Bach, Johann Sebastian

Bach, Johann Sebastian, the most revered member of the family, whose stature as a composer has led him to be acclaimed as the supreme arbiter and lawgiver of music, a master comparable in greatness of stature with Aristotle in philosophy and Leonardo da Vinci in art; b. Eisenach, March 21 (baptized, March 23), 1685; d. Leipzig, July 28, 1750. He was a member of an illustrious family of musicians who were active in various capacities as performing artists, composers, and teachers. That so many Bachs were musicians lends support to the notion that music is a hereditary faculty, that some subliminal cellular unit may be the nucleus of musicality. The word “Bach” itself means “stream” in the German language; the rhetorical phrase that Johann Sebastian Bach was not a mere stream but a whole ocean of music (“Nicht Bach aber Meer haben wir hier”) epitomizes Bach’s encompassing magnitude. Yet despite the grandeur of the phenomenon of Bach, he was not an isolated figure dwelling in the splendor of his genius apart from the Zeitgeist, the spirit of his time. Just as Aristotle was not only an abstract philosopher but also an educator (Alexander the Great was his pupil), just as Leonardo da Vinci was not only a painter of portraits but also a practical man of useful inventions, so Bach was a mentor to young students, a master organist and instructor who spent his life within the confines of his native Thuringia as a teacher and composer of works designed for immediate performance in church and in the schoolroom. Indeed, the text of the dedication of his epoch-making work Das wohltemperi-erte Clavier oder Praeludia und Fugen emphasizes its pedagogical aspect: “The Well-tempered Clavier, or Preludes and Fugues in all tones and semitones, both with the major third of Ut Re Mi, and the minor third of Re Mi Fa, composed and notated for the benefit and exercise of musical young people eager to learn, as well as for a special practice for those who have already achieved proficiency and skill in this study.” The MS is dated 1722. Bach’s system of “equal temperament” (which is the meaning of “well-tempered” in the title Well-tempered Clavier) postulated the division of the octave into 12 equal semitones, making it possible to transpose and to effect a modulation into any key, a process unworkable in the chaotic tuning of keyboard instruments before Bach’s time. Bach was not the first to attempt the tempered division, however. J.C.F Fischer anticipated him in his collection Ariadne musica (with the allusion to the thread of Ariadne that allowed Theseus to find his way out of the Cretan labyrinth); publ. in 1700, it contained 20 preludes and fugues in 19 different keys. Undoubtedly Bach was aware of this ed.; actually, the subjects of several of Bach’s preludes and fugues are similar to the point of identity to the themes of Fischer’s work. These coincidences do not detract from the significance of Bach’s accomplishment, for it is the beauty and totality of development that makes Bach’s work vastly superior to those of any of his putative predecessors.

The advent of Bach marked the greatest flowering of Baroque music. Although he wrote most of his contrapuntal works as a didactic exercise, there are in his music extraordinary visions into the remote future; consider, for instance, the A-minor Fugue of the first book of the Well-tempered Clavier, in which the inversion of the subject seems to violate all the rules of proper voice- leading in its bold leap from the tonic upward to the seventh of the scale and then up a third. The answer to the subject of the F minor Fugue of the first book suggests the chromatic usages of later centuries. In the art of variations, Bach was supreme. A superb example is his set of keyboard pieces known as the Goldberg Variations, so named because it was commissioned by the Russian diplomat Kayserling through the mediation of Bach’s pupil Johann Gottlieb Goldberg, who was in Kayserling’s service as a harpsichord player. These variations are listed by Bach as the fourth part of the Clavier- Übung; the didactic title of this division is characteristic of Bach’s intention to write music for utilitarian purposes, be it for keyboard exercises, for church services, or for chamber music. A different type of Bach’s great musical projections is exemplified by his Concerts à plusieurs instruments, known popularly as the Brandenburg Concertos, for they were dedicated to Christian Ludwig, margrave of Brandenburg. They