Bach.

(b Andelsbuch, Vorarlberg, c1555; d Nürtingen, 1 Dec 1615). Violinist and court musician. He became a Spielmann (violinist) and jester at the Stuttgart court of Duke Ludwig of Württemberg about 1585, and in 1593 he followed the widowed Duchess Ursula to the court of Nürtingen, where he remained until his death. He apparently often travelled, both alone and in the court entourage. Of his work all that survives is the text of a narrative song of 1614 describing a visit to the town of Weil (Hanss Baachens Lobspruch zur Weil der Statt: ‘Es ist nun über zwantzig Jahr’); its manner is reminiscent of the late medieval style of Oswald von Wolkenstein. There are two extant portraits of him, an etching of about 1605 and an engraving of 1617. The etching bears the inscription:

(1) Hans [Johann] Bach

Hie siehst du geigen/Hansen Bachen
Wenn du es hörst/so mustu lachen
Er geigt gleichwol/nach seiner Art
Und tregt ein hipschen/Hans Bachen Bart.

Nothing is known of his extraction; he was probably related in some way to Veit Bach (1) of the Wechmar line – Hans was Protestant (no matter of course in the Catholic south) and like Veit he came from Habsburg lands. His portrait of 1617 was in the collection owned by C.P.E. Bach, but since C.P.E. Bach’s Nachlassverzeichnis of 1790 cited him as ‘Bach (Hans), a Gotha musician’ his ownership of the picture cannot be taken as confirmation that Hans was a member of the family. He had obviously been confused with the Spielmann Hans Bach (2), who trained in Gotha.

BIBLIOGRAPHY

W. Wolffheim: ‘Hans Bach der Spielman’, BJb 1910, 70–85

W. Irtenkauf and H. Maier: ‘Gehört der Spielmann Hans Bach zur Musikerfamilie Bach?’, Mf, ix (1956), 450–52

(13) (b Arnstadt, bap. 8 Dec 1642; d Eisenach, bur. 2 April 1703). Composer and organist, son of Heinrich Bach (6). He was probably the most important member of the family before (7) Johann Sebastian (24). He received a thorough musical grounding from his father, and on 20 November 1663 was appointed organist of the Arnstadt castle chapel. Two years later he was invited by the Eisenach town council to apply for the post of organist at St Georg, and after an audition on 10 December 1665 he was appointed to that position and also to the post of harpsichordist in the court Kapelle of the Duke of Eisenach. He retained both positions until his death.

(2) Johann Christoph Bach

Little is known of his work in the court Kapelle. From 1675 the Kapellmeister was Daniel Eberlin, later to become the father-in-law of Telemann, who also conducted the Kapelle on occasion, and for a short while (1677–8) Pachelbel was a member of the Kapelle. During much of his time there Johann Christoph’s most important colleague must have been his cousin, the violinist Johann Ambrosius (11); Ambrosius often served as his copyist, and their relationship was doubtless a close one. The young Johann Sebastian must also have received his first impressions of organ music from his father’s cousin. While Johann Christoph’s court position was one of high standing, his tenure of the civic one was marred by a succession of quarrels between him and the town council, for which he was not entirely blameless. It must be said in extenuation that throughout his years in Eisenach he was constantly beset by severe family difficulties, particularly the illnesses of his wife and children. His quarrels with the town council were mostly about his salary and the council’s refusal to provide an official residence for him, a deficiency eventually made good by the court. For many years he also battled with the council over the long-overdue restoration (or reconstruction) of the organ at St Georg; he was successful only in 1696, and then did not live to see the completion (by G.C. Stertzing) of the famous instrument in 1707 (his copious, expert notes on the organ’s reconstruction are extant; see Freyse). He died in 1703, just ten days after the death of his wife.

Within the family Johann Christoph was highly respected as a composer (a ‘profound’ one according to the Ursprung). In Johann Sebastian’s obituary notice of 1754 he is mentioned expressly as one who ‘was as good at inventing beautiful thoughts as he was at expressing words. He composed, to the extent that current taste permitted, in a galant and cantabile style, uncommonly full-textured … On the organ and the keyboard [he] never played with fewer than five independent parts’. Johann Sebastian performed some of his motets and vocal concertos in Leipzig, as also did C.P.E. Bach later in Hamburg. Although Johann Christoph was primarily an organist and harpsichordist, his extant keyboard works are few, but they show him as a capable composer, stylistically akin to Pachelbel though in general less pedantic. His organ chorales (probably in effect written-down improvisations) demonstrate his mastery of the small form, while the strength of his artistry is developed in his extended harpsichord variations. His vocal works, in particular the motets and concertos, are notable for the variety of their settings. The concertos are characterized by their full instrumental writing, with unusually interesting inner part-writing. While the vocal writing is for the most part technically undemanding (the choral sections were intended for school choirs), the instrumental parts are usually highly elaborate and often call for a virtuoso solo violin (as in the two lamenti and the wedding concerto Meine Freundin, du bist schön). Johann Sebastian and Carl Philipp Emanuel thought particularly highly of his 22-part concerto for Michaelmas, Es erhub sich ein Streit, one of the finest vocal works of the late 17th century. Basically his double-choir motets follow the traditional central German model including both Spruch and chorale, with cantabile melodies and often lively alternation of tutti and soloists – a genre which indeed reached its peak in the works of Johann Christoph and his brother (3) Johann Michael (14). In both composers’ works the older style of writing, with alternating chordal and imitative sections, still predominated, for instance in the motet Der Gerechte, ob er gleich zu zeitlich stirbt, which is also a particularly fine example of Johann Christoph’s expressive harmony; but the newer style, with its livelier lines (including melismatic semiquaver passages) and looser, more concertante writing, is found in Sei getreu bis in den Tod and Der Mensch, vom Weibe geboren, obviously later works. The lack of documentation and the small number of the surviving works preclude the establishment of a reliable chronology of Johann Christoph’s music.

WORKS

vocal

Editions: Altbachisches Archiv, i, ed. M. Schneider, EDM, 1st ser., i (1935) [S]Johann Christoph Bach: Sämtliche Motetten, ed. E. Franke (Leipzig, 1982) [F]

Arias: Es ist nun aus mit meinem Leben, SATB, bc, S, F; Mit Weinen hebt sichs an, SATB, bc, 1691, S, F

Motets: Der Gerechte, ob er gleich zu zeitlich stirbt, SATTB, bc, 1676, S, F, ed. in Musica sacra, xxxix (Berlin, 1860); Der Mensch, vom Weibe geboren, SSATB, bc, S, F, ed. R. Kubik (Stuttgart, c1984); Fürchte dich nicht, SSATB, bc, F, ed. G. Graulich (Stuttgart, c1992); Herr, nun lässet du deinen Diener, SATB, SATB, bc, F, ed. G. Graulich (Stuttgart, c1980); Herr, wenn ich nur dich habe, SATB, SATB, bc, D-Bsb (anon.), F; Ich weiss, dass mein Erlöser lebt, SATTB, bc, F, ed. G. Graulich (Stuttgart, 1994); Lieber Herr Gott, wecke uns auf, SATB, SATB, bc, 1672, F, ed. G. Graulich (Stuttgart, c1994); Merk auf mein Herz, SATB, SATB, bc, bwv Anh.III.163, ed. P. Wollny (Neuhausen-Stuttgart, 1991); Sei getreu bis in den Tod, SSATB, bc, S, F, ed. R. Kubik (Stuttgart, c1983); Unsers Herzens Freude, SATB, SATB, bc, F; Was kein Aug gesehen hat, SATB, SATB, bc, Bsb (anon.), F

Vocal concertos: Ach, dass ich Wassers gnug hätte (Lamento), A, vn, 3 va, bc, ed. T. Fedtke (Stuttgart, c1976); Die Furcht des Herren, SSATB, SATTB, 2 vn, 2 va, bc, S, ed. H. Bergmann (Stuttgart, c1986); Es erhub sich ein Streit, SATBB, SATBB, 4 tpt, timp, 2 vn, 4 va, bc, ed. D. Krüger (Stuttgart, c1960); Es ist nun aus, SATB, bc Kiev, Archive for Literature and Art (formerly Berlin, Singakademie); Herr, wende dich und sei mir gnädig (Dialogus), SATB, 2 vn, 2 va, bc, ed. H. Bergmann (Stuttgart, c1988); Mein Freundin, du bist schön (Dialogus, wedding piece), SATB, 4 vn, 3 va, bc, S, ed. H. Bergmann (Stuttgart, c1989); Mit Weinen hebt sichs an , SATB, bc , Kiev, Archive for Literature and Art (formerly Berlin, Singakademie); Wie bist du denn o Gott (Lamentation), B, vn, 3 va da gamba, ed. in DTB, x, Jg.vi/1 (1905; attrib. J.P. Krieger), ed. D. Hellmann (Stuttgart, c1976)

Lost: Auf, lasst uns den Herren loben, S, insts, listed in Schweinfurt inventory, 1689; Der Herr ist König, B, insts, listed in Schweinfurt inventory, 1689; Gott schweig doch nicht also, 5vv, insts, listed in Schweinfurt inventory, 1689; Nun gehe ich hin, B, insts, listed in Schweinfurt inventory, 1689; Unsere Tage fahren alle dahin, a 10, listed in Stettin inventory, 1702

instrumental

Aria Eberliniana (15 variations], hpd, 1690, D-EIb (facs. (Leipzig, 1992)); ed. C. Freyse, Veröffentlichungen der Neuen Bachgesellschaft, Jg.xxxix/2 (1940)

Sarabande, G [12 variations], hpd; ed. H. Riemann (Leipzig, n.d.)

Aria, a [15 variations]; ed. G. Birkner (Zürich, 1973)

Praeludium und Fuge, E, org, doubtful; ed. D. Hellmann, Orgelwerke der Familie Bach (Leipzig, 1967)

44 chorales with preludes, org, ed. M. Fischer (Kassel, 1936)

4 chorales, org: Ach Herr, mich armen Sünder; Allein Gott in der Höh sei Ehr; An Wasserflüssen Babylon; Wer Gott vertraut, hat wohl gebaut; ed. C. Wolff, appx to Johann Michael Bach: Sämtliche Orgelchoräle (Neuhausen-Stuttgart, 1987)

Lost: 8 chorales, org , listed in GerberNL, i, 209

BIBLIOGRAPHY

MGG1 (R. Benecke)

M. Schneider: ‘Thematisches Verzeichnis der musikalischen Werke der Familie Bach’, BJb 1907, 103–77

M. Fischer: Die organistische Improvisation im 17. Jahrhundert, dargestellt an den ‘Vieruntvierzig Chorälen zum Präambulieren von Johann Christoph Bach (BA 285) (Kassel, 1929)

F. Rollberg: ‘Johann Christoph Bach: Organist zu Eisenach 1665–1703’, ZMw, xi (1928–9), 549–61

C. Freyse: ‘Johann Christoph Bach’, BJb 1956, 36–51

P. Wollny: ‘Materialen zur Schweinfurter Musikpflege im 17. Jahrhundert: von 1592 bis zum Tod Georg Christoph Bachs (1642–1697)’, Schütz Jb 1997, 113–63

H.-J. Schulze and C. Wolff, eds.: Bach Repertorium (forthcoming)

(14) (b Arnstadt, bap. 9 Aug 1648, d Gehren, 17 May 1694). Composer, son of Heinrich Bach (6). He received a sound musical education from his father and the Arnstadt Kantor Jonas de Fletin; the latter's influence may account for his early interest in vocal music. In 1665 he succeeded his brother (2) Johann Christoph (13) as organist of the Arnstadt castle chapel. After an audition on 5 October 1673 he succeeded Johann Effler (who later preceded Johann Sebastian as castle organist in Weimar) as town organist in Gehren. He was also active as an instrument maker there and held the important administrative post of town clerk. On 17 October 1707 his youngest daughter, Maria Barbara (b Gehren, 20 Oct 1684), married her distant cousin (7) Johann Sebastian (24).

(3) Johann Michael Bach

A pamphlet issued by the Gehren council refers to Johann Michael as a ‘quiet, reserved and artistically experienced subject’; within the family he was considered a ‘skilful composer’ (Ursprung). As a composer, in fact, he is on almost the same level as his brother Johann Christoph. Especially in the chorale motet, a genre to which he devoted himself with particular intensity, he composed works of real distinction, and his strophic arias, with their parts for obbligato instruments and their resourceful and expressive ritornellos, are also of undisputed value. A notable feature of his music is his varied, natural and convincing treatment of vocal declamation, whether in biblical texts, chorale verses or free poetry. In his motets, as in his brother's, the older, strongly homophonic style predominates; but in such works as Sei lieber Tag willkommen he turned to the freer and more modern style with melismatic passages. His works for double chorus stand firmly in the tradition of Schütz's Psalmen Davids, but go beyond their models. The nine-part funeral motet Unser Leben ist ein Schatten, which has been erroneously attributed to Johann Bach (4), is particularly moving in its illustrative and expressive qualities. His vocal concertos are less extended than those of his brother, but he too favoured a full-textured orchestral palette, which is often quite sophisticated and frequently includes a virtuoso solo violin part.

Almost all the extant keyboard compositions by Johann Michael Bach are organ chorales. They are mainly in the central German tradition of concise, contrapuntal and practical settings, showing a clear relationship to similar works by Johann Pachelbel. Recent discoveries have trebled the number of Johann Michael's extant chorale settings and, although the total remains considerably less than the ‘72 verschiedene fugirte und figurirte Choralvorspiele’ cited by Gerber, these permit a fairer assessment of Bach's merits as an organ composer than was previously possible. The central German organ chorale underwent a slight shift of emphasis in the work of Johann Michael Bach. His four-part figured chorales with the melody in the highest part, as well as others that combine forms more freely, show him to have been a decidedly independent composer, and he must have influenced the young Johann Sebastian in particular. Gerber wrote of him in 1812: ‘There is great variety and diversity in the preludes, after the manner of that period, and none is entirely unworthy of the name of Bach’.

WORKS

vocal

Edition: Altbachisches Archiv, ed. M. Schneider, EDM, 1st ser., i–ii (1935) [S i–ii]Arias: Ach, wie sehnlich wart ich der Zeit, S, vn, 3 va da gamba, bc; Auf, lasst uns den Herrn loben, A, vn, 3 va da gamba, bc: ed. in S ii, ed. H. Bergmann (Neuhausen-Stuttgart, c1985)Motets, SATB, SATB, bc unless otherwise stated: Benedictus, SATTB, ?bc, ed.; Das Blut Jesu Christi, SATTB, bc, ed. in S i, ed. R. Kubik (Neuhausen-Stuttgart, c1981); Dem Menschen ist gesetzt einmal zu sterben, ed. in S i, ed. R. Kubik (Kirchheim, c1985); Ehre sei Gott in der Höhe, ed. in DDT, xlix–l (1915), ed. D. Melamed (Neuhausen-Stuttgart, 1992); Fürchtet euch nicht, ed. in S i, ed. R. Kubik (Neuhausen-Stuttgart, c1980); Halt, was du hast, ed. in S i; Herr, du lässest mich erfahren, ed. in S i; Herr, ich warte auf dein Heil, ed. in S i, ed. R. Kubik (Neuhausen-Stuttgart, c1984); Herr wenn ich nur dich habe, SATTB, bc, ed. in S i, ed. R. Kubik (Neuhausen-Stuttgart, c1984); Ich weiss, dass mein Erlöser lebet, SATTB, bc, ed. in S i; Nun hab ich überwunden, ed. in S i; Nun treten wir ins neue Jahr, ed. D. Melamed (Neuhausen-Stuttgart, 1992); Sei lieber Tag willkommen, SSAATTB, bc, ed. in S i; Sei nun wieder zufrieden, ed. G. Graulich (Stuttgart, 1993); Unser Leben ist ein Schatten, SSAATTB, ATB, bc, ed. in S i (attrib. Johann Bach (4)); Unser Leben währet siebenzig Jahr, SATTB, bc, ed. in S iVocal concertos: Ach bleib bei uns, Herr Jesu Christ, SATB, 2 vn, 3 va, bc, ed. in S ii, ed. H. Bergmann (Neuhausen-Stuttgart, c1985); Es ist ein grosser Gewinn, S, 4 vn, bc, ed. in S ii, ed. H. Bergmann (Neuhausen-Stuttgart, c1985); Herr, komm hinab, SATB, 2 vn, 2 va, bc, ed. H.M. Balz (Merseburger, 1995); Liebster Jesu, hör mein Flehen (Dialogus), SATB, 2 vn, 2 va, bc, ed. in S ii, ed. H. Bergmann (Neuhausen-Stuttgart, c1985)Lost, listed in Ansbach inventory, 1686 (see Schaal): Conditor coeli, a 8; Der Herr is König, a 12; Ich freue mich des, a 15; Lobet, ihr Knechte des Herrn, a 12; Mein Sünd betrüben mich, a 8; Miserere, a 15; Omnipotens Deus, a 12; Pater noster, a 12; Siehe, lobe den Herrn, a 12; Was willtu meine Seele, a 6; Welche ich lieb habe, a 10Lost, listed in Schweinfurt inventory, 1689 (see Wollny): Auf meinen lieben Gott, SATB, 2 vn, bc (also formerly in Berlin, Singakademie); Benedicat tibi Dominus ex Sion, 5vv, insts; Der Gott Abraham, der Gott Isaac, 5vv, insts; Dies ist der Tag, 6vv, insts; Gott ist mein Heil, 4vv, insts; Herr, lehre uns bedenken, 5vv, insts; Mag, 4vv, insts; Sit nomen Domini benedictum, 5vv, insts; Unser Herr Jesus Christus, B, insts; Wem ein tugendsam Weib, 5vv, insts; Wenn mein Stündlein vorhanden ist, 5vv, insts; Wenn wir in höchsten Nöten sein, 5vv, insts; Wie bin ich doch so herzlich froh, 5vv, instsOthers lost: Ist nicht Ephraim, SATB, 4 va, bc, formerly in Berlin, Singakademie; Wie lieblich sind deine Wohnungen (see Brück); Zion spricht: Der Herr hat mich verlassen, listed in Stettin inventory, c1702

instrumental

Edition: Johann Michael Bach: Sämtliche Orgelchoräle, ed. C. Wolff (Neuhausen-Stuttgart, 1987) [W]Chorales, org, ed. in W: Allein Gott in der Höh sei Ehr; Auf meinen lieben Gott; Der du bist drei in Einigkeit; Derr Herr ist mein getreuer Hirt; Dies sind die heiligen zehn Gebot, also ed. D. Hellmann, Orgelwerke der Familie Bach (Leipzig, 1967); Es spricht der Unweisen Mund wohl; Gelobet seist du, Jesu Christ, bwv 723; Gott hat das Evangelium; Gott Vater, der du deine Sohn (anon. in source); Herr Christ, der einig Gottes Sohn; In dich hab ich gehoffet, Herr, also ed. in EDM, 1st ser., ix (1937); In dulci jubilo, bwv 751; Jesus Christus, unser Heiland, der den Tod; Komm, Gott schöpfer, Heiliger Geist (anon. in source); Kommt her zu mir, spricht Gotte Sohn; Mag ich Unglück nicht widerstahn; Meine Seele erhebt den Herren; Nun freut euch lieben Christen gmein; Nun komm, der Heiden Heiland; Nun lasst uns Gott dem Herren; O Herre Gott, Vater in Ewigkeit; Von Gott will ich nicht lassen; Warum betrübst du dich, mein Herz; Wenn mein Stündlein vorhanden ist, also ed. D. Hellmann, Orgelwerke der Familie Bach (Leipzig, 1967); Wenn wir in höchsten Nöten sein, also ed. in EDM, 1st ser., ix (1937) and ed. D. Hellmann, Orgelwerke der Familie Bach (Leipzig, 1967); Wo Gott der Herr nicht bei uns hält, also ed. in EDM, 1st ser., ix (1937)Other works: Partita, a, hpd, US-NH; Stark besetzte Sonaten, lost, cited in GerberL and WaltherML

BIBLIOGRAPHY

GerberL

WaltherML

M. Schneider: ‘Thematsiches Verzeichnis der musikalischen Werke der Familie Bach’, BJb 1907, 103–77, esp. 109

W. Freytag: Musikgeschichte der Stadt Stettin im 18. Jahrhundert (Greifswald, 1936), 138–42

R. Schaal: Die Musikhandschriften des Ansbacher Inventars von 1686 (Wilhelmshaven, 1966)

D. Sackmann: ‘Johann Michael, der “Gehrener Bach” (1648–1694)’, Musik und Gottesdienst, xlviii (1994), 49–57

P. Wollny: ‘Materialien zur Schweinfurter Musikpflege im 17. Jahrhundert: von 1592 bis zum Tod Georg Christoph Bachs (1642–1697)’, Schütz Jb 1997, 113–63

H. Brück: ‘Eine “Verordnung der Music” der Kaufmannskirche zu Erfurt von 1671 als Nachweis unbekannter Kompositionen von Johann Michael Bach (1648–1694)’, BJb 1998, 183–5

H.-J. Schulze and C. Wolff, eds.: Bach Repertorium (forthcoming)

(27) (b Eisenach, 10 Oct 1669, d Jena, 4 Nov 1753). Composer and organist, son of (2) Johann Christoph Bach (13). After his early musical training at home, he entered the University of Jena in 1690, pursuing his musical studies with J.N. Knüpfer (son of Sebastian Knüpfer, Thomaskantor in Leipzig). After a journey to Italy, the purpose and duration of which are not known, he succeeded Knüpfer in 1694 as organist of the town church in Jena. The university authorities were however reluctant to allow him to act in addition as organist at the Kollegienkirche, as Knüpfer had done, and it was not until 1719 that he finally took on the double post of town and university organist. In 1703 he had refused an appointment at St Georg, Eisenach, as successor to his father, primarily, no doubt, because of the better salary in Jena, where he lived in modest prosperity. Presumably he was in contact with his relative Johann Georg Bernhard (47) during the latter’s period of study in Jena, 1737–9. From 1745, in consideration of his age, he was provided with an assistant organist. In the Ursprung Johann Sebastian called him ‘present senior of all the Bachs still living’.

(4) Johann Nicolaus Bach

Johann Nicolaus was a skilful composer, but his few extant works – some student music, Der Jenaische Wein- und Bierrufer (ed. F. Stein, Leipzig, 1921), and an organ chorale, Nun freut euch lieben Christen gmein (D-Bsb) – hardly permit an assessment of his style. There are, however, no noticeable italianate aspects such as might have resulted from his stay in Italy. Apart from being an organist, the leader of the university’s collegium musicum and a composer, he was also an instrument maker, particularly of harpsichords. Adlung called him the inventor of the Lautenklavier, and in a letter of 1728 Bach referred explicitly to a ‘Lauten Clavier’ which he had sold to a Hungarian nobleman in Jena. As an expert on organs he supervised the reconstruction of an instrument with three manuals and 44 stops in the Kollegienkirche, 1704–6. Among his pupils was F.E. Niedt, author of a well-known thoroughbass method, Musicalische Handleitung (Hamburg, 1700–17).

BIBLIOGRAPHY

H. Koch: ‘Johann Nicolaus, der “Jenaer” Bach’, Mf, xxi (1968), 290–304

H.-J. Schulze: ‘“Die Bachen stammen aus Ungarn her”: ein unbekannter Brief Johann Nicolaus Bachs aus dem Jahre 1728’, BJb 1989, 213–20

T. Christensen: ‘Johann Nikolaus Bach als Musiktheoretiker’, BJb 1996, 93–100

H.-J. Schulz and C. Wolff, eds.: Bach Repertorium (forthcoming)

(18) (b Erfurt, bap. 25 Nov 1676; d Eisenach, 11 June 1749). Composer and organist, son of Johann Aegidius Bach (8). He studied with his father and about 1695 took up his first post, as organist at the Kaufmannskirche in Erfurt; in 1699 he went to Magdeburg, and in 1703 he replaced his kinsman (2) Johann Christoph (13) as town organist and court harpsichordist in Eisenach, a post which Johann Christoph’s son Johann Nicolaus (27) had declined. Repeated rises in salary show the esteem in which he was held, particularly in the court Kapelle, which was directed by Telemann in 1708–12.

(5) Johann Bernhard Bach

His only extant works are instrumental; some of the organ works are in copies made by his pupils in Erfurt, who included J.G. Walther (according to Walther himself). Johann Sebastian Bach evidently valued his orchestral suites, for he had five of them copied (he himself was involved in some of the copying) for his collegium musicum in Leipzig. J.S. Bach’s obituary notice of 1754 says that Johann Bernhard ‘composed many beautiful overtures in the manner of Telemann’, no doubt referring particularly to the forces he employed (dessus, haute-contre, taille and continuo) and to the programmatic movement titles (‘Les plaisirs’, ‘La toge’) in the French tradition.

WORKS

4 ovs., orch, D-Bsb: g, ed. A. Fareanu (Leipzig, 1920); G; e; D, ed. K. Geiringer, Music of the Bach Family (Cambridge, Mass., 1955); all ed. H. Bergmann and H. Max (Stuttgart, 1985–8)

Ov., g, lost, listed in C.P.E. Bach’s Nachlassverzeichnis

Org works: fugue, F, ed. H. Riemann (Leipzig, n.d.); fugue, D, ed. in FrotscherG

Org chorales: Du Friedefürst, Herr Jesu Christ; Vom Himmel hoch: both ed. D. Hellmann, Orgelwerke der Familie Bach (Leipzig, 1967); Christ lag in Todesbanden; Nun freut euch lieben Christen: both ed. in EDM, 1st ser., ix (1937); Wir glauben all an einen Gott [3 versions]

Chaconne, B, hpd

BIBLIOGRAPHY

FrotscherG

H. Kühn: ‘Vier Organisten Eisenachs aus bachischem Geschlecht’, Bach in Thüringen: Gabe der Thüringer Kirche (Berlin, 1950), 103–19

S. Orth: ‘Zu den Erfurter Jahren Johann Bernhard Bachs (1676–1749)’, BJb 1971, 106–11

C. Oefner: Die Musikerfamilie Bach in Eisenach (Eisenach, 1984)

H.-J. Schulze and C. Wolff, eds.: Bach Repertorium (forthcoming)

(b Thal, nr Eisenach, 4 Feb 1677; d Meiningen, bur. 1 May 1731). Composer, son of Johann Jacob Bach (3/60). Nothing is known of his musical training, but he probably received some early instruction from his father before attending the Gotha Gymnasium in 1688–93. From 1699 he was a court musician at Meiningen, from 1703 Kantor and from 1711 court Kapellmeister. In 1706 he had unsuccessfully applied to succeed A.C. Dedekind as Kantor of St Georg, Eisenach, although he had been interested only in the musical and not the teaching duties of the post. His patron of many years, Duke Ernst Ludwig, died in 1724 and Johann Ludwig wrote the music for his funeral.

(6) Johann Ludwig Bach

Johann Ludwig wrote an imposing number of vocal works. Although orchestral music was probably his principal activity from 1711 onwards, hardly any music at that type is extant. The preservation of the cantatas is due primarily to Johann Sebastian, who performed 18 of them, as well as the two masses, in Leipzig in 1726; some were given again between 1735 and 1750. Denn du wirst meine Seele was long considered an early work by Johann Sebastian (bwv15). The cantatas constitute the most important part of Johann Ludwig’s work; in contrast with the main corpus of Johann Sebastian’s cantatas, they represent the older type of mixed cantata, consisting essentially of biblical text and chorale in the following scheme: text from the Old Testament; recitative; aria; text from the New Testament; aria; recitative; chorus; chorale. The standard scoring is for four-part choir, strings and (usually) two oboes; in one cantata two horns are required, but there are no solo woodwind. These works had at least some small influence on Johann Sebastian, for example in his use of a string ensemble to accompany the words of Jesus.

WORKS

manuscripts in D-Bsb unless otherwise stated

Messe sopra cantilena Allein Gott in der Höh, e, 1716, bwv Anh.III.166 [opening of Gl by J.S. Bach]; ed. K. Hofmann (Stuttgart, 1976)

Mass, G, bwv Anh.III.167

Magnificat, 8vv

23 church cants.: Darum säet euch Gerechtigkeit; Darum will ich auch erwählen; Denn du wirst meine Seele nicht in der Hölle lassen, bwv15, ed. in Johann Sebastian Bachs Werke, ii (Leipzig, 1851/R); Der Gottlosen Arbeit wird fehlen; Der Herr wird ein neues im Land erschaffen; Die mit Tränen säen, ed. H. Hornung and M.G. Schneider (Neuhausen-Stuttgart, 1980); Die Weisheit kommt nicht in eine boshafte Seele; Du sollst lieben Gott, D-Gs; Durch sein Erkenntnis; Er machet uns lebendig; Es ist aus der Angst und Gericht; Es wird des Herrn Tag kommen, F-Pn; Gott ist unser Zuversicht, ed. A.M. Owen (St Louis, n.d.); Ich aber ging für dir über; Ich will meinen Geist in euch geben; Ja, mir hast du Arbeit gemacht, ed. H. Max (Neuhausen-Stuttgart, 1984); Kommt, es ist alles bereit, lost, formerly in Berlin, Singakademie; Küsset den Sohn, dass er nicht zürne (frag.); Mache dich auf, werde Licht, ed. H. Max (Neuhausen-Stuttgart, 1984); Siehe ich will meinen Engel senden; Siehe, ich will viele Fischer ausssenden (frag.); Und ich will ihnen einen einigen Hirten erwecken; Wie lieblich sind auf den Bergen

11 motets: Das Blut Jesu Christi; Das ist meine Freude, ed. G. Graulich (Neuhausen-Stuttgart, 1980); Die richtig für sich gewandelt haben; Gedenke meiner, mein Gott; Gott sei mir gnädig; Ich habe dich ein klein Augenblick; Ich will auf den Herrn schauen; Sei nun wieder zufrieden, ed. in Cw, xcix (1964); Unser Trübsal, ed. in Cw, xcix (1964); Uns ist ein Kind geboren, ed. R. Moser (Leipzig, 1930), ed. K. Hofmann (Stuttgart, 1984); Wir wissen so unser irdisches Haus

Klingt vergnügt, secular cant.

Funeral music, 1724, 3 pts; pt 2 ed. K. Geiringer, Music of the Bach Family (Cambridge, MA, 1955)

Passion; cant. cycle for 1713, cited in S. Kümmerle: Enzyclopädie der evangelischen Kirchenmusik, i (Gütersloh, 1888/R), 67

Suite, G. orch, 1715; ed. K. Hofmann (Neuhausen-Stuttgart, c1984)

BIBLIOGRAPHY

A. Dörffel: ‘Verzeichnis der Kirchenkompositionen des Johann Ludwig Bach in Meiningen’, Johann Sebastian Bachs Werke, xli (1894), 275–6

A.M. Jaffé: The Cantatas of Johann Ludwig Bach (diss., Boston U., 1957)

W.H. Scheide: ‘Johann Sebastian Bachs Sammlung von Kantaten seines Vetters Johann Ludwig Bach’, BJb 1959, 52–94; BJb 1961, 5–24; BJb 1962, 5–32

W. Blankenburg: ‘Eine neue Textquelle zu sieben Kantaten J.M. Bachs und achtzehn Kantaten Johann Ludwig Bachs’, BJb 1977, 7–25

K. Hofmann: ‘Forkel und die “Köthener Trauermusik” Johann Sebastian Bachs’, BJb 1983, 115–18

K.Küster: ‘Meininger Kantatentexte um Johann Ludwig Bach’, BJb 1987, 159–64

K. Küster: ‘Die Frankfurter und Leipziger Überlieferung der Kantaten Johann Ludwig Bachs’, BJb 1989, 65–106

H.-J. Schulze and C. Wolff, eds.: Bach Repertorium (forthcoming)

The history of the St Matthew Passion, with its double chorus, is less complicated, though not entirely straightforward. In this case the date of the first performance seems now to be established (the Thomaskirche, Good Friday 1727), but some details of that occasion remain unclear because of lacunae in the source material (version bwv244b). Furthermore, some ten movements from the St Matthew Passion were incorporated into the Cöthen funeral music of 1729 (bwv244a), and the consequences of that for the repeat of the Passion in the same year are not known. On the whole the St Matthew Passion is a considerably more unified piece than the St John, for which the primary reason is its use of Picander’s text. Its greater textual and musical scale allows more space for the arias and ‘madrigal’ pieces in which the coupling of arioso with aria is an especially characteristic feature. Another special feature is the way the strings provide an accompanying halo in Jesus’s recitatives. The pervading cyclical formation of the work (from the interrelating of the chorales, tonal organization and paired movements) is in some respects even more pronounced than in the St John Passion, while it lacks the earlier work’s ‘architectural’ centre. After 1729 the St Matthew Passion had at least two more performances under Bach’s direction. In 1736 he made some important changes, chief among them emphasizing the separation of the two choruses and instrumental ensembles by division of the continuo, exchanging the simple chorale at the end of part i for ‘O Mensch bewein’ and replacing the lute in ‘Komm süsses Kreuz’ with bass viol. The additional alterations of about 1742 were mainly a matter of meeting practical performing conditions.

In its main sections, that is in the ‘madrigal’ pieces, the St Mark Passion of 1731 was a parody work whose main sources are the Trauer Ode (Cantata no.198) and the Cöthen funeral music (bwv244a). While only the text survives, the musical design can in part be deduced from these models, although they scarcely permit it to be reconstructed satisfactorily. The Bach literature includes discussion of parody relationships which go further than this, but they seem to raise more questions than they answer. The most plausible suggestion, made by Smend (1940–48), is that some of the exceptionally large number of chorales in the St Mark Passion may have survived in the collections of Bach’s four-part chorales.

In Bach’s time Latin polyphonic music was still often used in ordinary Lutheran Sunday worship, particularly, in Leipzig, at important church feasts. Further, the concerted Magnificat continued to hold its place in Vespers. Bach had been interested in Latin polyphonic music at least since his Weimar period, as his copies of pieces by other composers demonstrate (Peranda, Durante, Pez, Wilderer, Bassani, Caldara, Lotti, Palestrina etc.; catalogue in Wolff, 1968). He also wrote insertions in this style for other composers’ works, and made some arrangements (Sanctus bwv241; Credo intonation for a mass by Bassani; ‘Suscepit Israel’ for a Magnificat by Caldara). His earliest surviving work of this type is probably the Kyrie bwv233a on the cantus firmus ‘Christe, du Lamm Gottes’. Then in his first year at Leipzig came the five-part Magnificat, first the E version with four inserted Christmas pieces (bwv243a), revised in D major in 1733, without the Christmas pieces, for use on any major feast day (bwv243). Among the various Sanctus settings attributed to Bach, apart from bwv232^III, probably only bwv237 and 238 (both 1723) are original compositions. The four short masses (bwv233–6), mostly parody works based on cantata movements, date from about 1738. In the careful selection of models and the subsequent reworking of the musical material, these works, together with the B minor Mass, amount to a valuable anthology of Bach’s vocal writing in music of outstandingly high quality. The transposition of German cantata movements into mass settings did more than replace German words, contingent on the time and occasion of their writing, with the timelessness of the Latin (and Greek) texts; it also removed the limitations imposed on the cantatas by their place in the annual church cycle and gave them a more general validity. The longer-term outcome of this was seen soon after 1750, when specifically the Latin sacred music was hailed by connoisseurs like Marpurg, Kirnberger, Hiller and even the south German Prince-Abbot Gerbert as a particularly important sector of Bach’s music.

Bach’s masterpiece in this genre is of course the work known – though not conceived as a unity – as the B minor Mass. Its genesis stretched over more than two decades. Bach’s aim seems originally to have been to bring together a collection of exemplary large-scale mass movements rather than to create a single, cyclical work on an unprecedented scale. In assembling the whole score in 1748–9, however, the composer undoubtedly had the intention of making it a comprehensive work of consistent quality. The oldest section is the Sanctus of 1724. The Kyrie and Gloria come from the 1733 Missa dedicated to the Dresden court, while the Credo or ‘Symbolum Nicenum’ was composed only during Bach’s last years. In many respects these two main sections represent Bach’s ideals not of Latin polyphonic music alone but of vocal music altogether: in their stylistic multiplicity (the contrast of deliberately archaic and modern styles; the experimentation with the widest variety of instrumental and vocal techniques); their abandonment of the da capo aria and the recitative; and in their formal perfection. The 1733 Missa (reminiscent of the Magnificat in its five-part writing) emerges as a completely integrated, unified whole, typified by the inner logic of the tonal organization (B minor–D–F minor–D–A–D–G–B minor–D) and the disposition of the vocal and instrumental solos. The Credo is a particularly good example of Bach’s many-layered and symmetrical layout (Table 1). The Missa and the Credo have a series of parody originals (including movements from Cantatas nos.29, 46, 171, 12 and 120); in the latter the ‘Credo’, ‘Et incarnatus’ and ‘Confiteor’ seem to be the only original compositions.

An earlier version of ‘Credo in unum Deum’ exists, dating from the early 1740s, while ‘Et incarnatus’ may be the last vocal composition that Bach completed. However, Bach’s reworking of earlier material went much further than usual. In ‘Agnus Dei’, in particular, nearly half the movement was completely revised, using new thematic material. When the entire work was nearly finished Bach revised it once more, probably in 1749, adding ‘Et incarnatus’ (the words of which he had originally set as part of the aria ‘Et in unum Dominum’). The music of the new ‘Et incarnatus’ is reminiscent of a movement in Pergolesi’s Stabat mater, and in its combination of unorthodox polyphony and musically expressive gesture points the way forward to a new stylistic sensibility. It is all the more astonishing that Bach successfully followed it with the earliest music in the mass, the ‘Crucifixus’ (from the second movement of Cantata no.12) – though he did bring this up to date with a more empfindsam style of continuo and more subtle instrumentation of the upper parts.

It was obviously not by chance that Bach turned in his old age to the mass genre. With its centuries-old tradition, by comparison with such modern genres as the cantata and oratorio, the setting of the mass had a natural affinity to the historical and theoretical dimensions of Bach's musical thinking, which also bore fruit in the monothematic instrumental works of his last years.

15. Motets, chorales, songs.

In Bach’s time motets were sung as introits for services and on certain special occasions. The tradition established at Leipzig was to select introit motets from the Florilegium Portense (1603), a classical repertory from the 16th century compiled by Erhard Bodenschatz. For this reason, Bach wrote motets only for special occasions, probably only for burial services, although in only one case, Der Geist hilft (for the funeral of the Thomasschule headmaster Ernesti in 1729), is there documentary evidence of this. Bach’s motet texts, following the tradition, are based on biblical quotations and chorales; freely composed poetry is used in only one case, and even this is hymnbook poetry (Komm, Jesu, komm, Paul Thymich). On the occasions for which the motets were composed, Bach normally had more than the school choristers at his disposal; he was thus able to use between five- and eight-part writing, as he did in six pieces (bwv225–9 and Anh.159). In line with normal central German practice since the 17th century, it was a rule in the performance of motets at Leipzig, including those from Florilegium Portense, that a continuo part should be included – to be precise, organ, harpsichord (in Leipzig the so-called motet harpsichord), lute, with violone, cello, bassoon. In this way the bass of a vocal (choral or polychoral) movement was supported by a larger or smaller continuo depending on the circumstances, in the manner of a basso seguente. Colla parte accompaniment was required only occasionally. The performing parts that have survived for Der Geist hilft, with strings (first chorus) and reed instruments (second chorus) doubling the voices, must be connected with the exceptional nature of the occasion and cannot necessarily be taken as applicable to the other motets; similar special cases, with partly obbligato instruments, are bwv118, O Jesu Christ (both versions) and Der Gerechte kömmt um (not in bwv: bc C 8).

Bach’s use of double chorus and his exposition of forms of chorale treatment link the motets with the central German tradition in which he had grown up. That it was part of his direct family inheritance is illustrated by the fact, which can scarcely be coincidental, that motets are particularly well represented in the Alt-Bachisches Archiv. Bach’s earliest motet, Ich lasse dich nicht bwv Anh.159, long attributed to Johann Christoph Bach of Eisenach, adheres extremely closely to Thuringian models. Composed by 1712 at the latest, the work’s foundations in the tradition are typified by the highlighting of upper parts and the largely homophonic conception of the first section, and by the interweaving of a chorale tune in large note values in the second; by contrast, the harmonic intensity of the work (in F minor) and the unified, almost rondo-like, thematic construction of its first section are innovatory. Among later works, Bach’s debt to the tradition is best illustrated by the closing section of Fürchte dich nicht, in its combination of cantus firmus (‘Warum sollt ich mich denn grämen’) and freely imitative writing, and the opening section of Komm, Jesu, komm, with its chordal writing for double chorus. As a whole, the style of bwv118 too is retrospective, with its archaic instrumentation and its homophonic choral writing.

By contrast, most movements in the motets have a markedly polyphonic vocal manner, dominated by instrumental style and showing unifying motivic work. Another characteristic is the clear formal articulation, with multi-movement works demonstrating different kinds of treatment. Thus Jesu, meine Freude, the longest work of this kind, in 11 movements, is the most strictly (that is, symmetrically) conceived: the opening and closing movements are identical, the second to fifth correspond to the seventh and eighth, and the central sixth movement is a fugue. Der Geist hilft begins with a concerto-like movement, followed by a double fugue and a simple chorale setting. The form of the instrumental concerto (fast–slow–fast) is used in Singet dem Herrn. Precise dating is possible only in the case of Der Geist hilft (24 October 1729). Jesu meine Freude seems to date from a pre-Leipzig period, although there is no tangible evidence for this; it is possible that an earlier motet, with a text from Romans viii, was expanded into a chorale motet by the addition of stanzas from the hymn Jesu meine Freude. The other motets appear to date from the Leipzig years. This is certain in the case of O Jesu Christ (c1737): its instrumentation was revised for a repeat performance in the 1740s, with strings, oboes, bassoons and horns; the original had only two litui, cornets and three trombones. The authenticity of Lobet den Herrn has been questioned, probably groundlessly, but the paucity of material that would permit comparisons weakens the arguments on either side. Bach’s arrangement of Pergolesi’s Stabat mater with the psalm text ‘Tilge, Höchster, meine Sünden’, dating from 1741–6, should be counted among the motets.

Bach’s composition of chorales is most closely associated with his production of cantatas. Four-part chorale style, or stylus simplex, was normal for his closing movements, particularly in the Leipzig cantatas; it also often occurred at the ends of subsections in the Passions and oratorios. Bach’s chorale writing is characterized by the ‘speaking’ quality of the part-writing and the harmonies – meaning that they aim to be a direct interpretation of the text. In its pervasive counterpoint and its expressiveness, Bach’s harmonic style stands out from that of his contemporaries, who preferred plain homophonic textures in their chorales. This simpler approach, found in the chorales of such as Graupner or Telemann, with movement mostly in minims, was well suited to congregational singing, but Bach took no account of that in his chorales, which are deliberately more artistic, rhythmically often more lively (written in crotchets) and frequently bolder in their harmonies. The first four-part chorale settings are in the Weimar cantatas (the last movement of no.12, performed on 22 April 1714, is among the earliest examples), and Bach’s stylistic development in this type of composition reached a final stage 30 years later in the chorales of the Christmas Oratorio, with their elegantly mobile bass lines and their polyphonic refinement of the inner voices. His training as an organist probably contributed to the personal stamp of his style; organ settings such as bwv706 display similar stylistic traits. Chorales such as bwv371, conceived with orchestral forces in mind, act furthermore as reminders that chorales were Bach’s favourite medium of instruction. C.P.E. Bach wrote in 1775: ‘His pupils had to begin by learning four-part thoroughbass. After that he went on with them to chorales; first he used to write the bass himself, then they had to invent the alto and tenor for themselves … this way of leading up to chorales is indisputably the best way of learning composition, including harmony’.

The posthumously published collections (Birnstiel, 2 vols., 1765, 1769; Breitkopf, 4 vols., 1784–7) contain almost all the chorales known from Bach’s vocal works, some under different titles. The Breitkopf edition, prepared by C.P.E. Bach and Kirnberger, contains 371 chorales, among them more than 100 not found in the extant vocal works. This provides an important pointer to the lost vocal music, and though extremely difficult to follow up it has borne some fruits, as in the reconstruction of the St Mark Passion or the Picander cycle. It is worth remarking that the number of excess chorales, that is those that cannot be assigned to extant works, more or less corresponds to the number thought to exist in the lost cantatas and Passions.

Under the generic heading of ‘sacred songs’ come the 69 melodies with figured bass in G.C. Schemelli’s Musicalisches Gesang-Buch (1736). According to the foreword, Bach edited the figured bass for some of the melodies, while others were entirely new compositions by him. Three are demonstrably his (bwv452, 500 and 505); of the rest at least seven pieces for two voices and ten ‘improved’ continuo parts can be associated with him. He seems to have been only peripherally occupied with the composition of songs and strophic arias, for which he took texts from religious poetry of the 17th and 18th centuries: that, at least, is the inference to be drawn from the limited surviving repertory, for which the only source is the second Clavierbüchlein for Anna Magdalena Bach (1725) containing bwv511–14 and 516 – works which probably have a direct association with the Schemelli Gesangbuch. Comparison of bwv512 with 315, and of bwv452 with 299, draws attention to the conceptual association between the composition of chorales for two and for four voices. The collection of four-part chorales which Bach’s pupil J.L. Dietel extracted from his teacher’s works (Leipzig, c1735), like the Schemelli Gesangbuch (1736), indicates that Bach was working on chorales rather intensively and systematically at the time, perhaps with a view to a more compendious publication.

Only exceptionally did Bach compose secular songs. A quodlibet for four voices and continuo (bwv542), surviving only in fragmentary form, is unique among his vocal works. It was probably composed for a wedding in Erfurt, at the latest by mid-1708. With its admixture of various melodies and humorous words, the piece forms a link with the musical games played, so tradition relates, when the Bach family got together (see §1 above). Other rarities, from a later period when he was settled in the university town of Leipzig, are the song addressing a pipe of tobacco (bwv515) and the ‘Murky’ (bwv Anh.40).

16. Organ music.

The obituary written immediately after Bach’s death and published in 1754 contains the following statement: ‘For as long as there is nought to confute us other than the mere possibility of the existence of better organists and keyboard players, we cannot be reproached if we are bold enough to persist in the claim that our Bach was the most prodigious organist and keyboard player that there has ever been. It may be that this or that famous man has accomplished much in polyphony on these instruments but was he for that reason as expert – with hands and feet together – as Bach was? Whosoever had the pleasure of hearing him and others, being not otherwise disposed by prejudice, will agree that this doubt is not unfounded. And whosoever looks at Bach’s pieces for the organ and the keyboard, which he himself, as is universally known, performed with the greatest perfection, will likewise have nothing to say in contradiction of the above statement.’ The claim illustrates the well-nigh legendary reputation that Bach enjoyed in his lifetime. His fame had already spread beyond the confines of central Germany by 1717, when he challenged the French virtuoso Louis Marchand to a competition at the court of Dresden and won by default when the Frenchman took flight. ‘It would be wrong to conclude from this defeat of Marchand in Dresden that he must have been a poor musician. Did not as great a one as Handel avoid every opportunity of confronting the late Bach … or of getting involved with him?’ (Marpurg).

Keyboard music as a whole occupies a crucial position in Bach’s life in many respects, but this is even more true of the works for harpsichord than of those for organ. No other genre occupied Bach so consistently and intensively from the beginning of his career to the end. His life as a professional musician began with learning to play on a keyboard, above all in Ohrdruf in 1695–1700 under the tuition of his elder brother Johann Christoph, and his study of keyboard music by the best composers of the 17th century laid the most important foundations of his training as a composer. The compositions for harpsichord, in particular, provide the opportunity to assess Bach’s development at each stage of his creative life.

Bach was bolder than any of his contemporaries: from the first he set no limits to his keyboard skills, and accepted no restrictions to his horizons – from the breadth of the foundations of his style to the comprehensive range of genres in which he composed. The stylistic basis was laid in his youth, and it was undoubtedly important that growing up in the central German environment of his time gave him the opportunity to learn about different stylistic tendencies side by side, without any bias towards one rather than another. As a result his models came from a highly diverse repertory. The north German school, including such masters as Buxtehude, Reincken, Bruhns, Lübeck and Böhm, were ranged alongside central German composers such as Pachelbel’s circle and older pupils (J.H. Buttstedt, for example, or A.N. Vetter) and Witt, Krieger, Kuhnau and Zachow, as well as their southern German colleagues J.J. Froberger, J.C. Kerll and J.C.F. Fischer. Italians such as Frescobaldi and Battiferri confronted Frenchmen such as Lully, Marais, Grigny and Raison. Many of these names are to be found in the large manuscript collections (the so-called Andreas-Bach-Buch and Möllersche Handschrift) copied by the Ohrdruf Bach, Johann Christoph. They give a clear picture of the repertory that the younger brother grew up with, and which showed him – like the young Handel, learning his craft in a similar environment – ‘the manifold ways of writing and composing of various races, together with each single composer’s strengths and weaknesses’. No comparable sphere of influence served to challenge this broadly based group of musicians and exemplars later in Bach’s life. There were, of course, individuals who had an effect on him, such as Vivaldi after 1710, or probably Couperin, or his exact contemporary Handel, but no group of musicians of a comparable range or variety.

Bach’s dedication to every keyboard genre and form appears equally boundless. The range remains constant throughout his career, from the earliest to the last compositions. All the major types are represented: the freely improvisatory (prelude, toccata, fantasia), the imitative and strict (fugue, fantasia, ricercar, canzona, capriccio, invention), the combinatory (multi-part preludes, prelude and fugue) and multi-movement forms (sonata, suite or partita, overture or sinfonia, chaconne or passacaglia, pastorale, concerto and variations); and then there are the various types and forms of chorale arrangement.

Unlike the vocal music and the chamber and orchestral works, Bach’s keyboard output covers his entire creative life. There are quite lengthy periods of heightened activity – organ music before 1717, harpsichord music after that date. As a whole, however, Bach seems to have cultivated the two genres alongside each other. It is thus the more surprising that, right from the beginning, consistently and in defiance of inherited 17th-century tradition, he abandoned the conventional community of repertory between organ and harpsichord, choosing to write specifically for the one or the other. The uncompromising use of obbligato pedals, in particular, is a distinguishing mark of Bach’s organ style. Only exceptionally (for example in the chorale partitas and the small chorale arrangements from the third part of the Clavier-Übung) do the performing possibilities coincide so that organ and harpsichord become truly interchangeable.

Since most of Bach’s keyboard works from the pre-Leipzig years survive in copies (generally made in the circle of Bach’s pupils) rather than in autograph scores, it is not possible to establish a precise chronology. Even a relative one is possible only in general terms, with considerations of style and authenticity holding the balance. In the earliest works the influence of Bach’s models is pronounced. Pachelbel had taught Johann Christoph Bach, and the master’s influence extended to the younger brother, most visibly and prevalently in the earliest of his extant compositions. Besides the little organ chorales which survive individually (bwv749, 750 and 756), regarded by Spitta as Bach’s first musical essays, the chorales in the Neumeister collection, which came to light only recently (bwv1090–1120, and bwv714, 719, 737, 742 and 756), are now taken to be among his earliest works. Although the Neumeister manuscript represents neither an integrated body of work nor a unified collection, in its dazzling variety it embodies some contradictory and simultaneously essential traits of Bach’s early organ music: imperfect technique alongside daring innovation; reliance on models such as Pachelbel, Johann Michael and Johann Christoph Bach and masters from north, south and central Germany, together with a determination to surpass and dispense with such models; and an entirely unorthodox mixture of free composition and strict polyphony, unconventional harmony and pronounced virtuosity.

A subsequent stage in Bach’s development is found in the chorale partitas bwv766–8, mostly wrought in the manner of Böhm (bwv768 was revised and expanded during Bach’s Weimar period). The Canzona bwv588, the Allabreve bwv589 and the Pastorale bwv590 show south German and Italian characteristics, while the Fantasia in G bwv572 looks to the French style. With their sectional layout, the preludes in E and G minor, bwv566 and 535a, must have been written under Buxtehude’s immediate influence.

The extraordinary harmonic boldness and the richness of fermata embellishment in the pieces bwv715, 722 and 732, intended to accompany chorales, imply that they belong to the Arnstadt period when Bach’s treatment of chorales caused confusion among the congregation. The fugues after Legrenzi and Corelli, bwv574 and 579, should probably be placed among the early works. Admittedly, the scarcity of autographs, combined with the complicated situation surrounding the other sources, makes it difficult to establish a reliable chronology. It is scarcely possible even to draw definite conclusions about which of the early keyboard works belong within the period of Bach’s youth, if that is set at about 1700–07.

The models recede in importance from the Mühlhausen period, at the latest, and Bach’s individuality begins to pervade every note of his compositions. This applies particularly to the many extended organ chorale settings probably dating from between 1709 and 1712–13 and already so much in accordance with Bach’s later ideals that he found this group of 18 chorales (bwv651–8) worthy of revising in and after about 1740. In his freely composed organ works (toccatas, preludes, fantasias and fugues) Bach tightened up the formal scheme, preparing the way for the two-movement prelude and fugue through an intermediate type in which the fugue was a long, self-contained complex but the prelude was not yet a unified section (such as the first movement of bwv532). Here is an early manifestation of one of the peculiarities of Bach’s working methods, encountered later in the ‘48’: fugues attain their final form almost instantaneously, preludes often go through several stages of development. Probably the most important work of these years is the Passacaglia in C minor bwv582.

In about 1713–14 a decisive stylistic change came about, stimulated by Vivaldi’s concerto form. Bach’s encounter with Vivaldi’s music found immediate expression in the concertos after Vivaldi’s opp.3 and 7 (bwv593 etc.). Features adapted from Vivaldi include the unifying use of motivic work, the motoric rhythmic character, the modulation schemes and the principle of solo–tutti contrast as means of formal articulation; the influence may be seen in the Toccatas in F and C bwv540 and 564. Apparently Bach experimented for a short while with a free, concerto-like organ form in three movements (fast–slow–fast: cf bwv545 + 529/2 and bwv541 + 528/3) but finally turned to the two-movement form, as in bwv534 and 536. Of comparable importance to the introduction of the concerto element is his tendency towards condensed motivic work, as in the Orgel-Büchlein. Bach’s conception of this new type of miniature organ chorale, combining rhetorical and expressive musical language with refined counterpoint, probably dates back to a relatively early point, possibly the beginning of the Weimar period, but he cannot have started to collect them systematically in the autograph before 1713–14. Among the earliest entered in the manuscript are, among new compositions, bwv608, 627 and 630, and around 1715–16 Bach added bwv615, 623, 640 and 644 (to cite some typical examples). Some of the pieces, such as bwv601 and 639, are of earlier date. By the end of the Weimar period the Orgel-Büchlein was complete in all essentials, although a few isolated pieces were added later, such as bwv620 and 631 (c1730), the fragment O Traurigkeit and bwv613 (c1740). The final total of 45 pieces falls considerably short of the 164 originally projected, but Bach had already ceased to work consistently at this major undertaking as early as 1716. The reason for this is unknown; when he took it up again in Leipzig it was only sporadically and apparently in connection with teaching, or so a copy made about 1727–30 suggests.

Bach composed few organ pieces at Cöthen, but among them is undoubtedly the C major Fantasia bwv573 which he added to Anna Magdalena Bach’s Clavier-Büchlein (1722). In Leipzig, in about 1727, he composed the trio sonatas, a new genre for the organ, which he wrote, according to Forkel, for his eldest son Wilhelm Friedemann. It was probably in conjunction with renewed activity as a recitalist – he is known to have performed in Dresden (1725, 1731 and 1736), Kassel (1732), Altenburg (1739) and Potsdam (1747) – that he returned to the prelude and fugue genre. Now, surely as a consequence of the ‘48’, he always wrote them in two sections, with the preludes as important as the fugues. There was a final flourish of virtuosity (especially in the writing for obbligato pedal) in works such as bwv544 and 548 (both c1730), but always in the context of a clearcut structure (there is a da capo fugue in bwv548).

In 1739, as the third part of the Clavier-Übung, Bach published a comprehensive and varied group of organ works. Framed by a Prelude and Fugue in E (bwv552), there are nine chorale arrangements for Mass and 12 for the catechism, followed by four duets. Bach’s encyclopedic intentions can be seen in the form of the work – that of a collection of specimen organ pieces for large church instruments and smaller domestic ones (including the harpsichord), symbolized in his invariable coupling of a large piece with a small; they can equally be seen in the variety of his contrapuntal methods, whereby he constantly produced fresh kinds of cantus firmus treatment. At the very end of Bach’s output for the organ are such disparate works as the C minor Fantasia and Fugue bwv562 (1747–8), the ‘Schübler’ chorales (arrangements after solo movements from cantatas) and the canonic variations on Vom Himmel hoch bwv769. The variations, written for Mizler’s society in 1747, survive in two original versions, printed and autograph, whose different sequence of movements shows Bach experimenting with symmetrical form and the placing of climaxes.

17. Music for harpsichord, lute etc.

Just as Bach learnt most about the craft of composition from keyboard music, so too did he use it for preference in teaching others. He was obviously already a sought-after teacher when still in Weimar, but the move to Leipzig brought a decisive expansion of his teaching activities. H.N. Gerber, who studied with him in the early Leipzig years, left an account of Bach’s method of introducing the widest variety of composition by gradual stages, along with the technical premisses of their performance. According to Gerber he used to begin with the Inventions and the French and English suites, and conclude the course with the ‘48’. This canon of characteristic works from the decade 1715–25 constitutes, so to speak, the stylistic core of Bach’s music for keyboard and for that reason served later as the yardstick by which to settle questions of authenticity. Nowadays, however, the yardstick’s usefulness has become somewhat problematic, since it does not take fully into account either the stylistic breadth of Bach’s early output or the unorthodox musical language of the late works.

One of the essential elements of Bach’s art as a keyboard composer is the attention he gave, from the first, to the idiomatic qualities of the individual instruments, respecting not only the differences between organ and harpsichord but also those within the family of string keyboard instruments, of which he used at least four types: harpsichord, clavichord, lute-harpsichord and fortepiano. He is specific about the main kinds of harpsichord in the Clavier-Übung (the first part is for one-manual harpsichord, the second and fourth for a two-manual instrument). One of the earliest manuscript sources refers to the suitability of the E minor suite bwv996 for the lute-harpsichord (‘aufs Lauten Werk’). Bach took an active interest in J.G. Silbermann’s experiments in developing the fortepiano during the 1730s and 40s. There is reliable testimony that he improvised on several new Silbermann fortepianos of different types in the presence of Frederick the Great in Potsdam in 1747, which makes it possible to regard the three-part ricercar of the Musical Offering as conceived primarily for this new kind of keyboard instrument.

There is an obvious association between Bach’s renown as a keyboard virtuoso, together with his work as a teacher, and the fact that his keyboard music is among the most accessible of his entire output, and also that it was the most widely available. Its dissemination shows a marked rising curve during the 18th century, internationally as well as within Germany. Bach’s harpsichord works were available in Italy, France, Austria and England by 1750, and in view of this it is not surprising that the young Beethoven was schooled in the ‘48’. The growing recognition of the significance of this part of his output was reflected in the first complete edition of the works for harpsichord (begun in Leipzig in 1800 by Hoffmeister & Kühnel and continued by C.F. Peters) in which Forkel, among others, was involved.

Bach’s early harpsichord compositions are in a similar situation to the early organ works as regards dating and evaluation. None of the very earliest can be dated precisely. The Capriccio bwv992 has been assigned to 1704; there are no biographical data to support this (it is extremely doubtful that it was written for Bach’s brother Johann Jakob), but it certainly belongs to the period immediately after 1700. Before 1712–13 there were countless individual pieces like toccatas, preludes and fugues (these last mainly using a ‘repercussive’ thematic technique like the early organ fugues); variation form is represented by the Aria variata bwv989. In the toccatas (bwv910 etc.) Italian, north German and French influences conjoin in equal importance (bwv912 is an interesting counterpart to the organ work bwv532); Bach’s penchant for the French style is evident in his abundant use of the style brisé. After 1712 the particular influence of concertos by Vivaldi, Marcello and others can be seen in Bach’s numerous concerto arrangements (bwv972 etc.).

To the last years in Weimar and the early years in Cöthen belong works such as the so-called English Suites and the Chromatic Fantasia and Fugue bwv903, and also the Clavier-Büchlein for Wilhelm Friedemann of 1720, which is predominantly didactic in layout. It is however less important for its instruction in playing technique (the Applicatio bwv994 gives fingering and tables of ornaments after D’Anglebert) than as a book of instruction in composition. For Bach himself, the two could not be dissociated: the Clavier-Büchlein contains the beginnings of the ‘48’ as well as early versions of the Inventions and Sinfonias, under such titles as ‘preambulum’ and ‘fantasia’. To some extent the 1722 Clavierbüchlein for Anna Magdalena is a companion work, though differently laid out.

Then followed, also in 1722, Das wohltemperirte Clavier (book 1 of the ‘48’), with its 24 preludes and fugues in all the major and minor keys, surpassing, in logic, in format and in musical quality, all earlier endeavours of the same kind by other masters, such as J.C.F. Fischer’s Ariadne musica. The work shows a perfectly balanced contrast between free and strict styles, each represented by several different types of prelude and fugue. Bach’s writing in book 1 of the ‘48’ in the most varied fugues – from two- to five-part, in a wide range of styles – represents the culmination of a 20-year process of maturation and stands unparalleled in the history of music. The final version of the two- and three-part Inventions and Sinfonias, also arranged by key but representing a different method of composition whose object (according to Bach’s foreword) was ‘to teach clear playing in two and three obbligato parts, good inventions [i.e. compositional ideas] and a cantabile manner of playing’, dates from 1723.

The first traces of the subsequent great works of the Leipzig period are to be found in the 1725 Clavierbüchlein for Anna Magdalena, which in fact anticipates the so-called French Suites bwv812–17 and the Partitas bwv825–30. The Partitas in particular (appearing in print singly from 1726) represent a further culmination in Bach’s keyboard output; whereas the ‘48’ shows the prelude and fugue type developed to its most consummate maturity, these present similarly matured specimens of the most popular harpsichord genre of the time, the partita, comprising a suite of dance movements and ‘galanteries’. These – the burlesca, capriccio and the like – do not appear in the English or French Suites; as in the English Suites, each partita begins with a large-scale movement, each differently titled and each in a different style. Later, with the collected publication of all six in 1731, Bach inaugurated his series of published works under the general title Clavier-Übung (the title was borrowed from a publication by Kuhnau, his predecessor in office). In 1735 appeared the second part, whose contents were intended to be representative of the most prominent and fashionable styles: the Concerto in the Italian Style bwv971 embodies the ultimate stage in the process of transcribing instrumental concertos for keyboard, and stands in contrast to an Overture in the French Manner bwv831 which, more markedly than the partitas, represents what was specifically French in harmony, rhythm, ornamentation and melodic invention. 1741–2 eventually saw the end of the Clavier-Übung series with the aria and 30 variations known as the Goldberg Variations. Apparently Bach had not cultivated the variation form since his youth, so that the contrast between the Goldberg Variations and the early works (chorale partitas and the Aria variata) is the more marked. This work outshines all others as far as performing technique is concerned (Domenico Scarlatti’s influence is unmistakable in places). The large-scale cyclical layout (based on a sequence of 10 x 3 movements, incorporating a series of nine canons, one at every third variation, arranged in order of ascending intervals to move towards a climax, with a final quodlibet) is without precedent. The basis of the composition is a ground bass of 32 bars, developed from the Ruggiero and related bass patterns, first presented in the aria and then subjected to free and canonic elaboration in a wide variety of ways. In their monothematic and emphatically contrapuntal conception, the Goldberg Variations set the scene for Bach’s last keyboard works – the Musical Offering and Art of Fugue.

Besides the harpsichord works published in the 1730s, the only other major work is the second part of Das wohltemperirte Clavier (not so titled – the complete autograph does not survive). This companion-piece is less unified than book 1 and was partly assembled from existing preludes and fugues, some of them transposed. The freshly composed pieces probably date chiefly from the late 1730s; the work was complete by 1744 at the latest. Apart from this one major undertaking, Bach appears to have composed very few keyboard works at this period: perhaps the Fantasia ‘sur un rondeau’ bwv918, certainly the Fantasia in C minor with fragmentary fugue bwv906.

The dates of composition of the seven surviving works for lute – apparently almost his total output for the instrument – cover at least 30 years. The earliest work is the Suite in E minor bwv996, which dates from the Weimar period; it already shows a surprisingly balanced construction. The Prelude in C minor bwv999 shows an affinity with the ‘48’, and may thus belong to the Cöthen or early Leipzig period. All the other lute works were composed in Leipzig, starting with the Fugue in G minor bwv1000, an expanded polyphonic development from the violin fugue (in bwv1001), which (like bwv997) is in a tablature copied by Bach’s friend, the Leipzig lawyer and lutenist Christian Weyrauch. The Suite in G minor bwv995 (after 1011, for cello) dates from the period 1727–31 and is dedicated in Bach’s autograph to an unidentifiable ‘Monsieur Schouster’. The Suite in E (bwv1006a, after 1006 for violin) also survives in autograph form and is a much less demanding arrangement of its model as compared with bwv1000 and 995; it dates from the second half of the 1730s. Bach must have composed the Suite in C minor bwv997 before 1741; this is an original lute composition and is laid out in a similar virtuoso fashion to the Prelude, Fugue and Allegro in E bwv998 which can be ascribed to the early 1740s. The late works may have been written for the Dresden lutenists S.L. Weiss and Johann Kropffgans, and in any case were probably played by them. There is evidence that Weiss and Kropffgans performed at Bach’s house at least once, in 1739. Bach’s arrangement for violin and harpsichord of Weiss’s lute suite in A major (bwv1025) may have been made in connection with this occasion. His contributions to the repertory of the lute, long past its heyday but enjoying a final flowering in the German-speaking countries, represent, along with the works of Weiss, the culmination of the instrument’s 18th-century repertory. They require an instrument with 10 to 14 strings, but in Bach’s day were at least occasionally played on the lute-harpsichord, an instrument in whose construction Bach had assisted. The indistinct line between lute and harpsichord music is illustrated by the autograph of bwv998, marked ‘pour La Luth ò Cembal’.

18. Orchestral music.

Many of Bach’s orchestral compositions must be presumed lost. The surviving repertory can in any case give only an incomplete idea of his output for larger instrumental ensembles, for he must have written many further works during his years at Cöthen and while he was working with the collegium musicum in Leipzig. Traces of lost concerto movements may be found in numerous cantatas, such as no.42 (first movement), and other large-scale vocal works, such as the Easter Oratorio (first two movements); and various of the surviving harpsichord concertos, in particular, invite inferences about lost originals.

In the score bearing the dedication to Margrave Christian Ludwig of Brandenburg, the so-called Brandenburg Concertos are dated 24 March 1721. This is merely a terminus ante quem, for the concertos themselves must have been written over a considerable period before being assembled in 1721 as a collection of ‘Concerts avec plusieurs instruments’ (not as a single work in several parts). It cannot be proved that Bach composed instrumental music in his capacity as Konzertmeister in Weimar; but his position there and his preoccupation with the Italian concerto style during those years make it seem probable that he did. Of the Brandenburg Concertos, no.6 in particular points to the Weimar period, partly because of its indebtedness to the Italian type of concerto (above all in the middle movement) and also because of its unusual instrumentation (the particular combination of low strings is otherwise found only in Weimar cantatas). Other concertos (for instance the conjectural early version of no.1) may also belong to the Weimar period, but it is not possible to draw any firmer conclusion about a Weimar orchestral repertory.

The special significance of the Brandenburg Concertos resides in the fact that, like Vivaldi’s, they abandon the standard type of concerto grosso and use a variety of solo combinations. The originality of Bach’s ideas extends far beyond Vivaldi’s, as do the density of the compositional texture and the level of professional virtuosity. The devising of concise head-motifs, particularly in the first movements, shows a strong Italian influence. Most of Bach’s instrumentations are unprecedented. They feature all kinds of combinations, from homogeneous string sound (nos.3 and 6) to the heterogeneous mixing of brass, woodwind, string and keyboard instruments. Just as unusual is Bach’s conflation of the group concerto with the solo concerto in nos.2 and 5. No.5 probably represents the latest stage in composition of the set: it was written for the inauguration of the harpsichord he brought back from Berlin early in 1719 (an earlier version survives from about this date). At the same time it marks the beginnings of the keyboard concerto as a form.

For a long time Bach scholars assigned most of his chamber and ensemble music to the Cöthen years. Recent studies based on original sources and style criticism have led to a thorough revision of the chronology affecting this part of his output. It now seems that only the smaller part of the instrumental ensemble music (or at least of what survives of it) belongs to the Cöthen period, while the greater part was composed at Leipzig, and principally for the collegium musicum which Bach was associated with from 1723 and which he directed from 1729 to the early 1740s. Thus the four Orchestral Suites, with their leaning towards French style, were written in Leipzig: no.1 perhaps as early as 1725, nos.3 and 4 in about 1725 and after 1730 respectively and no.2 about 1739. The B minor Suite (no.2), with its hybrid mixture of concerto elements and suite form and the extraordinary virtuosity of its flute writing, is probably Bach’s very last orchestral work. The only solo concertos to survive in their original form from this time are the violin concertos in A minor and in E and the two-violin concerto in D minor, which again obviously relate to the collegium musicum. Pointers to lost works that may be supposed to have been composed in Cöthen can be obtained from Leipzig pieces showing clear signs of reworking, above all cantata sinfonias with obbligato organ and the harpsichord concertos. Among the putative originals discernible in later recensions are concertos for oboe d’amore (after bwv1053 and 1055), for violin (after bwv1052 and 1060) and for three violins (after bwv1064). The intended instrumentation of the original cannot always be conclusively determined from the later version, and allowance must also be made for substantial differences between the two versions, so that it is extremely rarely the case that reconstruction of a supposed but lost original is really possible. Bach never proceeded in a mechanical way; rather, he strove to give the arrangement an identity of its own by subjecting the model to further development and exhausting its potential. This often involved the addition of fresh contrapuntal parts, the alteration of detail and structural modification. Of special interest are Bach’s adaptations of instrumental works into vocal ones, such as the derivation of the first chorus of Cantata no.110 from bwv1069; also of note is the wresting of the outer movements of an ensemble concerto (bwv1044) out of the Prelude and Fugue in A minor for harpsichord (bwv894).

The most noteworthy of the later concertos composed in the 1730s, with substantial changes to the originals on which they draw, are the Triple Concerto in A minor bwv1044 (sharing several features with Brandenburg Concerto no.5), the seven harpsichord concertos bwv1052–8 and the concertos for two or more harpsichords bwv1060–65, all but one of them reworkings of earlier works by Bach himself (the exception is bwv1064, an arrangement of Vivaldi’s Concerto in B minor for four violins, op.3 no.10). In fact, Bach’s alterations and restructurings are sufficiently important – especially the deployment of the left hand of the harpsichord part and the invention of idiomatic harpsichord figuration – for works of this rank to be considered compositions in their own right. They owe their special historical importance to their occurrence at the beginning of the history of the keyboard concerto, a form which was to be taken up above all by Bach’s sons so that in Germany, until about 1750, it remained the exclusive preserve of the Bach family. A stimulus for the composition of the harpsichord concertos may have been the new instrument introduced on 17 June 1733 (‘a new harpsichord, the like of which no-one here has ever yet heard’), according to the announcement advertising the collegium musicum concert.

19. Chamber music.

As with the orchestral music, a great many chamber compositions are thought to be lost. Once again the greatest losses affect the Cöthen period, but the Weimar years also suffer. When the summary worklist in the obituary mentions ‘a quantity of other instrumental things, of every kind and for every kind of instrument’, it probably refers first and foremost to works for various chamber ensembles.

The unusual flexibility with which Bach manipulated the conventional genres of sonata and suite is comparable to his orchestral output, as regards formal and compositional aspects as much as textures. Particularly important is his emancipation of the harpsichord from its role as continuo instrument and its deployment as a true partner in the sonatas for harpsichord with violin (bwv1014–19), flute (1030–33) and viola da gamba (1027–9). The cycle of six harpsichord and violin sonatas (c1725–6) were the first in a series of works with obbligato keyboard and paved the way for a new musical genre. The traditional trio sonata with continuo still cast its shadow (for example, in the opening movements of bwv1015 and 1019), but it yielded by stages to a more integrated three-part style (for example, the opening movements of bwv1014 and 1018). The only genuine trio sonatas to survive, apart from the one in the Musical Offering, are bwv1038 and 1039, dating from the 1730s. Bach’s arrangement of the gamba sonata bwv1027, after bwv1039 for two flutes and continuo is an illustration of the development of the new type of trio writing from the trio sonata. A similar procedure stood behind his earlier development of the organ sonata. Most movements of the organ sonatas are based on instrumental trios, as the arrangement of the first movement of bwv528 from a trio sonata movement for oboe d’amore, viola da gamba and continuo in Cantata no.76 illustrates. This same movement preserves a trace of the many lost trio sonatas of the Cöthen years. Yet the trio sonatas of the Leipzig period, too, may represent only a small fraction of their original numbers, if the way the genre lingers on in the Musical Offering is any guide.

The list of surviving duo sonatas with continuo is also relatively short, and again dominated by works of the Leipzig period: the violin sonatas bwv1021 and 1023 and the flute sonatas bwv1034–5. The Fugue in G minor for violin and continuo bwv1026, from before 1712, is not only Bach’s earliest surviving piece of ensemble music, it is also the only chamber-music piece of the pre-Cöthen years to have survived as an independent entity. The only other sources we have for an idea of what kind of chamber music Bach wrote in his early years are the instrumental sonatas and sinfonias of the Weimar cantatas.

