Passacaglia in C minor (240). Trio for two manuals (243) and pedal in D minor. This trio is overladen with grace notes in the fashion of the day. The performer is recommended by Griepenkerl to exercise his taste as to which he retains or omits.
Pastorale in F (240). In four movements. Mostly copied singly. Forkel possessed a copy in which all four movements were combined in a whole.
Preludes and Fugues (241).
In C.
In G. The subject of the fugue is the same as that of the opening chorus in the cantata, “Ich hatte viel Bekümmernis.”
In A.
Fantasia and Fugue in G minor (241). Composed at Cöthen, probably as an act of homage to Reinken. In one copy the fantasia is called “prelude.” In another copy the fugue is in F minor with a remark, “The very best pedal-piece by Herr Joh. Seb. Bach.”
Prelude and Fugue in C (241).
A minor.
E minor.
B minor. The Peters’ edition is from the original MS. in the possession of Sir Herbert Oakeley.
Prelude and Fugue (242) E flat. From the “Clavierübung.” The fugue, like those of Buxtehude, is in three movements.
Toccata and Fugue (242) in F. The compass of the pedals in this toccata shows that it must have been written for the organ in the Lutheran Church at Cöthen. (See Glossary “Orgel-büchlein.”) In the Bachgesellschaft edition the toccata is called fantasia.
In D minor. Called Dorian from the flat being omitted from the signature. The toccata is called “prelude” in some copies.
Preludes and Fugue (242) in D minor. The prelude has no pedal part. The fugue is arranged from the earlier violin solo fugue in G minor (228).
In G minor.
Fantasia and Fugue (242) in C minor.
Prelude and Fugue in C (242). This was originally in E major. The fugue is in two portions, divided by nine bars of florid passages. It was transposed to C for some of the old organs which had only two octaves of pedals. In Kirnberger’s MS. it is called “Preludio con Fantasia con Pedal.”
Toccata and Fugue in C (242). The toccata is separated from the fugue by a very beautiful aria, in which a melody is accompanied by chords and staccato bass, the only instance of the kind in Bach’s organ works. In one MS. the toccata is called “Preludium.”
Prelude and double Fugue (242) in A minor.
Prelude and Fugue (242) in E minor.
Prelude and Fugue (243) in C major.
In G.
In D. The prelude is in two movements. The work, which is very brilliant, is inscribed “Concertata” as if intended more for concert than church use. In one copy the work is called simply “Pièce d’orgue, von Joh. Seb. Bach.”
Toccata and Fugue in D minor (243).
Prelude and Fugue in C minor (243). In some MSS. this is in D minor.
Fugues (243) in C minor. On a theme by Legrenzi. A second subject appears in the course of the fugue, which after being worked independently is finally united to the first in a double fugue.
In G minor.
In B minor. The subject is by Corelli.
In C minor. Probably written for pedal clavichord. Composed at Arnstadt.
Canzona in D minor (243). In two movements. It was popular, and many copies appear to have existed.
Fantasias (243) in G. In three movements of which the tempi are indicated by Bach. “Très Vitement,” “Grave,” “Lentement.” From the number of copies which exist this fantasia, also called “Pièce d’orgue,” appears to have been very popular.
In C minor. In five voices. In some MSS. called “Prelude.”
Prelude in A minor (243).
Fifty-six short Chorale-preludes (244).
Three sets of Chorale Variations called “Partite” (244).
Some Canonic Variations on the Christmas hymn “Vom Himmel hoch da komm ich her” (244).
Seven Chorale-preludes (244).
Sixty-three “Larger and more artistic Chorale-preludes” (245 and 246).
Four Concertos for two manuals and pedal (247). Arranged from the Violin Concertos of Vivaldi. The originals were, like Handel’s “Concerti grossi,” for four violins, one or two violas, violoncello, bass and continuo.
Eight small Preludes and Fugues (247). For the instruction of his son Friedemann.
Allabreve pro organo pleno (247). Organo pleno means a complete organ, as opposed to a positiv, or one manual instrument. It has the same kind of sense as our expression “Full orchestra,” and does not mean that the full force is to be employed the whole time.
Prelude in C (247). Without pedal.
In G “pro organo pleno” (247).
Fantasia in C (247). Without pedal.