represent the crowning achievement of the Baroque. Numbers 2, 4, and 5 of the Brandenburg Concertos are essentially concerti grossi, in which a group of solo instruments—the concertino—is contrasted with the accompanying string orch. Finally, Die Kunst der Fuge, Bach’s last composition, which he wrote in 1749, represents an encyclopedia of fugues, canons, and various counterpoints based on the same theme. Here Bach’s art of purely technical devices, such as inversion, canon, augmentation, diminution, double fugue, triple fugue, at times appearing in fantastic optical symmetry so that the written music itself forms a balanced design, is calculated to instruct the musical mind as well as delight the aural sense. Of these constructions, the most extraordinary is represented by Das musikalische Opfer, composed by Bach for Frederick the Great of Prussia. Bach’s second son, Carl Philipp Emanuel, who served as chamber musician to the court of Prussia, arranged for Bach to visit Frederick’s palace in Potsdam; Bach arrived there, accompanied by his son Wilhelm Friede-mann, on May 7, 1747. The ostensible purpose of Bach’s visit was to test the Silbermann pianos installed in the palace. The King, who liked to flaunt his love for the arts and sciences, gave Bach a musical theme of his own invention and asked him to compose a fugue upon it. Bach also presented an organ recital at the Heiliggeist-kirche in Potsdam and attended a chamber music concert held by the King; on that occasion he improvised a fugue in six parts on a theme of his own. Upon his return to Leipzig, Bach set to work on the King’s theme. Gallantly, elegantly, he inscribed the work, in scholastic Latin, “Regis Iussu Cantio et Reliqua Canonica Arte Resoluta” (“At the King’s command, the cantus and supplements are in a canonic manner resolved”). The initials of the Latin words form the acronym RICERCAR, a technical term etymologically related to the word “research” and applied to any study that is instructive in nature. The work is subdivided into 13 sections; it includes a puzzle canon in two parts, marked “quaerendo invenietis” (“you will find it by seeking”). Bach had the score engraved, and sent it to the King on July 7, 1747. Intellectually independent as Bach was, he never questioned the immanent rights of established authority. He was proud of the title Royal Polish and Electoral Saxon Court Composer to the King of Poland and Elector of Saxony, bestowed upon him in 1736 while he was in the service of Duke Christian of Weissenfels, and he even regarded the position of cantor of the Thomasschule in Leipzig as inferior to it. In his dedications to royal personages he adhered to the customary humble style, which was extended even to the typography of his dedicatory prefaces. In such dedications the name of the exalted commissioner was usually printed in large letters, with conspicuous indentation, while Bach’s own signature, preceded by elaborate verbal genuflection, appeared in the smallest type of the typographer’s box.

Bach’s biography is singularly lacking in dramatic events. He attended the Latin school in Eisenach, and apparently was a good student, as demonstrated by his skill in the Latin language. His mother died in 1694; his father remarried and died soon afterward. Bach’s school years were passed at the Lyceum in the town of Ohrdruf; his older brother Johann Christoph lived there; he helped Bach in his musical studies; stories that he treated Bach cruelly must be dismissed as melodramatic inventions. Through the good offices of Elias Herda, cantor of the Ohrdruf school, Bach received an opportunity to move, for further education, to Lüne-burg; there he was admitted to the Mettenchor of the Michaeliskirche. In March of 1703 he obtained employment as an attendant to Johann Ernst, Duke of Weimar; he was commissioned to make tests on the new organ of the Neukirche in Arnstadt; on Aug. 9, 1703, he was appointed organist there. In Oct. 1705 he obtained a leave of absence to travel to Lübeck to hear the famous organist Dietrich Buxtehude. The impetus of Bach’s trip was presumably the hope of obtaining Buxtehude’s position as organist upon his retirement, but there was a peculiar clause attached to the contract for such a candidate: Buxtehude had five unmarried daughters; his successor was expected to marry the eldest of them. Buxtehude himself obtained his post through such an expedient, but Bach apparently was not prepared for matrimony under such circumstances.