Bach’s creative powers in the Cöthen years appear in a special light in the sonatas and partitas for solo violin, dating from 1720, and the suites for solo cello, which are probably earlier. The sonata for solo flute (bwv1013) is not likely to have been composed in Cöthen, for the playing technique is much more advanced than, for example, the writing for flute in Brandenburg Concerto no.5. Yet all the works senza basso not only demonstrate Bach’s intimate knowledge of the typical idioms and performing techniques of each instrument, but also show his ability, even without an accompanying bass part, to bring into effective play dense counterpoint and refined harmony coupled with distinctive rhythms. The special importance of Bach’s chamber music was recognized at a very early date. J.F. Reichardt wrote in 1805, reviewing the first edition of the solo violin music, that the pieces represent ‘perhaps the greatest example in any art of the freedom and certainty with which a great master can move even when he is in chains’.

20. Canons, ‘Musical Offering’, ‘Art of Fugue’.

Bach’s preoccupation with the canon as the strictest form of counterpoint can be traced back to the Weimar period. In his organ chorales and particularly in the Orgel-Büchlein the canonic principle plays a major role. Canonic elements are present also in several of the early vocal works. Here however it is a matter of canonic technique cropping up in a context of complex contrapuntal construction; as a genre in its own right, the canon, in Bach’s day, would appear almost exclusively as a theoretical example in composition teaching. It was in this sense that it was often favoured – generally in the form of a circular canon – by musicians for entries in students’ albums: such entries were normally notated in enigmatic fashion, setting the would-be solver an intellectual exercise. Bach wrote such canons in albums more than once; for the most part they are probably lost. Except for bwv1076–7, all the surviving individual canons (1072–5, 1078, 1086) were probably dedicatory works of this kind; 1077 was re-used for this purpose. What is probably the earliest of them is dated 2 August 1713 (bwv1073, dedicatee uncertain); the latest is dated 1 March 1749 (bwv1078; dedicatee Benjamin Faber).

A new kind of theoretical canon came into being in connection with the Goldberg Variations, in which the canonic principle played a special part. In his personal copy of the Goldberg Variations Bach wrote in 1747–8 a series of 14 perpetual canons on the first eight bass notes of the aria ground (bwv1087), exploring the most varied canonic possibilities of the subject, subsequently arranging the individual perpetual canons in a progressive order, organized according to their increasing contrapuntal complexity. The types included range from simple, double and triple canons, retrograde canons and stretto canons to a quadruple proportion canon by augmentation and diminution. Nos.11 and 13 of this series are identical with bwv1077 and 1076 (depicted on Haussmann’s Bach portrait of 1746).

Closely related to these (and likewise probably dating from the later 1740s) are the Vom Himmel hoch variations, where Bach first used a strictly canonic scheme for a monothematic work in several movements of progressive difficulty. The Musical Offering (1747) is also plainly influenced by this mode of musical thinking. Here, for a theme incomparably more complex than that of bwv1087, he devised ten canons of differing structural types, notated as puzzle canons in the original printed edition of 1747. The series of canons on the ‘royal theme’ includes a canonic fugue, providing a bridge between the canons, which are primarily theoretical in conception though also intended for performance, and the two keyboard fugues or ricercares in three and six parts. A further constituent part of the Musical Offering is a trio sonata for flute, violin and continuo, also based on the royal theme. In its second slow movement Bach introduced echoes of the fashionable style practised at the Prussian court. The Musical Offering, in effect a compendium in three sections, shows Bach elaborating on the theme supplied to him by Frederick the Great in every imaginable way for an ensemble of up to three instruments.

The Art of Fugue constitutes the final contribution to this group of monothematically conceived works intended as representative examples of a specific principle. As a didactic keyboard work, the Art of Fugue in some ways forms a counterpart to the two books of the ‘48’, with the difference that here it is exclusively the fugue that is in question, and, what is more, the fugues are developed from a single theme. Bach’s work on the Art of Fugue was accomplished in two stages – from about 1740 to about 1745, and then (in connection with preparing the work for publication) in about 1748–50. The extant autograph score represents the conclusion of the first stage, in which the conception of the work already appears clearly: beginning with simple fugues (Bach avoided this term, speaking of ‘contrapunctus’), progressing through ‘counter-fugues’, double fugues and triple fugues, with interpolated canons, and culminating in a mirror fugue. For the printed version the number of movements was not only increased by four (two canons, a fourth simple fugue and most notably a closing quadruple fugue) but their order was rearranged so as to expound more logically the ‘chapter of instruction on fugues’. When Bach died the work may have been more ‘complete’ than it is in the form in which it has survived. In particular the quadruple fugue had surely been completed in all essentials, since the composition of its combinatorial section must necessarily be an early stage in the composition of a quadruple fugue. Only the three opening sections of the exposition, however, are extant, and these – further abbreviated by the editors, give the Art of Fugue the appearance of being a mighty torso.

The Musical Offering and the Art of Fugue mark both the end and the culmination of Bach’s activity as a keyboard composer in the broadest sense. While the two ricercars on the ‘royal theme’ of the Musical Offering represent different fugal styles (forward- and backward-looking) and different textures (three- and six-part polyphony), the Art of Fugue explores a notably more intensive monothematic conception. As a didactic keyboard composition in some sense it counterbalances the two parts of the ‘48’, yet with the difference that it concerns itself with fugue alone, in a series of compositions developed out of a single ‘principal composition’ (theme) – and does so using a technique in which forward- and backward-looking styles operate alongside each other, synoptically as it were. It was probably unintentional, and yet it is hardly by chance, that the initial premiss and the goal of Bach’s keyboard art and his musical thinking come together in the Art of Fugue.

21. Methods of composition.

Bach’s methods of composition can be outlined only roughly: the sources, musical and literary, present no more than a fragmentary picture. ‘Methods’ here refers to Bach’s general procedures of composition, as far as these can be described objectively (without venturing into conjecture about creative psychology) and can be related to certain essential impulses and particularly characteristic approaches.

Bach’s vast knowledge of the musical repertory was a decisive factor behind his art. He had an intimate knowledge of the types and styles of composition of his time and in particular of the work of his most important contemporaries; moreover, he had a sound idea of the music of the past, extending back as far as Frescobaldi and Palestrina. The study of works by other masters went hand in hand with experimentation in his own. It is thus characteristic that his acquaintance with the works of Buxtehude and Böhm, with Vivaldi’s concertos, with the Passions of Keiser and Handel and with the masses of Lotti and Palestrina should have left an immediate imprint on his compositions in the same genres. It was less a matter of imitation of a model than of an awareness of the possibilities, an expansion of his own manner of writing and a stimulation of his musical ideas. This is confirmed in a contemporary report by T.L. Pitschel on his manner of improvisation, according to which, before beginning his own fantasia, Bach as a rule played from music a work by another master (or perhaps one of his own) which would ignite his imagination. Further, C.P.E. Bach wrote that, in accompanying a trio, his father liked to extemporize a fourth part. This tendency to take compositions by others as a starting-point is paralleled in his late adaptations: in his arrangement of Pergolesi’s Stabat mater an obbligato viola part is added, replacing the one following the continuo in the original; and his version of the ‘Suscepit Israel’ from Caldara’s Magnificat in C expands it from a five-part into a seven-part piece. An important aspect of Bach’s procedure of composition is its systematic and encyclopedic nature. He habitually wrote works of one particular type within a relatively limited period: for example the Orgel-Büchlein, the ‘48’, the solo violin sonatas and partitas, the canons, the chorale cantatas etc. He was concerned to try out, to develop and to exhaust specific principles of composition. There are practically no completely isolated compositions. Relationships, correspondences and connections with other works can constantly be found. This approach to the procedure of composition is at once deep and yet of great natural simplicity; and it never results in mere repetition. Certainly there is repetition, of a kind, in the case of parodies or transcriptions of existing works. Yet even here it is inappropriate to speak of repetition, since in the process of parodying and transcribing, Bach always modified so that the end-product represents a fresh stage in the development of the original composition.

C.P.E. Bach related that his father did not actually compose at the keyboard – apart from some keyboard works whose material originated in improvisations – but that he often tried out his music on the keyboard afterwards. This procedure may be seen in the few instrumental works of which Bach’s autograph draft survives, for example the early versions of the Inventions in the Clavier-Büchlein for Wilhelm Friedemann, where an abundance of inserted corrections are to be found. In the vocal music, where a wealth of source material is available, the main stages of composition can often be reconstructed. In thematically and motivically self-contained movements, like arias and choruses, Bach normally began with the development and formulation of a motif, a phrase or a theme, which would be guided by the prosody of the text; he then added the contrapuntal voices, and continued in the same way, sometimes using ‘continuation sketches’ to plan the music’s progress in advance (see the critical edition of the sketches, Marshall, 1972). In choral fugues he usually began by outlining the thematic entries, and wrote in the accompanying parts afterwards. The decisive step was the embarkation on the writing of a movement, for progress was in its essentials determined by established models (harmonic-tonal groundplan, modulation patterns, aria schemes) and governed by the principle of unified continuation (‘style d’une teneur’ and ‘Affekteinheitlichkeit’ – ensured by a unified motivic organization and interchange, permutation and transposition of component sections). The invention of the central idea was for Bach the critical moment in the process of composition, as the title-page of the Inventions specifies: ‘gute inventiones zu bekommen’ (‘how to achieve good inventions’); and this is borne out by C.P.E. Bach’s report that his first requirement of his composition pupils was the invention of ideas. With this the die was cast, down to a work’s emotional content. Outlines and sketches relating to this operation can sometimes be found in the original manuscripts; typically, however, Bach hardly required more than one or two attempts before arriving at the definitive form of his principal idea. The further elaboration of the idea – the dispositio, elaboratio and decoratio – required mastery of his craft rather than inspiration.

In composing multi-movement vocal works Bach, understandably, began as a rule with the self-contained movements and only afterwards worked at the recitatives and chorales. In the recitatives he normally first wrote out the text and then added the melody and bass, section by section. In the chorales the bass was added to the melody and the middle parts were inserted later. Then all the movements were revised in detail, and sometimes corrections were made. The appearance of Bach’s working drafts is thus unusually clear and neat as a whole, although it is mainly in his fair copies that the particular quality of his handwriting, a quality comparable to that of his music, is expressed. The physical state of the fair copy had to reflect the degree of artistic perfection to which the composer aspired, and the pains taken to achieve neatness and clarity in the copy are not evidence of pedantry. Rather, Bach was aware of the dichotomy between the perfection of the musical idea and that of its representation in performance. For this reason and no other he made the following statement in 1738, through the mouth of his spokesman J.A. Birnbaum: ‘One does not judge a composition first and foremost by the impression of its performance. Yet if such judgment, which can be deceptive, is not to be taken into consideration, then I see no other way of forming an opinion about it except by looking at the work as it is set down in notation.’

Ultimately, for Bach, the process of composition was an unending one. Dynamic markings and indications of articulation would be inserted as he looked through the parts; he would revise and improve a work when he was copying it out, and when giving further performances would make fresh alterations and improvements. He also inserted corrections in works already in print. Throughout his life Bach was his own severest critic. Even in works which went through two or three different versions, like the chorale prelude An Wasserflüssen Babylon bwv653, the ‘final’ version does not represent a definitive one but merely a further stage in the search for perfection – the central and ultimate concern of Bach’s method of composition.

chorales, sacred songs, arias

WORKS

Bach did not always define instruments unambiguously; ‘corno’ could mean the normal horn of his time, the need for a brass player but not necessarily a trumpeter, or possibly the most suitable brass instrument (horn, cornett, slide-trumpet [tromba da tirarsi] etc.); parts for ‘three oboes’ at Leipzig may indicate any combination of oboes, oboes d’amore, tailles (tenor oboes in F, with no solo material) or oboes da caccia (a specific local tenor type, designed for obbligato work); four trombones indicate SATB and three ATB (usually below a cornett)

Dates of later copies or performances are given only if modifications are involved

Editions: J.S. Bach: Werke, ed. Bach-Gesellschaft. i–xlvii (Leipzig, 1851–99/R) [BG]J.S. Bach: Neue Ausgabe sämtlicher Werke (Neue Bach-Ausgabe), ed. Johann-Sebastian-Bach-Institut, Göttingen, and Bach-Archiv, Leipzig, ser. I–VIII (Kassel and Basle, 1954–) [vols. in square brackets are in preparation] [NBA; CC = Critical Commentary]Catalogues: W. Schmieder: Thematisch-systematisches Verzeichnis der musikalischen Werke Johann Sebastian Bachs: Bach-Werke-Verzeichnis (Leipzig, 1950, enlarged 2/1990, rev. and abridged 1998 by A. Dürr, Y. Kobayashi and K. Beisswenger as Bach-Werke-Verzeichnis) [BWV; A = Anhang]H.-J. Schulze and C. Wolff: Bach Compendium: analytisch-bibliographisches Repertorium der Werke Johann Sebastian Bachs (Leipzig and Frankfurt, 1985–) [BC]

†	variant versions exist; see bwv and BC

studies in counterpoint, canons etc.

church cantatas

Advent I = 1st Sunday in Advent; Trinity/Easter I = 1st Sunday after Trinity/Easter, etc.; most texts are compilations including at least one chorale; only single text sources given; where the text is entirely or mainly based on that of a chorale, its author’s name is given in parentheses



BWV	BC	Title (text/librettist)	BG	NBA

1	A 173	Wie schön leuchtet der Morgenstern, chorale (P. Nicolai)	i, 1	I/xxviii.2, 3
Occasion; 1st perf. : Annunciation; 25 March 1725
Scoring : S, T, B, 4vv, 2 hn, 2 ob da caccia, str, bc
2	A 98	Ach Gott, vom Himmel sieh darein, chorale (M. Luther)	i, 55	I/xvi, 83
Occasion; 1st perf. : Trinity II; 18 June 1724
Scoring : A, T, B, 4vv, 4 trbn, 2 ob, str, bc
3	A 33	Ach Gott, wie manches Herzeleid, chorale (M. Möller)	i, 75	I/v, 191
Occasion; 1st perf. : Epiphany II; 14 Jan 1725
Scoring : S, A, T, B, 4vv, hn, trbn, 2 ob d’amore, str, bc
†4	A 54	Christ lag in Todes Banden, chorale (Luther)	i, 97	I/ix, 1
Occasion; 1st perf. : Easter; probably by 1708
Scoring : S, A, T, B, 4vv, cornett, str, bc [3 trbn added 1725]
5	A 145	Wo soll ich fliehen hin, chorale (J. Heermann)	i, 127	I/xxiv, 135
Occasion; 1st perf. : Trinity XIX; 15 Oct 1724
Scoring : S, A, T, B, 4vv, tpt da tirarsi, 2 ob, str, bc
6	A 57	Bleib bei uns, denn es will Abend werden	i, 153	I/x, 45
Occasion; 1st perf. : Easter Monday; 2 April 1725
Scoring : S, A, T, B, 4vv, 2 ob, ob da caccia, vc piccolo, str, bc
7	A 177	Christ unser Herr zum Jordan kam, chorale (Luther)	i, 179	I/xxix, 27
Occasion; 1st perf. : St John; 24 June 1724
Scoring : A, T, B, 4vv, 2 ob d’amore, str, bc
†8	A 137	Liebster Gott, wenn werd ich sterben?, chorale (C. Neumann)	i, 213	I/xxiii, 107, 165
Occasion; 1st perf. : Trinity XVI; 24 Sept 1724
Scoring : S, A, T, B, 4vv, hn, fl, 2 ob d’amore, str, bc
9	A 107	Es ist das Heil uns kommen her, chorale (P. Speratus)	i, 245	I/xvii/2, 93
Occasion; 1st perf. : Trinity VI; c1732–5
Scoring : S, A, T, B, 4vv, fl, ob d’amore, str, bc
10	A 175	Meine Seel erhebt den Herren (Luke i.46–55)	i, 277	I/xxviii.2, 10
Occasion; 1st perf. : Visitation; 2 July 1724
Scoring : S, A, T, B, 4vv, tpt, 2 ob, str, bc
12	A 68	Weinen, Klagen, Sorgen, Zagen (? S. Franck)	ii, 61	I/xi/2, 1
Occasion; 1st perf. : Easter III; 22 April 1714
Scoring : A, T, B, 4vv, tpt, ob, str, bc
13	A 34	Meine Seufzer, meine Tränen (G.C. Lehms)	ii, 81	I/v, 231
Occasion; 1st perf. : Epiphany II; 20 Jan 1726
Scoring : S, A, T, B, 4vv, 2 rec, ob da caccia, str, bc
14	A 40	Wär Gott nicht mit uns diese Zeit, chorale (Luther)	ii, 101	I/vi, 139
Occasion; 1st perf. : Epiphany IV; 30 Jan 1735
Scoring : S, T, B, 4vv, hn, 2 ob, str, bc
16	A 23	Herr Gott, dich loben wir (Lehms)	ii, 175	I/iv, 105
Occasion; 1st perf. : New Year; 1 Jan 1726
Scoring : A, T, B, 4vv, hn, 2 ob, ob da caccia, str, bc
17	A 131	Wer Dank opfert, der preiset mich	ii, 201	I/xxi, 149
Occasion; 1st perf. : Trinity XIV; 22 Sept 1726
Scoring : S, A, T, B, 4vv, 2 ob, str, bc
†18	A 44	Gleichwie der Regen und Schnee vom Himmel fällt (E. Neumeister)	ii, 229	I/vii, 109
Occasion; 1st perf. : Sexagesima; ? 24 Feb 1715 or ? 1713–14
Scoring : S, T, B, 4vv, 4 va, bc [2 fl added 1724]
19	A 180	Es erhub sich ein Streit (after Picander)	ii, 255	I/xxx, 57
Occasion; 1st perf. : St Michael; 29 Sept 1726
Scoring : S, T, B, 4vv, 3 tpt, timp, 2 ob, 2 ob d’amore, taille, str, bc
20	A 95	O Ewigkeit, du Donnerwort, chorale (J. Rist)	ii, 293	I/xv, 135
Occasion; 1st perf. : Trinity I; 11 June 1724
Scoring : A, T, B, 4vv, tpt, da tirarsi, 3 ob, str, bc
†21	A 99	Ich hatte viel Bekümmernis (?Franck)	v/1, 1	I/xvi, 111
Occasion; 1st perf. : Trinity III; 17 June 1714 [part earlier]
Scoring : S, T, B, 4vv, 3 tpt, timp, ob, str, bc incl. bn [4 trbn added 1723]
22	A 48	Jesus nahm zu sich die Zwölfe	v/1, 67	I/viii.1, 3
Occasion; 1st perf. : Quinquagesima; 7 Feb 1723
Scoring : A, T, B, 4vv, ob, str, bc
†23	A 47	Du wahrer Gott und Davids Sohn	v/1, 95	I/viii.1, 35, 71
Occasion; 1st perf. : Quinquagesima, 7 Feb 1723
Scoring : S, A, T, 4vv, 2 ob, str, bc [cornett, 3 trbn added 1724]
24	A 102	Ein ungefärbt Gemüte (Neumeister)	v/1, 127	I/xvii.1, 49
Occasion; 1st perf. : Trinity IV; 20 June 1723
Scoring : A, T, B, 4vv, tpt, 2 ob, 2 ob d’amore, str, bc
25	A 129	Es ist nicht Gesundes an meinem Leibe	v/1, 155	I/xxi, 81
Occasion; 1st perf. : Trinity XIV; 29 Aug 1723
Scoring : S, T, B, 4vv, cornett, 3 trbn, 3 rec, 2 ob, str, bc
26	A 162	Ach wie flüchtig, ach wie nichtig, chorale (M. Franck)	v/1, 191	I/xxvii, 31
Occasion; 1st perf. : Trinity XXIV; 19 Nov 1724
Scoring : S, A, T, B, 4vv, hn, fl, 3 ob, str, bc
27	A 138	Wer weiss, wie nahe mir mein Ende!	v/1, 219	I/xxiii, 223
Occasion; 1st perf. : Trinity XVI; 6 Oct 1726
Scoring : S, A, T, B, 4vv, hn, 2 ob, ob da caccia, org obbl, str, bc
28	A 20	Gottlob! nun geht das Jahr zu Ende (Neumeister)	v/1, 247	[I/iii]
Occasion; 1st perf. : Christmas I; 30 Dec 1725
Scoring : S, A, T, B, 4vv, cornett, 3 trbn, 2 ob, taille, str, bc
29	B 8	Wir danken dir, Gott, wir danken dir	v/1, 275	I/xxxii.2, 3
Occasion; 1st perf. : inauguration of town council; 27 Aug 1731
Scoring : S, A, T, B, 4vv, 3 tpt, timp, 2 ob, org obbl, str, bc
30	A 178	Freue dich, erlöste Schar (adapted ?Picander from 30a)	v/1, 323	I/xxix, 61
Occasion; 1st perf. : St John; 24 June 1738 or later
Scoring : S, A, T, B, 4vv, 2 fl, 2 ob, ob d’amore, str, bc
†31	A 55	Der Himmel lacht! die Erde jubilieret (Franck)	vii, 3	I/ix, 43
Occasion; 1st perf. : Easter; 21 April 1715
Scoring : S, T, B, 5vv, 3 tpt, timp, 2 ob, str, bc [taille added 1724]
32	A 31	Liebster Jesu, mein Verlangen, dialogue (Lehms)	vii, 55	I/v, 145
Occasion; 1st perf. : Epiphany I; 13 Jan 1726
Scoring : S, B, 4vv, ob, str, bc
33	A 127	Allein zu dir, Herr Jesu Christ, chorale (K. Hubert)	vii, 83	I/xxi, 25
Occasion; 1st perf. : Trinity XIII; 3 Sept 1724
Scoring : A, T, B, 4vv, 2 ob, str, bc
34	A 84	O ewiges Feuer, O Ursprung der Liebe (adapted from 34a)	vii, 117	I/xiii, 131
Occasion; 1st perf. : Whit Sunday; c1746–7
Scoring : A, T, B, 4vv, 3 tpt, timp, 2 fl, 2 ob, str, bc
34a	B 13	O ewiges Feuer, O Ursprung der Liebe [partly lost]	xli, 117	I/xxxiii, 29
Occasion; 1st perf. : ?wedding; 1726
Scoring : S, A, T, B, 4vv, 3 tpt, timp, 2 fl, 2 ob, str, bc
35	A 125	Geist und Seele wird verwirret (Lehms) [partly adapted from lost ob conc., cf 1059]	vii, 173	I/xx, 217
Occasion; 1st perf. : Trinity XII; 8 Sept 1726
Scoring : A, 2 ob, taille, org obbl, str, bc
†36	A 3	Schwingt freudig euch empor (adapted ?Picander from 36c)	vii, 223	I/i, 19, 43
Occasion; 1st perf. : Advent I; c1725–30, rev. 2 Dec 1731
Scoring : S, A, T, B, 4vv, 2 ob d’amore, str, bc
37	A 75	Wer da gläubet und getauft wird [inc.]	vii, 261	I/xii, 81
Occasion; 1st perf. : Ascension; 18 May 1724
Scoring : S, A, T, B, 4vv, 2 ob d’amore, str, bc
38	A 152	Aus tiefer Not schrei ich zu dir, chorale (Luther)	vii, 285	I/xxv, 219
Occasion; 1st perf. : Trinity XXI; 29 Oct 1724
Scoring : S, A, T, B, 4vv, 4 trbn, 2 ob, str, bc
39	A 96	Brich dem Hungrigen dein Brot	vii, 303	I/xv, 181
Occasion; 1st perf. : Trinity I; 23 June 1726
Scoring : S, A, B, 4vv, 2 rec, 2 ob, str, bc
40	A 12	Darzu ist erschienen der Sohn Gottes	vii, 351	[I/iii]
Occasion; 1st perf. : 2nd day of Christmas; 26 Dec 1723
Scoring : A, T, B, 4vv, 2 hn, 2 ob, str, bc
41	A 22	Jesu, nun sei gepreiset, chorale (J. Herman)	x, 3	I/iv, 39
Occasion; 1st perf. : New Year; 1 Jan 1725
Scoring : S, A, T, B, 4vv, 3 tpt, timp, 3 ob, vc piccolo, str, bc
42	A 63	Am Abend aber desselbigen Sabbats	x, 65	I/xi.1, 63
Occasion; 1st perf. : Easter I; 8 April 1725
Scoring : S, A, T, B, 4vv, 2 ob, str, bc incl. bn
43	A 77	Gott fähret auf mit Jauchzen (?Helm)	x, 95	I/xii, 135
Occasion; 1st perf. : Ascension; 30 May 1726
Scoring : S, A, T, B, 4vv, 3 tpt, timp, 2 ob, str, bc
44	A 78	Sie werden euch in den Bann tun	x, 129	I/xii, 167
Occasion; 1st perf. : Ascension I; 21 May 1724
Scoring : S, A, T, B, 4vv, 2 ob, str, bc
45	A 113	Es ist dir gesagt, Mensch, was gut ist	x, 153	I/xviii, 199
Occasion; 1st perf. : Trinity VIII; 11 Aug 1726
Scoring : A, T, B, 4vv, 2 fl, 2 ob, str, bc
46	A 117	Schauet doch und sehet	x, 189	I/xix, 111
Occasion; 1st perf. : Trinity X; 1 Aug 1723
Scoring : A, T, B, 4vv, 2 rec, tpt da tirarsi, 2 taille, str, bc
47	A 141	Wer sich selbst erhöhet (J.F. Helbig)	x, 241	I/xxiii, 321
Occasion; 1st perf. : Trinity XVII; 13 Oct 1726
Scoring : S, B, 4vv, 2 ob, org obbl, str, bc
48	A 144	Ich elender Mensch, wer wird mich erlösen	x, 277	I/xxiv, 107
Occasion; 1st perf. : Trinity XIX; 3 Oct 1723
Scoring : A, T, 4vv, tpt, 2 ob, str, bc
49	A 150	Ich geh und suche mit Verlangen, dialogue [sinfonia adapted from lost conc. 1053]	x, 301	I/xxv, 109
Occasion; 1st perf. : Trinity XX; 3 Nov 1726
Scoring : S, B, ob d’amore, org obbl, vc piccolo, str, bc
50	A 194	Nun ist das Heil und die Kraft (Revelation xii. 10) [movt of inc. or lost cantata]	x, 343	I/xxx, 143
Occasion; 1st perf. : St Michael
Scoring : 8vv, 3 tpt, timp, 3 ob, str, bc
51	A 134	Jauchzet Gott in allen Landen!	xii/2, 3	I/xxii, 77
Occasion; 1st perf. : Trinity XV; 17 Sept 1730
Scoring : S, tpt, str, bc [2 tpt, timp added by W.F. Bach]
52	A 160	Falsche Welt, dir trau ich nicht	xii/2, 27	I/xxvi, 133
Occasion; 1st perf. : Trinity XXIII; 24 Nov 1726
Scoring : S, 4vv, 2 hn, 3 ob, bn, str, bc
54	A 51	Widerstehe doch der Sünde (Lehms)	xii/2, 61	I/xviii, 3
Occasion; 1st perf. : Oculi or Trinity VII; 4 March or 15 July 1714
Scoring : A, str, bc
55	A 157	Ich armer Mensch, ich Sündenknecht	xii/2, 75	I/xxvi, 57
Occasion; 1st perf. : Trinity XXII; 17 Nov 1726
Scoring : T, 4vv, fl, ob d’amore, str, bc
56	A 146	Ich will den Kreuzstab gerne tragen	xii/2, 89	I/xxiv, 175
Occasion; 1st perf. : Trinity XIX; 27 Oct 1726
Scoring : B, 4vv, 3 ob, str, bc
57	A 14	Selig ist der Mann, dialogue (Lehms)	xii/2, 107	[I/iii]
Occasion; 1st perf. : 2nd day of Christmas; 26 Dec 1725
Scoring : S, B, 4vv, 3 ob, str, bc
†58	A 26	Ach Gott, wie manches Herzeleid, dialogue	xii/2, 135	I/iv, 219
Occasion; 1st perf. : New Year I; 5 Jan 1727
Scoring : S, B, str, bc [2 ob, taille added 1733–4]
59	A 82	Wer mich liebet, der wird mein Wort halten (Neumeister)	xii/2, 153	I/xiii, 67
Occasion; 1st perf. : Whit Sunday; 28 May 1724
Scoring : S, B, 4vv, 2 tpt, timp, str, bc
60	A 161	O Ewigkeit, du Donnerwort, dialogue	xii/2, 171	I/xxvii, 3
Occasion; 1st perf. : Trinity XXIV; 7 Nov 1723
Scoring : A, T, B, 4vv, hn, 2 ob d’amore, str, bc
61	A 1	Nun komm, der Heiden Heiland (Neumeister)	xvi, 3	I/i, 3
Occasion; 1st perf. : Advent I; 2 Dec 1714
Scoring : S, T, B, 4vv, str, bc
62	A 2	Nun komm, der Heiden Heiland, chorale (Luther)	xvi, 21	I/i, 77
Occasion; 1st perf. : Advent I; 3 Dec 1724
Scoring : S, A, T, B, 4vv, hn, 2 ob, str, bc
†63	A 8	Christen, ätzet diesen Tag (? N. Heineccius)	xvi, 53	I/ii, 3
Occasion; 1st perf. : Christmas; c1714–15
Scoring : S, A, T, B, 4vv, 4 tpt, timp, 3 ob, str, bc [org obbl added after c1729]
64	A 15	Sehet, welch eine Leibe (Knauer)	xvi, 113	[I/iii]
Occasion; 1st perf. : 3rd day of Christmas; 27 Dec 1723
Scoring : S, A, B, 4vv, cornett, 3 trbn, ob d’amore, str, bc
65	A 27	Sie werden aus Saba alle kommen	xvi, 135	I/v, 3
Occasion; 1st perf. : Epiphany; 6 Jan 1724
Scoring : T, B, 4vv, 2 hn, 2 rec, 2 ob da caccia, str, bc
66	A 56	Erfreut euch, ihr Herzen, dialogue [adapted from 66a]	xvi, 169	I/x, 3
Occasion; 1st perf. : Easter Monday; 10 April 1724
Scoring : A, T, B, 4vv, tpt, 2 ob, str, bc
67	A 62	Halt im Gedächtnis Jesum Christ	xvi, 217	I/xi.1, 1
Occasion; 1st perf. : Easter I; 16 April 1724
Scoring : A, T, B, 4vv, hn, fl, 2 ob d’amore, str, bc
68	A 86	Also hat Gott die Welt geliebt (M. von Ziegler)	xvi, 249	I/xiv, 33
Occasion; 1st perf. : Whit Monday; 21 May 1725
Scoring : S, B, 4vv, hn, cornett, 3 trbn, 2 ob, taille, vc piccolo, str, bc
69	B 10	Lobe den Herrn, meine Seele (partly Knauer) [adapted from 69a]	xvi, 283	I/xxxii.2, 113
Occasion; 1st perf. : inauguration of town council; 1742–8
Scoring : S, A, T, B, 4vv, 3 tpt, timp, 3 ob, ob d’amore, str, bc
69a	A 123	Lobe den Herrn, meine Seele (Knauer)	xvi, 373 (inc.)	I/xx, 119
Occasion; 1st perf. : Trinity XII; 15 Aug 1723
Scoring : S, A, T, B, 4vv, 3 tpt, timp, rec, 3 ob, ob da caccia, str, bc
70	A 165	Wachet! betet! betet! wachet! (partly Franck) [adapted from 70a]	xvi, 329	I/xxvii, 109
Occasion; 1st perf. : Trinity XXVI; 21 Nov 1723
Scoring : S, A, T, B, 4vv, tpt, ob, str, bc
70a	A 4	Wachet! betet! betet! wachet! (Franck) [music lost]	—	I/i, CC
Occasion; 1st perf. : Advent II; 6 Dec 1716
Scoring : —
71	B 1	Gott ist mein König	xviii, 3	I/xxxii.1, 3
Occasion; 1st perf. : inauguration of Mühlhausen town council; 4 Feb 1708
Scoring : S, A, T, B, 4vv; 3 tpt, timp; 2 rec, vc; 2 ob; str, bc incl. org obbl
72	A 37	Alles nur nach Gottes Willen (Franck)	xviii, 57	I/vi, 59
Occasion; 1st perf. : Epiphany III; 27 Jan 1726
Scoring : S, A, B, 4vv, 2 ob, str, bc
†73	A 35	Herr, wie du willt, so schick’s mit mir	xviii, 87	I/vi, 3
Occasion; 1st perf. : Epiphany III; 23 Jan 1724
Scoring : S, T, B, 4vv, hn, 2 ob, str, bc [later version, 1730s, with org obbl instead of hn]
74	A 83	Wer mich liebet, der wird mein Wort halten (Ziegler) [partly adapted from 59]	xviii, 107	I/xiii, 85
Occasion; 1st perf. : Whit Sunday; 20 May 1725
Scoring : S, A, T, B, 4vv, 3 tpt, timp, 2 ob, ob da caccia, str, bc
75	A 94	Die Elenden sollen essen	xviii, 149	I/xv, 87
Occasion; 1st perf. : Trinity I; 30 May 1723
Scoring : S, A, T, B, 4vv, tpt, 2 ob, ob d’amore, str, bc
†76	A 97, A 185	Die Himmel erzählen die Ehre Gottes	xviii, 191	I/xvi, 3
Occasion; 1st perf. : Trinity II; 6 June 1723
Scoring : S, A, T, B, 4vv, tpt, 2 ob, ob d’amore, va da gamba, str, bc
77	A 126	Du sollt Gott, deinen Herren, lieben (Knauer)	xviii, 235	I/xxi, 3
Occasion; 1st perf. : Trinity XIII; 22 Aug 1723
Scoring : S, A, T, B, 4vv, tpt da tirarsi, 2 ob, str, bc
78	A 130	Jesu, der du meine Seele, chorale (Rist)	xviii, 257	I/xxi, 117
Occasion; 1st perf. : Trinity XIV; 10 Sept 1724
Scoring : S, A, T, B, 4vv, hn, fl, 2 ob, str, bc
79	A 184	Gott der Herr ist Sonn und Schild	xviii, 289	I/xxxi, 3
Occasion; 1st perf. : Reformation Festival; 31 Oct 1725
Scoring : S, A, B, 4vv, 2 hn, timp, 2 fl, 2 ob, str, bc
†80	A 183	Ein feste Burg ist unser Gott (Franck) [adapted from 80a]	xviii, 319, 381	I/xxxi, 67, 73
Occasion; 1st perf. : Reformation Festival; 1727–31, rev. 1744–7 or earlier
Scoring : S, A, T, B, 4vv, ob, str, bc [ob d’amore, taille added c1744–7; 3 tpt, timp added by W.F. Bach]
80a	A 52	Alles, was von Gott geboren (Franck) [music lost]	—	I/viii, CC
Occasion; 1st perf. : Lent III; Oculi, 15 March 1716
Scoring : —
81	A 39	Jesus schläft, was soll ich hoffen?	xx/1, 3	I/vi, 111
Occasion; 1st perf. : Epiphany IV; 30 Jan 1724
Scoring : A, T, B, 4vv, 2 rec, 2 ob d’amore, str, bc
82	A 169	Ich habe genug	xx/1, 27	I/xxviii.1, 77
Occasion; 1st perf. : Purification; 2 Feb 1727
Scoring : B, ob, str, bc; other versions for S/A with altered ww
83	A 167	Erfreute Zeit im neuen Bunde	xx/1, 53	I/xxviii.1, 3
Occasion; 1st perf. : Purification; 2 Feb 1724
Scoring : A, T, B, 4vv, 2 hn, 2 ob, str, bc
84	A 43	Ich bin vergnügt mit meinem Glücke (Picander)	xx/1, 79	I/vii, 23
Occasion; 1st perf. : Septuagesima; 9 Feb 1727
Scoring : S, 4vv, ob, str, bc
85	A 66	Ich bin ein guter Hirt	xx/1, 101	I/xi.1, 157
Occasion; 1st perf. : Easter II; 15 April 1725
Scoring : S, A, T, B, 4vv, 2 ob, vc piccolo, str, bc
86	A 73	Wahrlich, wahrlich, ich sage euch	xx/1, 121	I/xii, 47
Occasion; 1st perf. : Easter V; 14 May 1724
Scoring : S, A, T, B, 4vv, 2 ob d’amore, str, bc
87	A 74	Bisher habt ihr nichts gebeten (Ziegler)	xx/1, 137	I/xii, 63
Occasion; 1st perf. : Easter V; 6 May 1725
Scoring : A, T, B, 4vv, 2 ob, 2 ob da caccia, str, bc
88	A 105	Siehe, ich will viel Fischer aussenden	xx/1, 155	I/xvii.2, 33
Occasion; 1st perf. : Trinity V; 21 July 1726
Scoring : S, A, T, B, 4vv, 2 hn, 2 ob d’amore, taille, str, bc
89	A 155	Was soll ich aus dir machen, Ephraim?	xx/1, 181	I/xxvi, 3
Occasion; 1st perf. : Trinity XXII; 24 Oct 1723
Scoring : S, A, B, 4vv, hn, 2 ob, str, bc
90	A 163	Es reisset euch ein schrecklich Ende	xx/1, 197	I/xxvii, 61
Occasion; 1st perf. : Trinity XXV; 14 Nov 1723
Scoring : A, T, B, 4vv, tpt, str, bc
†91	A 9	Gelobet seist du, Jesu Christ, chorale (Luther)	xxii, 3	I/ii, 133, 164
Occasion; 1st perf. : Christmas; 25 Dec 1724
Scoring : S, A, T, B, 4vv, 2 hn, timp, 3 ob, str, bc
92	A 42	Ich hab in Gottes Herz und Sinn, chorale (P. Gerhardt)	xxii, 35	I/vii, 43
Occasion; 1st perf. : Septuagesima; 28 Jan 1725
Scoring : S, A, T, B, 4vv, 2 ob d’amore, str, bc
93	A 104	Wer nur den lieben Gott lässt walten, chorale (G. Neumark)	xxii, 71	I/xvii.2, 3
Occasion; 1st perf. : Trinity V; 9 July 1724
Scoring : S, A, T, B, 4vv, 2 ob, str, bc
94	A 115	Was frag ich nach der Welt, chorale (B. Kindermann)	xxii, 97	I/xix, 45
Occasion; 1st perf. : Trinity IX; 6 Aug 1724
Scoring : S, A, T, B, 4vv, fl, 2 ob, ob d’amore, str, bc
95	A 136	Christus, der ist mein Leben, stanzas from 3 chorales	xxii, 131	I/xxiii, 67
Occasion; 1st perf. : Trinity XVI; 12 Sept 1723
Scoring : S, T, B, 4vv, hn, 2 ob, ob d’amore, str, bc
96	A 142	Herr Christ, der einge Gottessohn, chorale (E. Kreuziger)	xxii, 157	I/xxiv, 3
Occasion; 1st perf. : Trinity XVIII; 8 Oct 1724
Scoring : S, A, T, B, 4vv, hn, trbn, fl piccolo, 2 ob, vn piccolo, str, bc
97	A 189	In allen meinen Taten, chorale (P. Fleming)	xxii, 187	I/xxxiv, 199
Occasion; 1st perf. : 1734
Scoring : S, A, T, B, 4vv, 2 ob, str, bc
98	A 153	Was Gott tut, das ist wohlgetan	xxii, 233	I/xxv, 243
Occasion; 1st perf. : Trinity XXI; 10 Nov 1726
Scoring : S, A, T, B, 4vv, 2 ob, str, bc
99	A 133	Was Gott tut, das ist wohlgetan, chorale (P. Rodigast)	xxii, 253	I/xxii, 41
Occasion; 1st perf. : Trinity XV; 17 Sept 1724
Scoring : S, A, T, B, 4vv, hn, fl, ob d’amore, str, bc
100	A 191	Was Gott tut, das ist wohlgetan, chorale (Rodigast)	xxii, 279	I/xxxiv, 241
Occasion; 1st perf. : c1732–5
Scoring : S, A, T, B, 4vv, 2 hn, timp, fl, ob d’amore, str, bc
101	A 118	Nimm von uns, Herr, du treuer Gott, chorale (Möller)	xxiii, 3	I/xix, 175
Occasion; 1st perf. : Trinity X; 13 Aug 1724
Scoring : S, A, T, B, 4vv, cornett, 3 trbn, fl, 2 ob, ob da caccia, str, bc
102	A 119	Herr, deine Augen sehen nach dem Glauben	xxiii, 35	I/xix, 231
Occasion; 1st perf. : Trinity X; 25 Aug 1726
Scoring : A, T, B, 4vv, fl, 2 ob, str, bc
103	A 69	Ihr werdet weinen und heulen (Ziegler)	xxiii, 69	I/xi.2, 25
Occasion; 1st perf. : Easter III; 22 April 1725
Scoring : A, T, 4vv, tpt, fl piccolo, 2 ob d’amore, str, bc
104	A 65	Du Hirte Israel, höre	xxiii, 97	I/xi.1, 113
Occasion; 1st perf. : Easter II; 23 April 1724
Scoring : T, B, 4vv, 2 ob, ob da caccia, 2 ob d’amore, str, bc
105	A 114	Herr, gehe nicht ins Gericht	xxiii, 119	I/xix, 3
Occasion; 1st perf. : Trinity IX; 25 July 1723
Scoring : S, A, T, B, 4vv, hn, 2 ob, str, bc
106	B 18	Gottes Zeit ist die allerbeste Zeit (Actus tragicus)	xxiii, 149	I/xxxiv, 3
Occasion; 1st perf. : funeral; ?1707–8
Scoring : S, A, T, B, 4vv, 2 rec, 2 va da gamba, bc
107	A 109	Was willst du dich betrüben, chorale (Heermann)	xxiii, 181	I/xviii, 57
Occasion; 1st perf. : Trinity VII; 23 July 1724
Scoring : S, T, B, 4vv, hn, 2 fl, 2 ob d’amore, str, bc
108	A 72	Es ist euch gut, dass ich hingehe (Ziegler)	xxiii, 205	I/xii, 19
Occasion; 1st perf. : Easter IV; 29 April 1725
Scoring : A, T, B, 4vv, 2 ob d’amore, str, bc
109	A 151	Ich glaube, lieber Herr, hilf meinem Unglauben	xxiii, 233	I/xxv, 159
Occasion; 1st perf. : Trinity XXI; 17 Oct 1723
Scoring : A, T, 4vv, hn, 2 ob, str, bc
110	A 10	Unser Mund sei voll Lachens [cf 1069] (Lehms)	xxiii, 265	I/ii, 73
Occasion; 1st perf. : Christmas; 25 Dec 1725
Scoring : S, A, T, B, 4vv, 3 tpt, timp, 2 fl, 3 ob, ob d’amore, ob da caccia, str, bc
111	A 36	Was mein Gott will, das g’scheh allzeit, chorale (A. von Brandenburg)	xxiv, 3	I/vi, 27
Occasion; 1st perf. : Epiphany III; 21 Jan 1725
Scoring : S, A, T, B, 4vv, 2 ob, str, bc
112	A 67	Der Herr ist mein getreuer Hirt, chorale (W. Meuslin)	xxiv, 31	I/xi.1, 179
Occasion; 1st perf. : Easter II; 8 April 1731
Scoring : S, A, T, B, 4vv, 2 hn, 2 ob d’amore, str, bc
113	A 122	Herr Jesu Christ, du höchstes Gut, chorale (B. Ringwaldt)	xxiv, 51	I/xx, 81
Occasion; 1st perf. : Trinity XI; 20 Aug 1724
Scoring : S, A, T, B, 4vv, fl, 2 ob d’amore, str, bc
114	A 139	Ach, lieben Christen, seid getrost, chorale (J. Gigas)	xxiv, 83	I/xxiii, 289
Occasion; 1st perf. : Trinity XVII; 1 Oct 1724
Scoring : S, A, T, B, 4vv, hn, fl, 2 ob, str, bc
115	A 156	Mache dich, mein Geist, bereit, chorale (J.B. Freystein)	xxiv, 111	I/xxvi, 23
Occasion; 1st perf. : Trinity XXII; 5 Nov 1724
Scoring : S, A, T, B, 4vv, hn, fl, ob d’amore, vc piccolo, str, bc
116	A 164	Du Friedefürst, Herr Jesu Christ, chorale (J. Ebert)	xxiv, 135	I/xxvii, 81
Occasion; 1st perf. : Trinity XXV; 26 Nov 1724
Scoring : S, A, T, B, 4vv, hn, 2 ob d’amore, str, bc
117	A 187	Sei Lob und Ehr dem höchsten Gut, chorale (J.J. Schütz)	xxiv, 161	I/xxxiv, 153
Occasion; 1st perf. : c1728–31
Scoring : A, T, B, 4vv, 2 fl, 2 ob d’amore, str, bc
119	B 3	Preise, Jerusalem, den Herrn	xxiv, 195	I/xxxii.1, 131
Occasion; 1st perf. : inauguration of town council; 30 Aug 1723
Scoring : S, A, T, B, 4vv, 4 tpt, timp, 2 rec, 3 ob, 2 ob da caccia, str, bc
120	B 6	Gott, man lobet dich in der Stille	xxiv, 249	I/xxxii.2, 55
Occasion; 1st perf. : inauguration of town council; ? 29 Aug 1729
Scoring : S, A, T, B, 4vv, 3 tpt, timp, 2 ob d’amore, str, bc
120a	B 15	Herr Gott, Beherrscher aller Dinge [adapted from 120, partly lost]	xli, 149	I/xxxiii, 77
Occasion; 1st perf. : wedding; ?1729
Scoring : S, A, T, B, 4vv, 3 tpt, timp, 2 ob, 2 ob d’amore, org obbl, str, bc
120b	B 28	Gott, man lobet dich in der Stille (Picander) [adapted from 120, music lost]	—	—
Occasion; 1st perf. : 2nd day of 200th anniversary of Augsburg Confession, 26 June 1730
Scoring : —
121	A 13	Christum wir sollen loben schon, chorale (Luther)	xxvi, 3	[I/iii]
Occasion; 1st perf. : 2nd day of Christmas; 26 Dec 1724
Scoring : S, A, T, B, 4vv, cornett, 3 trbn, ob d’amore, str, bc
122	A 19	Das neugeborne Kindelein, chorale (C. Schneegass)	xxvi, 23	[I/iii]
Occasion; 1st perf. : Christmas I; 31 Dec 1724
Scoring : S, A, T, B, 4vv, 3 rec, 2 ob, taille, str, bc
123	A 28	Liebster Immanuel, Herzog der Frommen, chorale (A. Fritsch)	xxvi, 43	I/v, 49
Occasion; 1st perf. : Epiphany; 6 Jan 1725
Scoring : A, T, B, 4vv, 2 fl, 2 ob d’amore, str, bc
124	A 30	Meinen Jesum lass ich nicht, chorale (C. Keymann)	xxvi, 63	I/v, 117
Occasion; 1st perf. : Epiphany I; 7 Jan 1725
Scoring : S, A, T, B, 4vv, hn, ob d’amore, str, bc
125	A 168	Mit Fried und Freud ich fahr dahin, chorale (Luther)	xxvi, 85	I/xxviii.1, 33
Occasion; 1st perf. : Purification; 2 Feb 1725
Scoring : A, T, B, 4vv, hn, fl, ob, ob d’amore, str, bc
126	A 46	Erhalt uns, Herr, bei deinem Wort, chorale (Luther)	xxvi, 113	I/vii, 157
Occasion; 1st perf. : Sexagesima; 4 Feb 1725
Scoring : A, T, B, 4vv, tpt, 2 ob, str, bc
127	A 49	Herr Jesu Christ, wahr’ Mensch und Gott, chorale (P. Eber)	xxvi, 135	I/viii.1, 107
Occasion; 1st perf. : Quinquagesima; 11 Feb 1725
Scoring : S, T, B, 4vv, tpt, 2 rec, 2 ob, str, bc
128	A 76	Auf Christi Himmelfahrt allein (Ziegler)	xxvi, 163	I/xii, 103
Occasion; 1st perf. : Ascension; 10 May 1725
Scoring : A, T, B, 4vv, tpt, 2 hn, 2 ob d’amore, taille, str, bc
129	A 93	Gelobet sei der Herr, mein Gott, chorale (J. Olearius)	xxvi, 187	I/xv, 39
Occasion; 1st perf. : Trinity or Reformation; 16 June or 31 Oct 1726
Scoring : S, A, B, 4vv, 3 tpt, timp, fl, 2 ob, ob d’amore, str, bc
130	A 179	Herr Gott, dich loben alle wir, chorale (Eber)	xxvi, 233	I/xxx, 3
Occasion; 1st perf. : St Michael; 29 Sept 1724
Scoring : S, A, T, B, 4vv, 3 tpt, timp, fl, 3 ob, str, bc
131	B 25	Aus der Tiefen rufe ich, Herr, zu dir (? G.C. Eilmar)	xxviii, 3	I/xxxiv, 69
Occasion; 1st perf. : 1707
Scoring : S, A, T, B, 4vv, ob, bn, vn, 2 va, bc
132	A 6	Bereitet die Wege, bereitet die Bahn! (Franck)	xxviii, 35	I/i, 101
Occasion; 1st perf. : Advent IV; 22 Dec 1715
Scoring : S, A, T, B, 4vv, ob, str, bc
133	A 16	Ich freue mich in dir, chorale (K. Ziegler)	xxviii, 53	[I/iii]
Occasion; 1st perf. : 3rd day of Christmas; 27 Dec 1724
Scoring : S, A, T, B, 4vv, cornett, 2 ob d’amore, str, bc
134	A 59	Ein Herz, das seinen Jesum lebend weiss [adapted from 134a]	xxviii, 83, 287	I/x, 71
Occasion; 1st perf. : Easter Tuesday; 11 April 1724
Scoring : A, T, 4vv, 2 ob, str, bc
135	A 100	Ach Herr, mich armen Sünder, chorale (Schneegass)	xxviii, 121	I/xvi, 199
Occasion; 1st perf. : Trinity III; 25 June 1724
Scoring : A, T, B, 4vv, cornett, trbn, 2 ob, str, bc
136	A 111	Erforsche mich, Gott, und erfahre mein Herz	xxviii, 139	I/xviii, 131
Occasion; 1st perf. : Trinity VIII; 18 June 1723
Scoring : A, T, B, 4vv, hn, 2 ob d’amore, str, bc
137	A 124	Lobe den Herren, den mächtigen König der Ehren, chorale (J. Neander)	xxviii, 167	I/xx, 173
Occasion; 1st perf. : Trinity XII; 19 Aug 1725
Scoring : S, A, T, B, 4vv, 3 tpt, timp, 2 ob, str, bc
138	A 132	Warum betrübst du dich, mein Herz?, chorale (anon.)	xxviii, 199	I/xxii, 1
Occasion; 1st perf. : Trinity XV; 5 Sept 1723
Scoring : S, A, T, B, 4vv, 2 ob d’amore, str, bc
139	A 159	Wohl dem, der sich auf seinen Gott, chorale (J.C. Rüben)	xxviii, 225	I/xxvi, 99
Occasion; 1st perf. : Trinity XXIII; 12 Nov 1724
Scoring : S, A, T, B, 4vv, 2 ob d’amore, str, bc
140	A 166	Wachet auf, ruft uns die Stimme, chorale (Nicolai)	xxviii, 251	I/xxvii, 151
Occasion; 1st perf. : Trinity XXVII; 25 Nov 1731
Scoring : S, T, B, 4vv, hn, 2 ob, taille, vn piccolo, str, bc
144	A 41	Nimm, was dein ist, und gehe hin	xxx, 77	I/vii, 3
Occasion; 1st perf. : Septuagesima; 6 Feb 1724
Scoring : S, A, T, 4vv, 2 ob, ob d’amore, str, bc
145	A 60	Ich lebe, mein Herze, zu deinem Ergötzen (Picander)	xxx, 95	I/x, 113
Occasion; 1st perf. : Easter Tuesday; ?1729
Scoring : S, T, B, 4vv, tpt, fl, 2 ob d’amore, str, bc
146	A 70	Wir müssen durch viel Trübsal [partly adapted from lost vn conc.; cf 1052]	xxx, 125	I/xi.2, 65
Occasion; 1st perf. : Easter III; ? 12 May 1726 or ? 18 April 1728
Scoring : S, A, T, B, 4vv, fl, 2 ob, 2 ob d’amore, taille, org obbl, str, bc
147	A 174	Herz und Mund und Tat und Leben (partly Franck) [adapted from 147a]	xxx, 193	I/xxviii.2, 65
Occasion; 1st perf. : Visitation; 2 July 1723
Scoring : S, A, T, B, 4vv, tpt, 2 ob, ob d’amore, 2 ob da caccia, str, bc
147a	A 7	Herz und Mund und Tat und Leben (Franck) [music lost]	—	I/i, CC
Occasion; 1st perf. : Advent IV; 20 Dec 1716
Scoring : —
148	A 140	Bringet dem Herrn Ehre seines Namens (after Picander)	xxx, 237	I/xxiii, 255
Occasion; 1st perf. : Trinity XVII; ? 19 Sept 1723
Scoring : A, T, 4vv, tpt, ob, ob d’amore, ob da caccia, str, bc
149	A 181	Man singet mit Freuden vom Sieg (Picander)	xxx, 263	I/xxx, 99
Occasion; 1st perf. : St Michael; ? 29 Sept 1728 or ? 1729
Scoring : S, A, T, B, 4vv, 3 tpt, timp, 3 ob, bn, str, bc
150	B 24	Nach dir, Herr, verlanget mich [? inc.]	xxx, 303	[I/xli]
Occasion; 1st perf. : ? before 1707
Scoring : S, A, T, B, 4vv, bn, 2 vn, bc
151	A 17	Süsser Trost, mein Jesus kömmt (Lehms)	xxxii, 3	[I/iii]
Occasion; 1st perf. : 3rd day of Christmas; 27 Dec 1725
Scoring : S, A, T, B, 4vv, fl, str, bc [ob d’amore added c1727]
152	A 18	Tritt auf die Glaubensbahn (Franck)	xxxii, 19	[I/iii]
Occasion; 1st perf. : Christmas I; 30 Dec 1714
Scoring : S, B, rec, ob, va d’amore, va da gamba, bc
153	A 25	Schau, lieber Gott, wie meine Feind	xxxii, 43	I/iv, 201
Occasion; 1st perf. : New Year I; 2 Jan 1724
Scoring : A, T, B, 4vv, str, bc
154	A 29	Mein liebster Jesus ist verloren	xxxii, 61	I/v, 91
Occasion; 1st perf. : Epiphany I; 9 Jan 1724
Scoring : A, T, B, 4vv, 2 ob d’amore, str, bc
155	A 32	Mein Gott, wie lang, ach lange (Franck)	xxxii, 85	I/v, 175
Occasion; 1st perf. : Epiphany II; 19 Jan 1716
Scoring : S, A, T, B, 4vv, bn, str, bc
156	A 38	Ich steh mit einem Fuss im Grabe (Picander) [sinfonia adapted from lost ob conc.; cf 1056]	xxxii, 99	I/vi, 91
Occasion; 1st perf. : Epiphany III; ? 23 Jan 1729
Scoring : A, T, B, 4vv, ob, str, bc
157	A 170, B 20	Ich lasse dich nicht, du segnest mich denn (Picander) [adapted from earlier version as funeral cant.]	xxxii, 117	I/xxxiv, 43
Occasion; 1st perf. : Purification; ? 2 Feb 1728 or later
Scoring : T, B, 4vv, fl, ob d’amore, str, bc
158	A 61, A 171	Der Friede sei mit dir [? adapted from earlier cant. for Purification] [inc.]	xxxii, 143	I/x, 131
Occasion; 1st perf. : Easter Tuesday; after 1723
Scoring : B, 4vv, ob, vn, bc
159	A 50	Sehet, wir gehn hinauf gen Jerusalem (Picander)	xxxii, 157	I/viii.1, 159
Occasion; 1st perf. : Quinquagesima; ? 27 Feb 1729
Scoring : A, T, B, 4vv, ob, str, bc
†161	A 135	Komm, du süsse Todesstunde (Franck)	xxxiii, 3	I/xxiii, 3, 35
Occasion; 1st perf. : Trinity XVI; 6 Oct 1715
Scoring : A, T, 4vv, 2 rec, org obbl, str, bc
162	A 148	Ach! ich sehe, jetzt, da ich zur Hochzeit gehe (Franck) [inc.]	xxxiii, 31	I/xxv, 3, 23
Occasion; 1st perf. : Trinity XX; 3 Nov 1715
Scoring : S, A, T, B, 4vv, hn da tirarsi, str, bc
163	A 158	Nur jedem das Seine (Franck)	xxxiii, 49	I/xxvi, 79
Occasion; 1st perf. : Trinity XXIII; 24 Nov 1715
Scoring : S, A, T, B, 4vv, str, bc
164	A 128	Ihr, die ihr euch von Christo nennet (Franck)	xxxiii, 67	I/xxi, 59
Occasion; 1st perf. : Trinity XIII; 26 Aug 1725
Scoring : S, A, T, B, 4vv, 2 fl, 2 ob, str, bc
165	A 90	O heilges Geist- und Wasserbad (Franck)	xxxiii, 91	I/xv, 3
Occasion; 1st perf. : Trinity; 16 June 1715
Scoring : S, A, T, B, 4vv, str, bc
166	A 71	Wo gehest du hin? [inc.]	xxxiii, 107	I/xii, 3
Occasion; 1st perf. : Easter IV; 7 May 1724
Scoring : A, T, B, 4vv, ob, str, bc
167	A 176	Ihr Menschen, rühmet Gottes Liebe	xxxiii, 125	I/xxix, 3
Occasion; 1st perf. : St John; 24 June 1723
Scoring : S, A, T, B, 4vv, tpt da tirarsi, ob, ob da caccia, str, bc
168	A 116	Tue Rechnung! Donnerwort (Franck)	xxxiii, 149	I/xix, 89
Occasion; 1st perf. : Trinity IX; 29 July 1725
Scoring : S, A, T, B, 4vv, 2 ob d’amore, str, bc
169	A 143	Gott soll allein mein Herze haben [partly adapted from lost conc.; cf 1053]	xxxiii, 169	I/xxiv, 61
Occasion; 1st perf. : Trinity XVIII; 20 Oct 1726
Scoring : A, 4vv, 2 ob d’amore, taille, org obbl, str, bc
170	A 106	Vergnügte Ruh’, beliebte Seelenlust (Lehms)	xxxiii, 195	I/xvii.2, 61
Occasion; 1st perf. : Trinity VI; 28 July 1726
Scoring : A, ob, d’amore, org obbl, str, bc
171	A 24	Gott, wie dein Name, so ist auch dein Ruhm (Picander)	xxxv, 3	I/iv, 133
Occasion; 1st perf. : New Year; 1 Jan ?1729
Scoring : S, A, T, B, 4vv, 3 tpt, timp, 2 ob, str, bc
†172	A 81	Erschallet, ihr Lieder (?Franck)	xxxv, 37	I/xiii, 3, 35
Occasion; 1st perf. : Whit Sunday; 20 May 1714
Scoring : S, A, T, B, 4vv, 3 tpt, timp, ob, str, bc
173	A 85	Erhöhtes Fleisch und Blut [adapted from 173a]	xxxv, 73	I/xiv, 3
Occasion; 1st perf. : Whit Monday; ? 29 May 1724
Scoring : S, A, T, B, 4vv, 2 fl, str, bc
174	A 87	Ich liebe den Höchsten von ganzem Gemüte (Picander)	xxxv, 105	I/xiv, 65
Occasion; 1st perf. : Whit Monday; 6 June 1729
Scoring : A, T, B, 4vv, 2 hn, 2 ob, taille, str, bc
175	A 89	Er rufet seinen Schafen mit Namen (M. von Ziegler)	xxxv, 161	I/xiv, 149, 165
Occasion; 1st perf. : Whit Tuesday; 22 May 1725
Scoring : A, T, B, 4vv, 2 tpt, 3 rec, vc piccolo, str, bc
176	A 92	Es is ein trotzig, und verzagt Ding (M. von Ziegler)	xxxv, 181	I/xv, 19
Occasion; 1st perf. : Trinity; 27 May 1725
Scoring : S, A, B, 4vv, 2 ob, ob da caccia, str, bc
177	A 103	Ich ruf zu dir, Herr Jesu Christ, chorale (J. Agricola)	xxxv, 201	I/xvii.1, 79
Occasion; 1st perf. : Trinity IV; 6 July 1732
Scoring : S, A, T, 4vv, 2 ob, taille, bn, str, bc
178	A 112	Wo Gott der Herr nicht bei uns hält, chorale (J. Jonas)	xxxv, 237; xli, 204	I/xviii, 161
Occasion; 1st perf. : Trinity VIII; 30 July 1724
Scoring : A, T, B, 4vv, hn, 2 ob, 2 ob d’amore, str, bc
179	A 121	Siehe zu, dass deine Gottesfurcht	xxxv, 275	I/xx, 57
Occasion; 1st perf. : Trinity XI; 8 Aug 1723
Scoring : S, T, B, 4vv, 2 ob, 2 ob da caccia, str, bc
180	A 149	Schmücke dich, o liebe Seele, chorale (J. Franck)	xxxv, 295	I/xxv, 43
Occasion; 1st perf. : Trinity XX; 22 Oct 1724
Scoring : S, A, T, B, 4vv, 2 rec, fl, ob, ob da caccia, vc piccolo, str, bc
181	A 45	Leichtgesinnte Flattergeister [? incl. earlier material] [inc.]	xxxvii, 3	I/vii, 135
Occasion; 1st perf. : Sexagesima; 13 Feb 1724
Scoring : S, A, T, B, 4vv, tpt, str, bc [fl, ob added later]
†182	A 53, A 172	Himmelskönig, sei willkommen (?Franck)	xxxvii, 23	I/viii.2, 3, 43
Occasion; 1st perf. : Palm Sunday; 25 March 1714
Scoring : A, T, B, 4vv, rec, str, bc
183	A 79	Sie werden euch in den Bann tun (Ziegler)	xxxvii, 61	I/xii, 189
Occasion; 1st perf. : Ascension I; 13 May 1725
Scoring : S, A, T, B, 4vv, 2 ob d’amore, 2 ob da caccia, vc piccolo, str, bc
184	A 88	Erwünschtes Freudenlicht [adapted from 184a]	xxxvii, 77	I/xiv, 121
Occasion; 1st perf. : Whit Tuesday; 30 May 1724
Scoring : S, A, T, 4vv, 2 fl, str, bc
185	A 101	Barmherziges Herze der ewigen Liebe (Franck)	xxxvii, 103	I/xvii.1, 3
Occasion; 1st perf. : Trinity IV; 14 July 1715
Scoring : S, A, T, B, 4vv, ob, str, bc [later version with tpt da tirarsi instead of ob]
†186	A 108	Ärgre dich, o Seele, nicht (partly Franck) [adapted from 186a]	xxxvii, 121	I/xviii, 17
Occasion; 1st perf. : Trinity VII; 11 July 1723
Scoring : S, A, T, B, 4vv, 2 ob, taille, str, bc
186a	A 5	Ärgre dich, o Seele, nicht (Franck) [music lost]	—	I/i, CC
Occasion; 1st perf. : Advent III; 13 Dec 1716
Scoring : —
187	A 110	Es wartet alles auf dich	xxxvii, 157	I/xviii, 93
Occasion; 1st perf. : Trinity VII; 4 Aug 1726
Scoring : S, A, B, 4vv, 2 ob, str, bc
188	A 154	Ich habe meine Zuversicht (Picander) [sinfonia adapted from lost vn conc.; cf 1052]	xxxvii, 195; xlv/1, 234	I/xxv, 267
Occasion; 1st perf. : Trinity XXI; ? 17 Oct 1728
Scoring : S, A, T, B, 4vv, 2 ob, taille, org obbl, str, bc
190	A 21	Singet dem Herrn ein neues Lied! [partly lost]	xxxvii, 229	I/iv, 3
Occasion; 1st perf. : New Year; 1 Jan 1724
Scoring : A, T, B, 4vv, 3 tpt, timp, 3 ob, ob d’amore, bn, str, bc
190a	B 27	Singet dem Herrn ein neues Lied! [adapted from 190, lost]	—	I/xxxiv, CC
Occasion; 1st perf. : 200th anniversary of Augsburg Confession; 25 June 1730
Scoring : —
192	A 188	Nun danket alle Gott, chorale (M. Rinkart) [partly lost]	xli, 67	I/xxxiv, 109
Occasion; 1st perf. : 1730
Scoring : S, B, 4vv, 2 fl, 2 ob, str, bc
193	B 5	Ihr Tore zu Zion	xli, 93	I/xxxii, 203
Occasion; 1st perf. : inauguration of town council; 25 Aug 1727
Scoring : S, A, 4vv, 2 ob, str, bc
194	A 91, B 31	Höchsterwünschtes Freudenfest [adapted from 194a]	xxix, 101	I/xxxi, 147
Occasion; 1st perf. : consecration of Störmthal church and org; 2 Nov 1723
Scoring : S, T, B, 4vv, 3 ob, str, bc
†195	B 14	Dem Gerechten muss das Licht	xiii/1, 3	I/xxxiii, 17
Occasion; 1st perf. : wedding; 1727–31, rev. c1742 and 1747–8
Scoring : S, A, T, B, 4vv, 3 tpt, timp, 2 hn, 2 fl, 2 ob, 2 ob d’amore, str, bc
196	B 11	Der Herr denket an uns (Ps cxv)	xiii/1, 73	I/xxxiii, 3
Occasion; 1st perf. : wedding; ?1707–8
Scoring : S, T, B, 4vv, str, bc
197	B 16	Gott ist unsre Zuversicht [partly based on 197a]	xiii/1, 97	I/xxxiii, 119
Occasion; 1st perf. : wedding; 1736/7
Scoring : S, A, B, 4vv, 3 tpt, timp, 2 ob, 2 ob d’amore, str, bc
197a	A 11	Ehre sei Gott in der Höhe (Picander) [partly lost]	xli, 109	I/ii, 65
Occasion; 1st perf. : Christmas; 25 Dec ?1728
Scoring : A, B, 4vv, 2 fl, ob d’amore, vc/bn, str, bc
†199	A 120	Mein Herze schwimmt im Blut (Lehms)	xli, 202 (inc.)	I/xx, 3, 25, 46, 48
Occasion; 1st perf. : Trinity XI; 12 Aug 1714
Scoring : S, ob, str, bc
200	A 192	Bekennen will ich seinen Namen [frag. of lost cantata]	—	I/xxviii.1, 189
Occasion; 1st perf. : ?Epiphany or ?Purification; c1742
Scoring : A, 2 vn, bc

Lost or incomplete

Doubtful and spurious

Lost or incomplete



BWV	BC	Title (librettist)	BG	NBA, CC

223	A 186	Meine Seele soll Gott loben	—	I/xxxiv
Occasion; 1st perf. : —
Remarks : only incipit of last movt extant
244a	B 22	Klagt, Kinder, klagt es aller Welt (Picander)	—	I/xxxiv
Occasion; 1st perf. : funeral of Prince Leopold of Anhalt-Cöthen; 24 March 1729
Remarks : music lost, text partly same as St Matthew Passion (244), and Trauer Ode (198)
1045	A 193	[Sinfonia], from lost cant.	xxi/1, 65	I/xxxiv, 307
Occasion; 1st perf. : c1743–6
Remarks : vn, 3 tpt, timp, 2 ob, str, bc
1083	—	Tilge, Höchster, meine Sünden (after Ps li) [arr. of Pergolesi: Stabat mater]	—	[I/xli]
Occasion; 1st perf. : c1745–7
Remarks : S, A, str, bc
a2	A 147	[untexted frag.]	xxxix, p.xxix	I/xxiv
Occasion; 1st perf. : Trinity XIX; 1729
Remarks : 6-bar frag. in autograph of 226
a3	B 7	Gott, gib dein Gerichte dem Könige (Picander)	—	I/xxxii.2
Occasion; 1st perf. : change of town council; 28 Aug 1730
Remarks : only text extant
a4	B 4	Wünschet Jerusalem Glück (Picander)	—	I/xxxii.1
Occasion; 1st perf. : change of town council; 26 Aug 1726 or 30 Aug 1728
Remarks : only text extant
a4a	B 29	Wünschet Jerusalem Glück (Picander)	—	I/xxxiv
Occasion; 1st perf. : 3rd day of 200th anniversary of Augsburg Confession, 27 June 1730
Remarks : only text extant
a5	B 30	Lobet den Herrn, alle seine Heerscharen (C.F. Hunold)	—	I/xxxiv
Occasion; 1st perf. : birthday of Prince Leopold of Anhalt-Cöthen; 10 Dec 1718
Remarks : only text extant
a14	B 12	Sein Segen fliesst daher wie ein Strom	—	I/xxxiii
Occasion; 1st perf. : wedding; 12 Feb 1725
Remarks : only text extant
a15	B 32	Siehe, der Hüter Israel	—	I/xxxiv
Occasion; 1st perf. : degree ceremony, Leipzig; 1723–49
Remarks : cited in Breitkopf catalogue, 1761; lost
a17		Mein Gott, nimm die gerechte Seele	—	I/xxxiv
Occasion; 1st perf. : funeral
Remarks : cited in Breitkopf catalogue, 1761; lost
a193	B 9	Herrscher des Himmels, König der Ehren	—	I/xxxii
Occasion; 1st perf. : change of town council; 29 Aug 1740
Remarks : last chorus adapted from 208, otherwise lost
a190		Ich bin ein Pilgrim auf der Welt (Picander)	—	I/xxxiii, CC
Occasion; 1st perf. : Easter Monday; ? 18 April 1729
Remarks : only frag. of 4th movt extant
a192	B 2	[title unknown]	—	I/xxxii.1
Occasion; 1st perf. : change of Mühlhausen town council; 1709
Remarks : lost
a197		Ihr wallenden Wolken	—	I/iv
Occasion; 1st perf. : ? New Year
Remarks : cited in Forkel: Nachlassverzeichnis, 1819, lost
a64		[title unknown]	xxiii, p.xxxii	I/xi.1
Occasion; 1st perf. : Easter I
Remarks : 7-bar sketch in autograph score of 103
a80		Sie werden euch in den Bann tun	—	I/xxxi.1
Occasion; 1st perf. : ? Ascension I
Remarks : 6-bar sketch in autograph score of 79
a182		[title unknown]	—	—
Occasion; 1st perf. : St Michael; Sept 1729
Remarks : 14-bar sketch for opening of cant. in autograph score of 201
—	B 19	Was ist, das wir Leben nennen	—	—
Occasion; 1st perf. : dedication service; 2 April 1716
Remarks : —
—	B 21	[title unknown]	—	—
Occasion; 1st perf. : first funeral music for Prince Leopold of Anhalt-Cöthen; 23 March 1729
Remarks : music lost

