johann Seb. Bachs und Christoph Graupners Kompositionen zur
+            Bewerbung um das Thomaskantorat in Leipzig 1722-23. By
+            Bernhard Fr. Richter.
+        10. Register zu den ersten 10 Jahrgangen des Bach Jahrbuchs
+            1904-13. By Arnold Schering.
+
+      The frontispiece is a portrait of Bach, about thirty-five years old,
+      after the original in the Eisenach Museum by Job. Jak. Ihle. See
+      frontispiece of this volume.
+
+XIV (3). 1914. Fest- und Programmbuch zum 7 Deutschen Bachfest der Neuen
+      Bachgesellschaft. Wien. 9 bis 11 May 1914.
+
+      The frontispiece is a picture of St. Thomas' Church and School in
+      1723 (see p. 28 supra).
+
+XV (1). 1914. Ausgewaehlte Arien und Duette mit einem obligaten Instrument
+      und Klavier- oder Orgelbegleitung. VIII Abteilung: Arien fuer Alt. 2
+      Heft. Ed. Eusebius Mandyczewski.
+
+         1. Bethoerte Welt (Cantata 94: Flauto).
+         2. Ein ungefaerbt Gemuete (Cantata 24: Violin or Viola).
+         3. Ermuntert euch (Cantata 176: Oboe).
+         4. Gott ist unser Sonn' und Schild (Cantata 79: Oboe or Flauto).
+         5. In Jesu Demuth (Cantata 151: Oboe d'amore or Violin).
+         6. Jesus ist ein guter Hirt (Cantata 85: Violin or Violoncello).
+         7. Kreuz und Krone (Cantata 12: Oboe).
+         8. Schaeme dich, O Seele, nicht (Cantata 147: Oboe d'amore).
+         9. Von der Welt verlang' ich nichts (Cantata 64: Oboe d'amore).
+        10. Weh der Seele (Cantata 102 : Oboe).
+        11. Willkommen! will ich sagen (Cantata 27: Cor Anglais).
+        12. Zum reinen Wasser (Cantata 112: Oboe d'amore).
+
+XV (2). 1915. Bach-Jahrbuch. 11 Jahrgang 1914: Im Anftrage der Neuen
+      Bachgesellschaft herausgegeben von Arnold Schering (Leipzig). Mit
+      einem Titelbilde und einer Bilderbeilage.
+
+      The volume contains the following articles:
+
+         1. Neues ueber das Bachbildnis der Thomasschule und andere
+            Bildnisse Johann Sebastian Bachs. By Albrecht Kurzwelly.
+         2. Zur Geschichte der Bachbewegung. Bericht ueber eine bisher
+            unbekannte fruehe Auffuehrung der Matthaueuspassion. By Karl
+            Anton.
+         3. Johann Christoph Friedrich Bach. By Georg Schuenemann.
+         4. Die Wiederbelebung der Kurrende in Eisenach. By W. Nicolai.
+         5. Auffuehrungen von Joh. Seb. Bachs Kompositionen in der Zeit vom
+            Oktober 1912 bis Juli 1914. By Th. Biebrich.
+         6. Bachauffuehrungen im ersten Jahre des deutschen Krieges. By Th.
+            Biebrich.
+         7. Mitgliederversammlung der Neuen Bachgesellschaft. Montag, den
+            11 Mai 1914.
+         8. Reviews.
+
+      The frontispiece is a picture of Bach by Daniel Greiner.
+
+XVI (1). 1916. Das Bachbildnis der Thomasschule zu Leipzig, nach seiner
+      Wiederherstellung im Jahre 1913. Gemalt von E. G. Haussmanu 1746.
+
+      A print of the renovated picture is at p. 48 of this volume.
+
+XVI (2). 1916. Bach-Genealogie mit zwei Briefen von Carl Philipp Emanuel
+      Bach. Herausgegeben von Professor Max Schneider in Breslau.(550)
+XVI (3). 1916. Bach-Jahrbuch. 12 Jahrgang 1915. Im Auftrage der Neuen
+      Bachgesellschaft herausgegeben von Arnold Sobering (Leipzig). Mit
+      dem Bildnisse J. S. Bachs nach der Gedenkbueste in der Walhalla.
+
+      The volume contains the following articles:
+
+         1. Johann Sebastian Bach im Gottesdienst der Thomaner. By
+            Bernhard Friedrich Richter.
+         2. Karl Philipp Emanuel Bach und der Dresdner Kreuz kantor
+            Gottfried August Homilius im Musikleben ihrer Zeit. Ein
+            Beitrag zur Geschichte der Stilwandlung des 18 Jahrhunderts.
+            By Rudolf Steglich.
+         3. Eine Umdichtung des "Zufriedengestellten Aeolus" (Mit einem
+            Anhang ueber die Kantata "Schleicht, spielende Wellen"). By
+            Woldemar Voigt.
+         4. Eine alte, unbekannte Skizze von Sebastian Bachs Leben. By
+            Arthur Pruefer.
+         5. Bachauffuhrungen im zweiten Jahre des deutschen Krieges. By
+            Th. Biebrich.
+         6. Reviews.
+
+      The frontispiece is a photograph of Professor F. Behn's bust of Bach
+      in the Walhalla.
+
+XVII (1). 1916. Motette "O Jesu Christ, mein's Lebens Licht." Nach Bachs
+      Handschrift zum ersten Male herausgegeben von Max Schneider.
+      Partitur, [See E.G. XXIV.]
+XVII (2). 1916. Motette "O Jesu Christ, mein's Lebens Licht."
+      Klavierauszug mit Text von Max Schneider. [See B.G. XXIV.]
+XVII (3). 1917. Bach-Urkunden. Ursprung der musikalisch-Bachischen
+      Familie. Nachrichten ueber Johann Sebastian Bach von Carl Philipp
+      Emanuel Bach. Herausgegeben von Max Schneider.
+
+      The volume contains a facsimile of the Bach Genealogy compiled by
+      Joh. Seb. Bach and formerly in Carl Philipp Emanuel's possession,
+      and two letters from the latter to J. N. Forkel.
+
+XVII (4). 1917. Bach-Jahrbuch. 13 Jahrgang 1916. Im Auftrage der Neuen
+      Bachgesellschaft herausgegeben von Arnold Schering (Leipzig).
+
+      The volume contains the following articles:
+
+         1. Die F.-Trompete im 2 Brandenburgischen Konzert von Joh. Seb.
+            Bach. By Richard Hofmann.
+         2. Zur Frage der Ausfuehrung der Ornamente bei Bach. Zaehlzeit oder
+            Notenwert? By Hans Joachim  Moser.
+         3. Friedrich Bachs Briefwechsel mit Gerstenberg und Breitkopf. By
+            Georg Schunemann.
+         4. Bachauffuehrurgen im dritten Jahre des deutschen Krieges. By
+            Th. Biebrich.
+         5. Laterarische Beigabe: "Der Thomaskantor." Ein Gemueth-erfreuend
+            Spiel von deme Herren Cantori Sebastian Bachen, vorgestellt in
+            zween Auffzuegen durch Bernhard Christoph Breitkopfen seel.
+            Erben: Breitkopf und Hartel 1917. By Arnold Schering.
+
+XVIII (1). 1917. Konzert in D moll nach der urspruenglichen Fassung fur
+      Violine wiederhergestellt von Robert Reitz. Partitur. [See B.G.
+      XVII.]
+XVIII (2). 1917. Konzert in D moll nach der urspruenglichen Fassung fuer
+      Violine wiederhergestellt von Robert Reitz. Ausgabe fur Violine und
+      Klavier. [See B.G. XVII.]
+XVIII (3). 1918. Bach-Jahrbuch. 14 Jahrgang 1917: Im Auftrage der Neuen
+      Bachgesellschaft herausgegeben von Arnold Schering (Leipzig). Mit
+      einem Eildnis.
+
+      The volume contains the following articles :
+
+         1. Gustav Schreck [d. 22 Jan. 1918].
+         2. Das dritte kleine Bachfest zu Eisenach:
+
+               I. Der Festgottesdienst in der St. Georgenkirche zu
+                  Eisenach am 30 September 1917.
+              II. Vortrage und Verhandlungen der Mitgliederversammlung des
+                  dritten kleinen Bachfestes in Eisenach am 29 September
+                  1917.
+
+         3. Seb. Bachs Stellung zur Choralrhythmik der Lutherzeit. By Hans
+            Joachim Moser.
+         4. Zur Motivbildung Bachs. Kin Beitrag zur Stilpsychologie. By
+            Ernst Kurth.
+         5. Ein Programmtrio Karl Philipp Emanuel Bachs. By Hans Mersmann.
+         6. Hermann Kretzschmar [b. 19 Jan. 1848].
+         7. Review.
+
+      The frontispiece is a copy of the oil portrait of Bach after
+      Haussmann, copied by J. M. David in 1746.
+
+
+
+
+
+APPENDIX IV. BIBLIOGRAPHY OF BACH LITERATURE
+
+
+The following list does not include magazine articles or technical works.
+A comprehensive bibliography, compiled by Max Schneider, will be found in
+the Bach-Jahrbuch for 1905 and 1910.  Shorter lists are in C. F. Abdy
+Williams' _Bach_ (1900) and Andre Pirro's _J.-S. Bach_ (1906).  Titles
+within square brackets in the following list are inserted upon the
+authority of the _Bach-Jahrbuch,_ but are not discoverable in the annual
+Book Catalogues.  Since the absence of an Italian section may be remarked,
+it should be said that the _Catalogo generate della Libreria Italiana,
+1847-1899_ (published in 1910) contains no reference to Bach.  Nor does
+the Supplement of 1912.
+
+
+
+
+                                I. Germany
+
+
+      Johann Christoph W. Kuehnau, _Die blinden Tonkuestler._ Berlin. 1810.
+      J. E. Grosser, _Lebensbeschreibung des Kapellmeisters Johann
+      Sebastian Bach._ Breslau. 1834.
+      Albert Schiffner, _Sebastian Bachs geistige Nachkommenschaft._
+      Leipzig. 1840.
+      Johann T. Mosewius, _Johann Sebastian Bach in seinen Kirch-Kantaten
+      und Choralgesaengen._ Berlin. 1846.
+      Johann Carl Schauer, _Johann Sebastian Bachs Lebensbild: Eine
+      Denkschrift auf seinen 100jaehringen Todestag._ Jena. 1850.
+      C. L. Hilgenfeldt, _Johann Sebastian Bachs Leben, Wirken und Werke._
+      Leipzig. 1850.
+      [W. Naumann, _Johann Sebastian Bach. Eine Biographie._ Cassell.
+      1855.]
+      [Anon., _Biographien und Charakteristiken der grossen Meister: Bach,
+      Haendel, Gluck, Haydn, Mozart, Beethoven, mit Portrats._ 2nd ed.
+      Leipzig. 1860.]
+      C. H. Bitter, _Johann Sebastian Bach._ 2 vols. Berlin. 1865. 2nd ed.
+      1880.
+      C. Albert Ludwig, _Johann Sebastian Bach in seiner Bedeutung fuer
+      Cantoren, Organisten, und Schullehrer._ Bleichroder. 1865.
+      Alfred Doerffel, _Thematisches Verzeichniss der Instrumentalwerke von
+      Joh. Seb. Bach._ Auf Grund der Gesammtausgabe von C. P. Peters.
+      Leipzig. 1867. 2nd ed. 1882.
+      Carl Tamme, _Thematisches Verzeichniss der Vocalwerke von Joh. Seb.
+      Bach. Auf Grund der Gesammtausgaben von F. Peters und der
+      Bach-Gesellschaft._ Leipzig, n.d.
+      C. H. Bitter, _C. P. E. und W. F. Bach und deren Brueder._ 2 vols.
+      Berlin. 1868. New ed. 1880.
+      [Anon., _J. S. Bach. Biographie._ Leipzig. 1869.]
+      L. Ramann, _Bach und Handel._ Leipzig. 1869.
+      W. Junghans, _Johann Sebastian Bach als Schuler der Partikularschule
+      zu St. Michaelis in Lueneburg._ Lueneburg. 1870.
+      Emil Naumann, _Deutsche Tondichter von Sebastian Bach bis auf die
+      Gegenwart._ Berlin. 1871. 5th ed. 1882.
+      M. Schick, _J. S. Bach: ein musikalisches Lebensbild._ Reutlingen.
+      1873.
+      Philipp Spitta, _Johann Sebastian Bach._ 2 vols. Leipzig. 1873-1880.
+      E. Frommel, _Haendel und Bach._ Berlin. 1878.
+      Elise Polko, _Unsere Musikklassiker. Sechs biographische
+      Lebensbilder_ [Bach, etc.]. Leipzig. 1880.
+      [Anon., _J. S. Bach. Biographie._ [In _Meister der Tonkunst,_ no.
+      2.] Leipzig. 1880.]
+      August Reissmann, _Johann Sebastian Bach. Sein Leben und seine
+      Werke._ Berlin and Leipzig. 1881.
+      Otto Gumprecht, _Warum treiben wir Musik?_ [Bach and others.]
+      Leipzig. 1883.
+      C. H. Bitter, _Die Soehne Seb. Bachs._ Leipzig. 1883.
+      Jul. Schuemann, _Joh. Seb. Bach, der Kantor der Thomas-schule zu
+      Leipzig._ Leipzig. 1884.
+      A. L. Graebner, _Johann Sebastian Bach._ Dresden. 1885.
+      Fr. Spitta, _Haendel und Bach. Zwei Festreden._ Bonn. 1884.
+      E. Heinrich, _Johann Sebastian Bach. Ein kurzes Lebensbild._ Berlin.
+      1885.
+      E. Naumann, _Deutsche Tondichter von J. S. Bach bis Richard Wagner._
+      Leipzig. 1886. 6th ed. 1896.
+      Paul Meyer, _Joh. Seb. Bach. Vortrag._ Basel. 1887.
+      Ludwig Ziemssen, _Johann Sebastian Bach. Lebensbild._ Glogau. 1889.
+      Richard Batka, _J. S. Bach._ Leipzig. 1893.
+      Wilhelm His, _Johann Sebastian Bach. Forschungen ueber dessen
+      Grabstaette, Gebeine und Antlitz._ Leipzig. 1895.
+      Wilhelm His, _Anatomisches Forschungen ueber J. S. Bach's Gebeine und
+      Antlitz, nebst Bemerkungen ueber dessen Bilder._ Leipzig. 1895.
+      Armin Stein, _J. S. Bach. Ein Kuentstlerleben._ Halle. 1896.
+      Hans von Wolzogen, _Bach_ [In _Grossmeister deutscher Musik_].
+      Berlin. 1897.
+      [W. Kleefeld, _Bach und Graupner._ Leipzig. 1898.]
+      [Fr. Thomas, _Der Stammbaum des Ohrdruffer Zweigs der Familie von J.
+      S. Bach._ Ohrdruf. 1899.]
+      [Fr. Thomas, _Einige Ergebnisse ueber J. S. Bachs Ohrdruffer
+      Schulzeit._ Ohrdruf. 1900.]
+      B. Stein, _Johann Sebastian Bach und die Familie der _"Bache."
+      Bielefeld. 1900.
+      Fr. von Hausegger, _Unsere deutschen Meister_ [Bach and others].
+      Munich. 1901.
+      Arnold Sobering, _Bachs Textbehandlung._ Leipzig. 1901.
+      [W. Tappert, _Sebastian Bachs Kompositionen fuer die Laute._ Berlin.
+      1901.]
+      K. Soehle, _Sebastian Bach in Arnstadt_ Berlin. 1902. 2nd ed. 1904.
+      Arthur Pruefer, _Sebastian Bach und die Tonkunst des XIX.
+      Jahrhunderts._ Leipzig. 1902.
+      H. Barth, _Joh. Sebastian Bach: Lebensbild._ Berlin. 1902.
+      Gustav Hoecker, _Johann Sebastian Bach._ Gotha. 1903.
+      Paul von Bojanowski, _Das Weimar Johann Sebastian Bachs._ Weimar.
+      1903.
+      Jul. Schumann, _Bach, Haendel, Mendelssohn. Die protestantische
+      Kirchenmusik in Lebensbildern._ Calw and Stuttgart. 1903.
+      [--. Weissgerber, _J. S. Bach in Arnstadt._ Arnstadt. 1904.]
+      [K. Storck, _J. S. Bach: Charakter und Lebensgang._ Berlin. 1905.]
+      [A. Pischinger, _J. S. Bach._ Munich. 1905.]
+      Philipp Wolfrum, _Joh. Seb. Bach._ Berlin. 1906.
+      Albert Schweitzer, _J. S. Bach._ Berlin. 1908.
+      Friedrich Hashagen, _Joh. Sebastian Bach als Saenger und Musiker des
+      Evangeliums._ Wismar. 1909.
+      Max Truempelmann, _Joh. Sebastian Bach und seine Bedeutung fuer die
+      Choralkomposition unserer Zeit._ Magdeburg. 1909.
+      August Wildenhahn, _Joh. Sebastian Bach._ Eisenach. 1909.
+      Philipp Wolfrum, _Johann Sebastian Bach._ 2 vols. Leipzig. 1910.
+      Andre Pirro, _Johann Sebastian Bach. Sein Leben und seine Werke._
+      [Translated from the French by Bernhard Engelke.] Berlin. 1910.
+      Johannes Schreyer, _Beitraege zur Bach-Kritik._ Leipzig. 1911.
+      Martin Falck, _Wilhelm Friedemann Bach. Sein Leben und seine Werke,
+      mit thematischem Verzeichnis seiner Kompositionen und zwei Bildern._
+      Leipzig, c. 1911-14.
+      K. Glebe, _Johann Sebastian Bach._ Halle. 1912.
+      La Mara, _Johann Sebastian Bach._ 5th edition. Leipzig. 1912.
+      H. Reimann, _Johann Sebastian Bach._ 1912.
+      Armin Stein, _Johann Sebastian Bach._ Halle. 1912.
+      Rudolf Wustmann, _Joh. Seb. Bachs Kantatentexte._ Leipzig. 1914.
+      Max Bitter, _Der Stil Joh. Seb. Bachs in seinem Choralsatze._
+      Bremen. 1913.
+      Ernst Kurth, _Grundlagen des linearen Kontrapunkts. Einfuehrung in
+      Stil und Technik von Bachs melodischer Polyphonie._ Bern. 1917.
+
+
+
+
+                                II. France
+
+
+      Johann Nikolaus Forkel, _Vie, talents et travaux de Jean Sebastien
+      Bach._ [Translated from the German by Felix Grenier.] Paris. 1876.
+      Ernest David, _La vie et les oeuvres de J.-S. Bach, sa famille, ses
+      eleves, ses contemporains._ [An abridged translation of Spitta.]
+      Paris. 1882.
+      William Cart, _Un maitre deux fois centenaire: etude sur J.-S. Bach,
+      1685-1750._ Paris. 1884. New ed. 1898.
+      Andre Pirro, _L'Orgue de Jean-Sebastien Bach._ Paris. 1895.
+      [G. Fink, _Etude biographique sur Jean-Sebastien Bach._ Angouleme.
+      1899.]
+      [--. Daubresse, _Haendel et Bach._ Paris. 1901.]
+      Albert Schweitzer, _J. S. Bach, le musicien-poete._ Leipzig. 1905.
+      Andre Pirro, _J.-S. Bach._ Paris. 1906. 4th edition. 1913.
+      Andre Pirro, _L'Esthetique de Jean-Sebastien Bach._ Paris. 1907.
+
+
+
+
+                            III. Great Britain
+
+
+      Johann Nikolaus Forkel, _Life of John Sebastian Bach. Translated
+      from the German_ [by -- Stephenson]. London. 1820.
+      C. H. Bitter, _The Life of J. Sebastian Bach. An abridged
+      translation from the German._ [By Janet Elizabeth Kay Shuttleworth.]
+      London. 1873.
+      R. Lane Poole, _Sebastian Bach._ London. 1881.