On June 15, 1707, Bach became organist at the Blasiuskirche in Mühlhausen. On Oct. 17, 1707, he married his cousin Maria Barbara Bach, who was the daughter of Johann Michael Bach. On Feb. 4, 1708, Bach composed his cantata Gott ist mein König for the occasion of the installation of a new Mühlhausen town council. This was the first work of Bach’s that was publ. Although the circumstances of his employment in Mühlhausen were seemingly favorable, Bach resigned his position on June 25, 1708, and accepted the post of court organist to Duke Wilhelm Ernst of Weimar. In Dec. 1713 Bach visited Halle, the birthplace of Handel; despite its proximity to Bach’s own place of birth in Eisenach, the two great composers never met. On March 2, 1714, Duke Wilhelm Ernst offered Bach the position of Konzertmeister. In Sept. 1717 Bach went to Dresden to hear the famous French organist Louis Marchand, who resided there at the time. It was arranged that Bach and Marchand would hold a contest as virtuosos, but Marchand left Dresden before the scheduled event. This anecdote should not be interpreted frivolously as Marc-hand’s fear of competing; other factors may have intervened to prevent the meeting. Johann Samuel Drese, the Weimar music director, died on Dec. 1, 1716; Bach expected to succeed him in that prestigious position, but the Duke gave the post to Drese’s son. Again, this episode should not be interpreted as the Duke’s lack of appreciation for Bach’s superior abilities; the appointment may have merely followed the custom of letting such administrative posts remain in the family. In 1717 Bach accepted the position of Kapellmeister and music director to Prince Leopold of Anhalt in Cöthen, but a curious contretemps developed when the Duke of Weimar refused to release Bach from his obligation, and even had him held under arrest from Nov. 6 to Dec. 2, 1717, before Bach was finally allowed to proceed to Cöthen. The Cöthen period was one of the most productive in Bach’s life; there he wrote his great set of Brandenburg Concertos, the Clavierbüchlein für Wilhelm Friedemann Bach, and the first book of Das Wohltemperierte Clavier. In Oct. 1719 Bach was in Halle once more, but again missed meeting Handel, who had already gone to England. In 1720 Bach accompanied Prince Leopold to Karlsbad. A tragedy supervened when Bach’s devoted wife was taken ill and died before Bach could be called to her side; she was buried on July 7, 1720, leaving Bach to take care of their seven children. In 1720 Bach made a long journey to Hamburg, where he met the aged Reinken, who was then 97 years old. It is a part of the Bach legend that Reinken was greatly impressed with Bach’s virtuosity and exclaimed, “I believed that the art of organ playing was dead, but it lives in you!” Bach remained a widower for nearly a year and a half before he married his second wife, Anna Magdalena Wilcken, a daughter of a court trumpeter at Weissenfels, on Dec. 3, 1721. They had 13 children during their happy marital life. New avenues were opened to Bach when Johann Kuhnau, the cantor of Leipzig, died, on June 5, 1722. Although Bach applied for his post, the Leipzig authorities offered it first to Telemann of Hamburg, and when he declined, to Christoph Graupner of Darmstadt; only when Graupner was unable to obtain a release from his current position was Bach given the post. He traveled to Leipzig on Feb. 7, 1723, for a trial performance, earning a favorable reception. On April 22, 1723, Bach was elected to the post of cantor of the city of Leipzig and was officially installed on May 31, 1723. As director of church music, Bach’s duties included the care of musicians for the Tho-maskirche, Nicolaikirche, Matthaeikirche, and Pet-rikirche, and he was also responsible for the provision of the music to be performed at the Thomaskirche and Nicolaikirche. There were more mundane obligations that Bach was expected to discharge, such as gathering firewood for the Thomasschule, about which Bach had recurrent disputes with the rector; eventually he sought the intervention of the Elector of Saxony in the affair. It was in Leipzig that Bach created his greatest sacred works: the St. John Passion, the Mass in B minor, and the Christmas Oratorio. In 1729 he organized at the Thomasschule the famous Collegium Musicum, composed of professional musicians and univ. students with whom he gave regular weekly concerts; he led this group until 1737, and again from 1739 to 1741. He made several visits to Dresden, where his eldest son, Wilhelm Friedemann, served as organist at the Sophienkirche. In June 1747 Bach joined the Societät der