Doubtful and spurious

15	Denn du wirst meine Seele	Easter	by J.L. Bach	ii, 135	—
53	Schlage doch, gewünschte Stunde (?Franck)	funeral	? by M. Hoffmann	xii/2, 53	—
141	Das ist je gewisslich wahr (Helbig)	Advent III	by G.P. Telemann	xxx, 3	—
142	Uns ist ein Kind geboren (Neumeister)	Christmas		xxx, 19	—
143	Lobe den Herrn, meine Seele	New Year		xxx, 45	I/iv, 167
160	Ich weiss, dass mein Erlöser lebt (Neumeister)	Easter	by Telemann	xxxii, 171	—
189	Meine Seele rühmt und preist	?Visitation	probably by M. Hoffmann	xxxvii, 215	—
217	Gedenke, Herr, wie es uns gehet	Epiphany I		xli, 207	—
218	Gott der Hoffnung erfülle euch (Neumeister)	Whit Sunday	by Telemann	xli, 223	—
219	Siehe, es hat überwunden der Löwe	St Michael	by Telemann	xli, 239	—
220	Lobt ihn mit Herz und Munde	St John		xli, 259	—
221	Wer sucht die Pracht, wer wünscht den Glanz	—		—	—
222	Mein Odem ist schwach	—	by (10) J.E. Bach	—	—
224	Reisst euch los, bekränkte Sinnen	c1733	frag., ? by C.P.E. Bach	—	—

secular cantatas



BWV	BC	Title (librettist)	BG	NBA

30a	G 31	Angenehmes Wiederau, freue dich (Picander)	v/1, 399; xxxiv, 325	I/xxxix, 53
Occasion; date : for J.C. von Hennicke; 28 Sept 1737
Scoring : S, A, T, B, 4vv, 3 tpt, timp, 2 fl, 2 ob, ob d’amore, str, bc
36a	G 12	Steigt freudig in die Luft (Picander) [music lost; arr. from 36c]	—	I/xxxv, CC; I/xxxix, CC
Occasion; date : Birthday of Princess Charlotte Friedericke Wilhelmine of Anhalt-Cöthen; 30 Nov 1726
Scoring : —
36b	G 38	Die Freude reget sich [inc.]	xxxiv, 41	I/xxxviii, 257
Occasion; date : For member of Rivinus family; 1735
Scoring : S, A, T, 4vv, fl, ob d’amore, str, bc
36c	G 35	Schwingt freudig euch empor (?Picander)	xxxiv, 41	I/xxxix, 3
Occasion; date : Birthday; 1725
Scoring : S, T, B, 4vv, ob d’amore, va d’amore, str, bc
66a	G 4	Der Himmel dacht auf Anhalts Ruhm und Glück (C.F. Hunold), serenata [music lost]	—	I/xxxv, CC
Occasion; date : Birthday of Prince Leopold of Anhalt-Cöthen; 10 Dec 1718
Scoring : 2vv, chorus, insts
134a	G 5	Die Zeit, die Tag und Jahre macht (Hunold)	xxix, 209 (inc.)	I/xxxv, 51
Occasion; date : New Year; 1 Jan 1719
Scoring : S, A, T, B, 4vv, 2 ob, str, bc
173a	G 9	Durchlauchster Leopold, serenata	xxxiv, 3	I/xxxv, 97
Occasion; date : Birthday of Prince Leopold of Anhalt-Cöthen; 10 Dec ?1722
Scoring : S, B, 2 fl, bn, str, bc
184a	G 8	[some music preserved in 184, text lost]	—	I/xiv, CC; I/xxxv, CC
Occasion; date : ? 10 Dec 1720 or 1 Jan 1721
Scoring : —
193a	G 15	Ihr Häuser des Himmels, ihr scheinenden Lichter (Picander), dramma per musica [music lost]	—	I/xxxvi, CC
Occasion; date : Nameday of August II; 3 Aug 1727
Scoring : —
194a	G 11	[some music preserved in 194, text lost]	—	I/xxxv, CC
Occasion; date : ? for court of Anhalt-Cöthen; before Nov 1723
Scoring : —
198	G 34	Trauer Ode: Lass, Fürstin, lass noch einen Strahl (J.C. Gottsched)	xiii/3, 3	I/xxxviii, 181
Occasion; date : memorial service for Electress Christiane Eberhardine; 17 Oct 1727
Scoring : S, A, T, B, 4vv, 2 fl, 2 ob d’amore, 2 va da gamba, 2 lutes, str, bc
201	G 46	Der Streit zwischen Phoebus und Pan: Geschwinde, ihr wirbelnden Winde (Picander), dramma per musica	xi/2, 3	I/xl, 119
Occasion; date : ?1729
Scoring : S, A, T, T, B, B, 6vv, 3 tpt, timp, 2 fl, 2 ob, ob d’amore, str, bc
202	G 41	Weichet nur, betrübte Schatten	xi/2, 75	I/xl, 3
Occasion; date : Wedding; before 1730
Scoring : S, ob, str, bc
203	G 51	Amore traditore [not fully authenticated]	xi/2, 93	[I/xli]
Occasion; date : ? before 1723
Scoring : B, hpd obbl
204	G 45	Ich bin in mir vergnügt (Hunold)	xi/2, 105	I/xl, 81
Occasion; date : 1726–7
Scoring : S, fl, 2 ob, str, bc
205	G 36	Der zufriedengestellte Äolus: Zerreisset, zerspringet, zertrümmert die Gruft (Picander), dramma per musica	xi/2, 139	I/xxxviii, 3
Occasion; date : Nameday of Dr A.F. Müller; 3 Aug 1725
Scoring : S, A, T, B, 4vv, 3 tpt, timp, 2 hn, 2 fl, 2 ob, ob d’amore, va d’amore, va da gamba, str, bc
205a	G 20	Blast Lärmen, ihr Feinde! [adapted from 205; music lost]	—	I/xxxvii, CC
Occasion; date : ? coronation of August III; ? 19 Feb 1734
Scoring : —
†206	G 23, G 26	Schleicht, spielende Wellen, dramma per musica	xx/2, 3	I/xxxvi, 159
Occasion; date : Birthday of August III; 7 Oct 1736; 2nd version, nameday of August III; 3 Aug 1740
Scoring : S, A, T, B, 4vv, 3 tpt, timp, 3 fl, 2 ob, 2 ob d’amore, str, bc
207	G 37	Vereinigte Zwietracht der wechselnden Saiten, dramma per musica	xx/2, 73	I/xxxviii, 99
Occasion; date : Installation of Professor Gottlieb Kortte; c11 Dec 1726
Scoring : S, A, T, B, 4vv, 3 tpt, timp, 2 fl, 2 ob d’amore, ob da caccia, str, bc
207a	G 22	Auf, schmetternde Töne, cant.	xx/2, 141; xxxiv, 345	I/xxxvii, 3
Occasion; date : Nameday of August III; ? 3 Aug 1735
Scoring : S, A, T, B, 4vv, 3 tpt, timp, 2 fl, 2 ob d’amore, ob da caccia, str, bc
†208	G 1, G 3	Was mir behagt, ist nur die muntre Jagd! (Franck)	xxix, 3	I/xxxv, 3; I/xxxvii, CC
Occasion; date : Birthday of Duke Christian of Saxe-Weissenfels; 23 Feb ?1713; later versions ?1713–17 or ? after 1738, ?1742
Scoring : S, S, T, B, 2 hn, 2 rec, 2 ob, ob da caccia, bn, str, bc
209	G 50	Non sa che sia dolore	xxix, 45	[I/xli]
Occasion; date : departure of scholar (?L. Mizler); after 1729
Scoring : S, fl, str, bc
†210	G 44	O holder Tag, erwünschte Zeit	xxix, 69	I/xl, 37
Occasion; date : wedding; ? 1738–41, after earlier version
Scoring : S, fl, ob d’amore, str, bc
210a	G 29	O angenehme Melodei! [music lost, mostly = 210]	xxix, 245	I/xxxix, 143
Occasion; date : for Joachim Fredrich, Graf von Flemming; before Oct 1740, after earlier version
211	G 48	Schweigt stille, plaudert nicht (Coffee Cantata) (Picander)	xxix, 141	I/xl, 195
Occasion; date : c1734
Scoring : S, T, B, fl, str, bc
212	G 32	Mer hahn en neue Oberkeet (Peasant Cantata) (Picander)	xxix, 175	I/xxxix, 153
Occasion; date : manorial accession celebration for C.H. von Dieskau; 30 Aug 1742
Scoring : S, B, hn, fl, str, bc
213	G 18	Hercules auf dem Scheidewege: Lasst uns sorgen, lasst uns wachen (Picander), dramma per musica	xxxiv, 121	I/xxxvi, 3
Occasion; date : birthday of Prince Friedrich Christian; 5 Sept 1733
Scoring : S, A, A, T, B, 4vv, 2 hn, 2 ob, ob d’amore, str, bc
214	G 19	Tönet, ihr Pauken! Erschallet, Trompeten!, dramma per musica	xxxiv, 177	I/xxxvi, 91
Occasion; date : birthday of Electress Maria Josepha; 8 Dec 1733
Scoring : S, A, T, B, 4vv, 3 tpt, timp, 2 fl, 2 ob, ob d’amore, str, bc
215	G 21	Preise dein Glücke, gesegnetes Sachsen (J.C. Clauder), dramma per musica	xxxiv, 245	I/xxxvii, 87
Occasion; date : anniversary of election of August III as King of Poland; 5 Oct 1734
Scoring : S, T, B, 8vv, 3 tpt, timp, 2 fl, 2 ob, 2 ob d’amore, str, bc incl. bn
216	G 43	Vergnügte Pleissenstadt (Picander) [only vv extant]	—	I/xl, 23
Occasion; date : wedding; 5 Feb 1728
Scoring : S, A, insts
216a	G 47	Erwählte Pleissenstadt [music lost]	xxxiv, p.xlvi	I/xl, CC
Occasion; date : for Leipzig city council; after 1728
Scoring : —
249a	G 2	Entfliehet, verschwindet, entweichet, ihr Sorgen (Picander) [music lost, but most in 249]	—	I/xxxv, CC; II/vii, CC
Occasion; date : birthday of Duke Christian of Saxe-Weissenfels; 23 Feb 1725
Scoring : S, A, T, B, 3 tpt, timp, 2 rec, fl, 2 ob, ob d’amore, str, bc
249b	G 28	Die Feier des Genius: Verjaget, zerstreuet, zerrütet, ihr Sterne (Picander), dramma per musica [music lost]	—	I/xxxix, CC
Occasion; date : birthday of Joachim Friedrich, Graf von Flemming; 25 Aug 1726
Scoring : —

Lost



BWV	BC	Title (librettist)	BG	NBA

A5	B 30	Lobet den Herren, alle seine Heerscharen (Hunold)	—	I/xxxv, CC
Occasion; 1st perf. : birthday of Prince Leopold of Anhalt-Cöthen; 10 Dec 1718
Remarks : only text extant
a6	G 6	Dich loben die lieblichen Strahlen (Hunold)	—	I/xxxv
Occasion; 1st perf. : New Year; 1 Jan 1720
Remarks : only text extant
a7	G 7	Heut ist gewiss ein guter Tag (Hunold)	—	I/xxxv, CC
Occasion; 1st perf. : birthday of Prince Leopold of Anhalt-Cöthen; 10 Dec ?1720
Remarks : only text extant
a8	G 10	[title unknown]	—	I/xxxv, CC
Occasion; 1st perf. : New Year; 1 Jan 1723
Remarks : lost; ? = 184a
a9	G 14	Entfernet euch, ihr heitern Sterne (C.F. Haupt)	—	I/xxxvi, CC
Occasion; 1st perf. : birthday visit of August III; 12 May 1727
Remarks : only text extant
a10	G 30	So kämpfet nur, ihr muntern Töne (Picander)	—	I/xxxix, CC
Occasion; 1st perf. : birthday of Joachim Friedrich, Graf von Flemming; 25 Aug 1731
Remarks : only text extant
a11	G 16	Es lebe der König, der Vater im Lande (Picander)	—	I/xxxvi, CC
Occasion; 1st perf. : nameday of August II; 3 Aug 1732
Remarks : only text extant
a12	G 17	Frohes Volk, vergnügte Sachsen (Picander) [adapted from a18]	—	I/xxxvi, CC
Occasion; 1st perf. : nameday of August III; 3 Aug 1733
Remarks : only text extant
a13	G 24	Willkommen! Ihr herrschenden Götter (Gottsched)	—	I/xxxvii, CC
Occasion; 1st perf. : king’s visit and marriage of Princess Maria Amalia; 28 April 1738
Remarks : only text extant
a18	G 39	Froher Tag, verlangte Stunden (J.H. Winckler)	xxxiv, p.li	I/xxxix, CC
Occasion; 1st perf. : opening of Thomasschule after renovation; 5 June 1732
Remarks : only text extant
a19	G 40	Thomana sass annoch betrübt (J.A. Landvoigt)	xxxiv, p.lviii	I/xxxix, CC
Occasion; 1st perf. : in honour of new Rektor of Thommasschule J.A. Ernesti; 21 Nov 1734
Remarks : only text extant
a20	G 33	Latin ode [title unknown]	—	I/xxxviii, CC
Occasion; 1st perf. : birthday of Duke Friedrich II of Saxe-Gotha; 9 Aug 1723
Remarks : lost
a196		Auf! süss entzückende Gewalt (Gottsched)	—	I/xl, 22
Occasion; 1st perf. : wedding; 27 Nov 1725
Remarks : only text extant
a194		[title unknown]	—	—
Occasion; 1st perf. : birthday of Johann August of Anhalt-Zerbst; 9 Aug 1722
Remarks : lost
—	G 25	[title unknown]	—	—
Occasion; 1st perf. : birthday of August III; 7 Oct 1739
Remarks : lost
—	G 49	Wo sind meine Wunderwerke	—	—
Occasion; 1st perf. : ? departure of Rektor J.M. Gesner; 1732–5, ? 4 Oct 1734
Remarks : frag. of inst parts

latin church music



BWV	BC	Title	BG	NBA

191	E 16	Gloria in excelsis Deo	xli, 3	I/ii, 173
Remarks : perf. Christmas 1745; adapted from Mass 232^I
Scoring : S, T, 5vv, 3 tpt, timp, 2 fl, 2 ob, str, bc
232	E 1	[Mass in B minor]:	vi	II/i
Remarks : assembled c1747–9
		Missa (Kyrie, Gloria)
Remarks : ded. new Elector of Saxony, Friedrich August II, 1733; Gratias agimus from 29, 1731; Qui tollis from 46, 1723
Scoring : 2 S, A, T, B, 5vv, 3 tpt, timp, hn, 2 fl, 2 ob, 2 ob d’amore, 2 bn, str, bc
		†Symbolum Nicenum (Credo)
Remarks : added to autograph score c1747–9; Patrem omnipotentem from 171, ?1729; Crucifixus from 12, 1714; Et exspecto from 120, 1728–9; Credo (early version), c1740
Scoring : S, A, B, 5vv, 3 tpt, timp, 2 fl, 2 ob, 2 ob d’amore, str, bc
		Sanctus
Remarks : 1st perf. Christmas Day 1724; added to autograph score c1747–9
Scoring : 6vv, 3 tpt, timp, 3 ob, str, bc
		Osanna, Benedictus, Agnus Dei et Dona nobis pacem
Remarks : added to autograph score c1747–9; Osanna from a9, 1727, and a11, 1732; Agnus Dei from 11, 1735; Dona nobis pacem from 29, 1731 (cf Gratias agimus, above)
Scoring : A, T, 8vv, 3 tpt, timp, 2 fl, 2 ob, str, bc
		4 missae breves:
Remarks : ?1738–9 or later; mostly adaptations of cant. movts
233	E 6	F	viii, 3	II/ii, 199
Remarks : from 11, 40, 102, a18
Scoring : S, A, B, 4vv, 2 hn, ob, bn, str, bc
233a	E 7	Kyrie, F	xli, 187	II/ii, 287
Remarks : ?1708–17; orig. Kyrie of 233
Scoring : 5vv, bc
234	E 3	A	viii, 53	II/ii, 3
Remarks : from 67, 79, 136, 179
Scoring : S, A, B, 4vv, 2 fl, str, bc
235	E 5	g	viii, 101	II/ii, 129
Remarks : from 72, 102, 187
Scoring : A, T, B, 4vv, 2 ob, str, bc
236	E 4	G	viii, 157	II/ii, 63
Remarks : from 17, 79, 138, 179
Scoring : S, A, T, B, 4vv, 2 ob, str, bc
		5 settings of Sanctus:
Remarks : except 237–8, all probably arrs. of music by other composers
237	E 10	C	xi/1, 69	II/ii, 313
Remarks : perf. ? 24 June 1723
Scoring : 4vv, 3 tpt, timp, 2 ob, str, bc
238		D	xi/1, 81	II/ii, 327
Remarks : perf. ? Christmas Day 1723
Scoring : 4vv, cornett, str, bc
239		d	xi/1, 89	[II/ix]
Remarks : perf. 1735–46
Scoring : 4vv, str, bc
240		G	xi/1, 95	[II/ix]
Remarks : perf. 1735–46
Scoring : 4vv, 2 ob, str, bc
241	E 17	D	xli, 177	[II/ix]
Remarks : perf. 1747/8; arr. from piece by J.C. Kerll
Scoring : 8vv, 2 ob d’amore, bn, 2 str, bc
242	E 8	Christe eleison	xli, 197	II/ii, 306
Remarks : inserted in Mass, c, by F. Durante
Scoring : S, A, bc
243a	E 14	Magnificat, E	—	II/iii, 3
Remarks : perf. Christmas Day 1723; incl. 4 Christmas texts: Vom Himmel hoch; Freut euch und jubiliert; Gloria in excelsis; Virga Jesse floruit
Scoring : 2 S, A, T, B, 5vv, 3 tpt, timp, 2 rec, 2 ob, str, bc
243	E 14	Magnificat, D	xi/1, 3	II/iii, 67
Remarks : rev. of above, c1732–5; without Christmas texts
Scoring : 2 S, A, T, B, 5vv, 3 tpt, timp, 2 fl, 2 ob, 2 ob d’amore, str, bc
1081	E 9	Credo in unum Deum, F	—	II/ii, CC
Remarks : perf. c1747–8; inserted in Mass, F, by G.B. Bassani
Scoring : 4vv, bc
1082	E 15	Suscepit Israel, e	—	—
Remarks : c1740–42, from Magnificat, C, by Caldara with addl 2 ?vn pts.
Scoring : 4vv, 2 ?vn, bc

passions, oratorios

244b		Passio secundum Matthaeum (St Matthew Passion) (Picander)	perf. Good Friday, 11 April 1727 and 15 April 1729	scoring similar to 244, but with only 1 bc group	—	II/va (facs.)
†244	D 3	Passio secundum Matthaeum (S Matthew Passion) (Picander)	perf. Good Friday, 30 March 1736, incl. 2 org; also perf. c1742	S in ripieno; chorus I: S, A, T, B, 4vv, 2 rec, 2 fl, 2 ob, 2 ob d’amore, 2 ob da caccia, va da gamba, str, bc; chorus II: S, A, T, B, 4vv, 2 fl, 2 ob, 2 ob d’amore, va da gamba, str, bc [bc incl. bassono grosso, c1742]	iv, 1	II/v
†245	D 2	Passio secundum Joannem (St John Passion) (anon. compilation from B.H. Brockes and others)	perf. Good Friday, 7 April 1724; 30 March 1725 with 5 nos. replaced (see NBA II/v, suppl. ii); ? 11 April 1732 and 4 April 1749 with further revs.	S, A, T, B, 4vv, 2 fl, 2 ob, 2 ob d’amore, 2 ob da caccia, 2 va d’amore, va da gamba, lute/org/hpd, str, bc [bc incl. bassono grosso in late rev., ?1740s]	xii/1, 3	II/iv
247	D 4	Passio secundum Marcum (St Mark Passion) (Picander)	perf. Good Friday, 23 March 1731; lost except for 1 movt ? rev. in 248 and 7 movts in orig. form in 198 and 54; see NBA II/v, CC	—	xx/2, preface	II/v, CC; I/xviii, CC
248	D 7	Oratorium … Die heilige Weynacht (Christmas Oratorio) (?Picander)	in 6 pts. for feast days Christmas to Epiphany 1734– 5; pts. of nos.1–5 adapted from secular cants. 213–15, most of no.6 from lost church cant. 248a		v/2	II/vi
		Jauchzet, frohlocket, auf preiset die Tage	perf. Christmas Day 1734	S, A, T, B, 4vv, 3 tpt, timp, 2 fl, 2 ob, 2 ob d’amore, str, bc
		Und es waren Hirten in derselben Gegend	perf. 26 Dec 1734	S, A, T, B, 4vv, 2 fl, 2 ob d’amore, 2 ob da caccia, str, bc
		Herrscher des Himmels, erhöre das Lallen	perf. 27 Dec 1734	S, A, T, B, 4vv, 3 tpt, timp, 2 fl, 2 ob, 2 ob d’amore, str, bc
		Fallt mit Danken, fallt mit Loben	perf. 1 Jan 1735	S, S, T, B, 4vv, 2 hn, 2 ob, str, bc
		Ehre sei dir, Gott, gesungen	perf. 2 Jan 1735	S, A, T, B, 4vv, 2 ob d’amore, str, bc
		Herr, wenn die stolzen Feinde schnauben	perf. Epiphany, 6 Jan 1735	S, A, T, B, 4vv, 3 tpt, timp, 2 ob, 2 ob d’amore, str, bc
249	D 8	Oratorium Festo Paschali: Kommt, eilet und laufet (Easter Oratorio)	perf. Easter, 1 April 1725 as cant.; rev. as orat c1738	S, A, T, B, 4vv, 3 tpt, timp, 2 rec, fl, 2 ob d’amore, str, bc	xxi/3	II/vii
11	D 9	Oratorium Festo Ascensionis Christi: Lobet Gott in seinen Reichen (Ascension Oratorio)	perf. Ascension, 19 May 1735	S, A, T, B, 4vv, 3 tpt, timp, 2 fl, 2 ob, str, bc	ii, 1	II/viii, 3
1088		So heb ich denn mein Auge sehnlich auf	incl. in Passion pasticcio, late Leipzig period; authenticity doubtful	B, insts, bc	—	[II/9]
—	D 1	[Passion]	?1717, lost; some numbers incl. in St John Passion, 1725			II/4, CC
—	†D 5	Addns to R. Keiser: St Mark Passion	c1713; perf. 19 April 1726	S, A, T, 4vv, str, bc	—	—

motets

texts of 225–8 and a159 are compilations, including chorale; other texts and librettist given in parentheses



BWV	BC	Title	BG	NBA

225	C 1	Singet dem Herrn ein neues Lied	xxxix, 5	III/i, 3
Occasion; date : 1726–7
Scoring : 8vv
226	C 2	Der Geist hilft unser Schwachheit auf	xxxix, 41, 143	III/i, 39
Occasion; date : funeral of J.H. Ernesti; 20 Oct 1729
Scoring : 8vv, 2 ob, taille, bn, str, bc
227	C 5	Jesu, meine Freude	xxxix, 61	III/i, 77
Occasion; date : before 1735
Scoring : 5vv
228	C 4	Fürchte dich nicht	xxxix, 87	III/i, 107
Scoring : 8vv
229	C 3	Komm, Jesu, Komm! (P. Thymich)	xxxix, 109	III/i, 127
Occasion; date : before 1732
Scoring : 8vv
230	C 6	Lobet den Herrn alle Heiden (Ps cxvii)	xxxix, 129	III/i, 149
Scoring : 4vv, org
231	—	Sei Lob und Preis mit Ehren	xxix, 167 (inc.)	—
Occasion; date : ? after 1 Jan 1725; from 28 and Telemann
Scoring : 8vv
a159	C 9	Ich lasse dich nicht, du segnest mich denn	—	—
Occasion; date : before Sept 1713
Scoring : 8vv
†118	B 23	O Jesu Christ, meins Lebens Licht (2 versions), chorale	xxiv, 183	III/i, 163, 171
Occasion; date : burial or memorial service; 1st version 1736–7, 2nd version c1746–9
Scoring : 4vv, 2 litui, cornett, 3 trbn; 2nd version 4vv, 2 litui, str, bc (2 ob, ob da caccia and bn, ad lib)
—	C 8	Der Gerechte kommt um (Isaiah lvii.1–2)	—	—
Occasion; date : ? late Leipzig period; reworking of J. Kuhnau: Tristis est anima mea
Scoring : 5vv, 2 ob, str, bc

chorales, sacred songs, arias



BWV	BC

		Wedding chorales, 4vv, 2 hn, ob, ob d’amore, str, bc, after 1730; BG 143 xiii/1, 147; NBA III/ii.1, 3
250	F 193.3	Was Gott tut das ist wohlgetan
251	F 59.4	Sei Lob und Ehr’ dem höchsten Gut
252	F 148.2	Nun danket alle Gott
		Chorales, 4vv, from Joh. Seb. Bachs vierstimmige Choral-gesänge, ed. J.P. Kirnberger and C.P.E. Bach, i–iv (Leipzig, 1784–7) [excluding those within larger works]; BG xxxix, 177; NBA III/ii.2, 3
253	F 35.1	Ach bleib bei uns, Herr Jesu Christ
254	F 1.1	Ach Gott, erhör’ mein Seufzen
255	F 2.1	Ach Gott und Herr
256	F 212.1	Ach, lieben Christen, seid getrost
259	F 5.1	Ach, was soll ich Sünder machen
260	F 10.1	Allein Gott in der Höh’ sei Ehr’
261	F 11.1	Allein zu dir, Herr Jesu Christ
262	F 8.1	Alle Menschen müssen sterben
263	F 12.1	Alles ist an Gottes Segen
264	F 13.1	Als der gütige Gott
265	F 14.1	Als Jesus Christus in der Nacht
266	F 15.1	Als vierzig Tag nach Ostern war
267	F 17.1	An Wasserflüssen Babylon
268	F 19.1	Auf, auf, mein Herz, und du, mein ganzer Sinn
269	F 21.1	Aus meines Herzens Grunde
270	F 92.1	Befiehl du deine Wege
271	F 92.2	Befiehl du deine Wege
272	F 136.2	Befiehl du deine Wege
273	F 24.1	Christ, der du bist der helle Tag
274	F 27.1	Christe, der du bist Tag und Licht
275	F 28.1	Christe, du Beistand deiner Kreuzgemeinde
276	F 25.1	Christ ist erstanden
277	F 26.1	Christ lag in Todes Banden
278	F 26.2	Christ lag in Todes Banden
279	A 61/4	Christ lag in Todes Banden
280	F 65.1	Christ, unser Herr, zum Jordan kam
281	F 30.1	Christus, der ist mein Leben
282	F 30.2	Christus, der ist mein Leben
283	F 31.1	Christus, der uns selig macht
284	F 32.1	Christus ist erstanden, hat überwunden
285	F 34.1	Da der Herr Christ zu Tische sass
286	F 183.1	Danket dem Herren
287	F 119.1	Dank sei Gott in der Höhe
288	F 36.1	Das alte Jahr vergangen ist
289	F 36.2	Das alte Jahr vergangen ist
290	F 38.1	Das walt’ Gott Vater und Gott Sohn
291	F 39.1	Das walt’ mein Gott, Vater, Sohn und heil'ger Geist
292	F 40.1	Den Vater dort oben
293	F 42.1	Der du bist drei in Einigkeit
294	F 43.1	Der Tag, der ist so freudenreich
295	F 178.1	Des heil’gen Geistes reiche Gnad’
296	F 44.1	Die Nacht ist kommen
297	F 161.1	Die Sonn’ hat sich mit ihrem Glanz gewendet
298	F 46.1	Dies sind die heil’gen zehn Gebot’
299	F 47.1	Dir, dir, Jehova, will ich singen
300	F 51.1	Du grosser Schmerzensmann
301	F 50.1	Du, o schönes Weltgebäude
302	F 53.1	Ein’ feste Burg ist unser Gott
303	F 53.2	Ein’ feste Burg ist unser Gott
304	F 54.1	Eins ist Not! ach Herr, dies Eine
305	F 55.1	Erbarm’ dich mein, o Herre Gott
306	F 58.1	Erstanden ist der heil’ge Christ
307	F 150.1	Es ist gewisslich an der Zeit
308	F 62.1	Es spricht der Unweisen Mund wohl
309	F 63.1	Es steh'n vor Gottes Throne
310	F 64.1	Es wird schier der letzte Tag herkommen
311	F 66.1	Es woll’ uns Gott genädig sein
312	F 66.2	Es woll’ uns Gott genädig sein
327	F 105.2	Für deinen Thron tret’ ich hiermit
313	F 68.1	Für Freuden lasst uns springen
314	F 69.1	Gelobet seist du, Jesu Christ
315	F 70.1	Gib dich zufrieden und sei stille
316	F 71.1	Gott, der du selber bist das Licht
317	F 72.1	Gott, der Vater, wohn’ uns bei
318	F 143.1	Gottes Sohn ist kommen
319	F 74.1	Gott hat das Evangelium
320	F 75.1	Gott lebet noch
321	F 77.1	Gottlob, es geht nunmehr zu Ende
322	F 76.1	Gott sei gelobet und gebenedeiet
323	F 140.1	Gott sei uns gnädig
325	F 79.1	Heilig, heilig
326	F 105.1	Herr Gott, dich loben alle wir
328	F 83.1	Herr Gott, dich loben wir
329	F 134.1	Herr, ich denk’ an jene Zeit
330	F 84.1	Herr, ich habe missgehandelt
331	F 84.2	Herr, ich habe missgehandelt
332	F 85.1	Herr Jesu Christ, dich zu uns wend’
333	F 86.1	Herr Jesu Christ, du hast bereit’t
334	F 202.1	Herr Jesu Christ, du höchstes Gut
335	F 170.1	Herr Jesu Christ, mein’s Lebens Licht
336	F 88.1	Herr Jesu Christ, wah’r Mensch und Gott
337	F 89.1	Herr, nun lass in Friede
338	F 90.1	Herr, straf mich nicht in deinem Zorn
339	F 23.1	Herr, wie du willst, so schick’s mit mir
340	F 91.1	Herzlich lieb hab ich dich, o Herr
341	F 94.1a	Heut’ ist, o Mensch, ein grosser Trauertag
342	F 95.1	Heut’ triumphieret Gottes Sohn
343	F 96.1	Hilf, Gott, lass mir’s gelinge
344	F 97.1	Hilf, Herr Jesu, lass gelingen
345	F 99.1	Ich bin ja, Herr, in deiner Macht
346	F 100.1	Ich dank’ dir, Gott für all’ Wohltat
347	F 101.1	Ich dank’ dir, lieber Herre
348	F 101.2	Ich dank’ dir, lieber Herre
349	F 4.1	Ich dank’ dir schon durch deinen Sohn
350	F 139.1	Ich danke dir, o Gott, in deinem Throne
351	F 102.1	Ich hab’ mein’ Sach’ Gott heimgestellt
366	F 104.1	Ihr Gestirn’, ihr hohlen Lüfte
367	F 107.1	In allen meinen Taten
368	F 110.1	In dulci jubilo
352	F 187.1	Jesu, der du meine Seele
353	F 187.2	Jesu, der du meine Seele
354	F 187.3	Jesu, der du meine Seele
355	F 112.1	Jesu, der du selbsten wohl
356	F 113.1	Jesu, du mein liebstes Leben
357	F 114.1	Jesu, Jesu, du bist mein
358	F 116.1	Jesu, meine Freude
359	F 206.1	Jesu meiner Seelen Wonne
360	F 206.2	Jesu meiner Seelen Wonne
361	F 117.1	Jesu, meines Herzens Freud’
362	F 118.1	Jesu, nun sei gepreiset
363	F 121.1	Jesus Christus, unser Heiland
364	F 120.1	Jesus Christus, unser Heiland
365	F 123.1	Jesus, meine Zuversicht
369	F 124.1	Keinen hat Gott verlassen
370	F 125.1	Komm, Gott Schöpfer, heiliger Geist
371	F 129.1	Kyrie, Gott Vater in Ewigkeit
372	F 82.1	Lass, o Herr, dein Ohr sich neigen
373	F 133.1	Liebster Jesu, wir sind hier
374	F 135.1	Lobet den Herren, denn er ist freundlich
375	F 127.1	Lobt Gott, ihr Christen, allzugleich
376	F 128.1	Lobt Gott, ihr Christen, allzugleich
377	F 137.1	Mach’s mit mir, Gott, nach deiner Güt’
378	F 138.1	Meine Augen schliess’ ich jetzt
379	F 122.1	Meinen Jesum lass’ ich nicht, Jesus
380	F 141.1	Meinen Jesum lass’ ich nicht, weil
324	F 140.1	Meine Seele erhebet den Herrn
381	F 142.1	Meines Lebens letzte Zeit
382	F 144.1	Mit Fried’ und Freud’ ich fahr’ dahin
383	F 145.1	Mitten wir im Leben sind
384	F 146.1	Nicht so traurig, nicht so sehr
385	F 147.1	Nun bitten wir den heiligen Geist
386	F 148.1	Nun danket alle Gott
387	F 106.1	Nun freut euch, Gottes Kinder all’
388	F 149.1	Nun freut euch, lieben Christen g’mein
389	F 153.1	Nun lob’, mein’ Seel’, den Herren
390	F 153.2	Nun lob’, mein’ Seel’, den Herren
391	F 154.1	Nun preiset alle Gottes Barmherzigkeit
392	F 166.1	Nun ruhen alle Wälder
396	F 155.1	Nun sich der Tag geendet hat
397	F 156.1	O Ewigkeit, du Donnerwort
398	F 45.2b	O Gott, du frommer Gott
399	F 157.1	O Gott, du frommer Gott
400	F 160.1	O Herzensangst, o Bangigkeit und Zagen!
401	F 162.1	O Lamm Gottes, unschuldig
402	F 61.1	O Mensch, bewein’ dein’ Sünde gross
403	F 163.1	O Mensch, schau Jesum Christum an
404	F 165.1	O Traurigkeit, o Herzeleid!
393	F 166.2	O Welt, sieh hier dein Leben
394	F 166.5	O Welt, sieh hier dein Leben
395	F 166.9	O Welt, sieh hier dein Leben
405	F 167.1	O wie selig seid ihr doch, ihr Frommen
406	F 7.1	O wie selig seid ihr doch, ihr Frommen
407	F 168.1	O wir armen Sünder
408	F 94.1b	Schaut, ihr Sünder!
409	F 173.1	Seelen-Bräutigam
410	F 174.1	Sei gegrüsset, Jesu gütig
411	F 175.1	Singet dem Herrn ein neues Lied
412	F 177.1	So gibst du nun, mein Jesu, gute Nacht
413	F 130.1	Sollt’ ich meinem Gott nicht singen
414	F 35.2	Uns ist ein Kindlein heut’ gebor’n
415	F 18.1	Valet will ich dir geben
416	F 181.4a	Vater unser im Himmelreich
417	F 185.1	Von Gott will ich nicht lassen
418	F 185.2	Von Gott will ich nicht lassen
419	F 185.3	Von Gott will ich nicht lassen
257	F 212.2	Wär Gott nicht mit uns diese Zeit
420	F 189.1	Warum betrübst du dich, mein Herz
421	F 189.2	Warum betrübst du dich, mein Herz
422	F 190.1	Warum sollt’ ich mich denn grämen
423	F 191.1	Was betrübst du dich, mein Herze
424	F 192.1	Was bist du doch, o Seele, so betrübet
425	F 195.1	Was willst du dich, o meine Seele
426	F 197.1	Weltlich Ehr’ und zeitlich Gut
427	F 200.1	Wenn ich in Angst und Not
428	F 201.1	Wenn mein Stündlein vorhanden ist
429	F 201.2	Wenn mein Stündlein vorhanden ist
430	F 201.3	Wenn mein Stündlein vorhanden ist
431	F 203.1	Wenn wir in höchsten Nöten sein
432	F 203.2	Wenn wir in höchsten Nöten sein
433	F 204.1	Wer Gott vertraut, hat wohl gebaut
434	F 205.1	Wer nur den lieben Gott lässt walten
435	F 207.1	Wie bist du, Seele, in mir so gar betrübt
436	F 109.1	Wie schön leuchtet der Morgenstern
437	F 211.1	Wir glauben all’ an einen Gott
258	F 212.3	Wo Gott der Herr nicht bei uns hält
438	F 213.1	Wo Gott zum Haus nicht gibt sein’ Gunst
		Sacred songs, 1v, bc, in G.C. Schemelli: Musicalisches Gesang-Buch (Leipzig, 1736) [Bach was involved in the production of Schemelli’s hymnal, but research has discredited the methods by which these items were attrib. him; only bc ? by Bach unless otherwise stated]; BG xxxix, 279; NBA III/ii.1, 104
439	F 274	Ach, dass nicht die letzte Stunde
440	F 229	Auf, auf! die rechte Zeit ist hier [? melody by Bach]
441	F 245	Auf, auf! mein Herz, mit Freuden
442	F 257	Beglückter Stand getreuer Seelen
443	F 265	Beschränkt, ihr Weisen dieser Welt [? melody by Bach]
444	F 242	Brich entzwei, mein armes Herze
445	F 247	Brunnquell aller Güter
446	F 220	Der lieben Sonnen Licht und Pracht
447	F 221	Der Tag ist hin, die Sonne gehet nieder
448	F 222	Der Tag mit seinem Lichte
449	F 249	Dich bet’ich an, mein höchster Gott [? melody by Bach]
450	F 235	Die bittre Leidenszeit beginnet abermal
451	F 219	Die goldne Sonne, voll Freud’ und Wonne
452	F 250	Dir, dir Jehovah, will ich singen [melody by Bach]
453	F 225	Eins ist Noth! ach Herr, diess Eine [? melody by Bach]
454	F 230	Ermuntre dich, mein schwacher Geist
455	F 261	Erwürgtes Lamm, das die verwahrten Siegel
456	F 258	Es glänzet der Christen
457	F 275	Es ist nun aus mit meinem Leben
458	F 243	Es ist vollbracht! vergiss ja nicht
459	F 256	Es kostet viel, ein Christ zu sein
460	F 263	Gieb dich zufrieden und sei stille
461	F 255	Gott lebet noch; Seele, was verzagst du doch?
462	F 248	Gott, wie gross ist deine Güte [? melody by Bach]
463	F 223	Herr, nicht schicke deine Rache
464	F 276	Ich bin ja, Herr, in deiner Macht
465	F 231	Ich freue mich in dir
466	F 264	Ich halte treulich still und liebe [? melody by Bach]
467	F 269	Ich lass’ dich nicht
468	F 270	Ich liebe Jesum alle Stund’ [? melody by Bach]
469	F 232	Ich steh’ an deiner Krippen hier [? melody by Bach]
476	F 233	Ihr Gestirn’, ihr hohen Lüfte
471	F 228	Jesu, deine Liebeswunden [? melody by Bach]
470	F 271	Jesu, Jesu, du bist mein [? melody by Bach]
472	F 226	Jesu, meines Glaubens Zier
473	F 266	Jesu, meines Herzens Freud’
474	F 251	Jesus ist das schönste Licht
475	F 246	Jesus unser Trost und Leben
477	F 278	Kein Stündlein geht dahin
478	F 277	Komm, süsser Tod, komm, sel’ge Ruh’! [? melody by Bach]
479	F 285	Kommt, Seelen, dieser Tag [? melody by Bach]
480	F 286	Kommt wieder aus der finstern Gruft [? melody by Bach]
481	F 236	Lasset uns mit Jesu ziehen
482	F 252	Liebes Herz, bedenke doch
483	F 279	Liebster Gott, wann werd’ ich sterben?
484	F 280	Liebster Herr Jesu! wo bleibest du so lange? [? melody by Bach]
485	F 272	Liebster Immanuel, Herzog der Frommen
488	F 281	Meines Lebens letzte Zeit
486	F 227	Mein Jesu, dem die Seraphinen
487	F 237	Mein Jesu! was für Seelenweh [? melody by Bach]
489	F 259	Nicht so traurig, nicht so sehr
490	F 267	Nur mein Jesus ist mein Leben
491	F 238	O du Liebe meine Liebe
492	F 282	O finstre Nacht [? melody by Bach]
493	F 234	O Jesulein süss, o Jesulein mild
494	F 260	O liebe Seele, zieh’ die Sinnen [? melody by Bach]
495	F 283	O wie selig seid ihr doch, ihr Frommen
496	F 253	Seelen-Bräutigam, Jesu, Gottes Lamm!
497	F 268	Seelenweide, meine Freude
499	F 240	Sei gegrüsset, Jesu gütig
498	F 239	Selig, wer an Jesum denkt [? melody by Bach]
500	F 241	So gehst du nun, mein Jesu, hin [? melody by Bach]
501	F 244	So giebst du nun, mein Jesu, gute Nacht
502	F 284	So wünsch’ ich mir zu guter Letzt
503	F 287	Steh’ ich bei meinem Gott
504	F 254	Vergiss mein nicht, dass ich dein nicht
505	F 262	Vergiss mein nicht, vergiss mein nicht [melody by Bach]
506	F 273	Was bist du doch, o Seele, so betrübet
507		Wo ist mein Schäflein, das ich liebe
		Pieces in Clavierbüchlein, ii, for Anna Magdalena Bach; BG xxxix, 289; NBA V/iv, 91:
511	F 214a	Gib dich zufrieden, chorale, g
512	F 214b	Gib dich zufrieden, chorale, e (arr. of 511)
513	F 218	O Ewigkeit, du Donnerwort, chorale [from 397]
514	F 216	Schaffs mit mir, Gott, chorale
516	F 215	Warum betrübst du dich, aria
524	H 1	Quodlibet, SATB, bc, frag., for wedding, Mühlhausen, by mid-1708
a40		Murky: Ihr Schönen, höret an, S, bc, before 1736

Doubtful

		Pieces in Clavierbüchlein, ii, for Anna Magdalena Bach; BG xxxix, 309; NBA V/iv, 102:
508		Bist du bei mir, aria (by G.H. Stölzel)
509		Gedenke doch, mein Geist, aria (anon.)
510		Gib dich zufrieden, chorale, F (anon. bass added)
†515	H 2	So oft ich meine Tobackspfeife, aria (anon., ? by Gottfried Heinrich Bach, ? arr. J.S. Bach)
517		Wie wohl ist mir, o Freund der Seelen (anon.)
		Sacred songs, 5 for 1v, bc (probably spurious); NBA [III/iii]:
519		Hier lieg’ ich nun
520		Das walt’ mein Gott
521		Gott mein Herz dir Dank zusendet
522		Meine Seele, lass es gehen
523		Ich gnüge mich an meinem Stande

organ

independent of chorales

based on chorales

independent of chorales

BWV

Title

NBA

131a

J 62

Fugue, g

xxxviii, 217

—

Remarks :

arr. from 131

525–30

J 1–6

6 sonatas (E, c, d, e, C, G)

xv, 3–66

IV/vii, 2–76

Remarks :

c1730; no.3: cf 1044; no.4 arr. from 76

531

J 9

Prelude and fugue, C

xv, 81

IV/v, 3

Remarks :

? before 1705

†532

J 13, 54, 70

Prelude and fugue, D

xv, 88

IV/v, 58; IV/vi, 95

Remarks :

? before 1710

†533

J 18, 72

Prelude and fugue, e

xv, 100

IV/v, 90; IV/vi, 106

Remarks :

? before 1705

534

J 20

Prelude and fugue, f

xv, 104

IV/v, 130

Remarks :

? before 1710

†535

J 23

Prelude and fugue, g

xv, 112

IV/v, 157; IV/vi, 109

Remarks :

? before 1705; rev. ?1708–17

536

J 24

Prelude and fugue, A

xv, 120

IV/v, 180; IV/vi, 114

Remarks :

?1708–17

537

J 40

Fantasia and fugue, c

xv, 129

IV/v, 47

Remarks :

? after 1723

538

J 38

Toccata and fugue, ‘Dorian’, d

xv, 136

IV/v, 76

Remarks :

?1712–17

†539

J 15, 71

Prelude and fugue, d

xv, 148

IV/v, 70

Remarks :

? after 1720; fugue adapted from vn sonata, 1001

†540

J 39, 55, 73

Toccata and fugue, F

xv, 154

IV/v, 112

Remarks :

toccata ? after 1712; fugue before 1731

†541

J 22

Prelude and fugue, G

xv, 169

IV/v, 146

Remarks :

? after 1712; rev. c1724–5

†542

J 42, 57, 67

Fantasia and fugue, g

xv, 177

IV/v, 167

Remarks :

fugue: before 1725; fantasia: c1720

†543

J 26

Prelude and fugue, a

xv, 189

IV/v, 186; IV/vi, 121

Remarks :

after 1715; fugue: cf 944

544

J 27

Prelude and fugue, b

xv, 199

IV/v, 198

Remarks :

1727–31

†545

J 10, 51

Prelude and fugue, C

xv, 212

IV/v, 10; IV/vi, 77

Remarks :

? before 1708; rev. ?1712–17

†546

J 12, 53, 69

Prelude and fugue, c

xv, 218

IV/v, 35

Remarks :

?1723–9

547

J 11

Prelude and fugue, C

xv, 228

IV/v, 20

Remarks :

? by 1725

548

J 19

Prelude and fugue, e

xv, 236

IV/v, 95

Remarks :

rev. 1727–31

†549

J 14

Prelude and fugue, c/d

xxxviii, 3

IV/v, 30; IV/vi, 101

Remarks :

before 1705; rev. ? after 1723

550

J 21

Prelude and fugue, G

xxxviii, 9

IV/v, 138

Remarks :

? before 1710

551

J 25

Prelude and fugue, a

xxxviii, 17

IV/vi, 63

Remarks :

? before 1707

552

J 16

Prelude and fugue, ‘St Anne’, E

iii, 173, 254

IV/vi, 2, 105

Remarks :

in Clavier-Übung, iii, (Leipzig, 1739), see 669–89

553–60

J 28–35

[8 short preludes and fugues] (C, d, e, F, G, g, a, B)

xxxviii, 23

[IV/ix]

†562

J 41, 56

Fantasia and fugue, c

xxxviii, 64, 209

IV/v, 54, 105

Remarks :

fantasia: c1730; fugue (inc.) c1740–45

563

J 43

Fantasia, b

xxxviii, 59

IV/vi, 68

Remarks :

before 1708

564

J 36

Toccata, adagio and fugue, C

xv, 253

IV/vi, 3

Remarks :

?c1712

565

J 37

Toccata and fugue, d

xv, 267

IV/vi, 31

Remarks :

? before 1708

†566

J 17

Prelude and fugue, E/C

xv, 276

IV/vi, 40

Remarks :

? before 1708

568

J 47

Prelude, G

xxxviii, 85

IV/vi, 51

Remarks :

? before 1705

569

J 48

Prelude, a

xxxviii, 89

IV/vi, 59

Remarks :

? before 1705

570

J 49

Fantasia, C

xxxviii, 62

IV/vi, 16

Remarks :

? before 1705

571

J 82

Fantasia, G

xxxviii, 67

—

572

J 83

Pièce d’orgue, G

xxxviii, 75

IV/vii, 130, 154, 156

Remarks :

? before 1712

573

J 50

Fantasia, C

xxxviii, 209

IV/vi, 18

Remarks :

c1722; frag. in Clavierbüchlein, i, for Anna Magdalena Bach

†574

J 63

Fugue on theme by Legrenzi, c

xxxviii, 94, 205

IV/vi, 19, 82, 88

Remarks :

? before 1708

575

J 60

Fugue, c

xxxviii, 101

IV/vi, 26

Remarks :

? 1708–17

577

J 61

Fugue, G

xxxviii, 111

—

578

J 66

Fugue, g

xxxviii, 116

IV/vi, 55

Remarks :

? before 1707

579

J 68

Fugue on theme by Corelli, b

xxxviii, 121

IV/vi, 71

Remarks :

? before 1710

†582

J 79

Passacaglia, c

xv, 289

IV/vii, 98, 148

Remarks :

?1708–12

583

J 8

Trio, d

xxxviii, 143

IV/vii, 94

Remarks :

?1723–9

588

J 80

Canzona, d

xxxviii, 126

IV/vii, 118, 150

Remarks :

? before 1705

589

J 64

Alla breve, D

xxxvii, 131

IV/vii, 114

590

J 81

Pastorella, F

xxxviii, 135

IV/vii, 122

Remarks :

? after 1720

591

J 78

Kleine harmonisches Labyrinth

xxxviii, 225

[IV/ix]

5 concertos:

Remarks :

Weimar, c1714; arrs. of works by other composers

†592

J 88, 192

xxxviii, 149; xlii, 282

IV/viii, 56

Remarks :

arr. of conc. by Prince Johann Ernst of Saxe-Weimar

593

J 86

xxxviii, 158

IV/viii

Remarks :

arr. of Vivaldi op.3 no.8 = rv522

594

J 84

xxxviii, 171

IV/viii, 30

Remarks :

arr. of Vivaldi op.7/ii no.5 = rv208

595

J 87

xxxviii, 196

IV/viii, 65

Remarks :

arr. of conc. by Prince Johann Ernst of Saxe-Weimar

596

J 85

—

IV/viii, 3

Remarks :

arr. of Vivaldi op.3 no.11 = rv565

802–5

J 74–7

4 duettos (e, F, G, a)

iii, 242

IV/vi, 92

Remarks :

in Clavier-Übung, iii (Leipzig, 1739); see also 552, 669–89

1027a

Trio, G

—

Remarks :

transcr. from last movt of va da gamba sonata, 1027

a205

Fantasia, c

—

Remarks :

before 1705

Doubtful and spurious

536a		Prelude and fugue, A	variant of 536	—	IV/vi
561		Fantasia and fugue, a	spurious	xxxviii, 48	—
567		Prelude, C	by J.L. Krebs	xxxviii, 84	—
576		Fugue, G	spurious	xxxviii, 106	—
580	J 65	Fugue, D	spurious	xxxviii, 215	—
581		Fugue, G	spurious	—	—
584		Trio, g	probably spurious	—	—
585		Trio, c	by J.F. Fasch	xxxviii, 219	IV/viii, 73
586		Trio, G	after Telemann	—	IV/viii, 78
587		Aria, F	after Couperin: Les nations	xxxviii, 222	IV/viii, 82
597		Concerto, E		—	[IV]
598	Q 2	Pedal-Exercitium	? by C.P.E. Bach	xxxviii, 210	[IV/vii]

based on chorales



BWV	BC	Title	BG	NBA

599–644		Das Orgel-Büchlein, mostly 1713–15; BG xxv/2, 3, 159; NBA IV/i, 3
599	K 28	Nun komm’ der Heiden Heiland

600	K 29	Gott, durch deine Güte
†601	K 30	Herr Christ, der ein’ge Gottes-Sohn
602	K 31	Lob sei dem allmächtigen Gott
603	K 32	Puer natus in Bethlehem
604	K 33	Gelobet seist du, Jesu Christ
605	K 34	Der Tag, der ist so freudenreich
606	K 35	Vom Himmel hoch, da komm’ ich her
607	K 36	Vom Himmel kam der Engel Schar
608	K 37	In dulci jubilo
609	K 38	Lobt Gott, ihr Christen, allzugleich
610	K 39	Jesu, meine Freude
611	K 40	Christum wir sollen loben schon
612	K 41	Wir Christenleut’
613	K 42	Helft mir Gottes Güte preisen
†614	K 43	Das alte Jahr vergangen ist
615	K 44	In dir ist Freude
616	K 45	Mit Fried’ und Freud’ ich fahr dahin
617	K 46	Herr Gott, nun schleuss den Himmel auf
618	K 47	O Lamm Gottes unschuldig
619	K 48	Christe, du Lamm Gottes
†620	K 49	Christus, der uns selig macht
621	K 50	Da Jesus an dem Kreuze stund’
622	K 51	O Mensch, bewein’ dein’ Sünde gross
623	K 52	Wir danken dir, Herr Jesu Christ
624	K 53	Hilf Gott, das mir’s gelinge
625	K 55	Christ lag in Todesbanden
626	K 56	Jesus Christus, unser Heiland
627	K 57	Christ ist erstanden
628	K 58	Erstanden ist der heil’ge Christ
629	K 59	Erschienen ist der herrliche Tag
†630	K 60	Heut’ triumphieret Gottes Sohn
†631	K 61	Komm, Gott Schöpfer, heilger Geist
632	K 62	Herr Jesu Christ, dich zu uns wend’
634	K 63a	Liebster Jesu, wir sind hier
633	K 63b	Liebster Jesu, wir sind hier
635	K 64	Dies sind die heil’gen zehn Gebot’
636	K 65	Vater unser im Himmelreich
637	K 66	Durch Adam’s Fall ist ganz verderbt
†638	K 67	Es ist das Heil uns kommen her
†639	K 68	Ich ruf’ zu dir, Herr Jesu Christ
640	K 69	Ich dich hab’ ich gehoffet, Herr
641	K 70	Wenn wir in höchsten Nöten sein
642	K 71	Wer nun den lieben Gott lässt walten
643	K 72	Alle Menschen müssen sterben
644	K 73	Ach wie nichtig, ach wie flüchtig
a200	K 54	O Trauerigkeit, o Herzeleid (frag.)

		Sechs Choräle [‘Schübler’ chorales]:
Remarks : (Zella, 1748–9), transcrs. of cant. movts pubd by Schübler
645	K 22	Wachet auf, ruft uns die Stimme	xxv/2, 63	IV/i, 86
Remarks : from 140, movt 4
646	K 23	Wo soll ich fliehen hin	xxv/2, 66	IV/i, 90
Remarks : source unknown; cf 694
647	K 24	Wer nur den lieben Gott lässt walten	xxv/2, 68	IV/i, 92
Remarks : from 93, movt 4
648	K 25	Meine Seele erhebt den Herren	xxv/2, 70	IV/i, 94
Remarks : from 10, movt 5
649	K 26	Ach bleib’ bei uns, Herr Jesu Christ	xxv/2, 71	IV/i, 95
Remarks : from 6, movt 3
650	K 27	Kommst du nun, Jesu, vom Himmel herunter	xxv/2, 74	IV/i, 98
Remarks : from 137, movt 2
		[17 (18) chorales]:
Remarks : all probably begun before 1723, and all but 657 also preserved in an early version; 651–65 assembled as an autograph collection, c1735–45, D-Bsb P271; for 2 manuals, pedal
†651	K 74	Fantasia super Komm, Heiliger Geist	xxv/2, 79	IV/ii, 3, 117
Remarks : organo pleno; c.f. in pedal; cf 651a
†652	K 75	Komm, Heiliger Geist	xxv/2, 86	IV/ii, 13, 121
Remarks : alio modo; cf 652a
†653	K 76	An Wasserflüssen Babylon	xxv/2, 92	IV/ii, 22, 130, 133
Remarks : cf 653a and 653b
†654	K 77	Schmücke dich, o liebe Seele	xxv/2, 95	IV/ii, 26, 136
Remarks : cf 654a
†655	K 78	Trio super Herr Jesu Christ, dich zu uns wend	xxv/2, 98	IV/ii, 31, 140
Remarks : cf 655a
†656	K 79	O Lamm Gottes, unschuldig	xxv/2, 102	IV/ii, 38, 146
Remarks : cf 656a
657	K 80	Nun danket alle Gott	xxv/2, 108	IV/ii, 46
Remarks : c.f. in soprano; see above
†658	K 81	Von Gott will ich nicht lassen	xxv/2, 112	IV/ii, 51, 154
Remarks : c.f. in pedal; cf 658a
†659	K 82	Nun komm, der Heiden Heiland	xxv/2, 114	IV/ii, 55, 157
Remarks : cf 659a
†660	K 83	Trio super Nun komm, der Heiden Heiland	xxv/2, 116	IV/ii, 59, 160
Remarks : cf 660a and 660b
661	K 84	Nun komm, der Heiden Heiland	xxv/2, 118	IV/ii, 62, 164
Remarks : organo pleno; c.f. in pedal, cf 661a
†662	K 85	Allein Gott in der Höh sei Ehr	xxv/2, 122	IV/ii, 67, 168
Remarks : c.f. in soprano; cf 662a
†663	K 86	Allein Gott in der Höh sei Ehr	xxv/2, 125	IV/ii, 72, 172
Remarks : c.f. in tenor; cf 663a
†664	K 87	Trio super Allein Gott in der Höh sei Ehr	xxv/2, 130	IV/ii, 79, 179
Remarks : cf 664a
†665	K 88	Jesus Christus, unser Heiland	xxv/2, 136	IV/ii, 87, 187
Remarks : cf 665; Bach’s last autograph entry in Bsb P271
†666	K 89	Jesus Christus, unser Heiland	xxv/2, 140	IV/ii, 91, 191
Remarks : alio modo; cf 666a; copied into Bsb P271 by J.C. Altnickol, c1744–7
†667	K 90	Komm, Gott, Schöpfer, Heiliger Geist	xxv/2, 142	IV/ii, 94; IV/i, 58
Remarks : organo pleno; cf 631; copied into Bsb P271 by Altnickol
†668	K 91	Vor deinen Thron tret ich hiermit	xxv/2, 145	IV/ii, 113, 212; IV/i, 71
Remarks : partly in Bsb P271, copied ? after 1750; with minor variants, 668a, pubd as Wenn wir in höchsten Nöten sein in 1080; cf 641
		Chorale preludes in Clavier-Übung, iii, bestehend in verschiedenen Vorspielen über die Cathechismus- und andere Gesaenge
Remarks : (Leipzig, 1739); framed by 552; for 2 kbd, pedal unless otherwise stated
669	K 1	Kyrie, Gott Vater in Ewigkeit	iii, 184	IV/iv, 16
Remarks : c.f. in soprano
670	K 2	Christe, aller Welt Trost	iii, 186	IV/iv, 18
Remarks : c.f. in tenor
671	K 3	Kyrie, Gott heiliger Geist	iii, 190	IV/iv, 22
Remarks : a 5, organo pleno; c.f. in bass
672	K 4	Kyrie, Gott Vater in Ewigkeit	iii, 194	IV/iv, 27
Remarks : alio modo, manuals only
673	K 5	Christe, aller Welt Trost	iii, 194	IV/iv, 28
Remarks : manuals only
674	K 6	Kyrie, Gott heiliger Geist	iii, 196	IV/iv, 29
Remarks : manuals only
675	K 7	Allein Gott in der Höh sei Ehr	iii, 197	IV/iv, 33
Remarks : a 3; c.f. in alto; manuals only
†676	K 8	Allein Gott in der Höh sei Ehr	iii, 199	IV/iv, 33
677	K 9	Fughetta super Allein Gott in der Höh sei Ehr	iii, 205	IV/iv, 41
Remarks : manuals only
678	K 10	Dies sind die heilgen zehen Gebot	iii, 206	IV/iv, 42
Remarks : c.f. in canon
679	K 11	Fughetta super Dies sind die heiligen zehen Gebot	iii, 210	IV/iv, 49
Remarks : manuals only
680	K 12	Wir gläuben all an einen Gott	iii, 212	IV/iv, 52
Remarks : organo pleno
681	K 13	Fughetta super Wir gläuben all an einen Gott	iii, 216	IV/iv, 57
Remarks : manuals only
682	K 14	Vater unser im Himmelreich	iii, 217	IV/iv, 58
Remarks : c.f. in canon
683	K 15	Vater unser im Himmelreich	iii, 223	IV/iv, 66
Remarks : alio modo, manuals only
684	K 16	Christ, unser Herr, zum Jordan kam	iii, 224	IV/iv, 68
Remarks : c.f. in pedal
685	K 17	Christ, unser Herr, zum Jordan kam	iii, 228	IV/iv, 73
Remarks : alio modo, manuals only
686	K 18	Aus tiefer Not schrei ich zu dir	iii, 229	IV/iv, 74
Remarks : a 6, organo pleno, pedal doppio
687	K 19	Aus tiefer Not schrei ich zu dir	iii, 232	IV/iv, 78
Remarks : a 4, alio modo, manuals only
688	K 20	Jesus Christus, unser Heiland, der von uns den Zorn Gottes wandt	iii, 234	IV/iv, 81
Remarks : c.f. in pedal
689	K 21	Fuga super Jesus Christus unser Heiland	iii, 239	IV/iv, 89
Remarks : a 4, manuals only
690	K 127	Wer nur den lieben Gott lässt walten	xl, 3	IV/iii, 98
Remarks : manuals only; ? before 1705
691	K 99	Wer nur den lieben Gott lässt walten	xl, 4	IV/iii, 98
Remarks : manuals only; autograph in Clavier-Büchlein for W.F. Bach; c1720–23
694	K 139	Wo soll ich fliehen hin	xl, 6	IV/iii, 103
Remarks : 2 kbd, pedal; before 1708; cf 646
695	K 136	Fantasia super Christ lag in Todes Banden	xl, 10	IV/iii, 20
Remarks : manuals only; ? before 1708
696	K 142	Christum wir sollen loben schon	xl, 13	IV/iii, 23
Remarks : fughetta, manuals only; ?1739–42
697	K 147	Gelobet seist du, Jesu Christ	xl, 14	IV/iii, 32
Remarks : fughetta, manuals only; ?1739–42
698	K 149	Herr Christ, der einig Gottes Sohn	xl, 15	IV/iii, 35
Remarks : fughetta, manuals only; ?1739–42
699	K 155	Nun komm, der Heiden Heiland	xl, 16	IV/iii, 73
Remarks : fughetta, manuals only; ?1739–42
700	K 156	Vom Himmel hoch, da komm ich her	xl, 17	IV/iii, 92
Remarks : before 1708, rev. 1740s
701	K 157	Vom Himmel hoch, da komm ich her	xl, 19	IV/iii, 96
Remarks : fughetta, manuals only; ?1739–42
702	K 143	Das Jesulein soll doch mein Trost	xl, 20	[IV/ix]
Remarks : fughetta
703	K 148	Gottes Sohn ist kommen	xl, 21	IV/iii, 34
Remarks : fughetta, manuals only; ?1739–42
704	K 153	Lob sei dem allmächtigen Gott	xl, 22	IV/iii, 62
Remarks : fughetta, manuals only; ? 1739–42
705	K 144	Durch Adams Fall ist ganz verderbt	xl, 23	[IV/ix]
706	K 116	Liebster Jesu, wir sind hier	xl, 25	IV/iii, 59
Remarks : ?1708–14; cf 706ii [alio modo]
707	K 137	Ich hab mein Sach Gott heimgestellt	xl, 26	[IV/ix]
708	K 158	Ich hab mein Sach Gott heimgestellt	xl, 30, 152	[IV/ix]
709	K 150	Herr Jesu Christ, dich zu uns wend	xl, 30	IV/iii, 43
Remarks : 2 kbd, pedal; ?Weimar, 1708–17
711	K 140	Allein Gott in der Höh sei Ehr	xl, 34	IV/iii, 11
Remarks : bicinium; ?1708–17; rev. 1740s
712	K 151	In dich hab ich gehoffet, Herr	xl, 36	IV/iii, 48
Remarks : manuals only
713	K 138	Fantasia super Jesu, meine Freude	xl, 38	IV/iii, 54
Remarks : manuals only
714	K 172	Ach Gott und Herr	xl, 43	IV/iii, 3
Remarks : per canonem
715	K 128	Allein Gott in der Höh sei Ehr	xl, 44	IV/iii, 14
716	K 141	Fuga super Allein Gott in der Höh sei Ehr	xl, 45	[IV/ix]
717	K 106	Allein Gott in der Höh sei Ehr	xl, 47	IV/iii, 8
Remarks : manuals only
718	K 119	Christ lag in Todes Banden	xl, 52	IV/iii, 16
Remarks : 2 kbd, pedal
719	K 160	Der Tag, der ist so freudenreich	xl, 55	[IV/ix]
720	K 103	Ein feste Burg ist unser Gott	xl, 57	IV/iii, 24
721	K 107	Erbarm dich mein, o Herre Gott	xl, 60	IV/iii, 28
Remarks : manuals only
†722	K 114	Gelobet seist du, Jesu Christ	xl, 62, 158	IV/iii, 30–31
724	K 108	Gott, durch deine Güte (Gottes Sohn ist kommen)	xl, 65	IV/iii, 33
Remarks : before 1705; alternative title in bwv, BG
725	K 199	Herr Gott, dich loben wir	xl, 66	IV/iii, 36
Remarks : a 5
726	K 130	Herr Jesu Christ, dich zu uns wend	xl, 72	IV/iii, 45
727	K 109	Herzlich tut mich verlangen	xl, 73	IV/iii, 46
Remarks : 2 kbd, pedal
728	K 101	Jesus, meine Zuversicht	xl, 74	IV/iii, 58
Remarks : manuals only; autograph in Clavierbüchlein, i, for Anna Magdalena Bach
†729	K 115	In dulci jubilo	xl, 74, 158	IV/iii, 52, 50
Remarks : sketch, 729a
730	K 133	Liebster Jesu, wir sind hier	xl, 76	IV/iii, 60
731	K 134	Liebster Jesu, wir sind hier	xl, 77	IV/iii, 61
Remarks : 2 kbd, pedal
†732	K 117	Lobt Gott, ihr Christen, allzugleich	xl, 78, 159	IV/iii, 63–4
Remarks : sketch, 732a
733	K 120	Meine Seele erhebet den Herren (Fuge über das Magnificat)	xl, 79	IV/iii, 65
Remarks : organo pleno
†734	K 125	Nun freut euch, lieben Christen gmein	xl, 160	IV/iii, 70
Remarks : manuals only; c.f. in tenor; cf 734a
†735	K 104	Fantasia super Valet will ich dir geben	xl, 86, 161	IV/iii, 77, 81
Remarks : with pedal obbl; Weimar, 1708–17, rev. ? after 1723
736	K 131	Valet will ich dir geben	xl, 90	IV/iii, 84
Remarks : c.f. in pedal
737	K 112	Vater unser im Himmelreich	xl, 96	IV/iii, 90
Remarks : manuals only
†738	K 118	Vom Himmel hoch, da komm ich her	xl, 97, 159	IV/iii, 94
Remarks : sketch, 738a
739	K 97	Wie schön leuchtet der Morgenstern	xl, 99	[IV/x]
Remarks : ? before 1705
741	K 135	Ach Gott vom Himmel sieh darein	xl, 167	IV/iii, 4
Remarks : organo pleno
742	K 173	Ach Herr, mich armen Sünder	—	[IV/ix]
743	K 121	Ach, was ist doch unser Leben	—	—
744	K 122	Auf meinen lieben Gott	xl, 170	—
747	K 102	Christus, der uns selig macht	—	—
749	K 195	Herr Jesu Christ, dich zu uns wend	—	—
Remarks : ? before 1700
750	K 196	Herr Jesu Christ, meins Lebens Licht	—	—
Remarks : ? before 1700
753	K 124	Jesu, meine Freude	xl, 163	V/v
Remarks : frag.; ? before 1723
754		Liebster Jesu, wir sind hier	—	—
756	K 197	Nun ruhen alle Wälder	—	—
Remarks : ? before 1700
757	K 126	O Herre Gott, dein göttlichs Wort	—	—
758	K 198	O Vater, allmächtiger Gott	xl, 179	—
762	K 113	Vater unser im Himmelreich	—	—
764	K 98	Wie schön leuchtet uns der Morgenstern	xl, 164	[IV/x]
Remarks : frag.; ? before 1705
765	K 105	Wir glauben all’ an einen Gott	—	—
†1085	K 110, 111	O Lamm Gottes, unschuldig	—	IV/iii, 74
Remarks : manuals only
a49		Ein feste Burg ist unser Gott	—	—
a50		Erhalt uns, Herr, bei deinem Wort	—	—
a58		Jesu, meine Freude	—	—
a75		Herr Christ, der einig Gottes Sohn	—	—
a76		Jesu, meine Freude	—	—
		Partite diverse:
766	K 94	Christ, der du bist der helle Tag	xl, 107	IV/i, 113
Remarks : c1700
767		O Gott, du frommer Gott	xl, 114	IV/i, 122
Remarks : K 95
†768	K 96	Sei gegrüsset, Jesu gütig	xl, 122	IV/i, 132
Remarks : ? before 1710, rev. later
770	K 93	Ach, was soll ich Sünder machen	xl, 189	—
		Neumeister Chorales	—	IV/ix
Remarks : before 1705; in MS belonging to J.G. Neumeister, incl. also 601, 639, 714, 719, 737, 742
1090	K 161	Wir Christenleut
1091	K 162	Das alte Jahr vergangen ist
1092	K 163	Herr Gott, nun schleuss den Himmel auf
1093	K 164	Herzliebster, Jesu, was hast du verbrochen
1094	K 165	O Jesu, wie ist dein Gestalt
1095	K 166	O Lamm Gottes unschuldig
1096	K 167	Christe, der du bist Tag und Licht
1097	K 168	Ehre sei dir, Christe
1098	K 169	Wir glauben all an einen Gott
1099	K 170	Aus tiefer Not schrei ich zu dir
1100	K 171	Allein zu dir, Herr Jesu Christ
1101	K 174	Durch Adams Fall ist ganz verderbt
1102	K 175	Du Friedefürst, Herr Jesu Christ
1103	K 176	Erhalt uns, Herr, bei deinem Wort
1104	K 177	Wenn dich Unglück tut greifen an
1105	K 178	Jesu, meine Freude
1106	K 179	Gott ist mein Heil, mein Hilf und Trost
1107	K 180	Jesu, meines Lebens Leben
†1108	K 181	Als Jesus Christus in der Nacht
1109	K 182	Ach Gott, tu dich erbarmen
1110	K 183	O Herre Gott, dein göttlich Wort
1111	K 184	Nun lasst uns den Leib begraben
1112	K 185	Christus, der ist mein Leben
1113	K 186	Ich hab mein Sach Gott heimgestellt
1114	K 187	Herr Jesu Christ, du höchstes Gut
1115	K 188	Herzlieblich lieb hab ich dich, o Herr
1116	K 189	Was Gott tut, das ist wohlgetan
1117	K 190	Alle Menschen müssen sterben
957	K 191	Machs mit mir, Gott, nach deiner Güt
1118	K 192	Werde munter, mein Gemüte
1119	K 193	Wie nach einer Wasserquelle
1120	K 194	Christ, der du bist der helle Tag

Doubtful and spurious

691a	Wer nur den lieben Gott lässt walten		xl, 151	[IV/x]
692	Ach Gott und Herr	by J.G. Walther	xl, 4, 152	—
693	Ach Gott und Herr	by J.G. Walther	xl, 5	—
695a	Fantasia super Christ lag in Todes Banden	c.f. in pedal	xl, 153	—
713a	Fantasia super Jesu, meine Freude	c.f. in pedal	xl, 155	—
723	Gelobet seist du, Jesu Christ		xl, 63	[IV/x]
734a	Nun freut euch, lieben Christen gmein	c.f. in pedal; *734; doubtful	xl, 84	—
740	Wir glauben all’ an einen Gott, Vater		xl, 103	[IV/x]
745	Aus der Tiefe rufe ich	by C.P.E. Bach	xl, 171	—
746	Christ ist erstanden	by J.C.F. Fischer	xl, 173	—
748	Gott der Vater wohn’ uns bei	by J.G. Walther	xl, 177	—
751	In dulci jubilo	by J.M. Bach	—	—
752	Jesu, der du meine Seele		—	—
755	Nun freut euch, lieben Christen		—	—
759	Schmüchke dich, o liebe Seele	by G.A. Homilius	xl, 181	—
760	Vater unser im Himmelreich	by G. Böhm	xl, 183	—
761	Vater unser im Himmelreich	by Böhm	xl, 184	—
763	Wie schön leuchtet der Morgenstern		—	—
771	Allein Gott in der Höh sei Ehr’	chorale variations; nos.3, 8 (?all) by A.N. Vetter	xl, 195	—

other keyboard

†772–86	L 27–41	15 Inventions (C, c, D, d, E, E, e, F, f, G, g, A, a, B, b)	c1720, rev. 1723	iii, 1; xlv, 213	V/iii; V/v
†787–801	L 42–56	15 Sinfonias (C, c, D, d, E, E, e, F, f, G, g, A, a, B, b)	c1720, rev. 1723	iii, 19	V/iii; V/v
†806–11	L 13–18	6 [English] Suites (A, a, g, F, e, d)	? before 1720	xlv/1, 3	V/vii
†812–17	L 19–24	6 [French] Suites (d, c, b, E, G, E)	c1722–5	xlv/1, 89	V/viii
		Clavier-Übung [i] bestehend in Präludien, Allemanden, Couranten, Sarabanden, Giguen, Menuetten, und anderen Galanterien:	partitas pubd singly (Leipzig, 1726–31) and as op.1 (Leipzig, 1731)	iii, 46	V/i
825–30	L 1–6	6 Partitas (B, c, a, D, G, e)
†831	L 8	Ouvertüre [Partita] nach französischer Art, b	in Clavier-Übung, ii (Leipzig, 1735); see also 971; early version by 1733	iii, 154	V/ii, 20
†846–69	L 80–103	Das wohltemperirte Clavier, oder Praeludia, und Fugen durch alle Tone und Semitonia [i] [The Well-tempered Clavier]: 24 Preludes and fugues (C, c, C, c, D, d, E, e/d, E, e, F, f, F, f, G, g, A, g, A, a, B, b, B, b)	1722, rev. later	xiv	V/vi.1
†870–93	L 104–27	[Das wohltemperirte Clavier, ii]: 24 Preludes and fugues (C, c, C, c, D, d, E, e/d, E, e, F, f, F, f, G, g, A, g, A, a, B, b, B, b)	c1740; some pieces earlier, rev.	xiv	V/iv.2
971	L 7	Concerto nach italiänischem Gusto [Italian Concerto]	in Clavier-Übung, ii, (Leipzig, 1735)	iii, 139	V/ii, 3
988	L 9	Aria mit [30] verschiedenen Veraenderungen [Goldberg Variations]	Clavier-Übung, [iv] (Nuremberg, 1741)	iii, 263	V/ii, 69
		Miscellaneous suites and suite movts:
†818	L 25	Suite, a	c1705	xxxvi, 3	V/viii, 129, 146
†819	L 26	Suite, E	c1725	xxxvi, 8	V/viii, 136
820	L 173	Ouverture, F	c1705	xxxvi, 14	V/x, 43
821	L 169	Suite, B		xlii, 213	[V]
822	L 168	Suite, g	before 1707	—	V/x, 68
823	L 167	Suite, f	frag.; before 1715	xxxvi, 229	V/x, 50
†832	L 174	Partie, A	? before 1708	xlii, 255	V/x, 54
833	L 172	Prelude and partita, F	before 1708	—	V/10, 54
841–3	L 176	3 minuets, G, g, G	c1720; from Clavier-Büchlein for W.F. Bach	xxxvi, 209	V/v, 16
		Miscellaneous preludes, fugues, fantasias, toccatas:
894	L 130	Prelude and fugue, a	c1715–25; cf 1044	xxxvi, 91	V/ix.2, 40
895	L 129	Prelude and fugue, a	before 1725	xxxvi, 104	V/xii.2, 69
896	L 128	Prelude and fugue, A	before 1710	xxxvi, 157 [fugue only]	V/ix.2, 72
900	L 77	Prelude and fughetta, e	before 1726	xxxvi, 108	[V/ix]
901	L 78	Prelude and fughetta, F	before 1730; fughetta = early version of 886	xxxvi, 112	[V/ix]
†902	L 79	Prelude and fughetta, G	? before 1730; fughetta = early version of 884	xxxvi, 114, 220	[V/ix]
†903	L 134	Chromatic fantasia and fugue, d	before 1723	xxxvi, 71, 219	V/ix.2, 76
904	L 136	Fantasia and fugue, a	Leipzig, c1725	xxxvi, 81	V/ix.2, 100
906	L 133, 138	Fantasia and fugue, c	fugue (c1704) inc.	xxxvi, 145, 238	V/ix.2, 110
910	L 146	Toccata, f	c1712	iii, 311	V/ix.2, 3
911	L 142	Toccata, c	before 1714	iii, 322	V/ix.1, 15
†912	L 143	Toccata, D	before 1710	xxxvi, 26, 218	V/ix.1, 28
†913	L 144	Toccata, d	? before 1708	xxxvi, 36	V/ix.1, 52
914	L 145, 163	Toccata, e	?c1710; fugue after ? B. Marcello	xxxvi, 47	V/ix.1, 80
915	L 148	Toccata, g	?c1710	xxxvi, 54	V/ix.1, 89
916	L 147	Toccata, G	before 1714	xxxvi, 63	V/ix.1, 102
917	L 140	Fantasia, g	? before 1710	xxxvi, 143	V/ix.2, 14
918	L 139	Fantasia on a rondo, c	? after 1740	xxxvi, 148	V/ix.2, 18
921	J 44, 52	Prelude (Fantasia), c	before 1714	xxxvi, 136	V/ix.2, 24
922	L 141	Fantasia, a	before 1714	xxxvi, 138	V/ix.2, 27
†923	L 131	Prelude, b	before 1725	xlii, 211	V/ix.2, 116
†944	L 135, 164	Fantasia and fugue, a	fugue after Torelli	iii, 334	V/ix.2, 133
946	L 160	Fugue on theme by Albinoni, C	? before 1708	xxxvi, 159	V/ix.2, 153
947	L 157	Fugue, a		xxxvi, 161	[V/xii]
948	L 151	Fugue, d	before 1727	xxxvi, 164	V/xii.2, 156
949	L 154	Fugue, A		xxxvi, 169	V/xii.2, 163
950	L 161	Fugue on theme by Albinoni, A	?c1710	xxxvi, 173	V/ix.2, 168
†951	L 162	Fugue on theme by Albinoni, b	c1712; *951a of earlier date	xxxvi, 178, 221	V/ix.2, 118
952	L 150	Fugue, C		xxxvi, 184	V/xii.2, 176
953	L 149	Fugue, C	after 1723 from Clavier-Büchlein for W.F. Bach	xxxvi, 186	V/v, 46
954	L 165	Fugue, B	arr. of fugue from J.A. Reincken: Hortus musicus	xlii, 50	V/xi, 200
956	L 152	Fugue, e		xlii, 200	[V/xii]
958	L 155	Fugue, a		xlii, 205	[V/ix]
959	L 156	Fugue, a		xlii, 208	V/ix.2, 178
961	L 158	Fughetta, c		xxxvi, 154	V/xii.2, 182
		Pieces from Clavier-Büchlein for W.F. Bach:	Cöthen, 1720–; incl. also 836–7, 841–3, 924a–5, 931–2, 953, 994; see 691, 753, 772ff, 846ff	xxxvi, 118	V/v
924	L 57	Praeambulum, C
926	L 58	Prelude, d
927	L 59	Praeambulum, F
928	L 60	Prelude, F
929	L 61	Trio, g	inserted in Partita, g, by G.H. Stölzel
930	L 62	Praeambulum, g
		Clavierbüchlein, i, for Anna Magdalena Bach	Cöthen, 1722–5; see 573, 728, 812–16, 841, 991	xliii/2, 3	V/iv, 3
		Clavierbüchlein, ii, for Anna Magdalena Bach	Leipzig, 1725; incl. 82 (recit, aria), 299, 508–18, 691, 812–13, 827, 830, 846 (prelude), 988 (aria); see a183	xliii/2, 6	V/iv, 47
933–8	L 64–9	[6 little preludes] (C, c, d, D, E, e)		xxxvi, 128	V/ix.2, 3
939–43	L 70–74	5 Preludes (C, d, e, a, C)		xxxvi, 119	[V/ix]
		Sonatas, variations, capriccios, etc.:
963	L 182	Sonata, D	c1704	xxxvi, 19	V/x, 32
964	L 184	Sonata, d	arr. of 1003	xlii, 3	—
965	L 187	Sonata, a	? before 1705; arr. of sonata from J.A. Reincken: Hortus musicus	xlii, 29	V/xi, 173
966	L 186	Sonata, C	? before 1705; arr. of part of sonata from Reincken: Hortus musicus	xlii, 42	V/xi, 188
967	L 183	Sonata, a	c1705; arr. of 1st movt of anon. chamber sonata	xlv/1, 168	—
968	L 185	Sonata, a	arr. of 1005, 1st movt	xlii, 27	—
†989	L 179	Aria variata, a	? before 1710	xxxvi, 203	V/x, 21
990	L 178	Sarabande con partite, C		xlii, 221	[V/xii]
991	L 177	Air with variations, c	frag.; in Clavierbüchlein, i, for Anna Magdalena Bach	xliii/2, 4	V/iv, 40
992	L 181	Capriccio sopra la lontananza del suo fratello dilettissimo [Capriccio on the Departure of his Most Beloved Brother], B	? before 1705	xxxvi, 190	V/x, 3
993	L 180	Capriccio, E		xxxvi, 197	V/x, 12
994	Q 1	Applicatio, C	early 1720; 1st entry in Clavier-Büchlein for W.F. Bach	xxxvi, 237	V/v, 4
		16 Concertos:	Weimar, 1713–14; arrs. of works by other composers
972	L 189	D	after Vivaldi op.3 no.9 = rv230	xlii, 59	V/xi, 3
973	L 191	G	after Vivaldi op.7/ii no.2 = rv299	xlii, 66	V/xi, 12
974	L 194	d	after ob conc. by A. Marcello	xlii, 73	V/xi, 20
975	L 193	g	after Vivaldi op.4 no.6 = rv316	xlii, 80	V/xi, 30
976	L 188	C	after Vivaldi op.3 no.12 = rv265	xlii, 87	V/xi, 39
977	L 202	C	source unknown (?Vivaldi)	xlii, 96	V/xi, 50
978	L 190	F	after Vivaldi op.3 no.3 = rv310	xlii, 101	V/xi, 56
979	L 196	b	after vn conc. by Torelli	xlii, 108	V/xi, 64
980	L 192	G	after Vivaldi op.4 no.1 = rv381	xlii, 119	V/xi, 79
981	L 195	c	after B. Marcello op.1 no.2	xlii, 127	V/xi, 90
982	L 200	B	after conc. by Prince Johann Ernst of Saxe-Weimar	xlii, 135	V/xi, 100
983	L 204	g	source unknown	xlii, 142	V/xi, 110
984	L 197	C	after conc. by Prince Johann Ernst of Saxe-Weimar	xlii, 148	V/xi, 118
985	L 201	g	after vn conc. by Telemann	xlii, 155	V/xi, 128
986	L 203	G	source unknown	xlii, 161	V/xi, 137
987	L 198	d	after conc. by Prince Johann Ernst of Saxe-Weimar	xlii, 165	V/xi, 142

