121
c. 1740. Feast of St. Stephen.
Christum wir sollen loben schon.
Luther (arranged by ?Picander).
Choral Cantata. Stanzas i. and viii. of the hymn are set in their original form. Stanzas ii.-vi. are paraphrased. A. T. B. Soli.
†l51
c. 1740. Feast of St. John the Evangelist.
Süsser Trost, main Jesus kommt.
?Bach.
Stanza viii. of Nikolaus Herman’s hymn, “Lobt Gott, ihr Christen alle gleich”; rest of libretto original.
Incomplete
c. 1740 (after 1734). For a Wedding.
Herr Gott, Beherrseher aller Dinge.
?Bach.
Stanzas iv. and v. of Joachim Neander’s hymn, “Lobe den Herren”; rest original. S. B. Soli.
122
c. 1742. Sunday after Christmas Day.
Das neugebor’ne Kindelein.
Cyriacus Schneegass and ?Bach.
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.
116
1744 (Nov. 15). Twenty-fifth S. after Trinity.
Du Friedefürst, Herr Jesu Christ.
Jakob Ebert. Also attributed to Ludwig Helmbold (arranged).
Choral Cantata. Stanzas i. and vii. of the hymn are set in their original form. The intervening stanzas are paraphrased.
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.
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): —
1.
Kyrie, Gott Vater in Ewigkeit (N. bk. 16 p. 28).
Christe, aller Welt Trost (ib. p. 30).
Kyrie, Gott heiliger Geist (ib. p. 33).
2.
Kyrie, Gott Vater in Ewigkeit (alio modo) (ib. 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).
(6)
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.).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).
Delphi Masterworks of Johann Sebastian Bach Page 33