Musikalischen Wissen-schaften, a scholarly organization founded by a former member of the Collegium Musicum, Lorenz C. Mizler, a learned musician, Latinist, and mathematician who spent his life confounding his contemporaries and denouncing them as charlatans and ignorant pretenders to knowledge. The rules of the society required an applicant to submit a sample of his works; Bach contributed a triple canon in 6 parts and presented it, along with the canonic variations Vom Himmel hoch da komm ich her. This was one of Bach’s last works. He suffered from a cataract that was gradually darkening his vision. A British optician named John Taylor, who plied his trade in Saxony, operated on Bach’s eyes in the spring of 1749; the operation, performed with the crude instruments of the time, left Bach almost totally blind. The same specialist operated also on Handel, with no better results. The etiology of Bach’s last illness is unclear. It is said that on July 18, 1750, his vision suddenly returned (possibly when the cataract receded spontaneously), but a cerebral hemorrhage supervened, and a few days later Bach was dead. Bach’s great contrapuntal work, Die Kunst der Fuge, remained unfinished. The final page bears this inscription by C.P.E. Bach: “Upon this Fugue, in which the name B-A-C-H is applied as a countersub-ject, the author died.” Bach’s widow, Anna Magdalena, survived him by nearly 10 years; she died on Feb. 27, 1760. In 1895 Wilhelm His, an anatomy prof. at the Univ. of Leipzig, performed an exhumation of Bach’s body, made necessary because of the deterioration of the wooden coffin, and took remarkable photographs of Bach’s skeleton, which he publ. under the title J.S. Bach, Forschungen über dessen Grabstätte, Gebeine und Antlitz (Leipzig, 1895). On July 28, 1949, on the 199^th anniversary of Bach’s death, his coffin was transferred to the choir room of the Thomaskirche.

Of Bach’s 20 children, ten reached maturity. His sons Wilhelm Friedemann, Carl Philipp Emanuel, Johann Christoph Friedrich, and Johann (John) Christian (the “London” Bach) made their mark as independent composers. Among Bach’s notable pupils were Johann Friedrich Agricola, Johann Christoph Altnikol, Heinrich Nicolaus Gerber, Johann Gottlieb Goldberg, Gottfried August Homilius, Johann Philipp Kirnberger, Johann Christian Kittel, Johann Tobias Krebs, and Johann Lud-wig Krebs. It is historically incorrect to maintain that Bach was not appreciated by his contemporaries; Bach’s sons Carl Philipp Emanuel and the “London” Bach kept his legacy alive for a generation after Bach’s death. True, they parted from Bach’s art of contrapuntal writing; Carl Philipp Emanuel turned to the fashionable style galant, and wrote keyboard works of purely harmonic content. The first important biography of Bach was publ. in 1802, by J.N. Forkel.

Dramatic accounts of music history are often inflated. It is conventional to say that Bach’s music was rescued from oblivion by Mendelssohn, who conducted the St. Matthew Passion in Berlin in 1829, but Mozart and Beethoven had practiced Bach’s preludes and fugues. Bach’s genius was never dimmed; he was never a prophet without a world. In 1850 the centennial of Bach’s death was observed by the inception of the Leipzig Bach- Gesellschaft, a society founded by Carl Becker, Moritz Hauptmann, Otto Jahn, and Robert Schumann. Concurrently, the publishing firm of Breit-kopf & Härtel inaugurated the publication of the complete ed. of Bach’s works. A Neue Bach-Gesellschaft was founded in 1900; it supervised the publication of the important Bach-Jahrbuch, a scholarly journal begun in 1904. The bicentennial of Bach’s death, in 1950, brought about a new series of memorials and celebrations. With the development of recordings, Bach’s works were made available to large masses of the public. Modern composers, even those who champion the total abandonment of all conventional methods of composition and the abolition of musical notation, are irresistibly drawn to Bach as a precursor; suffice it to mention Alban Berg’s use of Bach’s chorale Es ist genug in the concluding section of his Violin Concerto dedicated to the memory of Alma Mahler’s young daughter. It is interesting to note also that Bach’s famous acronym B-A-C-H consists of four different notes in a chromatic alternation, thus making it possible to use it as an element of a 12-tone row. The slogan “Back to Bach,” adopted by composers of the early 20^th century, seems to hold true for every musical era. The 250^th anniversary of Bach’s death was commemorated in 2000 with special observances and concerts around the world.