Doubtful and spurious

824		Suite, A	frag.; by Telemann	xxxvi, 231	—
834		Allemande, c		xlii, 259	[V/xii]
835		Allemande, a	by Kirnberger	xlii, 267	—
836–7		2 allemandes, g (1 inc.)	c1720–22; from Clavier-Büchlein for W.F. Bach; ? by W.F. Bach assisted by J.S. Bach	xlv/1, 214	V/v, 8
838		Allemande and courante, A	by C. Graupner	xlii, 265	[V/xii]
839		Sarabande, g		—
840		Courante, G	by Telemann	—	—
844		Scherzo, d	? by W.F. Bach	xlii, 220, 281	—
845		Gigue, f		xlii, 263	—
897		Prelude and fugue, a	prelude by C.H. Dretzel	xlii, 173	[V/xii]
898		Prelude and fugue, B		—	[V/xii]
899		Prelude and fughetta, d		—	[V/xii]
905		Fantasia and fugue, d		xlii, 179	[V/xii]
907		Fantasia and fughetta, B	? by G. Kirchhoff	xlii, 268	[V/xii]
908		Fantasia and fughetta, D	? by G. Kirchhoff	xlii, 272	[V/xii]
909		Concerto and fugue, c		xlii, 190	[V/xii]
919		Fantasia, c	? by J. Bernhard Bach	xxxvi, 152	[V/xii]
920		Fantasia, g		xlii, 183	[V/xii]
945		Fugue, e	spurious	xxxvi, 155	[V/xii]
955		Fugue, B	before 1730	xlii, 55	[B/ix]
960		Fugue, e		xlii, 276	[V/xii]
962		Fugato, e	by Albrechtsberger	xlii, 198	—
		Pieces from Clavier-Büchlein for W.F. Bach:	Cöthen, 1720–
924a		Prelude, C	reworking of 924; ? by W.F. Bach	xxxvi, 221	V/v, 41
925		Prelude, D	? by W.F. Bach	xxxvi, 121	V/v, 42
931		Prelude, a	? by W.F. Bach	xxxvi, 237	V/v, 45
932	L 63	Prelude, e	? by W.F. Bach	xxxvi, 238	V/v, 44
969		Andante, g		xlii, 218	[V/xii]
970		Presto, d	by W.F. Bach	—	[V/xii]
990		Sarabande con partite, C	spurious	xlii, 221	[V/xii]
		Clavierbüchlein, ii, for Anna Magdalena Bach [only anon. pieces listed]:	after 1724; also incl. pieces by C.P.E. Bach (a122–5, 127, 129), J.C. Bach (a131), Böhm (without no.), Couperin (a183), Hasse (a130), Petzoldt (a114–15); remainder anon., ? by members of Bach circle	xliii/2, 25	V/iv, 47
		Minuet, F (a113); Minuet, G (a116); Polonaise, F (a117a, 117b); Minuet, B (a118); †Polonaise, g (a119); Minuet, a (a120); Minuet, c (a121); Musette, D (a126); [Polonaise], d (a128); Polonaise, G (a130); Minuet, d (a132)

lute

995		Suite, g	c1730; arr. of vc suite 1011	—	V/x, 81
†996	L 166	Suite, e	? after 1712; orig. in d	xlv/1, 149	V/x, 94
997	L 170	Partita, c	c1740	xlv/1, 156	V/x, 102
998	L 132	Prelude, fugue and allegro, E	c1740–45	xlv/1, 141	V/x, 114
999	L 175	Prelude, c	c1720	xxxvi, 119	V/x, 122
1000		Fugue, g	after 1720; arr. of fugue from vn sonata 1001	—	V/x, 124
1006a	L 171	Partita, E: see 1006	c1736–7; ? for lute-harpsichord	xlii, 16	V/x, 134

chamber



BWV	Title, scoring	BG	NBA

†1001–6	Sonatas and partitas, solo vn:	xxvii/1, 3	VI/i, 3
Remarks : 1720; 1006 arr. lute = 1006a
	Sonata no.1, g; Partita no.1, b; Sonata no.2, a; Partita no.2, d: Sonata no.3, C; Partita no.3, E
1007–12	6 suites, solo vc (G, d, C, E, c, D)	xxvii/1, 59	VI/ii, 1
Remarks : c1720
1013	Partita, a, fl	—	VI/iii, 3
Remarks : after 1723
1014–19	6 sonatas, hpd, vn	ix, 69	VI/i, 83
Remarks : before 1725, rev. before 1740; earlier version of no.5 (Adagio only) = 1018a (BG ix, 250; NBA VI/i, 195); 1st version of no.6 incl. 1019a (BG ix, 252; NBA VI/i, 197); 3 versions of 1019 [9 movts], 2nd version related to 830
	no.1, b; no.2, A; no.3, E; no.4, c; †no.5, f; †no.6, G
1021	Sonata, G, vn, bc	—	VI/i, 65
Remarks : 1732–5
1023	Sonata, e, vn, bc	xliii/1, 31	VI/i, 73
Remarks : after 1723
†1025	Suite, A, vn, hpd	ix, 43
Remarks : c1740; after S.L. Weiss
1026	Fugue, g, vn, hpd	xliii/1, 39
Remarks : before 1712
1027–9	3 sonatas, hpd, va da gamba (G, D, g)	ix, 175	VI/iv
Remarks : before 1741
†1030	Sonata, b, fl, hpd	ix, 3	VI/iii, 33, 89
Remarks : c1736; earlier version, g
1031	Sonata, E, fl, hpd	ix, 22
Remarks : 1730–34
1032	Sonata, A, fl, hpd	ix, 245, 32	VI/iii, 54
Remarks : c1736; 1st movt inc.
1033	Sonata, C, fl, bc	xliii/1, 3
Remarks : c1736
1034	Sonata, e, fl, bc	xliii/1, 9	VI/iii, 11
Remarks : c1724
1035	Sonata, E, fl, bc	xliii/1, 21	VI/iii, 23
Remarks : c1741
1038	Sonata, G, fl, vn, bc	ix, 221
Remarks : 1732–5
1039	Sonata, G, 2 fl, bc	ix, 260	VI/iii, 71
Remarks : c1736–41; cf 1027
1040	Trio, F, vn, ob, bc	xxix, 250	I/xxxv, 47
Remarks : movt based on material from Cantata 208, ? perf. with cant.; later used in Cantata 68

Doubtful and spurious

1020	Sonata, g, hpd, vn	? by C.P.E. Bach	ix, 274
1022	Sonata, F, vn, hpd	arr. of 1038; ? by one of Bach’s sons or pupils	—
1024	Sonata, c, vn, bc	? by J.G. Pisendel	—
1036	Sonata, d, 2 vn, hpd	by C.P.E. Bach	—
1037	Sonata, C, 2 vn, hpd	by J.G. Goldberg	ix, 231

orchestral

where applicable, scoring given as concertino/solo; ripieno



BWV	Title, key	Scoring	BG	NBA

1041	Concerto, a	vn; str, bc	xxi/1, 3	VII/iii, 3
Remarks : c1730; cf 1058
1042	Concerto, E	vn; str, bc	xxi/1, 21	VII/iii, 35
Remarks : before 1730; cf 1054
1043	Concerto, d	2 vn; str, bc	xxi/1, 41	VII/iii, 71
Remarks : 1730–31; cf 1062
1044	Concerto, a	fl, vn, hpd; str, bc	xvii, 223	VII/iii, 105
Remarks : 1729–41; movts adapted from prelude and fugue 894 and trio sonata 527
	Brandenburg Concertos:
Remarks : autograph MS ded. Christian Ludwig, Margrave of Brandenburg, 24 March 1721
1046	no.1, F	2 hn, ob, vn piccolo; 2 ob, bn, str, bc	xix, 3	VII/ii, 3
1046a	Sinfonia, F	2 hn, 3 ob, bn, str, bc	xxxi/1, 96	VII/ii, 225
Remarks : formerly 1071; also used in 52
1047	no.2, F	tpt, rec, ob, vn; str, bc	xix, 33	VII/ii, 43
1048	no.3, G	3 vn, 3 va, 3 vc, bc	xix, 59	VII/ii, 73
1049	no.4, G	vn, 2 rec; str, bc	xix, 85	VII/ii, 99
Remarks : cf 1057
1050	no.5, D	fl, vn, hpd; str, bc	xix, 127	VII/ii, 145, appx
Remarks : *1050a
1051	no.6, B	2 va, 2 va da gamba, vc, bc	xix, 167	VII/ii, 197
	Harpsichord concertos:
Remarks : Leipzig, mostly c1738–9; mostly transcrs. of vn or ob concs; some orig./transcrs. also used in church cants.
†1052	d	hpd; str, bc	xvii, 3	VII/iv, 3
Remarks : from lost vn conc. reconstructed in NBA VII/vii, 3
1053	E	hpd; str, bc	xvii, 45	VII/iv, 79
Remarks : from lost ?ob conc; see NBA VII/vii, CC
1054	D	hpd; str, bc	xvii, 81	VII/iv, 127
Remarks : from 1042
1055	A	hpd; str, bc	xvii, 109	VII/iv, 161
Remarks : from lost ob d’amore conc. reconstructed in NBA VII/vii, 33
1056	f	hpd; str, bc	xvii, 135	VII/iv, 197
Remarks : outer movts from lost ob conc. in g reconstructed in NBA VII/vii, 59
1057	F	hpd, 2 rec; str, bc	xvii, 153	VII/iv, 221
Remarks : from 1049
1058	g	hpd; str, bc	xvii, 199	VII/iv, 283
Remarks : from 1041
1059	d	hpd, ob; str, bc	xvii, p.xx	VII/iv, 313
Remarks : inc., from lost ob conc., see NBA VII/vii, CC
1060	c	2 hpd; str, bc	xxi/2, 3	VII/v, 3
Remarks : c1736; from lost ob and vn conc. reconstructed in NBA VII/vii, 75
†1061	C	2 hpd; str, bc	xxi/2, 39	VII/v, 83, 109
Remarks : 1732–5; orig. for 2 hpd, ? without acc.
1062	c	2 hpd; str, bc	xxi/2, 83	VII/v, 43
Remarks : c1736; from 1043
1063	d	3 hpd; str, bc	xxxi/3, 3	VII/vi, 3
Remarks : c1730; source unknown, see NBA VII/vii, CC
1064	C	3 hpd; str, bc	xxxi/3, 53	VII/vi, 57
Remarks : c1730; from lost 3 vn conc. in D reconstructed in NBA VII/vii, 103
1065	a	4 hpd; str, bc	xliii/1, 71	VII/vi, 117
Remarks : c1730; from Vivaldi op.3 no.10 = rv580
	4 orchestral suites:
1066	C	2 ob, bn, str, bc	xxxi/1, 3	VII/i, 3
Remarks : before 1725
1067	b	fl; str, bc	xxxi/1, 24	VII/i, 27
Remarks : c1738–9
1068	D	3 tpt, timp, 2 ob, str, bc	xxxi/1, 40	VII/i, 49, 119
Remarks : c1731
1069	D	3 tpt, timp, 3 ob, bn, str, bc	xxxi/1, 66	VII/i, 81
Remarks : c1725; later version 1729–41
1070	Overture, g	str, bc	xlv/1, 190	—
Remarks : spurious
1071	Sinfonia: see 1046a

studies in counterpoint, canons etc.



BWV	Title, scoring	Remarks	BG	NBA

†769	Einige [5] canonische Veränderungen über das Weynacht-Lied, Vom Himmel hoch da komm ich her, org	written on becoming member of Mizler’s Societät der Musicalischen Wissenschaften, June 1747 (Nuremberg, 1748); autograph version 769a, chronology of versions uncertain, several pubd in puzzle form	xl, 137	IV/ii, 197, 98
†1079	Musikalisches Opfer [fl, vn, bc, kbd]	May–July 1747 (Leipzig, 1747); 2 Ricercars, a 3, a 6; 10 canons; sonata, fl, vn, bc; insts not fully specified	xxxi/2	VIII/i, 12
†1080	Die Kunst der Fuge [kbd]	before 1742, rev. c1745 and 1748–9 (Leipzig, 1751, 2/1752)	xxv/1	VIII/ii.1–2
1072	Canon trias harmonica	a 8, in contrary motion; in F.W. Marpurg: Abhandlung von der Fuge, ii (Berlin, 1754)	xlv, 131	VIII/i, 3, 6
1073	Canon a 4 perpetuus	2 Aug 1713	xlv, 132	VIII/i, 3, 6
1074	Canon a 4	1727; ded. L.F. Hudemann; pubd in G.P. Telemann: Der getreue Music-Meister (Hamburg, 1728) and in J. Mattheson:Der volkkommene Capellmeister (Hamburg, 1739/R)	xlv, 134	VIII/i, 3, 7
1075	Canon a 2 perpetuus	10 Jan 1734; ded. ? J.G. Walther (1712–77)	—	VIII/i, 3, 7
†1076	Canon triplex a 6	before 1746; cf 1087	xlv, 138	VIII/i, 3, 8
†1077	Canone doppio sopr’il soggetto	15 Oct 1747; ded. J.G. Fulde; cf 1087	—	VIII/i, 4, 8
1078	Canon super fa mi a 7 post tempus musicum	1 March 1749; ded. ? Benjamin Faber; pubd in F.W. Marpurg: Abhandlung von der Fuge, ii (Berlin, 1754)	xlv, 136	VIII/i, 4, 9
1086	Canon concordia discors	a 2	—	VIII/i, 4, 10
1087	[14] Verschiedene Canones	after 1745; on first 8 notes of aria ground of 988; incl. earlier versions of 1076–7	—	V/ii, 119

a: bibliographies, research studies

BIBLIOGRAPHY

A Bibliographies, research studies. B Catalogues. C Source studies: manuscripts and prints. D Source studies: documents, letters etc. E Iconography. F Biography: life and works. G Biography: special studies. H Works: general. I Works: special studies. J Vocal works. K Instrumental works. L Performing practice.

b: catalogues

c: source studies: manuscripts and prints

d: source studies: documents, letters etc.

e: iconography

f: biography: life and works

g: biography: special studies

h: works: general

i: works: special studies

j: vocal works

k: instrumental works

l: performing practice

Bach, §III: (7) Johann Sebastian Bach: Bibliography

a: bibliographies, research studies

M. Schneider: ‘Verzeichnis der bis zum Jahre 1851 gedruckten (und der geschrieben im Handel gewesenen) Werke von Johann Sebastian Bach’, BJb 1906, 84–113

J. Schreyer: Beiträge zur Bach-Kritik, i (Dresden, 1910); ii (Leipzig, 1912)

W. Blankenburg: ‘Zwölf Jahre Bachforschung’, AcM, xxxvii (1965), 95–158

W. Blankenburg: ‘Die Bachforschung seit etwa 1965: Ergebnisse, Probleme, Aufgaben’, AcM, l (1978), 93–154; liv (1982), 162–207; lv (1983), 1–58

R.A. Leaver: Bachs theologische Bibliothek: eine kritische Bibliographie (Neuhausen-Stuttgart, 1983)

C. Wolff, ed.: Bach-Bibliographie: Nachdruck der Verzeichnisse des Schrifttums über Johann Sebastian Bach (Bach-Jahrbuch 1905–1984), mit einem Supplement und Register (Berlin, 1985)

R. Nestle: ‘Das Bachschrifttum 1981 bis 1985’, BJb 1989, 107–89

R. Nestle: ‘Das Bachschrifttum 1986 bis 1990’, BJb 1994, 75–162

D.R. Melamed and M. Marissen: An Introduction to Bach Studies (Oxford, 1998)

Bach Bibliography On-Line (Belfast, Queen’s University; Y. Tomita) [on-line database]

Bach, §III: (7) Johann Sebastian Bach: Bibliography

b: catalogues

W. Schmieder: Thematisch-systematisches Verzeichnis der musikalischen Werke von Johann Sebastian Bach: Bach-Werke-Verzeichnis (Leipzig, 1950, enlarged 2/1990, rev. and abridged 1998 by A. Dürr, Y. Kobayashi and K. Beisswenger as Bach-Werke-Verzeichnis)

P. Kast: Die Bach-Handschriften der Berliner Staatsbibliothek (Trossingen, 1958)

S.W. Kenney, ed.: Catalog of the Emilie and Karl Riemenschneider Memorial Bach Library (New York, 1960)

M. deF. McAll, ed.: Melodic Index to the Works of Johann Sebastian Bach (New York, 1962)

H.-J. Schulze: Katalog der Sammlung Manfred Gorke: Bachiana und andere Handschriften und Drucke des 18. und frühen 19. Jahrhunderts (Leipzig, 1977)

R.W. Wade, ed.: The Catalog of Carl Philipp Emanuel Bach’s Estate: a Facsimile of the Edition by Schniebes, Hamburg, 1790 (New York, 1981)

T. Leibnitz, ed.: Katalog der Sammlung Anthony von Hoboken in der Musiksammlung der Österreichischen Nationalbibliothek, i: Johann Sebastian Bach und seine Söhne (Tutzing, 1982)

G. Herz: Bach-Quellen in Amerika/Bach Sources in America (Kassel, 1984)

W. Neumann and C. Fröde: Die Bach-Handschriften der Thomasschule Leipzig: Katalog (Leipzig, 1986)

C. Wolff and H.-J. Schulze: Bach Compendium: analytisch-bibliographisches Repertorium der Werke Johann Sebastian Bachs (Leipzig and Frankfurt, 1986–)

U. Balestrini: Catalogo tematico (incipit) delle opere di J.S. Bach: Bach-Werke-Verzeichnis 1–1080 (Milan, 1988)

U. Leisinger: ‘Die “Bachsche Auction” von 1789’, BJb 1991, 97–126

K. Beisswenger: Johann Sebastian Bachs Notenbibliothek (Kassel, 1992)

R. Reeder: The Bach English-Title Index (Berkeley, 1993)

U. Leisinger and P. Wollny: Die Bach-Quellen der Bibliotheken in Brüssel: Katalog (Hildesheim,1997)

Bach, §III: (7) Johann Sebastian Bach: Bibliography

c: source studies: manuscripts and prints

R. Schwartz: ‘Die Bach-Handschriften der Musikbibliothek Peters’, JbMP 1919, 56–73

G. Kinsky: Die Originalausgaben der Werke Johann Sebastian Bachs (Vienna, 1937/R)

W. Schmieder: ‘Die Handschriften Johann Sebastian Bachs’, Bach-Gedenkschrift, ed. K. Matthaei (Zürich, 1950), 190–203

G. von Dadelsen: ‘Originale Daten auf den Handschriften J.S. Bachs’, Hans Albrecht in memoriam, ed. W. Brennecke and H. Haase (Kassel, 1962), 116–20

P. Krause, ed.: Handschriften der Werke Johann Sebastian Bachs in der Musikbibliothek der Stadt Leipzig (Leipzig, 1964)

H.-J. Schulze: ‘Beiträge zur Bach-Quellenforschung’, GfMKB: Leipzig 1966, 269–75

H. Zietz: Quellenkritische Untersuchungen an den Bach-Handschriften P 801, P 802 und P 803 aus dem ‘Krebs’schen Nachlass’ unter besonderer Berücksichtigung der Choralbearbeitungen des jungen J.S. Bach (Hamburg, 1969)

A. Dürr: ‘Zur Chronologie der Handschrift Johann Christoph Altnickols und Johann Friedrich Agricolas’, BJb 1970, 44–65

K. Engler: Georg Poelchau und seine Musikaliensammlung: ein Beitrag zur Überlieferung Bachscher Musik im 19. Jahrhundert (diss., U. of Tübingen, 1970)

P. Krause, ed.: Originalausgaben und ältere Drucke der Werke Johann Sebastian Bachs in der Musikbibliothek der Stadt Leipzig (Leipzig, 1970)

Y. Kobayashi: ‘Zu einem neu entdeckten Autograph Bachs: Choral Aus der Tiefen’, BJb 1971, 5–12

W. Hobohm: ‘Neue “Texte zur Leipziger Kirchen-Musik”’, BJb 1973, 5–32

Y. Kobayashi: Franz Hauser und seine Bach-Handschriftsammlung (diss., U. of Göttingen, 1973)

‘Johann Sebastian Bach: Studies of the Sources’, Studies in Renaissance and Baroque Music in Honor of Arthur Mendel, ed. R.L. Marshall (Kassel and Hackensack, NJ, 1974), 231–300 [contributions by P. Brainard, A. Dürr, G. Herz, E. May and C. Wolff]

H.-J. Schulze: ‘Wie entstand die Bach-Sammlung Mempell-Preller?’, BJb 1974, 104–22

K.-H. Köhler: ‘Die Bach-Sammlung der Deutschen Staatsbibliothek: Überlieferung und Bedeutung’, Bach-Studien, v (1975), 139–46

Y. Kobayashi: ‘Neuerkenntnisse zu einigen Bach-Quellen anhand schriftkundlicher Untersuchungen’, BJb 1978, 43–60

H.-J. Schulze: ‘Das Stück in Goldpapier: Ermittlungen zu einigen Bach-Abschriften des frühen 18. Jahrhunderts’, BJb 1978, 19–42

Y. Kobayashi: ‘Breitkopfs Handel mit Bach-Handschriften’, Beiträge zur Bachforschung, i (1982), 79–84

H.-J. Schulze: ‘“150 Stück von den Bachischen Erben”: zur Überlieferung der vierstimmigen Choräle Johann Sebastian Bachs’, BJb 1983, 81–100

A. Dürr: Johann Sebastian Bach: seine Handschrift; Abbild seines Schaffens (Wiesbaden, 1984)

H.-J. Schulze: Studien zur Bach-Überlieferung im 18. Jahrhundert (Leipzig, 1984)

R. Elvers and H.-G. Klein, eds.: Die Handschrift Johann Sebastian Bachs, Musikabteilung der Staatsbibliothek Preussischer Kulturbesitz, Berlin, 22 March – 13 July 1985 (Wiesbaden, 1985) [exhibition catalogue]

H.J. Marx: ‘Wiederaufgefundene Autographe von Carl Philipp Emanuel und Johann Sebastian Bach’, Mf, xli (1988), 150–56

Y. Kobayashi: Die Notenschrift Johann Sebastian Bachs: Dokumentation ihrer Entwicklung, NBA, IX (1989)

C. Wolff: ‘From Berlin to Lodz: the Spitta Collection Resurfaces’, Notes, xlvi (1989–90), 311–27

L.A. Federowskaja: ‘Bachiana in russischen Bibliotheken und Sammlungen: Autographe, Abschriften, Frühdrucke, Bearbeitungen’, BJb 1990, 27–36

H.-J. Schulze: ‘Bach und Buxtehude: eine wenig beachtete Quelle in der Carnegie Library zu Pittsburgh/PA’, BJb 1991, 177–82

U. Leisinger: Die Bach-Quellen der Forschungs- und Landesbibliothek Gotha (Gotha, 1993)

A. Glöckner: ‘Die Teilung des Bachschen Musikaliennachlasses und die Thomana-Stimmen’, BJb 1994, 41–57

Bach, §III: (7) Johann Sebastian Bach: Bibliography

d: source studies: documents, letters etc.

J.A. Scheibe: Der critische Musikus (Hamburg, 1738–40, 2/1745/R)

L. Mizler: Neu eröffnete musikalische Bibliothek (Leipzig, 1739–54/R)

J.F. Agricola and C.P.E. Bach: Obituary in L. Mizler: Neu eröffnete musikalische Bibliothek, iv/1 (Leipzig, 1754/R), 158–76; repr. in BJb 1920, 11–29

E.H. Müller von Asow: Johann Sebastian Bach: Gesammelte Briefe (Regensburg, 1938, rev. 2/1950 with H. Müller von Asow)

H.T. David and A. Mendel, eds.: The Bach Reader (New York, 1945, enlarged 3/1998 by C. Wolff as The New Bach Reader)

W. Neumann and H.-J. Schulze, eds.: Schriftstücke von der Hand Johann Sebastian Bachs, Bach-Dokumente, i (Leipzig, 1963; Fr. trans., 1976)

W. Neumann and H.-J. Schulze, eds.: Fremdschriftliche und gedruckte Dokumente zur Lebensgeschichte Johann Sebastian Bachs 1685–1750, Bach-Dokumente, ii (Leipzig, 1969)

A. Dürr: ‘Zur Chronologie der Handschrift Johann Christoph Altnickols und Johann Friedrich Agricolas’, BJb 1970, 44–65

H.-J. Schulze, ed.: Dokumente zum Nachwirken Johann Sebastian Bachs 1750–1800, Bach-Dokumente, iii (Leipzig, 1972)

H. Stiehl: ‘Taufzettel für Bachs Kinder: ein Dokumentenfund’, BJb 1979, 7–18

Bach, §III: (7) Johann Sebastian Bach: Bibliography

e: iconography

H. Besseler: Fünf echte Bildnisse Johann Sebastian Bachs (Kassel, 1956)

H.O.R. van Tuyll van Serooskerken: Probleme des Bachporträts (Bilthoven, 1956)

C. Freyse: Bachs Antlitz (Eisenach, 1964)

W. Neumann, ed.: Bilddokumente zur Lebensgeschichte Johann Sebastian Bachs/Pictorial Documents of the Life of Johann Sebastian Bach, Bach-Dokumente, iv (Leipzig, 1979)

H. Börsch-Supan: ‘Gruppenbild mit Musikern: ein Gemälde von Balthasar Denner und das Problem der Bach-Ikonographie’, Kunst und Antiquitäten, iii (1982), 22–32

H.-J. Schulze: ‘Zur Überlieferung einiger Bach-Porträts’, BJb 1982, 154–6

H. Raupach: Das wahre Bildnis des Johann Sebastian Bach: Bericht und Dokumente (Munich, 1983)

M. Staehelin: ‘Zu einer umstrittenen Bach-Porträtzeichnung des 18. Jahrhunderts’, Bachiana et alia musicologica: Festschrift Alfred Dürr, ed. W. Rehm (Kassel, 1983), 260–66

M. Korth and S. Kuhlmann, eds.: J.S. Bach: Bilder und Zeugnisse eines Musikerlebens (Munich, 1985)

G. Wagner: ‘Ein unbekanntes Porträt Johann Sebastian Bachs aus dem 18. Jahrhundert?’, BJb 1988, 231–4

Bach, §III: (7) Johann Sebastian Bach: Bibliography

f: biography: life and works

J.N. Forkel: Ueber Johann Sebastian Bachs Leben, Kunst und Kunstwerke (Leipzig, 1802/R; Eng. trans., 1820/R)

C.L. Hilgenfeldt: Johann Sebastian Bachs Leben, Wirken und Werke: ein Beitrag zur Kunstgeschichte des achtzehnten Jahrhunderts (Leipzig, 1850/R)

C.H. Bitter: Johann Sebastian Bach (Berlin, 1865, enlarged 2/1881/R; Eng. trans., abridged, 1873)

P. Spitta: Johann Sebastian Bach (Leipzig, 1873–80, 5/1962; Eng. trans., 1884)

A. Schweitzer: J.S. Bach, le musicien-poète (Paris, 1905; Ger. trans., enlarged, 1908; Eng. trans., 1911/R)

A. Pirro: J.-S. Bach (Paris, 1906, rev. 1949; Eng. trans., 1957)

C.H.H. Parry: Johann Sebastian Bach (London, 1909, 2/1934/R)

C.S. Terry: Bach: a Biography (London, 1928, 2/1933/R)

W. Gurlitt: Johann Sebastian Bach: der Meister und sein Werk (Berlin, 1936, enlarged 5/1980; Eng. trans., 1957/R)

W. Neumann: Auf den Lebenswegen Johann Sebastian Bachs (Berlin, 1953, 4/1962; Eng. trans., 1957)

W. Neumann: Bach: eine Bildbiographie (Munich, 1960, 2/1961; Eng. trans., 1961, rev. 2/1969 as Bach and his World)

K. Geiringer: Johann Sebastian Bach: the Culmination of an Era (New York, 1966)

B. Schwendowius and W. Dömling, eds.: Johann Sebastian Bach: Zeit, Leben, Wirken (Kassel, 1976; Eng. trans., 1978)

A. Basso: Frau Musika: la vita e le opere di J.S. Bach (Turin, 1979–83)

M. Boyd: Bach (London, 1983, 3/2000)

D. Arnold: Bach (Oxford, 1984)

W. Felix: Johann Sebastian Bach (Wiesbaden, 1984; Eng. trans., 1985)

P. Buscaroli: Bach (Milan, 1985)

M. Geck: Bach: Leben und Werk (Reinbek, 2000)

C. Wolff: Johann Sebastian Bach: the Learned Musician (New York, 2000)

Bach, §III: (7) Johann Sebastian Bach: Bibliography

g: biography: special studies

C. Scherer: ‘Joh. Seb. Bachs Aufenthalt in Kassel’, MMg, xxv (1893), 129–33

B.F. Richter: ‘Stadtpfeifer und Alumnen der Thomasschule in Leipzig zu Bachs Zeit’, BJb 1907, 32–78

C. Freyse, ed.: Eisenacher Dokumente um Sebastian Bach (Leipzig, 1933)

G. Herz: ‘Bach’s Religion’, JRBM, i (1946), 124–38

G. Fock: Der junge Bach in Lüneburg 1700 bis 1702 (Hamburg, 1950)

K. Müller and F. Wiegand, eds.: Arnstädter Bachbuch: Johann Sebastian Bach und seine Verwandten in Arnstadt (Arnstadt, 1950, 2/1957)

F. Smend: Bach in Köthen (Berlin, 1951; Eng. trans., rev. 1985)

H. Löffler: ‘Die Schüler Joh. Seb. Bachs’, BJb 1953, 5–28

K. Geiringer: The Bach Family: Seven Generations of Creative Genius (London, 1954/R, Ger. trans., enlarged, 1958, 2/1977)

W. Neumann: ‘Das “Bachische Collegium Musicum”’, BJb 1960, 5–27

F. Blume: ‘Outlines of a New Picture of Bach’, ML, xliv (1963), 214–27

G. Stiller: Johann Sebastian Bach und das Leipziger gottesdienstliche Leben seiner Zeit (Kassel, 1970; Eng. trans., 1984)

I. Ahlgrimm: ‘Von Reisen, Kirchererbsen und Fischbeinröcken’, Bach-Studien, v (1975), 155–70

R. Eller: ‘Gedanken über Bachs Leipziger Schaffensjahre’, ibid., 7–27

W. Schrammek: ‘Johann Sebastian Bach, Gottfried Silbermann und die französische Orgelkunst’, ibid., 93–107

H.-J. Schulze: ‘Johann Sebastian Bach und Georg Gottfried Wagner: neue Dokumente’, ibid., 147–54

E. Zavarský: ‘J.S. Bachs Entwurf für den Umbau der Orgel in der Kirche Divi Blasii und das Klangideal der Zeit’, ibid., 82–93

W. Siegmund-Schultze: ‘Über die “unvermeidlichen Lücken” in Bachs Lebensbeschreibung’, Bachforschung und Bachinterpretation heute: Marburg 1978, 32–42

C. Wolff: ‘Bachs Leipziger Kantoratsprobe und die Aufführungsgeschichte der Kantate bwv 23’, BJb 1978, 78–94

C. Wolff: ‘Probleme und Neuansätze der Bach-Biographik’, Bachforschung und Bachinterpretation heute: Marburg 1978, 21–31

W. Frei: ‘Bach, das konservative Genie – oder das Schicksal aus seiner Familie’, Musik und Gottesdienst, xxxiv (1980), 1–6

A. Glöckner: ‘Neuerkenntnisse zu Johann Sebastian Bachs Aufführungskalender zwischen 1729 und 1735’, BJb 1981, 43–76

A. Plichta: ‘Johann Sebastian Bach und Johann Adam Graf von Questenberg’, ibid., 23–8

U. Siegele: ‘Bachs Ort in Orthodoxie und Aufklärung’, Musik und Kirche, li (1981), 3–14

W. Blankenburg: ‘Luther und Bach’, Musik und Kirche, liii (1983), 233–42

K. von Fischer: Johann Sebastian Bach: Welt, Umwelt und Frömmigkeit (Wiesbaden, 1983)

M. Petzoldt: ‘Zur Frage nach den Funktion des Kantors Johann Sebastian Bach in Leipzig’, Musik und Kirche, liii (1983), 167–73

W. Rehm, ed.: Bachiana et alia musicologica: Festschrift Alfred Dürr (Kassel, 1983) [incl. W. Felix: ‘Johann Sebastian Bach: Leipziger Wirken und Nachwirken’, 88–92; H. Heussner: ‘Zur Musikpflege im Umkreis des Prinzen Maximilian von Hessen: Pietro Locatelli und Johann Sebastian Bach in Kassel’, 108–15; W. Neumann: ‘Über die mutmasslichen Beziehungen zwischen dem Leipziger Thomaskantor Bach und dem Leisniger Matthäikantor Stockmar’, 201–8; W.H. Scheide: ‘Bach vs. Bach: Mühlhausen Dismissal Request vs. Erdmann Letter’, 234–42; H.-J. Schulze: ‘“Monsieur Schouster”, ein vergessener Zeitgenosse Johann Sebastian Bachs’, 243–50; E. Zavarský: ‘Ein Besucher aus der Slowakei bei Johann Sebastian Bach’, 363–7]

U. Siegele: ‘Bachs Stellung in der Leipziger Kulturpolitik seiner Zeit’, BJb 1983, 7–50; 1984, 7–43; 1986, 33–67

J. Bahns, ed.: Ex libris Bachianis II: das Weltbild Johann Sebastian Bachs im Spiegel seiner theologischen Bibliothek, Kurpfälzisches Museum der Stadt Heidelberg, 1 June – 15 July 1985 (Heidelberg, 1985) [exhibition catalogue]

W. Blankenburg: ‘Wandlungen und Probleme des Bachbildes’, Musik und Kirche, lv (1985), 274–84

H.H. Cox: The Calov Bible of J.S. Bach (Ann Arbor, 1985)

W. Hildesheimer: Das ferne Bach: eine Rede (Frankfurt, 1985)

R.A. Leaver: J.S. Bach and Scripture: Glosses from the Calov Bible Commentary (St Louis, 1985)

M. Petzoldt: ‘“Ut probus & doctus reddar”: zum Anteil der Theologie bei der Schulausbildung Johann Sebastian Bachs in Eisenach, Ohrdruf und Lüneburg’, BJb 1985, 7–42

M. Walter: ‘J.S. Bach und die Aufklärung?’, AMw, xlii (1985), 229–40

J.J. Pelikan: Bach Among the Theologians (Philadelphia, 1986)

A. Glöckner: Die Musikpflege an der Leipziger Neukirche zur Zeit (Leipzig, 1990)

D. Kranemann: ‘Johann Sebastian Bachs Krankheit und Todesursache: Versuch einer Deutung’, BJb 1990, 53–64

R. Szeskus: ‘Bach und die Leipziger Universitätsmusik’, BMw, xxxii (1990), 161–70

U. Siegele: ‘“Ich habe fleissig sein müssen …”: zur Vermittlung von Bachs sozialem und musikalischem Charakter’, Musik und Kirche, lxi (1991), 73–8; Eng. trans., Bach, xxii/2 (1991), 5–12

P. Wollny: ‘Bachs Bewerbung um die Organistenstelle an der Marienkirche zu Halle und ihr Kontext’, BJb 1994, 25–39

K. Küster: Der junge Bach (Stuttgart, 1996)

Bach, §III: (7) Johann Sebastian Bach: Bibliography

h: works: general

A. Pirro: L’esthétique de Jean-Sébastien Bach (Paris, 1907)

C.S. Terry: The Music of Bach: an Introduction (London, 1933/R)

G. Herz: Johann Sebastian Bach im Zeitalter des Rationalismus und der Frühromantik (Kassel, 1935)

A.E.F. Dickinson: The Art of J.S. Bach (London, 1936, enlarged 2/1950)

G. Frotscher: Johann Sebastian Bach und die Musik des siebzehnten Jahrhunderts (Wädenswil, 1939)

A. Schering: Johann Sebastian Bach und das Musikleben Leipzigs im 18. Jahrhundert, Musikgeschichte Leipzigs, iii (Leipzig, 1941)

W. Blankenburg: Die innere Einheit von Bachs Werk (diss., U. of Göttingen, 1942)

L. Schrade: ‘Bach: the Conflict between the Sacred and the Secular’, Journal of the History of Ideas, vii (1946), 151–94; pubd separately (New York, 1954/R)

W. Blankenburg: ‘Bach geistlich und weltlich’, Musik und Kirche, xx (1950), 36–46

R. Petzoldt and L. Weinhold, eds.: Johann Sebastian Bach: das Schaffen des Meisters in Spiegel einer Stadt (Leipzig, 1950)

H. Besseler: ‘Bach und das Mittelalter’, Wissenschaftliche Bachtagung: Leipzig 1950, 108–30; Eng. trans. in The Score, no.9 (1954), 31–42

A.T. Davison: Bach and Handel: the Consummation of the Baroque in Music (Cambridge, MA, 1951/R)

P. Hindemith: Johann Sebastian Bach: Heritage and Obligation (New Haven, 1952)

H. Besseler: ‘Bach als Wegbereiter’, AMw, xii (1955), 1–39

W. Mellers: Bach and the Dance of God (London, 1980)

C. Wolff: ‘“Die sonderbaren Vollkommenheiten des Herrn Hof Compositeurs”: Versuch über die Eigenart der Bachschen Musik’, Bachiana et alia musicologica: Festschrift Alfred Dürr, ed. W. Rehm (Kassel, 1983), 356–62

A. Dürr: Bachs Werk vom Einfall bis zur Drucklegung (Wiesbaden, 1989)

R.L. Marshall: The Music of Johann Sebastian Bach: the Sources, the Style, the Significance (New York, 1989)

H.H. Eggebrecht: Bach – wer ist das?: zum Verständnis der Musik Johann Sebastian Bachs (Mainz, 1992)

L. Dreyfus: Bach and the Patterns of Invention (Cambridge, MA, 1996)

J. Butt, ed.: The Cambridge Companion to Bach (New York, 1997)

M. Geck: Bach und die Stile (Dortmund, 1999)

Bach, §III: (7) Johann Sebastian Bach: Bibliography

i: works: special studies

E. Kurth: Grundlagen des linearen Kontrapunkts: Einführung in Stil und Technik von Bachs melodischer Polyphonie (Berne, 1917, 5/1956/R)

A. Schering: ‘Über Bachs Parodieverfahren’, BJb 1921, 49–95

K. Geiringer: Symbolism in the Music of Bach (Washington DC, 1956); repr. in Lectures on the History and Art of Music (New York, 1968), 123ff

A. Dürr: ‘Gedanken zu J.S. Bachs Umarbeitungen eigener Werke’, BJb 1956, 93–104

G. von Dadelsen: Bemerkungen zur Handschrift Johann Sebastian Bachs, seiner Familie und seines Kreises (Trossingen, 1957)

G. von Dadelsen: Beiträge zur Chronologie der Werke Johann Sebastian Bachs (Trossingen, 1958)

E. Bodky: The Interpretation of Bach’s Keyboard Works (Cambridge, MA, 1960/R)

A. Mendel: ‘Recent Developments in Bach Chronology’, MQ, xlvi (1960), 283–300

A. Dürr: ‘Neues über Bachs Pergolesi-Bearbeitung’, BJb 1968, 89–100

C. Wolff: Der stile antico in der Musik Johann Sebastian Bachs (Wiesbaden, 1968)

R.L. Marshall: ‘How J.S. Bach Composed Four-part Chorales’, MQ, lvi (1970), 198–220

M. Geck: ‘Bachs Probestück’, Quellenstudien zur Musik: Wolfgang Schmieder zum 70. Geburtstag, ed. K. Dorfmüller and G. von Dadelsen (Frankfurt, 1972), 55–68

‘Johann Sebastian Bach: Approaches to Analysis and Interpretation’, Studies in Renaissance and Baroque Music in Honor of Arthur Mendel, ed. R.L. Marshall (Kassel and Hackensack, NJ, 1974), 139–230 [contributions by W. Blankenburg, E.T. Cone, W. Emery, R.L. Marshall, F. Neumann, N. Rubin and W.H. Scheide]

W. Emery: ‘A Note on Bach’s Use of Triplets’, Bach-Studien, v (1975), 109–11

H. Eppstein: ‘Zum Formproblem bei J.S. Bach’, ibid., 29–42

H. Grüss: ‘Tempofragen der Bachzeit’, ibid., 73–81

R.L. Marshall: ‘Bach the Progressive: Observations on his Later Works’, MQ, lxii (1976), 313–57

U. Meyer: ‘Zum Problem der Zahlen in Johann Sebastian Bachs Werk’, Musik und Kirche, xlix (1979), 58–71

U. Prinz: Studien zum Instrumentarium J.S. Bachs mit besonderer Berücksichtigung der Kantaten (Tübingen, 1979)

G.G. Butler: ‘Leipziger Stecher in Bachs Originaldrucken’, BJb 1980, 9–26

L. Prautzsch: Vor deinen Thron tret ich hiermit: Figuren und Symbole in den letzten Werken Johann Sebastian Bachs (Neuhausen-Stuttgart, 1980)

K.-J. Sachs: ‘Die “Anleitung …, auff allerhand Arth einen Choral durchzuführen” als Paradigma der Lehre und die Satzkunst Johann Sebastian Bachs’, AMw, xxxvii (1980), 135–54

W. Neumann: Über das funktionale Wechselverhältnis von Vokalität und Instrumentalität als kompositionstechnisches Grundphänomen, dargestellt am Schaffen Johann Sebastian Bachs (Berlin, 1982)

G.A. Theill: Beiträge zur Symbolsprache Johann Sebastian Bachs (Bonn, 1983–)

Q. Faulkner: J.S. Bach’s Keyboard Technique: a Historical Introduction (St Louis, MO, 1984)

Bach und die italienische Musik: Venice 1985

M. Dankwardt: Instrumentale und vokale Kompositionsweise bei Johann Sebastian Bach (Tutzing, 1985)

M. Petzoldt, ed.: Bach als Ausleger der Bibel: theologische und musikwissenschaftliche Studien zum Werk Johann Sebastian Bachs (Göttingen, 1985)

G. Wagner: Traditionsbezug im musikhistorischen Prozess zwischen 1720 und 1740 am Beispiel von Johann Sebastian und Carl Philipp Emanuel Bach: musikalische Analyse und musikhistorische Bewertung (Neuhausen-Stuttgart, 1985)

C. Wolff: ‘Johann Adam Reinken und Johann Sebastian Bach: zum Kontext des Bachschen Frühwerkes’, BJb 1985, 99–118; Eng. trans., rev. in J.S. Bach as Organist, ed. G. Stauffer and E. May (Bloomington, IN, 1986), 57–80, and in Bach: Essays on his Life and Music (Cambridge, MA, 1991), 56–71

G. Stauffer and E. May, eds.: J.S. Bach as Organist: his Instruments, Music, and Performance Practices (Bloomington, IN, 1986)

W. Elders: ‘Kompositionsverfahren in der Musik der alten Niederländer und die Kunst J.S. Bachs’, Beiträge zur Bachforschung, vi (1987), 110–34

W.F. Hindermann: ‘“Seine Einsicht in die Dichtkunst … ”: Bachs Rhetorik-Verständnis im Spiegel von Quintilians Institutio oratoria’, Musik und Kirche, lvii (1987), 284–97

H.-J. Schulze: ‘The Parody Process in Bach's Music: an Old Problem Reconsidered’, Bach, xx/3 (1989), 15–33

K. Beisswenger: ‘Bachs Eingriffe in Werke fremder Komponisten: Beobachtungen an den Notenhandschriften aus seiner Bibliothek unter besonderer Berücksichtigung der lateinischen Kirchenmusik’, BJb 1991, 127–58

M. Little and N. Jenne: Dance and the Music of Bach (Bloomington, IN, 1991)

R. Tatlow: Bach and the Riddle of the Number Alphabet (Cambridge, 1991)

E. Kooiman, G. Weinberger and H.J. Busch: Zur Interpretation der Orgelmusik Johann Sebastian Bachs (Kassel, 1995)

Bach, §III: (7) Johann Sebastian Bach: Bibliography

j: vocal works

BlumeEK

K. Ziebler: Das Symbol in der Kirchenmusik Joh. Seb. Bachs (Kassel, 1930)

A. Schering: Johann Sebastian Bachs Leipziger Kirchenmusik (Leipzig, 1936)

W. Neumann: J.S. Bachs Chorfuge (Leipzig, 1938, 3/1953)

F. Smend: ‘Bachs Markus-Passion’, BJb 1940–48, 1–35

A. Schering: Über Kantaten Johann Sebastian Bachs (Leipzig, 1942, 3/1950)

F. Smend: ‘Neue Bach-Funde’, AMf, vii (1942), 1–16; repr. in Friedrich Smend: Bach-Studien, ed. C. Wolff (Kassel, 1969), 137–52

A. Mendel: ‘On the Keyboard Accompaniments to Bach’s Leipzig Church Music’, MQ, xxxvi (1950), 339–62

A. Dürr: ‘Zur Chronologie der Leipziger Vokalwerke J.S. Bachs’, BJb 1957, 5–162; pubd separately (Berlin, 1958, 2/1976)

W. Neumann: ‘Über Ausmass und Wesen des Bachschen Parodieverfahrens’, BJb 1965, 63–85

R.L. Marshall: The Compositional Process of J.S. Bach: a Study of the Autograph Scores of the Vocal Works (Princeton, NJ, 1972)

W. Neumann, ed.: Sämtliche von Johann Sebastian Bach vertonte Texte (Leipzig, 1974)

U. Siegele: ‘Bachs Endzweck einer regulierten und Entwurf einer wohlbestallten Kirchenmusik’, Festschrift Georg von Dadelsen zum 60. Geburtstag, ed. T. Kohlhase and V. Scherliess (Neuhausen-Stuttgart, 1978), 313–51

L. Dreyfus: ‘J.S. Bach's Experiment in Differentiated Accompaniment: Tacet Indications in Organ Parts’, JAMS, xxxii (1979), 321–34

J. Rifkin: ‘Bach's Chorus: a Preliminary Report’, MT, cxxiii (1982), 747–54

W. Blankenburg: ‘Johann Sebastian Bach und das evangelische Kirchenlied zu seiner Zeit’, Bachiana et alia musicologica: Festschrift Alfred Dürr, ed. W. Rehm (Kassel, 1983), 31–8

G. von Dadelsen: ‘Anmerkungen zu Bachs Parodieverfahren’, ibid., 52–7

R. Marshall: ‘Bach's Chorus: a Preliminary Reply to Joshua Rifkin’, MT, cxxiv (1983), 19–22

J. Rifkin: ‘Bach's Chorus: a Response to Robert Marshall’, ibid., 161–2

G. Wagner: ‘Die Chorbesetzung bei J.S. Bach und ihre Vorgeschichte: Anmerkungen zur “hinlänglichen” Besetzung im 17. und 18. Jahrhundert’, AMw, xliii (1986), 278–304

K. Häfner: Aspekte des Parodieverfahrens bei Johann Sebastian Bach: Beiträge zur Wiederentdeckung verschollener Vokalwerke (Laaber, 1987)

S.A. Crist: Aria Forms in the Vocal Works of J.S. Bach, 1714–24 (diss., Brandeis U., 1988)

H.H. Eggebrecht: ‘Sinnbildlichkeit in Text und Musik bei Johann Sebastian Bach’, Musik und Kirche, lviii (1988), 176–84

E.T. Chafe: Tonal Allegory in the Vocal Music of J.S. Bach (Berkeley, 1991)

M. Walter: Musik-Sprache des Glaubens: zum geistlichen Vokalwerk Johann Sebastian Bachs (Frankfurt, 1994)

S.A. Crist: ‘Bach, Theology, and Harmony: a New Look at the Arias’, Bach, xxvii/1 (1996), 1–30

D.E. Freeman: ‘J.S. Bach's “Concerto” Arias: a Study in the Amalgamation of Eighteenth-Century Genres’, Studi musicali, xxvii (1998), 123–62

cantatas

R. Wustmann, ed.: Johann Sebastian Bachs Kantatentexte (Leipzig, 1913, rev. 2/1967 as Geistliche und weltliche Kantatentexte)

C.S. Terry: Joh. Seb. Bach: Cantata Texts, Sacred and Secular, with a Reconstruction of the Leipzig Liturgy of his Period (London, 1926/R)

W. Neumann: Handbuch der Kantaten Johann Sebastian Bachs (Leipzig, 1947, 5/1984)

F. Smend: Joh. Seb. Bach: Kirchen-Kantaten (Berlin, 1947–9, 3/1966)

I. Finlay: Johann Sebastian Bachs weltliche Kantaten (Göttingen, 1950)

I. Finlay: ‘Bach's Secular Cantata Texts’, ML, xxxi (1950), 189–95

A. Dürr: Studien über die frühen Kantaten J.S. Bachs (Leipzig, 1951, 2/1977)

A. Dürr: ‘Zur Echtheit einiger Bach zugeschreibener Kantaten’, BJb 1951–2, 30–46

K.F. Tagliavini: Studi sui testi delle cantate sacre di J.S. Bach (Padua, 1956)

P. Mies: Die geistlichen Kantaten Johann Sebastian Bachs und der Hörer von heute, i (Wiesbaden, 1959, 2/1966); ii (1960, 2/1968); iii (1964)

W.H. Scheide: ‘Johann Sebastian Bachs Sammlung von Kantaten seines Vetters Johann Ludwig Bach’, BJb 1959, 52–94; 1961, 5–24; 1962, 5–32

W.G. Whittaker: The Cantatas of Johann Sebastian Bach (London, 1959)

J. Day: The Literary Background to Bach’s Cantatas (London, 1961)

P. Mies: Die weltlichen Kantaten Johann Sebastian Bachs und der Hörer von heute, i (Wiesbaden, 1966–7)

A. Dürr: Die Kantaten von Johann Sebastian Bach (Kassel, 1971, 6/1995)

R. Gerlach: ‘Besetzung und Instrumentation der Kirchenkantaten J.S. Bachs und ihre Bedingungen’, BJb 1971, 53–71

W. Hobohm: ‘Neue Texte zur Leipziger Kirchen-Musik’, BJb 1973, 5–32

A. Dürr: ‘Bachs Kantatentexte: Probleme und Aufgaben der Forschung’, Bach-Studien, v (1975), 63–71

K. Häfner: ‘Der Picander-Jahrgang’, BJb 1975, 70–113

W. Blankenburg: ‘Eine neue Textquelle zu sieben Kantaten Johann Sebastian Bachs und achtzehn Kantaten Johann Ludwig Bachs’, BJb 1977, 7–25

W.H. Scheide: ‘Bach und der Picander-Jahrgang’, BJb 1980, 47–52

K. Häfner: ‘Picander, der Textdichter von Bachs viertem Kantatenjahrgang: ein neuer Hinweis’, Mf, xxxv (1982), 156–62

C. Wolff: ‘Wo bleib Bachs fünfter Kantatenjahrgang?’, ibid., 151–2

W.H. Scheide: ‘Eindeutigkeit und Mehrdeutigkeit in Picanders Kantatenjahrgangs-Vorbemerkung und im Werkverzeichnis des Nekrologs auf Johann Sebastian Bach’, BJb 1983, 109–14

L. Dreyfus: ‘The Metaphorical Soloist: Concerted Organ Parts in Bach's Cantatas’, EMc, xiii (1985), 237–47

A. Glöckner: ‘Zur Chronologie der Weimarer Kantaten Johann Sebastian Bachs’, BJb 1985, 159–64

A. Dürr: ‘Noch einmal: Wo blieb Bachs fünfter Kantatenjahrgang?’, BJb 1986, 121–2

A. Hirsch: Die Zahl im Kantatenwerk Johann Sebastian Bachs (Neuhausen-Stuttgart, 1986)

H.K. Krausse: ‘Erdmann Neumeister und die Kantatentexte Johann Sebastian Bachs’, BJb 1986, 7–31

A. Dürr: ‘Merkwürdiges in den Quellen zu Weimarer Kantaten Bachs’, BJb 1987, 151–7

A. Glöckner: ‘Überlegungen zu J.S. Bachs Kantatenschaffen nach 1730’, Beiträge zur Bachforschung, vi (1987), 54–64

W.M. Young: The Cantatas of J.S. Bach: an Analytical Guide (Jefferson, NC, 1989)

H.-J. Schulze: ‘Bach's Secular Cantatas: a New Look at the Sources’, Bach, xxi/1 (1990), 26–41

F. Krummacher: ‘Bachs frühe Kantaten im Kontext der Tradition’, Mf, xliv (1991), 9–32

L. and R. Steiger: Sehet! Wir gehn hinauf gen Jerusalem: Johann Sebastian Bachs Kantaten auf den Sonntag Estomihi (Göttingen, 1992)

K. Hofmann: ‘Neue Überlegungen zu Bachs Weimarer Kantaten-Kalender’, BJb 1993, 9–29

D.R. Melamed: ‘Mehr zur Chronologie von Bachs Weimarer Kantaten’, ibid., 213–16

U. Meyer: ‘“Flügel her! Flügel her!”: gepredigte Sterbekunst als Hintergrund Bachscher Kantatentexte’, Musik und Kirche, lxiii (1993), 258–65

M. Petzoldt: Texte zur Leipziger Kirchen-music: zum Verständnis der Kantatentexte Johann Sebastian Bachs (Wiesbaden, 1993)

R. Steiger: ‘So lerne nun die neue Evangelische Sprache: Elemente einer musikalischen Sprache des Trostes in J.S. Bachs Sterbekantaten’, Musik und Kirche, lxiv (1994), 255–63

F. Krummacher: Bachs Zyklus der Choralkantaten: Aufgaben und Lösungen (Göttingen, 1995)

D.L. Smithers: ‘The Original Circumstances in the Performance of Bach's Leipzig Church Cantatas, “Wegen seiner sonn- und festtätigen Amts-Verrichtungen’, Bach, xxvi/1–2 (1995), 28–47

C. Wolff and T. Koopman, eds.: De wereld van de Bach-cantates, i, Johann Sebastian Bachs geestelijke cantates van Arnstadt tot Köthen (Abcoude, 1995; Eng. trans., 1997)

Passions and oratorios

SmitherHO, ii

W. Werker: Die Matthäus-Passion (Leipzig, 1923)

F. Smend: ‘Die Johannes-Passion von Bach’, BJb 1926, 105–28; repr. in Friedrich Smend: Bach-Studien, ed. C. Wolff (Kassel, 1969), 11–23

C.S. Terry: ‘The Spurious Bach “Lukas-Passion”’, ML, xiv (1933), 207–21

A. Schering: ‘Zur Markus-Passion und zur “vierten” Passion’, BJb 1939, 1–32

F. Smend: ‘Bachs Markus Passion’, BJb 1940–48, 1–35; repr. in Friedrich Smend: Bach-Studien, ed. C. Wolff (Kassel, 1969), 110–36

A. Dürr: ‘Zu den verschollenen Passionen Bachs’, BJb 1949–50, 81–99

F. Smend: ‘Bachs Himmelsfahrts-Oratorium’, Bach-Gedenkschrift, ed. K. Matthaei (Zürich, 1950), 42–65; repr. in Friedrich Smend: Bach-Studien, ed. C. Wolff (Kassel, 1969), 195–211

W. Serauky: ‘Die “Johannes-Passion” von Joh. Seb. Bach und ihr Vorbild’, BJb 1954, 29–39

B. Smallman: The Background of Passion Music: J.S. Bach and his Predecessors (London, 1957, enlarged 2/1970)

J. Chailley: Les Passions de J.-S. Bach (Paris, 1963, 2/1984)

A. Mendel: ‘Traces of the Pre-History of Bach's St John and St Matthew Passions’, Festschrift Otto Erich Deutsch, ed. W. Gerstenberg, J. LaRue and W. Rehm (Kassel, 1963), 31–48

D. Gojowy: ‘Zur Frage der Köthener Trauermusik und der Matthäuspassion’, BJb 1965, 86–134

P. Brainard: ‘Bach's Parody Procedure and the St. Matthew Passion’, JAMS, xxii (1969), 241–60

A. Glöckner: ‘Bach and the Passion Music of his Contemporaries’, MT, cxvi (1975), 613–16

J. Rifkin: ‘The Chronology of Bach's Saint Matthew Passion’, MQ, lxi (1975), 360–87

E. Axmacher: ‘Ein Quellenfund zum Text der Matthäus-Passion’, BJb 1978, 181–91

G.A. Theill: Die Markuspassion von Johann Sebastian Bach (bwv247): Entstehung, Vergessen, Wiederentdeckung, Rekonstruktion (Steinfeld, 1978, 2/1981)

P. Steinitz: Bach’s Passions (London, 1979)

E.T. Chafe: ‘Key Structure and Tonal Allegory in the Passions of J.S. Bach: an Introduction’, CMc, no.31 (1981), 39–54

R. Steiger: ‘Die Einheit des Weinachtsoratoriums von J.S. Bach’, Musik und Kirche, li (1981), 273–80; lii (1982), 9–15

W. Blankenburg: Das Weinachts-Oratorium von Johann Sebastian Bach (Munich and Kassel, 1982)

E.T. Chafe: ‘J.S. Bach's St. Matthew Passion; Aspects of Planning, Structure, and Chronology’, JAMS, xxxv (1982), 49–114

R.A. Leaver: Music as Preaching: Bach, Passions and Music in Worship (Oxford, 1982)

E. Axmacher: ‘Aus Liebe will mein Heyland sterben’: Untersuchungen zum Wandel des Passionverständnisses im frühen 18. Jahrhundert (Neuhausen-Stuttgart, 1984)

W.F. Hindermann: Johann Sebastian Bach, Himmelfahrts-Oratorium: Gestalt und Gehalt (Hofheim am Taunus, 1985)

C. Wolff: ‘Bachs Unvollendete: die Johannes-Passion. Mehrbändiges Kompendium erschliesst das monumentale Werk des Komponisten’, Neue Musikzeitung, xxxvi/2 (1987), 39 only

A. Dürr: Die Johannes-Passion von Johann Sebastian Bach: Entstehung, Überlieferung, Werkeinführung (Munich and Kassel, 1988)

C. Wolff: ‘Musical Forms and Dramatic Structure in Bach's Saint Matthew Passion’, Bach, xix/1 (1988), 6–20

M. Geck: Johann Sebastian Bach, Johannespassion bwv245 (Munich, 1991)

K. Hofmann: ‘Zur Tonartenordnung der Johannes-Passion von Johann Sebastian Bach’, Musik und Kirche, lxi (1991), 78–86

E. Platen: Die Matthäus-Passion von Johann Sebastian Bach: Entstehung, Werkbeschreibung, Rezeption (Munich and Kassel, 1991)

W.M. Young: The Sacred Dramas of J.S. Bach: a Reference and Textual Interpretation (Jefferson, NC, 1994)

Latin church music, motets and chorales

C.S. Terry: Bach’s Chorals (Cambridge, 1915–21/R)

A. Schering: ‘Die Höhe Messe in h-moll’, BJb 1936, 1–30

F. Smend: ‘Bachs h-moll-Messe: Entstehung, Uberlieferung, Bedeutung’, BJb 1937, 1–58

W. Blankenburg: Einführung in Bachs h-moll-Messe (Kassel, 1950, 3/1974)

R. Bullivant: ‘Zum Problem der Begleitung der Bachschen Motetten’, BJb 1966, 59–68

F. Smend: ‘Zu den ältesten Sammlungen der vierstimmigen Choräle J.S. Bachs’, ibid., 5–40; repr. in Friedrich Smend: Bach-Studien, ed. C. Wolff (Kassel, 1969), 237–69

R. Leavis: ‘Bach's Setting of Psalm CXVII (bwv230)’, ML, lii (1971), 19–26

F. Krummacher: ‘Textauslegung und Satzstruktur in J.S. Bachs Motetten’, BJb 1974, 5–43

M. Geck: ‘Zur Datierung, Verwendung und Aufführungspraxis von Bachs Motetten’, Bach-Studien, v (1975), 63–71

H. Rilling: Johann Sebastian Bachs h-Moll-Messe (Neuhausen-Stuttgart, 1979, 2/1986)

G.J. Buelow: ‘Symbol and Structure in the “Kyrie” of Bach's B-minor Mass’, Essays on the Music of J.S. Bach and Other Divers Subjects: a Tribute to Gerhard Herz, ed. R.L. Weaver (Louisville, KY, 1981), 21–41

A. Mann: ‘Bach's A major Mass; a Nativity Mass?’, ibid., 43–7

R.M. Cammarota: ‘The Sources of the Christmas Interpolations in J.S. Bach's Magnificat in E-flat Major’, CMc, no.36 (1983), 79–99

H.-J. Schulze: ‘“150 Stück von den Bachischen Erben”: zur Überlieferung der vierstimmigen Choräle Johann Sebastian Bachs’, BJb 1983, 81–100

G. Wachowski: ‘Die vierstimmigen Choräle Johann Sebastian Bachs: Untersuchungen zu den Druckausgaben von 1765 bis 1932 und zur Frage der Authentizität’, ibid., 51–79

A. Mann: ‘Missa Brevis and Historia: Bach's A Major Mass’, Bach, xvi/1 (1985), 6–11

Y. Kobayashi: ‘Die Universalität in Bachs h-moll-Messe: ein Beitrag zum Bach-Bild der Letzten Lebensjahre’, Musik und Kirche, lvii (1987), 9–24

R.A. Leaver: ‘Bach, Kirchenlieder und Gesangbücher’, ibid., 169–74

W. Breig: ‘Grundzüge einer Geschichte von Bachs vierstimmigen Choralsatz’, AMw, xlv (1988), 300–19

C. Wolff: ‘Bach the Cantor, the Capellmeister, and the Musical Scholar: Aspects of the B-Minor Mass’, Bach, xx/1 (1989), 55–64

R.A. Leaver: ‘Parody and Theological Consistency: Notes on Bach's A-major Mass’, Bach, xxi/3 (1990), 30–43

J. Butt: Bach: Mass in B Minor (Cambridge, 1991)

P. Wollny: ‘Bachs Sanctus bwv 241 und Kerlls “Missa superba”’, BJb 1991, 173–6

A. Durr: ‘Zur Parodiefrage in Bachs h-moll-Messe: eine Bestandsaufnahme’, Mf, xlv (1992), 117–38

R. Stinson: ‘Some Thoughts on Bach's Neumeister Chorales’, JM, xi (1993), 455–77

P. Wollny: ‘Ein Quellenfund zur Enstehungsgeschichte der h-Moll-Messe’, BJb 1994, 163–9

R.L. Marshall: Luther, Bach, and the Early Reformation Chorale (Atlanta, GA, 1995)

D.R. Melamed: J.S. Bach and the German Motet (Cambridge, 1995)

Bach, §III: (7) Johann Sebastian Bach: Bibliography

k: instrumental works

general

K.A. Rosenthal: ‘Über Sonatenvorformen in den Instrumentalmusikwerken Joh. Seb. Bachs’, BJb 1926, 68–89

C.S. Terry: Bach’s Orchestra (London, 1932/R)

J.M. Barbour: ‘Bach and “The Art of Temperament”’, MQ, xxxiii (1947), 64–89

A.E.F. Dickinson: Bach’s Fugal Works (London, 1956/R)

C. Dahlhaus: ‘Bach und der “lineare Kontrapunkt”’, BJb 1962, 58–79

H.-G. Klein: Der Einfluss der Vivaldischen Konzertform im Instrumentalwerk Johann Sebastian Bachs (Strasbourg, 1970)

C. Wolff: ‘Ordnungsprinzipien in den Originaldrucken Bachscher Werke’, Bach-Interpretationen, ed. M. Geck (Göttingen, 1969), 144–67; Eng. trans. in Bach: Essays on his Life and Music (Cambridge, MA, 1991), 340–58

U. Siegele: Kompositionsweise und Bearbeitungstechnik in der Instrumentalmusik Johann Sebastian Bachs (Neuhausen-Stuttgart, 1975)

J.R. Fuchs: Studien zu Artikulationsangaben in Orgel- und Clavierwerken von Joh. Seb. Bach (Neuhausen-Stuttgart, 1985)

H.-J. Schulze: ‘The French Influence in Bach's Instrumental Music’, EMc, xiii (1985), 180–84

R. Stinson: ‘Toward a Chronology of Bach's Instrumental Music: Observations on Three Keyboard Works’, JM, vii (1989), 440–70

organ works

FrotscherG

H. Grace: The Organ Works of Bach (London and New York, 1922)

F. Dietrich: ‘Analogieformen in Bachs Tokkaten und Präludien für die Orgel’, BJb 1931, 51–71

H. Klotz: Über die Orgelkunst der Gotik, der Renaissance und des Barock (Kassel, 1934, 3/1986)

H. Keller: ‘Unechte Orgelwerke Bachs’, BJb 1937, 59–82

S. de B. Taylor: The Chorale Preludes of J.S. Bach (London, 1942)

H. Keller: Die Orgelwerke Bachs: ein Beitrag zu ihrer Geschichte, Form, Deutung und Wiedergabe (Leipzig, 1948/R; Eng. trans., 1967)

H. Klotz: ‘Bachs Orgeln und seine Orgelmusik’, Mf, iii (1950), 189–203

K. Matthaei: ‘Johann Sebastian Bachs Orgel’, Bach-Gedenkschrift, ed. K. Matthaei (Zürich, 1950), 118–149

P. Aldrich: Ornamentation in J.S. Bach’s Organ Works (New York, 1950/R)

W. Emery: Notes on Bach’s Organ Works: a Companion to the Revised Novello Edition (London, 1952–7)

W. Schrammek: ‘Die musikgeschichtliche Stellung der Orgeltrio sonaten von Joh. Seb. Bach’, BJb 1954, 7–28

R. Donington: Tempo and Rhythm in Bach’s Organ Music (London, 1960)

G. von Dadelsen: ‘Zur Entstehung des Bachschen Orgelbüchleins’, Festschrift Friedrich Blume, ed. A.A. Abert and W. Pfannkuch (Kassel, 1963), 74–9

P.F. Williams: ‘J.S. Bach and English Organ Music’, ML, xliv (1963), 140–51

E.D. May: Breitkopf’s Role in the Transmission of J.S. Bach’s Organ Chorales (diss., Princeton U., 1974)

E. May: ‘Eine neue Quelle für J.S. Bachs einzeln überlieferte Orgelchoräle’, BJb 1974, 98–103

U. Meyer: ‘Zur Einordnung von J.S. Bachs einzeln überlieferten Orgelchorälen’, BJb 1977, 75–89

C. Wolff: ‘Bachs Handexemplar der Schübler-Chorale’, ibid., 120–29

T.F. Harmon: The Registration of J.S. Bach’s Organ Works (Buren, 1978)

G.B. Stauffer: The Organ Preludes of Johann Sebastian Bach (Ann Arbor, 1980)

P. Williams: The Organ Music of J.S. Bach (Cambridge, 1980–84)

P. Williams: ‘The Musical Aims of J.S. Bach's “Clavierübung III”’, Source Materials and the Interpretation of Music: a Memorial Volume to Thurston Dart, ed. I. Bent (London, 1981), 259–78

D. Humphreys: The Esoteric Structure of Bach’s Clavierübung III (Cardiff, 1983)

D. Kilian: ‘Zu einem Bachschen Tabulatorautograph’, Bachiana et alia musicologica: Festschrift Alfred Dürr, ed. W. Rehm (Kassel, 1983), 161–7

H. Klotz: Studien zu Bachs Registrierkunst (Wiesbaden, 1985)

F. Krummacher: ‘Bach und die norddeutsche Orgeltoccata: Fragen und Überlegungen’, BJb 1985, 119–34

R.A. Leaver: ‘Bach and Hymnody: the Evidence of the Orgelbüchlein’, EMc, xiii (1985), 227–36

