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,”