+      Sedley Taylor, _The Life of J. S. Bach in relation to his work as a
+      Church musician and composer._ Cambridge. 1897.
+      Philipp Spitta, _Johann Sebastian Bach: His work and influence on
+      the music of Germany, 1685-1750._ Translated from the German by
+      Clara Bell and J. A. Fuller Maitland. 3 vols. London. 1899.
+      C. F. Abdy Williams, _Bach._ London. 1900.
+      A. Maczewski and F. G. Edwards, art. _Bach_ in _Grove's
+      Dictionary,_ vol. i. 1904.
+      E. H. Thome, _Bach._ London. 1904.
+      C. H. H. Parry, _Johann Sebastian Bach._ London and New York. 1909.
+      Donald F. Tovey, art. _J. S. Bach,_ in _Encyclopaedia Britannica._
+      Vol. iii. 1910.
+      Albert Schweitzer, _J. S. Bach. With a Preface by C. M. Widor.
+      English translation by Ernest Newman._ 2 vols. London. 1911.
+      C. Sanford Terry, _Bach's Chorals._ 3 vols. Cambridge. 1915, 1917,
+      1920.
+      W. G. Whittaker, _Fugitive Notes on certain Cantatas and Motets by
+      J. S. Bach._ London. 1920.
+
+
+
+
+                       IV. United States Of America
+
+
+      Andre Pirro, _Johann Sebastian Bach, the Organist, and his works._
+      [Translated from the French by Wallace Goodrich.] New York. 1902.
+      Elbert Hubbard, _Little voyages to the homes of great musicians._
+      New York. 1902.
+      Ludwig Ziemssen, _Johann Sebastian Bach._ [Translated from the
+      German by G. Putnam Upton.] Chicago. 1905.
+      Rutland Boughton, _Bach._ New York. 1907.
+
+
+
+
+                                V. Holland
+
+
+      A. M. Oordt, _Een koort woord over Bach._ Leiden. 1873.
+
+
+
+
+                               VI. Belgium
+
+
+      Charles Martens, _Un livre nouveau sur J.-S. Bach._ Brussels. 1905.
+      Victor Hallut, _Les Maitres classiques du dix-huitieme siecle._
+      [Bach and others.] Brussels. 1909.
+
+
+
+
+                               VII. Russia
+
+
+      [Kuschenaw Dmitrevsky, _Das lyrische Museum_ (no. 25)]. [The oldest
+      Russian biography of Bach.] Petrograd. 1831].
+      [W. Th. Odoewsky, _Sebastian Bach._ Petrograd. 1890.]
+      [G. M. Bazunow, _J. S. Bach._ Petrograd. 1894.]
+      [S. M. Haljutin, _J. S. Bach._ Minsk. 1894.]
+      [Adolf Chybinski, _J. S. Bach._ Warsaw. 1910.]
+
+
+
+
+
+APPENDIX V.  A COLLATION OF THE NOVELLO AND PETERS EDITIONS OF THE ORGAN
+WORKS
+
+
+      Novello: Book I. Eight Short Preludes And Fugues.
+
+            Page 2. Prelude and Fugue in C major (P. bk. 247 p. 48).
+            Page 5. Do. do. D minor (ib. 51).
+            Page 8. Do. do. E minor (ib. 54).
+            Page 11. Do. do. F major (ib. 57).
+            Page 14. Do. do. Q major (ib. 60).
+            Page 17. Do. do. G minor (ib. 63).
+            Page 20. Do. do. A minor (ib. 66).
+            Page 23. Do. do. B flat major (ib. 69).
+
+      Novello: Book II. Preludes, Fugues, And Trio.
+
+            Page 26. Allabreve in D major (P. bk. 247 p. 72).
+            Page 30. Prelude in G major (ib. 82).
+            Page 34. Canzona in D minor (P. bk. 243 p. 54).
+            Page 38. Fugue (The Giant) in D minor (P. bk. 246 p. 78).
+            Page 41. Fugue in G minor (P. bk. 247 p. 85).
+            Page 44. Prelude and Fugue (the Short) in E minor (P. bk. 242
+            p. 88).
+            Page 48. Prelude and Fugue in C minor (P. bk. 243 p. 32).
+            Page 54. Trio in D minor (ib. 72).
+
+      Novello: Book III. Fantasias, Preludes, And Fugues.
+
+            Page 57. Fantasia in C minor (5 parts) (P. bk. 243 p. 66).
+            Page 60. Fugue in B minor (on a theme by Corelli) (ib. 46).
+            Page 64. Prelude and Fugue in A major (P. bk. 241 p. 14)
+            Page 70. Do. do. C major (ib. p. 2).
+            Page 76. Fantasia and Fugue in C minor (P. bk. 242 p. 55).
+            Page 84. Fugue (the Short) in G minor (P. bk. 243 p. 42).
+
+      Novello: Book IV. Sonatas Or Trios For Two Manuals And Pedal.
+
+            Page 88. Sonata in E flat major (P. bk. 240 p. 2).
+            Page 97. Do. C minor (ib. 11).
+            Page 110. Do. D minor (ib. 24).
+
+      Novello: Book V. Sonatas Or Trios For Two Manuals And Pedal
+      (IV.-VI.).
+
+            Page 124. Sonata in E minor (P. bk. 240 p. 36).
+            Page 134. Do. C major (ib. 46).
+            Page 151. Do. G major (ib. 63).
+
+      Novello: Book VI. Toccata, Preludes, And Fugues.
+
+            Page 2. Toccata and Fugue in D minor (P. bk. 243 p. 24).
+            Page 10. Prelude and Fugue in D major (ib. p. 14).
+            Page 21. Do. do. F minor (P. bk. 241 p. 29).
+            Page 28. Do. do. E flat major (P. bk. 242 p. 2).
+
+      Novello: Book VII. Preludes And Fugues.
+
+            Page 42. Prelude and Fugue (the Great) in A minor (P. bk. 241
+            p. 54).
+            Page 52. Do. do. B minor (ib. 78).
+            Page 64. Do. do. C minor (ib. 36).
+            Page 74. Prelude and Fugue in C major (P. bk. 243 p. 2).
+            Page 80. Do. do. G major (ib. 8).
+
+      Novello: Book VIII. Preludes And Fugues.
+
+            Page 88. Prelude and Fugue in C major (P. bk. 242 p. 62).
+            Page 98. Do. (the Great) in E minor (P. bk. 241 p. 64).
+            Page 112. Do. do. G major (ib p. 7).
+            Page 120. Do. in G minor (P. bk. 242 p. 48).
+            Page 127. Fantasia and Fugue (the Great) in G minor (P. bk.
+            241 p. 20).
+
+      Novello: Book IX. Preludes And Fugues.
+
+            Page 137. Toccata and Fugue (the Great) in C major (P. bk. 242
+            p. 72).
+            Page 150. Prelude and Fugue in D minor (ib. 42).
+            Page 156. Do. (the Great) in C major (P. bk. 241 p. 46).
+            Page 168. Fantasia in G major (P. bk. 243 p. 58).
+            Page 176. Toccata and Fugue (the Great) in F major (P. bk. 242
+            p. 16).
+
+      Novello: Book X. Toccata, Preludes, And Fugues.
+
+            Page Page 196. Toccata and Fugue (the Dorian) in D minor (P.
+            bk. 242 p. 30.)
+            Page 208. Prelude and Fugue (the Short) in A minor (ib. 84).
+            Page 214. Passacaglia in C minor (P. bk. 240 p. 75).
+            Page 230. Fugue in C minor (P. bk. 243 p. 36).
+            Page 238. Prelude in A minor (ib. 68).
+
+      Novello: Book XI. Four Concertos [after Antonio Vivaldi].
+
+            Page 1. Concerto in G major (P. bk. 247 p. 2).
+            Page 10. Do. A minor (ib. 10).
+            Page 24. Do. C major (ib. 22).
+            Page 49. Do. C major (ib. 44).
+
+      Novello: Book XII. Preludes, Fantasias, Fugues, Trios, Etc.
+
+            Page 55. Fugue in G major (P. bk. 2067 p. 18).
+            Page 60. Fantasia and Fugue in A minor (ib. 3).
+            Page 71. Fantasia with Imitation in B minor (P. bk. 215 p.
+            41).
+            Page 75. Fantasia in G major (P. bk. 2067 p. 25).
+            Page 83. Fugue in D major (P. bk. 2067 p. 22).
+            Page 86. Do. G major (ib. 12).
+            Page 91. Prelude in C major (P. bk. 247 p. 77).
+            Page 92. Fantasia in C major (ib. 78).
+            Page 94. Prelude in C major (ib. 76).
+            Page 95. Fugue in C minor (P. bk. 243 p. 50).
+            Page 100. Fugue in C major (P. bk. 247 p. 80).
+            Page 102. Pastorale in F major (P. bk. 240 p. 86).
+            Page 108. Trio in C minor (P. bk. 2067 p. 30).
+            Page 112. Aria in F major (ib. 34).
+
+      [Novello's Books XIII. and XIV. (Choral Preludes and Variations) are
+      superseded by Books XV.-XIX.]
+      Novello: Book XV. Orgelbuechlein (little Organ Book).
+
+            Page 3. Nun komm, der Heiden Heiland (P. bk. 244 p. 44).
+            Page 5. Gott durch deine Guete, or, Gottes Sohn ist Kommen (ib.
+            20).
+            Page 9. Herr Christ, der ein'ge Gottes-Sohn, or, Herr Gott,
+            nun sei gepreiset (ib. 24).
+            Page 11. Lob sei dem allmaechtigen Gott (ib. 40).
+            Page 13. Puer natus in Bethlehem (ib. 50).
+            Page 15. Gelobet seist du, Jesu Christ (ib. 19).
+            Page 18. Der Tag, der ist so freudenreich (ib. 13).
+            Page 21. Vom Himmel hoch, da komm ich her (ib. 53).
+            Page 23. Vom Himmel kam der Engel Schaar (ib. 54).
+            Page 26. In dulci jubilo (ib. 38).
+            Page 29. Lobt Gott, ihr Christen, allzugleich (ib. 42).
+            Page 31. Jesu, meine Freude (ib. 34).
+            Page 33. Christum wir sollen loben schon (ib. 8).
+            Page 36. Wir Christenleut' (ib. 58).
+            Page 39. Helft mir Gottes Guete preisen (ib. 23).
+            Page 43. Das alte Jahr vergangen ist (ib. 12).
+            Page 45. In dir ist Freude (ib. 36).
+            Page 50. Mit Fried' und Freud' ich fahr' dahin (ib. 42).
+            Page 53. Herr Gott, nun schleuss den Himmel auf (ib. 26).
+            Page 58. O Lamm Gottes unschuldig (ib. 46).
+            Page 61. Christe, du Lamm Gottes (ib. 3).
+            Page 64. Christus, der uns selig macht (ib. 10).
+            Page 67. Da Jesus an dem Kreuze stund (ib. 11).
+            Page 69. O Mensch, bewein' dein' Suende gross (ib. 48).
+            Page 73. Wir danken dir, Herr Jesu Christ (ib. 59).
+            Page 76. Hilf Gott, dass mir's gelinge (ib. 32).
+            Page 79. Christ lag in Todesbanden (ib. 7). 81. Jesus
+            Christus, unser Heiland (ib. 34).
+            Page 83. Christ ist eratanden (ib. 4).
+            Page 89. Erstanden ist der heil'ge Christ (P. bk. 244 p. 16).
+            Page 91. Erschienen ist der herrliche Tag (ib. 17).
+            Page 94. Heut' triumphiret Gottes Sohn (ib. 30).
+            Page 97. Komm, Gott, Schoepfer, heiliger Geist (P. bk. 246 p.
+            86).
+            Page 99. Herr Jesu Christ, dich zu uns wend' (P. bk. 244 p.
+            28).
+            Page 101. Liebster Jesu, wir sind hier (ib. 40).
+            Page 103. Dies sind die heil'gen zehn Gebot' (ib. 14).
+            Page 105. Vater unser im Himmelreich (ib. 52).
+            Page 107. Durch Adams Fall ist ganz verderbt (ib. 15).
+            Page 109. Es ist das Heil uns kommen her (ib. 18).
+            Page 111. Ich ruf' zu dir, Herr Jesu Christ (ib. 33).
+            Page 113. In dich hab' ich gehoffet, Herr (ib. 35).
+            Page 115. Wenn wir in hoechsten Nothen sein (ib. 55).
+            Page 117. Wer nur den lieben Gott laesst walten (ib. 57).
+            Page 119. Alle Menschen muessen sterben (ib. 2).
+            Page 121. Ach wie nichtig, ach wie fluechtig (ib. 2).
+
+      Novello: Book XVI. The Six "Schuebler Chorale Preludes" And The
+      "Clavieruebung," Part III.
+
+            (a) The Schuebler Preludes.
+
+                  Page 1. Wachet auf, ruft uns die Stimme (P. bk. 246p.
+                  72).
+                  Page 4. Wo soll ich fliehen hin, or, Auf meinen lieben
+                  Gott (ib. 84).
+                  Page 6. Wer nur den lieben Gott laesst walten (ib. 76).
+                  Page 8. Meine Seele erhebt den Herren (Hi. 33).
+                  Page 10. Ach bleib bei uns, Herr Jesu Christ (P. bk. 245
+                  p. 4).
+                  Page 14. Kommst du nun, Jesu, vom Himmel herunter (P.
+                  bk. 246 p. 16).
+                  (b) The "Clavieruebung," Part III.
+                  Page 19. Prelude in E flat major (P. bk. 242 p. 2).
+                  Page 28. Kyrie, Gott Vater in Ewigkeit (P. 246 p. 18).
+                  Page 30. Christe, aller Welt Trost (ib. 20).
+                  Page 33. Kyrie, Gott heiliger Geist (ib. 23).
+                  Page 36. Kyrie, Gott Vater in Ewigkeit (ib. 26).
+                  Page 37. Christe, aller Welt Trost (ib. 27).
+                  Page 38. Kyrie, Gott heiliger Geist (P. 246 p. 28).
+                  Page 39. Allein Gott in der Hoeh' sei Ehr' (Pk. b. 245 p.
+                  10).
+                  Page 40. Do. do. do (ib. 12).
+                  Page 41. Do. do. do. (ib. 29).
+                  Page 42. Dies sind die heil'gen zehn Gebot' (ib. 50).
+                  Page 47. Do. do. do (ib. 54).
+                  Page 49. Wir glauben all' an einen Gott, Schoepfer (P.
+                  bk. 246 p. 78).
+                  Page 52. Do. do. do. (ib. 81).
+                  Page 53. Vater unser im Himmelreich (ib. 60).
+                  Page 61. Do. do. (P. bk. 244 p. 51).
+                  Page 62. Christ, unser Herr, zum Jordan kam (P. bk. 245
+                  p. 46).
+                  Page 67. Do. do. do. (ib. 49).
+                  Page 68. Aus tiefer Noth schrei' ich zu dir (ib. 36).
+                  Page 72. Do. do. do. (ib. 38).
+                  Page 74. Jesus Christus unser Heiland (ib. 82).
+                  Page 80. Do. do. (ib. 92).
+                  Page 83. Fugue in E flat major (P. bk. 242 p. 10).
+
+      Novello: Book XVII. The Eighteen Chorale Preludes.
+
+            Page 1. Komm, heiliger Geist, Herre Gott (P. bk. 246 p.4).
+            Page 10. Do. do. do. (ib. 10).
+            Page 18. An Wasserfluessen Babylon (P. bk. 245 p. 34).
+            Page 22. Schmuecke dich, O liebe Seele (P. bk. 246 p. 50).
+            Page 26. Herr Jesu Christ, dich zu uns wend' (P. bk. 245 p.
+            70).
+            Page 32. O Lamm Gottes unschuldig (P. bk. 246 p. 45).
+            Page 40. Nun danket alle Gott (ib. 34).
+            Page 43. Von Gott will ich nicht lassen (ib. 70).
+            Page 46. Nun komm, der Heiden Heiland (ib. 38).
+            Page 49. Do. do. do. (ib. 40).
+            Page 52. Do. do. do. (ib. 42).
+            Page 56. Allein Gott in der Hoeh' sei Ehr' (P. bk. 245 p. 26).
+            Page 60. Do. do. do (ib. 22).
+            Page 66. Do. do. do. (ib. 17).
+            Page 74. Jesus Christus, unser Heiland, der von uns (ib. 87).
+            Page 79. Do. do. do. (ib. 90).
+            Page 82. Komm, Gott, Schoepfer, heiliger Geist (P. bk. 246 p.
+            2).
+            Page 85. Wenn wir in hoechsten Noethen sein, or, Vor deinen
+            Thron tret' ich allhier (ib. 74).
+
+      Novello: Book XVIII. Miscellaneous Chorale Preludes (Part I.).
+
+            Page 1. Ach Gott und Herr (P. bk. 2067 p. 38).
+            Page 2. Do. do. (P. bk. 245 p. 3).
+            Page 3. Do. do. (P. bk. 2067 p. 39).
+            Page 4. Allein Gott in der Hoeh' sei Ehr' (not in P.).
+            Page 5. Do. do. do. (P. bk. 245 p. 6)
+            Page 7. Do. do. do. (ib. 30).
+            Page 11. Do. do. do. (ib. 8).
+            Page 13. An Wasserfluessen Babylon (ib. 32).
+            Page 16. Christ lag in Todesbanden (ib. 43).
+            Page 19. Do. do. (ib. 40).
+            Page 23. Christum wir sollen loben schon, or, Was fuercht'st
+            du, Feind Herodes, sehr (P. bk. 244 p. 9).
+            Page 24. Das Jesulein soll doch mein Trost (P. bk. 2067 p.
+            47).
+            Page 26. Der Tag der ist so freudenreich (not in P.).
+            Page 28. Durch Adams Fall ist ganz verderbt (P. bk. 245 p.
+            66).
+            Page 30. Ein' feste Burg ist unser Gott (ib. 68).
+            Page 35. Erbarm' dich mein, O Herre Gott (not in P.).
+            Page 37. Gelobet seist du, Jesu Christ (P. bk. 244 p. 102).
+            Page 38. Do. do. do. (ib. 20).
+            Page 39. Do. do. do. (P. bk. 245 p. 61).
+            Page 41. Gottes Sohn ist kommen (P. bk. 244 p. 22).
+            Page 42. Do. do. (P. bk. 245 p. 64).
+            Page 43. Herr Christ, der ein'ge Gottes-Sohn (P. bk. 244 p.
+            25).
+            Page 44. Herr Gott, dich loben wir (Te Deum Laudamus) (P. bk.
+            245 p. 65).
+            Page 60. Herr Jesu Christ, dich zu uns wend' (P. bk. 244 p.
+            28).
+            Page 52. Do. do. do. (not in P.).
+            Page 53. Herzlich thut mich verlangen (P. bk. 244 p. 30).
+            Page 54. Ich hab' mein' Sach Gott heimgestellt (P. bk. 245 p.
+            74).
+            Page 58. Do. do. do. (not in P.).
+            Page 59. In dich hab' ich gehoffet, Herr (P. bk. 245 p. 94).
+            Page 61. In dulci jubilo (P. bk. 244 p. 103).
+            Page 64. Jesu, meine Freude (P. bk. 245 p. 78).
+            Page 69. Jesus, meine Zuversicht (P. bk. 244 p. 103).
+            Page 70. Liebster Jesu, wir sind hier (ib. 105).
+            Page 71. Do. do. (ib. 105).
+            Page 72. Do. do. (ib. 39).
+            Page 73. Lob sei dem allmaechtigen Gott (ib. 41).
+            Page 74. Lobt Gott, ihr Christen, allzugleich (ib. 106).
+            Page 75. Meine Seele erhebt den Herren (Magnificat) (P. bk.
+            246 p. 29).
+            Page 80. Nun freut euch, lieben Christen g'mein, or, Es ist
+            gewisslich an der Zeit (ib. 36).