C. Wolff: ‘Bach's Organ Music: Studies and Discoveries’, MT, cxxvi (1985), 149–52

G.B. Stauffer and E. May, eds.: J.S. Bach as Organist: his Instruments, Music, and Performance Practices (Bloomington, IN, 1986)

J.-C. Zehnder: ‘Georg Böhm und Johann Sebastian Bach: zur Chronologie der Bachschen Stilentwicklung’, BJb 1988, 73–110

G. Butler: Bach’s Clavier-Übung III: the Making of a Print, with a Companion Study of the Canonic Variations on ‘Vom Himmel hoch’ BWV 769 (Durham, NC, 1990)

W. Breig: ‘Formprobleme in Bachs frühen Orgelfugen’, BJb 1992, 7–21

G.B. Stauffer: ‘Boyvin, Grigny, D'Anglebert, and Bach's Assimilation of French Classical Organ Music’, EMc, xxi (1993), 83–96

W. Breig: ‘Versuch einer Theorie der Bachschen Orgelfuge’, Mf, xlviii (1995), 14–52

R.D. Claus: Zur Echtheit von Toccata und Fuge d-moll BWV 565 (Cologne, 1995)

Q. Faulkner: ‘Die Registrierung der Orgelwerke J.S. Bachs’, BJb 1995, 7–30

R. Stinson: Bach: the Orgelbüchlein (New York, 1996)

keyboard and lute music

W. Werker: Studien über die Symmetrie im Bau der Fugen und die motivische Zusammengehörigkeit der Präludien und Fugen des ‘Wohltemperierten Klaviers’ von Johann Sebastian Bach (Leipzig, 1922/R)

H. David: ‘Die Gestalt von Bachs Chromatischer Fantasie’, BJb 1926, 2–67

H. Neeman: ‘J.S. Bachs Lautenkompositionen’, BJb 1931, 72–87

H. Keller: Die Klavierwerke Bachs (Leipzig, 1950)

J.N. David: Das wohltemperierte Klavier: der Versuch einer Synopsis (Göttingen, 1962)

H. Keller: Das Wohltemperierte Klavier von Johann Sebastian Bach: Werke und Wiedergabe (Kassel, 1965, 4/1994; Eng. trans., 1976)

W. Breig: ‘Bachs Goldberg-Variationen als zyklisches Werk’, AMw, xxxii (1975), 243–65

H. Eichberg: ‘Unechtes unter Johann Sebastian Bachs Klavierwerken’, BJb 1975, 7–49

H.-J. Schulze: ‘Melodiezitate und Mehrtextigkeit in der Bauernkantate und in den Goldberg-Variationen’, BJb 1976, 58–72

C. Wolff: ‘Bach's Handexemplar of the Goldberg Variations: a New Source’, JAMS, xxix (1976), 224–41; repr. in Bach: Essays on his Life and Music (Cambridge, MA, 1991), 162–77

A. Burguéte: ‘Die Lautenkompositionen Johann Sebastian Bachs’, BJb 1977, 26–54

J. Barnes: ‘Bach's Keyboard Temperament: Internal Evidence from the Well-Tempered Clavier’, EMc, vii (1979), 236–49

C. Wolff: ‘Textkritische Bemerkungen zum Originaldruck der Bachschen Partiten’, BJb 1979, 65–74; Eng. trans. in Bach: Essays on his Life and Music (Cambridge, MA, 1991), 214–22

A. Dürr: Zur Frühgeschichte des Wohltemperierten Klaviers I von Johann Sebastian Bach (Göttingen, 1984)

P. Williams: ‘J.S. Bach's Well-Tempered Clavier: a New Approach’, EMc, xi (1983), 46–52, 332–9

D. Humphreys: ‘More on the Cosmological Allegory in Bach's Goldberg Variations’, Soundings, xii (1984–5), 25–45

I. Kaussler: Die Goldberg-Variationen von J.S. Bach (Stuttgart, 1985)

R. Dammann: Johann Sebastian Bachs ‘Goldberg-Variationen’ (Mainz, 1986)

A. Street: ‘The Rhetorico-Musical Structure of the Goldberg Variations: Bach's Clavier-Übung IV and the Institutio oratoria of Quintilian’, MAn, vi (1987), 89–131

G. Butler: ‘Neues zur Datierung der Goldberg-Variationen’, BJb 1988, 219–23

D. Schulenberg: The Keyboard Music of J.S. Bach (New York, 1992)

Y. Tomita: J.S. Bach’s ‘Das Wohltemperierte Clavier II’: a Critical Commentary (Leeds, 1993–5)

orchestral and chamber music

ScheringGIK

N. Carrell: Bach’s Brandenburg Concertos (London, 1963, 2/1985)

H. Eppstein: Studien über J.S. Bachs Sonaten für ein Melodieinstrument und obligates Cembalo (Stockholm, 1966)

H. Eppstein: ‘Grundzüge in J.S. Bachs Sonatenschaffen’, BJb 1969, 5–30

L. Hoffmann-Erbrecht: ‘Johann Sebastian Bach als Schöpfer des Klavier Konzerts’, Quellenstudien zur Musik: Wolfgang Schmieder zum 70. Geburtstag, ed. K. Dorfmüller and G. von Dadelsen (Frankfurt, 1972), 69–77

H.-J. Schulze: ‘Johann Sebastian Bachs Konzertbearbeitungen nach Vivaldi und anderen: Studien- oder Auftragswerke?’, DJbM, xviii (1973–7), 80–100

A. Dürr: ‘Zur Entstehungsgeschichte des 5. Brandenburgischen Konzerts’, BJb 1975, 63–9

W. Breig: ‘Bachs Violinkonzert d-moll: Studien zu seiner Gestalt und Entstehungsgeschichte’, BJb 1976, 7–34

H. Eppstein: ‘Chronologieprobleme in Johann Sebastian Bachs Suiten für Soloinstrument’, ibid., 35–57

W. Breig: ‘Johann Sebastian Bach und die Entstehung des Klavierkonzerts’, AMw, xxxvi (1979), 21–48

R. Leavis: ‘Zur Frage der Authentizität von Bachs Violinkonzert d-Moll’, BJb 1979, 19–28

R.L. Marshall: ‘J.S. Bach's Compositions for Solo Flute: a Reconsideration of their Authenticity and Chronology’, JAMS, xxxii (1979), 463–98

H.-J. Schulze: ‘Ein “Dresdner Menuett” im zweiten Klavierbüchlein der Anna Magdalena Bach, nebst Hinweisen zur Überlieferung einiger Kammermusikwerke Bachs’, BJb 1979, 45–64

P. Ahnsehl, K. Heller and H.-J. Schulze, eds.: ‘Beiträge zum Konzertschaffen J. S. Bachs’, Bach-Studien, vi (1981)

H. Vogt: Johann Sebastian Bachs Kammermusik (Stuttgart, 1981; Eng. trans., 1988)

W. Breig: ‘Zur Chronologie von Johann Sebastian Bachs Konzertschaffen: Versuch eines neuen Zugangs’, AMw, xl (1983), 77–101

L. Dreyfus: ‘J.S. Bach's Concerto Ritornellos and the Question of Invention’, MQ, lxxi (1985), 327–58

C. Wolff: ‘Bach's Leipzig Chamber Music’, EMc, xiii (1985), 165–75; repr. in Bach: Essays on his Life and Music (Cambridge, MA, 1991), 223–38

L. Dreyfus: ‘J.S. Bach and the Status of Genre: Problems of Style in the G-minor Sonata bwv 1029’, JM, v (1987), 55–78

M. Marissen: ‘A Critical Reappraisal of J.S. Bach's A-major Flute Sonata’, JM, vi (1988), 367–86

C. Berger: ‘J.S. Bachs Cembalokonzerte’, AMw, xlvii (1990), 207–16

E. Lang-Becker: Johann Sebastian Bach: die Brandenburgischen Konzerte (Munich, 1990)

M. Boyd: Bach: the Brandenburg Concertos (Cambridge, 1993)

J. Swack: ‘On the Origins of the “Sonate auf Concertenart”’, JAMS, xlvi (1993), 369–414

C. Wolff: ‘Das Trio A-Dur bwv 1025: eine Lautensonate von Silvius Leopold Weiss, bearbeitet und erweitert von Johann Sebastian Bach’, BJb 1993, 47–67

M. Geck: ‘Köthen oder Leipzig?: zur Datierung der nun in Leipziger Quellen erhaltenen Orchesterwerke Johann Sebastian Bachs’, Mf, xlvii (1994), 17–24

M. Marissen: The Social and Religious Designs of J.S. Bach’s Brandenburg Concertos (Princeton, NJ, 1995)

M. Geck: Bachs Orchesterwerke (Witten, 1997)

Art of Fugue, Musical Offering, canons

W. Graeser: ‘Bachs “Kunst der Fuge”’, BJb 1924, 1–104

D.F. Tovey: A Companion to ‘The Art of Fugue’ (London, 1931)

H.T. David: J.S. Bach’s Musical Offering: History, Interpretation and Analysis (New York, 1945/R)

G.M. Leonhardt: The Art of Fugue, Bach’s Last Harpsichord Work: an Argument (The Hague, 1952)

H.-J. Schulze: ‘Johann Sebastian Bachs Kanonwidmungen’, BJb 1967, 82–92

C. Wolff: ‘Der Terminus “Ricercar” in Bachs Musikalischen Opfer’, ibid., 70–81

C. Wolff: ‘New Research on Bach's Musical Offering’, MQ, lvii (1971), 379–408

C. Wolff: ‘Überlegungen zum “Thema Regium”’, BJb 1973, 33–8

C. Wolff and others: ‘Bach's “Art of Fugue”: an Examination of the Sources’, CMc, no.19 (1975), 47–77

N. Kenyon: ‘A Newly Discovered Group of Canons by Bach’, MT, cxvii (1976), 391–3

W. Kolneder: Die Kunst der Fuge: Mythen des 20. Jahrhunderts (Wilhelmshaven, 1977, 2/1983)

W. Wiemer: Die wiederhergestellte Ordnung in Johann Sebastian Bachs Kunst der Fuge: Untersuchungen am Originaldruck (Wiesbaden, 1977)

U. Kirkendale: ‘The Source for Bach's Musical Offering: the Institutio oratoria of Quintilian’, JAMS, xxxiii (1980), 88–141

G.G. Butler: ‘Ordering Problems in J.S. Bach's Art of Fugue Resolved’, MQ, lxix (1983), 44–61

C. Wolff: ‘Zur Chronologie und Kompositionsgeschichte von Bachs “Kunst der Fuge”’, BMw, xxv (1983), 130–42; Eng. trans. in Bach: Essays on his Life and Music (Cambridge, MA, 1991), 265–81

E.T. Chafe: ‘Allegorical Music: the Symbolism of Tonal Language in the Bach Canons’, JM, iii (1984), 340–62

H.H. Eggebrecht: Bachs Kunst der Fuge: Erscheinung und Deutung (Munich, 1984; Eng. trans., 1993)

E. Bergel: Bachs letzte Fuge, die ‘Kunst der Fuge’, ein zyklisches Werk: Entstehungsgeschichte, Erstausgabe, Ordnungsprinzipien (Bonn, 1985)

R. Boss: Die Kunst des Rätselkanons im Musikalischen Opfer (Wilhelmshaven, 1991)

P. Schleuning: Johann Sebastian Bachs ‘Kunst der Fuge’: Ideologien, Entstehung, Analyse (Munich and Kassel, 1993)

P. Dirksen: Studien zur Kunst der Fuge von Johann Sebastian Bach: Untersuchungen zur Enstehungsgeschichte, Struktur und Aufführungspraxis (Wilhelmshaven, 1994)

M. Marissen: ‘More Source-Critical Research on Bach's Musical Offering’, Bach, xxv/1 (1994), 11–27

Bach, §III: (7) Johann Sebastian Bach: Bibliography

l: performing practice

W. Emery: Bach’s Ornaments (London, 1953)

F. Rothschild: The Lost Tradition in Music: Rhythm and Tempo in J.S. Bach’s Time (London, 1953/R)

A. Mendel: ‘On the Pitches in Use in Bach's Time’, MQ, xli (1955), 332–54, 466–80

W. Emery: ‘Is your Bach Playing Authentic?’, MT, cxii (1971), 483–8, 697–8, 796–7

H. Grüss: ‘Tempofragen der Bachzeit’, Bach-Studien, v (1975), 73–81

F. Neumann: Ornamentation in Baroque and Post-Baroque Music with Special Emphasis on J.S. Bach (Princeton, NJ, 1978)

K. Hochreiter: Zur Aufführungspraxis der Vokal-Instrumentalwerke Johann Sebastian Bachs (Berlin, 1983)

R. Kirkpatrick: Interpreting Bach’s Well-tempered Clavier: a Performer’s Discourse of Method (New Haven, CT, 1984)

H. Klotz: Die Ornamentik der Klavier- und Orgelwerke von Johann Sebastian Bach: Bedeutung der Zeichen, Möglichkeiten der Ausführung (Kassel, 1984)

A. Newman: Bach and the Baroque: a Performing Guide to Baroque Music with Special Emphasis on the Music of J.S. Bach (New York, 1985)

G. Stauffer and E. May, eds.: J.S. Bach as Organist: his Instruments, Music, and Performance Practices (Bloomington, IN, 1986)

R. Szeskus and H. Gruss, eds.: Aufführungspraktische Probleme der Werke Johann Sebastian Bachs (Leipzig, 1987)

H.-J. Schulze: ‘Johann Sebastian Bach's Orchestra: Some Unanswered Questions’, EMc, xvii (1989), 3–15

P. Badura-Skoda: Bach-Interpretation: die Klavierwerke Johann Sebastian Bachs (Laaber, 1990; Eng. trans., 1993)

J. Butt: Bach Interpretation: Articulation Marks in Primary Sources of J.S. Bach (Cambridge, 1990)

H.-J. Schulze: Bach stilgericht aufführen, Wunschbild und Wirklichkeit: einige aufführungspraktische Aspekte von Johann Sebastian Bachs Leipziger Kirchenmusik (Wiesbaden, 1991)

1. Leipzig, Dresden, 1710–46.

(8) Wilhelm Friedemann Bach

(45) (b Weimar, 22 Nov 1710; d Berlin, 1 July 1784). Composer and organist, eldest son of (7) Johann Sebastian (24) and Maria Barbara Bach. Trained by his father and endowed with brilliant gifts, he expressed himself in the genres of his time in a sensitive and highly cultivated musical language.

2. Halle, Brunswick, Berlin, 1746–84.

3. Works, reception.

WORKS

BIBLIOGRAPHY

1. Leipzig, Dresden, 1710–46.

He was baptized on 24 November 1710; his godparents were the Weimar chamberlain Wilhelm Ferdinand von Lynker, Anna Dorothea Hagedorn and Friedemann Meckbach, the last two acquaintances of J.S. Bach from Mühlhausen. Friedemann attended the Lutheran Lateinschule in Cöthen (1717–23), and from 14 June 1723 he was a day-boy at the Thomasschule in Leipzig. On 5 March 1729 he matriculated at Leipzig University, where his father had already registered him as a depositus on 22 December 1723; he attended lectures on law, philosophy, mathematics and other subjects. His early musical education, provided by his father, is documented in the Clavier-Büchlein vor W.F. Bach, begun on 22 January 1720 and containing entries (mainly in the hands of J.S. and W.F. Bach) up to about 1725–6. It is unlikely that this keyboard book reflects his very first systematic music lessons, since even the earliest entries are technically demanding. More plausibly it may be regarded as instruction in composition. Its repertory consists of works (inventions, sinfonias and preludes) that J.S. Bach probably wrote specifically for educational purposes, as well as several pieces by other authors (Telemann, G.H. Stölzel, J.C. Richter). It also contains fingering instructions, a table of ornaments after D’Anglebert, and Friedemann’s own first attempts at composition, written with paternal guidance around 1720 and 1725–6 (two allemandes bwv836–7 and four preludes bwv924a, 925, 932 and 931). From Christmas 1724 until August or September 1726 (i.e. while he was a pupil at the Thomasschule) W.F. Bach is known to have copied performing parts for his father, and around 1726 he took violin lessons from J.G. Graun in Merseburg ‘to enable him to compose according to the nature of that instrument’ (Marpurg).

At this period Friedemann accompanied his father several times to Dresden and thus became familiar with the city where he was later to live and work. He also visited Halle in 1729, when he delivered an invitation from his father to Handel, and on 29 March that year he performed in J.S. Bach’s funeral music for Prince Leopold in Cöthen. In December 1732 he stood godfather, in Udestedt, to Dorothea Wilhelmine, the youngest daughter of his cousin Tobias Friedrich Bach (40). Little is known about his musical development during his last few years in the parental home. Copies in his hand of organ works by his father (the C major concerto arranged from Vivaldi, bwv594, and the sonatas bwv525–8) suggest that he took a particular interest in organ playing at this period. By about 1730 he must already have acquired a considerable reputation as a virtuoso organist and harpsichordist, since he took over the teaching of Christoph Nichelmann that year, perhaps to lighten his father’s workload. Except for the attempts in the Clavier-Büchlein mentioned above, there is no certain evidence of any compositions written in Leipzig.

After failing in a competition for a post at Halberstadt in March 1731, Friedemann applied for the post of organist at the Dresden Sophienkirche which had fallen vacant on the death of Christian Petzold; his father wrote the letter of application and signed it in his name. He probably played J.S. Bach’s Prelude and Fugue in G bwv541 in the competition for this post. Christoph Schaffrath and Johann Christian Stoy were the other two short-listed candidates. Documents pertaining to the competition state that the deputy Kapellmeister Pantaleon Hebenstreit, who had been invited to adjudicate, praised ‘the skill of the younger Bach … adding that he was the best of these three well-qualified candidates’. Bach took up his duties on 1 August 1733; he was required only to play the organ for divine service and for the figural music performed on feast days, for which he was paid a modest salary of about 80 reichsthaler. However, the appointment gave him time to pursue other interests. He cultivated the acquaintance of Dresden court musicians such as J.G. Pisendel and S.L. Weiss, and presumably took an active part in the musical life of the court. A glimpse of his activities is provided by his mention of musical evenings at the house of the Electress Maria Antonia Walpurgis of Saxony, recalled in his dedication to her (in 1767) of his Harpsichord Concerto in E minor brC 12. It seems certain that he made close contacts with music-loving aristocrats, including the Russian ambassador Count von Keyserlingk, to whom Bach dedicated a harpsichord sonata from Halle in 1763, and the directeur des plaisirs C.H. von Dieskau, whose wife was godmother to Bach’s first son, Wilhelm Adolf, in 1752. At the same time Bach was teaching J.G. Goldberg, and continuing the study of mathematics he had begun in Leipzig under Johann Gottlieb Waltz (later court mathematician and Kommissionsrat). Bach is known to have been in Leipzig for four weeks in summer 1739, accompanied by the lutenists S.L. Weiss and Johann Kropfgans.

In Dresden Bach was also increasingly active as a composer. About 1735 he wrote the harpsichord concertos in A minor and D major (brC 14 and 9), several sinfonias (brC 1–6) and trio sonatas (brB 13–15) and a number of harpsichord sonatas and smaller keyboard works. The compositions of the later part of his Dresden period (c1740–46) include such works as the Concerto for two harpsichords in F major brA 12, the Harpsichord Concerto in F major brC 13 and the Sinfonia in D minor brC 7. The Harpsichord Sonata in D major brA 4 was Friedemann’s first work to be printed; it was published in spring 1745 and sold by his father in Leipzig and his brother Emanuel in Berlin. The intention of following it with another five sonatas was abandoned because of poor sales.

2. Halle, Brunswick, Berlin, 1746–84.

On 16 April 1746, the day that he signed the certificate of his appointment as organist to the Liebfrauenkirche in Halle, W.F. Bach also submitted a letter of resignation to the Dresden city council. He suggested that his father’s pupil J.C. Altnickol should replace him in Dresden, but Altnickol was not in fact chosen. For Bach, the move to Halle meant exchanging a city dominated by court life for a middle-class town, and a subordinate position for one of the most important organist posts in central Germany. In Halle he also held the title of director musices, and as well as playing the organ his duties included performing figural music on a regular basis, that is on all feast days, but only on every third ordinary Sunday. In his own compositions, Bach therefore concentrated on cantatas for special occasions, since these works could be re-used annually. With the increase in his official duties Bach’s income also improved, and indeed was more than doubled, for he now received an annual salary of some 180 reichsthaler. When he officially took up his post on Whit Sunday, 29 May 1746, he performed the cantata Wer mich liebet (brF 13). With its large-scale opening chorus and a virtuoso aria with organ obbligato, it is obviously intended for a grand occasion; the paper used for the autograph manuscript shows that he composed it while still in Dresden.

During his early years in Halle, Friedemann seems to have been in close contact with his father in Leipzig. He accompanied J.S. Bach to Berlin in 1747 on his visit to Frederick the Great, and in 1749–50 he and his father together supported the appointment of the organ builder Heinrich Andreas Contius to Frankfurt an der Oder. Friedemann seems also to have borrowed compositions of his father’s for performance in Halle (e.g. bwv31, 34 and 51). He made extensive use of his father’s compositions, especially after inheriting many of his cantatas in 1750. According to an (unverifiable) anecdote told by Marpurg, he was suspected of plagiarism on the occasion of a university ceremony in 1749, when he performed parody arias from one of his father’s Passions under his own name. Also in 1749, a performance was given in Leipzig of his Advent cantata Lasset uns ablegen (brF 1), perhaps with the purpose of influencing the choice of a successor to J.S. Bach there, a matter under early discussion by the Leipzig city council. Johann Friedrich Wilhelm Sonnenkalb, a pupil at the Thomasschule, mentioned performances by W.F. Bach, both at private concerts in his father’s house and publicly in the Grosse Concert.

Bach was embroiled in several conflicts over issues of responsibility and charges of exceeding his authority, including a dispute in 1749 with his Kantor, Johann Gottfried Mittag, who had misappropriated money due to Bach. In 1750 he was reprimanded for overstaying a leave of absence after his father’s death; he had gone to Leipzig to settle the estate, and had then escorted his half-brother Johann Christian to the care of Emanuel in Berlin, where he himself stayed for several months. It is difficult to establish the veracity of the many other anecdotes about Bach’s neglect of his official duties.

On 25 February 1751 Bach married Dorothea Elisabeth Georgi (1725–91), eldest daughter of the tax collector Johann Gotthilf Georgi. The marriage produced three children, two sons who died in infancy and a daughter, Friederica Sophia (b 27 Feb 1757). Bach seems to have had numerous pupils in Halle. As well as his distant relative Johann Christian Bach (77, the so-called ‘Halle Clavier-Bach’), who acquired important original sources from Friedemann, and F.W. Rust, whose estate contained invaluable copies of some of Friedemann’s keyboard works, they included Daniel Christoph Vahlkamp, J.S. Petri, Samuel Friedrich Brede, Christian Leberecht Zimmermann and Johann Carl Angerstein, who gave an account of W.F. Bach’s style of chorale accompaniment in his treatise Theoretisch-practische Anweisung, Choralgesänge nicht nur richtig sondern auch schön spielen zu lernen (Stendal, 1800). Bach was also in contact with the Halle printer J.J. Gebauer, who owned a collection of his keyboard works, and with Marpurg, the second part of whose Abhandlung von der Fuge (Berlin, 1754), containing 13 canons by Friedemann, is dedicated to the brothers W.F. and C.P.E. Bach. Godparental ties also connected him with the family of the organ builder H.A. Contius, and he seems to have maintained a connection with the court at Cöthen, since the princely couple were godparents to his daughter and Friedemann composed a set of pieces for a grandfather clock mechanism at the castle there (brA 63–80, previously ascribed to J.S. Bach as bwv Anh.133–50).

Bach’s increasing dissatisfaction with his Halle post is evident in his repeated, but unsuccessful, attempts to leave. In 1753 he applied for the post of organist at the Johanniskirche in Zittau, in competition with his brother Emanuel and his father’s pupils J.C. Altnickol, J.L. Krebs and Johann Trier; in 1758 and 1759 he applied for the position of Kapellmeister in Frankfurt, with a letter of recommendation from Telemann; and in 1762 he was involved in negotiations with the Landgrave of Hesse for the post of Hofkapellmeister in Darmstadt, which had fallen vacant on the death of Christoph Graupner. He seems to have drawn these negotiations out at some length intentionally, and to have broken them off in the end for unexplained reasons; however, in the dedication of the Harpsichord Concerto in E minor brC 12 to the Electress of Saxony in 1767 he credits himself with the title of Hofkapellmeister at Darmstadt, so it seems that the title had at some point been granted to him. After 1756 Bach’s attempts to leave Halle may well have been reinforced by the hardships of the Seven Years War, which bore down with particular severity on the city and its inhabitants. The authorities placed Bach in a high tax bracket because of his wife’s landed property, so that the taxes regularly levied on account of the war weighed heavily on him, and in about 1759 he was obliged to sell some of the music he had inherited from his father to Johann Georg Nacke, Kantor at Oelsnitz. The tension in Halle led to Bach’s leaving his post in May 1764, a decision he took without the security of any other prospective employment. In a letter written at the end of June 1764 he mentioned plans for leaving the city, perhaps in the hope of a position in Fulda. However, he stayed in Halle until at least October 1770, and seems to have supported himself chiefly by private lessons, though his financial situation was obviously deteriorating so drastically in these years that in February 1768 he re-applied (unsuccessfully) for his old post, which had become vacant again after the death of Johann Christoph Rühlmann.

While discharging his duties as organist and music director of the Liebfrauenkirche, Bach also resumed the publication of his keyboard works: in 1748 his Sonata in E flat major brA 7 appeared with a dedication to Privy Councillor Wilhelm von Happe, and the same piece was published again in November 1763 (not 1739 or 1768, as has variously been claimed), with a dedication to Count von Keyserlingk. In about 1765 Friedemann announced the publication of his 12 polonaises brA 27–38 and in October 1767 that of the Harpsichord Concerto in E minor brC 12, but nothing came of these plans. In manuscript both works were dedicated to noble patrons: the first half of the cycle of polonaises to the then director of the Petersburg Academy of Sciences, Vladimir Grigoryevich von Orlov, and the concerto to Maria Antonia Walpurgis, Electress of Saxony. The dedications of brA 7, 27–38 and C 12 are obviously connected with Bach’s search for employment outside Halle. A now lost Abhandlung vom harmonischen Dreyklang, mentioned by Marpurg in 1758 and announced by Friedemann himself in several advertisements in the same year, also remained unpublished. The content and purpose of this treatise is unknown, but it may have dealt with mathematical and philosophical issues.

The rest of Bach’s life was a tale of steadily deteriorating circumstances and unsuccessful attempts to obtain permanent employment. In 1770 his wife had to sell part of her property. The family left Halle and moved first to Brunswick, where they lived from about 1771 to the beginning of 1774. In summer 1773 Bach visited J.N. Forkel in Göttingen and in April 1774 he moved to Berlin, where he lived until his death. He applied for posts as organist at the Stadtkirche, Wolfenbüttel, and St Katharina, Brunswick, in 1771, and at the Marienkirche, Berlin, in 1779; documents relating to the Wolfenbüttel and Berlin posts reveal that the reason for his lack of success was his difficult character and unsteady way of life. In 1778 it seems that his efforts to find a permanent post even led him to try ousting J.P. Kirnberger as musician to Princess Anna Amalia of Prussia, whereupon the princess withdrew the financial support she had previously been granting Bach. This intrigue is known to us only from Kirnberger’s account of it; his rival Marpurg, in whose house Bach was living during these years, seems to have been involved as well.

In his later years Bach performed in public as an organ virtuoso on many occasions: in Göttingen in summer 1773, Brunswick (22 August 1773) and Berlin (4 May 1774 in the Garnisonkirche, 15 May 1774 in the Nikolaikirche and the Marienkirche, 9 June 1774 in the Marienkirche, and 10 October and 3 December 1776 in the Dreifaltigkeitskirche). These recitals contributed substantially to his reputation as the greatest living organ virtuoso and improviser, but this increase in improvising seems to have gone hand in hand with a decline in his ambitions as a composer. He apparently wrote only a few works in the last years of his life; they include the viola duets brB 7–9 (in part revisions of earlier works) and two of the six flute duets brB 1–6, the eight fugues dedicated to Princess Anna Amalia brA 81–8 (dedicatory copy dated 1778), the harpsichord sonatas in D and G brA 5, 14 and probably most of the fantasies. In 1778–9 Friedemann was working on an opera, Lausus und Lydie (a later libretto gives the title as Laurus und Lydie), but it was never completed and is now lost. The only pupil he is known for certain to have had in Berlin was Sara Levy, née Itzig, Felix Mendelssohn’s great-aunt.

Financial circumstances eventually forced Bach into the piecemeal sale of his music library and those of his father’s works he had inherited, as well as compositions of his own. On leaving Brunswick he entrusted the sale by auction of some of his music to J.J. Eschenburg, but whether the auction actually took place is not known; Bach himself did not make inquiries about the proceeds until four years later. It was presumably at this time, and in connection with the sale of manuscripts, that he manipulated the attribution of certain works. For instance, he gave the Vivaldi arrangement bwv596 the misleading inscription, ‘di W.F. Bach manu mei patris descriptum’, while he conversely ascribed works of his own to his father (e.g. Dienet dem Herrn, brF 25). During his last years Bach suffered from poor health and became increasingly resigned to retirement from public musical life, but he seems still to have been widely known at the time of his death, as the obituary in Cramer’s Magazin der Musik (1784) makes clear: ‘In him Germany has lost its foremost organist, and the musical world in general has lost a man who cannot be replaced’. Bach left his wife and daughter in great poverty; a benefit performance of Handel’s Messiah was given for them the following year.

3. Works, reception.

Little is known about the extent and location of Bach’s musical estate. Part of it was acquired second-hand in Berlin at the beginning of the 19th century by Carl Philipp Heinrich Pistor (1778–1847). Other items found their way into the library of the Berlin Singakademie through Sara Levy and C.F. Zelter, and some music evidently remained in the hands of Bach’s daughter and was taken by her descendants to the USA, where it was accidentally destroyed in recent years. The provenance of Georg Poelchau’s autograph manuscripts (now in D-Bsb) is still largely unexplained; some seem to have come from the organist Johann Nikolaus Julius Kötschau, others may have been acquired in Berlin in the early 19th century. The early dispersal of his works makes it difficult to assess W.F. Bach’s creative achievement satisfactorily. Extensive losses had probably occurred as early as 1800. Evaluations of Bach’s work have often been based on pieces incorrectly attributed (for instance the keyboard pieces in D-Bsb Mus.ms.Bach P 883–4).

In Leipzig Bach clearly concentrated more on virtuoso performance than on his career as a composer, perhaps in the depressing realization that he could never attain his father’s perfection in all musical genres. His creative energies were therefore expressed more readily in free improvisation, and particularly in his late years the improvisation of fantasies on the organ and harpsichord was very important to him. Only when he became relatively independent from his father in Dresden did Friedemann develop more fully as a composer, especially of keyboard music. Some of his early works (the Bourlesca brA 51, the Clavierstück brA 54) appear to derive from ideas that came to him while improvising. From the first, his compositions were marked by distinctly virtuoso tendencies; pieces like the harpsichord concertos in A minor and D major (brC 14, 9) and the Sonata in D major brA 4 are among the most difficult harpsichord works of their time. The last-named work is unique in its fusion of different stylistic and formal models; only the ‘Württemberg’ sonatas of C.P.E. Bach can to some extent compare with it. The Dresden compositions in particular employ many technical and stylistic features of J.S. Bach’s Clavier-Übung I, but even in these early works Friedemann’s individual and original style is strongly marked, above all in its characteristic melodic phrasings and a tendency to contrapuntal or imitative development. The capricious style of his ensemble music is obviously modelled on J.D. Zelenka.

In his cantatas, which were all probably written while he was in Halle, Bach employed melodic idioms of the Dresden operatic style, but in many details he followed his father’s style of vocal writing. In a series of cantatas probably composed about 1755, for instance, he included instrumental introductory movements, and his large-scale choral movements contain a number of complex fugues. Apart from this, his vocal style must have been strongly influenced by Telemann’s cantatas, which formed part of his performance repertory in Halle. Bach’s cantata Ach Gott, vom Himmel sieh darein (brF 19) is obviously modelled on Telemann’s setting of the same text (tvwv I:14). Bach’s vocal works illustrate the great demands he made on the technical abilities of singers and instrumentalists. He was rather conservative in his choice of texts, his favourite sources being Johann Jacob Rambach’s Geistliche Poesien (Halle, 1720) and Johann Friedrich Möhring’s Gott geheiligtes Beth- und Lob-Opffer der Christen (Zerbst, 1723).

The late keyboard works follow new stylistic ideals. There is a noticeable tendency towards formal, technical and melodic clarity in the sonatas, while some of the virtuoso fantasias anticipate 19th-century keyboard techniques. At the same time Bach obviously had a predilection for older forms such as the toccata and fugue.

The judgment of posterity on Friedemann Bach was chiefly influenced in the 19th century by the many anecdotes about his personal life that were spread after his death, particularly by Marpurg, J.F. Reichardt and J.F. Rochlitz – an image maintained to this day in A.E. Brachvogel’s popular pseudo-biographical novel. Scholarly study of W.F. Bach began with the works by Friedrich Chrysander and C.H. Bitter, although the work of the latter in particular suffers from prejudice, especially in discussion of the works. Martin Falck’s dissertation, published in 1913, is the first comprehensive monograph on the composer’s life and work, although many details are in need of revision. Falck’s work has been complemented by a series of specialist studies (including those of Braun, Miesner and Schulze) and individual groups of works have been more thoroughly discussed in studies of their genres (by Kelletat, Müller-Blattau and Schleuning).

Only a few of Bach’s works were at all widely known in his lifetime, among them the two printed harpsichord sonatas brA 4 and 7. Even better known were the 12 polonaises brA 27–38 (c1765) and the collection of eight fugues brA 81–8 (before 1778); more than 20 contemporary manuscript copies of the first collection, and almost 30 copies of the second, are known to have been in circulation. The polonaises were so popular, even at the beginning of the 19th century, that Friedrich Konrad Griepenkerl published them in 1819. Adverse circumstances prevented publication by Hoffmeister & Kühnel of Forkel’s planned edition of selected works. Bach’s sonatas and fantasies are now available in reliable editions, and a critical edition of the complete works was inaugurated by Carus-Verlag, Stuttgart, in 2000.

Although Friedemann Bach’s work is more limited in both quantity and stylistic variety than the music of his brother Emanuel, he must be ranked beside C.P.E. Bach as one of the major composers representing the period between Baroque and Classical composition.

WORKS

Catalogues: M. Falck: ‘Thematisches Verzeichnis der Kompositionen Wilhelm Friedemann Bachs’, Wilhelm Friedemann Bach: Sein Leben und seine Werke (Leipzig, 1913) [Fk; † = addn from Wollny (1993)]P. Wollny: Thematisch-systematisches Verzeichnis der Werke Wilhelm Friedemann Bachs, Bach-Repertorium, ii (in preparation) [BR]

keyboard, organ

Edition: Wilhelm Friedemann Bach: Orgelwerke, ed. T. Fedtke (Frankfurt, 1968) [FO]



BR	Fk

A 1	†200	Sonata (C), c1735–40, D-Bsb
A 2a	1b	Sonata (C) (early version), c1735–40, Bsb; 2nd movt. ed. in NM, clvi (1941)
A 2b	1a	Sonata (C) (later version), ? after c1750, Kiev, Archive for Literature and Art*; ed. in NM, clvi (1941)
A 3	2	Sonata (C), c1760–75, Kiev, Archive for Literature and Art*; ed. in NM, clvi (1941)
A 4	3	Sonata (D) (Dresden, 1745); ed. in NM lxxviii (1930)
A 5	4	Sonata (D), c1760–75, rev. c1778, Bsb*; ed. in NM, lxxviii (1930)
A 6	11	Sonata (D), 2 hpd, lost, listed in J.C. Westphal catalogue, 1782
A 7	5	Sonata (E) (Halle 1748, 1763); ed. in NM, lxxviii (1930)
A 8	†201	Sonata (Eb), c1775, Kiev, Archive for Literature and Art*
A 9	†204	Sonata (e), ?c1735–40, lost, formerly RUS-KA
A 10	†202	Sonata (F), c1735, D-Bsb
A 11a	6c	Sonata (F) (1st version), c1735–40, Bsb; 2nd movt. ed. in NM, clvi (1941)
A 11b	6b	Sonata (F) (2nd version), c1740, Bsb; 2nd movt. ed. in NM, clvi (1941)
A 11c	6a	Sonata (F) (3rd version), ? after 1750, Kiev, Archive for Literature and Art* [Trio from 2nd movt. = brA 80]; ed. in NM, clvi (1941)
A 12	10	Concerto (F), 2 hpd, c1740, Bsb; ed. in J.S. Bach: Werke*, xliii [attrib. J.S. Bach]
A 13a–b	40	Concerto (G) (2 versions), c1740, rev. ?c1775, Bsb
A 14	7	Sonata (G), c1775–80, Bsb*; ed. in NM, lxiii (1930)
A 15	8	Sonata (A), c1750–70, Bsb; ed. in NM, lxiii (1930)
A 16	9	Sonata (Bb), ?c1770, Bsb; ed. in NM, lxiii (1930)
A 17	14	Fantasia (C), c1770–75, Bsb; ed. P. Schleuning (Mainz, 1972)
A 18–19	15–16	2 fantasias (c, c), dedic. to G.U. von Behr, c1770–75, Bsb; ed. P. Schleuning (Mainz, 1972)
A 20–22	17–19	3 fantasias (D, d, d), c1770–75, Bsb; ed. P. Schleuning (Mainz, 1972)
A 23	20	Fantasia (e), 1770, Bsb; ed. P. Schleuning (Mainz, 1972)
A 24	21	Fantasia (e), c1770–75, Bsb; ed. P. Schleuning (Mainz, 1972)
A 25	22	Fantasia (G), ?c1750, Bsb [= brA 63]
A 26	23	Fantasia (a), c1770–75, Bsb; ed. P. Schleuning (Mainz, 1972)
A 27–38	12	12 polonaises (C, c, D, d, E, e, E, e, F, f, G, g), c1765, rev. c1775, F-Pc, PL-Kj*; ed. A. Böhnert (Munich, 1993)
A 39	24	Suite (g), ?c1730 [4th movt. = brA 48], D-Bsb; ed. A. Böhnert (Munich, 1993)
A 40–41	†205	2 allemandes (g, g), c1725, US-NH* [= bwv836–7]; ed. in NBA, V/5
A 42–43	—	2 minuets (G, g), c1725, US-NH* [=bwv841–2]; ed. in NBA, V/5
A 44–47	†206	4 preludes (C, D, e, a), c1726, US-NH* [=bwv924a, 925, 932, 931]; ed. in NBA, V/5
A 48	25/1	Minuet (g), D-Bsb
A 49a–c	25/2	Presto (Tempo di Menuet) (d), Bsb, US-NH
A 50	†208	Minuet (F), MS lost, formerly RUS-KA [also attrib. C.P.E. Bach]
A 51a–b	26	Bourleska (Imitation de la chasse) (C), c1735, D-Bsb*
A 52	27	Reveille (C), c1735–9, Bsb
A 53a–b	28	Gigue (G), c1735–9, Bsb
A 54	29	Clavierstück (Präludium) (c), c1740, Bsb*
A 55a–b	—	Scherzo (d/e), ?c1730–35 [=bwv844/844a]; ed. in J.S. Bach: Werke, xlii [attrib. J.S. Bach]
A 56	30	March (Eb), ?1770, Bsb
A 57	—	March (F), formerly RUS-KA [=brA 76]
A 58	13	Polonaise (C), D-Bsb [= Trio from 2nd movt of brA 11c; = brA 80]
A 59	—	Ouverture (E), Bsb
A 60	†209	Andante (e), ?c1775, GB-Cfm [= 2nd movt. of brA 13; see also ‘Secular vocal’, brH 1]
A 61	†203	Allegro non troppo (G), ?c1775, lost, formerly D-Bhm
A 62	—	Un poco allegro (C), c1775, LEm*
A63–80	†207	18 pieces for musical clock, 1759 [=bwvAnh.133–50]; ed. A. Klughardt [attrib. J.S. Bach] (Leipzig, 1897)
A 81–88	31	8 fugues (C, c, D, d, E, e, B, f), c1774–8, B-Bc, D-Bsb*; ed. in FO
A89	32	Fugue (c), before 1758, Bsb; ed. in FO
A 90	33	Fugue (F), c1740, Bsb; ed. in FO
A 91	36	Fugue (F), org, Bsb; ed. in FO
A 92	37	Fugue (g), org, US-NH; ed. in FO
A 93–99	38/1	7 chorale preludes, org, D-LEm; ed. in FO
A 100	38/2	Trio on ‘Allein Gott in der Höh’, org, lost
A 101–104	—	4 chorale preludes, doubtful, MS lost, formerly RUS-KA

chamber

B 1–6	54–9	6 duets (e, E, E, F, f, G), 2 fl, D-Bsb, Kiev, Archive for Literature and Art* (1745–70); ed. G. Braun (Wiesbaden, 1988)
B 7–9	60–62	3 duets (C, G, g), 2 va, c1775, Kiev, Archive for Literature and Art*; ed. Y. Morgan (Winterthur, 1994)
B 10–12	51–3	3 sonatas (F, a, D), fl, bc, lost, cited in Breitkopf catalogues, 1761, 1763
B 13–15	47–9	3 trios (D, D, a), 2 fl, bc, c1740, Kiev, Archive for Literature and Art*
B 16	50	Trio (B), vn/fl, vn, bc, before 1762, Kiev, Archive for Literature and Art
—	—	Trio (B), vn, hpd, US-CA, doubtful

orchestral

C 1–5	63, 67–69, 71	5 sinfonias (C, F, G, G, B), str (no.1 with 2 hn, 2 ob ad lib; no.3 with 2 ob, bn), c1735–40, MS lost, formerly D-Bsa
C 6	70	Sinfonia (A), 2 ob, bn, str, c1735–40, Bsb* (frag.)
C 7	65	Sinfonia (d), 2 fl, str, c1740–45, Bsb*; ed. W. Lebermann (Mainz, 1971)
C 8	64	Sinfonia (D), 2 ob/fl, bn, 2 hn, str, c1755, A-Wn* [used as introduction to brF 14 and ? G 1]; ed. W. Lebermann (Mainz, 1971)
C 9	41	Conc. (D), hpd, str, c1735–40, D-Bsb; ed. in SBA
C 10	42	Conc. (E), hpd, str, c1740–45, Bsb* (frag.)
C 11	46	Conc. (E), 2 hpd, orch, ?c1745, Bsb, Kiev, Archive for Literature and Art
C 12	43	Conc. (e), hpd, str, c1767, Bsb, Dl; ed. W. Upmeyer (Berlin, 1931)
C 13	44	Conc. (F), hpd, str, c1740–45, Bsb
C 14	45	Conc. (a), hpd, str, c1735–40, Bsb*
—	—	Conc. (D), fl, str, c1775, Kiev, Archive for Literature and Art
—	—	Conc. (g), hpd, str, Bsb, doubtful (? by J.C. Altnickol)

church cantatas

for SATB, instruments and continuo; MSS in D-Bsb unless otherwise stated


F 1	80	Lasset uns ablegen (J.F. Möhring), 1749
F 2	92	O Wunder, wer kann dieses fassen? (Möhring)
F 3	93	Ach, daß du den Himmel zerrissest (J.J. Rambach), 1755–60
F 4	†250	Ehre sei Gott in der Höhe, ?1759, F-Pc*; ed. K. Schultz-Hauser (Berlin, 1964)
F 5	73	Der Herr zu deiner Rechten (partly by Möhring), c1755
F 6	74	Wir sind Gottes Werke (Möhring), c1755
F 7	82	Wie schön leuchtet der Morgenstern, ?1764 [partly parody of brF 6 and 18]
F 8	74a	[cantata for Palm Sunday; parody of brF 6], lost
F 9	83	Erzittert und fallet, c1750–55; ed. in SBA
F 10	95	Auf, Christen, posaunt, Kiev, Archive for Literature and Art [parody of brF 24]
F 11	75	Gott fähret auf mit Jauchzen (Rambach), ?c1760–64
F 12	91	Wo geht die Lebensreise hin? (Möhring), c1755
F 13	72	Wer mich liebet, 1746
F 14	85	Dies ist der Tag (Möhring), c1755, F-Pc* [sinfonia = brC 8]; ed. in SBA
F 15	88	Ertönt, ihr seligen Völker (partly by D. Stoppe), c1755–60 [parody of brF 19]
F 16	[93]	Ach, daß du den Himmel zerrissest (after Rambach), c1755–60 [parody of brF 3]
F 17	89	Es ist eine Stimme (Möhring), ?1753
F 18	81	Der Herr wird mit Gerechtigkeit (Möhring), c1750–55
F 19	96	Ach Gott, vom Himmel sieh darein (Stoppe), 1752/3
F 20	76	Wohl dem, der den Herrn fürchtet, catechism music, c1750
F 22	86	Der Höchste erhöret das Flehen der Armen, on departure of G.L. Herrnschmidt, 3 Oct 1756 [partly parody of brF 18]
F 23	87	Verhängnis, dein Wüten entkräftet die Armen, for memorial service for Sophia Dorothea of Prussia, 24 July 1757 [parody of brF 22], PL-Kj*
F 24	95	Auf, Christen, posaunt, for the peace of Hubertusburg, 1763, Kiev, Archive for Literature and Art

other sacred

for SATB, instruments and continuo; MSS in D-Bsb unless otherwise stated

E 1	100	Missa (g), formerly D-LEm*
E 2	98	Missa (d)
E 3	78a	Heilig ist Gott, chorus
E 4	98b	Agnus Dei [= brE 2/5]
E 5	99/1	Amen, chorus, Kiev, Archive for Literature and Art*
E 6	99/2	Halleluja, chorus, Kiev, Archive for Literature and Art*
E 7	78b	Lobet Gott, unsern Herrn Zebaoth, chorus; ed. in SBA
F 21	77	Wie ruhig ist doch meine Seele, recit from catechism music, A, bc, ?c1753 [from pasticcio after bwv170/i and 147/i]
F 25	84	Dienet dem Herrn (Ps c.1–2), 1755, Kiev, Archive for Literature and Art, US-CA*
F 26	89/iii	Der Trost gehöret nur für Kinder (Möhring), aria, S, org, bc [= brF 17/iii], GB-Lbl*
F 27	94	Zerbrecht, zerreißt, ihr schnöden Banden (Rambach), aria, S, hn, org [? from lost cantata]
F 28	96/iv	Laß dein Wehen in mir spielen (Stoppe), aria, S, Fl, ob, org, bc, ?c1755 [= br F19/iv]
F 29	79	... Gnaden ein, aria (frag.), B, 2 fl, 2 ob, str, bc, ?c1750

secular vocal

G 1	90	O Himmel, schone, for birthday of Frederick the Great, 24 Jan 1756, SSATB, fl, tpt, 2 hn, timp, str, bc [partly parody of brF 9 and F 24; movts 1 and 7 lost, ? = brC 8]
G 2	106	Lausus und Lydie (op, C.M. Plümicke), 1778–9, inc., lost
H 1	97	Herz, mein Herz, sei ruhig, S, hpd, ?1780, Kiev, Archive for Literature and Art*

didactic

I 1	39	canons and contrapuntal sketches, c1735–40, Kiev, Archive for Literature and Art; some in F.W. Marpurg: Abhandlung von der Fuge*, ii (Berlin, 1754)
I 2–5	—	4 triple canons a 6; in J.P. Kirnberger: Die Kunst des reinen Satzes, ii (Berlin and Königsberg, 1776–9), 226–30
I 6	35	Fugal exposition (C), org, 14 June 1771, D-BS* [for organists’ audition at Katharinenkirche, Brunswick]
I 7	—	Fugal exposition on BACH, 25 July 1773, KIl * [in album of C.F. Cramer]

theoretical works

I 8

—

Abhandlung vom harmonischen Dreiklang, before 1754, announced 1758, unpubd, lost

BIBLIOGRAPHY

F. Chrysander: ‘Johann Sebastian Bach und sein Sohn Friedemann Bach in Halle, 1713–1768’, Jb für musikalische Wissenschaften, ii (1867), 235–48, esp. 241–8

C.H. Bitter: Carl Philipp Emanuel und Wilhelm Friedemann Bach und deren Brüder (Berlin, 1868)

W. Nagel: ‘W.F. Bach’s Berufung nach Darmstadt’, SIMG, i (1899–1900), 290–94

C. Zehler: ‘W.F. Bach und seine hallische Wirksamkeit’, BJb 1910, 103–32

M. Falck: Wilhelm Friedemann Bach: sein Leben und seine Werke, mit thematischem Verzeichnis und zwei Bildern (Leipzig, 1913/R)

P. Epstein: ‘W. Fr. Bachs Bewerbung in Frankfurt’, BJb 1925, 138–9

W. Guericke: Friedemann Bach in Wolfenbüttel und Braunschweig, 1771–1774 (Brunswick, 1929)

H. Miesner: ‘Einige neu entdeckte Notizen über die Familie Friedemann Bachs’, BJb 1931, 147–8

H. Miesner: ‘Urkundliche Nachrichten über die Familie Bach in Berlin’, BJb 1932, 157–63

H. Kelletat: Zur Geschichte der deutschen Orgelmusik in der Frühklassik (Kassel, 1933)

H. Miesner: ‘Beziehungen zwischen den Familien Stahl und Bach’, BJb 1933, 71–6

H. Miesner: ‘Graf v. Keyserlingk und Minister v. Happe: zwei Gönner der Familie Bach’, BJb 1934, 101–15

H. Miesner: ‘Portraits aus dem Kreise Philipp Emanuel und Wilhelm Friedemann Bachs’, Musik und Bild: Festschrift Max Seiffert, ed. H. Besseler (Kassel, 1938), 101–12

W. Serauky: Musikgeschichte der Stadt Halle, ii/2 (Halle, 1942/R)

C. Freyse: ‘Die Schulhefte Wilhelm Friedemann Bachs’, BJb 1951–2, 103–19

J. Müller-Blattau: ‘Bindung und Freiheit: zu W.F. Bachs Fugen und Polonaisen’, Festschrift Wilhelm Fischer, ed. H. von Zingerle (Innsbruck, 1956)

G.B. Weston: ‘Some Works Falsely Ascribed to Friedemann Bach’, Essays on Music in Honor of Archibald Thompson Davison (Cambridge, MA, 1957), 247–52

E. Simon: Mechanische Musikinstrumente früherer Zeiten und ihre Musik (Wiesbaden, 1960)

W. Strube: ‘Ein unbekanntes Probespiel Friedemann Bachs in Halberstadt’, Walcker-Hausmitteilungen, xxxi (July 1963), 42–3

W. Braun: ‘Material zu Wilhelm Friedemann Bachs Kantatenaufführungen in Halle (1746–1764)’ Mf, xviii (1965), 267–76

P. Schleuning: Die Freie Fantasie: ein Beitrag zur Erforschung der klassischen Klaviermusik (Göppingen, 1973)

H.-J. Schulze: ‘Ein “Drama per musica” als Kirchenmusik: zu Wilhelm Friedemann Bachs Aufführungen der Huldigungskantate bwv205a’, BJb 1975, 133–40

E. Borysenko: The Cantatas of Wilhelm Friedemann Bach (diss., U. of Rochester, 1981)

H.-J. Schulze: ‘Ein dubioses “Menuetto con Trio di J.S. Bach”’, BJb 1982, 143–50

H.-J. Schulze: Studien zur Bach-Überlieferung im 18. Jahrhundert (Leipzig und Dresden, 1984)

C. Henzel: ‘Zu Wilhelm Friedemann Bachs Berliner Jahren’, BJb 1992, 107–12

P. Wollny: Studies in the Music of Wilhelm Friedemann Bach: Sources and Style (diss., Harvard U., 1993)

P. Wollny: ‘Sara Levy and the Making of Musical Taste in Berlin’, MQ, lxxvii (1993), 651–88

P. Wollny: ‘Ein unbekanntes Autograph von Wilhelm Friedemann Bach’, BJb 1994, 185–90

P. Wollny: ‘Wilhelm Friedemann Bach’s Halle Performances of Cantatas by his Father’, Bach Studies 2, ed. D. Melamed (Cambridge, 1995), 202–28

4. Character and temperament.

(9) Carl Philipp Emanuel Bach

(46) (b Weimar, 8 March 1714; d Hamburg, 14 Dec 1788). Composer and church musician, the second surviving son of (7) Johann Sebastian Bach (24) and his first wife, Maria Barbara. He was the most important composer in Protestant Germany during the second half of the 18th century, and enjoyed unqualified admiration and recognition particularly as a teacher and keyboard composer.

1. Early years.

2. Berlin.

3. Hamburg.

1. Early years.

He was baptized on 10 March 1714, with Telemann as one of his godfathers. In 1717 he moved with the family to Cöthen, where his father had been appointed Kapellmeister. His mother died in 1720, and in spring 1723 the family moved to Leipzig, where Emanuel began attending the Thomasschule as a day-boy on 14 June 1723. J.S. Bach said later that one of his reasons for accepting the post of Kantor at the Thomasschule was that his sons’ intellectual development suggested that they would benefit from a university education. Emanuel Bach received his musical training from his father, who gave him keyboard and organ lessons. There may once have been some kind of Clavierbüchlein für Carl Philipp Emanuel Bach containing early compositions by Wilhelm Friedemann and works by the young C.P.E. Bach himself, as well as educational pieces by his father. J.F. Reichardt’s reference to the difficulty of playing the string parts in Bach’s orchestral works may be taken to indicate that he also learnt the violin or viola, but the argument that the difficulties result from his having held the violin incorrectly because he was left-handed is not convincing. From the age of about 15 he took part in his father’s musical performances in church and in the collegium musicum. He appears relatively seldom as a copyist, no doubt because, as an able musician himself, he was usually excused such duties. The one large-scale work of sacred music in Leipzig mainly copied by him is the anonymous St Luke Passion bwv246, obviously arranged by J.S. Bach to an urgent deadline for Good Friday 1730. On 1 October 1731 Emanuel matriculated at Leipzig University. Following his godfather’s example, he studied law, although he was obviously destined for a musical career. His first compositions were probably written about 1730. They consisted mainly of keyboard pieces and chamber music as it was understood in the 18th century (i.e. solos with continuo, trios and concertos).

At the age of 19 Emanuel applied unsuccessfully for the position of organist at St Wenzel in Naumburg (the letter of application, dated 19 August 1733, refers incorrectly to the cathedral of St Peter und Paul). In September 1734 he moved to the university in Frankfurt an der Oder, where he was prominent in musical activities; the Musikalische Akademie mentioned in his autobiography would have been a student collegium musicum. Besides his own compositions, he performed works by his father in Frankfurt, including the Ouverture in D major bwv1068, the Coffee Cantata and the Concerto in D minor bwv1052 in what was probably his own arrangement (bwv1052a). He also wrote occasional pieces for university events and for weddings. The genealogy of the Bach family compiled by J.S. Bach about 1735 makes it clear that C.P.E. Bach was also teaching the keyboard in Frankfurt. In about 1738 he was offered the opportunity to go on an educational tour abroad as companion to Heinrich Christian von Keyserlingk, a son of Reichsgraf Hermann Carl von Keyserlingk, a patron of J.S. and W.F. Bach. However, his appointment to the service of Crown Prince Frederick of Prussia prevented him from accepting.

2. Berlin.

The background to Bach’s entry into the service of the Prussian court is not clear. He says in his autobiography that his appointment became official only after the prince succeeded to the throne (as Frederick II) on 31 May 1740, but he then had the honour of accompanying the ‘first flute solo’ played by the new king ‘alone at the harpsichord’. The first mention of Bach in the court budget is as one of ‘those who joined the Kapelle in 1741’, so he must initially have been paid from the prince’s privy purse. The orchestra consisted of some 40 musicians and was one of the largest in Germany. It had grown out of the crown prince’s Kapelle in Ruppin and Rheinsberg, which was regarded as an outstanding ensemble, with Carl Heinrich Graun as Kapellmeister and his brother Johann Gottlieb as leader. Frederick, who took flute lessons from J.J. Quantz and studied composition with J.S. Bach’s pupil J.F. Agricola, usually played in the concerts himself. He was an enthusiastic advocate of the new italianate style of the time, and was also interested in Italian opera, which he promoted in the opera house inaugurated on 7 December 1742. As an absolute, though enlightened, monarch, Frederick dictated large areas of the musical life of Berlin and exerted considerable influence on the lively development of music in the city between about 1740 and 1755, but from the beginning of the Seven Years War at the latest his taste ceased to develop, and he eventually contributed to the stultification of musical life at court. The belief that Bach was poorly paid for his services is unfounded. His salary was 300 thalers a year from the time he took up his duties, as much as was paid to any of the other musicians engaged at the same time. Only those above him in the hierarchy – the Kapell- and Konzertmeister and the singers at the opera – were paid a distinctly higher salary.

Unless they were busy with chamber music, which was initially played to Frederick the Great daily, the court musicians took part in the performances of the Berlin Hofoper. Bach’s duties were considerably reduced from 1742 at the latest, when Christian Friedrich Schale was appointed second harpsichordist (succeeded by Christoph Nichelmann in 1745); the harpsichordists alternated monthly, and each drew a full salary. This meant that Bach could pursue other activities as a keyboard teacher and composer. His teaching in Berlin inspired the writing of his Versuch über die wahre Art das Clavier zu spielen (Essay on the True Art of Playing Keyboard Instruments; see §7 below), the most important 18th-century German-language treatise on the subject. However, Bach never won recognition at court as a composer and virtuoso: Frederick would allow only Hasse, the Graun brothers, Quantz and Agricola that status. Even the dedication to him of Bach’s first published work, the Prussian Sonatas h24–9 (w48) made no lasting impression on the king.

As early as 1743 an attack of the gout that was to trouble Bach all his life obliged him to visit the Bohemian spa of Teplitz for treatment. Early in 1744 he married Johanna Maria Dannemann, the daughter of a Berlin wine merchant. Of the three children of the marriage who lived to adulthood – Johann Adam (1745–89), Anna Carolina Philippina (1747–1804) and Johann Sebastian, also known as Johann Samuel (1748–78) – only the youngest showed any artistic inclinations. He became a painter, but died at the age of 30 in Rome. On 7 May 1747 the famous meeting between Johann Sebastian Bach and Frederick II, to which we owe the Musical Offering bwv1079, took place in Potsdam. However, it brought no improvement in Emanuel Bach’s position at court, and his efforts to leave Berlin can be traced from that time. On 25 August he completed an impressive and ornate vocal work, his Magnificat h772 (w215), which was intended to pave his way to a post as a church musician and was evidently performed in Leipzig during his father’s lifetime, but his applications for the position of Thomaskantor in Leipzig in 1750 and 1755 failed, even though he had Telemann’s support, and so did an application for the post of organist at the Johanniskirche in Zittau in 1753. A journey in early summer 1751 took him to Bückeburg, where his younger half-brother Johann Christoph Friedrich had been a court musician since early 1750. The occasion for the visit was the award of the Order of the Great Eagle by Frederick II to his childhood friend Count Wilhelm Friedrich Ernst zu Schaumburg-Lippe, and Bach dedicated his two trios h578–9 (w161) to the art-loving count. He travelled home by way of Halberstadt, Brunswick and Hamburg, where he visited Johann Mattheson on 15 June, and no doubt he also took the opportunity of visiting his godfather Telemann, with whom he regularly corresponded. Three years later, on 21 June 1754, he stood godfather to his cousin Johann Ernst Bach’s son Johann Carl Philipp in Eisenach; he combined this private reason for travelling with his professional interests, and gave concerts in Gotha and Kassel.

C.P.E. Bach took part in the première of Graun’s Tod Jesu on 26 March 1755, playing continuo. Tensions at the Berlin court came to a head that year. In his treatise Die Melodie, nach ihrem Wesen sowohl, als nach ihren Eigenschaften (Danzig, 1755) Christoph Nichelmann had criticized Emanuel Bach’s style for its affectation; Bach commissioned a polemical riposte by ‘Caspar Dünkelfeind’ – in all probability the organist Christoph Gottlieb Schröter of Nordhausen, a friend of the Bach family – and this in turn unleashed a further onslaught from Nichelmann. Early in May 1755, in a memorandum which survives only in extracts, Bach complained to the king about what he regarded as Nichelmann’s unwarrantedly preferential financial treatment, and threatened to give notice. Although the details are not known, this dispute finally led to Nichelmann’s leaving the service of the court, while Bach’s salary was raised by 200 thalers. On 1 February 1756 the young C.F.C. Fasch was appointed second harpsichordist at the standard salary of 300 thalers.

As a result of these quarrels Bach evidently distanced himself still further from court life. He mingled more in the private musical circles of Berlin, although again not many details are known. Some conclusions about the people who were Bach’s friends may be drawn from the character pieces in h79–82, 89–98 etc. (w117), most of them portraying prominent characters in the cultural life of the city, and from certain secular occasional compositions such as the aria La Sophie h125 (w117.40) and the song L'Ernestine h24 (w117.38). Bach was a member of the so-called first Berlin lied school, founded by Christian Gottfried Krause, and played a prominent, but not central, part in it. His songwriting brought him into close touch with F.W. Marpurg, the leading Berlin music critic at the time. Bach assisted Marpurg by providing music examples for his treatises (e.g. the fugues h76 and 99 (w119.1 and 2) and two Allegros h338 (w116.16 and 17)), and he also wrote a short essay on double counterpoint printed in Marpurg’s Historisch-kritische Beyträge, iii (Berlin, 1757/R). His merits were appreciated at this period in the circle around Princess Anna Amalia and Kirnberger. He composed most of the organ sonatas for the princess, and possibly the two organ concertos h444 and 446 (w34 and 35) as well. The importance of these private musical circles increased after 1756, for the outbreak of the Seven Years War meant that Frederick II visited Berlin only occasionally, and on the whole there was no court life. The war brought with it conditions of great austerity for the people of Berlin. Salaries were paid in paper money which had only a fifth of its supposed purchasing power. In view of the military threat, Bach joined the militia, but when Berlin was occupied by the Russian army in 1758 he moved to Zerbst to stay with Carl Fasch’s family. He made a brief visit to the court of Mecklenburg in Strelitz in 1762.

The close relationship of the character pieces to the sonatinas for one or two harpsichords and orchestra, written between 1762 and 1764, suggests that they were intended for domestic performance, like some of the keyboard and chamber music works, for example h143 and 507 (w65.33 and w74). Bach composed most of his symphonies at the same time, and probably for the same kind of milieu. He made his name throughout Germany with a quantity of publications in almost all musical genres apart from vocal compositions with orchestral accompaniment. Typically, it was he rather than his brother Wilhelm Friedemann, director of church music in Halle, who was commissioned to write a festive work for trumpets and drums to celebrate in that city the Peace of Hubertusburg in 1763 (the piece is now lost, unless it is identical with the march h621 (w188), which bears the still unexplained epithet ‘für die Arche’. After Telemann’s death on 25 June 1767 Bach applied to succeed him as music director of the principal churches of Hamburg. His competitors for the post were H.F. Raupach, J.H. Rolle (music director at Magdeburg), and his own half-brother Johann Christoph Friedrich Bach; he narrowly defeated Rolle in the second and deciding ballot. There is no evidence to support the statement in his autobiography of 1773 that he had previously turned down several other offers. Although he was appointed to Hamburg on 6 November 1767, he did not arrive there until March 1768: at first Frederick II refused to release him, and then a particularly hard winter made it impossible for him to leave Berlin any earlier. Meanwhile Georg Michael Telemann, the composer’s grandson, acted as interim director of church music in Hamburg. By appointing Bach her honorary Kapellmeister Princess Amalia brought a note of conciliation to the close of his period in Berlin. Johann Christian Schramm (c1711–96) from Dresden was appointed his successor in the royal Kapelle.

3. Hamburg.

Bach took over as director of sacred music in Hamburg on Easter Saturday (2 April) 1768, but he was not officially inaugurated in his new post until 19 April. A festive work written for the occasion by G.M. Telemann exists (in D-Bsb Mus.ms.21729), but Bach’s inaugural address, De nobilissimo artis musicae fine, is lost. His duties in Hamburg were much like his father’s in Leipzig. He was on the staff of the Hamburg Lateinschule (still in existence today as the Johanneum) and was responsible for the teaching of music there. However, he claimed one of Telemann’s privileges, that of engaging a deputy at his own expense to teach at the school. His main task was the organization of the music in Hamburg’s five principal churches, the Michaeliskirche, Jakobikirche, St Katharinen, Nikolaikirche and Petrikirche. According to a report made after Bach’s death, the number of musical performances was almost 200 a year – a difficult task for a small choral establishment consisting of pupils from the Johanneum and a few professional singers.

Telemann’s 40 years and more in Hamburg and his extraordinary creative powers, which remained with him into old age, had aroused expectations which Bach certainly could not satisfy. He worked relatively slowly, and consequently tried to avoid the pressure of deadlines by planning well ahead. For instance, the Passion music for 1768 was evidently written for the most part while Bach was still in Berlin (and its performance was postponed until 1769 because of his delayed move to Hamburg), and in subsequent years he usually completed his Easter preparations by the previous Christmas. A plan to compose two cantata cycles for the church year, mentioned to G.M. Telemann in 1771, was never realized. Instead, much of the music he performed was by other composers (in particular Georg Benda, G.A. Homilius and G.P. Telemann), which Bach adapted, as was usual at the time, by changing the instrumentation, composing additional movements and, in particular, revising recitatives. Only for the ‘Quartalsmusiken’ – performed in turn in all the principal churches at the main festivals of Easter, Michaelmas and Christmas – did he write works of his own in appreciable numbers. In line with a tradition dating from the 17th century, Bach annually compiled Passions based on the accounts from the four Gospels in strict rotation, and these were performed in several smaller churches as well as in the principal churches of Hamburg. The official sacred music of the city thus consisted to a great extent of works by other composers and pasticcios, laying Bach open at first to accusations of performing his duties only vicariously. On the other hand, he took great pains with works commissioned for special occasions, such as the inauguration of clerical or administrative officials or mayoral funerals. Twice, in 1780 and 1783, he composed music for the celebrations of the ‘Bürgerkapitäne’, and in 1770 an Italian festive chorus for a visit by the Crown Prince of Sweden, later King Gustav III. He turned his attention in particular to oratorio, which was performed as often in churches as in concert halls, although obviously not within regular church services, since female singers took part (including Elisabeth Winthem, Klopstock’s wife). All three of Bach’s sacred oratorios – Die Israeliten in der Wüste, Die Auferstehung und Himmelfahrt Jesu and the cantata h776 (w233), derived from the first Passion music Bach composed for Hamburg – were performed beyond Hamburg itself; they are among the most important Protestant vocal works of the second half of the 18th century.

Bach’s circle of friends during his early years in Hamburg included Gotthold Ephraim Lessing, whom he had known in Berlin, and the syndics Hans Jacob Faber and Jacob Schuback; later, his friends included theologians such as Christoph Christian Strum, the professor of mathematics Johann Georg Büsch, who with Christoph Daniel Ebeling was head of the Handlungsakademie, and the physicians Friedrich Ludwig Christian Cropp, Johann Albert Heinrich Reimarus and Johann August Unzer. Bach was also a close friend of F.G. Klopstock, living in retirement, and he took care to maintain friendships outside Hamburg: with J.N. Forkel in Göttingen, J.J. Eschenburg in Brunswick, J.G.I. Breitkopf in Leipzig, Johann Friedrich Hering in Berlin, Ewald von Grotthus in Gieddatz (Curland) and Johann Jacob Heinrich Westphal in Schwerin. Bach was regarded as the undisputed leading figure in the musical society of Hamburg, and many musicians, men of letters and other artists visiting the city sought him out. The accounts relating to his early years in Hamburg by Matthias Claudius, Charles Burney and J.F. Reichardt are particularly informative. At this time Bach was much involved in teaching, and his pupils included professional musicians such as J.D. Holland, C.F.G. Schwencke and Nils Schiørring, and the future mayor of Altona, Casper Siegfried Gähler.

Besides performing his official duties as director of church music – a post that (except during a severe illness from February to April 1772) he filled conscientiously until his last years while (unlike Telemann and Schwencke) remaining on good terms with the contentious Hamburg clergy – Bach assumed from the beginning a leading position in the city’s concert life. In winter 1768–9 he announced a series of 20 subscription concerts; the following winter there were at least six concerts, and 12 Wednesday concerts were advertised for winter 1771–2. Over the next few years there were considerably fewer concerts in which Bach featured as a keyboard player; as far as is known, he stopped giving public concerts when he was 65. As well as his own oratorios he performed a number of other composers’ works in Hamburg, including Graun’s Tod Jesu and Telemann’s Seliges Erwägen and the Donnerode. Bach brought his public appearances (outside his official duties) to a close with a ‘historical’ concert on 9 April 1786, consisting of one of his own orchestral symphonies, isolated movements from works by J.S. Bach (the Credo from the Mass in B minor with a newly composed introduction) and Handel’s ‘I know that my Redeemer liveth’ from Messiah and his own two most powerful compositions, the Magnificat and the Heilig for double choir h778 (w217). Bach remained actively creative until the last year of his life, although he was in poor health after summer 1788. The double concerto for keyboard, piano and orchestra w47 (probably commissioned for Sara Levy in Berlin), the three quartets for harpsichord, flute and viola h537–9 (w93–5), preparations for a collection of songs, h700–60 (w200), published by Donatius in Lübeck in 1789, and a pasticcio Passion for 1789 were all written in Bach’s last year. He died on 14 December 1788 of a ‘chest ailment’, and was buried on 19 December in the crypt of the Michaeliskirche (the location of his grave was identified only in 1925). After his death Johanna Maria Bach temporarily administered the office of music director. Proposals for a reorganization of church music in Hamburg meant that a successor to her husband was not appointed until autumn 1789, and it was only in December that year that she handed the post over to C.F.G. Schwencke, who had been elected on 1 October in preference to J.A. Hiller and Bach’s own protégé J.N. Forkel.

4. Character and temperament.

Among his contemporaries Emanuel Bach had the reputation of being a pleasant, sociable man with a gift for wordplay, who was not afraid of making critical remarks even to persons of high rank. He seldom took sides in musical controversies, but when he did he expressed himself vigorously; some light is shed on his own views by his comment, printed in the Hamburgischer Unpartheyischer Correspondent of 20 September 1785, on an English newspaper report claiming that there was tension between him and Haydn: ‘It is my belief that every master has his own true worth. Praise and blame can do nothing to alter it. The work alone allots praise or blame to the master, and I therefore take everyone as I find him’. He reacted angrily to criticism of his father and to the publication of unauthorized editions, vehemently attacking Birnstiel’s edition of J.S. Bach’s chorales and Rellstab’s reprints of his own works issued when Rellstab took over the publishing firm of Emanuel’s friend G.L. Winter. Nor did he conceal his dislike of the modern Italian music of the time, in particular of such excesses as the intrusion into sacred music of stylistic elements from comic opera. He also had a low opinion of the style developed by Johann Schobert and by his own half-brother Johann Christian.

Bach was a good businessman. Most of his publications were commercially successful, and indeed he preferred not to publish a work if he thought it unlikely to sell, as in the case of his Auferstehung und Himmelfahrt Jesu in 1784. His business acumen was sometimes interpreted as avarice, but he was extremely generous to his friends and family, and would give them copies of his printed works and autograph manuscripts that he no longer needed, or let them have copies at cost price to himself. He took his half-brother Johann Christian into his family after their father’s death and later did the same for his nephew Wilhelm Friedrich Ernst on the latter’s return from England; he also provided regular financial support for his widowed half-sister Elisabeth Juliana Friederica. He was particularly close to his half-brother Johann Christoph Friedrich, exchanging sheet music with him on a regular basis.

Bach would often play for hours to visitors, his favourite instrument being a clavichord built by Gottfried Silbermann which he passed on to his pupil and friend Ewald von Grotthuss in 1781, together with the rondo Abschied von meinem Silbermannischen Claviere h272 (w66); Grotthuss responded with thanks in the form of a rondo composed by himself. Writing about rhetoric in his Essay on the True Art of Playing Keyboard Instruments, Bach emphasized that the musician must be able to place himself in the same emotional state as he wishes to arouse in his hearers, and warned against mannerisms and exaggerations. When improvising he seemed quite enraptured; his playing as a whole was notable for its clarity and cantabile style, and left a lasting impression on his audience.

Like many other musicians and music lovers of the time, Bach owned a large collection of portraits of musicians, which he was always seeking to extend through purchase and exchange. He even toyed with the idea of publishing a catalogue of his collection, but that project was realized only after his death.

5. Works: general.

In a composing career of almost 60 years Emanuel Bach wrote over 1000 separate works, ranging from songs to oratorios and from keyboard dance movements to orchestral symphonies. He must have begun compiling a catalogue of his own works at an early date, and it served as the basis for the Nachlass-Verzeichnis, or catalogue of his musical estate, printed in Hamburg in 1790. By about 1770 at the latest Bach had lists available enabling him to choose works for customers outside Hamburg who gave him details of the compositions they wanted and those they already owned. The Nachlass-Verzeichnis lists his works systematically classified into groups, with dates and places of composition. It gives information about published editions, while unpublished works are identified by their titles and the first words of the text where applicable, or by the opening bars in the case of instrumental works. The Nachlass-Verzeichnis is probably the earliest catalogue of the works of a single composer that can still satisfy the requirements of scholars today. Its publication served as both a record of Bach’s creative activity and part of the provision he made in old age for his wife and children, since it was intended to facilitate the purchase of compositions by interested parties outside Hamburg. The relatively large number of extant copies made in Hamburg around 1790 shows that the opportunity was taken up.