In the list of Bach’s works given below, each composition is identified by the BWV (Bach-Werke-Verzeichnis) number established by W. Schmieder in his Thematisch-systematisches Verzeichnis der musikalischen Werke von J.S. B. Bach-Werke-Verzeichnis (Leipzig, 1950; 2^nd ed., rev., 1990).

Works

CHURCH CANTATAS: About 200 are extant. The following list gives the BWV number, title, and date of first perf.: 1, Wie schön leuchtet der Morgenstern (March 25, 1725); 2, Ach Gott, vom Rimmel sieh darein (June 18, 1724); 3, Ach Gott, wie manches Herzeleid (Jan. 14, 1725); 4, Christ lag in Todesbanden (c. 1707–8); 5, Wo soil ichfliehen hin (Oct. 15, 1724); 6, Bláb bei uns, denn es will Abend werden (April 2, 1725); 7, Christ unser Hen zum Jordan kam (June 24, 1724); 8, Liebster Gott, wann werd idi sterben? (Sept. 24, 1724); 9, Es ist das Heil uns kommen her (c. 1732–35); 10, Meine Seel erhebt den Herrén (July 2, 1724); 11, Lobet Gott in seinen Reichen (Ascension oratorio; May 19, 1735); 12, Weinen, Klagen, Sorgen, Zagen (April 22, 1714); 13, Meine Seufzer, meine Tränen (Jan. 20, 1726); 14, Wär’ Gott nicht mit uns diese Zeit Qan. 30, 1735); 16, Herr Gott, dich Loben wir (Jan. 1, 1726); 17, Wer Dank opfert, der preiset midi (Sept. 22, 1726); 18, Gleidiwie der Regen und Schnee vom Himmel falli (c. 1714); 19, Es erhub sich ein Streit (Sept. 29, 1726); 20, O Ewigkeü, du Donnerwort (June 11, 1724); 21, Ich hatte viel Bekummernis (c. 1714); 22, Jesus nahm zu sich die Zwòlfe (Feb. 7, 1723); 23, Du wahrer Gott und Davids Sohn (Feb. 7, 1723); 24, Ein ungefarbt Gemute (June 20, 1723); 25, Es ist nicht Gesundes an meinem Leibe (Aug. 29, 1723); 26, Ach wie flüchtig, ach wie nichtig (Nov. 19, 1724); 27, Wer weiss, wie nahe mir mein Ende! (Oct. 6, 1726); 28, Gottlob! nun geht das Jahr zu Ende (Dec. 30, 1725); 29, Wir danken dir, Gott, wir danken dir (Aug. 27, 1731); 30, Freue dich, erlöste Schar (c. 1738); 31, Der Himmel lacht! die Erde jubilieret (April 21, 1715); 32, Liebster Jesu, mein Verlangen (Jan. 13, 1726); 33, Allein zu dir, Herr Jesu Christ (Sept. 3, 1724); 34, O ewiges Feuer, O Ursprung der Liebe (based upon 34a; early 1740s); 34a, O ewiges Feuer, O Ursprung der Liebe (part of score not extant; 1726); 35, Geist und Seek wird verwirret (Sept. 8, 1726); 36, Schwingt freudig euch empor (based upon secular cantata 36c; Dec. 2, 1731); 37, Wer da gläubet und getauft wird (May 18, 1724); 38, Aus tiefer Not sdirei ich zu dir (Oct. 29, 1724); 39, Brich dem Hungrigen dein Brot (June 23, 1726); 40, Dazu ist erschienen der Sohn Gottes (Dec. 26, 1723); 41, Jesu, nun sei gepreiset (Jan. 1, 1725); 42, Am Abend aber desselbigen Sabbats (April 8, 1725); 43, Gottfa’hret aufmit Jauchzen (May 30, 1726); 44, Sie werden euch in den Bonn tun (May 21, 1724); 45, Es ist dir gesagt, Mensch, was gut ist (Aug. 11, 