+            Page 83. Nun komm, der Heiden Heiland (P. bk. 244 p. 45).
+
+      Novello: Book XIX. Miscellaneous Chorale Preludes (part II.) And
+      Variations.
+
+      (a) Preludes.
+
+            Page 2. Valet will ich dir geben (P. bk. 246 p. 53).
+            Page 7. Do. do. (ib. 56).
+            Page 12. Vater unser im Himmelreich (ib. 66).
+            Page 14. Vom Himmel hoch, da komm ich her (ib. 67).
+            Page 16. Do. do. do. (ib 68).
+            Page 19. Do. do. do. (P. bk. 244 p. 106).
+            Page 21. Wer nur den lieben Gott laesst walten (ib. 56).
+            Page 22. Do. do. do. (ib. 56).
+            Page 23. Wie schoen leuchtet der Morgenstern (not in P.).
+            Page 28. Wir Christenleut' (P. bk. 2067 p. 52).
+            Page 30. Wir glauben all' an einen Gott, Vater (P. bk. 246 p.
+            82).
+            Page 32. Wo soll ich fliehen hin (P. bk. 2067 p. 48). (6)
+            Variations.
+            Page 36. Christ, der du bist der helle Tag (P. bk. 244 p. 60).
+            Page 44. O Gott, du frommer Gott (P. bk. 244 p. 68).
+            Page 55. Sei gegruesset, Jesu guetig (ib. 76).
+            Page 73. Vom Himmel hoch, da komm ich her (ib. 92).
+
+The Peters volumes 244, 245, 246, 2067 contain movements excluded from the
+Novello edition, viz.:--
+
+      Book 244: the figured Choral (Herr Christ, der ein'ge Gottes-Sohn)
+      on p. 107, and the Variant texts on pp. 108-112.
+      Book 245: the Variant texts on pp. 96-113.
+      Book 246: the Variant texts on pp. 86-103 (excepting the B version
+      of "Komm, Gott, Schoepfer, heiliger Geist").
+      Book 2067: the Choral Preludes on pp. 39 (Auf meinen lichen Gott),
+      40 (Wir glauben all' an einen Gott), 42 (Jesu Leiden, Pein und Tod),
+      44 (Ach Gott, vom Himmel sieh darein), 54 (Aus der Tiefe ruf ich),
+      56 (Christ lag in Todesbanden), and the "Kleines harmonisches
+      Labyrinth" on p. 16.
+
+
+
+
+
+APPENDIX VI. GENEALOGY OF THE FAMILY OF BACH
+
+
+                        [Genealogy Table, p. 303]
+                        [Genealogy Table, p. 304]
+                        [Genealogy Table, p. 305]
+                        [Genealogy Table, p. 306]
+                        [Genealogy Table, p. 307]
+                        [Genealogy Table, p. 308]
+                        [Genealogy Table, p. 309]
+                        [Genealogy Table, p. 310]
+
+
+
+
+
+FOOTNOTES
+
+
+    1 "Seiner Excellenz dem Freyheren van Swieten ehrerbietigst gewidmet
+      von dem Verfasser."
+
+    2 So far the New Bachgesellschaft has published only a single Cantata
+      overlooked by the old Society. See infra, p. 280.
+
+    3 In _The News_ of January 4, 1829, he is described as the second son
+      of the late John Stephenson of Great Ormonde Street, Queen Square,
+      whom he had succeeded in the partnership of the firm.  His wife was
+      dead, and of his eight children the eldest was also in the Bank.
+
+    4 Carl Philipp Emmanuel Bach, third son of Johann Sebastian Bach, b.
+      1714; Kammermusikus to Frederick the Great of Prussia (1746),
+      Kapellmeister at Hamburg (1768); d. 1788.
+
+    5 Johann Friedrich Agricola, of Dobitsch, b. 1720; studied composition
+      with Bach at Leipzig; Court Composer (1751) and, after Carl Heinrich
+      Graun's death (1759), Kapellmeister to Frederick the Great of
+      Prussia; d. 1774. See Spitta, _Johann Sebastian Bach,_ iii. 243 ff.
+
+    6 Lorenz Christoph Mizler (1711-78), a pupil of Bach, founded at
+      Leipzig in 1738 the "Sozietat der musikalischen Wissenschaften," of
+      which Bach and Handel were members.  Mizler's journal, the
+      _Neueroeffneter Musikalischer Bibliothek,_ was its organ.  It
+      appeared from 1736 to 1754.  In Part I. of vol. iv. (1754) C. P. E.
+      Bach and Agricola collaborated in the obituary notice, or
+      "Nekrolog," which is almost the earliest literary authority for
+      Bach's life.  It covered less than twenty pages.  (See Schweitzer,
+      _J. S. Bach_ (trans. Ernest Newman), i. 189 ff. and Spitta, i.
+      Pref.)  Agricola's association with Bach's son in the preparation of
+      the obituary notice is explained by the fact that for the last ten
+      years of Sebastian's life Agricola was in closer relations with him
+      than Carl Philipp Emmanuel, who no longer was resident in Leipzig.
+
+    7 Forkel's _Allgemeine Geschichte der Musik_ (2 vols. 1788-1801) had
+      only come down to the sixteenth century when its author diverted his
+      pen to a biography of Bach.
+
+    8 The firm of Hoffmeister and Kuehnel was founded at Leipzig in 1800 by
+      Franz Anton Hoffmeister, who started, in 1801, a subscription for
+      the publication of Bach's works, to which Forkel alludes.  The
+      scheme failed to mature, and its accomplishment was reserved to C.
+      F. Peters, who purchased Hoffmeister's "Bureau de Musique" in 1814.
+      See articles on Hoffmeister and Peters in Grove's _Dictionary._
+
+    9 Though Bach never ventured upon such tours as Mozart or Berlioz, for
+      instance, undertook, he loved travelling, and his artistic journeys
+      made him famous throughout Germany, at least as an organist.  Forkel
+      himself describes (infra, pp. 19, 23) his notable visits to the
+      Courts of Berlin and Dresden.
+
+   10 In 1802, it must be remembered, not a note of Bach's concerted
+      Church music was in print except the tunes he wrote for Schemelli's
+      Hymn-book (1736) and the vocal parts of an early Cantata (No. 71).
+      Of his instrumental works engraved by 1802 Forkel gives a list
+      infra, p. 137.  It was hardly until the foundation of the
+      Bachgesellschaft in 1850, to celebrate the centenary of Bach's
+      death, that the systematic publication of his concerted Church music
+      began.  Before that date, however, Peters of Leipzig had taken in
+      hand the abandoned scheme of Hoffmeister and Kuehnel, to which Forkel
+      alludes, and in which he participated.
+
+   11 It is notable that Forkel makes no mention of Haydn, Mozart, or
+      Handel, whose English domicile had divorced him from Germany's
+      service.  Forkel's pessimism is the more curious, seeing that
+      Beethoven was already thirty years old, and that Mozart in 1786,
+      after giving him a subject to extemporise upon, had remarked,
+      "Listen to that young man; he will some day make a noise in the
+      world" (Holmes, _Life of Mozart,_ Dent's ed., p. 223).  Forkel, in
+      fact, appreciated neither Mozart nor Beethoven and thoroughly
+      detested Gluck.
+
+   12 As has been pointed out in the Introduction, Forkel stood almost
+      alone in 1802 in his opinion of Bach's pre-eminence.  Even Beethoven
+      placed Bach after Handel and Mozart, but knew little of his music on
+      which to found a decision.
+
+   13 The anonymous article in the _Allgemeine deutsche Bibliothek,_ to
+      which Forkel alludes, deals with Bach's Clavier and Organ works and
+      upon them asserts Bach's superiority over Handel.  The judgment was
+      unusual.  Bach's fame was gravely prejudiced by German
+      Handel-worship, which the first performance of the _Messiah_ at
+      Leipzig in 1786 stimulated.  Johann Adam Hiller, Bach's third
+      successor in the Cantorate of St. Thomas', was largely responsible.
+      He neglected, and even belittled, the treasures of Bach's art which
+      the library of St. Thomas' contained.  See Schweitzer, i. 231.
+
+   14 The _Nekrolog._ See supra, p. xxiv.
+
+   15 Carl Philipp Emmanuel and Wilhelm Friedemann.  The latter was born
+      in 1710, and after holding Organistships at Halle and Dresden, died
+      at Berlin in 1784, leaving his widow and daughter in great poverty.
+      The former received a grant from the receipts of the _Messiah_
+      performance alluded to in note 1, supra.  A man of brilliant musical
+      attainments, Wilhelm Friedemann's character was dissolute and
+      unsteady. See Schweitzer, i. 146 ff.
+
+   16 Two letters written by C. P. E. Bach to Forkel in 1775, conveying a
+      good deal of information reproduced by Forkel in this monograph, are
+      printed in facsimile by Dr. Max Schneider in his _Bach-Urkunden_
+      (N.B.G., XVII. (3)).
+
+   17 Forkel's statement is entitled to respect. On the other hand there
+      is nothing in the recorded careers of either of Bach's sons that
+      bears him out on this point. Schweitzer (i. 229) endorses Elinor's
+      judgment: "Bach's sons were the children of their epoch, and never
+      understood their father; it was only from piety that they looked at
+      him with childlike admiration." Dr. Charles Burney spent several
+      days with Carl Philipp Emmanuel at Hamburg in 1772, but during the
+      whole time the son never played to him a note of his father's music.
+
+   18 i.e. Hoffmeister and Kuehnel's project.
+
+   19 The accuracy of this statement is apparent from the Genealogy
+      appended to this volume.  Bach's sons represented the sixth
+      generation from Veit Bach, the sixteenth century ancestor of the
+      family. Veit himself was not a professional musician; one of his
+      sons was a Spielmann; thereafter for the next 150 years all but
+      seven of his descendants, whose professions are known, were
+      Organists or Cantors or Town Musicians.  Many of them, moreover,
+      were men of the highest attainments in their profession.
+
+   20 He took his name from St. Vitus (Guy), patron saint of the church of
+      Wechmar, a fact which sufficiently disproves Forkel's statement that
+      his original domicile was in Hungary.  The Bachs were settled in
+      Wechmar as early as circ. 1520.  Veit migrated thence to Hungary,
+      though there is no adequate foundation for the statement that he
+      settled at Pressburg.  He returned to Wechmar during the beginning
+      of the Counter-Reformation under the Emperor Rudolph II. (1576-
+      1612), and died at Wechmar, March 8, 1619.  See Spitta, i. 4.
+
+      Apart from church and town registers, laboriously consulted by
+      Spitta in tracing the Bach genealogy, we owe our knowledge of it to
+      an MS. drawn up by Bach in 1735 which is now in the Berlin Royal
+      Library after being successively in the possession of Carl Philipp
+      Emmanuel, Forkel, and G. Poelchau, the Hamburg teacher of music.
+
+      The original entries in it are stated by Carl P. Emmanuel to be by
+      his father. Forkel also owned a Bach genealogical tree, given him by
+      Carl Philipp Emmanuel; it has disappeared. Traces of it exist in a
+      work published at Pressburg by Johann Matthias Korabinsky in 1784,
+      its insertion being due to the assumption that the Bachs were a
+      Hungarian family.  Forkel shared that error.  See Spitta's Preface
+      on the whole question.  The MS. genealogy of 1735 is published by
+      the New Bachgesellschaft (XVIII. 3) in facsimile.
+
+   21 Veit, in fact, returned to his native village. His name, as has been
+      pointed out, implies a connection with Wechmar that must have dated
+      from infancy.  Moreover, there was living there in 1561 one Hans
+      Bach, an official of the municipality, who may be regarded
+      confidently as Veit's father.
+
+   22 It has been suggested that the name Bach is the sole authority for
+      the statement that Veit was a baker.  But Spitta points out that the
+      vowel in the name is pronounced long and was frequently written
+      BAACH in the seventeenth century, a fact which makes it difficult to
+      associate the word with "Backer" (Baker).
+
+   23 In the Genealogy Johann Sebastian calls the instrument a Cythringen.
+
+   24 Hans Bach (d. Dec. 26, 1626) and (?) Lips Bach (d. Oct. 10, 1620).
+      See infra, Genealogical Tables I. and II. and note to the latter.
+
+   25 The "Stadt Pfeiferei," or official town musical establishment,
+      descended from the musicians' guilds of the Middle Ages and was
+      presided over by the Stadt Musiker, who enjoyed certain ancient
+      privileges and the monopoly of providing the music at open-air
+      festivities. Johann Jakob Brahms, the father of Johannes, was a
+      member of such a corporation at Hamburg, after having served his
+      apprenticeship for five years elsewhere.  See Florence May,
+      _Johannes Brahms,_ vol. i. pp. 48 ff.
+
+   26 See Genealogical Table II.  The three young Bachs were the sons of
+      Lips Bach and, presumably, nephews of Hans the "Spielmann." The
+      youngest of them was named Jonas; the name of another was certainly
+      Wendel.  It is remarkable, in a period in which Italy was regarded
+      as the Mecca of musicians, that exceedingly few of the Bach family
+      found their way thither.  Besides the three sons of Lips Bach, only
+      Johann Nikolaus, 1669-1753 (see Table VI.), Johann Sebastian Bach's
+      son Johann Christian, 1735-82 (see Table VIII.), and Carl P. E.
+      Bach's son Sebastian (see Table VII.) seem to have visited Italy.
+
+   27 i.e. from Veit Bach.  Of the three names Forkel mentions the first
+      two were a generation before Johann Sebastian; the third, Johann
+      Bombard, was of the same generation as Johann Sebastian; none of the
+      three belonged to Johann Sebastian's branch.
+
+   28 Eldest  son of Heinrich Bach (see Table VI.).  Whether he was Court
+      as well as Town Organist at Eisenach cannot be stated positively.
+
+   29 The _Alt-Bachische Archive_ is a collection of the compositions of
+      various members of the family, before and after Johann Sebastian,
+      formed largely by the latter.  From C. P. E. Bach it passed to G.
+      Poelchau and from him to the Berlin Royal Library.
+
+   30 Johann Christoph composed several Motets (see them discussed in
+      Spitta, i. 75 ff.).  The daring work to which Forkel alludes was
+      written about 1680 and is lost.  Though the augmented sixth was then
+      and remained unusual, Johann Christoph's is not the earliest use of
+      it.  Spitta finds it in Giacomo Carissimi (1604-74).
+
+   31 The Cantata ("And there was war in heaven") is analysed by Spitta
+      (i. 44).  The score is unusually full: two five-part choirs; Vn. 1
+      and 2, 4 Violas, Contrabasso, Fagotto, 4 Trombe, Timpani, Organ.  In
+      1726 Johann Sebastian Bach wrote a Cantata for Michaelmas on the
+      same text (Rev. xii. 7).
+
+   32 Spitta (i. 101 n.) characterises the statement as "a mythical
+      exaggeration." In a chapter devoted to the instrumental works of
+      Johann Christoph and his brother he instances a collection of
+      forty-four Organ Chorals by the former, not one of which is in five
+      parts.
+
+   33 In the Bach genealogy already referred to C. P. E. Bach designates
+      Johann Christoph a "great and impressive composer."
+
+   34 A _Lamento_ published under Johann Christoph's name seems actually
+      to have been composed by his father Heinrich (see Pirro, _J.-S.
+      Bach,_ 9 n.). Johann Christoph, however, is the composer of the
+      Motet _Ich lasse dich nicht,_ so often attributed to Johann
+      Sebastian.
+
+   35 See Table VI. He was the father of Johann Sebastian's first wife.
+
+   36 See note, p. 4 supra.
+
+   37 Spitta (i. 59 ff.) mentions twelve Motets by Michael Bach. Several
+      of them are for eight voices.  Forkel probably refers to the most
+      remarkable of Michael's Motets, in which he detects the romantic
+      spirit of Johann Sebastian.  It is set to the words _Unser Leben ist
+      ein Schatten,_ (_Life on earth is but a shadow_).  The first choir
+      consists of 2 S., A., 2 T., B., and the second choir of A. T. B.
+      only. Spitta analyses the work closely (i. 70-72). Novello publishes
+      his five- part Motet _Christ is risen_ with an English text.
+
+   38 He succeeded his cousin Johann Christoph at Eisenach in 1703.
+
+   39 Spitta (i. 24 ff.) mentions four Suites, or Overtures, Clavier
+      pieces, and Organ Chorals as being by him.  That Johann Sebastian
+      Bach highly esteemed the Suites is proved by the fact that he copied
+      the parts of three of them with his own hand at Leipzig.
+
+   40 It is a curious fact that, prior to the career of Johann Sebastian
+      Bach, the composers of the Bach family occur invariably in other
+      branches than his.  With two exceptions, the gift of composition
+      appears to have been possessed, or exercised, solely by Heinrich
+      Bach (see Table VI.), his two sons Johann Christoph and Johann
+      Michael, already discussed, and his grandson, Johann Nikolaus (son
+      of Johann Christoph).  Heinrich Bach was a very productive composer
+      in all forms of musical art employed at that time in church (Sp. i.
+      36).  His grandson, Johann Nikolaus, composed a Mass and a comic
+      operetta (ib., 132 ff.). The only other Bach composer known to
+      Spitta is Georg Christoph, founder of the Franconian Bachs (see
+      Table IV.) and Cantor at Themar and Schweinfurt (ib. 155). The other
+      Bach composer outside Heinrich Bach's branch is Johann Bornhard,
+      already mentioned by Forkel.
+
+   41 In the Quodlibet different voices sang different well-known
+      melodies, sacred and profane, and sought to combine them to form a
+      harmonious whole.  For an example see Variation 30 of the _Aria mit
+      30 Veranderungen_ (Peters' ed., bk. 209 p. 83).  In it Bach combines
+      two popular songs of his period.
+
+   42 See article "Quodlibet" in Grove.
+
+   43 The date is conjectural, and is deduced from the fact that the
+      infant was baptized on March 23.  The Gregorian Calendar was not
+      adopted in Germany until 1701.  Had it been in use in 1685 Bach's
+      birthday would be March 31.
+
+   44 Johann Ambrosius' Court appointment is to be inferred from the fact
+      that in 1684 the Duke refused him permission to return to Erfurt.
+
+   45 See Table IV.
+
+   46 Johann Ambrosius survived his brother by nearly eighteen months.
+
+   47 His mother died in May 1694, and his father in January 1695.  At the
+      latter date Johann Sebastian was three months short of his tenth
+      year.
+
+   48 Excepting Johann Jakob, a lad of thirteen years, Johann Christoph
+      was Bach's only surviving brother, and the only one of the family in
+      a position to look after him.  Johann Jakob accompanied Sebastian to
+      Ohrdruf (Pirro, p. 13) and afterwards apprenticed himself to his
+      father's successor as Town Musician at Eisenach. One of the
+      daughters was already married.  What became of the other is not
+      stated. See Table V.
+
+   49 It is difficult to believe this statement.  That the boy was
+      destined for a musical career by his father hardly can be doubted.
+      That he was of unusual precocity, the story told by Forkel in the
+      text proves.  His father's asserted neglect to instruct him is
+      therefore hardly credible.
+
+   50 Johann Jakob Froberger, born at Halle (date unknown); Court Organist
+      at Vienna, 1637-57; d. 1667.
+
+   51 Johann Caspar Ferdinand Fischer, c. 1660-1738 (actual dates of his
+      birth and death unknown); Kapellmeister to Markgraf Ludwig of Baden
+      at Schloss Schlackenwerth in Bohemia. His _Ariadne Musica
+      Neo-Organoedum_ (1702) was the precursor of Bach's _Das
+      wohltemperirte Clavier._
+
+   52 Johann Caspar Kerl, b. 1628; Kapellmeister in Munich, 1656-74; Court
+      Organist at Vienna, 1677-92; d. 1693.
+
+   53 Johann Pachelbel, b. 1653, d. 1706.  In 1695 he was Organist of St.