The Nachlass-Verzeichnis is our major source for the precise details of Bach’s output, and in many cases it gives more information about dates and places of composition than the autograph manuscripts. However, it is reliable only on the works of Bach’s prime. In the course of a systematic survey of his music collection made in 1786, he destroyed a number of juvenilia, sketches and rejected versions (the precise details cannot now be determined), as we learn from a letter he wrote to Eschenburg on 21 January 1786. Moreover, certain occasional works, such as the cantatas of his Frankfurt period, may no longer have been available to him at this date.

Bach’s musical estate remained intact until about 1797, apart from a few items auctioned in 1789. After Johanna Maria Bach’s death, however, the composer’s daughter Anna Carolina Philippina began disposing of some items, particularly works by other composers and portraits. After her death what remained of the estate was sold at auction. Much of it came into the hands of such collectors as Casper Siegfried Gähler in Altona and Georg Poelchau in Hamburg, and passed from their collections to Berlin before the great fire of 1842 in Hamburg. At the beginning of the 20th century, consequently, almost all the works were still extant in Bach’s autograph or in copies made under his supervision, and were available for modern scholarly evaluation. However, considerable losses, particularly of the occasional works written in Hamburg, were sustained during World War II when sources in the Berlin Singakademie and the library of Königsberg University were removed or destroyed. Those from the Berlin Singakademie were, however, recovered in Kiev in 1999. The next most important collection after Poelchau’s was made by the Schwerin organist Johann Jacob Heinrich Westphal (1756–1825). It comprised almost all the instrumental works in original prints and manuscript copies, as well as many vocal compositions. Most of it is now in the library of the Brussels Conservatory, which also acquired original manuscripts of symphonies and chamber works from the Guido Richard Wagener collection; a smaller portion passed with the Fétis collection to the Bibliothèque Royale Albert Ier, also in Brussels. There are also particularly valuable collections in the Library of Congress, Washington (purchased mainly in the Berlin antiquarian market around 1900), the Bibliothèque Nationale, Paris (including autographs from the Charles Malherbe and Auguste Vincent collections), and the Gesellschaft der Musikfreunde, Vienna (domestic copies and autographs from Brahms’s estate and gifts from Anthony van Hoboken). In spite of losses the source material is good, and scholars face few problems of authenticity or chronology.

We have no information about Bach’s methods of composing. However, the few extant sketches (most of which survive only because he wrote them on blank spaces in manuscripts of other works destined to be kept) suggest that after the 1740s he sketched his compositions extensively before polishing them. Interim sketches of vocal works are usually set out on two systems (voice and bass), with only minimal indication of the text. Instrumental works are usually notated on one system only, though with indications of harmony or important subsidiary parts. Final versions often diverge only slightly from the sketches; however, some sketches do not fit any of the extant works, and we may surmise that the composer quite often noted down ideas which he never developed. There is support for this theory in a comment Bach made, on the composition of keyboard fantasias, in a letter to Forkel of 10 February 1775, saying that he had ‘a great many collectanea for that purpose’, and in the existence of a manuscript entitled Miscellanea musica h867 (w121, unfortunately extant only in a copy), only part of which coincides with the collectanea mentioned in the letter.

Bach’s ornamentation, arrangements and revisions pose considerable musicological problems because of the complex relations between the sources, Bach’s own mingling of procedures and the terminological inconsistency that still persists. His ornamentation entailed the writing down of procedures adopted in performance, as he remarked in a letter of 28 April 1784 to Johann Heinrich Grave in Greifswald, accompanying a copy of the Concerto in C minor h441 (w31) of 1753: ‘The concerto in C minor used to be one of my showpieces. The recitative is written out very much as I played it’. Prominent among his ornamental devices are the ‘varied repeats’, probably used for the first time in the third movement of the Probestück h74 (w63.5) in the Essay and developed further in the six sonatas h126, 136–40 (w50: 1760) dedicated to Princess Anna Amalia of Prussia. In his preface to the collection he described its aesthetic background, commenting that ‘variation in repeats is indispensable today’. It is expected to such a degree in performance, he adds, that the clumsiest of variations receive more applause than a faithful note-by-note rendering of the music as set down by the composer. He believed, he said, that ornamentation must suit the emotional affect of the piece, taking harmonic requirements into account, and must have some claim to be at least as good as the original. Here Bach was entering the debate on the variations of musical ideas expressed, for instance, in a series of articles signed ‘T.S.’ and published in the Berlinischer Magazin (reprinted in J.A. Hiller’s Wöchentliche Nachrichten) and in a contribution by F.W. Riedt to Marpurg’s Historisch-kritische Beyträge (ii, 1756). G.S. Löhlein’s op.2 sonatas (1768) are in direct line of descent from Bach. Except in the ‘Short and Easy Keyboard Pieces’ h193–203, 228–38 (w113, 1766;w114, 1766), Bach himself continued the practice of varied repeats only occasionally, for instance in the sonatas h240, 83 and 135 (w62.24, 65.29 and 65.32). However, a number of other sonatas and slow movements from concertos were varied and ornamented at dates that cannot now be determined; the Sonata in C major h150 (w51.1) even exists in two different ornamented versions, h157 and 174 (w65.36, 37). It is clear from the section ‘Variations and ornaments to certain sonatas and concertos for students’ in the Nachlass-Verzeichnis (p.53 no.11) that these ornaments were written down for teaching purposes. The original versions remained concurrent with, or were even preferred to, the ornamented versions and circulated in prints and authorized copies to which the ornamented versions represent alternatives. Ornamentation in the wider sense includes the cadenzas h264 (w120), numbering over 70. A striking feature is that several concerto movements are allotted more than one cadenza; a few bear general descriptions such as ‘cadenza for the Adagio’ and cannot be assigned to any of the surviving works.

Bach’s arrangements involve alterations in the scoring of a work. In the simplest cases they are merely alternative versions. Many of the Berlin trio sonatas exist in versions for two melody instruments and continuo or for one melody instrument and obbligato harpsichord; the Sonata in C h515 (w87), a special case, exists also in a version for two harpsichords. The composer’s arrangements here are chiefly limited to octave transpositions to suit the chosen instruments. There are variant settings among the concertos too: the Concerto in A minor of 1750 exists in authentic versions for cello (h432; w170), flute (h431; w166) and harpsichord (h430; w26); in all three versions the accompanying parts are the same except for some slight changes to the continuo. It is not always possible to be sure which is the original version. Other arrangements entail the rescoring of works for larger forces, particularly frequent in Bach’s symphonies. He also rearranged several songs with keyboard accompaniment for chorus; but it is debatable whether the term ‘arrangement’ is adequate for such processes of revision as occur in the reworking of Bitten, a strophic song with keyboard (h686.9; w194.9), as a four-part through-composed song motet (h826.3; w208.3).

Revision proper differs from the procedures described above in that the composer made substantial changes to the actual musical material and intended the second version to supersede the first. Revisions include newly composed or substitute movements (for example the new version of ‘Et misericordia’ in the Magnificat and that of ‘O Petrus, folge nicht’ in the Passion cantata), but above all reworkings of existing compositions, chiefly instrumental pieces from the Leipzig and Frankfurt periods, some of which Bach himself marked as ‘rewritten’ in the Nachlass-Verzeichnis. Judging from what can be traced in the sources, Bach cut some passages and extended others, eliminated whole movements, and now and then rewrote older works to adapt them to new compositional styles while retaining their form and thematic substance. Many of his early works, for instance the March bwv Anh.127, exist in three or more different versions. A number of major revisions are not noted in the Nachlass-Verzeichnis, including that of h211 (w65.44) the original central movement of which was incorporated in a revised form into the Sonata in B h282 (w59.3) in 1748 and replaced by a few transitional chords in h211 (w65.44), and that of Auferstehung und Himmelfahrt Jesu between 1774 and 1778, when Bach added a slow introduction and replaced the dramatis personae in the recitatives with a neutral testo. Although Emanuel Bach, like his father and his elder brother Wilhelm Friedemann, continued working on his compositions all his life, adapting them to changing conditions of performance and to different aesthetic requirements, various main phases of revision can be distinguished. Between 1743 and 1747 he revised works written before 1740; in the context of his publishing activities around 1760 he revised many earlier works, for example h171–2, 216 (w116.1, 2, 5) and h77 (w62.14); and during his Hamburg period he added wind parts to many of the orchestral works. A final phase of revision around 1786 was no doubt carried out so as to leave his musical estate in good order for his heirs; it included the systematic replacement of the slow movements in the sonatinas h7–12 (w64) in order to remove their outmoded tonal unity with a view to publication. There is no suitable term for Bach’s transfer of thematic material to a different musical genre, as occurred with some of the character pieces.

6. Keyboard music.

The keyboard music that Bach composed almost without interruption from about 1730 to the last years of his life lies at the heart of his creative work. The sources suggest that he began by composing separate dance movements, marches, minuets and polonaises. Some of these were entered in his own hand (c1732) in the Clavierbüchlein for Anna Magdalena Bach. Models were to hand in the first part of J.S. Bach’s Clavier-Übung; the Partita in G major bwv829 seems to have made the greatest impression on him, as can be seen from the minuet with hand-crossing, h1·5 (w111), and the G major suite (D-Bsb Mus.ms.Bach P 368), which is anonymous but can be shown to be at least partly by C.P.E. Bach. Dance movements could then be put together into cycles, preserving tonal unity; examples may be found in a manuscript volume (D-Hs ND VI 3191), thought until 1991 to have been lost, which contains sources going back to Bach’s years in Frankfurt. The composition of suites seems to have been considerably more important to Bach’s early creative period than the catalogue in the Nachlass-Verzeichnis might suggest. It is noticeable that the young Bach adopted the standard movements of his father’s suites only in exceptional cases; only the allemande and gigue are prominent, and feature in some of the keyboard ‘sonatas’ of the 1730s and 40s. Otherwise the composer showed an early preference for fantasia-like movements, which for all their technical deficiencies display harmonic boldness and a high degree of originality. J.S. Bach’s two- and three-part Inventions also provided an important stimulus (as they did later to Emanuel’s half-brother Johann Christoph Friedrich), for example in the first movement of h3 (w65.1); three-part invention style occurs chiefly in slow movements, including those of the sonatas h26 (w48.3) and h34 (w49.5).

Two collections of six keyboard sonatas, h24–9 (w48; the ‘Prussian’ sonatas, printed in 1742) and h30–34, 36 (w49; the ‘Württemberg’ sonatas, intended for Bach’s pupil Carl Eugen of Württemberg and printed in 1744), form a landmark in the history of keyboard music. They indirectly bear out Mattheson’s polemical statement in Der vollkommene Capellmeister (Hamburg, 1739/R): ‘For some years now composers have been writing sonatas for keyboard to great acclaim, but they do not yet have the right form, wishing to be moved rather than to move; that is to say, they aim more at the touch of the fingers than to touch the heart’. J.F. Reichardt claimed with justice in his Musikalischer Almanach of 1796 that ‘no instrumental music had previously appeared in which as rich and yet well-ordered a harmony was united with such noble song, so much beauty and order with such originality, as in Bach’s first two sonata collections engraved in Nuremberg’. In these collections Bach systematically, and for the first time, showed how it was possible to write affecting keyboard music freed from the suite tradition, and he was able to develop his ideas over the following decades; the experimental instrumental recitative that serves as the central movement of the first Prussian sonata, for example, impressively illustrates a style of utterance to be found in the newest instrumental music. Unity of affect is evident in the dense thematic working of the opening movements of h24 (w48.1) and h30 (w49.1). Fantasia-like elements occur more particularly in the sonatas in E minor and B minor, h33, 36 (w49.3, 6), while the closing movement of h29 (w48.6) is particularly full of surprises. The unusual importance ascribed to these collections even by Bach’s contemporaries is evident from the fact that the Württemberg sonatas were still being reprinted in Vienna and Pest around 1800. Bach established quite early a basic three-movement sonata pattern in these collections, with fast opening and closing movements and a slow central movement in a related key. Later he also experimented with the use of different keys for all three movements, with transitional passages between movements and – particularly in the last years of his life – very short central movements. Like his father, Emanuel Bach regarded his printed collections as models, and made them as different as possible with a view to their usefulness in teaching.

Nowhere in Bach’s work is the distinction so clearly drawn between professional and amateur music-making, and between works written to commission and those for personal development, as in his keyboard compositions. The published works are principally for amateurs, particularly the collections published during the 1760s: the six ‘Easy Sonatas’ h162–3, 180–83 (w53; Leipzig 1766) and the six sonatas ‘à l'usage des dames’ h184–5, 204–7 (w54) eschew the daring of the early works. The Württemberg sonatas, with their greater technical and musical demands, constitute an exception among Bach’s printed works; unusually for Bach, they present public evidence that the composer was undergoing a personal mental crisis (most of the sonatas were written in Teplitz, where he was taking the waters in 1743, when an acute attack of gout at the age of only 30 seemed to endanger his career as a keyboard virtuoso). Most of the other experimental sonatas of this period were distributed by Bach to his friends only in manuscript copies or were published many years later; this group includes the sonatas h46–7 and 51 (w65.16–17 and 65.20) and the Sonata in F sharp minor h37 (w52.4).

Bach’s composition and publication of keyboard works temporarily moved into the background to some extent after 1770. He rounded off his keyboard writing with the six collections of keyboard sonatas ‘für Kenner und Liebhaber’; by public demand he included rondos in the second collection and rondos and fantasias in the third and subsequent collections. While the first collection, published in 1779, was a compilation of older compositions (h130 (w55.2) dates from as early as the 1750s), new compositions predominate in the later volumes, which employ a less astringent tonal language than the early keyboard sonatas and earned respect as individual creations fit to stand beside the works of Haydn and Mozart. The rondos were particularly popular, and for a while Bach considered publishing a separate collection of them. The number of subscribers began to fall, however, not necessarily because of any slackening of interest in Bach’s works but perhaps because of the competition provided by the soaring number of published keyboard sonatas by composers from north and central Germany and Vienna after about 1780; there was also a change in market conditions, with series sold in bookshops superseding individual subscriptions. From Bach’s letters to Breitkopf in May 1788, offering all remaining copies of the Clavier-Sonaten für Kenner und Liebhaber at a fixed price (obviously to spare his family the trouble of selling his works after his death), it is clear that at this point over half the entire edition of 6300 copies had been sold, bringing Bach a considerable profit of over 3000 thalers, or 10,000 marks (several times his annual salary).

7. The ‘Essay’.

Bach’s keyboard music cannot be assessed in isolation from his didactic writing. Around the middle of the 18th century amateur music-making assumed proportions scarcely imaginable previously. As a result, there was a growing demand for instruction books and performance manuals, particularly in Berlin, where music-making had been encouraged to an extraordinary degree by the example of the flute-playing King Frederick II. In 1750 Marpurg had published a short manual entitled Die Kunst das Clavier zu spielen, which proved so successful that it was reprinted the following year. With his Essay on the True Art of Playing Keyboard Instruments Emanuel Bach provided what was to be the leading keyboard tutor for a long period. Together with Quantz’s flute tutor of 1752, Leopold Mozart’s violin tutor of 1756, and J.F. Agricola’s singing manual of 1757 (after P.F. Tosi), it was the most important work of practical musical instruction of the second half of the 18th century.

The first (self-contained) part, which appeared in 1753, sets out the basics of keyboard performance in three sections, tacitly giving precedence to the elements of harmony. The first section deals with fingering, for, says Bach, ‘more is lost by incorrect fingering than can be compensated for by all the art and good taste in the world’. Bach encouraged the use of the thumb but recommended avoiding it on black keys, and restricted the crossing of fingers still quite common at the time. Naturally, all his examples show the fingering. The second section deals with ornaments, distinguishing between those indicated by signs (Quantz’s ‘essential ornaments’) and those written out in full (‘optional ornaments’). The third section deals with ‘good performance’, comprising both practical and aesthetic criteria. Bach saw the absence of practical examples in the existing keyboard tutors of the time as a great drawback, and accordingly added 18 Probestücke (‘sample pieces’) as an integral part of the Essay, in different keys and in ascending order of difficulty; put together, they form the six three-movement sonatas h70–75 (w63). These pieces could be used either as studies or for performance; the sonata in F minor in particular, with hand-crossing, circulated widely in manuscript copies.

The Essay was complemented in 1762 by a second part containing mainly instruction in continuo playing and correct accompaniment. It clearly reflects Bach’s own activity at court. In it he moves systematically from simple intervals and their description to ‘refinements’ and ‘necessary precautions’ in accompaniment. Together with Quantz’s Versuch einer Anweisung die Flöte traversiere zu spielen, Bach’s Essay is our most important source of information about performing practices and issues of taste prevalent in Berlin in the mid-18th century. Bach’s introduction is also of particular interest today, dealing as it does with the choice of instruments and basic questions of accompaniment, and so too is the final chapter on improvisation (with the Fantasia in D h160 (w117.14) as a practical illustration), which was unique in its time. The Essay held an undisputed position in the 18th century, and its influence was not confined to north Germany; Haydn bought and studied it as a young man and Christian Gottlieb Neefe introduced Beethoven to it. Both composers continued into the 19th century to use the Essay in their own teaching.

The first part was reprinted in 1759, and a revised edition (1787) contained six new single-movement sonatinas that Bach hoped would make up for the excessively rapid increase in difficulty of the Probestücke. A new edition of the second part, also with corrections and additions by the author, did not appear until 1797. The two collections of piano pieces with varied repeats, h193–203 (w113) and h228–38 (w114), were also very popular; h193–7 (w113.1–5) were reprinted in rival editions in Berlin, Vienna and Linz until 1800. Bach’s immense influence as a keyboard teacher made the ‘Bach manner’ accepted as a general term for an elegant style of performance throughout the second half of the 18th century.

8. Chamber music.

Next to keyboard writing, chamber music was the most important experimental medium for Bach, particularly that with obbligato keyboard. His compositions in the genre from the 1730s onwards are notable for their originality and variety, and, like the keyboard compositions, they employ the whole spectrum of keys: the compositions for keyboard and violin, for instance, range from A to A major and from C to B minor. The trio in all its forms lies at the heart of his chamber music; solos (sonatas) featured less prominently after the 1740s, and in the last years of his life Bach turned to the quartet.

The early solos have continuo accompaniment, except for the flute solo in A minor h562 (w132), presumably composed for Frederick II. They correspond to the basic three-movement type described by J.A. Scheibe in the Critische Musikus (Leipzig, 2/1745, pp.681–3), and are succinctly written. All three movements are in the tonic key. The first is usually the slowest, and is followed by an Allegro (rarely, as in h554 (w127), in fugal style), followed in its turn by either a dance (usually a minuet with variations) or another Allegro. Locatelli’s flute sonatas op.2 (Amsterdam, 1732) may be regarded as the model.

Both numerically and in its importance for the history of the genre, the trio takes pre-eminence among Bach’s chamber compositions. The term ‘trio’ refers to the number of obbligato parts, not the number of participants. Trios with obbligato keyboard and those with continuo accompaniment are roughly equal in number; many survive in variant scorings, most of which may be regarded as authentic. While the solos aim at idiomatic treatment of the leading instrument, the upper parts of the trios, with the exception of some works with obbligato keyboard, are treated almost identically. There are contrapuntal trios, such as h567 and 569 (w143 and 145), in which the bass shares in the thematic material, and homophonic works in the Italian style, such as h578 (w161.2), in which the bass serves only as a harmonic foundation. The programmatic trio ‘Sanguineus und Melancholicus’ h579 (w161.1), published in 1751, made a great sensation.

Trios are found among Bach’s earliest compositions; they include a work (now lost) for violin, viola and bass, which according to the Nachlass-Verzeichnis (p.65, no.1) was ‘prepared together with Johann Sebastian Bach’. These works were revised while Bach was in Berlin; only in the case of h569 (w145) has the original version survived (as bwv1036). Comparison of the two versions shows Bach’s outstanding early talent and the tremendous progress he made by the time he produced the later version: the introductory fantasia and closing movement were cut, the two other movements thoroughly revised and a new opening movement added. In the 1740s, then, Bach entirely abandoned the basic four-movement form of the trio, which was initially at least as important to him as the three-movement form.

After the early 1760s figured bass played a less important role in Bach’s chamber music. During the process of composing the central movement of the Trio in C minor h514 (w78; 1763) he decided to write out the keyboard accompaniment instead of merely figuring the bass; the Trio in C major h515 (w87; 1766) has a fully written-out keyboard part. The pre-eminence of the keyboard is most in evidence in the three printed collections of keyboard trios, h522–34 (w89–91); the title-page of the English first edition of h525–30 (w89) fails even to mention the accompanying violin and cello parts. The type of rondo used by Bach in his trios and further developed later in his solo keyboard music, with the theme reappearing in different keys and varied, was noticed as a pointer to the future by Forkel (Musikalisch-kiritische Bibliothek, ii, 1778, pp.275–300) and was copied in England in particular (by Muzio Clementi and by A.F.C. Kollmann in his Essay on Practical Musical Composition, 1799). In his last year Bach composed three quartets (i.e. works with four obbligato parts) for keyboard, flute and viola, h537–9 (w93–5). Publication of these particularly attractive works was abandoned because of the composer’s death. During his Hamburg period he also wrote several smaller works for wind instruments; the occasion for their composition is not known. He wrote no chamber music for string instruments without continuo, a genre central to the development of the Classical style.

9. Orchestral works.

All the known orchestral works by Bach belong to the ‘modern’ genres of symphony and concerto. A special part was also occupied in the early 1760s by a genre evidently of his own invention, the sonatina for one or two harpsichords and orchestra, which no other composer imitated; Bach’s sonatinas differ from the Viennese divertimento for keyboard and strings, which they outwardly resemble and which may have influenced the composer, in the enormous technical demands made on the soloists.

The symphonies of the Berlin period are all in three movements and most of them were conceived as string symphonies; in many cases wind parts were added only during Bach’s Hamburg period. The absence of repeat signs in the opening movements is noticeable; slow movements are often not separated from the others, and in many cases serve as a transition. The famous four-part string symphonies h657–62 (w182) owe their existence to a commission from Baron Gottfried van Swieten, and the composer was subject to no restrictions. J.F. Reichardt wrote an account of the rehearsals of these daring works, admiring their ‘great variety and novelty of form and modulation’. Their importance was also recognized by music dealers; manuscript copies made for van Swieten’s private use were sold, against Bach’s will, by Johann Traeg in Vienna, C.G. Thomas in Leipzig and J.C. Westphal in Hamburg. There must have been similar interest in the four orchestral symphonies h663–6 (w183), which Bach had published in 1780 with a dedication to Crown Prince Friedrich Wilhelm of Prussia; they show an advanced handling of the wind instruments.

The keyboard concertos, numbering over 50, represent an early peak in the genre, the importance of which has not been fully appreciated. The first ones, like W.F. Bach’s early concertos, were written just after 1730. Their relationship to the concertos of J.S. Bach has yet to be studied, but it must be remembered that most of J.S. Bach’s harpsichord concertos did not take the shape in which they are familiar today until about 1738–9. C.P.E. Bach remained faithful to the ritornello form, and did not adopt dance, variation or rondo structures. Concertos such as h403, 409, 414, 420–22 and 442 (w1, 6, 11, 17–19 and 32) were widely distributed in their time. The orchestra here has equal importance with the soloist. The opening ritornello is usually on a broad scale, setting disparate musical ideas side by side, and these ideas recur in varying order in subsequent ritornellos. In the solo sections the orchestra continues to share in the thematic development. The uniformity of their overall structure, their consistent thematic development and their wide emotional range made the concertos of Bach’s early and middle Berlin period a model for other composers (e.g. J.F. Reichardt, J.W. Hertel and J.G. Müthel) and for the teaching of composition (H.C. Koch). The concertos of his later Berlin years and of his Hamburg period, written in the 1760s, contain more experimental features and are sometimes almost reminiscent of chamber music. With the exception of the six ‘easy’ concertos h471–6 (w43; Hamburg 1772) Bach prevented their dissemination during his lifetime.

10. Vocal music.

Emanuel Bach was a member of the first Berlin lied school, although he did not play a leading role in it and took no part in the controversies about the particular merits of French, Italian and German music. He was particularly fond of humorous texts such as those by Lessing and Gleim, and did not set odes (as Karl Wilhelm Ramler and Moses Mendelssohn understood the term) or foreign-language texts. It was also only at the beginning that Bach contributed to the joint publications of the Berlin lied school. In 1762 he published a collection of his own which was reprinted soon after with a new title-page and reissued in 1774. Contemporary song composition distinguished between Sing-Oden and Spiel-Oden; Bach’s songs fall predominantly into the latter category, with keyboard accompaniment an integral component. This does not mean that the keyboard part is entirely obbligato – the songs are notated on two, not three staves – but that its melodic phrases and harmony contribute to the emotional effect. The melodies are not therefore primarily intended to be catchy, and Bach only occasionally composed songs ‘in the folk style’ (e.g. the drinking-song Der Wirt und die Gäste, to a text by Gleim). The vocal compass is large by the criteria of the time and does not exclude extreme registers, particularly in the holding of high notes.

The collection of 54 sacred songs and odes by C.F. Gellert, which Bach set to music immediately after publication of the texts in 1757, was of particular historical importance. By 1784 it had been issued five times in all and influenced many other composers (right up to the time of Beethoven and his Gellert songs op.48). Many of the songs were included in hymnals. During his Hamburg period Bach followed the success of the Gellert settings with a collection of psalm settings (h733; w196) in the translation by the Copenhagen superintendent Johann Andreas Cramer and two collections of sacred songs to texts by his friend the principal pastor of Hamburg, Christian Carl Sturm. Bach’s compositions of this type cover the entire contemporary spectrum: the Cramer psalms, for instance, include chorale melodies with bass, songs with continuo and some with a fully composed keyboard accompaniment (e.g. the setting of Psalm viii, ‘Wer ist so würdig als du’, which Bach later arranged as a chorus). In Hamburg he frequently adapted solo songs for choral performance, often giving the separate verses individual form and making song motets of them.

Bach had a hand in the compilation of the Danish psalter of 1778, edited by his pupil N. Schiørring, the Schleswig-Holstein hymnal (Altona 1780 and 1783) and the Hamburg hymnal which in 1787 superseded Telemann’s of 1730. His secular songs were much sought after by the editors of the Musenalmanach volumes which became fashionable in the 1770s. They met with a good deal of criticism, however, for by comparison with typical Musenalmanach works by F.W. Weis, C.G. Neefe, J.F. Reichardt and others Bach’s songs seemed sometimes rather contrived and stiff. C.F. Cramer’s plan to publish in his Polyhymnia the secular songs previously printed elsewhere could not immediately be realized. Bach supervised the preparation of an incomplete edition of his unpublished songs (h700–60 passim; w200) which appeared in Lübeck in 1789.

With the exception of the Magnificat of 1749 and the Easter cantata Gott hat den Herrn auferweckt (1756; the text, by the Berlin court preacher Leonhard Cochius, was set at the same time by Telemann, twv1:615), Bach’s sacred vocal works date from his Hamburg period. Most of them were composed for particular functions; Bach did not expect them to be widely distributed and in general he restricted his efforts on their preparation to what was essential. The Passions provide an illuminating example: according to Miesner, the six St Matthew Passions (most of which perished in World War II) all employed the same biblical framework. Bach composed the recitatives himself, but he usually used the turba choruses from his father’s St Matthew Passion. This framework was repeated unchanged every four years, with new arias, choruses and chorales for which Bach again often resorted to works by other composers. Similarly, the St John Passions are based on Telemann’s printed Passion music for 1745 (Ein Lämmlein geht und trägt die Schuld, twv5:30) and the St Mark Passions on a work by G.A. Homilius. The model for the St Luke Passions is not known. The Passions are thus pasticcios made up of a biblical framework, Bach’s own inserted movements (particularly arias and choruses, and in the 1770s and 80s hymns) and music by other composers. In this way he satisfied the constant demand for new Passion music without having to compose a new work himself each year.

Most of Bach’s occasional works are, however, original creations, particularly those for inaugurations of the clergy and the oratorios and serenatas he wrote for the ‘civic captains’ of Hamburg in 1780 and 1783 (the commission for 1788 came too late for him to meet it). His prime models were G.A. Homilius and Georg Benda. A certain development of the repertory in the inaugural music can be traced: the 1780s saw many repeat performances of older works and on occasion, at the request of the pastors, Bach even resorted to works in his library by Telemann. He distinguished meticulously between the price for composing a piece and that for simply performing or arranging one. The paucity of contrapuntal movements in his Hamburg church music is striking. An exception is the Heilig for double choir (composed in 1776), with its magnificent double fugue, ‘Herr, es ist dir keiner gleich’, which became an established part of the Michaelmas music and other festive music performed in Hamburg, and came to be regarded as one of the most important sacred vocal works of its time after its publication in 1779. Bach ascribed particular importance to his oratorios. The score of Die Israeliten in der Wüste, composed for the consecration of the Lazarethkirche in 1769, was printed in 1775. Die Auferstehung und Himmelfahrt Jesu, probably written in 1774 and revised 1778 at the latest, was offered for subscription in 1784 but did not appear in print until 1787. The third oratorio, the Passion cantata h776 (w233) derived from the composer’s first St Matthew Passion, was not printed but was nevertheless widely distributed: performances were given during the 18th century in Copenhagen, Berlin, Göttingen, Schwerin and Breslau, as well as in smaller places such as Halberstadt and Colditz. Bach himself owned two copies of the score, one of which he would lend to friends so that they could copy it. Because of the nature of the text, the distribution of the Passion cantata remained limited to Protestant Germany, but Die Auferstehung and Die Israeliten also reached Catholic parts of southern Germany and were occasionally even performed outside the German-language area (in England and Italy). Die Israeliten in particular maintained its place in the repertory as a concert oratorio until well into the 19th century.

11. Reception.

Between 1740 and 1775 Bach’s many publications ensured a wide distribution for his works, which substantially influenced the development of instrumental music in Germany. With Gluck and later Haydn, he was regarded by his contemporaries as the leading representative of a specifically German musical taste, as is evident from J.K.F. Triest’s description of him after his death as ‘a Klopstock using notes instead of words’. His sphere of influence was not confined to northern Germany, where J.C.F. and J.E. Bach, J.F. Reichardt, J.A.P. Schulz, J.W. Hässler and others were directly subject to it; soon after 1760 it spread to south German and Austrian areas as well, particularly through the Essay and the printed collections of keyboard works. Although accounts of the esteem in which he was held by Haydn, Mozart and Beethoven are partly anecdotal and cannot be verified in detail, they are a strong indication that the north German master also influenced the Classical Viennese style, not so much formally as in matters of thematic development and the idiomatic treatment of instruments. However, the late keyboard works, the double concerto h479 (w47) and the quartets h537–9 (w93–5) make it clear that C.P.E. Bach should by no means be regarded merely as a precursor of Viennese Classicism, but as a composer who wrote in his own independent style throughout his life. The posthumous publication of his compositions between 1790 and about 1802 in Berlin, Leipzig and Vienna bears witness to his enduring fame.

Developments during the 19th century made Vienna the musical capital of the German-speaking part of Europe, even superseding Leipzig as the centre of the music-publishing industry, and to the extent that J.S. Bach was rediscovered as the ‘father’ of German keyboard music, so Emanuel Bach’s reputation began to fade.

sacred cantatas and choruses

WORKS

Catalogues:J.M. Bach, ed.: Verzeichniss des musikalischen nachlasses … Carl Philipp Emanuel Bach (Hamburg, 1790/R) [NV]A. Wotquenne: Thematisches Verzeichnis der Werke von Carl Philipp Emanuel Bach (1714–1788) (Leipzig, 1905/R) [W; addns from Kast (1958) shown as n.v.]E.E. Helm: Thematic Catalogue of the Works of Carl Philipp Emanuel Bach (New Haven, CT, 1989) [H]

Principal MS sources: A-Wgm, B-Bc, Br, D-Bsb, F-Pc, GB-Lbl, Kiev, Archive for Literature and Art; for full information see H

composition dates of instrumental works are from NV unless otherwise stated

Oratorios and passions

sacred latin

secular arias and cantatas

songs, motets and chorales

theoretical works

arrangements

misattributed works

solo keyboard

Editions:Le trésor de pianistes (Paris, 1861–72) [T]Carl Philipp Emanuel Bach: Die Sechs Sammlungen von Sonaten, freien Fantasien und Rondos für Kenner und Liebhaber, ed. C. Krebs (Leipzig, 1895, rev. 2/1953 by L. Hoffmann-Erbrecht) [K]Carl Philipp Emanuel Bach: Klavierwerke, ed. H. Schenker (Vienna, 1902–3) [S]Carl Philipp Emanuel Bach: Ausgewählte Kompositionen, ed. H. Riemann (Leipzig, n.d.) [R]Carl Philipp Emanuel Bach: Kleine Stücke für Klavier, ed. O. Vrieslander (Hanover, 1930) [VK]Carl Philipp Emanuel Bach: Vier leichte Sonaten, ed. O. Vrieslander (Hanover, 1932) [VL]Carl Philipp Emanuel Bach: Sonaten und Stücke, ed. K. Hermann (Leipzig, 1938) [HS]Carl Philipp Emanuel Bach: Leichte Tänze und Stücke für Klavier, ed. K. Hermann (Hamburg, 1949) [HL]Carl Philipp Emanuel Bach: Six Sonatas for Keyboard, ed. P. Friedheim (New York, 1967) [F]Carl Philipp Emanuel Bach 1714–1788: The Collected Works for Solo Keyboard, ed. D. Berg (New York, 1985) [facs.] [B i–vi]

Musikalisches Allerley (Berlin, 1761) [1761]

Musikalisches Mancherley (Berlin 1762–3) [1762]

Clavierstücke verschiedener Art (Berlin, 1765) [1765]

Kurze und leichte Clavierstücke mit veränderten Reprisen, i (Berlin, 1766) [1766¹]

Kurze und leichte Clavierstücke mit veränderten Reprisen, ii (Berlin, 1766) [1766²]

Musikalisches Vielerley, ed. C.P.E. Bach (Hamburg, 1770) [1770]

sonatas: printed collections



H	W

24–9	48	Sei sonate per cembalo (Prussian sonatas), F, B, E, c, C, A, 1740–42 (Nuremberg, 1742/R in B i); ed. R. Steglich (Kassel, c1988), ed. in T, 29 ed. in R
30–31, 33, 32, 34, 36	49	Sei sonate per cembalo (Württemberg sonatas), a, A, e, B, E, b, 1742–3 (Nuremberg, 1744/R in B vi); ed. R. Steglich (Kassel, c1987), ed. in T
136–9, 126, 140	50	Sechs Sonaten für Clavier mit veränderten Reprisen, F, G, a, d, B, c, 1758–9 (Berlin, 1760/R in B i); ed. E. Darbellay (Winterthur, 1976), ed. E. Hashimoto (Tokyo, c1984), ed. P. Lescat (Courlay, c1992), 126 ed. in HS
150–51, 127–8 141, 62	51	Fortsetzung von Sechs Sonaten fürs Clavier, C, B, c, d, G, g, 1758–60 (Berlin, 1761/R in B i); ed. J.M. Rose (Bryn Mawr, PA, 1973), ed. E. Hashimoto (Tokyo, c1984), 127–8 ed. in HS
50, 142, 158, 37, 161, 129	52	Zweyte Fortsetzung von Sechs Sonaten fürs Clavier, E, d, g, f, E, e, 1744– 62 (Berlin, 1763/R in B i); ed. E. Hashimoto (Tokyo, c1984), 50 ed. in SBA, 142 ed. in F, 158 ed. in HS, 37 ed. in R
162, 180–82, 163, 183	53	Sechs leichte Clavier-Sonaten, C, B, a, D, C, F, 1762–4 (Leipzig, 1766/R in B i) [see also h 156–7]; 182 ed. in F
204–5, 184, 206, 185, 207	54	Six sonates pour le claveçin à l’usage des dames, F, C, d, B, D, A, 1765–6 (Amsterdam, 1770/R in B i); ed. K. Johnen (Frankfurt, 1950)
244, 130, 245, 186, 243, 187	55	Sechs Clavier-Sonaten für Kenner und Liebhaber, i, C, F, b, A, F, G, 1758–74 (Leipzig, 1779/R in B ii); ed. in K, S, 130, 186–7, 244 ed. in T
260, 246, 261, 269, 262, 270	56	Clavier-Sonaten nebst einigen Rondos … für Kenner und Liebhaber, ii: Rondo, C; Sonata, G; Rondo, D; Sonata, F; Rondo. a; Sonata, A: 1774–80 (Leipzig, 1780/R in B ii); ed. in K, 246, 269–70 ed. in T, 246 ed. in S
265, 247, 271, 208, 266, 173	57	Clavier-Sonaten nebst einigen Rondos … für Kenner und Liebhaber, iii: Rondo, E; Sonata, a; Rondo, G; Sonata, d; Rondo, F; Sonata, f: 1763–80 (Leipzig, 1781/R in B ii); ed. in K, 173, 208, 247 ed. in T, S, 173, 165 ed. in R
276, 273–4, 188, 267, 277–8	58	Clavier-Sonaten und freye Fantasien nebst einigen Rondos … für Kenner und Liebhaber, iv: Rondo, A; Sonata, G/E; Rondo, E; Sonata, e; Rondo, B; Fantasia, E; Fantasia, A: 1779–82 (Leipzig, 1783); ed. in K, 267, 274, 276 ed. in T, 188 ed. in S (inc.)
281, 268, 282–3, 279, 284	59	Clavier-Sonaten und freye Fantasien nebst einigen Rondos … für Kenner und Liebhaber, v: Sonata, e; Rondo, G; Sonata, B; Rondo, c; Fantasia, F; Fantasia, C: 1779–84 (Leipzig, 1785/R in B ii); ed. in K, 282–3 ed. in T, 268, 282 (inc.) ed. in S
288, 286, 289–90, 287, 291	61	Clavier-Sonaten und freye Fantasien nebst einigen Rondos … für Kenner und Liebhaber, vi: Rondo, E; Sonata, D; Fantasia, B; Rondo, d; Sonata, e; Fantasia, C: 1785–6 (Leipzig, 1787/R in B ii); ed. in K, 286 ed. in HS, 291 ed. in R

sonatas printed separately



H	W

2	62.1	Sonata, B, 1731, rev. 1744 (1761/R in B iii); ed. in T
20	62.2	Sonata, G, 1739, in Nebenstunden der berlinischen Musen (Berlin, 1762/R in B vi)
22	62.3	Sonata, D, 1740, in F.W. Marpurg: Clavier-Stücke mit einem practischen Unterricht für Anfänger und Geübtere, iii (Berlin, 1763/R in B vi)
38	62.4	Sonata, d, 1744, in Oeuvres mêlées, iii (Nuremberg, 1757/R in B vi); ed. in T
39	62.5	Sonata, E, 1744, in Oeuvres mêlées, iv (Nuremberg, 1758–9/R in B vi); ed. in T
40	62.6	Sonata, f, 1744 (1761/R in B iii); ed. in T, ed. D. Schulenberg, Carl Philipp Emanuel Bach Edition, I/xviii (Oxford, 1995)
41	62.7	Sonata, C, 1744, in Collection récréative, ii (Nuremberg, 1761/R in B vi); ed. in T
55	62.8	Sonata, F, 1748, in Tonstücke für das Clavier vom Herrn C.P.E. Bach und andern classischen Meistern (Berlin, 1762/R in B vi, 2/1774 as C.P.E. Bachs, Nichelmanns und Händels Sonaten und Fugen); ed. in T
58	62.9	Sonata, F, 1749, in Oeuvres mêlées, i (Nuremberg, 1755/R in B vi); ed. in T
59	62.10	Sonata, C, 1749 (1762/R in B iii); ed. in T
63	62.11	Sonata, G, 1750 (1761/R in B iii)
66	62.12	Sonata, e, 1730s, rev. 1751 (1761/R in B iii), ed. in T
67	62.13	Sonata, D, in Raccolta delle più nuove composizioni (Leipzig, 1756/R in B iii)
70–75	63.1–6	18 Probestücke in 6 Sonaten, C, d, A, b, E, f, 1753 [exx. for h868, see ‘Theoretical works’]; facs. in B i, vi, 71–5 ed. in T, 75 ed. in R
77	62.14	Sonata, G, 1754 (1762/R in B iii)
105	62.15	Sonata, d, in Raccolta delle più nuove composizioni (Leipzig, 1757/R in B iii); ed. in T
116	62.16	Sonata, B, 1757, in Oeuvres mêlées, v (Nuremberg, 1759/R in B vi); ed. in T
117	62.17	Sonata, E, 1757, in Oeuvres mêlées, xii (Nuremberg, c1765/R in B vi); ed. in T
118–20	62.18–20	3 sonatas, g, G, C, 1757 (1762/R in B iii); 118–19 ed. in T, B, 119 ed. in F
131	62.21	Sonata, a, 1758, in Oeuvres mêlées, xi (Nuremberg, 1765/R in B vi); ed. in T
132	62.22	Sonata, b, 1758, in Collection récréative, i (Nuremberg, 1760/R in B vi); ed. in T
179	112.7	Sonata, d (1765/R in B ii); ed. in T
209	60	Sonata, c, 1766, ? rev. later (Leipzig and Dresden, 1785/R in B vi)
210	62.23	Sonata, g, 1766 (1770/R in B iii)
240	62.24	Sonata, F, 1769 (1770/R in B iii)

sonatas: manuscript

3–6	65.1–4	4 sonatas, F, a, d, e, 1731–3, rev. 1744; 3–5 facs. in B iii, 6 facs. in B iv, 5 ed. in T
7–12	64	6 sonatas, G, G, a, e, D, c, 1734, rev. 1744 and ?c1786; facs. in B iii, ed. K. Johnen (Frankfurt, 1952)
13	65.5	Sonata, e, 1735, rev. 1744; facs. in B iii
15–19	65.6–10	5 sonatas, G, E, C, B, A, 1736–8, rev. 1743–4; facs. in B iii, 15 ed. in T, 18 ed. in F
21	65.11	Sonata, g, 1739, rev. later; facs. in B iii, ed. in T, VL
23	65.12	Sonata, G, 1740, rev. later; facs. in B iii
32·5	65.13	Sonata, b, 1743; facs. in B iii, ed. in T
42–3	65.14–15	2 sonatas, D, G, 1744–5; facs. in B iii, 42 ed. in VL, 43 ed. D. Schulenberg, Carl Philipp Emanuel Bach Edition, I/xviii (Oxford, 1995)
46–8	65.16–18	3 sonatas, C, g, F, 1746; facs. in B iii, ed. D. Schulenberg, Carl Philipp Emanuel Bach Edition, I/xviii (Oxford, 1995), 46 ed. in F, 47 ed. in T
49	65.19	Sonata, F, c1786 (1746 acc. NV); facs. in B vi, ed. D. Schulenberg, Carl Philipp Emanuel Bach Edition, I/xviii (Oxford, 1995)
51–2	65.20–21	2 sonatas, B, F, 1747; ed. in T, R, 51 facs. in B iii, 51 ed. D. Schulenberg, Carl Philipp Emanuel Bach Edition, I/xviii (Oxford, 1995), 52 facs. in B iv
53	69	Sonata per il cembalo a due tastature, 1749; facs. in B iii
56–7	65.22–3	2 sonatas, G, d, 1748; facs. in B iv, 56 ed in VL, 57 ed. in F
60, 371·5	65.24	Sonata, d [see also ‘Organ’]; facs. in B iv, ed. in T
61	65.25	Sonata, a, 1749; facs. in B iv
64	65.26	Sonata, G, 1750; facs. in B iv
68	65.27	Sonata, g, 1752; facs. in B iv, ed. in T
78	65.28	Sonata, E, 1754; facs. in B iv, ed. in T
83	65.29	Sonata, E, 1755; facs. in B iv
106	65.30	Sonata, e, 1756; facs. in B iv
121	65.31	Sonata, c, 1757; facs. in B vi, ed. in T
135	65.32	Sonata, A, 1758, rev. later [see also ‘Organ’, h133]; facs. in B vi
143	65.33	Sonata, a, 1759; facs. in B iv, ed. in VL
152	65.34	Sonata, B, 1760; facs. in B iv
156–7	65.35–6	2 sonatas, C, C, after 1760 [revs. of h162–3]; facs. in B i
174–8	65.37–41	5 sonatas, A, B, e, D, C, 1763; facs. in B iv, 174, 176–8 ed. in T, 176–8 ed. C. Widgery, Carl Philipp Emanuel Bach Edition, I/xxiv (Oxford, 1989)
189	65.42	Sonata, E, 1765; facs. in B iv, ed. in T, ed. C. Widgery, Carl Philipp Emanuel Bach Edition, I/xxiv (Oxford, 1989)
192	65.43	Sonata, A, 1765–6; facs. in B iv, ed. in T, ed. C. Widgery, Carl Philipp Emanuel Bach Edition, I/xxiv (Oxford, 1989)
211–13	65.44–6	3 sonatas, B, B, E, 1766, rev. later; facs. in B iv, ed. in T, ed. C. Widgery, Carl Philipp Emanuel Bach Edition, I/xxiv (Oxford, 1989)
248	65.47	Sonata, C, 1775; facs. in B iv
280	65.48	Sonata für das Bogenklavier, G, 1783; facs. in B iv, ed. in T, HS
298–9	65.49–50	2 sonatas, c, G/a, 1786 [299 based on earlier ww compositions]; facs. in B iv, 298 ed. in T

variations

14	118.7	Minuet (from Locatelli’s Sonata op.2 no.10, fl, bc) with 18 variations, G, 1735; facs. in B vi
44	118.3	Minuet with 5 variations, C, 1745; facs. in B v
54	118.4	Arioso with 7 variations, F, 1747; facs. in B v, ed. in VK
65	118.5	Allegretto with 6 variations, C, 1750; facs. in B v, ed. in HL
69	181.1	Variations on Ich schlief, da träumte mir, F, 1752, enlarged later; 17 variations (1761), 7 variations (1770); facs. in B v, ed. F. Goebels (Mainz, c1986)
155	118.2	?8 variations on an Arietta (? by J.F. Agricola), 1760; contribution to set of 22 variations (collab. C. Fasch, ?J.A. Steffan and others), variations 1–17 (1761), 18–22 (1770); facs. in B v
226	118.6	12 variations on Romance: Colin a peine a seize ans, G, 1766; facs. in B v
259	118.10	Arioso with 20 variations, C, after 1775 [based on h534, see ‘Chamber’]; facs. in B v
263	118.9	12 variations on La folia d’Espagne, d, 1778; facs. in B v, ed. in HS
275	118.8	Canzonetta (? by Luise Dorothea of Saxe-Gotha) with 6 variations, F, 1781; facs. in B v
351	—	Arioso with 6 variations, A; doubtful, anon. (with 8 variations) in G.S. Löhlein: Clavier-Schule (Leipzig and Züllichau, 1765)
—	—	Arioso with 5 variations, A, 1781; see ‘Chamber’, h535

miscellaneous

1	—	March, D; Polonoise, g; March, G; Polonoise, g; Marche, E; Solo per il cembalo, E: 1730s, in Clavierbüchlein, ii, for Anna Magdalena Bach, bwv Anh.122–5, 127, 129; not listed in NV
1·5	111	Menuet pour le clavessin, C (Leipzig, 1731); facs. in B v
75·5	119.7	Fantasia and fugue, c; in F.W. Marpurg: Abhandlung von der Fuge (Berlin, 1754); facs. in B v
76	119.1	Fuga a 2, a; in F.W. Marpurg: Abhandlung von der Fuge (Berlin, 1754); facs. in B v)
79–82	117.17–18, 26, 37	La Borchward, polonoise, G; La Pott/Lott, tempo di minuet, in Raccolta delle più nuove composizioni (Leipzig, 1756); La Böhmer, murky, D; La Gause, F: c1754–5; facs. in B v
89–91	117.19–21	La Gleim, rondeau, a; La Bergius, B; La Prinzette, F: c1754–5, in Raccolta delle più nuove composizioni (Leipzig, 1756); 89, 91 facs. in B v, 90 facs. in B vi, 89–90 ed. in R, 91 ed. in HL
92–5	117.23–5, 27	L’Hermann, g; La Buchholtz, d; La Stahl, d; L’Aly Rupalich, C: c1754–5 (1762/R in B v); 92 ed. in HL, 94–5 ed. in R, 94 ed. in HS
96–8	117.34–5, 39	La Philippine, A; La Gabriel, C; La Caroline, a: c1755; facs. in B v, ed. in HL
99	119.2	Fuga a 2, d, by 1755; in F.W. Marpurg: Fugensammlung, i (Berlin, 1758); facs. in B v
100	119.3	Fuga a 3, F, by 1755; in Tonstücke … vom Herrn C.P.E. Bach und andern classischen Meistern (Berlin, 1762, 2/1774 as C.P.E. Bachs, Nichelmanns und Händels Sonaten und Fugen); facs. in B vi
101, 101·5, 102	119.4–6	Fuga a 3, A; Fuga a 3, g; Fuga a 4, E: all by 1755; 101 in Raccolta delle più nuove composizioni (Leipzig, 1757), facs. in B v; 102 in F.W. Marpurg: Clavierstücke mit einem practischen Unterricht (Berlin, 176), facs. in B vi; 101·5 (1765)
108	116.18	Andantino, F; in F.W. Marpurg: Kritische Briefe über die Tonkunst (Berlin, 1760); facs. in B v
109–13	117.28, 30–33	La complaisante, B; Les langueurs tendres, f; L’irréssolué, G; La journalière, c; La capricieuse, e: c1754–5 (1761/R in B v)
114	117.36	La Louise, D, c1755; facs. in B v
122–5	117.22, 29, 38, 40	L’Auguste, polonoise, F, in Raccolta delle più nuove composizioni (Leipzig, 1756); La Xénophon–La Sybille, C (1761); L’Ernestine/La Frédérique, D; La Sophie, B: c1754–5; facs. in B v, 122 ed. in HL
144–9	112.2, 4, 8, 10, 15, 18	Fantasia, D; Solfeggio, G; Fantasia, B; Solfeggio, G; Fantasia, F; Solfeggio, G: (1765/R in B ii), 144, 146, 148–9 ed. in VK, 145, 147 ed. in HL
153–4	116.21–2	Allegro, solfeggio, C; Polonoise, g: 1760; 153 ed. in HS
160	117.14	Fantasia, D [ex. for h870, see ‘Theoretical works’]; facs. in B v
165–70	112.3, 5, 9, 11, 16–17 [116.9–14]	Minuet, D; Alla polacca, a; Minuet, D; Alla polacca, g; Minuet, A; Alla polacca, D: (1765/R in B ii); 165, 169 ed. in HL, 166, 168, 170 ed. in VK
171–2	116.1–2	Minuet, E; Polonoise, E: (1762/R in B v)
190	112.1	Conc., C, hpd solo (1765/R in B ii) [orig. intended for kbd, str in D]
191	112.13	Sinfonia, G (1765/R in B ii)
193–203	113	Allegro, G; Arioso, a; Fantasia, d; Minuet, F; Alla polacca, C; Allegretto, d; Alla polacca, D; Allegretto, A; Andante e sostenuto, g; Presto, B; Allegro, d: (1766¹/R in B ii); ed. O. Vrieslander, Kurze und leichte Klavierstücke (Vienna, 1914), ed. O. Jonas (Vienna, 1962)
214–17, 219	116.3–6, 8	Minuet, D; Alla polacca, C; Minuet, C; Alla polacca, D; Minuet, F; Alla polacca, G: (1762/R in B v); 214–16 ed. in VK
220–22	117.2–4	3 solfeggios, c, E, A: (1770/R in B v); ed. in VK, 220 ed. in R
223–5	117.11–13	3 fantasias, G, d, g: (1770); 223, 225 facs. in B v, 223–4 ed. in VK
228–38	114	Allegro di molto, d; Andantino e grazioso, B; Presto, c; Minuet, G; Alla polacca, D; Alla polacca, E; Fantasia, d; Allegro, E; Allegretto, A; Andante, C; Poco allegro, e: (1766²/R in B ii); ed. O. Vrieslander, Kurze und leichte Klavierstücke (Vienna, 1914), ed. O. Jonas (Vienna, 1962), 234 ed. in R
241	117.1	Clavierstück für die rechte oder linke Hand allein, A; facs. in B v, ed. in VK
249–54	116.23–8	Sechs leichte Clavierstückgen, C, F, D, G, g, D, 1775 [no.6 also in variant version]; facs. in B v
256–8	n.v.37–9	Allegro, F; Allegretto, D; Menuet, F: c1775
264	120	Cadenzen , 1778 or later, B-Bc, for his own concs. and sonatas
272	66	Rondo: Abschied von meinem Silbermannischen Claviere, e, 1781; facs. in B v
292–7	63.7–12	6 neue Sonatinen, G, E, D, B, F, d, 1786 [exx. for h868 (2/1787), see ‘Theoretical works’]; facs. in B i, ed. in VK, ed. L. Hoffmann-Erbrecht (Leipzig, 1957)
300	67	Fantasia (Carl Philipp Emanuel Bachs Empfindungen), f, 1788 [see also ‘Chamber’, h536]; facs. in B vi, ed. A. Kreutz (Mainz, 1950)
301–2	116.19–20	Allegretto, F; Allegro, D; facs. in B v
338	116.16–17	Allegro, A; Allegro, G; in F.W. Marpurg: Anleitung zum Clavierspielen (Berlin, 1755); ed. in HS
348	—	Fantasia, E, c1748; attrib. erroneously to C. Nichelmann
—	—	Suite, B, c1730, D-Kl; not listed in NV
—	—	Suite, E, c1730, Hs; not listed in NV
—	—	Suite, G, c1730, Hs; not listed in NV
—	—	Suite, G, ?1730s, Bsb; not listed in NV
—	—	Menuet, E, 1730s, in Klavierbüchlein attrib. W.A. Mozart; not listed in NV
—	—	March, F, 1730s, Hs; not listed in NV
—	—	Murqui pour l’amour, A, 1730s, Hs; not listed in NV
—	—	Allemande, A, 1730s, Hs; not listed in NV

two keyboards

610–13	115	4 kleine Duetten, B, F, a, E, ? after 1768
—	—	Sonata, C, after 1766, F-Pc* [based on h515, see ‘Chamber’]

organ

sonatas

60, 371·5	65.24	Sonata, d, 1749
133	70.1	Sonata, A, 1758, rev. later [see also ‘Keyboard solo’, h135]; facs. in B iv
134	70.2	Sonata, B, 1758, rev. later, in III sonates … par Mrs. C.P.E. Bach (Nuremberg, 1770); facs. in B iv
84–7	70.3–6	4 sonatas, F, a, D, g, 1755; facs. in B iv
107	70.7	Sonata, D, 1755; facs. in B iv

other pieces, mostly doubtful

336	—	5 Choräle mit ausgesetzten Mittelstimmen
—	—	Pedal-Exercitium (inc.), g, by 1734 [= bwv598]
—	n.v.66	Adagio, d
—	—	Aus der Tiefe rufe ich, e [= bwv745]
—	—	Ich ruf zu Dir, Herr Jesu Christ, f [= bwv Anh.73 (after bwv639)]

chamber

Edition:Carl Philipp Emanuel Bach: Complete Sonatas for Flute and Obbligato Keyboard, ed. U. Leisinger (Monteux, 1993–) [L]

solos

548	134	Sonata, G, fl, bc, ? by 1735
549	135	Solo, g, ob, bc, ? by 1735, rev. later
550	123	Sonata, G, fl, bc, 1735
551	124	Sonata, e, fl, bc, 1737
552, 560	125, 130	Sonata, B, fl, bc, 1738, rev. 1746
553–5	126–8	3 sonatas, D, G, a, fl, bc, 1738–40
556, 561	129, 131	Sonata, D, fl, bc, 1740, rev. 1747
557	138	Solo, g, vc, bc, 1740, rev. 1769, lost
558–9	136–7	2 solos, C, D, va da gamba, bc, 1745–6
562	132	Sonata, a, fl, 1747 (1763); ed. M. Nastasi (Vienna, c1986)
563	139	Solo, G, harp, 1762 (facs. (Utrecht, c1996))
564	133	Sonata, G, fl, bc, 1786

trios, quartets

502	71	Sonata, D, kbd, vn, 1731, rev. 1746
503, 596	72	Sonata, d, kbd, vn (or fl, vn, kbd), 1731, rev. 1747
504, 573	73, 149	Sonata, C, kbd, vn/fl (or fl, vn, kbd), 1745
505, 575	83, 151	Sonata, D, kbd, fl (or fl, vn, bc), 1747
506, 580	84, 162	Sonata, E, kbd, fl (or 2 fl, bc), 1749
507, 585		Sinfonia, D, kbd, vn (or 2 vn, bc), 1754
508, 581, 157	85, 152	Trio, G, kbd, fl (or fl/vn, vn, bc), 1754; ed. C. Hill (Monteux, c1986)
509, 586	86, 153	Sonata, G, kbd, fl (or fl, vn, bc), 1755; ed. C. Hill (Monteux, c1986)
510, 541	88	Sonata, g, kbd, va/va da gamba, 1759
511	75	Sonata, F, kbd, vn, 1763
512	76	Sonata, b, kbd, vn, 1763
513	77	Sonata, B, kbd, vn, 1763
514	78	Sonata, c, kbd, vn, 1763
515	87	Trio, C, kbd, fl, 1766 [also for 2 hpd, F-Pn]
516–21	92	6 qts, E, E, E, B, E, B, after 1768
522–4	90	3 sonatas, a, G, C, kbd, vn, vc (Leipzig, 1776)
525–30	89	6 sonatas, e, B, C, A, E, e, D, kbd, vn, vc (London, 1776; Amsterdam, c1778)
531–4	91	4 sonatas, e, D, F, C, kbd, vn, vc (Leipzig, 1777) [h534 variations]
535	79, n.v.70	Arioso, A, kbd, vn, 1780 [orig. kbd solo]
536	80	Fantasie (C.P.E. Bachs Empfindungen), f, kbd, vn, 1787 [orig. kbd solo]
537–9	93–5	3 qts, a–D–G, kbd, fl, va, 1788
542, 570	146	Sonata, A, kbd, vn (or fl, vn, bc), 1731, rev. 1747
566	—	Trio, vn, va, bc, c1731, lost [composed under supervision of J.S. Bach]
567	143	Sonata, b, kbd, vn (or fl, vn, bc), 1731, rev. 1747
568	144	Trio, G, fl, vn, bc, 1731, rev. 1747
569	145	Sonata, d, kbd, vn (or fl, vn, bc), 1731, rev. 1747 [early version = bwv1036]
571	147	Sonata, C, kbd, vn (or fl, vn, bc), 1731, rev. 1747
572	148	Sonata, a, kbd, vn (or fl/vn, vn, bc), 1735, rev. 1747
574	150	Trio, G, fl, vn, bc, 1747
576	154	Sonata, F, fl/vn, vn, bc, 1754
577	155	Sonata, e, 2 vn, bc, 1747
578	161.2	Sonata, B, kbd, vn (or fl, vn, kbd), 1748 (Nuremberg, 1751)
579	161.1	Trio (Sangineus und Melancholicus), c, kbd, vn (or 2 vn, bc), 1749 (Nuremberg, 1751)
582	156	Sinfonia, a, 2 vn, bc, 1754
584	158	Sonata, B, 2 vn, bc, 1754
587, 543	159	Trio, B, 2 vn, bc, c1755 [= h588–9]
588–9	163	Trio, F, b fl, va/bn, bc, 1755, rev. later [= h587, 543]
590	160	Sonata, d, 2 vn, bc, 1756, rev. later
600	81	12 kleine Stücke, G g, e, a, D, D, D, B, D, C, F, d, kbd, fl, vn (Berlin, 1758)
628	82	12 … kleine Stücke, e, E, G, g, A, a, D, d, C, c, g, B, kbd, fl, vn (Hamburg, 1770)

miscellaneous

598	140	Duetto, e, fl, vn, D-Bsb*, in Musikalisches Vielerley (Hamburg, 1770)
599	141	Duetto, d, 2 vn, lost
604–5	190.1, 3	2 polonoise, F, a, 2 cl, 2 vn, bc
607–9, 627	190.2, 4–6	4 polonoise, G, D, C, A, 2 vn, bc (with 2 cl in h608)
614–19	185	6 marches, D, C, F, G, E, D, 2 ob, 2 cl, bn, 2 hn
620	186	2 kleine Stücke, a, F, 2 cl, bn, 2 hn, lost
637	187	2 marches, F, D, 2 ob, bn, 2 hn
621	188	Marche für die Arche, C, 3 tpt, timp, after 1767; ed. H.M. Lewis (Monteux, c1988)
629–34	184	6 sonatas, D, F, G, E, A, C, 2 fl, 2 cl, bn, 2 hn
635	193	[30] Stücke für Spieluhren auch Drehorgeln
636	142	Duetto, C, 2 cl [= h635, 26–7)
—	—	?Marche, ?3 tpt, timp, 1763, lost (? = h621)
—	—	Marche, E, tpt, 2 ob, bn, by 1767

orchestral

Editions:Carl Philipp Emanuel Bach: Six Symphonies, ed. C.C. Gallagher and E.E. Helm, in The Symphony 1720–1840, ser. C, viii (New York, 1982) [GH]Carl Philipp Emanuel Bach 1714–1788: The Collected Works for Solo Keyboard, ed. D. Berg (New York, 1985) [facs.] [B i–vi]

solo concertos and sonatinas

190	112.1	Conc., C, hpd solo (1765) [see ‘Solo keyboard’]; facs. in B ii
403	1	Conc., a, hpd, str, 1733, rev. c1740 and 1744
404	2	Conc., E, hpd, str, 1734, rev. 1743; early version (Paris, c1761)
405	3	Conc., G, hpd, str, 1737, rev. 1745
406	4	Conc., G, hpd, str, 1738
407	5	Conc., c, hpd, str, 1739, rev. 1762
409	6	Conc., g, hpd, str, 1740, rev. later
410–13	7–10	4 concs., A, A, G, B, hpd, str, 1740–42
414	11	Conc., D, hpd, str, 1743 (Nuremberg, 1745)
415–16	12–13	2 concs., F, D, hpd, str, 1744; listed as fl. conc. in Ringmacher catalogue (Berlin, 1773)
417	14	Conc., E, hpd, str, 1744 (Berlin, 1760), rev. later; also with 2 hn
418–24	15–21	7 concs., e, G, d, D, A, C, a, hpd, str, 1745–7
425, 484·1	22	Conc., d, fl/hpd, str, 1747, rev. later; also with 2 hn
427–8	23–4	2 concs., d, e, hpd, str, 1748
429	25	Conc., B, hpd, str, 1749 (Nuremberg, 1752)
430–32	26, 166, 170	Conc., a, vc/fl/hpd, str, 1750; 431 ed. U. Leisinger (Monteux, c1992)
433	27	Conc., D, hpd, 2 hn, str, with 2 fl, 2 ob, 2/?3 tpt/hn, timp ad lib, 1750
434–6	28, 167, 171	Conc., B, vc/fl/hpd, str, 1751
437–9	29, 168, 172	Conc., A, vc/fl/hpd, str, 1753
440–43	30–33	4 concs., b, c, g, F, hpd, str, 1753–5
444–5	34, 169	Conc., G, org/hpd/fl, str, 1755
446	35	Conc., E, org/hpd, str, 1759; also with 2 hn
447	36	Conc., B, hpd, str, 1762
448	37	Conc., c, hpd, 2 hn, str, 1762; ed. E.N. Kulukundis and P.G. Wiley, Carl Philipp Emanuel Bach Edition, II/xv (Oxford, 1989)
449	96	Sonatina, D, hpd, 2 fl, str, 1762, rev. later; also with 2 hn
450–51	97–8	2 sonatinas, G, G, hpd, 2 fl, 2 hn, str, 1762; 451 ed. P.G. Wiley and C. Widgery, Carl Philipp Emanuel Bach Edition, II/xxiii (Oxford, 1992)
452, 485	99	Sonatina, F, hpd, 2 fl, str, 1762 [also with 2 hn]; ed. P.G. Wiley and C. Widgery, Carl Philipp Emanuel Bach Edition, II/xxiii (Oxford, 1992)
454	38	Conc., F, hpd, 2 fl, str, 1763; ed. E.N. Kulukundis and P.G. Wiley, Carl Philipp Emanuel Bach Edition, II/xv (Oxford, 1989)
455	100	Sonatina, E, hpd, 2 fl, 2 hn, str, 1763
456–7	102–3	2 sonatinas, D, C, hpd, 2 fl, 2 hn, str, 1763
458, 460	106, 101	Sonatina, C, hpd, 2 fl, str, 1763 (Berlin, 1764), rev. later; also with 2 hn
461, 463	107, 104	Sonatina, F, hpd, 2 fl, str, 1764 (Berlin, 1764), rev. later; also with 2 hn
462, 464	108, 105	Sonatina, E, hpd, 2 fl, str, 1764 (Berlin, 1766), rev. later; also with 2 hn
465–6	39, 164	Conc., B, ob/hpd, str, 1765
467–8	40, 165	Conc., E, ob/hpd, str, 1765
469	41	Conc., E, hpd, 2 fl, 2 hn, str, 1769
470	42	Conc., F, hpd, 2 hn, str, 1770 [also for kbd solo, h242; facs. in B iv]
471–6	43	Sei concerti, F, D, E, c, G, C, hpd, 2 fl, 2 hn, str, 1771–2 (Hamburg, 1772)
477–8	44–5	2 concs., G, D, hpd, 2 hn, str, 1778

double concertos and sonatinas

408	46	Conc., F, 2 hpd, 2 hn, str, 1740; ed. G. Kiss (Hamburg, c1988)
453	109	Sonatina, D, 2 hpd, 2 fl, 2 ob, bn, 3 tpt, 2 hn, str, 1762; also for 1 hpd, 2 fl, str, h480, 480·5
459	110	Sonatina, B, 2 hpd, 2 fl, str, 1763; also for 1 hpd, 2 fl, str, D-LEm
479	47	Conc., E, hpd, pf, 2 fl, 2 hn, str, 1788

symphonies

648	173	Sinfonie, G, str, 1741; GH, kbd red., 1745, h45 (w122.1), facs. in B iv
649	174	Sinfonia, C, str, 1755, rev. later; also with 2 fl, 2 hn
650	175	Sinfonia, F, str, 1755, rev. later; also with 2 fl, 2 bn, 2 hn; GH, kbd red., h104 (w122.2), by ? F.W. Marpurg, in Raccolta delle megliore sinfonie (Leipzig, 1761), facs. in B iii
651	176	Sinfonia, D, str, 1756, rev. later; also with 2 fl, 2 ob, 2 hn, 2 tpt, timp; GH
652–3	177–8	2 sinfonias, e, e, str, 1756 (Nuremberg, 1759), rev. later; kbd red. listed as h115 (w122.3), unrealized
654	179	Sinfonia, E, str, 1757, rev. later; also with 2 ob, 2 hn; GH
655	180	Sinfonia, G, str, 1758, rev. later, also with 2 ob, 2 hn; GH, kbd red. w122.4 (= h191; w112.13) in Clavierstücke verschiedener Art (Berlin, 1765)
656	181	Sinfonia, F, str, 1758 [not in NV], rev. ?1762, also with 2 fl, 2 hn; GH, kbd red., 1766, h227 (w122.5), in Musikalisches Vielerley (Hamburg, 1770), facs. in B iii
657–62	182	Sei sinfonie, G, B, C, A, b, E, str, for G. van Swieten
663–6	183	[4] Orchester-Sinfonien, D, E, F, G, 1775–6 (Leipzig, 1780)
667	—	Sinfonia, str, c1751, collab. Count Ferdinand of Lobkowitz [cf NV, 65], lost
—	—	Sinfonia, G, str, by 1766, listed in Breitkopf catalogue, 1766, doubtful, lost
—	—	Sinfonia, C, by 1766, S-Skma, listed in Breitkopf catalogue, 1766, doubtful
—	—	Sinfonia, F, str, by c1766, D-Bsb, doubtful

miscellaneous

601	192	2 minuets, C, C, 2 fl, 2 bn, 3 tpt, timp, 2 vn, bc, in Musikalisches Mancherley (Berlin, 1762)
602–3	189.1–2	2 minuets, D, D, 2 fl, 2 cl, 2 vn, bc
606	189.8	Minuet, G, 2 fl, 2 cl, 2 vn, bc
622–6	189.3–7	5 minuets, G, G, G, F, D, 2 fl, 2 cl, 2 vn, bc
638	191	2 minuets, D, D, 2 fl, 2 ob, 2 hn, 3 tpt, timp, str

Oratorios and passions

—	—	Ich freue mich des, das mir geredet ist, orat, 2 Dec 1736, for consecration of the Unterkirche, Frankfurt an der Oder, lost
775	238	Die Israeliten in der Wüste (D. Schiebeler), orat, 1 Nov 1769 (Hamburg, 1775)
777	240	Die Auferstehung und Himmelfahrt Jesu (C.W. Ramler), orat, 1774, rev. by 1778 (Leipzig, 1787); ed. G. Darvas (Adliswil, c1975)
776	233	Du Göttlicher, Passion cant. (A.L. Karsch, C.D. Ebeling and J.J. Eschenburg), 1770, rev. by 1772, rev. later; based on h782; ed. H.-J. Irmen (Vaduz, c1982)
782	—	St Matthew Passion, 1769, ?inc.
783	—	St Mark Passion, 1770, inc., based on G.A. Homilius: St Mark Passion
784	—	St Luke Passion, 1771, frag., incl. movt by G. Benda
785	—	St John Passion, 1772
786	—	St Matthew Passion, 1773, frag.
787	—	St Mark Passion, 1774, frag.
788	—	St Luke Passion, 1775, frag.
789	—	St John Passion, 1776, frag.
790	—	St Matthew Passion, 1777, frag.
791	—	St Mark Passion, 1778, frag.
792	—	St Luke Passion, 1779, frag.
793	—	St John Passion, 1780, frag.
794		St Matthew Passion, 1781, inc.
795	—	St Mark Passion, 1782, frag.
796	—	St Luke Passion, 1783, frag.
797	—	St John Passion, 1784, frag.
798	—	St Matthew Passion, 1785, frag.
799	—	St Mark Passion, 1786, frag.
800	234	St Luke Passion, 1787, frag.
801	—	St John Passion, 1788, frag.
802	235	St Matthew Passion, 1789
822a–b	—	Hebt an, ihr Chöre der Freude, orat – Der Trommeln Schlag, serenata (C.W. Alers), 7 Sept 1780
822c–d	—	Schallt Jubel, orat – Schlagt die Trommel, wirbelt Freude, serenata (Alers), 4 Sept 1783; music of orat lost

sacred latin

772	215	Magnificat, by 25 Aug 1749, rev. later; alternative version of ‘Et misericordia’, ?c1780–82; ed. G. Darvas (Adliswil, c1971)
825	207	Veni Sancte Spiritus, S, S, bc, after 1768
839–40	209–10	Antiphonia, 4vv; Amen, 4vv: after 1768, lost
828	219	Sanctus, after 1768
855	220	Veni Sancte Spiritus, after/?by Telemann, twv3:84

sacred cantatas and choruses

762	231	Er lebt! Ihm tönen unsre Lieder (Freudenlied for F.L.C. Cropp), (P.L. Cropp), 1785
778	217	Heilig, SATB, SATB, 2 ob, bn, 3 tpt, timp, str, bc, 1776 (Hamburg, 1779)
779	239	Morgengesang am Schöpfungsfest (F.G. Klopstock), 1783 (Leipzig, 1784)
803–5, 807	244, 242, 241, 243	4 Oster-Musik: Gott hat den Herrn auferweckt (L. Cochius), Easter 1756, rev. later; Jauchzet, frohlocket [partly from bwv248¹], Easter 1778; Nun danket alle Gott, Easter 178; Anbetung dem Erbarmer, Easter 1784
809–10	248, 245	2 Michaelis-Musik: Den Engeln gleich, St Michael 1769; Ich will den Namen des Herrn preisen, St Michael 1772
811	—	?Weihnachts-Musik: Ehre sei Gott in der Höhe, Christmas ?1772 [also for St Michael 1782]
812	247, 212	Michaelis-Musik: Siehe! Ich begehre deiner Gerechtigkeit, St Michael 1775 [incl. aria ‘Sing ihm voll Rührung’ w212]
814	246	Michaelis-Musik: Der Frevler mag die Wahrheit schmähn, Christmas 1785 [incl. Heilig h778]
815	249	Weihnachts-Musik: Auf schicke dich, Christmas 1775
816	—	4 Weihnachts-Musik: Die Himmel rühmen die Ehre Gottes, Christmas c1770, music lost; 3 others, Christmas 1782, 1784, 1786, lost
821	—	15 inauguration cants., 1769–87, music mostly lost
823	—	Versammelt euch dem Herrn zu Ehren, for completion of the tower of St Michael, 31 Oct 1786 [incl. Heilig h778], lost
824	—	6 celebratory cantatas, 1765–85, lost
829	216	Spiega, Ammonia fortuna, chorus for visit of Gustav III of Sweden, Hamburg, 1770
830	221	Mein Heiland, meine Zuversicht, chorus for Trinity X, 5 Aug 1787
831	222	Wer ist so würdig als du (J.A. Cramer), chorus, Easter 1780, ? used earlier
832	223	Zeige du mir deine Wege (Cramer), chorus for Trinity VIII, 20 July 1777
—	224	Lass mich nicht deinen Zorn empfinden (Cramer), chorus, 1775 [after h733.13; used in St Matthew Passion h798]
833	225	Gott, dem ich lebe, des ich bin (C.C. Sturm), chorus
834–5	226—7	2 choruses: Amen, Lob und Preis und Stärke (Sturm) for Quasimodogeniti, 27 April 1783; Leite mich nach deinem Willen (B. Münter) for Quasimodogeniti, ? 27 April 1783
836	—	Meine Lebenszeit verstreicht, funeral music for M.H. Schele, Dec 1774 [incl. w228], frag.
837	—	Meinen Leib wird man begraben, funeral music for J. Luis, Feb 1788 [incl. w229], frag.
838	n.v.1	Merkt und seht, chorus, ?1780s
—	—	Wedding cant. for J.S. Ungnad and A.E. Thiele, 18 Jan 1736, lost
—	—	Birthday cant. for Crown Prince Friedrich of Prussia, 24 Jan 1737, lost
—	—	Frankfurt, lass in vollen Chören, cant. for visit of Friedrich Wilhelm I and Sophia Dorothea Maria of Prussia, 18 March 1737, music lost
—	—	Entdeckt durch tausend frohe Töne, cant. for visit of Friedrich Wilhelm I, Nov 1737, lost
—	—	Vater, deines Sohnes Geist, cant., ? Hamburg, 1770 [perf. with h829]
—	—	Oster-Kantate, Ist Christus nicht auferstanden, Easter 1771, lost
—	—	Freuet euch, ihr Kinder Zions (C.H.E. Müller), inauguration cant. for J.M. Müller and J.A.G. Schetelig, Hamburg, 7 Nov 1773, music lost
—	—	Funeral music for V. Rumpf, March/April 1781 [incl. h833 and movt from h856 (anon.)], frag.
—	—	Funeral music for F. Doormann, 7 Sept 1781, music lost
—	—	Funeral music for A. Schulte, 10 Jan 1786, lost

secular arias and cantatas

669	211	3 arias: Edle Freiheit, Götterglück; Himmelstochter, Ruh der Seelen; Reiche bis zum Wolkensitze: T, 2 fl, bc
697	232	Thirsis, willst du mir gefallen (Phillis und Thirsis) (J.E. Schlegel), S, S, 2 fl, bc, 1765 (Berlin, 1766)
723	237	Freude, du Lust der Götter (Der Frühling), cant., T, str, after 1760 [orch version of h688, see ‘Songs, motets and chorales’]
735	200.22	Als einem Frühlingsabende (Die Grazien) (H.W. von Gerstenberg), cant., S, kbd (Lübeck, 1789)
739	236	Sie liebt, mich liebt die Auserwählte (Selma) (J.H. Voss), S, 2 fl, str, after 1775
761	214	Fürsten sind am Lebensziele, aria, S, str, 1785, lost
767	213	D’amor per te languisco, arietta, S, 2 fl, bc
—	—	Reisst euch los, bekränte Sinnen, aria, S, ?orch, by 1734, frag., doubtful [= bwv224]

songs, motets and chorales

songs with keyboard or continuo

670–84, 687, 689–92	199	[20] Oden mit Melodien (Berlin, 1762) [incl. 3 in Samlung verschiedener und auserlesener Oden, ii–iv (Halle, 1741–3)]
685	—	La Sophie, by 1768
686	194	[55] Geistliche Oden und Lieder (C.F. Gellert), 1757 (Leipzig, 1758)
688	202/A	Freude, du Lust der Götter und Menschen (C.M. Wieland), in Drey verschiedene Versuche eines einfachen Gesanges für den Hexameters (Berlin, 1760) [also arr. S, orch, see ‘Secular arias and cantatas’, h723]
693–5	202/B	3 songs: Das Privilegium (N.D. Giseke); Die Landschaft; Belinde (K.W. Müller): in Clavierstücke verschiedener Art (Berlin, 1765)
696	195	Zwölf geistliche Oden und Lieder als ein Anhang zu Gellerts geistliche Oden und Lieder (Leipzig, 1764)
698	202/D	Bachus und Venus (H.W. von Gerstenberg), in Musikalisches Vielerley (Hamburg, 1770)
699	201	Der Wirt und die Gäste (J.W.L Gleim) (Berlin, 1766), rev. later
700–08, 734–5, 740–41, 747–8, 755–60	200	[21] Neue Lieder-Melodien nebst einer Cantate (Lübeck, 1789) [incl. Die Grazien h735, see ‘Secular arias and cantatas’]
709–21	202/C	13 songs in Unterhaltungen (Hamburg, 1768–70)
724–9	202/E	6 songs (B. Münter) in Balthasar Münters 1. Sammlung geistlicher Lieder (Leipzig, 1773)
730	202/O/2	Klagelied eines Bauren (J.M. Miller)
733	196	[42] Psalmen mit Melodien (J.A. Cramer) (Leipzig, 1774)
742	202/O/1	Auf den Flügeln des Morgenrots (C.F. Cramer)
743	202/O/4	Die Trennung (J.J. Eschenburg, after P. Metastasio)
749	197	[30] Geistliche Gesänge mit Melodien (C.C. Sturm) (Hamburg, 1780)
752	198	[30] Geistliche Gesänge mit Melodien, ii (Sturm) (Hamburg, 1781)
763	—	Die Alster (F. von Hagedorn); Harvstehude (von Hagedorn): after 1768, lost
764	202/N	12 songs in Freymaurer-Lieder mit ganz neuen Melodien von der Herren Capellmeister Bach, Naumann und Schulz (Copenhagen and Leipzig, 1788) [also attrib., erroneously, to W.F.E. Bach]
765	202/O/3	Kommt, lasst uns seine Huld besingen (J.A. Cramer)
766	202/O/5	Die Schönste soll bei Sonnenschein
—	—	Allgütiger, gewohnt Gebet zu hören [another version of h700]
		Also 12 songs in various Musenalmanachs (1775–82): h731–2, 736–8, 739·5, 744, 746, 750–51, 753–4 (w202/F–L)

motets

773–4	205–6	2 pss (J.A. Cramer): Warum versammeln sich und dräuen, S, A, T, B; Wenn ich zu dir in meinen Ängsten flehe, S, A, bc
826	208	4 motets: Gedanke, der uns Leben gibt (Gellert), S, A, B, bc; Oft klagt dein Herz, wie schwer es sei (Gellert), S, A, T, B, bc; Gott, deine Güte reicht so weit (Gellert), S, A, bc; Dich bet ich an, Herr Jesu Christ (Sturm), S, A, T, B, bc: arrs. of h686.30, 53, 9, 752.3

chorales

337	n.v.18	Wo Gott zum Haus nicht gibt
780, 871	204	Zwey Litaneien aus dem Schleswig-Holsteinischen Gesangbuch, 1785 (Copenhagen, 1786); ed. in SBA
781	203	[14] Neue Melodien zu einigen Liedern des neuen Hamburger Gesangbuches (Hamburg, 1787): texts mainly by Gellert; nos.3, 6, 13 also with orch
842	—	[10] Choräle (H.E. zu Stolberg-Wernigerode) (Wernigerode, 1767)
843	—	Naglet til et Kors paa Jorden (B.J. Sporon), in Kirke-Melodierne til den 1778 udgangne Psalmebog (Copenhagen, 1781)
844	—	3 chorales: Erheb, erheb, o meine Seele; Des Ewigen und der Sterblichen Sohn; Von ganzem Herzen rühmen wir: in Vollständige Sammlung der Melodien … des neuen allgemeinen Schleswig-Holsteinischen Gesangsbuch (Leipzig, 1785)

theoretical works

285	—	Fughetta on C-F-E-B-A-C-H, by 1784
867	121	Miscellanea musica, B-Bc [incl. canons in J.P. Kirnberger: Die Kunst des reinen Satzes (Berlin, 1771–4)]
868	254	Versuch über die wahre Art das Clavier zu spielen, i (Berlin, 1753/R, 2/1787); Eng. trans., ed. W.J. Mitchell, as Essay on the True Art of Playing Keyboard Instruments (New York, 1949)
869	257	‘Einfall einen doppelten Contrapunct in der Octave … zu machen’, in F.W. Marpurg, ed.: Historisch-kritische Beyträge zur Aufnahme der Musik, iii (Berlin, 1757/R); Eng. trans in Helm (1966)
870	255	Versuch über die wahre Art das Clavier zu spielen, ii (Berlin, 1762/R, 2/1797); Eng. trans., ed. W.J. Mitchell, as Essay on the True Art of Playing Keyboard Instruments (New York, 1949)
—	—	Fughetta on B-A-C-H, in J.F. Reichardt: Briefe eines aufmerksamen Reisenden (Hamburg, 1774)

arrangements

Various arrs. of vocal and inst works by J.E., J.C., J.C.F, J.S. and W.F. Bach, G. Benda, C.F.C. Fasch, J.G. Goldberg, C.H. Graun, Handel, G.A. Homilius, Telemann and others: for details see H; others in D-Bsb

misattributed works

115	122.3	Sinfonia, kbd: planned red. by J.J.H. Westphal of h652, unrealized
159	116.15	Minuet, kbd, C: arr. of h601 by Westphal
303–31	116.29–57	29 kbd pieces: arrs. by Westphal of works for mechanical insts or ww (facs. in Carl Philipp Emanuel Bach 1714–1788: The Collected Works for Solo Keyboard, v (New York, 1985))
333	—	La Juliane, F, kbd, A-Wn: doubtful, not autograph
540	—	Largo, e, kbd, melody inst, B-Bc: by C. Schaffrath
874	258	Kurze Anweisung zum Generalbass, B-Br; doubtful, not autograph
—	202/M	2 fantasias: Socrates: Nein, nein die ernste hohe Gestalt; Hamlet: Sein, oder Nichtsein: = h75, 3rd movt, with text underlay by H.W. von Gerstenberg

BIBLIOGRAPHY

a: catalogues, letters, documents

J.M. Bach, ed: Verzeichnis des musikalischen Nachlasses des verstorbenen Capellmeisters Carl Philipp Emanuel Bach (Hamburg, 1790/R1981 with preface and annotations by R.W. Wade)

J.J.H. Westphal: Catalogue thématique des oeuvres de Ch.Ph.Emm. Bach (MS, B-Br, Fétis 5218)

A. Wotquenne, ed.: Thematisches Verzeichnis der Werke von Carl Philipp Emanuel Bach (1714–1788) (Leipzig, 1905/R) [in Ger. and Fr.]