Fugue in C (247). The pedal only enters in the last five bars, and is used in Buxtehude’s manner, merely to complete the harmony.
Prelude in G (247). Composed at Weimar.
Fugue in G minor (247).
Fantasia and Fugue in A minor (2067). An early work, in some MS. called “Preludio e Fuga per il cembalo,” so that it was probably intended for the pedal clavichord.
Fugue in G (2067).
Little Harmonic Labyrinth (2067). Consisting of three movements called “Introitus,” “Centrum,” “Exitus.” Starting in the key of C, it perpetually modulates, chiefly by enharmonic changes, and finishes by a return to C.
Fugue in G (2067).
Fugue in D (2067).
Concerto in G (2067). Called also “Fantasia.”
Trio for two manuals and pedal in C minor (2067).
Aria in F for two manuals and pedal (2067).
Eleven Chorale-preludes (2067).
ORCHESTRA
Concerto in F (261). For violins, piccolo, three oboes, and two corni di caccia, with accompaniment for two violins, viola, violoncello and bass.
Concerto in F (262). For violin, flute, oboe, and trumpet concertante, with accompaniment for two violins, viola, violoncello and bass.
Concerto in G (263). For three violins, three violas, three violoncellos and one bass. Rearranged as the introductory “symphony” to the cantata “Ich liebe den Höchsten.”
Concerto in G (264). For violin and two flutes concertante, with accompaniment for two violins, viola, violoncello and bass.
Concerto in D (265). For clavecin, flute and violin concertante, with accompaniment for one violin, viola, violoncello and bass.
Concerto in B flat (266). For two violas, two violas da gamba, with accompaniment for violoncello and bass.
Overture or Suite in C major (267). For two violins, viola, two oboes, bassoon, violoncello and bass.
Overture or Suite in B minor (268). For two violins, viola, violoncello, flute and bass.
Overture or Suite in D major (269). For two violins, viola, bass kettle-drums, two oboes, and three trumpets.
Works for Cembalo, Clavichord, Spinet, &c.
The Forty-eight Preludes and Fugues. Part I. (1 and 1a). Part II. (2 and 1b). For clavichord. See p. 131.
Sonatas (213) in A minor. From a sonata for two violins, viola da gamba and bass in Reinken’s “Hortus Musicus.”
In C major. Arranged from Reinken’s “Hortus Musicus.”
In D minor. Arranged from the sonata in A minor for violin alone (228).
Prelude and Fugue in E flat (214).
Fugue in B minor (214).
Suites in A minor (214).
In E flat.
In G.
Preludio con Fughetta in F (214).
In G.
Prelude in G (214).
The adagio of violin solo sonata in C arranged for clavier (214).
Chromatic Fantasia and Fugue in D minor (207).
Prelude and Fugue in A minor (207). Composed at Cöthen.
Toccata and Fugue in E minor (210). The toccata is in three movements.
Toccata and Fugue in F sharp minor (210). Allegro moderato, lento, fugue (for three voices) allegro moderato fugue (for four voices).
Toccata and Fugue in C minor (210). The toccata is in two m
ovements — allegro moderato and adagio.
Fantasia and Fugue in A minor (208).
Fantasia and Fughetta in B flat (212). These are written on one stave, with figures for the harmony.
In D.
Capriccio sopra la lontananza del suo fratello dilettissimo (208). See p. 28.
Toccata and Fugue in D minor (210). The toccata contains three movements — allegro moderato, allegro, adagio.
Four Duets (208). For right and left hand.
A Prelude with Fugue on the notes B, A, C, H (212). Apocryphal.
Six Partitas in B flat, C minor, A minor, D, G, E minor (205). From the Clavierübung, Part I.
Concerto “in the Italian style” (207). From the Clavierübung, Part II.
Suite in B minor (208) or Partita. From the Clavierübung, Part II. The work is entitled “an overture after French taste, for a clavicymbal with two manuals.”
Air with thirty variations for harpsichord with two manuals (209). From the Clavierübung. The theme is in the bass. The work was composed for his clever pupil, J. T. Goldberg, at the request of Baron Kayserling, who presented Bach with a snuff-box containing one hundred louis d’or in return for it.
Six little Preludes (200).
Little two-part Fugue in C minor (200).
Fifteen two-part Inventions (201).
Fifteen three-part Inventions; also called Symphonies (202).