+      Sebald's Church, Nuernberg.  His influence upon the organ playing of
+      his generation was enormous.  Bach's brother, Johann Christoph, was
+      his pupil.
+
+   54 Dietrich Buxtehude, b. 1637, d. 1707; Organist (1668) of the
+      Marienkirche, Luebeck, and the chief musical influence in North
+      Germany.
+
+   55 Nikolaus Bruhns, b. circ. 1665, d. 1697; a. pupil of Buxtehude;
+      Organist at Husum; the greatest organist of his time after
+      Buxtehude.
+
+   56 Georg Boehm, b. 1661; date of death uncertain (c. 1739); from 1698
+      Organist of the Johanniskirche, Lueneburg.
+
+   57 In fact, Johann Christoph did not die until 1721, more than twenty
+      years after Sebastian ceased to be under his roof.
+
+   58 The fact that Johann Christoph survived till 1721 disproves Forkel's
+      statement. The youthful Bach, aged fifteen in 1700, no doubt seized
+      the earliest opportunity to relieve his brother of the charge of
+      him.  Moreover, Johann Christoph's family was increasing (see Table
+      V.).  In spite of the story of Bach's midnight copying, it cannot be
+      questioned that he owed a good deal to his brother, who not only
+      taught him but, presumably, maintained him at the Ohrdruf Lyceum,
+      where Bach acquired a sound education and a considerable knowledge
+      of Latin.  See Pirro, pp. 14-16, on Bach's education at Ohrdruf.  He
+      left the Lyceum in March 1700.
+
+   59 Georg Erdmann, Bach's fellow-pupil at the Lyceum.
+
+   60 Bach's entry into the choir of St. Michael's Convent, Lueneburg, took
+      place about Easter 1700.  The step was taken upon the advice of
+      Elias Herda, Cantor at the Ohrdruf Lyceum, himself a former member
+      of St. Michael's.  Bach remained at St. Michael's for three years,
+      till 1703.  The choir library was particularly rich in the best
+      church music of the period, both German and Italian.  Spitta is of
+      opinion that Bach's talents as a violinist and Clavier player were
+      also laid under contribution.  His voice, as Forkel states, soon
+      ceased to be serviceable.  His maximum pay was one thaler (three
+      shillings) a month and free commons.
+
+   61 Probably Georg Boehm, who had relations with the Convent choir,
+      inspired Bach to make the pilgrimage.  Boehm, then at St. John's,
+      Lueneburg, was a pupil of Reinken of Hamburg.  Spitta (i. 196)
+      suggests that Bach's cousin, Johann Ernst (see Table IV.), was at
+      this time completing his musical education at Hamburg, a fact which
+      may have contributed to draw Bach thither.  He made more than one
+      visit, on foot, to Hamburg.  F. W. Marpurg published, in 1786, the
+      story, which he received from Bach himself, that on one of his
+      journeys from Hamburg, Bach sat down outside an inn and hungrily
+      sniffed the savours from its kitchen.  His pockets were empty and
+      there seemed little prospect of a meal, when a window was opened and
+      two herring heads were thrown out.  Bach picked them up eagerly, and
+      found in each of them a Danish ducat.  Who was his benefactor he
+      never discovered; the gift enabled him to satisfy his hunger and pay
+      another visit to Hamburg.
+
+   62 Johann Adam Reinken, b. 1623, became Organist of St. Catherine's
+      Church, Hamburg, in 1664, and held the post until his death in 1722.
+
+   63 His introduction to French music marked another step in Bach's
+      progressive education.  The reigning Duke of Celle (father-in-law of
+      George I. of Great Britain and Ireland) had married a Frenchwoman.
+      See Pirro, _J. S. Bach,_ pp. 24-27.
+
+   64 He entered the Weimar service on April 8, 1703 (Pirro, p. 29).
+
+   65 Bach's engagement was in the private band of the younger brother of
+      the Duke.  He remained in his new post only a few months.  He was
+      engaged as a Violin player, and since his interests were towards the
+      Organ and Clavier, it is clear that he accepted the engagement as a
+      temporary means of livelihood.
+
+   66 He is, however, described in July 1703 as Court Organist (Pirro, p.
+      30).  Bach was drawn to Arnstadt chiefly by the fact that the New
+      Church recently had been equipped with a particularly fine Organ
+      (specification in Spitta, i. 224), which existed until 1863.  Bach
+      inaugurated it on July 13, 1703, and entered on his duties as
+      Organist of the church in the following month (Pirro, p. 30).
+
+   67 His earliest Church Cantata (No. 15) was composed here in 1704.  To
+      the Arnstadt period (1703-7) also must be attributed the Capriccio
+      written on the departure of his brother, Johann Jakob (Peters bk.
+      208 p. 62), the Capriccio in honour of his Ohrdruf brother, Johann
+      Christoph (Peters bk. 215, p. 34), the Sonata in D major (Peters bk.
+      215, p. 44), the Organ Prelude and Fugue in C minor (Novello bk. 2
+      p. 48), and the Organ Fugue in C minor (Novello bk. 12 p. 95).
+
+   68 In the _Nekrolog_ C. P. E. Bach and Agricola remark of the Arnstadt
+      period, that Bach then "really showed the first-fruits of his
+      industry in the art of Organ-playing and composition, which he had
+      in great measure learnt only from the study of the works of the most
+      famous composers of the time, and from his own reflections on them"
+      (quoted in Spitta, i. 235).
+
+   69 Bach's stipend at Arnstadt was not inconsiderable, and his duties
+      engaged him only at stated hours on Sundays, Mondays, and Thursdays.
+      He, therefore, had leisure and the means to employ it.  In October
+      1705 he obtained four weeks' leave of absence and set off on foot to
+      Luebeck, after leaving an efficient deputy behind him.  He stayed
+      away until February 1706.  On his return the Consistory demanded an
+      explanation of his absence, and took the opportunity to remonstrate
+      with him on other matters.  They charged him "with having been
+      hitherto in the habit of making surprising variationes in the
+      Chorals, and intermixing divers strange sounds, so that thereby the
+      congregation were confounded."  They charged him with playing too
+      long preludes, and after this was notified to him, of making them
+      too short.  They reproached him "with having gone to a wineshop last
+      Sunday during sermon," and cautioned him that, "for the future he
+      must behave quite differently and much better than he has done
+      hitherto" (see the whole charge in Spitta, i. 315 ff.).  Bach also
+      was on bad terms with the choir, whose members had got out of hand
+      and discipline.  Before his Luebeck visit he engaged in a street
+      brawl with one of the scholars.  Then, as later, he was a choleric
+      gentleman.  In November 1706 he got into further trouble for having
+      "made music" in the church with a "stranger maiden," presumably his
+      cousin Maria Barbara Bach, then on a visit to Arnstadt; he married
+      her a year later.  Clearly the relations between the Consistory and
+      the brilliant young Organist were becoming difficult, and Bach's
+      migration to Muehlhausen no doubt was grateful to both.  His
+      resignation was made formally on June 29, 1707.
+
+   70 Bach was appointed on June 15, 1707, to succeed Johann Georg Able.
+      Muehlhauson prided itself upon its musical traditions.  Bach's
+      Cantata, No. 71, written in February 1708 for the inauguration of
+      the Muehlhausen Town Council, was engraved (the parts only), the only
+      one of the 206 Cantatas which have come down to us which was printed
+      during Bach's lifetime.  He also composed Cantatas 131 and 196 at
+      Muhlhausen, and perhaps three others. See infra, p. 188.
+
+   71 Bach's petition to the Muehlhausen Consistory for permission to
+      resign his post is dated June 25, 1708, and is printed in full by
+      Spitta, i. 373.  Bach mentions the Weimar post as having been
+      offered to him, but bases his desire to resign the organ of St.
+      Blasius, partly on the ground that his income was inadequate, partly
+      because, though he had succeeded in improving the organ and the
+      conditions of music generally, he saw "not the slightest appearance
+      that things will be altered" for the better.  Muehlhausen, in fact,
+      was a stronghold of Pietism and unsympathetic to Bach's musical
+      ideals.
+
+   72 He was Court Organist and Kammermusikus.  In the latter post Bach
+      was of use as a Violinist and Clavier player.  The Court band, or
+      Kapelle, on special occasions appeared in Hungarian costume, which
+      Bach presumably donned.  His income began at a sum nearly double
+      that he had received at Arnstadt and Muehlhausen.
+
+   73 The character of his employer, Duke Wilhelm Ernst of Saxe-Weimar,
+      must be reckoned a factor in the development of the youthful Bach.
+      The Duke was not only a cultured artist, but was also a man of
+      genuine piety.
+
+   74 Though Bach retouched them in later years and wrote others, it may
+      be stated in general terms that his Organ works were the fruit of
+      the Weimar period, which lasted from 1708 till 1717.
+
+   75 Bach's promotion to the position of Concertmeister had taken place
+      certainly before March 19, 1714, on which date Spitta (i. 517)
+      prints a letter in which Bach gives himself the title.  The increase
+      in his income early in 1714 also supports the conclusion, while a
+      letter of January 14, 1714, written by Bach, is not signed by him as
+      Concertmeister.  It would seem that his promotion took place in the
+      interval between the two letters.  As Concertmeister it was part of
+      his duty to provide Cantatas for the church services.  Twenty-two
+      were written by him at Weimar.  See infra, p. 188, for a list of
+      them.
+
+   76 Friedrich Wilhelm Zachau died on August 7 or 14, 1712.
+
+   77 Spitta (i. 513) infers that, in the later years of the Weimar
+      period, Bach spent part of the autumn of every year in visits to the
+      Courts and larger towns of Germany in order to give Organ recitals
+      and to conduct performances of his Cantatas. Besides the visit to
+      Halle, in 1713, to which Forkel alludes, Bach performed at Cassel in
+      1713 or 1714 before the future Frederick I. of Sweden, who presented
+      him with a ring which he drew from his finger.  Bach's feet, an
+      admirer recorded, "flew over the pedal-board as if they had wings."
+      In December 1714 he visited Leipzig and performed Cantata No. 61,
+      _Nun komm, der Heiden Heiland._  In 1716 he was again invited to
+      Halle, and at about the same time performed at Meiningen. Forkel
+      records the famous contest with Marchand, the French Organist, at
+      Dresden in 1717.
+
+   78 Forkel's brief account follows the _Nekrolog._  Bach was in Halle in
+      the autumn of 1713, a year after Zachau's death.  The latter's post
+      was still vacant and a new and particularly large Organ (sixty-three
+      speaking stops) was being erected.  The authorities pressed Bach to
+      submit himself to the prescribed tests, and he complied so far as to
+      compose a Cantata and to conduct a performance of it.  On his return
+      to Weimar he received a formal invitation to accept the post.  After
+      some correspondence Bach refused it, partly, perhaps chiefly, on the
+      ground that the income was inadequate.  The refusal was answered by
+      the groundless accusation that he had merely entertained the Halle
+      proposal in order to bring pressure upon Weimar for a rise of
+      salary.  The misunderstanding was cleared away by 1716, when Bach
+      visited Halle again.  In the interval Zachau's post had been given
+      to his pupil, Gottfried Kirchhoff.  The whole matter is discussed at
+      length in Spitta, i. 515 ff.
+
+   79 Frederick Augustus I. of Saxony was elected, as Augustus II., to the
+      throne of Poland in 1697. He died In 1733.
+
+   80 Louis Marchand, b. 1669, d. 1732; Organist to the French Court and
+      later of the Church of St. Honore, Paris.  His arrival in Dresden
+      was due to his being in disgrace at Versailles. Whether or not he
+      was offered a permanent engagement at the Saxon Court, he was
+      regarded as the champion of the French style, and as such the
+      challenge was issued to him by Bach.
+
+   81 Francois Couperin, b. 1668, d. 1733; Organist of St. Gervais, Paris.
+      Forkel's judgment upon his art is not supported by modern criticism.
+
+   82 Bach, however, admired Marchand's compositions sufficiently to give
+      them to his pupils. See Pirro, p. 52.
+
+   83 Jean-Baptiste Volumier, an acquaintance of Bach, according to Spitta
+      (i. 583). Eitner, _Quellen Lexikon._ says that he was born in Spain
+      and educated in France.  Grove's _Dictionary_ declares him a
+      Belgian.  In 1709 he was appointed Concertmeister to the Saxon
+      Court.  He died at Dresden in 1728.
+
+   84 It is more probable that Bach was at Dresden either expressly to
+      hear Marchand or upon one of his autumn tours.
+
+   85 Some years earlier Flemming had witnessed Handel's triumphant
+      descent on the Saxon Court, but had failed to establish friendly
+      relations with him.  See Streatfield's _Handel_, p. 87.
+
+   86 The article on Marchand in Grove gives a different version of the
+      affair, based upon Joseph Fetis (1784-1871).  According to this
+      story of the event, Bach, summoned from Weimar, attended Marchand's
+      concert incognito, and after hearing Marchand perform, was invited
+      by Volumier to take his seat at the Clavier.  Bach thereupon
+      repeated from memory Marchand's theme and variations, and added
+      others of his own.  Having ended, he handed Marchand a theme for
+      treatment on the Organ and challenged him to a contest.  Marchand
+      accepted it, but left Dresden before the appointed hour.
+
+   87 The Prince was brother-in-law of Duke Ernst August of Saxe-Weimar.
+      Bach was, therefore, already known to him and showed the greatest
+      regard for him both at Coethen and after he had left his service.
+
+   88 The reason for Bach's migration from Weimar to Coethen was his
+      failure to obtain the post of Kapellmeister at the former Court upon
+      the death of Johann Samuel Drese in 1716. The post was given to
+      Drese's son. On August 1, 1717, just before or after his Marchand
+      triumph, Bach was appointed Kapellmeister to the Court of Coethen.
+      Duke Wilhelm Ernst refused to release him from his engagement, and
+      Bach endured imprisonment from November 6 to December 2, 1717, for
+      demanding instant permission to take up his new post.  Probably his
+      last work at Weimar was to put the _Orgelbuechlein_ into the form in
+      which it has come down to us (see articles by the present writer in
+      _The Musical Times_ for January-March 1917).
+
+      With his departure from Weimar in 1718 Bach left behind him the
+      distinctively Organ period of his musical fertility.  Though his
+      compositions were still by no means generally known, as a player he
+      held an unchallenged pre-eminence.
+
+   89 He was appointed to Coethen on August 1, 1717, and was inducted at
+      Leipzig on May 31, 1723.
+
+   90 The date actually was November 1720.  At Coethen Bach had an inferior
+      Organ and little scope for his attainments; his chief duties were in
+      connection with the Prince's band.  The yearning to get back to the
+      Organ, which eventually took him to Leipzig in 1723, shows itself in
+      his readiness to entertain an invitation to Hamburg in 1720.
+
+   91 Three Organ movements by Bach upon Wolfgang Dachstein's melody, _An
+      Wasserfluessen Babylon,_ are extant.  See notes upon them and their
+      relation to the Hamburg extemporisation in Terry, _Bach's Chorals,_
+      Part III.
+
+   92 As at Halle in 1713, Bach does not appear to have gone to Hamburg
+      specially to compete for the post of Organist to the Church of St.
+      James, vacant by the death of Heinrich Friese in September 1720.  He
+      was not able to stay to take part in the final tests, nor was he
+      asked to submit to them, since his visit to Hamburg had given him an
+      opportunity to display his gifts.  In the result the post was given
+      to Johann Joachim Heitmann, who acknowledged his appointment by
+      forthwith paying 4000 marks to the treasury of the Church.  See
+      Spitta, ii. 17 ff.
+
+   93 Johann Kuhnau died on June 25, 1722.
+
+   94 On the title-pages of his published works Bach describes himself as
+      "Capellm. und Direct. Chor. Mus. Lips."
+
+   95 Forkel has practically nothing to say regarding the Leipzig period
+      of Bach's musical life.  That a professed historian of music,
+      setting before the public for the first time the life of one whom he
+      so greatly extolled, and with every inducement to present as
+      complete a picture of him as was possible, should have taken no
+      trouble to carry his investigations beyond the point C. P. E. Bach
+      and Agricola had reached in the _Nekrolog_ of 1754 is almost
+      incredible.  The only reason that can be adduced, apart from the
+      lack of a really scientific impulse, is that Forkel was almost
+      entirely ignorant of the flood of concerted church music which
+      poured from Leipzig from 1723 to 1744.  His criticism of Bach as a
+      composer is restricted practically to Bach's Organ and Clavier
+      works.
+
+   96 On November 19, 1728.  Latterly his interest in music had waned.
+      The fact, along with Bach's concern for the education of his sons
+      and his desire to return to the Organ, explains his abandonment of
+      the more dignified Coethen appointment.
+
+   97 The score of this work was in Forkel's possession, but was missing
+      from his library in 1818 and was assumed to be lost until, in 1873,
+      Rust was able to show that Bach used for the occasion certain
+      choruses and Arias from the _St. Matthew Passion,_ which he was then
+      writing, with the first chorus of the _Trauer-Ode_ as an opening of
+      the extemporised work.  See Spitta, ii. 618; Schweitzer, ii. 208.
+
+   98 In 1723 he received the title Hochfuerstlich Weissenfelsische
+      wirkliche Kapellmeister and retained it till his death.  He retained
+      also his Coethen appointment.
+
+   99 Augustus III. Bach had petitioned for the appointment in a letter
+      dated July 27, 1733 (Spitta, iii. 38), forwarding a copy of the
+      newly-written Kyrie and Gloria of the B minor Mass.
+
+  100 There does not appear to be any ground for the suggestion that the
+      post of Hofcomponist to the Dresden Court was attached ex officio to
+      the St. Thomas' Cantorate.  Bach applied for it in 1733, taking
+      advantage of the recent accession of the new sovereign, Augustus
+      III., in February 1733.
+
+  101 Friedemann was then at Halle.
+
+  102 May 7, 1747, according to Spitta, quoting Friedrich Wilhelm
+      Marpurg's _Historisch-kritische Beytraege zur Aufnahme der Musik,_
+      which appeared in 5 vols. between 1754-1778.  On the other hand,
+      Spener, who first records the event, states briefly: "May 11,1747.
+      His Majesty was informed that Kapellmeister Bach had arrived in
+      Potsdam, and that he was in the King's ante-chamber, waiting His
+      Majesty's gracious permission to enter, and hear the music.  His
+      Majesty at once commanded that he should be admitted" (Spitta, iii.
+      231 n.).  If the Marpurg and Spener dates are reliable, it looks as
+      though Friedemann's story of his father, travel-stained and weary,
+      being hurried incontinent into the presence of the King is a piece
+      of picturesque embroidery.
+
+  103 Clearly this was a story that Wilhelm Friedemann prided himself on
+      the telling, and Forkel's remark suggests the need for caution in
+      accepting all its details.  Frederick's courtesy to Bach, however,
+      tends to discredit the story that ten years earlier (1737) Handel
+      deliberately refused to meet the King at Aix-la-Chapelle owing to
+      the peremptoriness of his summons.  Mr. Streatfleld (p. 145) also
+      shows that Frederick was not at Aix until 1741, when Handel was
+      writing the _Messiah_ in London.
+
+  104 Gottfried Silbermann, a pioneer of the modern pianoforte.  Bach was
+      already familiar with his Claviers with hammer action, and indeed
+      had offered useful criticism of which Silbermann had taken
+      advantage. See Spitta, ii. 46.
+
+  105 * The pianofortes manufactured by Silbermann, of Freiberg, pleased
+      the King so much, that he resolved to buy them all.  He collected
+      fifteen.  I hear that they all now stand, unfit for use, in various
+      corners of the Royal Palace.  [Robert Eitner, in 1873, found one of
+      the pianos in Frederick the Great's room at Potsdam.]
+
+  106 According to another account, which Spitta (iii. 232) follows, Bach
+      played before a large congregation in the Church of the Holy Spirit,
+      Potsdam. The King does not appear to have been present. The
+      extemporisation of the six-part Fugue took place in Frederick's
+      presence on the evening of that day.