1726); 46, Schauet doch und sehet (Aug. 1, 1723); 47, Wer sich selbst erhöhet (Oct. 13, 1726); 48, Ich elender Mensch, wer wird mich erlösen (Oct. 3, 1723); 49, Ich geh und suche mit Verlangen (Nov. 3, 1726); 50, Nun ist das Heil und die Kraft (date unknown); 51, Jauchzet Gott in alien Landen! (Sept. 17, 1730); 52, Falsche Welt, dir trau’ ich nicht (Nov. 24, 1726); 54, Widerstehe doch der Sünde (July 15, 1714); 55, Ich armer Mensch, ich Sündenknecht (Nov. 17, 1726); 56, Ich will den Kreuzstab geme tragen (Oct. 27, 1726); 57, Selig ist der Mann (Dec. 26, 1725); 58, Ach Gott, wie manches Herzeleid (Jan. 5, 1727); 59, Wer mich liebet, der wird mein Wort halten (c. 1723–24); 60, O Ewigkeü, du Donnerwort (Nov. 7, 1723); 61, Nun komm, der Heiden Heiland (1714); 62, Nun komm, der Heiden Heiland (Dec. 3, 1724); 63, Christen, ätzet diesen Tag (c. 1716); 64, Sehet, welch eine Liebe (Dec. 27, 1723); 65, Sie werden aus Saba alle kommen (Jan. 6, 1724); 66, Erfreut euch, ihr Herzen (based upon lost secular cantata 66a; April 10, 1724); 67, Halt’ im Gedächtnis Jesum Christ (April 16, 1724); 68, Also hat Gott die Welt geliebt (May 21, 1725); 69, Lobe den Herrn, meine Seele (based upon 69a; 1740s); 69a, Lobe den Herrn, meine Seele (Aug. 15, 1723); 70, Wachet! betet! betet! wachet! (based upon 70a; Nov. 21, 1723); 70a, Wachet! betet! betet! wachet! (music not extant; Dec. 6, 1716); 71, Gott ist mein Kônig (Feb. 4, 1708); 72, Alies nur nach Gottes Willen (Jan. 27, 1726); 73, Herr, wie du willst, so schick’s mit mir (Jan. 23, 1724); 74, Wer mich liebet, der wird mein Wort halten (based partly upon 59; May 20, 1725); 75, Die Elenden sollen essen (May 30, 1723); 76, Die Himmel erzählen die Ehre Gottes (June 6, 1723); 77, Du solisi Gott, deinen Herrén, lieben (Aug. 22, 1723); 78, Jesu, der du meine Seele (Sept. 10, 1724); 79, Gott der Herr ist Sonn und Schild (Oct. 31, 1725); 80, Ein’feste Burg ist unser Gott (based upon 80a; Oct. 31, 1724); 80a, Alies, was von Gott geboren (music not extant; 1715); 80b, Ein feste Burg ist unser Gott (Oct. 31, 1723); 81, Jesus schlaft, was soil ich hoffen? Qan. 30, 1724); 82, Ich habe genug (Feb. 2, 1727); 83, Erfreute Zeit im neuen Bunde (Feb. 2, 1724); 84, Ich bin vergnügt mit meinem Glücke (Feb. 9, 1727); 85, Ich bin ein guter Hirt (April 15, 1725); 86, Wahrlich, wahrlich, ich sage euch (May 14, 1724); 87, Bisher habt ihr nichts gebeten (May 6, 1725); 88, Siehe, ich will viel Fischer aussenden (July 21, 1726); 89, Was soil ich aus dir machen, Ephraim? (Oct. 24, 1723); 90, Es reisset euch ein schrecklich Ende (Nov. 14, 1723); 91, Gelobet seist du, Jesu Christ (Dec. 25, 1724); 92, Ich hab in Gottes Herz und Sinn (Jan. 28, 1725); 93, Wer nur den lieben Gott lässt walten (July 9, 1724); 94, Was frag ich nach der Welt (Aug. 6, 1724); 95, Christus, der ist mein