Six little Suites called the French Suites (202). From Anna Magdalena’s first book.
Six large Suites called the English Suites (203).
Toccata and Fugue in G minor (211). The toccata is in three movements.
Prelude and Fugue in A minor (211).
Fantasia and Fugue in D (211). The fantasia is in five movements.
Prelude and Fughetta in D minor (200).
„ „ E minor (200).
Prelude and Fugue in A minor (200).
Two Fantasias in C minor (207, 212).
Two Fugues in C (200).
Two Fugues in D minor (212).
Fugues in A major (212).
„ E minor.
„ A minor.
Twelve little Preludes or exercises for beginners (200). No. 3 is also intended for the lute. Some of these are found in the “Clavierbüchlein für W. F. Bach.”
Part of a Suite in F minor (212).
Unfinished Fugue in C minor (212).
Sixteen Concertos arranged from the Violin Concertos of Vivaldi (217).
Art of Fugue (218). See p. 134.
The Musical Offering (219). See p. 135.
Fantasia in A minor (215).
Air varied in G minor (215).
Toccata in G (215). In three movements.
Overture in F. Consisting of “Overture,” “Entrée,” “Minuet,” “Trio,” “Bourrée,” “Gigue,” all in the same key.
Fantasia in G minor (215).
Capriccio in E (215). “In honour of J. C. Bach of Ohrdruf.”
Fantasia con imitazione in B minor (216). It is doubtful whether this is intended for organ or pedal harpsichord.
Sonata in D (216). Modelled on Kuhnau.
Two Fugues in A (216).
Three Minuets (216).
Minuet in G minor (1959).
Adagio and Presto in D minor (1959).
Prelude in E flat (1959).
Fugue in B flat (1959). From a fugue by J. C. Erselius.
Sixty-nine Chorale Melodies with figured bass. Published in 1736.
Of doubtful authenticity (1959):
Sarabande with 16 Partite.
Passacaille in D minor.
Suite in B flat.
Allemande }
Courante } in A.
Gigue }
Fantasia. Through all keys. Attributed to J. D. Heinichen.
Fantasia in G minor. In five movements.
Fantasia and Fugue in D minor.
Fugue in G minor.
Scherzo in D minor.
Andante in G minor.
Fugue in B flat. An extension of a sonata movement in Reinken’s “Hortus Musicus.”
Fugues —
In C.
„ E minor.
„ G.
„ D.
„ (a) E minor.
„ (b) E minor.
Chaconnes —
In A.
„ G.
Of works not already mentioned, the “Bachgesellschaft” publishes in vol. xlii., Part II., the following apparently authentic compositions: —
Prelude and Fugue in A minor.
Concerto and Fugue in C minor.
Prelude in B minor.
Of more doubtful authenticity:
Fantasia in C minor. Molto allegro.
Toccata quasi fantasia con fuga, A major.
Partie, A major.
Allemande in C minor.
Gigue, F minor.
Allemande and Courante, A major.
Allemande in A minor.
Two Fantasias and Fughettas.
An Unfinished Fugue in E minor.
KEYED INSTRUMENTS WITH ACCOMPANIMENT.
Concerto in F (248). For clavecin and two flutes concertante, with accompaniment for two violins, viola and bass.
Concerto in G minor (249). For clavecin, with accompaniment for two violins, viola, violoncello and bass.
Concerto in F minor (250). For clavecin, with accompaniment for two violins, viola and bass.
Concerto in D major (251). For clavecin, with accompaniment for two violins, viola and bass.
Concerto in A major (252). For clavecin, with accompaniment for two violins, viola, violoncello and bass.
Concerto in E major (253). For clavecin, with accompaniment for two violins, viola and bass.
Concerto in D minor (254). For clavecin, with accompaniment for two violins, viola and bass. The first allegro is arranged as the introductory symphony of the Cantata, “Wir müssen durch viel Trübsal.”
Concerto in A minor (255). For clavecin, flute and violin, with accompaniment for two violins, viola, violoncello and bass.
Concerto in C (256). For two clavecins, with two violins, viola and bass.
Concerto in C minor (257). For two clavecins, with two violins, viola and bass.
Concerto in C minor (257b). For two clavecins, with two violins, viola and bass. Arranged from the concerto for two violins.