+
+  107 Bach's letter to Frederick accompanying the gift is dated 7th July
+      1747. He calls it "a musical offering, of which the noblest portion
+      is the work of Your Majesty's illustrious hand."  In addition to
+      Forkel's analysis it contains a Sonata for Flute, Violin, and
+      Clavier, and a canon perpetuus for the same three instruments.
+
+  108 John Taylor (1703-72), oculist to George II.  The operation took
+      place in the winter of 1749-50. Taylor is said to have operated on
+      Handel in 1751 (see the article on him in the _Dict. Nat.
+      Biography._).  Streatfield (_Handel,_ p. 212), however, does not
+      mention Taylor, and his account suggests that Samuel Sharp, of Guy's
+      Hospital, was the operator in Handel's case.
+
+  109 The actual date was July 28, at 8.45 P.M. Bach was working to the
+      very moment of his collapse on July 18.  Probably his last work was
+      the Choral Prelude (Novello bk. xvii. 85) on the melody _Wenn wir in
+      hoechsten Noethen sein._  Facing eternity, he bade his son-in-law,
+      Altnikol, inscribe the movement with the title of the Hymn, _Vor
+      deinen Thron tret ich hiemit,_ whose first stanza filled his mind:
+
+      Before Thy throne, my God, I stand,
+      Myself, my all, are in Thy hand.
+
+      An addendum to the Genealogy, in C. P. E. Bach's hand, gives July 30
+      as the date of his father's death.
+
+  110 July 18.
+
+  111 See Genealogical Tables VII. and VIII.
+
+  112 The statement is misleading.  Of the five sons of the first
+      marriage, two were famous, two died in infancy, and the fifth
+      abandoned a promising musical career for the law. Of the six sons of
+      the second marriage, one was imbecile, three died in infancy, two
+      were famous.
+
+  113 See Introduction, p. XXI, supra.
+
+  114 In view of Bach's memorial of August 23, 1730 (infra), this seems to
+      be  the meaning of the resolution.
+
+_  115 Steigt freudig in die Luft,_ first performed at Coethen, set to a
+      new text, _Schwingt freudig euch empor._
+
+  116 The well-known portrait by C. F. Rr. Liszewski in the Joachimsthal
+      Gymnasium, Berlin, was painted in 1772, twenty-two years after
+      Bach's death.  It represents him at a table with music-paper before
+      him and an adjacent Clavier.  Pirro uses for his frontispiece a
+      portrait by Geber, which bears no resemblance whatever to the
+      Haussmann or Volbach pictures.  Mention must also be made of a
+      singularly engaging picture of Bach at the age of thirty-five.  It
+      hangs in the Eisenach Bach Museum and is by Johann Jak. Ihle.  It is
+      reproduced as the frontispiece of this volume.
+
+  117 His _Versuch ueber die wahre Art des Klavier zu spielen_ was
+      published (Part I.) in 1753.
+
+  118 Forkel's meaning can be made clear in the following manner: place
+      the thumb and fingers of either hand upon the notes C D E F G of the
+      pianoforte so that the three middle fingers lie more or less flat
+      upon the keys; then draw back the three middle fingers until they
+      form an arch having their tips approximately in a straight line with
+      the tips of the thumb and little finger upon the keys.
+
+  119 It must be remembered that Forkel is speaking of the Clavier and not
+      of the Pianoforte.
+
+  120 The Harpsichord, as its name implies, was an instrument whose
+      strings were plucked by a plectrum. Bach preferred the older
+      Clavier, or Clavichord, which could be regulated, as the other could
+      not, by nicety of touch. See note, p. 68, infra.
+
+  121 Schweitzer (i. 208) points out that Bach's touch was modern, in that
+      he realised that "singing tone" depends not only upon the manner in
+      which the keys are struck, but, to a great extent, on the regulation
+      of their ascent.
+
+      Of Handel's touch, Burney writes (quoted by Rockstro, p. 349): "His
+      touch was so smooth, and the tone of the instrument so much
+      cherished, that his fingers seemed to grow to the keys.  They were
+      so curved and compact when he played, that no motion, and scarcely
+      the fingers themselves, could be discovered."
+
+  122 At the beginning of the seventeenth century, as Spitta points out
+      (ii. 34), the art of fingering had not developed.  Speaking
+      generally, neither thumb nor little finger was employed.  It was not
+      until the beginning of the eighteenth century that a scientific
+      method emerged, a development rendered necessary by the advance in
+      the modes of musical expression.  C. P. E. Bach, quoted by
+      Schweitzer (i. 206), puts this concisely: "My late father told me
+      that in his youth he had heard great men who never used the thumb
+      except when it was necessary to make big stretches.  But he lived in
+      an epoch when there came about gradually a most remarkable change in
+      musical taste, and therefore found it necessary to work out for
+      himself a much more thorough use of the fingers, and especially of
+      the thumb, which, besides performing other good services, is quite
+      indispensable in the difficult keys, where it must be used as nature
+      intends."
+
+  123 According to Mr. Arnold Dolmetsch, Clavichords with special strings
+      for each note (bundfrei) were known in Bach's time.
+
+  124 In the _Essay_ already referred to.  For a discussion of Couperin's
+      method see Spitta, ii. 37 ff.
+
+  125 For instance, the Rondeau in B flat in Anna Magdalena's _Noten-
+      buch_ (No. 6) (1725) is by Couperin.
+
+  126 No doubt the friend who prepared this trap for Bach was Johann
+      Gottfried Walther.  His compositions frequently were characterised
+      by intricacy.
+
+  127 Mozart had the same gift.  When visiting St. Thomas' School in 1789,
+      he heard with astonishment a performance of Bach's Motet, _ Singet
+      dem Herrn ein neues Lied._ "At the conclusion he expressed his
+      delight, and said, 'Now that is something from which a man may
+      learn.'  On being informed that Bach was Cantor to this school, and
+      that his Motets were venerated there as reliques, he was eager to
+      see them.  No score being to be obtained, they handed him the
+      separate parts, and it was interesting to observe his manner of
+      reading them, holding some in his hands, some on his knees, placing
+      some on chairs around him; seeming thoroughly lost to everything,
+      and not rising till he had thoroughly satisfied his curiosity"
+      (Holmes, _Life of Mozart,_ ed. Dent, p. 251).
+
+  128 There were in Bach's time three "Clavier" instruments in use. The
+      oldest, the Clavichord, as a rule, had two strings to every note,
+      set in motion by a "tangent" striking them from below.  Its
+      advantage was that it permitted the tone to be regulated by the
+      touch.  For that reason, though its tone was weak, Bach preferred
+      it.  The Clavicembalo, or Harpsichord, as it is called in the text,
+      was in general known as the "Fluegel," the strings being plucked, or
+      flipped by a quill or metal pin, after the manner of the modern
+      mandoline. The third instrument was the "piano e forte," or
+      Hammerclavier. The Clavicembalo was also built with two keyboards,
+      like an Organ, and a pedal-board provided with strings.  It was for
+      this instrument that the so-called Organ Sonatas of Bach were
+      written.  He possessed five Clavicembali, but not a single
+      Clavichord at the time of his death. For that reason it has been
+      questioned whether Forkel is accurate in stating that Bach preferred
+      the latter instrument. See Schweitzer, i. 200 ff.
+
+  129 Peters bk. 207 p. 4.
+
+  130 The truth of this remark is very evident in the _Orgelbuechlein._
+
+  131 Forkel writes as though he were in a position by personal knowledge
+      to compare the gifts of Bach and his son.  In fact he was born in
+      1749 and was less than two years old when Bach died.
+
+  132 On Bach's use of the stops see Spitta, i. 394 ff., and Pirro's
+      _L'Orgue de J.-S. Bach._
+
+  133 Johann Joachim Quantz, b. 1697; flute player and composer; taught
+      Frederick the Great the flute; settled at Berlin as Kammer-musikus
+      and Court Composer; d. 1773.
+
+  134 The _Nekrolog_ sums up more briefly than Forkel, in a judgment
+      which, without doubt, is the very truth: "Bach was the greatest
+      Organ player that had yet been known."
+
+  135 Johann Adolph Scheibe, a native of Leipzig, was an unsuccessful
+      candidate for the Organistship of St. Thomas' Church in 1729.  Bach
+      was one of the judges.  In 1737 Scheibe published in the "Kritische
+      Musikus" a criticism of Bach which, while doing justice to his
+      powers as an organist, characterised his compositions as "turgid and
+      confused in character."  Bach was incensed by the criticism and
+      asked his friend, Professor Birnbaum of Leipzig, to answer it.
+      Scheibe replied in 1739, with a wholly unjustified challenge of
+      Bach's general education and culture. In his "Phoebus and Pan,"
+      performed in 1731, Bach had already had the satisfaction of
+      representing Scheibe as "Midas" and calling him an ass.  On the
+      whole matter see Schweitzer, i. 178 ff. and Spitta, iii. 252.
+      Scheibe conducted the Court orchestra at Copenhagen from 1742-49 and
+      died there in 1776.
+
+  136 Georg Andreas Sorge, "Court and Town Organist to the Count of Reuss
+      and Plau at Lobenstein," in his dedication thus commended Bach: "The
+      great musical virtue that Your Excellency possesses is embellished
+      with the excellent virtue of affability and unfeigned love of your
+      neighbour." See Schweitzer, i. 155.
+
+  137 The following passage from the Autobiography of Hector Berlioz (ed.
+      Dent, p. 11) is relevant: "My father would never let me learn the
+      piano; if he had, no doubt I should have joined the noble army of
+      piano thumpers{~HORIZONTAL ELLIPSIS~}Sometimes I regret my ignorance, yet, when I think of
+      the ghastly heap of platitudes for which that unfortunate piano is
+      made the daily excuse--insipid, shameless productions, that would be
+      impossible if their perpetrators had to rely, as they ought, on
+      pencil and paper alone--then I thank the fates for having forced me
+      to compose silently and freely by saving me from the tyranny of
+      finger-work, that grave of original thought."
+
+  138 Antonio Vivaldi, A. 1743; a master of form.  That fact turned the
+      attention of German composers to him; while the popularity of his
+      Violin Concertos also attracted musicians, like Bach, whose work at
+      Coethen was in close association with the Court Kapelle or band.
+
+  139 Bach re-wrote sixteen Vivaldi Violin Concertos for the Clavier, four
+      of them for the Organ, and developed one into a Concerto for four
+      Claviers and a quartet of strings which Forkel enumerates ( infra,
+      p. 132) as a composition of Bach's (Peters bk. 260). Bach learnt
+      from Vivaldi "clearness and plasticity of musical structure." See
+      article _Vivaldi_ in Grove; Spitta, i. 411 ff; Schweitzer, i. 192
+      ff.  The Vivaldi Clavier Concertos are in Peters bk. 217; the Organ
+      Concertos in Novello bk. 11. Not all these transcriptions are based
+      on Vivaldi. See Schweitzer, i. 193.
+
+  140 Girolamo Frescobaldi, b. 1583, d. 1644; Organist of St. Peter's,
+      Rome.
+
+  141 Delphin Strungk, b. 1601, d. 1694; Organist of St. Martin's,
+      Brunswick; composed for the Organ.
+
+  142 Purcell should be added to those whom Forkel mentions as Bach's
+      models. See infra, p. 261.
+
+  143 * See Kirnberger's "Kunst des reinen Satzes," p. 157. [The work was
+      published in two volumes at Berlin in 1771, 1776.]
+
+  144 Transitus regularis= a passing note on the unaccented portions of
+      the bar; transitut irregularis=a passing note on the accented part
+      of the bar.
+
+  145 Spitta (iii. 315 ff. ) prints a treatise by Bach, _Rules and
+      Instructions for playing Thorough-bass or Accompaniment in Four
+      Parts,_ dated 1738. Rule 3 of chap. vi. states: "Two fifths or two
+      octaves must not occur next one another, for this is not only a
+      fault, but it sounds wrong.  To avoid this there is an old rule,
+      that the hands must always go against one another, so that when the
+      left goes up the right must go down, and when the right goes up the
+      left must go down."
+
+  146 Actually the third beat of the fourth bar from the end. P. bk. 1 p.
+      37 Fugue no. 9.
+
+  147 Forkel edited the _Wohltemperirte Clavier_ for Hoffmeister in 1801.
+
+  148 The rule is not in the _Rules and Instructions_ already referred to.
+
+  149 Suite No. 6, in D minor (P. bk. 204 p. 84).
+
+  150 * Many people hold the opinion that the best melody is one which the
+      largest number of persons can understand and sing.  But this cannot
+      be admitted, for if it were true, popular airs which are sung up and
+      down the country by all classes, even the lowest, must be accounted
+      the finest and best.  I should be inclined to state the proposition
+      conversely: a melody which attracts everybody is invariably of the
+      most ordinary kind.  In that form the statement might, perhaps, pass
+      as a principle.
+
+  151 Forkel alludes to the _Goldberg Variations_ (P. bk. 209).
+
+  152 P. bks. 205, 206.
+
+  153 P. bks. 203, 204.
+
+  154 P. bk. 207.
+
+  155 Bach wrote three Suites (Partita) and three Sonatas for Solo Violin.
+      They date from about 1720 and are in the keys of G minor, B minor, A
+      minor, D minor, C major, and E major (P. bk. 228).  The six
+      Violoncello Suites date from the same period and are in G major, D
+      minor, C major, E flat major, C minor, and D major (P. bks. 238a,
+      238b).
+
+  156 Reinhard Keiser, b. 1673, d. 1739; scholar of the Leipzig
+      Thomas-schule; settled at Hamburg, 1694; composed a number of
+      Operas, and for a time had a great vogue.
+
+  157 It was precisely his agreeable operatic Arias that expressed
+      Handel's genius in the eyes of his generation.  With rare exceptions
+      that branch of his work is obsolete and his cult survives mainly in
+      the _Messiah,_ which supports his quite posthumous reputation as
+      "musician in ordinary to the Protestant religion." See Mr. R. A.
+      Streatfield's _Handel,_ Introduction.
+
+  158 Schweitzer advances the opinion, which may perhaps be challenged,
+      that inevitable and natural as Bach's melodies are, they do not give
+      the impression of "effortless invention."  Bach, he holds, worked
+      like a mathematician, who sees the whole of a problem at once, and
+      has only to realise it in definite values.  Hence, he agrees with
+      Spitta, Bach's way of working was quite different from Beethoven's.
+      With Beethoven the work developed by means of episodes that are
+      independent of the theme.  With Bach everything springs with
+      mathematical certainty from the theme itself. See Schweitzer (i.
+      211) on Bach's methods of working.
+
+  159 Johann Sebastian Bach's _Vierstimmige Choralgesaenge_ were published
+      in 1765 and 1769.  C. P. E. Bach was concerned only with the first
+      volume.  Forkel perhaps refers to an edition of the _Choralgesaenge _
+      issued by Breitkopf in four parts at Leipzig in 1784, 1785, 1786,
+      and 1787, and edited by C. P. E. Bach.
+
+  160 Forkel indicates the period 1720-1750.  But in 1720 Bach had already
+      completed the _Orgelbuechlein_ and the greater part of his Organ
+      works.
+
+  161 * There are people who conclude that Bach merely perfected harmony.
+      But if we realise what harmony is, a means to extend and emphasise
+      musical expression, we cannot imagine it apart from melody.  And
+      when, as in Bach's case, harmony is actually an association of
+      melodies, such a view becomes the more ridiculous.  It might perhaps
+      be reasonable to say of a composer that his influence was restricted
+      to the sphere of melody, because we may get melody without harmony.
+      But there cannot be real harmony without melody.  Hence the composer
+      who has perfected harmony has influenced the whole, whereas the
+      melodist has left his mark only on a fraction of his art.
+
+  162 As has been pointed out already (supra, p. 14) Bach's earliest
+      church Cantatas date from the Arnstadt period.
+
+  163 The statement certainly needs a caveat.  No composer of his period
+      studied his text more closely or reverently than Bach.  No one, on
+      the other hand, was more readily fired by a particular word or image
+      in his text to give it sometimes irrelevant expression.
+
+  164 Of Bach's church Cantatas 206 have survived.  In only 22 of them
+      does Bach fail to introduce movements based upon the Lutheran
+      Chorals.
+
+  165 We must attribute to Forkel's general ignorance of Bach's concerted
+      church music his failure to comment upon a much more remarkable
+      feature of the recitatives, namely, their unique treatment of the
+      human voice as a declamatory medium, a development as remarkable as
+      Wagner's innovations in operatic form a century later.
+
+  166 It was not the imperfections of the choir but the indifference of
+      Bach's successors at St. Thomas', Leipzig, that was chiefly
+      responsible for the neglect of his Cantatas in the latter half of
+      the eighteenth century.  Johann Friedrich Doles (1716-89) was the
+      only Cantor who realised the greatness of his predecessor's
+      concerted church music.
+
+  167 The _Trauer-Ode_ was performed on October 17, 1727.  Bach finished
+      the score two days before the performance!  A parallel case is that
+      of Mozart, who finished the overture of _Don Giovanni_ on the
+      morning of the first performance of the Opera, and actually played
+      it unrehearsed that evening.
+
+  168 It has been pointed out already that Bach used the _St. Matthew
+      Passion_ music, set to other words, for the occasion. No. 26 ("I
+      would beside my Lord be watching") was sung to the words "Go,
+      Leopold, to thy rest"!
+
+  169 Of the 206 surviving Cantatas, 172 were written for the Leipzig
+      choir.
+
+  170 Forkel's knowledge is very incomplete.
+
+  171 Elsewhere Forkel mentions only one of the secular Cantatas.
+
+  172 There is a tradition that Bach wrote a comic song, _Ihr Schoenen,
+      hoeret an,_ which was widely current about the time of his death
+      (Spitta, iii. 181 n.). The Aria, _So oft ich meine Tabakspfeife,_ in
+      A. M. Bach's _Notenbuch_ of 1725, should be mentioned.  See B. G.
+      xxxix. sec. 4.
+
+  173 Bach's method has come down to us in treatises by two of his pupils,
+      C. P. E. Bach's _Essay_ and Kirnberger's _Die Kunst des reinen
+      Satzes in der Musik,_ to which reference has been made already.
+
+  174 Supra, p. 60.
+
+  175 Bach wrote eighteen Preludes for Beginners.  They are all in P. bk.
+      200.
+
+  176 Most of these movements, which Bach called indifferently
+      "Inventions" (ideas) and "Praeambula" (Preludes), were written in
+      1723. They are in P. bk. 201.
+
+  177 Heinrich Nikolaus Gerber, who was Bach's pupil from 1724 to 1727,
+      particularly emphasises this feature of Bach's teaching.
+
+  178 See on the whole matter Spitta, iii. 117 ff. Bach's method is
+      illustrated by his _Rules and Instructions_ (1738) printed by
+      Spitta, iii. 315 ff., and also by the _Einige hoechst noethinge
+      Regeln_ at the end of A. M. Bach's _Notenbuch_ (1725).
+
+  179 Mozart wrote as follows to a correspondent who asked him what his
+      method of composition was: "I can really say no more on this subject
+      than the following; for I myself know no more about it, and cannot
+      account for it. When I am, as it were, completely myself, entirely
+      alone, and of good cheer--say, travelling in a carriage, or walking
+      after a good meal, or during the night when I cannot sleep; it is on
+      such occasions that my ideas flow best and most abundantly. _Whence_
+      and _how_ they come, I know not; nor can I force them. Those ideas
+      that please me I retain in memory, and am accustomed, as I have been
+      told, to hum them to myself.  If I continue in this way, it soon
+      occurs to me how I may turn this or that morsel to account, so as to
+      make a good dish of it, that is to say, agreeably to the rules of
+      counterpoint, to the peculiarities of the various instruments, etc.