H.-J. Schulze, ed.: Dokumente zum Nachwirken Johann Sebastian Bachs 1750–1800, Bach-Dokumente, iii (Kassel, 1972)

H.-G. Ottenberg, ed: Der Critische Musicus an der Spree: Berliner Musikschrifttum von 1748 bis 1799, eine Dokumentation (Leipzig, 1984)

E. Suchalla: Briefe von Carl Philipp Emanuel Bach an Johann Gottlob Immanuel Breitkopf (Tutzing, 1985)

R. Angermüller: ‘Carl Philipp Emanuel Bachiana: Briefe die bei Ernst Suchalla nicht veröffentlicht wurden’, JbSIM (1985–6), 9–168

E.E. Helm: Thematic Catalogue of the Works of Carl Philipp Emanuel Bach (New Haven, CT, 1989)

U. Leisinger: ‘Die Bachsche Auktion von 1789’, BJb 1991, 97–126

W.S. Newman, ed.: Carl Philipp Emanuel Bach: Autobiography, Verzeichniss des musikalischen Nachlasses (Buren, 1991)

E. Suchalla, ed.: Carl Philipp Emanuel Bach im Spiegel seiner Zeit: die Dokumentensammlung Johann Jacob Heinrich Westphals (Hildesheim, 1993)

H.-G. Ottenberg, ed: Carl Philipp Emanuel Bach: Spurensuche: Leben und Werk in Selbstzeugnissen und Dokumenten seiner Zeitgenossen, Carl-Philipp-Emanuel-Bach-Konzepte, Sonderreihe, i (Leipzig, 1994)

E. Suchalla, ed.: Carl Philipp Emanuel Bach: Briefe und Dokumente. Kritische Gesamtausgabe (Göttingen, 1994)

E.N. Kulukundis: ‘Die Versteigerung von C.P.E. Bachs musikalischem Nachlass im Jahre 1805’, BJb 1995, 145–76

H.-J. Schulze: ‘Regesten zu einigen verschollenen Briefen Carl Philipp Emanuel Bachs’, BJb 1996, 151–4

P. Wollny: ‘Zur Überlieferung der Instrumentalwerke Johann Sebastian Bachs: der Quellenbesitz Carl Philipp Emanuel Bachs’, BJb 1996, 7–21

S.L. Clark, ed.: The Letters of C.P.E. Bach (Oxford, 1997)

B. Wiermann: Carl Philipp Emanuel Bach und Hamburg: Dokumente aus der zeitgenössischen Presse bis 1790 (Hildesheim, forthcoming)

b: sources

J. Müller: Die musikalischen Schätze der Koeniglichen- und Universitaets-Bibliothek zu Königsberg in Pr. aus dem Nachlasse Friedrich August Gotthold’s (Bonn, 1870)

P. Kast: Die Bach-Handschriften der Berliner Staatsbibliothek (Trossingen, 1958)

K. Hortschansky: Katalog der Kieler Musiksammlungen: die Notendrucke, Handschriften, Libretti und Bücher über Musik aus der Zeit bis 1830 (Kassel, 1963)

T. Aigner: Thematisches Verzeichnis der Werke von Johann Mederitsch detto Gallus (Munich, 1974) [incl. list of copies by Mederitsch in A-Sd, Sm]

R.W. Wade: ‘Newly Found Works of C.P.E. Bach’, EMc, xvi (1988), 523–32

U. Leisinger: Die Bach-Quellen der Forschungs- und Landesbibliothek Gotha (Gotha, 1993)

U. Leisinger and P. Wollny: Die Bach-Quellen der Bibliotheken in Brüssel: Katalog (Hildesheim, forthcoming)

c: exhibition catalogues, programme books

Carl Philipp Emanuel Bach: Musik und Literatur in Norddeutschland: Ausstellung zum 200. Todestag Bachs, Staats- und Universitätsbibliothek, Hamburg, 23 Sept – 31 Oct 1988; Schleswig-Holsteinische Landesbibliothek, Kiel 16 Nov 1988 – 29 Jan 1989 (Heide in Holstein, 1988) [exhibition catalogue]

Carl Philipp Emanuel Bach 1714–1788, herausgegeben anlässlich der Ausstellung zum 200. Todestag Carl Philipp Emanuel Bachs, Staatliches Institut für Musikforschung Preussischer Kulturbesitz, Berlin, 10 July – 4 Sept 1988 (Berlin, 1988) [exhibition catalogue]

H.-G. Klein, ed.: ‘Er ist Original!’: Carl Philipp Emanuel Bach: sein musikalisches Werk in Autographen und Erstdrucken aus der Musikabteilung der Staatsbibliothek Preussischer Kulturbesitz Berlin, Staatsbibliothek Preussischer Kulturbesitz, Berlin, 14 Dec 1988 – 11 Feb 1989 (Wiesbaden, 1988) [exhibition catalogue]

K. Maehnert and V. Wolf, ed.: Bach-Tage Hamburg ’88 (Hamburg, 1988) [St Michaelis-Chor Hamburg e.V.; programme book]

H.J. Marx, ed: Der Hamburger Bach und die Neue Musik des 18. Jahrhunderts: eine Veranstaltungsreihe anlässlich des 200. Todesjahres von Carl Philipp Emanuel Bach 1714–1788 (Hamburg, 1988) [programme book]

d: congress reports, essay collections

Carl Philipp Emanuel Bach und die europäische Musikkultur: Hamburg 1988

S.L. Clark: C.P.E. Bach Studies (Oxford, 1988)

Fragen der Aufführungspraxis und Interpretation von Werken Carl Philipp Emanuel Bachs: Blankenburg, Harz, 1988

Untersuchungen zur Musikkultur des 18. Jahrhunderts: Potsdam 1988

H. Poos, ed: Carl Philipp Emanuel Bach: Beiträge zu Leben und Werk (Mainz, 1993)

Carl Philipp Emanuel Bach: Frankfurt an der Oder 1994

Carl Philipp Emanuel Bach und die Romantik: Frankfurt an der Oder 1996

e: biography: general

F. Rochlitz: ‘K.Ph.E. Bach’, Für Freunde der Tonkunst (Leipzig, 2/1832), iv, 271–316

C.H. Bitter: Carl Philipp Emanuel und Wilhelm Friedemann Bach und deren Brüder (Berlin, 1868/R)

O. Vrieslander: Carl Philipp Emanuel Bach (Munich, 1923)

H. Miesner: Philipp Emanuel Bach in Hamburg: Beiträge zu seiner Biographie und zur Musikgeschichte seiner Zeit (Leipzig, 1929/R)

D. Plamenac: ‘New Light on the Last Years of Carl Philipp Emanuel Bach’, MQ, xxxv (1949), 565–87

H.-G. Ottenberg: Carl Philipp Emanuel Bach (Leipzig, 1982, 2/1987; Eng. trans., 1987)

f: special studies, relationships, reception

H. von Hase: ‘Carl Philipp Emanuel Bach und Joh.Gottl.Im. Breitkopf’, BJb 1911, 86–104

R. Steglich: ‘Karl Philipp Emanuel Bach und der Dresdner Kreuzkantor Gottfried August Homilius im Musikleben ihrer Zeit: ein Beitrag zur Geschichte der Stilwandlung im 18. Jahrhundert’, BJb 1915, 39–145

H. von Hase: ‘Beiträge zur Breitkopfschen Geschäftsgeschichte’, ZfMw, ii (1919–20), 454–81

B. Engelke: ‘Gerstenberg und die Musik seiner Zeit’, Zeitschrift der Gesellschaft für Schleswig-Holsteinische Geschichte, lvi (1927), 417–48

H. Killer: ‘Zur Musik des deutschen Ostens im 18. Jahrhundert’, Königsberger Beiträge: Festgabe zur vierhundertjährigen Jubelfeier der Staats- und Universitätsbibliothek zu Königsberg Pr. (Königsberg, 1929), 228–43

E. Fritz Schmid: ‘Joseph Haydn und Carl Philipp Emanuel Bach’, ZfMw, xiv (1931–2), 299–312

H. Miesner: ‘Urkundliche Nachrichten über die Familie Bach in Berlin’, BJb 1932, 157–63

H. Miesner: ‘Aus der Umwelt Philipp Emanuel Bachs’, BJb 1937, 132–43

H. Miesner: ‘Porträts aus dem Kreise Philipp Emanuel und Wilhelm Friedemann Bachs’, Musik und Bild: Festschrift Max Seiffert zum siebzigsten Geburtstag, ed. H. Besseler (Kassel, 1938), 101–12

A. Holschneider: ‘C.Ph.E. Bachs Kantate “Auferstehung und Himmelfahrt Jesu” und Mozarts Aufführung des Jahres 1788’, MJb 1968–70, 264–80

M. Terry: ‘C.P.E. Bach and J.J.H. Westphal: a Clarification’, JAMS, xxii (1969), 106–15

A. Glöckner: ‘Neuerkenntnisse zu Johann Sebastian Bachs Aufführungskalender zwischen 1729 und 1735’, BJb 1981, 43–75

E.E. Helm: ‘An Honorable Shortcut to the Works of C.P.E. Bach’, Music in the Classic Period: Essays in Honor of Barry S. Brook, ed. A.W. Atlas (New York, 1985), 85–98

R. von Zahn: ‘Johann Maria Bach und das Hamburger Stadtkantorat’, Mf, xliii (1990), 146–50

R. von Zahn: Musikpflege in Hamburg um 1800: der Wandel des Konzertwesens und der Kirchenmusik zwischen dem Tode Carl Philipp Emanuel Bachs und dem Tode Christian Friedrich Gottlieb Schwenkes (Hamburg, 1991)

U. Leisinger: Joseph Haydn und die Entwicklung des klassischen Klavierstils (Laaber, 1994)

g: theory, aesthetics

H. Mersmann: ‘Ein Programmtrio K.Ph.E. Bachs’, BJb 1917, 137–70

O. Vrieslander: ‘C.Ph.E. Bach als Theoretiker’, Von Neuer Musik (Cologne, 1925), 222–79

A. Schering: ‘Carl Philipp Emanuel Bach und das “redende Prinzip” in der Musik’, JbMP 1938, 13–29

N. Fischman: ‘Estetika F.E. Bacha’, SovM (1964), no.8, 59–65

E.E. Helm: ‘Six Random Measures of C.P.E. Bach’, JMT, x (1966), 19–51

C. Dahlhaus: ‘Si vis me flere …’, Mf, xxv (1972), 51–2

E.E. Helm: ‘The “Hamlet” Fantasy and the Literary Element in C.P.E. Bach’s Music’, MQ, lviii (1972), 277–96

P. Cohen: Theorie und Praxis der Clavierästhetik Carl Philipp Emanuel Bachs (Hamburg, 1974)

H. Danuser: ‘Das imprévu in der Symphonik: Aspekte einer musikalischen Formkategorie in der Zeit von Carl Philipp Emanuel Bach bis Hector Berlioz’, Musiktheorie, i (1986), 61–81

h: keyboard music

I.G. Faisst: ‘Beiträge zur Geschichte der Claviersonate von ihrem erstem Auftreten bis auf C.P. Emanuel Bach’, Caecilia, xxv (1846), 129–58, 201–31; xxvi (1847), 1–28, 73–83; repr. in NBeJb 1924, 7–85

H. Schenker: Ein Beitrag zur Ornamentik als Einführung zu Ph.E. Bachs Klavierwerken (Vienna and Leipzig, 1908)

H. Uldall: Das Klavierkonzert der Berliner Schule mit kurzem Überblick über seine allgemeine Entstehungsgeschichte und spätere Entwicklung (Leipzig, 1928)

S. Clercx: ‘La forme du rondo chez Carl Philipp Emanuel Bach’, RdM, xvi (1935), 148–67

E.H. Beurmann: Die Klaviersonaten Carl Philipp Emanuel Bachs (diss., U. of Göttingen, 1952)

K. von Fischer: ‘C.Ph.E. Bachs Variationenwerke’, RBM, vi (1952), 190–218

P. Schleuning: Die Freie Fantasie: ein Beitrag zur Erforschung der klassischen Klaviermusik (Göppingen, 1973)

D.M. Berg: The Keyboard Sonatas of C.P.E. Bach: an Expression of the Mannerist Principle (diss., SUNY, 1975)

R.W. Wade: The Keyboard Concertos of Carl Philipp Emanuel Bach (Ann Arbor, 1981)

G. Wagner: Traditionsbezug im musikhistorischen Prozess zwischen 1720 und 1740 am Beispiel von Johann Sebastian und Carl Philipp Emanuel Bach (Neuhausen-Stuttgart, 1985)

A. Edler: ‘Zwischen Händel und Carl Philipp Emanuel Bach: zur Situation des Klavierkonzerts im mittleren 18. Jahrhundert’, AcM, lviii (1986), 180–221

D.M. Berg: ‘Carl Philipp Emanuel Bachs Umarbeitungen seiner Claviersonaten’, BJb 1988, 123–61

W. Horn: Carl Philipp Emanuel Bach. Frühe Klaviersonaten: eine Studie zur ‘Form’ der ersten Sätze nebst einer kritischen Untersuchung der Quellen (Hamburg, 1988)

P. Whitmore: Unpremeditated Art: the Cadenza in the Classical Concerto (Oxford, 1991)

D. Schulenberg: ‘Carl Philipp Emanuel Bach’, Eighteenth-Century Keyboard Music, ed. R.L. Marshall (New York, 1994), 191–229

i: vocal and instrumental music

NewmanSCE

E. Fritz Schmid: Carl Philipp Emanuel Bach und seine Kammermusik (Kassel, 1931)

G. Busch: Busch: Carl Philipp Emanuel Bach und seine Lieder (Regensburg, 1957)

E. Simon: Mechanische Musikinstrumente früherer Zeiten und ihre Musik (Wiesbaden, 1960)

E. Suchalla: Die Orchestersinfonien Carl Philipp Emanuel Bachs (Augsburg, 1968)

S.L. Clark: The Occasional Choral Works of C.P.E. Bach (diss., Princeton U., 1984)

D. Schulenberg: The Instrumental Music of Carl Philipp Emanuel Bach (Ann Arbor, 1984)

S.L. Clark: ‘C.P.E. Bach and the Tradition of Passion Music in Hamburg’, EMc, xvi (1988), 533–41

W. Maertens: Georg Philipp Telemanns sogenannte Hamburgische Kapitainsmusiken (1723–1765) (Wilhelmshaven, 1988)

L. Miller: ‘Carl Philipp Emanuel Bach’s Flute Sonatas’, JM, xi (1993), 203–49

G. Wagner: Die Sinfonien Carl Philipp Emanuel Bachs: Werdende Gattung und Originalgenie (Stuttgart and Weimar, 1994)

A. Nagel: Studien zur Passionskantate von Carl Philipp Emanuel Bach (Frankfurt, 1995)

G. Quarg: “‘Passions-Cantatte von Ph.E.Bach”: zur Kölner Markus-Passion’, Musik und Kirche, lxv (1995), 62–71

(10) Johann Ernst Bach

(34) (b Eisenach, 28 Jan 1722; d Eisenach, 1 Sept 1777). Composer and organist, son of (5) Johann Bernhard Bach (18). On 16 January 1737 he entered the Thomasschule in Leipzig and became a pupil of his uncle (7) Johann Sebastian (24). After studying law at Leipzig University he returned to Eisenach in 1741 and deputized, without pay, for his ailing father. Plans to go to Frankfurt, Hamburg or Berlin, mentioned in a letter written by his cousin Johann Elias Bach (39), were never realized. In 1748 he became his father's official assistant and the next year his successor. He continued to practise as a lawyer as well, and in addition he was appointed Kapellmeister at the Weimar court in 1756 ‘in view of his well-known skill and musical knowledge’. This entailed regular journeys to Weimar, and during his frequent absences from Eisenach he was permitted to hire a substitute for his organist's duties. When the Hofkapelle was dissolved after the death of Duke Ernst August Constantin in 1758, Johann Ernst returned permanently to Eisenach but retained his Kapellmeister title and salary, for which he had to fulfil certain administrative duties. He wrote the foreword to Adlung's Anleitung zu der musikalischen Gelahrtheit (Erfurt, 1758), in which he criticized the current decay of church music and demanded that this be countered by ‘artistic and regular manners of composing’; as models of sacred cantatas he praised the ‘admirable masterpieces’ of J.S. Bach, Telemann and Stölzel. J.E. Bach was apparently in close contact with his cousin (9) Carl Philipp Emanuel (46), serving as agent for the first part of the Versuch (1753) and the harpsichord concertos w43 (1772). He contributed to the anthology Musicalisches Vielerley published by C.P.E. Bach in 1770.

As a composer Johann Ernst was abreast of the stylistic innovations of his time although, like Johann Sebastian's sons, he did not exclude contrapuntal writing. Characteristic of his personal style is the extended use of chromaticism and syncopated rhythms. His vocal works are often highly dramatic and full of effects. In his time he was particularly known for his ‘beautiful chorale settings’ (Musicalische Realzeitung, ii (1789), 179); these represent an important contribution to the genre of the sacred cantata as they form a link between J.S. Bach's chorale cantatas and the chorale settings of the generation of Doles and Hiller. His songs depend on the older tradition of Görner, Gräfe and Mizler; he wrote galant melodies full of expressive word-painting with lively basses and often elaborate accompaniments. His Passion oratorio is influenced by C.H. Graun's well-known Der Tod Jesu.

WORKS

vocal

O Seele, deren Sehnen (Passion oratorio), 1764, D-GOa, ed. in DDT, xlviii (1914); 2 Passions, lost, cited in GerberNL

Church cantatas: Ach Herr, strafe mich nicht (Ps vi), D-DS, US-CA; Auf und säumt euch nicht, ihr Frommen (Dank-Kantate), AAu; Der Herr ist nahe bei denen, for funeral of Duke Ernst August Constantin, 1758, D-Bsb, US-AAu; Die Liebe Gottes ist ausgegossen, D-Bsb, ed. in SBA; Ein feste Burg ist unser Gott, 1762, LEb; Herzlich lieb hab ich dich (Ps xviii), Bsb, Hs; Kein Stündlein geht dahin, Bsb, Bhm, Hs; Kommt herzu, lasset uns frohlocken (Ps xcv), LEb; Lobe den Herrn, meine Seele, lost, cited in Breitkopf catalogue, 1770; Mein Odem ist schwach (= bwv 222), Bsb, Hs, GB-Lbl, choral movts also as motet, Unser Wandel ist im Himmel (= BWV Anh. 165); Meine Seele erhebet den Herren (i), D-Bsb, ed. in SBA; Meine Seele erhebet den Herren (ii), MLHb; Meine Seele erhebet den Herrn (iii), F-Pn; Nach dir, Herr, verlanget mich (Ps xxv), private collection; Sei willkommen, mächtiger Herrscher, D-CR, doubtful, probably by J.E. Bach; Singet dem Herrn ein neues Lied (Ps cxlix), BNu, WFmk (erroneously attrib. C.P.E. Bach); So gehst du nun, mein Jesu, hin, US-AAu; Straf mich nicht in deinem Zorn, D-BNu, GOa; Wenn Donnerwolken über dir sich türmen (Das Vertrauen der Christen auf Gott), Bsb (inc.), GOa; Wie der Hirsch schreiet (Ps xlii), lost, cited in Breitkopf catalogue, 1764; Wünschet Jerusalem Glück, NTRE; others (?incl. annual cycle, 1766), lost

Mass [Ky–Gl] on Es woll uns Gott gnädig sein, SATB, bc, D-Bsb

Motets, SATB: Aus der Tiefen, GB-Lbl; Mein Odem ist schwach, in G.P. Weimar: Versuch von kleinen leichten Motetten und Arien (Leipzig, 1785); Unser Wandel ist im Himmel (= bwv Anh. 165), D-DS; 11 others, ARk, doubtful

Secular cantatas: Gesegneten Auftritt, for birthday of Duke Friedrich of Saxe-Gotha, 1756, lost, mentioned in H. Kretschmar, Preface to DDT, xlii (1910); Wer sagt mir doch, was für Entzücken, lost

Sammlung auserlesener Fabeln, i (Nuremberg, 1749) [pt ii ?unpubd]; ed. in DDT, xlii (1910)

Lächerliche Mammonshüter (An die Geizigen), in C.P.E. Bach: Musicalisches Vielerley (Hamburg, 1770)

instrumental

Sinfonia, B, US-BETm; other sinfonias mentioned in GerberNL

3 Sonaten, kbd, vn, pt i (Eisenach, 1770); no.1 ed. in NM, ii (1927)

3 Sonaten, kbd, vn, pt ii (Eisenach, 1772)

Sonata, A, fl, vn, bc, D-Bsb

Sonatas, kbd: G, F, in J.U. Haffner: Oeuvres mêlées, v, vi (Nuremberg, 1759); A, Bsb

Org: Fantasia and fugue, d, Bsb; Fantasia and fugue, a, Bsb, ed. in Mw, xlii (1972); Fantasia and fugue, F, in C.P.E. Bach: Musicalisches Vielerley (Hamburg, 1770), ed. in D. Hellmann: Orgelmusik der Familie Bach (Leipzig, 1985); Chorale, Valet will ich dir geben, Bsb, ed. in D. Hellmann: Orgelmusik der Familie Bach (Leipzig, 1985)

BIBLIOGRAPHY

GerberNL

H. Löffler: “‘Bache” bei Seb. Bach’, BJb 1949–50, 106–24

H. Kühn: ‘Vier Organisten Eisenachs aus Bachischem Geschlecht’, Bach in Thüringen (Berlin, 1950), 103–19

C. Oefner: Die Musikerfamilie Bach in Eisenach (Eisenach, 1984)

H. Max: ‘Verwandtes im Werk Bachs, seiner Schüler und Söhne’ Johann Sebastian Bachs Spätwerk und dessen Umfeld: Duisburg 1986, 117–47

E. Odrich and P. Wollny: Die Briefkonzepte des Johann Elias Bach (Hildesheim, 2000)

(11) Johann Christoph Friedrich Bach

(b Leipzig, 21 June 1732; d Bückeburg, 26 Jan 1795). Composer, son of (7) Johann Sebastian Bach (24) and Anna Magdalena Bach. He is known as the ‘Bückeburg Bach’.

1. Life.

He received his musical education from his father. After leaving the Thomasschule, Leipzig, he is thought to have studied law briefly, but there is no record of his matriculation at Leipzig University. At the express wish of Count Wilhelm of Schaumburg-Lippe he was appointed harpsichordist to the court in Bückeburg, where he may at first have been subordinate to the court organist Ludolf Münchhausen. In June 1751 his brother Carl Philipp Emanuel visited him in the retinue of Frederick the Great when the king awarded the Order of the Great Eagle to Count Wilhelm. At this time the musical life of the court in Bückeburg was dominated by the Konzertmeister Angelo Colonna and the court composer Giovanni Battista Serini; they left Bückeburg in the middle of 1756 for reasons which remain obscure. On 8 January 1755 Bach had married Münchhausen’s daughter Lucia Elisabeth, who was trained as a singer by Serini and held a position at court, probably as an alto, with an annual salary of 100 thaler. The Seven Years War imposed considerable restrictions on the court of Bückeburg. Bückeburg itself was occupied by French troops in 1757 and Count Wilhelm, with a few trusted courtiers including Bach, withdrew to his estate of Niensteden on the Elbe, near Pinneberg, from October 1757 to April 1758. Bach took this opportunity to apply, successfully, for the vacant post of organist at the German church in Altona, then under Danish rule, but for unknown reasons he never took it up. On 18 February 1759 he was appointed Konzertmeister of the Bückeburg Hofkapelle, with a rise in his annual salary to 400 thaler (later, temporarily, to 416 thaler), and he also received the usual allowances in kind. However, court life did not return to normal until after the Peace of Hubertusburg, for which Bach wrote a thanksgiving cantata performed on Ascension Day 1763, and the return of Count Wilhelm from his military missions in Portugal in November 1764. The Hofkapelle usually gave concerts twice a week; the ensemble consisted of about 15 musicians, with assistance when necessary from outside performers and military bandsmen. Bach was responsible for the composition or procurement of the works played at these concerts and for rehearsing them, and he adjusted his choices to the taste of Count Wilhelm, who liked secular Italian vocal music and played keyboard instruments and perhaps the flute himself. In the period up to 1770 Bach wrote symphonies, trio sonatas, a number of Italian arias and cantatas (mainly to texts by Metastasio) and perhaps his most important work of this time, the large-scale cantata Cassandra. After Count Wilhelm’s marriage to Marie Barbara Eleonore zur Lippe-Biesterfeld on 12 November 1765, Protestant sacred music was performed at the Bückeburg court. Perhaps encouraged by his successful application to Altona, Bach applied on 24 June 1767 to succeed the late G.P. Telemann in Hamburg. He was, in fact, one of the short-listed candidates, but his half-brother Carl Philipp Emanuel gained the appointment. Between 1765 and 1773 Johann Christoph Friedrich set the best-known Protestant oratorio texts of his time, Der Tod Jesu, Die Hirten bei der Krippe Jesu and Die Auferstehung und Himmelfahrt Jesu, all by C.W. Ramler, and Die Pilgrime auf Golgatha by F.W. Zachariä. The tendency towards sacred vocal composition increased with the arrival in Bückeburg of J.G. Herder, who was court preacher and superintendent there from 1771 to 1776. His oratorio texts, highly regarded by Countess Marie Barbara, had a lasting effect on the music of the court. In these years Herder and Bach, who later regarded this as the happiest time of his life, collaborated on the cantata Michaels Sieg, oder Der Kampf des Guten und des Bösen in der Welt (1771, not 1775), the ‘biblical painting’ Die Kindheit Jesu (1772, for the birth of Countess Emilie Eleonore Wilhelmine in June 1771), Die Auferweckung Lazarus (1773, on the occasion of the death of Countess Marie Barbara’s twin brother Ferdinand Benjamin on 23 April 1772) and Der Fremdling auf Golgatha (1776), as well as the secular ‘scenes with song’, Brutus and Philoktetes, which have not survived.

The death of Countess Marie Barbara in 1776, Herder’s appointment to Weimar in the same year and the death of Count Wilhelm in 1777 marked a watershed in the intellectual life of the Bückeburg court. Count Philipp Ernst zu Schaumburg-Lippe-Allverdissen (1723–87) took over the government, holding court partly in Münster and partly in Bückeburg. In spring 1778 Bach asked for three months’ leave to visit his brother Johann Christian in London. He took his son Wilhelm Friedrich Ernst on this journey, which began some time between 16 March and 23 May 1778 and ended at the latest in November of the same year; the son was left with Johann Christian for further musical training. A series of string quartets and a set of six keyboard concertos, printed in London with dedications to members of the house of Schaumburg-Lippe, show how rapidly J.C.F. Bach adapted his music to English tastes. He also brought back an English piano from his travels, so his keyboard compositions after 1778 were not necessarily for the harpsichord. In 1780 Count Philipp Ernst took as his second wife Princess Juliane zu Hessen-Philippsthal (1761–99), who was particularly fond of the fine arts. At the Princess’s wish, attendance at court concerts was now open to the citizens of Bückeburg and to visitors. Forkel (Musikalischer Almanach, 1782) regarded the little Kapelle as one of the finest in Germany. Juliane took lessons in foreign languages and drawing, and studied the keyboard with J.C.F. Bach. Among the better known of his pupils (in addition to his son Wilhelm Friedrich Ernst and C.F. Geyer, later Kantor of Bückeburg) were the future Thomaskantor A.E. Müller and perhaps Adolf, Baron von Knigge. For teaching purposes Bach wrote a number of pedagogically valuable keyboard works, including the Sechs leichte Clavier-Sonaten (printed in 1784 with a dedication to Princess Juliane), variations (including a set on ‘Ah, vous dirai-je maman’), concertos and sonatas for four hands.

Bach also increased his efforts to get his compositions published. He could not muster enough subscribers for the edition of the large-scale sacred works he had been planning since about 1773, but he did publish the collection Musikalische Nebenstunden, containing mainly works by himself but also some songs by W.F.E. Bach and by noble dilettantes from Bückeburg and Minden. A comment in a letter to Breitkopf of 1 October 1788, in which Bach sought subscribers for a collection of three easy keyboard sonatas (‘These sonatas are easy, written in the latest style and composed in London, where they were much to the liking of Her Majesty the Queen’) may suggest that he paid a second visit to England, though further evidence of this is so far lacking.

The arrival in Bückeburg about 1793 of the brilliant Bohemian musician Franz Neubauer presented Bach with unaccustomed competition in the last years of his life. It inspired him to write new works (including a dozen large-scale symphonies and several double concertos) but it also intensified the latent depression from which he had been suffering since the death of his half-brother Carl Philipp Emanuel and which may have hastened the course of the chest ailment that brought about his death on 26 January 1795. In his obituary his friend Karl Gottlieb Horstig, superintendent at Bückeburg from 1793, described him as an industrious composer, always ready to be of service, and praised his upright character and ‘kindness of heart’.

2. Works.

With his predisposition towards the use of existing models, his extensive revisions and his liking for experimentation, Bach showed in his compositions several apparently contradictory tendencies. His father had given him a thorough grounding in keyboard and organ playing and in the rudiments of composition, but when he moved to Bückeburg he found himself in an entirely different world. As a result he was obliged to adapt to new stylistic principles, studying them on his own with concrete models. His first works in almost all genres, therefore, are stylistic copies: the early piano sonatas are based on models by C.P.E. Bach, the aria ‘Luci amate, ah, non piangete’ (c1760) is an arrangement of a work by Matteo Capranica, and Der Tod Jesu (1769) is influenced by C.H. Graun’s setting of the same text (1755). However, Bach usually managed to move on rapidly, leaving his models behind, and to find new forms of expression. His secular cantatas from the period around 1773 are particularly noteworthy. They include Die Amerikanerin (after H.W. von Gerstenberg’s Lied eines Mohren) and Ino (text by Ramler), which during Bach’s lifetime brought him a reputation as one of the major cantata composers in Germany. The oratorios and cantatas written in collaboration with Herder may merit similar interest; they remained unpublished but were circulated and appreciated in aristocratic circles in Rheda, Detmold and Wernigerode. Although Bach preferred a lyrical tone, he had a special feeling for dramatic development, particularly evident in accompagnato scenas. The style of his vocal compositions is close to that of C.H. Graun, Telemann, and (particularly in choral movements) his brother Carl Philipp Emanuel, whom he even surpassed in his solidly constructed but fluent fugues. His keyboard compositions cover a wide range, from simple practice pieces in the style of J.S. Bach’s two-part Inventions (in the Musikalische Nebenstunden), through dance pieces and ‘easy keyboard sonatas’ to extremely demanding works written for his own use or for patrons outside Bückeburg. They felicitously unite the modern stylistic features of J.C. Bach with the sound musical construction of Carl Philipp Emanuel. The Drei leichte Sonaten fürs Klavier oder Piano Forte (Rinteln, 1789), as well as many of the works surviving only in manuscript, are among the best keyboard compositions of their time.

Bach’s compositions after the death of Count Wilhelm are notable for a willingness to experiment, encouraged by the attitude of Princess Juliane, who was always open to innovations, and by his continuing to work with an excellent Kapelle. He was turning to new genres even in the last years of his life, for example in the sonatas for two pianos of 1791, the wind septet of 1794 and two concertos for keyboard and another instrument dating from about 1791. In accordance with Bach’s conception of his duties, compositions written for the court and other patrons were exclusively for the use of those who had commissioned them, with the result that most of his music could not be widely disseminated. His reputation was therefore founded mainly on the compositions published during his lifetime. The music collection of the Bückeburg Hofkapelle, left by Prince Adolf in 1917 to the Fürstliches Institut für Musikforschung in Bückeburg which he had founded (in 1935 it became the Staatliches Institut für Musikforschung, Berlin), was destroyed in World War II, apart from a few fragments, making it difficult to evaluate Bach’s work as a whole. Almost without exception, the innovative compositions of his last years in particular were extant only in this collection.

WORKS

Catalogues:H. Wohlfarth: ‘Neues Verzeichnis der Werke von Johann Christoph Friedrich Bach’, Mf, xiii (1960), 404–17; repr. in Johann Christoph Friedrich Bach (Berne, 1971) [W]Bach-Repertorium (forthcoming) [BR; Inc[ertum] = doubtful]Edition:Friedrich Bach; Ausgewählte Werke, ed. G. Schünemann (Bückeburg, 1920–23) [S]Sources:C.P.E. Bach, ed.: Musikalisches Vielerley (Hamburg, 1770) [MV]J.C.F. Bach, ed.: Musikalische Nebenstunden, i–iv (Rinteln, 1787–8) [MN]

keyboard

Edition:Le trésor des pianistes, ed. A. and L. Farrenc, xv (Paris, 1870/R) [F]



BR		W

A 1–2		XI/1–2		2 sonatas, F, C, MV; ed. in F
A 3–8	XI/3		6 leichte Sonaten, C, F, E, D, A, E (Leipzig, 1785); ed. H. Ruf and H. Bemmann (Mainz, 1966), nos.4–5 ed. in F
A 9–12		XI/4–7		3 sonatas, C, G, F, 1 sonatina, MN; sonatas 2–3 ed. in F, sonatina ed. in Stuttgarter Bach-Ausgaben, ser.F, ii (Stuttgart, 1989)
A 13–15	XI/8		3 leichte Sonaten, D, A, E, (Rinteln, 1789); no.2 ed. in S
A 16–21		XI/9 (= brA 18)		6 ‘easy’ sonatas, D, A, F, B, G, E, c1785, D-GOl
A 22–7	—		6 sonatas (nos.1–4 lost, no.5 E, no.6 F), c1785, GOl
A 28–34		—		7 sonatas (no.4 D, others lost), by 2 April 1789, HVl*
A 35–7	—		3 sonatas, after 1777, lost, listed in Bückeburg inventory, 1799
A 38–9		—		2 sonatas, by 1789, lost, mentioned in letters from J.C.F. Bach to Breitkopf
A 40	XIII/1		Sonata, A, for 4 hands, 1786, Bsb*,
A 41		XIII/2		Sonata, C, for 4 hands, 1791, MS lost, formerly Bim; ed. in S
A 42–3	—		2 sonatas, 2 kbd, by 16 Feb 1791, lost, mentioned in letters from J.C.F. Bach to Breitkopf
A 44		XII/1		Romanza con XII variazioni, A, c1785–90, lost, formerly Bim
A 45	XII/2		Allegretto [‘Ah, vous dirai-je maman’] con VXIII variazioni, c1785–90, Bsb*
A 46–50		XII/3–7		5 dance movts, MV
A 51–120	XII/13		70 pieces, MN
A 121–5		XII/8–12		5 dances morts, c1745–9, Bsb
A Inc 1	—		Partia, C, by 1745, WD
A Inc 2–7		—		6 fugues, g, e, C, F, D, C, only no.4 (also attrib. G.P. Telemann) extant; pubd (Erfurt and Leipzig, c1858)
A Inc 8	—		Galanterie-Stücke, lost, listed in Bückeburg inventory, 1799

chamber

B 1	X/3	Solo, A, vc, bc, MV
B 2	X/1	Solo, G, vc, b, c1780–85, D-Bsb*
B 3	VII/1	Trio, A, fl, vn, bc, (or Kbd, fl), MV
B 4	—	Trio, e, fl, va, bc, by 1760, Bsb
B 5–10	—	6 trios, 2 fl, bc, by 1770, lost
B 11–12	VII/2–3	2 trios, A, F, by 1768, US-BETm
B 13	—	Trio, 2 vn, bc, by 1788, lost, mentioned in Verzeichniss des musikalischen Nachlasses … Carl Philipp Emanuel Bach (Hamburg, 1790)
B 14	VIII/2	Trio, E, kbd, fl/vn, MV
B 15–20	VIII/3	6 Sonaten, d, D, D, C, A, C, kbd, fl/vn (Riga, 1777)
B 21–2	IX/2–3	2 sonatas, G, D, kbd, vn, MN
B 23–4	—	2 trios, kbd, fl, by 1770, lost
B 25	VIII/1	Trio, F, kbd, fl/vn, by 1777, MS lost, formerly D-Bim; ed. W. Hinnenthal (Leipzig, 1937)
B 26–7	—	2 sonatas, F, D, by 1777, RH* (inc.)
B 28	IX/1	Sonata, G, kbd, vn, after 1777, lost, formerly Bim
B 29	VII/4	Sonata, D, kbd, fl/vn, vc, c1780, Bsb*; ed. in S
B 30–35	VII/5–7 (= brB 31–2, 34)	6 sonatas (no.2 G, no.3 A, no.5 C, others lost), kbd, fl/vn, va, 1770–80, Bsb, PL-Kj**; nos.2, 5, ed. in S
B 36	X/4	Sonata, A, kbd, vc, 1789, MS lost, formerly D-Bim; arr. J. Smith (Brunswick, 1905)
B 37–42	VI	6 quartetti, D, G, C, A, F, B, fl, vn, va, bc (Hamburg, c1768)
B 43–8	—	6 quatuors, E, B, A, D, G, F, str (London, c1778)
B 49	IV	Septet, E, 2 ob, cl, 2 bn, hn, 1794, MS lost, formerly Bim; ed. in S
B 50–53	—	4 marches, after 1777, lost, listed in Bückeburg inventory, 1799
B Inc 1	XX/3	Trio, B, 2 vn, bc, Bsb
B Inc 2	—	Trio, C, 2 fl, lost, formerly Berlin, Singakademie
B Inc 3	X/2	Solo, D, vc, bc, lost, formerly ?Bsb (?= brB 36)
B Inc 4	—	Sonata, kbd, ?vn, by 29 Sept 1789, lost

orchestral

symphonies; for 2 oboes, 2 horns and strings unless otherwise stated

C 1		—	Sym., D, MN (kbd red.)
C 2–3		—	2 syms., by 1770, lost
C 4		I/3	Sym., d, str, by 1768, US-WS
C 5–6		I/1–2	2 syms., F, B, by 1768, BETm
C 7		I/4	Sym., E, 2 hn, str, by 1768, WS
C 8–10		I/6 (= brC 10) 3 syms. (no.3 C, others lost), 1770, D-Bsb*
C 11–13		I/7–9	3 syms., D, G, D, ? by 1770, lost, formerly Bim
C 14		I/10	Sym., E, c1770–75, BÜC
C 15–17		—	3 syms., ? after 1777, lost, listed in Bückeburg inventory, 1799
C 18–23		I/11–15	6 syms., D, F, D, C, G, nos.2–3 with 2 bn, c1792–3, lost, formerly Bim (= brC 19–23)
C 24–7		I/18–19, 16–17	4 syms., E, E, d, C, 1794, lost, formerly Bim
C 28		I/20	Sym., B, with fl, 2 cl, bn, 1794, Bsb*
concertos; for keyboard and orchestra (2 oboes/flutes, 2 horns and strings) unless otherwise stated
C 29		—	Conc., E, kbd, str (Riga, c1770)
C 30	—			Concerto II, A, kbd, str (Riga, c1772)
C 31–6		—	6 concs., G, F, D, E, B, C, kbd, vn, bc (London, n.d.)
C 37	II/1			Conc., E, kbd, str, by 1760, D-Bsb*
C 38		—	Conc., kbd, ?str, by 27 Oct 1766, lost
C 39	—			Conc., by 1788, lost, listed in Verzeichniss des musikalischen Nachlasses … Carl Philipp Emanuel Bach (Hamburg, 1790)
C 40		II/4	Conc., F, 1782, Bsb*
C 41	II/2			Conc., D, c1780–85, Bsb*
C 42		II/3	Conc., A, ?c1785–90, lost, formerly Bim
C 43	II/5			Conc., E, 1792, Bsb*
C 44		—	Conc., E, va, kbd, orch, c1790, F-Pc*
C 45	III			Conc., E, ob, kbd, orch, 1791, lost, formerly D-Bim

oratorios

D 1	—	Die Pilgrime auf Golgotha (F.W. Zachariä), by 1769, D-F, Mbs
D 2	XIV/1	Der Tod Jesu (K.W. Ramler), 1769, rev. c1784, B-Bc*; ed. H. Salzwedel (Bückeburg, 1964)
D 3	XIV/10	Die Auferstehung und Himmelfahrt Jesu (Ramler), by 1772, rev. c1784, D-Bsb* (frag.)
D 4	XIV/9	Die Hirten bei der Krippe Jesu (Ramler), by 1773, lost, formerly Bim
D 5	XIV/2	Die Kindheit Jesu (J.G. Herder), 1773, rev. after 1777, Bsb*; ed. in DDT, lvi (1917/R)
D 6	XIV/3	Die Auferweckung Lazarus’ (Herder), 1773, rev. after 1777, Bsb*; ed. in DDT, lvi (1917/R)
D 7	XIV/7	Der Fremdling auf Golgotha (Herder), 1776, music lost, formerly Bim
D 8	XVII/3	Mosis Mutter und ihre Tochter (G.D. Stille), 1787, Bsb* (inc.)

other sacred vocal

in German unless otherwise stated

E 1	—	Miserere (Ps li) [Lat.], by 1770, rev. after 1777, F-Pc, private collection, USA (autograph); ed. in Stuttgarter Bach-Ausgaben, ser.F, i (Stuttgart, 1992)
F 1	XIV/4	Herr, wie lange willst du unser also veressen (J.G. Herder), cant. for Whitsun, c1773, music lost, formerly D-Bim
F 2	—	Sieh, Bückeburg, was Gott an Dir getan (J.H. Cramer), cant. for Ascension, 8 May 1763, music lost
F 3	XIV/8	Gross und mächtig, stark und prächtig, cant. for Ascension, 1776, perf. ?1777, Bsb*
F 4	XIV/5	Wie wird uns werden (Herder), cant. for feast of St Michael, 29 Sept 1771, Bsb
F 5	—	Nun, teures Land, der Herr hat dich erhört, cant. on birth of Countess Emilie Eleonore Wilhelmine, perf. July 1771, music lost
F 6	XIV/11	Singet dem Herrn ein neues Lied, cant. on birth of Count Georg Wilhelm, perf. 6 Feb 1785, music lost, formerly Bim
F 7a–c	XIV/12	Gott wird deinen Fuss nicht gleiten lassen (G.D. Stille), cant. for birthday of Countess Juliane, perf. 8 June 1787, Bsb* [orig. as cant. for Count Philipp Ernst, unperf.]
F Inc 1	—	Funeral music for Count Philipp Ernst, perf. 31 May 1787, lost
F Inc 2	—	Heut ist der Tag des Dankens, ihr Völker, cant., ?1780s, music lost

secular vocal

G 1	XVIII/8	Luci amate ah non piangete, aria, S, insts, by 1760, rev. later, D-Bsb*
G 2–11	—	10 It. arias (P. Metastasio and others), by 1766, lost
G 12–17	—	6 It. cants. (Metastasio), by 1766, lost
G 18–44	—	27 cants. (Metastasio), incl. L’inciampo, S, bc (brG 27, wXVIII/2), Bsb*, others lost
G 45	—	scenes from Il pastor fido (G.B. Guarini), by 27 Sept 1766, lost
G 46	XVIII/1	Cassandra (A. Conti), A, insts, by 1770, B-Bc*
G 47	XVIII/3	Die Amerikanerin (H.W. von Gerstenberg), S, insts (Riga, 1776); ed. G.A. Walter (Berlin, 1919)
G 48	XVIII/4	Ino (K.W. Ramler), S, insts, D-Bsb*, vs (Leipzig, 1786)
G 49	XVIII/6	Prokris und Cephalus (J.E. Schlegel), S, S, insts, vs, MN
G 50	XVIII/5	Pygmalion (Ramler), A/B, insts, by 1772, Bsb
G 51	—	Ariadne auf Naxos (Gerstenberg), by 1773, music lost
G 52	XVII/1	Brutus (J.G. Herder), by 1774, music lost, formerly Bim
G 53	XVII/2	Philoktetes (Herder), by 1775, music lost, formerly Bim
G Inc 1	—	Stimmt an, greift rasch in eure Saiten, cant. on return of Count Wilhelm from Portugal, Nov 1764, music lost
G Inc 2	—	Va crescendo il mio tormento, aria, Mbs, by ?J.C. Bach

songs and motets

songs; for 1 voice and keyboard/continuo unless otherwise stated

H 1–5	XIX/1	5 songs, MV
H 6–10	XVI/1	5 sacred songs (B. Münter) in D. Balthasar Münters Erste Sammlung geistlicher Lieder (Leipzig, 1773)
H 11–60	XVI/2	50 sacred songs (Münter) in J. Balthasar Münters … Zweyte Sammlung geistlicher Lieder (Leipzig, 1774) [brH 47 also arr. 4vv (=wXV/3), D-Bsb*]
H 61–81	XIX/2	21 songs and arias, MN
H 82	—	Volkslied in Einige melodienreiche und leichte Klavier- und Singstücke von guten Komponisten unserer Zeit
H 83	—	Das schlafende Mädchen (H.W. von Gerstenberg) in J.C.F. Rellstab: Winterblumen am Clavier, ii (Berlin, 1794)
H 84	—	Feuerfarb (S. Mereau), c1794, in K.G. Horstig and C.U. Ulmenstein: Westfälisches Taschenbuch für das Jahr 1801 (Münster, c1800)
H 85–93	—	9 songs by ?1770, lost, listed in Verzeichniss des musikalischen Nachlasses … Carl Philipp Emanuel Bach (Hamburg, 1790), [? some incl. in brH 1–5 and/or 61–81]
H 94	—	Klavier-Ode (C. Hölty), by 29 Sept 1789, lost
H 95	—	Berg-Lied, 1790, BÜC*
H 96	XVIII/7	O wir bringen gerne dir, aria, S, S, bc, c1790, Bsb*

motets; for 4 voices and continuo

H 97–99	XXI/1–3	3 motets after C.P.E. Bach (C.F. Gellert), Bsb*
H 100	XV/1	Ich lieg und schlaf, 1780, Bsb*; ed. in S, ed. in Stuttgarter Bach-Ausgaben, ser.F, i (Stuttgart, 1992)
H 101	XV/2	Wachet auf, ruft uns die Stimme (P. Nicolai), Bsb*; ed. in S, ed. in Stuttgarter Bach-Ausgaben, ser.F, i (Stuttgart, 1992)
H 102	—	Wie sie so sanft ruhn, alle die Seligen (J. Stockmann), c1792, lost, mentioned in obituary
H Inc 1	—	Wiegenliedschen, by 1772, BÜC
H Inc 2–4	—	3 songs for Georg Wilhelm von Schaumburg-Lippe, after 1784, inc.
H Inc 5	—	Der Unterschied der Künste, after ?1777, lost, listed in Bückeburg inventory, 1799

BIBLIOGRAPHY

EitnerQ

GerberL

GerberNL

MGG1 (R. Benecke)

NewmanSCE

J.G. Meusel: Teutsches Künstlerlexikon (Lemgo, 1778, 2/1808–14)

J.N. Forkel: Musikalischer Almanach für Deutschland (Leipzig, 1782–8)

K.G. Horstig: ‘Johann Christoph Friedrich Bach’, Nekrolog der Deutschen auf das Jahr 1795, ed. F. Schlichtgeroll (Gotha, 1797), 269–84; ed. R. Schaal in Friedrich von Schlichtegroll: Musiker-Nekrologe (Kassel, 1954)

C.H. Bitter: Carl Philipp Emanuel und Wilhelm Friedemann Bach und deren Brüder (Berlin, 1868)

G. Schünemann: ‘Johann Christoph Friedrich Bach’, BJb 1914, 45–165

G. Schünemann: ‘Friedrich Bachs Briefwechsel mit Gerstenberg und Breitkopf’, BJb 1916, 20–35

G. Schünemann: Thematisches Verzeichnis der Werke von Johann Christoph Friedrich Bach, DDT, lvi (1917) [ix]–xvii

G. Hey: ‘Zur Biographie Johann Friedrich Bachs und seiner Familie’, BJb 1933, 77–85

J. Domp: Studien zur Geschichte der Musik an Westfälischen Adelshöfen im XVIII. Jahrhundert (Regensburg, 1934)

K. Geiringer: The Bach Family: Seven Generations of Creative Genius (London, 1954; Ger. trans., enlarged, 1958; enlarged 2/1977)

K. Geiringer: ‘Unbeachtete Kompositionen des Bückeburger Bach’, Festschrift Wilhelm Fischer, ed. H. von Zingerle (Innsbruck, 1956), 99–107

U. Wulfhorst: ‘Ein Orgelgutachten von Johann Christoph Friedrich Bach’, Mf, xiii (1960), 55–7

H.-J. Schulze, ‘Frühe Schriftzeugnisse des beiden jüngsten Bach-Söhne’, BJb 1963–4, 61–9

H. Wohlfarth: Johann Christoph Friedrich Bach: ein Komponist im Vorfeld des Klassik (Berne, 1971) [incl. list of works]

B. Poschmann: Johann Christoph Friedrich Bach, Schaumburg-Lippischer Capellmeister 1732–1795, Niedersächsisches Staatsarchiv, 1982 (Bückeburg, 1982) [exhibition catalogue]

L. Salter: ‘Which Bach?’, The Consort, no.42 (1986), 50–60

G. Rötter: ‘London gegen Bückeburg: fünf zu drei? Ein Bach-Porträt und zwei Komponisten’, Musica, xliv (1990), 83–6

B.J. Sing: Geistliche Vokalkompositionen zwischen Barock und Klassik: Studien zu den Kantatendichtungen Johann Gottfried Herders in den Vertonungen Johann Christoph Friedrich Bachs (Baden-Baden, 1992)

U. Leisinger: ‘Die geistlichen Vokalwerke von Johann Christoph Friedrich Bach: Aspekte der Entstehungs- und Überlieferungsgeschichte’, BJb 1995, 115–43

U. Leisinger, ed.: Johann Christoph Friedrich Bach (1732–1795): ein Komponist zwischen Barock und Klassik, Niedersächsisches Staatsarchiv, 8 June – 11th Aug 1995 (Bückeburg, 1995) [exhibition catalogue, incl. list of works]

H. Tiggemann: ‘Graf Wilhelm und Johann Christoph Friedrich Bach im Exil auf Gut Niensteden’, Shaumburg-Lippische Heimat-Blätter, xlvi (1995), 66–73

3. Mannheim and London, 1772–82.

(12) Johann [John] Christian Bach

(50) (b Leipzig, 5 Sept 1735; d London, 1 Jan 1782). Composer, youngest son of (7) Johann Sebastian Bach. As a composer he was the most versatile of J.S. Bach’s sons and the only one to write Italian operas. He was an important influence on Mozart and, with C.F. Abel, did much to establish regular public concerts in London.

1. Germany and Italy.

2. London, 1762–72.

4. Style and reputation.

5. Church music and oratorio.

6. Operas.

7. Symphonies and concertos.

8. Keyboard and chamber music.

WORKS

BIBLIOGRAPHY

1. Germany and Italy.

It is likely that J.C. Bach’s early musical education was supervised by his father, though some instruction may have been given by Johann Elias Bach (39), who lived in the Leipzig household between 1738 and 1743 and acted as secretary to the elder Bach. Johann Christian himself assumed some secretarial duties in 1749–50, preparing music manuscripts and receipts on his father’s behalf. Christian, evidently a favourite child of Sebastian, inherited three of his father’s harpsichords. J.S. Bach’s keyboard music played an important role in his son’s development: the second book of Das wohltemperirte Clavier was completed in the early 1740s and probably served as a teaching manual for Christian, as had the first book for his half-brother Wilhelm Friedemann in the 1720s; it is known that J.C. Bach owned a manuscript of the English Suites; a knowledge of the B keyboard Partita must be inferred from Christian’s use of a modified version of the opening in his accompanied sonata op.10 no.1; and the earliest datable music manuscript in J.C. Bach’s hand, a Stammbuch entry dated 23 October 1748, is a keyboard version in D minor of the Polonaise from J.S. Bach’s Second Orchestral Suite. None of J.C. Bach’s own compositions can be assigned to his Leipzig years except for a march in the second Clavierbüchlein of Anna Magdalena Bach (bwv Anh.131) and, possibly, a handful of keyboard dances.

After his father’s death in 1750 Christian moved to Berlin, where he studied composition and harpsichord with his half-brother Carl Philipp Emanuel. According to Gerber, the young Bach performed his own works on the harpsichord in Berlin ‘with great applause’ and composed his first large-scale compositions. Of the ‘5 harpsichord concertos, 1 cello concerto, 2 trios and 3 arias’ listed as Johann Christian’s in Emanuel’s Nachlass (1790), only the harpsichord concertos – large-scale works in the manner of C.P.E. Bach – are known to survive. The authenticity of the first publication attributed to J.C. Bach, the ode An Aeglen in a collection of 1755, has been disputed by Warburton (Thematic Catalogue, 1999). A similar song, Mezendore, printed in a similar collection the following year, is probably by Bach, though J.C.F. Bach’s authorship cannot be ruled out. A third song, Der Weise auf dem Lande, may be confidently attributed to J.C. Bach’s Berlin period; the autograph entry in a Stammbuch is dated 16 April 1755.

In late spring or summer 1755 Bach took his first steps towards abandoning the Protestant, Kapellmeister tradition which had nourished the Bach family for two centuries: he left for Italy, possibly in the company of an Italian lady singer, and took up residence in Milan. Little is known about his first months there: three arias attributed to him were evidently inserted in Cocchi’s Emira, performed in Milan in January 1756. Evidently he was installed in the house of his Milanese patron, Count Agostino Litta, by that time and began having lessons in counterpoint with Padre Martini in Bologna. The main biographical sources for Bach’s Italian years are his letters to Martini, beginning in January 1757 and continuing sporadically after Bach settled in London in 1762. These reveal Bach’s expanding reputation as a composer, first in Italy and later north of the Alps. His first music written in Italy was mostly liturgical, some of it in the antique contrapuntal style associated with Martini, and performed in churches in Milan and elsewhere. In June 1760 Bach was appointed second organist at Milan Cathedral, and it is probable that he embraced the Roman Catholic faith at this time. Increasingly, the opera house provided a stronger lure for him. After composing arias for pasticcios in Milan and elsewhere, he was commissioned to write an opera seria for the Teatro Regio, Turin; Artaserse was given its première there on 26 December 1760. In the following year Bach, neglecting his organist’s duties in Milan and thereby attracting Litta’s displeasure, travelled extensively in Italy, composing his next and most popular early opera, Catone in Utica, for the S Carlo, Naples, and Alessandro nell’Indie for the same theatre (performed on 20 January 1762; a cantata by Bach for the birthday of Charles III of Spain was performed on the same day). Catone was revived in Milan in 1762, performed in Pavia, Perugia and Parma in 1763 and again in Naples in 1764 and was heard as late as 1768 in Brunswick. Wider European recognition was achieved with the publication of the overture to Artaserse by Venier in Paris in 1761. Bach himself had signalled this recognition in an important letter to Martini dated 14 February 1761: ‘for some time past I have almost had to put my studies aside, being every day called upon to write something for concerts – a symphony, concerto, cantata and so forth for Germany or Paris’. The success of his operas attracted the attention of the management of the King’s Theatre, London, who commissioned two operas for the 1762–3 season; by accepting he gave up the opportunity of composing a third opera for Naples and one for Venice. Bach sought leave of absence for a year from the Milan Cathedral authorities, and although the post was kept open for him, he never returned. In late June or early July 1762 he made his way to London for the final and decisive stage of his career.

2. London, 1762–72.

During Bach’s 20 years in London he lived comfortably at various addresses in Soho, Mayfair and later Richmond and Paddington. He found fame, success and, at least until the late 1770s, financial stability. He enjoyed the acquaintance of the royal family, the patronage of the aristocracy and the friendship of musicians and artists, including Abel, the painter Gainsborough and Charles Burney, and soon established a pre-eminent position in the concert and operatic life of the city. If, as Burney stated, Bach was initially disappointed by the mediocre operatic standards in the city, his future in London was assured by the triumph of his first complete stage work, Orione (February 1763; the première was attended by King George III and Queen Charlotte), followed by the less successful Zanaida (May 1763), and by his appointment as music master to the queen. It was now unnecessary for him to return to the claustrophobic and restrictive atmosphere of Milan. Bach’s court duties involved giving music lessons to the queen and her children, organizing chamber concerts, directing the queen’s band and accompanying the flute-playing of the king. Links with the royal family were strengthened with the publication of the keyboard concertos op.1, advertised in March 1763 and dedicated to Queen Charlotte. The finale of the sixth concerto, a set of variations on God Save the King, became one of Bach’s most popular and oft-published works.

Bach’s earliest years in London were those of his most vigorous activity in the opera house. His relationship with the King’s Theatre was not without setbacks. The violinist Felice Giardini took over the management for the 1763–4 season, and although he and Bach were later to collaborate professionally there were tensions in their relationship; no operatic work by Bach was staged during Giardini’s tenure. Bach was invited to return to Naples, but he evidently preferred to remain north of the Alps. He travelled to Paris in July 1763, establishing an important connection with the city, and was immediately granted a privilege for the publication of his works there; a similar privilege was granted in London on 15 December that year.

In the 1764–5 season Bach returned to the King’s Theatre, contributing to two pasticcios and composing Adriano in Siria, given on 26 January 1765. The opera received seven performances and met with Burney’s disapproval: ‘Every one seemed to come out of the theatre disappointed’. Apart from a few arias contributed to pasticcios, Bach had little further to do with the King’s Theatre until Carattaco, performed on 14 February 1767. Like Orione, it is on a grand scale with choruses, but although praised by Burney and others it was never revived. The singer Cecilia Grassi, later Bach’s wife, was to have sung in it, but she was indisposed. Bach also contributed arias for the English stage, including music for the pasticcios The Maid of the Mill (1765), The Summer’s Tale (1765) and Tom Jones (1769). In addition, he supplied songs, occasionally arranged from operatic arias, for performance at Vauxhall Gardens; four sets of Vauxhall songs were published between 1766 and 1779.

From his earliest days in London Bach took advantage of the flourishing music trade, publishing a whole series of works and establishing a relationship with the printer and publisher Peter Welcker, and later with his son John. Bach’s practice for the most part in the 1760s was to publish a work under his own auspices; Welcker would usually reissue it shortly afterwards under his own imprint. This relationship began about 1765 with the reissue of the concertos op.1 (first published in 1763) and continued with the accompanied sonatas op.2, the first set of symphonies op.3 and the first set of canzonets op.4, all dating from 1765. Most of Bach’s works were published a few months later in Paris by Huberty (and later Sieber) and by Hummel in Amsterdam. There is reason to believe that Bach had some arrangement with the continental firms, especially Sieber, who published the first edition of the piano sonatas op.17 (as op.12) in Paris in 1773 or 1774. Bach evidently took great care to protect his interests, and in 1773 he took Longman, Lukey & Co. to court for the unauthorized publication of several pieces.

From early 1764 Bach shared lodgings with Carl Friedrich Abel, the composer and viol da gamba player who had lived in London since 1759 and whose father had served at Cöthen with J.S. Bach. Carl Friedrich himself had studied with Sebastian in Leipzig and therefore may have known Johann Christian as a boy. Their collaboration in the series of concerts later dubbed the Bach-Abel concerts was to have a major impact on London concert life. The first one took place at the Great Room in Spring Gardens on 29 February 1764. In the following year they participated in the subscription series organized by Teresa Cornelys at Carlisle House, Soho Square, giving ten concerts in all that year and increasing to 15 from 1766. Bach and Abel took over the management of the concerts from 1768 when they moved to Almack’s Assembly Rooms in King Street, St James’s, where they remained until 1774. The concerts were directed alternately by Bach and Abel. Although few details are known, the programmes included the latest symphonies, concertos, chamber and vocal works of Bach, Abel and other fashionable composers. The performers were the best in London, and often of German origin; they included the oboist J.C. Fischer, the violinist Wilhelm Cramer (father of John, the pianist) and later the pianist J.S. Schroeter, one of Bach’s pupils.

In April 1764 Leopold Mozart arrived in London with his family. Although there is no evidence that Wolfgang Amadeus appeared at the Bach-Abel concerts, he did perform at court and became a great admirer of J.C. Bach. They are known to have performed duets on the harpsichord together. Mozart had a high regard for the man and his music: in the early 1770s he arranged three of Bach’s piano sonatas from op.5 as keyboard concertos, and the symphonies and sonatas from the time of his 15 months in London bear the stamp of both Bach’s and Abel’s music. The Mozarts evidently left London in 1765 with an autograph manuscript of a piano sonata by Bach (later published in modified form as op.17 no.3) which was kept in Leopold Mozart’s library in Salzburg.

Bach’s keyboard sonatas op.5, published in 1766, are a landmark in that they are the first published in London to bear the option of the piano on the title-page. Bach’s central role in the development of the piano in London is defined by Burney: ‘After the arrival of John Chr. Bach in this country, and the establishment of his concert[s] … all the harpsichord makers tried their mechanical powers at piano-fortes’. Bach is credited with performing the first solo in public on the piano in 1768 and had dealings with many of the major instrument makers of the day. He is known to have sent pianos to France, to the pianist Madame Brillon and also to the daughter of the Encyclopedist Diderot. A square piano, apparently by Zumpe, survives in a British private collection, bearing Bach’s signature on the soundboard.

At the end of the 1760s Bach was well established as the leading composer and musician in London, and as an international figure much in demand as a composer, performer and teacher. He evidently charged high fees as a teacher according to Charles Wesley writing in the late 1770s. Works such as the symphonies opp.3, 6 and 9 and piano concertos op.7 were performed in all (and published in many) of the major music centres of Europe. In the early 1770s this fame was consolidated in London and on the Continent. In 1770 he wrote his last major religious work, the two-act Gioas re di Giuda, performed at the King’s Theatre and revived the following year. R.J.S. Stevens reports that Bach, persuaded to perform an organ concerto between the acts, was hissed at by the audience and laughed at by the choristers for his style of playing – the first reference, perhaps, to Bach’s deteriorating keyboard abilities. In 1770, also for the King’s Theatre, Bach and Pietro Guglielmi adapted Gluck’s Orfeo ed Euridice, adding choruses and supplementary music to bring it to ‘a necessary length for an evening’s entertainment’. Although it blunted the reform elements in Gluck’s opera, this version was a success; it was revived with modifications in 1771 and 1773 and was also given at the Teatro S Carlo in Naples in 1774.

3. Mannheim and London, 1772–82.

Apart from the two-act serenata Endimione (1772), no new work by Bach was performed at the King’s Theatre until 1778. In the meantime he fulfilled operatic commissions abroad. In about 1770 he had befriended Johann Baptist Wendling, first flautist in the electoral orchestra at Mannheim and husband of the singer Dorothea (both were later friends of Mozart). It was perhaps due to Wendling, who had lodged with him during his time in London, that Bach was commissioned to write Temistocle, to a libretto adapted from Metastasio by the Mannheim court poet Verazi, for the nameday festivities of the Elector Carl Theodor. The orchestra in the German city was unrivalled in quality, and Bach’s sumptuous score exploits the capabilities of the Mannheim orchestra and soloists to the full. Bach was able to experience this at first hand when he travelled to Mannheim in August or September 1772 and remained there for the première on 5 November. The opera was extremely successful and was revived the following year. This elicited a further operatic commission, and the result, Lucio Silla, was performed on 5 November 1775. It is not known for certain whether Bach himself attended the performance, but given that he attended all his other operatic premières it is possible that he made the trip. Lucio Silla was evidently less successful, although it was valued by Mozart who examined the score in Mannheim in 1777. Mozart himself had set the same text, by Giovanni de Gamerra, for Milan in 1772. Other works by Bach performed at Mannheim include the cantatas Amor vincitore (first performed in London in 1774) and La tempesta (published in Mannheim in 1778). Endimione was revised for a performance there in 1774.