Concerto in D minor (258). For three clavecins, with two violins, viola and bass.
Concerto in C (259). For three clavecins, with two violins, viola and bass.
Concerto in A minor, after a concerto for four violins by Vivaldi (260). For four clavecins, with accompaniment for two violins, viola and bass.
FOR OTHER INSTRUMENTS.
Concerto in A minor (22986). For violin, with accompaniment for two violins, viola and bass. Also arranged for clavecin and strings in G minor.
Concerto in E (23087). For violin, with accompaniment for two violins, viola and bass.
Concerto (23187) in D minor. For two principal violins, with accompaniment for two violins, viola and bass. Also arranged for two clavecins and strings in C minor (257b).
Three Sonatas and three Suites for violin, without accompaniment (228). Composed at Cöthen. The fugue of the sonata in G minor is also arranged for organ in D minor. The sonata in A minor is also arranged for clavecin alone in D minor (213), and the suite in E major in the same key for clavecin. The prelude in E forms the obbligato organ part of the opening chorus of the cantata “Wir danken dir.”
Six Sonatas for (232 and 233) Violin and Figured Bass.
Six Sonatas for Flute or Violin and Clavier (234 and 235).
Suite in A for Violin and Clavier (236).
Sonata in E minor for Violin and Clavier (236).
Fugue in G minor for Violin and Clavier (236).
Sonata in C for two Violins and Clavier (237).
Sonata in G for Flute, Violin and Clavier (237).
Trio for Flute, Violin and Clavier (237). From the “Musical Offering”; the clavier part supplie
d from the figured bass by Kirnberger.
Six Sonatas or Suites for the Violoncello (238).
Three Sonatas for the Viola da Gamba and Clavier (239).
Clavierbuch of Anna Magdalena Bach, 1725. Contains twenty easy pieces, consisting of minuets, polonaises, rondos, marches, and one song.
Principles of Thorough-bass for his pupils. Dated 1738, and preserved by J. P. Kellner. It is divided into two parts for beginners and advanced pupils. The author says, “The ultimate end and aim of thorough-bass should only be the glory of God and recreation of the mind. Where these are not kept in view there can be no real music, only an infernal jingling and bellowing.” The complete work is quoted as an appendix in Spitta, vol. iii.
Bibliography
Adlung (J. A.). Musica mechanica organœdi, 1768, (notes in).
Bach (J. S.). Eine Biographie, mit Portrait. Cassel, 1855.
Bachgesellschaft. The complete works of Bach in 60 volumes, with important introductory notices; published by the Bach Society of Leipsic. Breitkopf & Härtel, 1851 to 1898.
Bitter (C. H.). Joh. Seb. Bach. Berlin, 1865: 2 vols.; and 1880: 4 vols.
—— Die Söhne Sebastian Bachs. 1883. In Waldersee’s Sammlung musikalische Vorträge, vol. v.
Brockhaus. Conversationslexicon. Leipsic, 1833.
Bruyck (C. D. van). Technische und æsthetische Analysen des Wohlt. Clav. 1867.
Conrad (E. F.). Echt oder unecht? Zur Lucas-Passion. Berlin.
David (E.). La vie et les œuvres de J. S. Bach. In “Bibliothèque Contemporaine.” Paris, 1882.
Ersch und Gruber. Allgemeine Encyclopædie. Part VII. Leipsic, 1821. (Article by C. M. von Weber.)
Fétis. Biographie Universelle des Musiciens. 2nd edition. 1889.
Forkel (J. N.). Über Johann Sebastian Bachs Leben. Kunst und Kunstwerke. Leipzig, 1802.
—— An English translation of the above appeared in 1820, and a French edition, with notes by F. Grenier, was published at Paris in 1876.
Franz (R.). Über J. S. Bachs Magnificat. 1863.
—— Ueber Bearbeitungen älterer Tonwerke, namentlich Bach’scher und Händel’scher Vocal-musik. 1871.
Frommel (G.). Händel und Bach. 1878.
Fuchs (H.). Le Bicentenaire de Bach. La Passion selon Saint Matthieu a Bâle. 1885.
Gerber (E. L.). Lexicon der Tonkünstler. Leipsic, 1790.
—— Lexicon der Tonkünstler. Leipsic, 1812.
Delphi Masterworks of Johann Sebastian Bach Page 75