+      All this fires my soul, and, provided I am not disturbed, my subject
+      enlarges itself, becomes methodised and defined, and the whole,
+      though it be long, stands almost complete and finished in my mind,
+      so that I can survey it, like a fine picture or a beautiful statue,
+      at a glance.  Nor do I hear in my imagination the parts
+      successively, but I hear them, as it were, all together.  What a
+      delight this is I cannot tell!{~HORIZONTAL ELLIPSIS~}When I proceed to write down my
+      ideas, I take out of the bag of my memory, if I may use that phrase,
+      what has previously been collected into it in the way I have
+      mentioned.  For this reason the committing to paper is done quickly
+      enough, for everything is, as I said before, already finished; and
+      it rarely differs on paper from what it was in my imagination"
+      (Life, ed. Dent, p. 255).
+
+      Wagner, writing in 1851 to Uhlig, who could not understand how the
+      libretto of _Young Siegfried_ could be set to music, expresses the
+      same idea as Mozart: "What you cannot possibly imagine is a-making
+      of itself!  I tell you, the musical phrases build themselves on
+      these verses and periods without my having to trouble at all;
+      everything springs as if wild from the ground" (Life, trans. Ellis,
+      iii. p. 243).
+
+      Schumann writes in 1839: "I used to rack my brains for a long time,
+      but now I scarcely ever scratch out a note.  It all comes from
+      within, and I often feel as if I could go on playing without ever
+      coming to an end" (Grove, vol. iv. p. 353).
+
+  180 Angela Berardi's _Documenti armonici. Nelli quali con varii
+      discorsi, regole, ed essempii si dimonstrano gli studii arteficiosi
+      della musica_ was published at Bologna in 1687.
+
+  181 Giovanni Maria Buononcini, b. c. 1640, d. 1678; Maestro di Capella
+      at Modena; published his _Musico prattico_ at Bologna in 1673, 1688.
+
+  182 Johann Joseph Fux, b. 1660, d. 1741; Kapellmeister at Vienna;
+      published his _Gradus ad Parnassum_ at Vienna in 1725.
+
+  183 See supra, p. 74.
+
+  184 * I speak here only of those pupils who made music their profession.
+      But, besides these, Bach had a great many other pupils.  Every
+      dilettante in the neighbourhood desired to boast of the instruction
+      of so great and celebrated a man.  Many gave themselves out to have
+      been his pupils who had never been taught by him.
+
+  185 See Spitta, i. 522; Schweitzer, i. 214 for farther details regarding
+      Vogler, who died circ. 1765.
+
+  186 Gottfried August Homilius, b. 1714, d. 1785; pupil of Bach, circ.
+      1735.  Cantor of the Kreuzschule, Dresden.
+
+  187 Christoph Transchel (1721-1800) taught music at Leipzig and Dresden;
+      Bach's pupil and friend, circ. 1742.  See Spitta, iii. 245.
+
+  188 Johann Gottlieb (or Theophilus) Goldberg, clavicenist to Count
+      Kaiserling (infra, p. 119) for whom Bach wrote the so-called
+      _Goldberg Variations._ He was born circ. 1720 and was a pupil of
+      Bach from 1733-46.
+
+  189 Johann Ludwig Krebs, b. 1713, d. 1780; Bach's pupil, 1726-35. Bach
+      said of him that he was "the best crab (Krebs) in the brook (Bach)."
+
+  190 Johann Christoph Altnikol, d. 1759.
+
+  191 Johann Friedrich Agricola, b. 1720, d. 1774; pupil of Bach circ.
+      1738-41; Director of the Royal Chapel, Berlin.
+
+  192 Pier Francesco Tosi, b. circ. 1650; singing master in London. His
+      _Opinioni de' canton antichi e moderni, o sieno osservazioni sopra
+      il canto figurato_ was published at Bologna in 1723.
+
+  193 Johann Gottfried Muethel, b. circ. 1720, d. circ. 1790; pupil of Bach
+      in 1750 and resident in his house at the time of his death; organist
+      of the Lutheran Church, Riga.
+
+  194 Johann Philipp Kirnberger, b. 1721, d. 1783; Bach's pupil, 1739-41.
+
+  195 Louisa Amalia, of Brunswick-Wolfenbuettel, wife of Frederick the
+      Great's brother, and mother of his successor, Frederick William II.
+      (1786-97).
+
+  196 The second work was published in 1773 at Berlin. For the first, see
+      supra, p. 74.
+
+  197 Johann Christian Kittel, b. 1732, d. 1809; one of Bach's latest
+      pupils; Organist of the Predigerkirche, Erfurt.  He is said to have
+      possessed a portrait of his master and to have rewarded his pupils
+      for good playing by drawing the curtain which usually covered the
+      picture and permitting them to look upon it.  It is, perhaps, the
+      portrait, recently discovered by Dr. Fritz Volbach, which is
+      reproduced at p. 92 of this volume.
+
+  198 Nothing seems to be known of him.
+
+  199 Johann Martin Schubart succeeded Bach at Weimar in 1717.  He was
+      born in 1690 and died in 1721. See Spitta, i. 343.
+
+  200 In addition to those mentioned by Forkel, the following pupils of
+      Bach are known: Johann Gotthilf Ziegler, of St. Ulrich's Church,
+      Halle; J. Bernhard Bach, of Ohrdruf; Heinrich Nikolaus Gerber,
+      Organist at Sondershausen; Samuel Anton Bach, of Meiningen; Johann
+      Ernst Bach, of Saxe-Weimar; Johann Elias Bach, Cantor at
+      Schweinfurt; Johann Tobias Krebs, organist at Buttelstaedt, and his
+      sons, Johann Ludwig, Johann Tobias, and Johann Carl; Johann
+      Schneider, organist of St. Nicolas', Leipzig; Georg Friedrich
+      Einicke, Cantor at Frankenhausen; Johann Friedrich Doles, Bach's
+      second successor in the Cantorate of St. Thomas'; Rudolph Straube,
+      who afterwards settled in England; Christoph Nichelmann, cembalist
+      to Frederick the Great; Christian Graebner, and Carl Hartwig.
+
+      For full information upon Bach's pupils see Spitta, i. 522 ff., ii.
+      47 ff., iii. 116 ff., 239 ff., and the relative articles in Grove's
+      _Dictionary._
+
+  201 Forkel does not do justice to his friend.  C. P. E. Bach is
+      recognised as the immediate precursor of Haydn and as the link
+      between the latter and J. S. Bach.
+
+  202 Mozart had a very particular regard for him.  See Schweitzer i. 220
+      on his brothers' abilities as composers.
+
+  203 Spitta (iii. 262) quotes a characteristic anecdote.  To some one who
+      praised his skill on the Organ Bach replied: "There is nothing
+      wonderful about it.  You merely strike the right note at the right
+      moment and the Organ does the rest."
+
+  204 See supra, p. 19.  Bach himself certainly was the challenger.
+
+  205 When Handel was at Venice in 1708, Domenico Scarlatti, hearing a
+      stranger touching the Harpsichord at a masquerade, exclaimed, "That
+      must either be the famous Saxon or the Devil" (Rockstro's _George
+      Frederick Handel,_ p. 48).  Streatfield (p. 145) mentions a similar
+      event which took place in 1737.  Hearing a stranger playing a Fugue
+      in one of the Flemish churches, the organist embraced him, saying,
+      "You can be no other but the great Handel."
+
+  206 Heinrich Lorenz Hurlebusch was organist of three churches in
+      Brunswick.  His visit to Bach took place in 1730, seemingly.  See
+      Schweitzer, i. 154.
+
+  207 Schweitzer prints an appreciation of Hurlebusch which suggests that
+      he was a man of distinct ability and "a paragon of politeness."
+
+  208 Antonio Caldara, b. circ. 1670; vice-Kapellmeister at Vienna,
+      1716-36; d. 1736.
+
+  209 Johann Adolph Hasse, b. 1699, d. 1783; Kapellmeister and Director of
+      the Opera, Dresden.
+
+  210 Johann Gottlieb Graun, b. circ. 1698, d. 1771; conductor of the
+      royal Kapelle, Berlin.
+
+      Carl Heinrich Graun, b. 1701, d. 1759; like his brother, in
+      Frederick the Great's service.
+
+  211 Georg Philipp Telemann, b. 1681, d. 1767; Cantor and Musik-direktor
+      in Hamburg.
+
+  212 Johann Dismas Zelenka, b. 1679 or 1681, d. 1745; Court Composer at
+      Dresden.
+
+  213 Franz Benda, b. 1709, d. 1786; Concertmeister to Frederick the Great
+      upon the death of J. G. Graun.
+
+  214 On Telemann's influence on Bach see Spitta, ii. 437.
+
+  215 Handel's second visit to Halle took place in June 1729.  His
+      mother's illness detained him.  See Streatfield, p. 110.
+
+  216 Handel's third visit took place in July-August 1760.  He was laid up
+      by a severe accident in the course of it, and appears to have not
+      recovered from it at the time of Bach's death.
+
+  217 Faustina Bordoni, b. 1693, d. 1783; m. Hasse in 1730.  She was one
+      of the most famous singers of the day.
+
+  218 The original has "Liederchen."
+
+  219 See supra, p. 37.  Compare Handel's case.  He received a royal
+      pension of L600 per annum, and though he was twice a bankrupt, left
+      L20,000.
+
+  220 The Duke was the nephew of, and succeeded, Duke Wilhelm Ernst in
+      1728.
+
+  221 The Canonic Variations on the melody are published by Novello bk.
+      19, p. 73. For the Mizler Society, see supra, p. xxiv.
+
+  222 Spitta (iii. 294) regards the statement as incorrect and holds that
+      the work was engraved before Bach joined Mizler's Society in June
+      1747.  Pirro (p. 215) supports Spitta and regards the Variations as
+      having been engraved at Nuernberg "vers 1746."
+
+  223 The first of Bach's works to be engraved was the Muehlhausen Cantata,
+      _Gott ist mein Koenig,_ (parts only).  It was published in 1708, when
+      Bach was twenty-three years old.  Forkel refers to Partita I. in the
+      first Part of the _Clavieruebung_ (P. bk. 205 p. 4).  It was engraved
+      in 1726, when Bach was forty-one years old.  In 1731 he republished
+      it, with five others that had appeared in the interval, in the first
+      Part of the _Clavieruebung_ (P. bks. 205, 206).
+
+  224 Forkel's rather casual critical axioms seem to be as follows:
+      "Publication postulates excellence"; "An amended MS. implies that
+      the original text was not a finished work of art."
+
+  225 It was the first work engraved by Bach himself, though the parts of
+      the Cantata  _Gott ist mein Koenig_ had been published by the Town
+      Council at Muehlhausen in 1708.
+
+  226 The work was published at Leipzig "in Commission bey Boetii Seel,
+      hinderlassenen Tochter, unter den Rath-hause."  The Suites, or
+      Partitas (P. bks. 205, 206), are in B flat major, C minor, A minor,
+      D major, G major, E minor.
+
+  227 In 1801 Hoffmeister and Kuehnel unsuccessfully attempted to publish
+      Bach's works by subscription.
+
+  228 The Partita in B minor (P. bk. 208 p. 20).
+
+  229 The work was published in 1735.  The Italian Concerto in F major is
+      published by Novello and P. bk. 207.
+
+  230 The work appeared in 1739.  It was intended to contain works for the
+      Organ only; the four Duetti are incongruous and seem to have crept
+      in by mistake.  See the scheme of the work discussed in Terry,
+      _Bach's Chorals,_ Part III.  The Choral Preludes are in Novello's
+      ed., bk. xvi.
+
+  231 The work was published circ. 1747-50.  Five of the six movements
+      certainly, and the sixth with practical certainty, are adaptations
+      to the Organ of movements out of Bach's Church Cantatas.  See Parry,
+      _Bach,_ p. 535.  The Chorals are in Novello's ed., bk. xvi.
+
+  232 See supra, p. 65.
+
+  233 Thus the pedal sounds above the part given to the second manual and
+      is often the topmost part.  See Novello's ed., bk. xvi. 4.
+
+  234 Published circ. 1742; the so-called "Goldberg Variations." They are
+      in P. bk. 209.
+
+  235 Variation No. 10 is a Fughetta in four parts.
+
+  236 Ten of the Variations are marked "a 2 Clav.," that is, for two
+      keyboards or manuals: Nos. 8, 11, 13, 14, 17, 20, 23, 25, 26, 28.
+      Nos. 5, 7, 29 are marked "a 1 ovvero 2 Clav."
+
+  237 The movement is constructed upon two merry folk-songs, _Kraut and
+      Rueben haben mich vertrieben,_ and _Ich bin so lang nicht bei dir
+      gewirt_.
+
+  238 See supra, p. 101.
+
+  239 In fact Bach wrote the early _Aria variata alla maniera Italiana_
+      (Peters bk. 215, p. 12) for the Clavier.  For the Organ he wrote
+      four sets of Variations upon as many Choral melodies (Novello bk.
+      xix.).  But all except the Goldberg Variations are youthful works,
+      and in his maturity Bach clearly had no liking for the form.  The
+      theme of the Goldberg Variations, moreover, is itself a youthful
+      idea; at least it dates back to as early as 1725, and is found in A.
+      M. Bach's _Notenbuch_ (No. 26, Aria in G major).
+
+  240 There is no reference to these corrigenda in the B. G. edition.
+
+  241 The work has been referred to already in connection with Bach's
+      membership of Mizler's Society (supra, p. 112).  It was composed
+      presumably circ. 1746 and in point of technical skill is the most
+      brilliant of Bach's instrumental works.  Forkel states that it was
+      engraved after June 1747, when Bach joined Mizler's Society.  Spitta
+      (iii. 295) is of opinion that it was already engraved by then.  It
+      is in bk. xix. of Novello's edition.
+
+  242 Supra, p. 25.
+
+  243 The presentation copy of the work, which Bach sent to Frederick
+      along with a dedicatory letter (July 7, 1747), is in the Berlin
+      Amalienbibliothek and proves that only the first third of the work,
+      as far as the "Ricercare a sei voci" (see B.G. XXXI. (2)) was sent
+      then.  The latter and the remaining canons were dispatched
+      subsequently probably by the hand of C. P. E. Bach.  The six-part
+      Ricercare was a particular compliment to the King.  Frederick had
+      desired Bach on his visit to play a Fugue in six parts but left it
+      to the player to select his theme.  Bach now employed the thema
+      regium for the purpose.  The first reissue of the work was by
+      Breitkopf and Haertel in 1832. Peters (bk. 219) brought it out in
+      1866. See Schweitzer, i. 417 IV. and Spitta, iii. 191 ff. and 292.
+
+  244 In C minor (P. bk. 237 p. 3).
+
+  245 The statement is inaccurate.  The work was written for the most part
+      in 1749 and the greater part of it was prepared for engraving by
+      Bach himself during his last illness.  None of his elder sons was
+      with him at his death, and the blunders that disfigure the engraved
+      copy show that they clumsily finished their father's work.  It is in
+      P. bk. 218.
+
+  246 Friedrich Wilhelm Marpurg, b. 1718, d. 1795.
+
+  247 The work was published shortly after Bach's death, but had no sale.
+      C. P. E. Bach then commissioned Marpurg to write a preface, and the
+      new edition was published at the Leipzig Fair, Easter, 1762.  In
+      four years only about thirty copies were sold. See Spitta, iii. 197
+      ff. and Schweitzer, i. 423 ff.
+
+  248 In 1756.  See C. P. E. Bach's advertisement in Felix Grenier, p.
+      232.
+
+  249 The work contains six Fugues and four canons upon the same theme; an
+      unfinished Fugue "a tre soggetti," the first four notes of the third
+      of which spell B A C H; and the Choral Prelude "Wenn wir in hoechsten
+      Noethen sein."
+
+  250 Schweitzer explains: "His purpose in this work being a purely
+      theoretical one, Bach writes the Fugues out in score, and calls them
+      'counterpoints' "
+
+                [  251 B A C H in German musical notation]
+
+  252 Supra, p. 27.  The movement is in N. bk. 17 p. 85.  It is not
+      certain that Bach intended the Prelude or the unfinished Fugue to be
+      included.
+
+  253 C. P. E. Bach was only concerned with the first volume.  Erk, in his
+      edition of the _Choralgesaenge,_ conjectures that Kirnberger was
+      responsible for the second.
+
+  254 The four volumes were published at Leipzig between 1784-87.  Spitta
+      states that C. P. E. Bach was the editor.  Erk joins Kirnberger with
+      him in that position.  As C. P. E. Bach died in 1788 Kirnberger's
+      association with the work is probable, especially if he had already
+      been responsible for the 1769 volume.
+
+  255 Bach's Clavier school consisted of eighteen Preludes for beginners
+      (all in B.G. XXXVI.); the two-part and three-part Inventions; and
+      the _Well-tempered Clavier._  The six Preludes mentioned by Forkel,
+      and which alone he knew, were published by him for the first time.
+      Seven more are found in Wilhelm Friedemann's _Clavierbuechlein_ (B.G.
+      XLV. (1)), and the remaining five have survived in texts handed down
+      by others of Bach's pupils.  The eighteen are in P. bk. 200.
+
+  256 The Autograph was written at Coethen and is dated 1723.  It also
+      contains the fifteen Symphonies, or three-part Inventions mentioned
+      in paragraph 3.  Both Inventions and Symphonies are in F. bk. 201.
+      According to Spitta (ii. 57 n.) the Inventions were published at
+      Leipzig in 1763.  See also Schweitzer, i. 328 ff.
+
+  257 See the previous note.
+
+  258 The second Part was compiled in 1744 and Bach's Autograph of it,
+      though not the earliest Autograph, is in the British Museum.  See
+      Schweitzer, i. 331 ff. and Spitta, ii. 161 ff.  The whole work is in
+      P. bks. 1, 2; or 1a, 1b; or 2790a, 2790b.
+
+  259 No. 20. Spitta (ii. 164) attributes it to the years 1707 or 1708.
+      Schweitzer (i. 332) also regards it as a youthful piece written,
+      moreover, for the pedal Clavicembalo.
+
+  260 Nos. 15 and 16.  Spitta, admitting that the two do not rank with the
+      most interesting in the collection, finds no indication of their
+      being of different date from the best movements.
+
+  261 No. 1. Here Spitta (ii. 165 n.) challenges Forkel.
+
+  262 Nos. 11 and 12.  In regard to No. 12 (F minor) Spitta holds Forkel
+      to be in error.  As to No. 11, he expresses the same opinion as in
+      note 3, supra.
+
+  263 The date 1744 places the second Part among Bach's latest
+      compositions.  On the other hand, like the first Part, it contained
+      work of earlier date.
+
+  264 Chromatic Fantasia and Fugue in D minor (P. bk. 207 p. 4).  It
+      probably dates from circ. 1720-23.
+
+  265 The MS. was discovered in 1876 and is now at Dresden. It was written
+      circ. 1738 and disproves Forkel's conjecture that the fugue did not
+      belong to the Fantasia and is only partially by Bach.  The Fugue
+      contains forty-seven bars.  As the Autograph is a fair copy the
+      Fugue cannot be called unfinished.  See Spitta, iii. 182.  The
+      Fantasia is in P. bk. 207 p. 50; the Fugue in P. bk. 212 p. 88. See
+      B.C. xxxvi., xxxviii., and xlii. for other Clavier Fantasias.
+
+  266 The true explanation seems to be that the Prelude of the first Suite
+      (A major) is based upon a Gigue by Charles Dieupart (d. circ. 1740),
+      a popular teacher and composer in England.  The words fait pour les
+      Anglois, which head the A major Suite in an early MS., have been
+      wrongly interpreted as applying to the whole set of six.  They
+      merely indicate Dieupart's borrowed Gigue. See Grove, vol. i. 701,
+      and Parry, _J. S. Bach,_ p. 463.  A copy of the work exists, of date
+      1724-27, made by one of Bach's pupils.  But the composition of the
+      Suites may certainly be assigned to the Coethen period.  They are
+      published in P. bks. 203, 204.