The early 1770s saw a number of new publications: the keyboard concertos op.7 (1770), the flute quartets op.8 (1772) perhaps written with Wendling in mind, three symphonies op.9 (1773), the accompanied sonatas op.10 (1773) and the quintets op.11 (1774) dedicated to the Elector Carl Theodor. Many of these pieces would have been used in Bach’s English concerts, which were not restricted to London. In 1773 he visited Blandford and Salisbury, performing there with Cecilia Grassi. Terry and others have suggested that they married later in 1773 or early in 1774, on the evidence that Bach moved to 80 Newman Street, while Abel moved elsewhere. But concert advertisements continued to refer to Cecilia as Signora (or Mrs) Grassi until at least 1776, and so the date of the wedding remains in conjecture.

In 1774 the Bach-Abel concerts moved back to Carlisle House, Soho, now vacated by the bankrupt Mrs Cornelys. But Bach and Abel had more ambitious plans: with Giovanni Andrea Gallini they acquired a property in Hanover Square, on the corner of Hanover Street, and in the garden built a new concert hall, the Hanover Square Rooms, a lavishly appointed building with paintings by Gainsborough. This was the final home of the Bach-Abel concerts, but it also marked the beginning of their decline. Bach’s finances were depleted and receipts diminished, especially after 1778. The concerts remained Bach’s main forum for new works, including the cantatas Cefalo e Procri (1776) and Rinaldo ed Armida (1778). It is likely that the final set of keyboard concertos, op.13 (1777), received an airing there, along with his last major set of symphonies (including three for double orchestra) op.18 and the last major chamber works, including a sextet for keyboard, oboe, strings and two horns and quintets and quartets for various combinations of strings, keyboard and woodwind. Probably these chamber works were also performed by the queen’s band at Richmond Lodge. Bach had taken a house nearby as early as 1770, and Mrs Papendiek recalled performances there led by Bach and Abel.

In the mid-1770s Padre Martini requested Bach to send him his portrait. Although Gainsborough’s celebrated painting (fig.10) was apparently completed by May 1776, Bach waited for over two years before despatching it to Italy. It survives in the Civico Museo Bibliografico Musicale, Bologna, and another version, formerly in the collection of the Earl of Hillingdon, is in the National Portrait Gallery, London.

Bach made a return to the King’s Theatre with the revival of Orione in 1777 (in a revised version) and in the following year produced his last and finest stage work for London, the opera La clemenza di Scipione (4 April 1778). Bach took the trouble to have the full score published (omitting most of the recitatives), a practice almost unknown in London in the 1770s. In 1778 Bach’s brother Johann Christoph Friedrich paid a visit to London with his son Wilhelm Friedrich Ernst, who stayed behind after his father had returned to Germany and remained in London until after Johann Christian’s death in 1782.

Bach’s last complete operatic venture, the tragédie lyrique Amadis de Gaule was performed in Paris in 1779. The composer had visited the French capital in August 1778 to audition singers, at the same time renewing his acquaintance with Mozart, who reported to his father his delight in meeting again his former mentor. Amadis, an unusual work, clearly written to accord with the current French taste, was a failure. It was withdrawn for revision after only three performances and returned to the stage in January 1780. A manuscript in the Bibliothèque de l’Opéra, Paris, presumably for the revised version, shows heavy cuts and alterations. In the printed score, which appeared shortly after Bach’s death, these cuts are restored. The first issue contains a poignant preface by Bach’s widow, in which she states that the published version is not as it was performed in Paris, but is the version preferred by the composer.

The last years of Bach’s life show declining fortunes and health. The Bach-Abel concerts continued to lose money; Bach was apparently defrauded of more than £1000 by a servant and his bank account became overdrawn. His pre-eminence in the opera house was usurped by Sacchini and others, and in the concert hall by his pupil Johann Samuel Schroeter; as Mrs Papendiek remarked: ‘Bach played occasionally, but Schroeder (sic) was the planet’. Ill-health supervened: Cecilia Grassi in the preface to Amadis reported on the ‘long illness which led him to the tomb’; the last known example of his handwriting, a list of subscribers for a proposed (but unrealized) series of new chamber works, dating from 1780 or 1781, reveals a shakiness of hand far removed from the confident script of Bach’s earlier years; and on 14 December 1781 the singer Angelo Morigi sent news to Martini that Bach was suffering from a chest illness. Bach died on 1 January 1782 and was buried in St Pancras churchyard on 6 January, leaving substantial debts which neither the last season of the Bach-Abel concerts, continued by Bach’s widow, nor a benefit concert on 27 May 1782 managed to efface completely. Cecilia Bach returned to Italy via Paris in summer 1782 after some of her debts had been repaid with assistance from Queen Charlotte.

Bach’s death elicited obituaries particularly in the German magazines. None is as eloquent as the few words of Mozart who, in a letter to his father, described Bach’s passing as ‘a loss to the musical world’.

4. Style and reputation.

J.C. Bach’s music is more cosmopolitan and varied than that of any other of J.S. Bach’s sons. Abandoning the restrictive Lutheran sensibility of his brothers, he turned his face towards the south, embracing Catholicism and Italian opera, and his musical style was transformed accordingly. Bach’s German works (before mid-1755), notably the keyboard concertos written in Berlin, are strongly influenced by C.P.E. Bach, with their preponderance of minor keys, their severe character, and their solid, lumbering ideas with long melodic lines, wide leaps, sudden interruptions to the rhythmic and melodic flow and syncopations. After the move to Italy, this severe style all but vanished. It is still to be found from time to time, for example in the opening movement of the Dies irae, the keyboard Toccata in B minor and the A Sonata, though in a watered-down manner. The influence of Padre Martini is prominent in the first Italian works, notably in the strict counterpoint and antique pseudo-Palestrina style of the music for the Office of the Dead (1757) and also in the keyboard Sonata op.5 no.6 which, although not published until 1766, recalls Martini’s sonatas of the 1730s in its serious prelude, double fugue and gavotte.

The main influence on Bach during his years in Milan was Italian opera seria, which he wholeheartedly embraced. It transformed his style, tipping the balance from severity to a lighter, more bland manner: the stiff, terse and long-winded ideas of the Berlin works are softened into smooth, clear, symmetrical phrases composed of short motivic ideas underpinned by simple harmonies, with none of the sudden dramatic surprises of the Berlin concertos and with a marked slowing-down of the harmonic rhythm. The slow movements are often imbued with a sensuality and quiet passion unknown in the earlier works. Most compositions of the Italian years (1755–62) – the three operas, at least one symphonie concertante, church works, accompanied sonatas and operatic overtures – are representative of this new galant manner.

It was this ‘international’ style that Bach brought to London. During his period in England his musical language developed: the short motivic phrases of his Italian works gradually expanded into a more wholeheartedly melodic style, in some cases influenced by British popular songs and folksong. Bach widened his tonal range and structures became more expansive and varied, the binary sonata forms of his earlier works becoming larger and more diverse, often embracing a full recapitulation in the tonic key. Burney remarked that Bach seems to have been the first composer who observed the law of contrast as a principle. Before his time, contrast there frequently was in the work of others, but it seems to have been accidental. Bach in his symphonies and other incidental pieces as well as in his songs, seldom failed, after a rapid and noisy passage, to introduce one that was slow and soothing.Burney thus draws attention to Bach’s habitual use of contrasting themes in the sonata structures of his London works, and these ‘second subject’ ideas are a consistent feature of his later style.

Bach’s orchestration is often imaginative and felicitous, and occasionally calls for new or unusual instruments to achieve effects – for example clarinets in Orione, a pair of ‘octave flutes’ in the Vauxhall song ‘Hither turn thy wand’ring eyes’ and obbligato instruments such as the bassoon in the aria ‘Non m’alletta’ from Temistocle. Perhaps as a result of exposure to the orchestral manner of the Mannheimers, his orchestration became even more adept and imaginative, with greater freedom in the use of woodwind and pizzicato string effects and the use of two orchestras in three of the op.18 symphonies.

In London Bach broadened his range of musical subjects, embracing (in addition to operas and concertos) symphonies, chamber works, popular songs, canzonets, cantatas and various types of keyboard work, including duet sonatas. These are written in a Classical style with italianate thematic material, enlivened by contact with French and British melodies and ideas and allied to German strength and rigour. This synthesis of musical idiom resulted in an essentially popular style geared towards the large, music-loving aristocratic and middle-class audiences of London, which, as Haydn discovered in the 1790s, appreciated new and lavish effects and at the same time enjoyed familiar themes. Bach’s use of national songs in concerto finales and his exploitation of the piano and other new instruments, such as the ‘voce umana’, in the Bach-Abel concerts can be regarded as catering to the taste of the new audience.

Bach’s music had considerable influence on contemporary composers in London, namely Schroeter and Mazzinghi (his pupils), J.C. Fischer, W.F.E. Bach and, most notably, Mozart, whose symphonies and sonatas of the mid-1760s reveal the influence of both Bach and Abel. Although commentators have often noted several resemblances, such as that between ‘Martern aller Arten’ in Mozart’s Die Entführung aus dem Serail and ‘Infelice, in van m’affanno’ in Bach’s La clemenza di Scipione, Bach’s influence on Mozart is probably more general and fundamental, notably in the sensual slow movements and in particular in Bach’s highly developed sense of musical balance.

It is often stated that Bach’s reputation was immediately eclipsed after his death, that his music was no longer performed and his influence died with him. This is not strictly true. Though his reputation continued to decline in the 1780s, an analysis of London concert programmes reveals that Bach’s music continued to be performed in London at least until the mid-1790s, when his symphonies were still played alongside those of Haydn. His works, and arrangements of them, were posthumously printed in London and on the Continent, albeit sporadically, until the mid-1790s, and they continued to be available in manuscript until the end of the century and beyond, to judge by the vast number of late copies now in libraries in Italy and elsewhere. It was in the early 19th century that Bach’s music virtually ceased to be performed and published. An exception was the extraordinarily late revival (in a thoroughly revised form) of La clemenza di Scipione at the King’s Theatre in 1805, perhaps due to the advocacy of his pupil Mrs Billington; there were also isolated pockets where Bach’s works continued to be played in the 19th century, such as the monastery of Einsiedeln, where his church music was still heard and where ‘new’ religious works were created by supplying contrafact Latin texts to Italian arias from his operas. The 19th century nevertheless proved to be the nadir of J.C. Bach’s popularity. His self-deprecatory remark, ‘My brother [C.P.E. Bach] lives to compose, I compose to live’, provided the underlying text of much of the critical writing on the composer. It was only in the early years of the 20th century, with the writings of Terry, Schökel and Tutenberg among others, that a more balanced view of J.C. Bach has been achieved and the composer has taken his place among the most gifted and influential musicians of the early Classical period.

5. Church music and oratorio.

Bach’s Latin church music comprises large-scale psalm and canticle settings, mass movements, music for the Office and Mass for the Dead (including three lessons, an invitatory, an introit, Kyrie and Dies irae), all scored for chorus, soloists and orchestra; and smaller works, such as motets for a single voice and orchestra, including settings of Attendite mortales and Salve regina. With only two exceptions, the oratorio Gioas, re di Giuda and Let the solemn organs blow, all the pieces are for Roman Catholic services; by contrast with his father and brothers, there are no Lutheran church works by J.C. Bach. Most of the religious works were composed during his Italian period (1755–62), and most date from 1757–9, that is, surprisingly, from the period before Bach took up his only church post as second organist at Milan Cathedral. The most important sacred composition of his later years is his only oratorio, Gioas (1770), to an Italian text by Metastasio.

The earliest church works, notably the introit and Kyrie from the Messa de’ morti, are in a pseudo-Palestrina contrapuntal style influenced by Padre Martini. For example, the responsory sections of the invitatory Regem cui omnia vivunt employ cantus firmus technique in the upper parts. All these apprentice works were shown to Martini for his comments, and though several have the manner of elaborate contrapuntal exercises they were nevertheless performed in churches in Milan. The impressive Dies irae, two early Magnificat settings and a Te Deum, all dating from 1757–8, are similarly somewhat backward-looking in their use of two choirs, often treated antiphonally. In the later church works, with Martini’s influence clearly waning, the style is more modern and the choral writing less contrapuntal, often with a simple chordal texture pitted against an active orchestral accompaniment, though the composition is frequently rounded off by a fugue, usually based on a brief, desultory subject treated in business-like fashion. Alongside the choruses, even those in archaic style, are arias and duets influenced by contemporary Italian opera, frequently of a virtuoso kind and sometimes with elaborate instrumental obbligatos (for organ, bassoon etc.). Perhaps the most ambitious of these is the aria ‘Intellectus bonus’ from Confitebor, which requires a chamber accompaniment of six solo instruments. As Bach matured, the number and importance of the arias increased, showing clearly where his true interests lay.

Arias dominate Bach’s only oratorio, Gioas, re di Giuda, an opera in all but name and a setting of a text by Metastasio. The choral writing is nevertheless composed with English taste in mind and displays the strong influence of Handel.

6. Operas.

Bach was no innovator in the world of opera seria. All ten works written for Italy, London or Mannheim use the Metastasian format of recitative punctuated by long arias. In the Italian works and those written for Mannheim, the da capo aria is frequently used; in the London operas there is more variety in aria forms and the da capo is used less and less (La clemenza di Scipione has none at all). The chorus is more prominent in the London operas, in accordance with British taste, notably in Orione, Zanaida and Carattaco. These three works also are not based on texts by Metastasio and in terms of subject differ from the statuesque classical dramas of the other operas, with their greater emphasis on spectacle and lavish effects.

Bach would have encountered Italian and italianate opera in Berlin. Indeed C.P.E. Bach’s Nachlass documents ‘3 Arien’ composed by Christian before he went to Italy in 1755. His arrival in Milan allowed him to encounter opera seria at source and he immersed himself in the music and style. Three arias attributed to Bach, evidently inserted in Cocchi’s Emira in January 1756, survive in a contemporary manuscript of Italian provenance in the Bibliothèque Nationale, Paris. Bach contributed arias to other operas elsewhere in the late 1750s, but his first complete score, Artaserse, was not composed until 1760 for Turin. In it he severely curtailed the Metastasian recitative and used a variety of aria forms. The da capo principle returned in force in his two works for Naples, Catone in Utica (1761) and Alessandro nell’Indie (1762). Two arias, ‘Confusa, smarrita’ from the former and ‘Non so d’onde viene’ from the latter, achieved great popularity in Bach’s lifetime, the second attracting the young Mozart’s approbation. Bach made use of them again in pasticcios in London.

Of the five operas for London, only Adriano in Siria (1765) is without chorus and is as dominated by arias as Bach’s works for Italy. Significantly, it was not a success. Perhaps the finest of the London operas is the last, La clemenza di Scipione (1778), in which, with da capo arias banished in favour of a variety of structures and with a more prominent use of the chorus, Bach achieved a greater sense of movement and dramatic flow. He also made an interesting attempt to integrate the overture into the opera: motifs from it appear in the final chorus in Act 3.

For the two operas for Mannheim, Temistocle (1772) and Lucio Silla (1775), Bach took advantage of the superb orchestral facilities of the electoral court orchestra and produced showpieces of vocal and instrumental virtuosity, with the woodwind in particular gaining especial prominence. Da capo arias predominate in Temistocle, but in Lucio Silla a greater variety of forms is used.

Bach’s most ambitious operatic venture was his only tragédie lyrique written for Paris, Amadis de Gaule (1779). The libretto, a botched condensation into three acts of Quinault’s five-act text written for Lully, is unlike anything Bach had previously set, with its vivid plot set in chivalric times – a tale of love, jealousy and attempted revenge with frequent interventions of the supernatural (ghosts, demons, etc.) and nature (thunder, lightning and enveloping clouds). The chorus, in various guises as prisoners or demons, is a protagonist, and ballets and divertissements are important elements. Bach rose to the challenge magnificently, taking advantage of the large Paris orchestra to create sumptuous and occasionally extraordinary effects. As in La clemenza, the overture is integrated into the opera: a dramatic crescendo and diminuendo on a diminished 7th chord scored for trombones, bassoon and woodwind is used again in Acts 2 and 3. The opera had the misfortune to receive its première at the time of the Gluck–Piccinni controversy and suffered accordingly; it was not revived until the 20th century.

7. Symphonies and concertos.

It is probably to the symphony and the piano concerto that Bach made his most important contribution. For Bach the symphony was intimately connected with the three-movement (fast–slow–fast) Italian operatic overture and all his mature symphonies follow that plan; indeed Bach regarded the word ‘overture’ as synonymous with ‘symphony’. C.P.E. Bach’s Nachlass records that Johann Christian composed a symphony and an overture, both in six parts, before he left for Italy. These are almost certainly lost. His first opera overtures written for Turin and Naples appeared in print in Paris and in London in the early 1760s. The first symphonies for concert use, the set of six op.3, appeared in London in 1765. Their publication coincided with the early years of the Bach-Abel concerts and these works were almost certainly performed there. They are fine pieces, with sturdy, sonata-form first movements, contrasting second subjects and practically all-inclusive recapitulations in the tonic key. The opening of the Fifth Symphony is a particularly fine example, with its playful, quasi-Baroque running bass and attractive syncopated melodic material. The central slow movements mine that particular vein of sensual, nocturnal music that Bach made his own and the finales are in dance rhythms – minuets, gigues or bucolic dances as in the earthy horn-calls of the last movement of no.6.

Bach himself published no other set of symphonies in England until 1781. Three sets, opp.6, 8 (containing three works from op.6) and 9, were printed in the Netherlands between 1770 and 1775 and are again, with one exception, concert works. The most extraordinary piece in these collections is op.6 no.6 in G minor, Bach’s only gesture in the direction of the ‘Sturm und Drang’ symphony and a work worthy to be mentioned alongside the early G minor symphonies of Haydn and Mozart. All three movements are, extraordinarily, in the minor key (the slow movement is in C minor) – a noteworthy feature for a composer normally reticent in his use of the minor mode – and they all seem to breathe the air of an earlier sensibility: the presence of C.P.E. Bach and the north German school is not far away. Given that J.C. Bach often recycled earlier material, there is reason to conjecture that much of the material here might have belonged to one of the lost works mentioned in C.P.E. Bach’s Nachlass.

Bach’s crowning achievements in the concert symphony are the three for double orchestra published in the op.18 set (1781). They are large, richly orchestrated works, making much interplay of the two orchestras treated antiphonally and combining different textures, for example violins in four parts. The woodwind instruments, now liberated from merely doubling and reinforcing the strings, are given solos and contrasting passages.

Most of Bach’s concertos are for keyboard, although works survive for flute, oboe and bassoon and an early lost composition for cello is listed in his half-brother’s Nachlass. Also listed there are the five keyboard concertos which survive in Bach’s autograph in Berlin. A manuscript of a sixth in F minor also probably dates from those early years. The influence of C.P.E. Bach presides over these works, which adopt the ritornello/solo technique of the elder Bach’s Berlin compositions. None of Bach’s keyboard concertos can be firmly dated to his Italian period, though it is possible that several of the op.1 set (1763) may have been composed there. This set and opp.7 (1770) and 13 (1777), all first published in London, established Bach’s new, more Classical concerto style, with fewer and pared down ritornellos and a simpler, sparer keyboard style. This became the model for the keyboard concerto in London in the late 18th century.

Most of Bach’s mature keyboard concertos are in two movements, without a slow movement; two concertos from each of the three published collections are in three movements. In the later two sets Bach, in line with his maturing style, broadened the musical range, expanded the length of the movements and enriched the melodic content. In a recently discovered, partly autograph manuscript of the solo part of op.7 no.6, is revealed a much more extended version of the concerto, with longer ritornellos and a more technically difficult and extended keyboard part. Bach evidently reduced the scale of the work for publication.

Although no concertos can be ascribed with certainty to Bach’s Italian years, he did experiment with the genre of the symphonie concertante. The existence of an autograph manuscript in Regensburg of a work in D major, in his early hand and written on Italian paper, suggests that Bach’s earliest essays may date from the early 1760s. In all about 17 works in this or related genres are attributed to Bach. Solo instruments vary from two to nine players; most works are in three movements, though a number, including the earliest, are in two.

8. Keyboard and chamber music.

As a keyboard performer and teacher Bach composed a large number of works for concert and didactic purposes, including two sets of solo sonatas, accompanied sonatas and chamber works with obbligato keyboard. The composition of keyboard works forms a constant thread throughout all three periods of his creative career. The only such works which can be dated from his German years are a march in the second Clavierbüchlein of Anna Magdalena a series of minuets and polonaises, which he may have composed even before he left Leipzig and also an early ‘Solo’ for keyboard in A minor, his first substantial German harpsichord work. These were followed by sonatas in B and A and an intriguing Toccata in B minor which have been dated to his years in Italy and survive in manuscript in Padre Martini’s library (and elsewhere). Bach’s lighter, italianate style can be seen in the eight accompanied sonatas in manuscript in Milan. This style was carried over into his first London works in this genre, the accompanied sonatas op.2. As in his other London works, Bach expanded and refined his musical language and forms, and in general the later sets of accompanied sonatas opp.10 (1773), 15 (1778), 16 (1779) and 18 (1780/81) are more accomplished. Opp.15 and 18 also include duet sonatas for keyboard.

The two most important keyboard publications of Bach’s London years are the sonatas opp.5 and 17. The earlier set was published in 1766 and was the first publication in London to mention the option of the piano on the title-page, preceding John Burton’s Lessons by a few months. The six works here are in a variety of styles and one at least – no.6 in C minor, with its imposing prelude, double fugue and gavotte all in the tonic key – may date from Bach’s Italian years. The grandiose D major sonata (no.2), with its orchestral sonorities and changes of dynamics, represents Bach’s first published attempt at idiomatic piano writing. The second set, commonly known by its London opus number, 17 (1779), was in fact published by Sieber in Paris (c1774) as op.12. Once again these works reveal a wide range of styles, from the vigorous gigue finales of the Second and Sixth Sonatas to the sensuous slow movement of the C minor, one of Bach’s greatest achievements.

Outstanding among the many chamber works, trios, quartets and quintets for strings and wind in various combinations are the four late pieces: a sextet, two quintets and a quartet with obbligato keyboard, published posthumously. The Sextet, for the unusual combination of keyboard, oboe, violin, cello and two horns has often been attributed to J.C.F. Bach, but a set of parts in J.C.F. Bach’s hand discovered in Kraców (PL-Kj) transmits the work, in a slightly different form from that of the published version (1783), with an attribution to ‘J.C. Bach’. The Quintet in D for keyboard, flute, oboe, violin and cello is justly one of Bach’s most popular compositions. Worthy of note is the highly attractive slow movement with its pathos-filled minore central section, as far away from the facile 19th-century view of a ‘porcelain’ composer as can be imagined.

oratorios, cantatas and serenatas

WORKS

printed works published in London unless otherwise stated

Edition:The Collected Works of Johann Christian Bach 1735–1782, ed. E. Warburton, i–xlviii (New York, 1984–99) [CW]Catalogues:C.S. Terry: John Christian Bach (London, rev. 2/1967/R by H.C.R. Landon) [T] [t numbers show the page no./no. of the incipit on the page and are not Terry’s numbers; in a group the number of the first incipit only is given; roman numerals denote corrigenda pages]; E. Warburton: The Collected Works of Johann Christian Bach 1735–1782, xlviii/1: Thematic Catalogue (New York, 1999) [W]

liturgical

operas

other vocal

symphonies and overtures

symphonies concertantes

liturgical



W		T

F2		199/4		Attendite mortales, motet, T, orch, ? after 1767, 1st aria arr. from Carattaco; CW xviii
E17	200/6		Beatus vir (F), S, A, T, B, SATB, orch, 1758; CW xxiii
E16		202/1		Confitebor tibi Domine (E), S, A, T, B, SATB, orch, 1759; CW xxiii
E5	202/3		Credo (C), SATB, orch; CW xx
E12		202/4		Dies irae; see [Messa de’ morti], below
E15	202/6		Dixit Dominus (D), S, A, T, B, SATB, orch, by March 1758; CW xxiii
E13		203/3		Domine ad adiuvandum (D), S, SATB, orch, 1758; CW xlviii
E14	203/2		Domine ad adiuvandum (G), S, A, SATB, orch, 1760; CW xxii
E3		204/3		Gloria in excelsis (D), S, A, T, B, SATB, orch, 1758/9; CW xix
E4	204/1		Gloria in excelsis (G), S, A, T, B, SATB, orch; CW xx
E2		204/8		Kyrie (D), S, T, SATB, orch; CW xix
F3	205/2		Larvae tremendae (D), motet, S, orch; CW xviii
E18		206/3		Laudate pueri (E), S, orch, Milan, 12 Aug 1758; CW xlviii
E19	206/1		Laudate pueri (G), S, T, orch, 1760; CW xxii
F5		199/1		Let the solemn organs blow (W. Dodd), anthem for Magdalen Chapel, London, c1764; CW xxv
E7–9	206/4		[3] Lezioni del officio per gli morti, 1757: Parce mihi, Domine (B), S, A, SATB, orch; Taedet animam meam (F), S, A, B, SATB, orch; Manus tuae (C), S, A, T, SATB, orch; CW xxi
E20		207/1		Magnificat (C), SATB, SATB, orch, 1758, inc.; CW xxii
E21	207/2		Magnificat (C), SATB, SATB; CW xxii
E22		207/3		Magnificat (C), S, A, T, B, SATB, orch, 1760; CW xxii
E11–12	208/5, 202/4		[Messa de’ morti], 1757: Requiem aeternam (F), Kyrie (F), SSAATTBB, orch; Dies irae (c), S, A, T, B, SSAATTBB, orch; CW xxi
E10		207/5		Miserere (B), S, A, T, B, SATB, orch, 1757; CW xxi
F1	—		Pater noster, lost, sent with letter to G.B. Martini, 6 Sept 1757
E6		208/4		Regem cui omnia vivunt (F), invitatory, S, A, T, B, SATB, orch, 1757; CW xxi
E23	209/3		Salve regina (E), S, orch; CW xviii
E24		209/3		Salve regina (F), S, orch; CW xviii
F4a and b	209/5		Si nocte tenebrosa (F), motet, S/T, orch (two versions); CW xviii
E25		210/2		Tantum ergo (F), T, orch, 1757; CW xlviii
E26	209/7		Tantum ergo (G), S, A, T, B, SATB, orch, 1759; CW xxiv
E27		210/3		Te Deum (D), 2S, 2A, 2T, 2B, SATB, SATB, orch, 1758, inc.; CW xxiv
E28	210/5		Te Deum (D), S, A, T, B, SATB, orch, 1762; CW xxiv

doubtful

YE4	202/7	Domine ad adiuvandum (C), S, SATB, str, GB-Lbl
YE7	—	Expugna impugnantes me (d), SSATB, CW xxiv
YE3	—	Gloria solenne (C), S, A, T, B, SATB, orch, inc.; CW xxiv
YE5	—	Laudate pueri (B), S, orch; CW xxiv
YE1	204/7	Messa in pastorale (Ky-Gl) (D), SATB, orch, Lbl (attrib. F. Durante)
YE2	204/6	Messa a più voci (Ky-Gl) (G), SATB, orch, Lbl (attrib. Durante)
YE6	208/6	Salve regina (D), S, S, A, T, B, SSATB, orch, Lbl

operas

drammi per musica in 3 acts unless otherwise stated; facsimiles of librettos in CW xliii–xlvii

LCG	London, Covent Garden
LKH	London, King’s Theatre in the Haymarket

G1	217; xl	Artaserse (P. Metastasio), Turin, Regio, 26 Dec 1760, CW i
G2	222; xlii, xliii	Catone in Utica (Metastasio), Naples, S Carlo, 4 Nov 1761, CW ii
G3	212; xxxii	Alessandro nell’Indie (Metastasio), Naples, S Carlo, 20 Jan 1762, CW iii; staged with his Cantata a tre voci
G4	237; xlvii	Orione, ossia Diana vendicata (drama, 3, G.G. Bottarelli), LKH, 19 Feb 1763, CW iv and xii; rev. LKH, 24 May 1777
G5	241; xlix	Zanaida (Bottarelli), LKH, 7 May 1763, CW iv and xii
G6	211; xxxi	Adriano in Siria (Metastasio), LKH, 26 Jan 1765, CW v
G42	—	The Fairy Favour (masque, 1, T. Hull), LCG, 29 Jan 1767, lib CW xlv, music lost [perf. by children as afterpiece]
G7	221; xli	Carattaco (Bottarelli), LKH, 14 Feb 1767, CW vi
G8	283/3; xlviii	Temistocle (Metastasio, rev. Verazi), Mannheim, Hof, 5 Nov 1772, CW vii
G9	232; xlv	Lucio Silla (G. De Gamerra, rev. Verazi), Mannheim, Hof, 5 Nov 1775, CW viii
G10	229; xliv	La clemenza di Scipione (serious op, 3), LKH, 4 April 1778, CW ix
G39	215; xxxiii	Amadis de Gaule (tragédie lyrique, 3, P. Quinault, rev. A.-D.-M. de Vismes du Valgay), Paris, Opéra, 14 Dec 1779, CW x

insertions in operas and pasticcios

G Inc 2	251/4	G. Cocchi: Emira, Milan, Jan 1756: 3 arias; CW xii
G21	252/2	A. Ferradini: Demofoonte, Milan, 26 Dec 1758: 1 aria; CW xii
G23	277/4	F. Gassmann: Gli uccellatori, Turin, Carignano, 1 Sept 1760: ov.; CW xii
G1/3	—	Zenobia, Lucca, aut. 1761: 1 aria
G22	275/3	G.B. Lampugnani and others: La Giulia, Milan, carn. 1761: ov.; CW xii
G24	273/2	Il tutore e la pupilla (pasticcio, Bottarelli), LKH, 13 Nov 1762: ov., from Cantata a tre voci with new 2nd movt; CW ix
G25	273/8; l	Astarto, re di Tiro (pasticcio, Bottarelli), LKH, 4 Dec 1762: ov., from Alessandro nell’Indie, qt, 2 duets (lost), 5 arias (2 lost); CW ix
G26	273/5	La cascina, (pasticcio, Bottarelli), LKH, 8 Jan 1763: ov.; CW ix
G27	272/5	B. Galuppi and others: La calamita de’ cuori, LKH, 3 Feb 1763: ov.; CW ix
G2/18	—	Catone in Utica (pasticcio), Turin, carn. 1763: qt, La
G1/9b, YG12	—	G.M. Rutini: Gli sposi in maschera, Florence, aut. 1763: 2 arias, I-Fc
G21, G1/3	—	J.A. Hasse, rev. Cafaro: L’Issipile, Naples, 26 Dec 1763: 2 arias, P-La
G Inc 7	244/1	Menalcas (pastoral, J. Harris), Salisbury, 22/24 Aug 1764: 3 arias 2 choruses; CW xxv
G3/19, 22b	225/1; xliii	Ezio (pasticcio, after Metastasio), LKH, 24 Nov 1764: 2 arias from Alessandro nell’Indie; CW ix
G2/16	219/3; xli	Berenice (pasticcio), LKH, 1 Jan 1765: 3 arias (1 from Catone in Utica, others lost); CW ix
G43	245/3	The Maid of the Mill (pasticcio, I. Bickerstaffe), LCG, 31 Jan 1765: 1 aria, 1 duet; CW xxv
—	—	Zophilette (pasticcio, J.-F. Marmontel), Paris, 17 May 1765: 2 ariettes (music lost)
G44	246/1	The Summer’s Tale (pasticcio, R. Cumberland), LCG, 6 Dec 1765: 2 arias, 1 duet; CW xxv
G6/20	—	Pharnaces, or The Revenge of Athridates (op, T. Hull), Dublin, Smock Alley, 12 Dec 1765: 1 aria; CW xxv
G2/3, 12; G3/18, 21	238/1; xlviii	Sifare (pasticcio), LKH, 5 March 1767: 4 arias; CW ix
G7/24, H24, H27	li	Tom Jones (pasticcio, J. Reed, after A. Poinsinet, after H. Fielding, LCG, 14 Jan 1769: 3 arias; CW xxv
G2/4	231/2	N. Piccinni: Le contadine bizzarre, LKH, 7 Nov 1769: 1 aria; CW ix
G28	231/3	L’olimpiade (pasticcio, after Metastasio), LKH, 11 Nov 1769: 1 aria; CW ix
G28	256/2	F. Tenducci and others: Amintas (op., R. Rolt), LCG, 15 Dec 1769: 1 aria; CW xxv
G29, LG1	234; xlvi	C.W. Gluck and P. Guglielmi: Orfeo ed Euridice, LKH, 7 April 1770: 6 arias (incl. 2 lost), 1 duet (lost), ballet music (lost), chorus (lost), CW ix; 3 arias, added 17 April 1770, ov. t346/8 added 30 April 1771, CW ix; rev. version, Naples, 4 Nov 1774, with new ov., 5 new arias, 5 choruses, ballets, CW xi; draft of discarded scena t251/5, D-Bsb*
LG2	245/2	The Flitch of Bacon (pasticcio, H. Bate), London, New Theatre, Haymarket, 17 Aug 1778: 1 aria; CW xxv
G45	—	The Genius of Nonesense (extravaganza, G. Colman), London, New Theatre, Haymarket, 2 Sept 1780: 1 aria, lost
Doubtful arias etc., incl. t250/5, 251/2–3, 252/1, 252/6–7, 253/2–5, 24 others, A-Wgm, Wn; B-Bc; CH-A, E; D-Bsb, Dl, Hs, LEb, LÜh, Mbs, MÜu; DK-Kc; GB-Er; I-Gl, MC, Nc, MAav, Tf, Rc; S-Skma; US-AAu, BEm

oratorios, cantatas and serenatas

G Inc 6	244/6	Ode on the Auspicious Arrival and Nuptials of … Queen Charlotte (Thanks to the God who rules the deep) (J.Lockman), S, SAB, vn, bc; CW xxv
G11	—	Cant. a 3 voci … per festeggiare il felicissimo giorno natalizio di sua Maestà cattolica, S, S, T, SATB, orch, Naples, S Carlo, 20 Jan 1762; CW xiii
G12	—	La Galatea (serenata, after Metastasio), 3vv, orch, London, Spring Gardens, 29 Feb 1764, music lost, lib in CW xlv
D1	226: xliv	Gioas, re di Giuda (orat., after Metastasio), London, King’s, 22 March 1770; CW xvii
G41	243/1	Happy morn, auspicious rise! (? birthday ode for George III), S, S, A, T, SATB, SATB, orch [incl. arrs. from Gioas, re di Giuda]; CW xxv
G15	248/3	Endimione (serenata, after Metastasio), S, S, S, T, SATB, orch, London, King’s, 6 April 1772; rev. Mannheim, Hof, 24 July 1773, with scene by N. Jommelli; CW xiv
G16	—	La tempesta (cant., Metastasio), S, orch, ? London, Hickford’s Rooms, 17 May 1773, perf. Mannheim, c1776; CW xiii
G18	247/2	Amor vincitore (serenata), S, S, SATB, orch, London, King’s, 15 April 1774; CW xv
G19	li	Cefalo e Procri (cant., ? G.G. Bottarelli), S, S, S, orch, London, Hanover Square Rooms, 26 April 1776; recit and aria pubd as Aurora: a Favourite Cantata. t248/1–2; CW xiii
G20	250/2	Rinaldo ed Armida (cant.), 3vv, orch, London, Hanover Square Rooms, 20 May 1778, lost except 1 recit and aria (c1785), A-Wn, B-Bc, D-Bsb, Mbs, F-Pn, GB-Lbl, I-PEsf, Vc
G38	—	Berenice che fai! (scena), S, orch, music lost, lib in CW xlv

other vocal

chamber duets

H4–11	—	[8] duetti (P. Metastasio), S, S, bc, ? before mid-1762: 1 Io lo so; 2 Trova un sol; 3 Che ciascun per te sospiri; 4 Chi mai di questo core; 5 Ascoltami, o Clori; 6 Lascia ch’io posso; 7 Parlami pur; 8 Eccomi alfin [nos. 3, 5, rev. as op.4 nos.5, 6; others different from opp. 4, 6]; CW xvi
H12–17	259/1	Sei canzonette (Metastasio), S, S, bc, op.4 (1765/R): 1 Già la notte; 2 Ah rammenta oh bella Irene; 3 Pur nel sonno almen talora; 4 T’intendo sí, mio core; 5 Che ciascun per te sospiri; 6 Ascoltami, o Clori; CW xvi
H18–23	260/2	Sei canzonette (Metastasio), S, S, bc, op.6 (1767); 1 Torna in quell’onda; 2 Io lo so; 3 E pur fra le tempeste; 4 Trova un sol; 5 Chi mai di questo core; 6 Se infida tu mi chiami; CW xvi

miscellaneous songs and arias

G36a	—	Perchè sì ingrata, S, orch [another version of aria Cara ti lascio; cf G36b]; CW xlviii/3
G36b	—	Ah che gl’istessi numi … Cara ti lascio, S, orch [cf G36a]; CW xxi
H2	—	Der Weise auf dem Lande (O Wald! o Schatten grüner Gänge!), 16 April 1755, in Stammbuch of Friedrich Nicolai; CW xlviii/3
LG5	247/1	Infelice … Là nei regni, S, kbd 4 hands, pubd as A Favourite Scene and Rondo on the Duke of Nivernois Air (c1783); CW xvi, xlviii/3
H1	—	Mezendore (Herr Nicolaus Klimm erfand) (F. von Hagedorn), in F.W. Marpurg: Neue Lieder zum singen beym Clavier (Berlin, 1756); CW xlviii/3
G7/24	258/1	The London Lass (While Cecilia we admire), S, bc (c1772), based on Non è ver from Carattaco; CW xxv
G17	252/3	O Venere vezzosa (Horace, trans. G.G. Bottarelli), S, orch; CW xvi
LG4	251/1	Sentimi, non partir … Al mio bene (récit and rondo, after G. Roccaforte), S, pf, 2 vc, orch, as Rondeau … sung by Mr Tenducci at Messrs Bach and Abels Concert (1779); CW xvi
G35	—	Sventurata in van mi lagno, S, orch, after 1772; CW xvi
Doubtful: An Aeglen (Und fehlten dir der Schönheit holde Gaben (?Gemmingen) wYH1, in Oden mit Melodien, ii (Berlin, 1755); Farewell ye green fields, S/T, bc (Edinburgh, n.d.) [version of canzonette Ich schlief, da träumte mir], CW xxv; Ist das Leben nicht ein Traum?, D-LÜh; La sorte spietata t251/6, in B. Mengozzi: Méthode du chant du Conservatoire (Paris, 1803); Luci amate a voi non chiedo wYG15 (1777), CW xxv; Neptune (When an angry woman’s breast) t256/3, S/T, bc (c1762), CW xxv; [9] Solfeggi … del Sig. Giovanni Bach in Genova wYH7–15, S, bc, I-Gl; So oft ich meine Tobacks-Pfeife, D-Bsb; The World (When launched into life) (J.M. Perrin), S/T, orch (n.d.), CW xxv

music for Vauxhall Gardens

H24–7	254/1	A Collection of Favourite Songs sung at Vaux Hall by Mrs Weichsell (1766/R), S, orch: 1 By my sighs; 2 Cruel Strephon; 3 Come Colin; 4 Ah why shou’d love; CW xxv
H28–31	254/5	A Second Collection of Favourite Songs sung at Vaux Hall by Mrs Pinto and Mrs Weichsell (1767/R), S, orch: 1 In this shady blest retreat; 2 Smiling Venus; 3 Tender virgins [arr. from Non è ver from Carattico, rev. as Blest with thee in Tom Jones (pasticcio, 1769)]; Lovely yet ungratefull swain; CW xxv
H32	—	When chilling winter hies away, S, orch, music lost, text pubd (1768)
H33–6	255/2	A Third Collection of Favorite Songs sung at Vaux Hall by Miss Cowper (1771/R), S, orch: 1 Midst silent shades; 2 Ah seek to know; 3 Would you a female heart inspire; 4 Cease a while; CW xxv
H38–9	—	A Fourth Collection of Favorite Songs sung at Vauxhall Gardens (1779/R): 1 Oh how blest; 2 Hither turn thy wand’ring eyes; CW xxv
H40	—	Ode to Pleasure, S, S, S, T, chorus, orch, music lost, text in A Genuine Collection (London, 1766)
H41	—	Ode to Summer, 4 solo vv, chorus, orch, music lost, text in A Genuine Collection (London, 1766)
H42	—	The Pastoral Invitation (Ye nymphs and swains), S, S, T, orch, music lost, text in Westminster Journal, 2 July 1768; CW xxv (text only)
H37	257/2	See the kind indulgent gales: a Favourite Song sung by Mrs Weichsell at Vaux Hall Gardens (1777/R), S, orch [Eng. rev. of Se spiegò from Zanaida]; CW xxv

folksong settings

LH1	—	Braes of Ballanden (Beneath a green shade) (T. Blacklock), A, ob, vn, va, vc, kbd (1779); CW xxv
LH2	257/3	The Broom of Cowdenknows (How blyth was I each morn), A, 2 fl, 2 vn, bc (c1784); CW xxv
LH3	—	I’ll never leave thee (One day I heard Mary say) (R. Crawford), A, 2 fl, 2 vn, bc (c1784); CW xxv
LH4	256	Lochaber (Farewell to Lochaber) (A. Ramsay), A, 2 fl, 2 vn, bc (c1785); CW xxv
LH5	—	The Yellow-Hair’d Laddie, lost, attrib. Bach in S. Storace: Gli equivoci, 1786, A-Wn; arr. in last movt of pf conc. op.13 no.4

transcriptions

LG2	250/2	Ebben si vada … Io ti lascio (after P. Metastasio), acc. recit and rondo, S, pf, orch, pubd as The Favourite Rondeau sung by Mr Tenducci (c1778); ? from cant. Rinaldo ed Armida; expanded version of Ombra felice … Io ti lascio from M. Mortellari: Arsace, 1775; another version, No ’twas neither shape nor feature, in A Flitch of Bacon (1778, London); CW xvi
LG3	251/7	Mi scordo i torti miei … Dolce aurette, S, orch, c1778, recit and aria from G. Gazzaniga: Perseo ed Andromeda with new coda by Bach, D-Bsb, WRgs; CW xvi
—	253/6	Wenn nach der Stürme, aria, S, bc, in J.A. Hiller: Deutsche Arien und Duette (Leipzig, 1785), based on Allor che il vincitore from La clemenza di Scipione

symphonies and overtures

for 2 oboes, 2 horns and strings unless otherwise stated

G4, 27, 1, 24, 26, 25	272/2	Six Favourite Overtures (1763): ovs. to the operas: 1 Orione (D), 2 ob, 2 hn, 2 bn, str; 2 La calamita de’ cuori (D); 3 Artaserse (D); 4 Il tutore e la pupilla (C); 5 La cascina (G); 6 Astarto (= Alessandro nell’Indie) (G); no.2 in VI sinfonie a più stromenti composte da vari autori op.13 (Paris, 1762); no.3 in VI sinfonie a più stromenti composte da vari autori op.12 (Paris, 1761); arr. kbd (1763)
G23B	277/4	The Periodical Overture no.1 (D) (1763): ov. to Gli uccellatori
C1–6	262/1	Six simphonies (D, C, E, B, F, G), 2 ob/fl, 2 hn, str, op.3 (1765), =w C1a–6a, CW xxvi; arr. Bach as Six Overtures Composed and Adapted for the Harpsichord (c1769), =wC1b–6b, t347/2, CW xlii
G22B	275/3	An Overture in 8 parts (D) (1766); corrected version of Periodical Overture no.xv (1766): ov. to La Giulia
C16a	276/3	Symphony (C), as no.46 in Sinfonie a più stromenti composte da vari autori (Paris, 1770/71), CW xxvii; with different 2nd and 3rd movts wC16b, CW xxix
C7–12	264/1	Six simphonies (G, D, E, B, E, g), 2 ob/fl, 2 hn, str, op.6 (Amsterdam, 1770); nos.3–5 in Six simphonies périodiques op.8 nos.1, 5, 6; CW xxvi–xxvii
C9, 13–15, 10–11	266/5	Six simphonies périodiques (E, G, D, F, B, E), 2 ob/fl, 2 hn, str, op.8 (Amsterdam, c1775); nos.1, 5, 6 = op.6 nos.3–5; CW xxvi–xxvii
C17–19	268/3	Trois simphonies (B, E, B), 2 ob/fl, 2 hn, str, op.9 (The Hague, 1773) [also as op.21]; no.1, 2 cl, 2 bn, 2 hn, str, in Six sinfoni … par J.C. Bach, Toesky et Stamitz (Paris, 1773); no.2 with addl movt (Paris, ?1776); 2 movts from no.2 arr. kbd in J.A. Hiller: Sammlung kleiner Clavier- und Singstücke (Leipzig, 1774), ed. S. Staral (Graz, 1981); no.1 ed. in EDM, 1st ser., xxx (1956); CW xxvii (nos.1 and 2), iv (no.3)
C26, G9, G15, C27, C28, XC1	269/4	Six Grand Overtures (E, B, D, D, E, D), 2 fl, 2 ob, 2 cl, 2 bn, 2 hn, 2 tpt, timp, str, op.18 (c1782); nos.1, 3, 5 for double orch (2 ob, bn, 2 hn, str; 2 fl, str); no.1, I-Gl [dated 1779]; no.2 = ov. to Lucio Silla; no.3 = ov. to Endimione; no.4 = no.2 of t271/6, Deux sinfonies op.18; 2nd movt of no.4 = arr. of 2nd movt of ov. to Temistocle; no.6 arr. from Amadis de Gaule; CW xxviii
XC2, C27	271/6	Deux sinfonies à grand orchestre (D, D), 2 fl, 2 ob, 2 bn, 2 hn, str, op.18 (Amsterdam, c1785); 1st movt of no.1 = ov. to La clemenza di Scipione, 2nd movt = Andante from ov. to Amadis de Gaule; no.2 = no.4 of t269/4, Six Grand Overtures op.18; CW xxviii
G27a	—	Sym. (D) (inc., = ov. to La calamita de’ cuori with different finale), CW xxix; Sym. (D), 2 ob/fl, 2 hn, str, CW xxix
G27b	—	Sym. (D), 2 ob/fl, 2 hn, str, CW xxix
—	279/4	Sym. (F), CW xxix
C Inc 4	279/7	Sym. (F), 2 ob, 2 hn/tpt, str, CH-A, Bu, E, I-MAav; CW xxix
C Inc 3	282/5	Sym. (E), as Divertimento notturno (Paris, before 1775); CW xxvii
C84	361/7	Menuett (F), for Her Majesty’s birthday, 1767; CW xxv
C85	361/8	Menuett (C), for Her Majesty’s birthday, 1769; CW xxv
Lost, listed in Verzeichniss des musikalischen Nachlasses … Carl Philipp Emanuel Bach (Hamburg, 1790): Sym. in 6 pts, before 1755; ov. in 6 pts, before 1755
for doubtful and misattributed works see wYC1–83

symphonies concertantes

instruments listed as concertante; ripieno

C32	284/1	Sinfonia concertante (G), 2 vn, vc; 2 fl, 2 hn, str, ?c1760 (Paris, by 1772); CW xxx
C33	284/6	Concert ou symphonie (E). 2 vn, ob; 2 fl, cl, bn, 2 hn, str (Paris, 1773); CW xxx [also as pf conc., wC75, t300/8]
C34	284/4	Simphonie concertante (A), vn, vc; 2 ob, 2 hn, str (Paris, by 1775); CW xxx
C36a	286/1	Sym. conc. (C), 2 vn, vc; 2 fl, 2 ob, 2 hn, str, CW xlviii/3; rev. version w C36b, CW xxx
C45	286/4	Sym. conc. (G), ob, vn, va, vc; 2 fl, 2 hn, str
C Inc 5	—	Sym. conc. (G), fl, 2 vn, vc; fl, 2 hn, str, doubtful; CW xxx
C44	286/8	Sym. conc. (E), fl, 2 vn, vc; 2 ob, 2 hn, str, by 1775; CW xxx
C38	287/2	Sym. conc. (F), ob, bn/vc; ob, 2 hn, str; CW xxxi
C46	287/7	Sym. conc. (B), vc; 2 cl, bn, 2 hn, str; CW xlviii/3 formerly D-Bsb (see White, 1958)
C42	288/4	Sym. conc. (E), 2 vn, vc; 2 ob, 2 hn, str; CW xxx [also as bn conc., wC82, t288/4]
C40	288/7	Notturno (E), 2 ob, 2 hn/tpt, 2 vn, 2 va, vc; str; CW xxxi
C43	289/4	Sym. conc. (C), fl, ob, vn, vc; 2 fl, 2 cl, 2 bn, 2 hn, str; CW xxxi
C48	289/7	Sym. conc. (B), ob, vn, vc, pf; 2 fl, 2 hn, str; CW xxxi
C39	290/2	Sym. conc. (D), 2 fl, 2 vn, vc; 2 hn, str, c1760; CW xxxi
C37	290/4	Sym. conc. (E), fl, ob, bn; ob, 2 hn, str; CW xxxi
C41	290/9	Sym. conc. (E), fl, 2 cl, bn, 2 hn; 1/2 fl, str; CW xxxi
C35	—	Concerto a più istrumenti (D), 2 vn; 2 ob/fl, 2 hn, str, ?doubtful; CW xxx
YC95	—	Sym. (B), vn, vc (ad lib); 2 ob (ad lib), 2 hn, str, I-MAav, attrib. J.C. Bach in Breitkopf suppl. 1767, doubtful; probably by F.P. Ricci, op.9 no.2 (The Hague, London and Paris, c1775)

concertos

C74	—	Conc., hpd, before 1755, lost, listed in Verzeichniss des musikalischen Nachlasses … Carl Philipp Emanuel Bach (Hamburg, 1790)
C68–72	298/1	5 concs. (B, f, d, E, G), kbd, str; CW xxxii
C73	301/4	Conc. (f), hpd, str, CW xxxii
C77	—	Conc, vc, before 1755, lost, listed in Verzeichniss des musikalischen Nachlasses … Carl Philipp Emanuel Bach (Hamburg, 1790)
C49–54	292/1	Six Concertos (B, A, F, G, C, D), hpd, str, op.1 (1763); CW xxxiii
C79	286/7	Conc. (D), fl, 2 hn, str; CW xxxvi
C55–60	293/4	Sei concerti (C, F, D, B, E, G), hpd/pf, str, op.7 (1770); CW xxxiii–xxxiv [cadenzas for no.5 and expanded solo pt of no.6, private collection, USA]
C62–7	295/1	A Third Sett of Six Concertos (C, D, F, B, G, E), hpd/pf, str (2 ob, 2 hn ad lib), op.13 (1777); CW xxxv
C75	300/8	Conc. (E), kbd, 2 fl, 2 cl, bn, 2 hn, str; CW xxxiv [also as sym. conc., wC42 t284/6]
C61	301/1	Conc. (E), hpd/pf, str (2 hn ad lib), as op.14 no.1 (Paris, c1776); CW xxxiv
C80	287/4	Conc. (F), ob, 2 hn, str; CW xxxvi [also as fl conc. (G)wC78, private collection, USA]
C81	290/7	Conc. (F), ob, 2 hn, str; CW xxxvi
C83	288/1	Conc., (B), bn, 2 ob, 2 hn, str; CW xxxvi
C82	288/4	Conc., (E), bn, 2 ob, 2 hn, str; CW xxxvi [also as sym. conc., wC42 t288/4]
C76	—	Conc. (C), vn, 2 ob/fl, 2 hn, str; CW xlviii/3

doubtful

YC90–91	297/1	[2] Concerto (E, A), hpd, str (Riga, c1776), attrib. ‘I.C. Bach’, Breitkopf suppl. 1776–7, also attrib. C.P.E. Bach and J.C.F. Bach; no.1 ed. E. Praetorius (1937), no.2 ed. in Antiqua (1935)
YC92	300/1	Conc. (A), hpd, str, Bsb [? by C.P.E. Bach; also attrib. Schaffrath and C.H. or J.G. Graun]; ed. A. Hoffmann (Wolfenbüttel, 1963)
C Inc 6	300/4	Conc. (E), hpd, str, Dl

wind music

see Sadie for information on borrowed material and transcriptions

B Inc 7–12	285/3	Sei sinfonie (E, B, E, B, E, B), 2 cl, 2 hn, [2] bn (1782); CW xxxvii
B79–82	—	Military Pieces [Quintette] (E, E, B, B), 2 cl, 2 hn, bn (Dublin, c1794); CW xxxvii
B83–5	359/3	3 military marches: Marche du régiment de Prince Ernst; Marche du régiment de Braun[schweig]; Marche du régiment de Wür[tte]mb[erg], all in E, 2 ob, 2 hn, bn; CW xxxvii [nos.2–3 arr. kbd, GB-Lbl (part autograph)]
B88–9	360/1	2 Märsche … vom ersten … zweiten Batallion Garde-Regiment in Hannover (E, E) 2 ob, 2 cl, 2 hn, 2 bn, no.2 spurious, by Abel, Lbl (part autograph); CW xxxvii
B86–7	360/5	Due marce … di cavalleria e d’infanteria (E, E), 2 ob, 2 cl, 2 hn, bn; CW xxxvii [also arr. kbd, Lbl (part autograph)]
B90–93	361/2	4 marches (E, E, E, B); CW xxxvii [also arr. kbd, Lbl (part autograph)
YB85–6	360/3	Due marce … Prince Walles (E, E), 2 cl, 2 hn, bn; spurious, by C.F. Abel

chamber music

B78	302/1	Sestetto (C), ob, 2 hn, vn, vc, kbd; CW xli [arr. kbd, vn in Three Favorite Quartetts and One Quintett (1785), = t311/3]
B Inc 5	305/1	Quintet (B), 2 vn/ob, va, vc/bn, bc; CW xli
B70–75	303/1	Six Quintettos (C, G, F, E, A, D), fl, ob, vn, va, bc, op.11 (1774); CW xli
B76–7	304/6	Deux quintetts (D, F), op.22 (1785), fl, ob, vn, vc, kbd; CW xli [arr. kbd, vn in Three Favorite Quartetts and One Quintett (1785) = t311/2, 4]
B51–6	306/1	Six Quartettos (C, D, E, F, G, B), fl, vn, va, vc, op.8 (1772); CW xl
B57–9	309/1	3 qts (D, C, A), fl/vn, vn, va, bc, nos.1, 3, 5 in Six Quartettos … by Messrs Bach, Abel and Giardini (1776); CW xl
B60	—	Qt (B), 2 vn, va, vc, no.1 in Six Quatuors … par J.C. Bach et C.F. Abel, op.14 (Paris, 1776); CW xl [also arr. eng hn, vn, va, vc, I-Gl; erroneously attrib. Haydn, hII:B4]
B66	310/9	Quartetto (G), vn, 2 vc, hpd, op.2 (Offenbach, 1783); CW xl [arr. hpd, vn in Three Favorite Quartetts and One Quintett (1785) = t311/5]
B61–4	307/4	Four Quartettos (C, D, G, C), op.19 (1784): nos. 1, 3, for 2 fl, va, vc; no.2 for fl, ob/fl, va, vc; no.4 for 2 fl, vn; CW xl [arr. hpd/pf, vn, fl, vc (c1787)]
B30–35	314/5	Six Trios (B, A, E, G, D, C), 2 vn, va/bc, op.2 (1763), also as op.4 (Amsterdam, 1767), in Breitkopf suppl. 1766 as first 6 of set of 12 (see also t317/5); CW xxxix
B36–41	317/5	6 trios (G, D, E, F, B, E), 2 vn, bc, in Breitkopf suppl. 1766 as second 6 of set of 12 (see also t314/5); CW xxxix
B43–8	313/1	Six sonates (F, G, D, C, D, E), hpd, vn/fl, vc, op.2 (1764); CW xxxix
B42	311/6	Sonata (B), 2 vn, vc, no.1 in Six Sonatas … by Messrs Bach, Abel and Kammel (1777); CW xxxix
B49–50	323/5	2 sonatas (C, A), hpd/pf, vn, vc, nos.1–2 in Four Sonatas and Two Duetts op.15 (1778); CW xxxix
B Inc 3	330/5	Sonata (B), harp, (vn, vc)/hpd, no.6 in Musical Remains, ed. E. Jones (c1796) [1st movt based on 1st movt of wB78; CW xxxix
B Inc 2	317/7	Trio sonata (G), 2 fl/vn, bc; CW xxxix
B20–26	332/4	[7] sonatas (F, D, G, A, G, D, F), hpd, vn; CW xxxviii
B27	—	Sonata (A), hpd, vn; CW xxxviii
B2–7	322/1	Six Sonatas (B, C, G, A, F, D), hpd/pf, vn, op.10 (1773), also for 2 vn, va, bc, op.17 (Paris, c1779); CW xxxviii [nos.1, 3, 5 arr. kbd, va da gamba, private collection, USA]
B8–9	324/2	2 sonatas (D, B), hpd/pf, vn, nos.3–4 in Four Sonatas and Two Duetts op.15 (1778); CW xxxviii
B10–15	325/1	Six Sonatas (D, G, C, A, D, F), hpd/pf, vn/fl, op.16 (1779/R); CW xxxviii [other versions of no.6, private collection, USA, and CW xlviii/3]
B16–19	326/3	4 sonatas (C, D, E, G), hpd/pf, vn/fl, nos.1–4 in Four Sonatas and Two Duetts op.18 (c1781); CW xxxviii
—	—	Sonata (F), hpd, va da gamba, private collection, USA [1st movt from op.10 no.5, 2nd movt from ob conc. wB80, t287/6
Doubtful: 4 canzonette (F, E, G, B), 2 vn, t336/6, arr. of Sei canzonette op.6 nos.1, 4, 3, 2; 2 qts (F, C), fl/vn, va, vc, in L’anné musicale (Liège, 1776); Qt (F), fl/vn, vn, va, vc I-Rdp; 2 qt (F, D), fl/vn, vn, va, vc, Gl; Sonata (C), gui, vn (c1770), CW xxxviii; Six Sonatas (C, G, D, A, E, B), hpd/pf, vn/fl, op.19 (1783), t327/5; Three [= 6] Sonatas [i, ii] (C, D, F, G, A, B), hpd/pf, vn, op.20 (c1785), t329/1; Trois sonates (E, B, D), hpd/pf, vn, op.21 (Paris, c1784), t344/2; Sonata (F), hpd, fl, D-Bsb (2 copies: 1 attrib J.C. Bach, 1 attrib. C.P.E. Bach), US-Wc (attrib. ‘Sigr. Bach’), also attrib. W.F. Bach, ed. K. Marguerre (Celle, 1960), t332/1; Sonata (D), vn, bc, D-Bsb, ?lost, t3323/5; 3 sonatas (D, G, C), fl, vn, A-Wn, t337/1; Sonata (C), hpd/of, vn, in The Feast of Apollo (1788), t352/2; Trio sonata (F), 2 vn, bc, lost, formerly D-Bsb, t318/8; for others see wYB1–86

keyboard

for harpsichord unless otherwise stated

A22	—	Untitled piece [March]bwv Anh.131, in Clavierbüchlein for Anna Magdalena Bach; CW xlviii/3
A23–31	—	6 minuets (c, C, d, g, C, C), 2 polonaises (B, E), aria (a), c1750; CW xlii
A13	358/4	Solo (a), ? before 1755; CW xlii
A14	—	Sonata (A), I-Bc, Mc, MC; CW xlii
A16	—	Sonata (B), Bc; CW xlii
A15	—	Toccata (b), Bc, Mc, MC (as Sonata); CW xlii, xlviii/3 (2 versions)
A1–6	338/1	Six Sonatas (B, D, G, E, E, c), hpd/pf, op.5 (1766/R); CW xlii
C1b–6b	347/2	Six simphonies (D, C, E, B, F, G), op.3 (1769); CW xlii [see ‘Symphonies and overtures’]
A10b	—	A New Lesson (G), hpd/pf (1772) [early versions of movts from op.17 nos.4 and 1]
A21, 18	340/5	2 duets (G, C): 1 for 2 hpd/pf, 1 for hpd/pf 4 hands, in Four Sonatas and Two Duetts op.15 (1778); CW xlii
A7–12	341/1	Six Sonatas (G, c, E, G, A, B), hpd/pf, op.17 (1779/R), previously pubd as op.12 (Paris, 1773/4), CW xlii; other versions of nos.2–3, CW xlviii/3; see also A New Lesson, above
A19–20	343/3	2 duets (A, F), hpd/pf 4 hands, in Four Sonatas and Two Duetts op.18 (1781); CW xlii
—	—	2 marches (A, C), GB-Lbl (part autograph)
For doubtful works see wYA1–54

BIBLIOGRAPHY

BrookB

BurneyH

DNB (S.W. Roe)

EitnerQ

FiskeETM

FétisB

GerberNL

MGG1 (H. Wirth)

WalterG

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G.J. Vogler: Betrachtungen der Mannheimer Tonschule (Mannheim, 1778–81/R)

ABC Dario Musico (Bath, 1780)

C.F. Cramer, ed.: Magazin der Musik (Hamburg, 1783–6/R)

H. Angelo: Reminiscences of Henry Angelo (London, 1828–30)

Earl of Mount Edgcumbe: Musical Reminiscences of an Old Amateur (London, 1824, 4/1834/R)

[T. MacKinley]: Mrs Cornely’s Entertainments at Carlisle House, Soho Square (Bradford, c1840)

Mrs V.D. Broughton, ed.: Court and Private Life in the Time of Queen Charlotte: being the Journals of Mrs. Papendiek (London, 1887)

M. Schwarz: Johann Christian Bach (1735–82): sein Leben und seine Werke (Leipzig, 1901)

M. Schwarz: ‘Johann Christian Bach’, SIMG, ii (1900–01), 401–54

M. Brenet: ‘Un fils du grand Bach à Paris en 1779–1779’, Guide musical, xlviii (1902), 551–3, 571–3

H. Abert: ‘Joh. Christian Bachs italienische Opern und ihr Einfluss auf Mozart’, ZMw, i (1919), 313–28

G. de Saint-Foix: ‘A propos de Jean-Chrétien Bach’, RdM, vii (1926), 83–91

H.P. Schökel: Johann Christian Bach und die Instrumentalmusik seiner Zeit (Wolfenbüttel, 1926)

F. Tutenberg: Die Sinfonik Johann Christian Bachs (Wolfenbüttel, 1928)

C.S. Terry: John Christian Bach (London, 1929 [review by H. Miesner in ZMw, xvi (1934), 182]; rev. 2/1967/R by H.C.R. Landon [review by S. Sadie in MT, cviii (1967), 330–31)

A. Wenk: Beiträge zur Kenntnis des Opernschaffens von J. Christian Bach (diss., U. of Frankfurt, 1932)

C. Sartori: ‘A Milano J.C. Bach in disaccordo con il tesoriere’, La Scala, no.2 (1950), 29–31

S. Sadie: ‘The Wind Music of J.C. Bach’, ML, xxxvii (1956), 107–17

R. Seebandt: Arientypen Johann Christian Bachs (diss., Humboldt U., Berlin, 1956)

E.O.D. Downes: The Operas of Johann Christian Bach as a Reflection of the Dominant Trends in Opera Seria 1750–1780 (diss., Harvard U., 1958)

J.A. White: The Concerted Symphonies of John Christian Bach (diss., U. of Michigan, 1958) [incl. edns of 3 concerted syms.]

E.J. Simon: ‘A Royal Manuscript: Ensemble Concertos by J.C. Bach’, JAMS, xii (1959), 161–77

C.B. Oldman: ‘Mozart’s Scena for Tenducci’, ML, xlii (1961), 44–52

H.-J. Schulze: ‘Frühe Schriftzeugnisse der beiden jüngsten Bach-Söhne’, BJb 1963–4, 61–9

S. Kunze: ‘Die Vertonungen der Arie “Non sò d’onde viene” von J. Chr. Bach und von W.A. Mozart’, AnMc, no.2 (1965), 85–111

E. Warburton: ‘J.C. Bach’s Operas’, PRMA, xcii (1965–6), 95–106

A. Weinmann: ‘Eine “Arie von Bach” für die Storace’, ÖMz, xxi (1966), 53–61

B. Matthews: ‘J.C. Bach in the West Country’, MT, cviii (1967), 702–4

B.A. Mekota: The Solo and Ensemble Keyboard Works of Johann Christian Bach (diss., U. of Michigan, 1969)

M.A.H. Vos: The Liturgical Choral Works of Johann Christian Bach (diss., Washington U., 1969)

E. Warburton: A Study of Johann Christian Bach’s Operas (diss., U. of Oxford, 1969)

P.M. Young: The Bachs 1500–1850 (London, 1970)

N. Krabbe: ‘J.C. Bach’s Symphonies and the Breitkopf Thematic Catalogue’, Festskrift Jens Peter Larsen, ed. N. Schiørring, H. Glahn and C.E. Hatting (Copenhagen, 1972), 233–54

I.S. Baierle: Die Klavierwerke von Johann Christian Bach (Graz, 1974)

J. Bolen: The Five Berlin Cembalo Concertos P390 of Johann Christian Bach: a Critical Edition (diss., Florida State U., 1974)

B. Matthews: ‘The Davies Sisters, J.C. Bach and the Glass Harmonica’, ML, lvi (1975), 150–69

H.-J. Schulze: ‘Die Bach-Überlieferung: Pläydoyer für ein notwendiges Buch’, BMw, xvii (1975), 45–57, esp. 48

H. Brofsky: ‘J.C. Bach, G.B. Sammartini, and Padre Martini: a Concorso in Milan in 1762’, A Musical Offering: Essays in Honor of Martin Bernstein, ed. E.H. Clinkscale and C. Brook (New York, 1977), 63–8

D.J. Keahey: The Genoa Manuscripts: Recently Rediscovered Trios of J.C. Bach (diss., U. of Texas at Austin, 1977)

F.C. Petty: Italian Opera in London 1760–1800 (Ann Arbor, 1980)

D. McCulloch: ‘Mrs Papendiek and the London Bach’, MT, cxxiii (1982), 26–9

R. Maunder: ‘J.C. Bach’s “Endimione”’, ibid., 474–5

S.W. Roe: ‘J.C. Bach (1735–1782): Towards a New Biography’, ibid., 23–6

E. Warburton: ‘J.C. Bach’s Latin Church Music’, ibid., 781–4

S.W. Roe: ‘J.C. Bach’s Vauxhall Songs: a New Discovery’, MT, cxxiv (1983), 675–6

H.-J. Schulze: ‘Wann begann die “italienische Reise” des jüngsten Bach-Sohnes?’, BJb 1983, 119–22

R. Maunder: ‘J.C. Bach and the Basset Horn’, GSJ, xxxvii (1984), 42–7

J. Small: ‘J.C. Bach Goes to Law’, MT, cxxvi (1985), 526–9

S.W. Roe: ‘J.C. Bach and “new Music, at a more Reasonable Expence”’, ibid., 529–31

E. Warburton: ‘“Lucio Silla”: by Mozart and J.C. Bach’, ibid., 726–30

S. Staral: ‘Aufführungspraktische Aspekte im Klavierwerk von Johann Christian Bach, dargestellt an den Sonaten Op.V’, Mf, ix (1986), 245–53

H.-J. Schulze: ‘Noch einmal: Wann begann “die italienische Reise” des jüngsten Bach-Sohnes?’, BJb 1988, 235–6

J.R. Stevens: ‘Concerto no.6 in F minor: by Johann Christian Bach?’, RMARC, no.21 (1988), 53–6

S.W. Roe: The Keyboard Music of J.C. Bach (New York, 1989)

H. Gärtner: Johann Christian Bach, Mozarts Freund und Lehrmeister (Munich, 1989; Eng. trans., 1994)

C. Esch: ‘Lucio Silla’: vier Opera-seria-Vertonungen aus der Zeit zwischen 1770 und 1780 (diss., U. of Göttingen, 1991)

L. Finscher, ed.: Die Mannheimer Hofkapelle im Zeitalter Carl Theodors (Mannheim, 1991)

R. Maunder: ‘J.C. Bach and the Early Piano in London’, JRMA, cxvi (1991), 201–10

S. Staral: ‘Wolfgang Amadé Mozart, Johann Christian Bach und Mannheim’, 176 Tage W.A. Mozarts in Mannheim, ed. K. von Welck and L. Homering (Mannheim, 1991), 164–73 [exhibition catalogue]

C. Esch: ‘Michele Mortellari, Johann Christian Bach’, MISM, xxxviii (1991), 133–58

M. Sickbert: ‘The Mozarts in Milan, February 9–10, 1770: a Funeral Performance of Johann Christian Bach’s Dies Irae and Vespers Music?’, MJb 1991, 461–7

M. Feldman: ‘Mozart and his Elders: Opera-Seria Arias, 1766–1775’, ibid., 564–75

K.-J. Sachs: ‘Impuls und Ingenium: der Kopfsatz aus Mozarts Haffner-Sinfoni KV 385 vor dem Hintergrund von Johann Christian Bachs “Grand Ouverture” Es-Dur op.19/1’, ibid., 844–51

R. Allorto: Gli anni milanesi di Giovanni Cristiano Bach e le sue composizioni sacre (Milan, 1992)

E. Warburton: ‘Johann Christian Bach und die Freimaurer-Loge zu den Neun Musen in London’, BJb 1992, 113–17

C. Price, J. Milhous and R. Hume: The Impresario’s Ten Commandments (London, 1992)

M. Argent, ed.: Recollections of R.J.S. Stevens, an Organist in Georgian London (London, 1992)

U. Leisinger: Die Bach-Quellen der Forschungs- und Landesbibliothek Gotha (Gotha, 1993)

S.W. Roe: ‘Johann Christian Bach’, The Viking Opera Guide, ed. A. Holden (London, 1993), 43–6

D.E. Freeman: ‘Johann Christian Bach and the Early Classical Italian Masters’, Eighteenth-Century Keyboard Music, ed. R.L. Marshall (New York, 1994), 230–69

C. Price, J. Milhous and E. Hume: Italian Opera in Late Eighteenth-Century London, i: The King’s Theatre, Haymarket, 1778–1791 (Oxford, 1995)

Y. Kobayashi: ‘Breitkopf Attributions and Research on the Bach Family’, J.S. Bach, the Breitkopfs and the Eighteenth-Century Music Trade, Bach Perspectives, ii, ed. G.B. Stauffer (Lincoln, NE, and London, 1996), 53–64

Y. Kobayashi: ‘On the Identification of Breitkopf’s Manuscripts’, ibid., 107–22

R. Charteris: ‘The Music Collections of the Staats- und Universitätsbibliothek, Hamburg: a Survey of its British Holdings Prior to the Second World War’, RMARC, no.30 (1997), 1–138

C. Eisen: ‘The Mozarts’ Salzburg Library’, Mozart Studies 2 (Oxford, 1997), 85–138

U. Leisinger: ‘“Berlinischer Oden und Lieder” von Bückeburger, Londoner und Hallischen Bach’, JbSIM 1997, 117–21

U. Leisinger and P. Wollny: Die Bach-Quellen der Bibliotheken in Brüssel (Hildesheim, 1997)

B. Robins, ed.: The John Marsh Journals: the Life and Times of a Gentleman Composer (1752–1828) (Stuyvesant, NY, 1998)

S.W. Roe: ‘The Sextet in C Major, by J.C. or J.C.F. Bach?’, Haydn, Mozart and Beethoven: Studies in the Music of the Classical Period: Essays in Honour of Alan Tyson, ed. S. Brandenburg (Oxford, 1998), 13–19

S.W. Roe: ‘Neuerkenntnisse zu einigen autographen Notenhandschriften von Johann Christian Bach’, BJb 1999, 179–90

S.W. Roe: ‘The Paris Bach’ Bunte Blätter: Klaus Mecklenburg zum 23. Februar 2000, ed. R. Elvers and A. Moirandat, (Basle, 2000), 247–54

(13) Johann Michael Bach

(b Struth, nr Schmalkalden, 9 Nov 1745; d Elberfeld, 1820). Composer. He was descended from a Hessian line of Bachs that can be traced back to a Caspar Bach (d Struth, c1640) and already had many branches in the 17th century. It is probable, but cannot be proved, that this line was originally connected with the main Wechmar line of the Bach family. Johann Michael evidently went on his travels at an early date, and in about 1767 visited Holland, where he was in touch with the Amsterdam music publisher Hummel; he then went to England and America. On his return he studied law in 1779–80 at the University of Göttingen, where he met J.N. Forkel, and from 1781 at Leipzig University. He was practising as a lawyer in Güstrow, Mecklenburg, in 1790 but composed music at the same time, and in 1793 (or earlier) he was appointed Kantor and organist in Tann. He was then active as a music theorist and composer in Elberfeld, and when he died there he was employed as a music teacher at the Gymnasium.

As well as an early set of piano concertos (the finale of no.6 is a fugue on B–A–C–H), Johann Michael Bach published a treatise in 1780 which had a surprisingly wide distribution in its time. His musical style is reminiscent of that of Johann Christoph Friedrich Bach (49) and rather derivative. Two of his sons were also musicians, Johann Georg and Georg Friedrich (see §I above).

WORKS

6 Klavierkonzerte, C, G, D, F, D, B, op.1 (Amsterdam, 1767)

Cants.: Gott fähret auf mit Jauchzen, D-Bsb; Jehova, Vater der Weisen, Bsb; others GOl

Jauchzet dem Herren, motet, GOl

Kurze und systematische Anleitung zum General-Bass und der Tonkunst überhaupt (Kassel, 1780)

BIBLIOGRAPHY

H. Lämmerhirt: ‘Ein hessischer Bach-Stamm’, BJb 1936, 53–89

H.-J. Schulze and C. Wolff: Bach Repertorium (forthcoming)