+
+  267 The French Suites undoubtedly date back to the Coethen period, since
+      they figure, though incomplete, in the _Notenbuch_ of A. M. Bach
+      (1722). They are published in P. bk. 202.
+
+  268 Forkel's incomplete catalogue may be compared with the
+      Bachgesellschaft volumes III., XIV., XXV. (1), XXXI. (2), XXXVI.,
+      XLIL, XLIII. (1 and 2), XLV. (1).  See generally Schweitzer, ch. 15,
+      and Pirro, pp. 218 ff.
+
+  269 P. bks. 205, 206, 208, 212 (fragment in F minor), 214, 215, 1959.
+
+  270 P. bks. 200, 210, 211, 212, 214, 215, 1959.
+
+  271 For the most part these youthful works will be found in B.G. XXXVI.
+
+  272 P. bk. 207 p. 16.
+
+  273 In C minor (P. bk. 200 p. 10).
+
+  274 In P. bks. 232, 233.
+
+  275 Suite in A major (P. bk. 236), Sonata in E minor (P. bk. 236), Fugue
+      in G minor (P. bk. 236), four Inventions (P. bk. 2957), Sonata in G
+      minor (BG. ix. 274; not in P.), Sonata in C major for 2 Violins and
+      Clavier (P. bk. 237).
+
+  276 There are six Sonatas for Flute and Clavier, in B minor, E flat
+      major, A minor, C major, E minor, E major (P. bks. 234, 235).
+
+  277 There are three Sonatas for Clavier and Gamba, in G major, D major,
+      G minor (P. bk. 239).
+
+  278 Forkel omits two Sonatas for Violin, Flute, and Clavier, in G major
+      and C minor (both in P. bk. 237).
+
+  279 As Forkol mentions in secs. 4, 5, 6 the Concertos for two, three,
+      and four Claviers, perhaps he had in mind here seven Concertos for
+      Clavier and Orchestra (P. bks. 248-254).  A Concerto for Clavier,
+      Violin, Flute, and Orchestra (P. bk. 255 p. 4) in A minor also
+      should be mentioned.  Also an Overture, in G minor, for Clavier and
+      Strings (B.G. XLV. (1) p. 190; not in P.)
+
+  280 P. bk. 257 p. 4.
+
+  281 P. bk. 256 p. 4.
+
+  282 There are, in fact, three Concertos for two Claviers and Orchestra:
+      two in C minor and one in C major.  Forkel refers to only one of the
+      former and regards it as antiquated by comparison with the one in C
+      major.  Spitta (iii. 144) attributes the C major to 1730.  Forkel's
+      C minor in its original form was a Concerto for two Violins, now
+      lost.  The other C minor Concerto is identical with the Concerto in
+      D minor for two Violins and is in P. 257b. Spitta (iii. 138) dates
+      it 1736. See Schweitzer, i. 413.
+
+  283 In D minor and C major (P. bks. 258, 259).  The tradition is that
+      Bach wrote these two Concertos in order to play them with his elder
+      sons.  Spitta (iii. 144) finds the tradition trustworthy.  Hence the
+      two works must have been written by c. 1733 at latest, before the
+      sons left home.  See also Schweitzer, i. 414.
+
+  284 In A minor (P. bk. 260).  This is not an original composition, but
+      is an arrangement by Bach of a Vivaldi Concerto for four Violins.
+      Spitta (iii. 149) assigns it to the same period as the Concertos for
+      three Claviers, c. 1733.  See B.G. XLIII. (1) infra.
+
+  285 The pedal on the small German Organ had only the compass of an
+      octave.
+
+  286 The Great Preludes and Fugues are, with one exception, in B.G. XV.
+      The Prelude and Fugue in E flat was published by Bach in the third
+      Part of the _Clavieruebung._  Its Fugue is known as the "St. Anne's."
+
+  287 From the figures printed by Forkel the twelve can be identified as
+      follows (the references in parentheses are to the Novello edition of
+      Bach's Organ works):
+
+            Prelude and Fugue in C minor, the "Great" (bk. vii. 64).
+            Prelude and Fugue in A minor, (bk. vii. 42).
+            Prelude and Fugue in G major, (bk. viii. 112).
+            Prelude and Fugue in E minor, (bk. viii. 98).
+            Prelude and Fugue in B minor, (vii. 52).
+            Prelude and Fugue in C major, (bk. ix. 156).
+            Prelude and Fugue in D minor, (bk. ix. 150).
+            Prelude and Fugue in C major (bk iii. 70).
+            Tocatta and Fugue in D minor (bk. x. 196).
+            Tocatta and Fugue in F major (bk. ix. 176).
+            Prelude and Fugue in G minor (bk. viii. 120).
+            Prelude and Fugue in E minor (bk. ii. 44).
+
+  288 The Passacaglia in C minor (Novello bk. 10 p. 214) was written
+      originally for the Clavicembalo and pedal.  It belongs to the later
+      Weimar period, i.e. circ. 1715.  See Spitta, i. 588 and Schweitzer,
+      i. 280.
+
+  289 They are all printed in Novello bk. 19, and are three in number, on
+      the melodies "Christ, der du bist der helle Tag", "O Gott, du
+      frommer Gott," and "Sei gegruesset, Jesu guetig."  The pedal is only
+      required in one movement of the first, in none of the second, and
+      considerably in the third.  Without question all three date from
+      Bach's earliest period, but whether they were written at Arnstadt or
+      Lueneburg cannot be stated.
+
+  290 The fullest collection of these miscellaneous Organ Choral Preludes
+      is in B.G. XL. Not counting variant readings they number fifty-two,
+      besides two fragments and thirteen of doubtful authenticity, of
+      which two are sets of Variations.  The Novello edition contains
+      fifty-two in bks. 18 and 19.  To these must be added the "Eighteen"
+      Preludes on Choral Melodies, which Forkel nowhere mentions, as well
+      as the third Part of the _Clavieruebung,_ the _Schuebler Chorals,_ and
+      the Variations on _Vom Himmel hoch,_ to which he has already made
+      reference in the first section of this chapter.  As he does not
+      mention it specifically, it is to be inferred that Forkel was
+      ignorant of the existence of the _Orgelbuechlein_; otherwise he could
+      hardly have failed to introduce it in this section.  All Bach's
+      Choral Preludes, miscellaneous and in collections made by himself,
+      are in Novello's edition, bks. 15-19.  A useful key to their
+      melodies is provided by bk. 20.  For more detailed information see
+      Terry, _Bach's Chorals,_ Part III.
+
+  291 The large number of MSS. of many of the miscellaneous Preludes is
+      made evident in the introduction to B.G. XL.
+
+  292 The Sonatas in E flat major, C minor, and D minor are in N. bk. 4; E
+      minor, C major, G major in N. bk. 5.
+
+  293 The so-called "Sonatas" were actually written for a Clavicembalo
+      with two manuals and a pedal.  Bach's Autograph of them belonged to
+      his second son and an earlier copy of them to Wilhelm Friedemann.
+      Both are now in the Berlin Royal Library.  Friedemann went to
+      Dresden as Organist in 1733 and Spitta is of opinion that the whole
+      of the six Sonatas were in existence by or soon after 1727.  If so,
+      they must be regarded as the outcome of Bach's early years at
+      Leipzig.  See Spitta, iii. 212 ff. and Schweitzer, i. 278.
+
+  294 None are extant.  Spitta, iii. 213 n., conjectures that Forkel
+      refers to the Trios in D minor and C minor (N. bks. 2 p. 54, 12 p.
+      108) and the Pastorale in F major (N. bk. 12 p. 102.) His incomplete
+      knowledge of the Organ works is revealed by Appendix V. infra.
+
+  295 This is a pure conjecture and Schweitzer scouts it (i. 416 n.).
+
+  296 The oldest copy of them dates from circ. 1720; they belong therefore
+      to the late Coethen period.  The 1720 MS. is in A. M. Bach's
+      handwriting and was discovered in 1814 at Petrograd among old papers
+      about to be sent away to a butter dealer.  The Sonatas are in P. bk.
+      228.
+
+  297 They also date from the Coethen period and are in P. bk. 238a, 238b.
+
+  298 Forkel omits to mention the Brandenburg Concertos (P. bks. 261-266);
+      the Overtures in C major (P. bk. 267), B minor (P. bk. 268), D major
+      (P. bk. 269), D major (P. bk. 2068); and the Violin Concertos in A
+      minor (P. bk. 229), E major (P. bk. 230), and (for two Violins) in D
+      minor (P. bk. 231). In B.G. XXI. (1) is a Symphonic movement, in D
+      major, for Violin and orchestra.  A Sinfonia in F major (B.G. XXXI.
+      96) is another version of the first Brandenburg Concerto.  The
+      Clavier Concertos have been mentioned supra.
+
+  299 The set of five is complete only for Christmas Day, Feast of the
+      Circumcision, Whitsunday (one of the five is of doubtful
+      authenticity), Purification of the B.V.M., and Feast of St. Michael
+      the Archangel.  See Terry, _Bach's Chorals,_ Part II. 2 ff.
+
+  300 In giving the number of _Passions_ as five, Forkel repeats the
+      statement of the _Nekrolog._  The number corresponds with the five
+      sets of Church Cantatas which Bach is known to have written.  It is,
+      however, exceedingly doubtful whether Bach wrote more than four
+      _Passions._  Only those according to St. Matthew and St. John have
+      come down to us from C. P. E. Bach, who was left the Autographs of
+      both by his father.  The _St. John Passion_ was first performed in
+      1724 and the _St. Matthew Passion_ in 1729. Picander, Bach's
+      librettist, certainly wrote two other Passion texts, one of which
+      was written for Good Friday 1725, and the second, based on St.
+      Mark's Gospel, was actually performed at St. Thomas', Leipzig, on
+      Good Friday 1731.  Spitta (ii. 505) gives good reason to hold that
+      Bach's music for this Passion was adapted from the _Trauer-Ode,_
+      which he had written in 1727 in memory of Queen Christiane
+      Eberhardine.  But of the 1725 _Passion_ there is no trace.  If it
+      ever existed, its loss probably may be assigned to Wilhelm
+      Friedemann's carelessness, to whom presumably it was assigned in the
+      division of Bach's property after his death.  But even so, we have
+      no more than four _Passions._ There exists, however, a fifth
+      _Passion according to St. Luke,_ which is undoubtedly in Bach's
+      Autograph, and which Spitta is inclined to attribute to Bach
+      himself.  It is published by Breitkopf and Haertel, but is generally
+      regarded as being by another composer than Bach, who probably copied
+      it for use at Leipzig.  On the whole matter see Spitta, ii. 504 ff.,
+      Schweitzer, chap. xxvi., and the Bach-Jahrbuch for 1911
+      (Publications of the New Bachgesellschaft XII. (2)).
+
+  301 Other than the _Passions,_ the only Oratorios are the _Christmas
+      Oratorio_, (1734), the _Easter Oratorio_ (c. 1736), and _Ascension
+      Oratorio_ (c. 1735).
+
+  302 Besides the B minor Mass (1733-? 38) Bach wrote four miscalled
+      "short" Masses, in F major, A major, G minor, and G major.  They all
+      belong to the Leipzig period (c. 1739).
+
+  303 Besides the setting of the Sanctus in the B minor Mass there are
+      four detached settings, in C major, D major, D minor, and G major.
+      Of these only that in D major is probably by Bach (c. 1723).
+
+  304 The music for Saints' Days is included in the church Cantatas.  For
+      the Birthday Odes see supra, Chap. IIA.
+
+  305 Besides the _Trauer-Ode,_ three or four of the church Cantatas and
+      certainly three of the Motets were written for funerals.  See Terry,
+      op. cit., pp. 24, 44.
+
+  306 Among the church Cantatas there are at least five for use at
+      weddings.  Bach wrote also three secular wedding Cantatas: _Weichet
+      nur, betruebte Schatten_ (c. 1730); _O holder Tag_ (11749); the third
+      (1728) has disappeared.
+
+  307 Two Italian Cantatas--_Amore traditore_ and _Non sa che sia
+      dolore_--have come down to us.  A third, _Andro dall colle al prato,_
+      is lost.  See B.G. XI. (ii.), XXIX.
+
+  308 Only six are genuine. See infra, p. 141.
+
+  309 Of the Motets that have come down to us as his, only six are Bach's.
+      Forkel mentions five of them in secs. 7 and 3 of the next paragraph;
+      he omits _Lobet den Herrn, alle Heiden._  In 1802-3 Breitkopf and
+      Haertel published six Motets--the five mentioned by Forkel and
+      another, _Ich lasse dich nicht,_ of which Bach made a copy, but
+      whose composer actually was Johann Christoph Bach.  We know that
+      Bach composed at least one Latin Motet for double chorus, and
+      Friedemann's share of his father's autographs may have contained it
+      and others known to Forkel but no longer extant.
+
+  310 The Amalienbibliothek of the Joachimsthal Gymnasium, Berlin,
+      contains one of the most important Bach collections, but it has long
+      been superseded by the Royal Library there as the chief repository
+      of Bach's Autographs.
+
+  311 The Amalienbibliothek has only one Autograph, namely, Cantata 34, _O
+      ewiges Feuer._ The rest are early copies.
+
+  312 Cantata 53.  No Autograph of this Cantata exists, and the copies
+      from which the B.G. edition was printed are in the
+      Amalienbibliothek.
+
+  313 On the contrary, the Cantata belongs to the Leipzig period, 1723-34.
+
+  314 None of the four "short" Masses is in five parts.  All have
+      instrumental accompaniments.  The autograph scores of the Masses in
+      A major and G major are in Messrs. Breitkopf and Haertel's
+      possession.  Copies of the other two scores, in Altnikol's
+      handwriting, are in the Berlin Royal Library.  See Introduction to
+      B.G. VIII.
+
+  315 An eight-part Mass in G was performed at a Leipzig Gewandhaus
+      Concert on March 7, 1805, and was published later in the year by
+      Breitkopf and Haertel.  The score is admittedly, for the greater
+      part of the work, in Bach's hand and is in the Berlin Royal Library.
+      The publication of the work was under consideration by the
+      Bachgesellschaft in 1858.  That it is not by Bach is generally held.
+      It has been attributed to Johann Ludwig Bach (d. 1741).  See
+      Genealogical Table II.
+
+  316 The _St. Matthew Passion._
+
+  317 A nom de plume for Christian Friedrich Henrici (1700-64), who wrote
+      a large number of Bach's Leipzig texts.
+
+  318 Perhaps Forkel indicates the short _Sanctus_ in Richter's edition of
+      the _Choralgesaenge_, No. 123, or that in B.G. XLI. p. 177.
+
+  319 This is the first Chorus of Cantata No. 38.  It is printed as a
+      separate Motet in Erk, No. 150.
+
+  320 Forkel's list is complete except for _Lobet den Herrn, alle Heiden._
+
+  321 The opening Chorus of Cantata 144.
+
+  322 Forkel refers to the _Peasant Cantata,_ or _Mer hahn en neue
+      Oberkeet,_ performed on August 30, 1742.  Forkel clearly was not
+      familiar with Bach's other secular Cantatas.  See B.G. XI. (ii.),
+      XX. (ii.), XXIX.  The Autograph score of the Peasant Cantata is in
+      the Berlin Royal Library.
+
+  323 Forkel's suggestion was carried out, with varying thoroughness, in
+      the Bachgesellschaft edition.
+
+  324 Forkel's judgment is at fault.  See Schweitzer, i. 336.
+
+  325 Also in Wilhelm Friedemann's _Clavierbuechlein._  See Schweitzer, i.
+      279; Spitta, ii. 166.
+
+  326 "Since you cannot please everybody by your actions and work, strive
+      at least to satisfy a few; popular appreciation encourages bad
+      art."--Schiller's _ Votiftafeln_
+
+  327 The Cantatas are classified under Appendix II.
+
+  328 The references are to Peters' edition.  Excepting bk. 1959, which
+      contains pieces of doubtful authenticity, every number printed by
+      Peters is entered in the Chronological Catalogue.
+
+  329 There are three other Sonatas, in A minor, C major, D minor, none of
+      which is an original composition.  They are printed in P. bk. 213.
+      The first and second are adaptations of material in Reinken's
+      _Hortus Musicus._  The third is a transcription of the second Solo
+      Sonata for Violin.
+
+  330 The references are to Novello's twelve Books of Bach's Organ Works,
+      edited by J. F. Bridge and J. Higgs.  The edition is complete, and
+      contains every movement included in Alfred Dorffel's "Thematisohos
+      Verzeichniss" (second edition, 1882) except his No. 24 on p. 72;
+      Nos. 6 and 8 on page 85; the "Kleines harmonisches Labyrinth"
+      (Doerffel, p. 88, tigs. 131-33), the genuineness of which is
+      questioned by Spitta (ii. 43); and figs. 136-37 on p. 88.  The
+      Novello edition also follows Rust, against Spitta's judgment, in
+      printing the "Fantasia con Imitazione" (bk. 12 p. 71) as an Organ
+      instead of as a Clavier piece.  Books 15-19 print the Choral
+      Preludes.  See the Peters and Novello editions collated in Appendix
+      V.
+
+  331 Printed as a "Toccata" in E major in B.G. XV. p. 276.
+
+  332 Spitta (ii. 620, 718) mentions a Birthday Cantata written in
+      1717-1721(?), the title of which is lost.
+
+  333 The references are to Peters' edition.
+
+  334 The D minor contains the famous Chaconne.
+
+  335 The references are to Peters' edition. In the B.G. edition the
+      Orchestral music is included in the Chamber Music volumes.
+
+  336 Pirro, p. 228, holds that the first two (C major and B minor) were
+      written at Coethen and the last two (D major and D major) at Leipzig.
+      Schweitzer (i. 402) regards it as not clear in which period the
+      Overtures were written.
+
+  337 In A minor, E major, G major. The G major figures as the fourth
+      Brandenburg (bk. 264) and as the Clavier Concerto in F major (bk.
+      248). The A minor and E major were also converted into Clavier
+      Concerti (G minor and D major) (bks. 249, 251). The D minor Clavier
+      Concerto (bk. 264) preserves a lost Violin Concerto in the same key,
+      and the one in F minor (bk. 250) corresponds with a lost Violin
+      Concerto in G minor (bks. 3068, 3069).
+
+  338 Also arranged as a Concerto for two Claviers (C minor) in P. bk.
+      257b.
+
+  339 Bach wrote another Magnificat, the music of which is lost. See
+      Spitta, ii. 374.
+
+  340 All except the Sanctus in D major are of doubtful authenticity. See
+      Schweitzer, ii. 328 and Spitta, iii. 41 n.
+
+  341 The Concerto in C minor (P. bk. 257) is an arrangement of one for
+      two Violins now lost. The third, also in C minor, is identical with
+      the D minor Concerto for two Violins and is published in that key in
+      the Peters edition.  The remaining Concerto, in C major, is the only
+      one originally written for the Clavier.  See Schweitzer, i. 413.
+
+  342 The work is an amplification of the Prelude and Fugue in A minor,
+      already catalogued among the Clavier works of the Coethen period.
+      Schweitzer (i. 340) concludes that it was rearranged as an
+      orchestral Concerto early in the thirties, when Bach needed
+      Concertos for the Telemann Society's Concerts.
+
+  343 The scheme of the G major and C major Preludes and Fugues dates back
+      to the Weimar period. See Spitta, iii. 208; Parry, p. 67.
+
+  344 These so-called "Organ" Sonatas were written for the Pedal
+      Clavicembalo.
+
+  345 The Clavier Suites in E minor, E major, and C minor are arrangements
+      of these, otherwise lost, Lute Partitas. See Schweitzer, i. 344.
+
+  346 In Mizler's _Nekrolog._
+
+  347 Supra, p. 138.
+
+  348 See the present writer's _Bach's Chorals,_ Part II. p. 1.
+
+  349 Ibid., p. 4.  Four more Cantatas, of doubtful authenticity, are
+      published by the Bachgesellschaft, Jahrgang XLI.
+
+  350 See the Table of Cantatas set out in chronological order.
+
+  351 Nos. 18, 24, 28, 59, 61, 142, 160.
+
+  352 Nos. 31, 70, 72, 80, 132, 147, 152, 155, 161, 162, 163, 164, 166,
+      168, 185, 186 (part).
+
+  353 Nos. 145, 148 (part), 156, 157, 159, 171, 174, 188, 190 (one
+      version), _Ehre sei Gott_ (incomplete).
+
+  354 Nos. 68, 74, 87, 103, 108, 128, 175, 176, 183.
+
+  355 Nos. 47, 141.
+
+  356 Nos. 50, 191, 196.
+
+  357 Nos. 4, 97, 100, 107, 112, 117, 118, 129, 137, 177, 192.
+
+  358 No. 15: _Denn du wirst meine Seele nichfc in der Hoelle lassen._
+
+  359 The intimate personal note of the opening words of the
+      Recitative--"Mein Jesus ware tot"--reveals him.
+
+  360 Spitta, i. 231.
+
+  361 Schweitzer, i. 103.
+
+  362 No. 131: _Aus der Tiefe rufe ich, Herr, zu dir._
+
+  363 No. 71: _Gott ist mein Kueonig._
+
+  364 No. 196: _Dorr Herr denket an uns._
+
+  365 See Spitta, i. 359 ff.
+
+  366 Ibid., i. 374.  On the other hand, Baoh's art was visibly affected
+      by Pietistic influences, as Schweitzer, i. 169, shows.
+
+  367 Eilmar died in 1715 (Spitta, i. 361).
+
+  368 No. 189: _Meine Seele ruehmt und preist._
+
+  369 No. 150: _Nach dir, Herr, verlanget mich._
+
+  370 Vol. i. 456.
+
+_  371 J.S. Bach,_ p. 87.
+
+  372 The conclusion is based on letters printed by Spitta, i. 517.
+
+  373 Nos. 18, 61, 142, 160, and 69.  See Table.
+
+  374 He was born May 12, 1671 (Spitta, i. 470).
+
+  375 The volume is entitled _Erdmann Neumeisters Geistliche Cantaten
+      statt einer Kirchen-Musik.  Die zweyte Auflage._
+
+  376 Entitled _Herrn Erdmann Neumeisters Fuenffache Kirchen-Andachten,_
+      Leipzig, 1716.
+
+  377 Spitta, i. 474.
+
+  378 Vol. i. 466 ff.
+
+  379 See the Aria (Duetto) of Cantata No. 28.
+
+  380 See particularly the Litanei in Cantata No. 18.
+
+  381 Telemann was Carl Philipp Emmanuel Bach's godfather (Spitta, i.
+      486).
+
+  382 Nos. 24, 28, 69, 61.
+
+  383 No. 18.
+
+  384 Nos. 142, 160.
+
+  385 See Spitta, i. 630.
+
+  386 His influence is also detected in Nos. 27, 56, 199.
+
+  387 Telemann also set the libretti of Bach's Nos. 18 and 142. See
+      Spitta, i. 487.
+
+  388 Vol. i. 530.
+
+  389 Wustmann, _Joh. Seb. Bach's Kantaten-Texte_ (1913), p. xxii n. The
+      cycle is entitled _Evangelisches Andachts-Opffer._
+
+  390 Only Nos. 70, 147, and 186 are taken from it.
+
+  391 Entitled _Evangelische Sonn- und Fest-Tages Andachten._
+
+  392 Vol. ii. 131.
+
+  393 For instance, the Aria in Cantata No. 168, beginning:
+
+
+          Kapital und Interessen Meiner Schulden gross und klein,
+          Mussen einst verrechnet sein.
+
+
+  394 Spitta, ii. 5; Schweitzer, i. 106.
+
+  395 Spitta, ii. 3.
+
+  396 The two Cantatas are Nos. 47 and 141.
+
+  397 Wustmann, p. xxiii.
+
+  398 Spitta, ii. 12 n.
+
+  399 The Choral is absent from No. 141.  It should be "Christe, du Lamm
+      Gotten."
+
+  400 Schweitzer, ii. 147.  The Cantata is No. 47, _Wer sich selbst
+      erhoehet._
+
+  401 Vol. ii. 13.
+
+  402 Vol. ii. 147.
+
+  403 No. 141: _Das ist je gewisslich wahr._
+
+  404 Vol. ii. 15.
+
+  405 Vol. ii. 148.
+
+_  406 Johann Sebastian Bach,_ p. 108.
+
+  407 Op. cit., Note 195.
+
+  408 Spitta, ii. 147.
+
+  409 Nos. 134 and 173.
+
+  410 No. 134: _Ein Herz, das seinen Jesum lebend weiss._
+
+  411 No. 173: _Erhoetes Fleisch und Blut._
+
+  412 No. 75: _Die Elenden sollen essen,_ sung on May 30, the day
+      preceding Bach's formal induction.
+
+  413 For instance, Nos. 67 and 102.
+
+  414 Wustmann, by implication, only associates eight libretti (Cantatas
+      Nos. 37, 44, 75, 76, 86, 104, 166, 179) with Weiss.  All of them
+      belong to the early years, 1723-27.
+
+  415 See Nos. 75 and 105.
+
+  416 See Nos. 25, 42, 77.  As an extreme illustration, the first
+      Recitative of No. 25 begins with the words, _Die ganze Welt ist nur
+      ein Hospital._
+
+  417 Vol. ii. 388.
+
+  418 Cantata No. 65: _Sie werden aus Saba Alle kommen._
+
+  419 Vol. i. 361.
+
+  420 Wustmann, p. xxiv.
+
+  421 Ibid.
+
+  422 See the Table.
+
+  423 They ore Nos. 6, 17, 22, 43, 48, 57, 144, 148, 157, 159,171,
+      190,195, and the incomplete Cantata, _Ehre sei Gott in der Hoehe._
+
+  424 Nos. 16, 23, 63, 81, 83, 153, 154, 184, 194.  See the Table.
+
+  425 No. 4: _Christ lag in Todesbanden._
+
+  426 Vol. ii. 393.
+
+  427 See the Table: No. 112, _Derr herr ist mein getreuer Hirt._
+
+  428 Nos. 8, 20, 93.
+
+  429 No. 148: _Bringet dem Herrn Ehre seines Namens._
+
+  430 No. 8: _Liebster Gott, wann werd' ich sterben._
+
+  431 No. 181: _Leichtgesinnte Flattergeister._
+
+  432 Vol. ii. 340 ff.
+
+  433 The volume is entitled _Sammlung Erbaulicher Gedancken, Bey und ueber
+      gewohnlichen Sonn- und Festtags-Evangelien,_ Leipzig.
+
+_  434 Cantaten auf die Sonn- und Fest-Tage durch das gantze Jahr,_
+      Leipzig, 1728.  He reprinted them in 1732 in his _Satyrische
+      Gedichte._
+
+  435 But see Cantata No. 148 and Spitta, ii. 693.  Also No. 19.
+
+  436 Cantatas Nos. 145, 156, 159, 171, 174, 188, 190 (one version), and
+      the Cantata _Ehre sei Gott._
+
+  437 No. 157.
+
+  438 Nos. 19, 30, 36, 84, 148, 197.
+
+  439 Vol. ii. 346.
+
+  440 Nos. 32, 48, 67, 90, 144, 181.
+
+  441 Nos. 16, 22, 23, 27, 35, 51, 56, 58, 63, 66, 81, 82, 83, 153, 154,
+      194, 195. No. 184 is an adaptation. See also Nos. 19, 36, 84, 144,
+      145, 148, for Bach's collaboration with Picander.
+
+  442 Besides No. 80, a Choral Cantata.
+
+  443 Schweitzer, ii. 332 ff.
+
+  444 Entitled _Versuch in gebundener Schreibart._
+
+  445 Vol. iii. 71.
+
+  446 Vol. ii. 331 n.
+
+  447 No. 85: _Ich bin ein guter Hirt._
+
+  448 Note 60.
+
+  449 Vol. ii. 331 n.
+
+  450 No. 33: _Gott faeret auf mit Jauchzen._
+
+  451 See Table.
+
+  452 No. 74.
+
+  453 Op. cit., p. 377.
+
+  454 See Table.
+
+  455 Nos. 100 and 107, both of them c. 1735.
+
+  456 No. 8, for the Sixteenth Sunday after Trinity.
+
+  457 No. 93, for the Fifth Sunday after Trinity (1728).
+
+  458 Nos. 9 (? 1731), 99 (c. 1733).
+
+  459 No. 122.
+
+  460 No. 80.
+
+  461 Nos. 1, 2, 5, 8, 20, 26, 62, 78, 91, 92, 93, 96, 115, 121, 124, 127,
+      138, 140.
+
+  462 Nos. 7, 9, 10, 14, 33, 41, 94, 99, 101, 111, 113, 114, 116, 125,
+      126, 130, 139, 178, 180.
+
+  463 Nos. 4, 97, 100, 107, 112, 117, 129, 137, 177, 192.
+
+  464 Nos. 3, 38, 123, 133, 135.
+
+  465 P. xxiv.
+
+  466 Nos. 3, 123, 133, 135.
+
+  467 See supra, p. 180.
+
+  468 Nos. 17, 34, 43, 151, 197, and _Herr Gott, Beherrsoher aller Dinge._
+
+  469 Nos. 30, 32, 48, 57, 90.
+
+  470 Nos. 45, 79, 110, 143.
+
+  471 No. 28.
+
+  472 No. 50.
+
+  473 No. 118.
+
+  474 Nos. 6, 11, 13, 146, 193.
+
+  475 See _Bach's Chorals,_ Part II., Introduction.
+
+  476 The above article and the Table that follows were communicated
+      originally to the Musical Association on March 28, 1918.
+
+  477 General mourning for the Queen lasted from Sept. 7, 1727, to Jan. 6,
+      1728. No Cantatas were sung in the period.
+
+  478 The Church Cantatas are published by Peters and also by Breitkopf
+      and Haertel.  A prefixed asterisk indicates that an English edition
+      of the Cantata or Oratorio is published by Novello or Breitkopf and
+      Haertel.
+
+      The Organ music is published by Novello, to whose edition references
+      are given (N.), Peters, and Breitkopf and Haertel.   collation of
+      the Peters and Novello editions is given in Appendix V.
+
+      The Clavier and Instrumental music is published by Peters, to whose
+      edition references are given (P.).
+
+  479 A Variant of the first Invention is on p. 342 of the volume.  A
+      Variant of Sinfonia ix. is on p. vi. of the Nachtrag.
+
+  480 A Variant is in B.G. XI.
+
+  481 A Variant is in P. bk. 244 p. 109.
+
+  482 "If genuine, the Sonata is a youthful work," remarks Schweitzer, i.
+      401 n.
+
+  483 Additional movements of the second, third, and fourth Suites are in
+      Appendix II. of B.G. XXXVI.
+
+  484 The volume contains an Appendix of Variants, etc. See also B.G. XLV.
+      (1) Appendix. Variants of Nos. 1, 3, 6 of Part II. are in Appendix
+      I. of B.G. XXXVI.
+
+  485 See publications of the N.B.G. xiv. (2) no. 5.
+
+  486 See publications of the N.B.G. vii. (3) no. 3.
+
+  487 For this work, in its original form as a Violin Concerto, see N.B.G.
+      XVIII. (1 and     2).
+
+  488 The D major (No. 3) and G minor (No. 7) Concertos are identical with
+      the Violin Concertos in E major and A minor. See B.G. XXI. (1). No.
+      6 (F. major) is the fourth Brandenburg Concerto (in G.). See B.G.
+      XIX. no. 4.
+
+  489 In a shortened form this work appears also as a Sinfonia in F major.
+      See B.G. XXXI. (1) no. 5, and N.B.G. X. (2).
+
+  490 Identical with the G minor Clavier Concerto. See B.G. XVII. no. 7,
+      and also B.G. XLV. (1), Appendix, p. 233.
+
+  491 Identical with the D major Clavier Concerto. See B.G. XVII. no. 3,
+      and N.B.G. VIII. (1)
+
+  492 Identical with the Concerto for two Claviers in C minor. See B.G.
+      XXI. (2) no. 3.
+
+  493 The movement is described as being from "einer unbekannten
+      Kirchencantate" for four voices and Orchestra. The Autograph is
+      incomplete. The movement is not published elsewhere than in the B.G.
+      edition.
+
+  494 Identical with the Concerto for 2 Violins, in D minor. See B.G. XXI.
+      (1) no. 3. Also pp. 131, 158, 160, supra.
+
+  495 Also in N.B.G. XVII. (1 and 2).
+
+  496 For an exposition of Bach's design in the "Orgelbuechlein," see the
+      present writer's articles in "The Musical Times" for January_March
+      1917, and "Bach's Chorals," Part III. See N.B.G. II. (1) for an
+      arrangement of the Preludes for two pianofortes.
+
+  497 See B.G. XLII. for a Clavier version.
+
+  498 See B.G. XLII. for a Clavier version.
+
+  499 Boosey and Co. also publish an English edition.
+
+  500 This is a shortened form of the first Brandenberg Concerto (see B.G.
+      XIX. no. 1).  It consists of the Allegro, Adagio, Minuet, Trio I.
+      and Trio II. of the latter, and omits its second Allegro and
+      Polacca.
+
+  501 The Appendix contains Joh. Philipp Kernberger's solutions of the
+      Canons and his expansion of the figured bass of the Clavier part of
+      the Sonata.
+
+  502 See publications of the N.B.G. XIV. (2) no. 2.
+
+  503 See publications of the N.B.G. XIV. (2) no. 2.
+
+  504 Text and music are identical with the version in B.G. XX. (2).
+
+  505 Another Allemande to the Suite is in B.G. XXXVI. 217 (also in P.).
+
+  506 The subject of the Fughetta is the same as that of Fugue No. 17 in
+      the second part of the "Well-tempered Clavier."
+
+  507 The Prelude is No. 11 in Peters (B.G. xxxvi. 220). The Fughetta is
+      his No. 10. It is the same subject an that of Fugue 16 in the second
+      part of the "Well-tempered Clavier." An alternative Prelude (P. 214
+      p. 78) is in the Appendix (p. 220).
+
+  508 They are described as "zur vierten franzoesischen Suite." The Prelude
+      is in P. bk. 1959 p. 67.
+
+  509 Written respectively for the second and third French Suites (not in
+      P.).
+
+  510 A fingered exercise.
+
+  511 The Appendices of the volume contain variant readings of movements
+      elsewhere contained in it, and of the first, third, and sixth
+      Preludes and Fugues in the second part of the "Well-tempered
+      Clavier."
+
+  512 See B.G. XLV. (1) Appendix.
+
+  513 Only nos. 2 and 3 are derived from Vivaldi.
+
+  514 A variant text is in B.G. XLII. 282.
+
+  515 Vivaldi's text of the first movement is in the Appendix (p. 229).
+
+  516 See B.G. XLIII. (2) sec. 1 no. 2.
+
+  517 The fugal subject is taken from the Allabreve.
+
+  518 Bach's instrumental accompaniments are in the Appendix (p. 143).
+
+  519 C. P. E. Bach's collection of his father's Choral settings was
+      published by Immanuel Breitkopf in four volumes between the years
+      1784-87.  They are all inoluded in Breitkopf and Haertel's edition
+      (1898) of Bach s "Choralgesaenge"; the numerals in brackets in the
+      above list indicate the position of each Choral in that collection.
+      The latter includes also the simple four-part Chorals from the
+      Oratorios and Cantatas; hence the numeration of that volume and B.G.
+      XXXIX. is not uniform.
+
+  520 The bracket states the title by which the tune is better known.
+
+  521 The Chorals are taken from two sources, Anna Magdalena Bach's
+      "Notenbuch" (1726; see B.G. XLIII. (2)), and Schemelli's
+      "Musicalisches Gesang-Buch" (1736), of which Bach was the musical
+      editor.  The latter contains sixty-nine melodies (with figured
+      bass), the former seven: one melody (No. 14) is in both collections.
+      The Schemelli tunes are indicated by an S within a bracket after the
+      numeral.  One melody (No. 71) is indubitably by Bach himself.  It,
+      and others, which may be attributed to him on good evidence, are
+      marked by an asterisk.  The seventy-five settings are published in
+      practicable form by the N.B.G. I. (1) and I. (2).
+
+  522 Nos. 22 and 23 are the same tune.
+
+  523 For a discussion of Bach's original hymn-tunes see the present
+      writer's "Bach's Chorals," Part II. Introduction, pp. 67 ff. Six
+      more of Bach's original hymn-tunes are printed there.
+
+  524 The first three Arias are published by Novello, and also by the
+      N.B.G. I. (1).
+
+  525 In the Royal Library, Berlin.  Kirnberger was a pupil of Bach.  See
+      section on Variants infra.
+
+  526 Novello omits the concluding four-part Choral.
+
+  527 The Prelude is also attributed to J. L. Krebs, a pupil of Bach.
+
+  528 See section on Variants infra.:
+
+  529 Variant, P. bk. 245 p. 106.
+
+  530 Ernst Naumann remarks, "Das Stueck kann recht gut von Seb. Baoh
+      herruehren." The text is complete, and the omission of the Prelude
+      from the Novello edition is to be regretted.
+
+  531 A transcription of the second Sonata for Solo Violin, in A minor,
+      See B.G. XXVII. (1).
+
+  532 A transcription of the third Partita, in E major, for Solo Violin.
+      See ibid.
+
+  533 From the third Sonata for Solo Violin, in C major. See ibid.
+
+  534 Both Sonatas are arrangements of instrumental Sonatas in J. A.
+      Reinken's "Hortus Musicus." See Spitta, i. 430.
+
+  535 Both Sonatas are arrangements of instrumental Sonatas in J. A.
+      Reinken's "Hortus Musicus." See Spitta, i. 430.
+
+  536 After a Sonata movement by J. A. Reinken.
+
+  537 After a Fugue by J. C. Erselius. The original is given in Anhang II.
+      of the volume.
+
+  538 Only Nos. 1, 2, 4, 5, 7, 9, 14 are derived from Vivaldi. The others
+      are founded on Benedetto Marcello (No. 3), Duke Johann Ernst of
+      Weimar (Nos. 11, 16, and perhaps 13).
+
+  539 The Toccata is by Henry Purcell. See Grove, vol. iii. p. 857.
+
+  540 The volume also contains a Variant of the first Organ Concerto (B.G.
+      XXXVIII.).
+
+  541 The Concerto is an arrangement of one by Antonio Vivaldi for four
+      Violins, the original of which (in B minor) is given in the Appendix
+      to the volume.
+
+  542 Omitting the vocal numbers, movements printed elsewhere, and the
+      "Menuet fait par Mons. Boehm," Peters' Bk. 1959 contains the
+      remaining twenty numbers of the Notebook. They are indicated in the
+      above index by a P in a bracket.
+
+  543 A separate Preface to the reprinted Suites is by Ernst Naumann. It
+      is dated 1895.
+
+  544 Perhaps an arrangement of an orchestral piece. See Schweitzer, i.
+      342 n.
+
+  545 The Appendix to the volume contains addenda to the Violin Concerto
+      in A minor (see B.G. XXL. (1)) and Cantata 188 (see B.G. XXXVII.).
+      Also the Zurich and London texts of the "Welltempered Clavier" (B.G.
+      XIV.), with critical notes.
+
+  546 The Preface is dated 1899. The volume was issued in 1900.
+
+  547 The original words are "Die Schaetzbarkeit der weiten Erden."
+
+  548 The title-page is dated 1913 and the Preface "Im Advent auf 1914."
+
+  549 The Aria is no. 20 of A. M. Bach's "Notenbuch" for 1725. See E.G.
+      XLII. (2) no. 20.
+
+  550 This publication, announced for 1916, appears under a different
+      title as the third issue for 1917. See infra, XVII. (3).
+
+
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK JOHANN SEBASTIAN BACH
+***
+
+
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