Leben (Sept. 12, 1723); 96, Herr Christ, der ein’ge Gottessohn (Oct. 8, 1724); 97, In alien meinen Taten (1734); 98, Was Gott tut, das ist wohlgetan (Nov. 10, 1726); 99, Was Gott tut, das ist wohlgetan (Sept. 17, 1724); 100, Was Gott tut, das ist wohlgetan (c. 1732–35); 101, Nimm von uns, Herr, du treuer Gott (Aug. 13, 1724); 102, Herr, deine Augen sehen nach dem Glauben (Aug. 25, 1726); 103, Ihr zverdet weinen und heulen (April 22, 1725); 104, Du Hirte Israel (April 23, 1724); 105, Herr, gehe nicht ins Gericht (July 25, 1723); 106, Gottes Zeit ist die allerbeste Zeit (c. 1707); 107, Was willst du dich betrüben (July 23, 1724); 108, Es ist euch gut, dass ich hingehe (April 29, 1725); 109, Ich glaube, lieber Herr, hilf meinem Un-glauben! (Oct. 17, 1723); 110, Unser Mund sei voli Lachens (Dec. 25, 1725); 111, Was mein Gott will, das g’scheh allzeit (Jan. 21, 1725); 112, Der Herr ist mein getreuer Hirt (April 8, 1731); 113, Herr Jesu Christ, du höchstes Gut (Aug. 20, 1724); 114, Ach, lieben Christen, seid getrost (Oct. 1, 1724); 115, Mache dich, mein Geist, bereit (Nov. 5, 1724); 116, Du Friedefürst, Herr Jesu Christ (Nov. 26, 1724); 117, Sei Lob und Ehr dem höchsten Gut (c. 1728–31); 119, Preise, Jerusalem, den Herrn (Aug. 30, 1723); 120, Gott, man lobet dich in der Stille (c. 1728–29); 120a, Herr Gott, Beherrscher aller Dinge (based upon 120; part of score not extant; c. 1729); 120b, Gott, man lobet dich in der Stille (based upon 120; music not extant; 1730); 121, Christum wir sollen loben schon (Dec. 26, 1724); 122, Das neugebor’ne Kindelein (Dec. 31, 1724); 123, Liebster Immanuel, Herzog der Frommen (Jan. 6, 1725); 124, Meinen Jesum lass ich nicht (Jan. 7, 1725); 125, Mit Fried’ und Freud’ ich fahr dahin (Feb. 2, 1725); 126, Erhalt’ uns, Herr, bei deinem Wort (Feb. 4, 1725); 127, Herr Jesu Christ, wahr’r Mensch und Gott (Feb. 11, 1725); 128, Auf Christi Himmelfahrt alleiti (May 10, 1725); 129, Gelobet sei der Herr, mein Gott (c. 1726–27); 130, Herr Gott, dich loben alle wir (Sept. 29, 1724); 131, Aus der Tiefen rufe ich, Herr, zu dir (1707); 132, Bereitet die Wege, bereitet die Bahnl (1715); 133, Ichfreue mich in dir (Dec. 27, 1724); 134, Ein Herz, das seinen Jesum lebend weiss (based upon secular cantata 134a; April 11, 1724); 135, Ach Herr, mich armen Sunder (June 25, 1724); 136, Erforsche mich, Gott, und erfahre mein Herz (July 18, 1723); 137, Lobe den Herren, den mächtigen König der Ehren (Aug. 19, 1725); 138, Warum betrübst du dich, mein Herz? (Sept. 5, 1723); 139, Wohl dem, der sich auf seinen Gott (Nov. 12, 1724); 140, Wachet auf, ruft uns die Stimme (Nov. 25, 1731); 144, Nimm, was dein ist, und gehe hin (Feb. 6, 1724); 145, Ich lebe, mein Herze, zu deinem Ergôtzen (c. 1729); 146, Wir müssen durch viel Trübsal (c. 1726–28); 147, Herz und Mund und Tat und Leben (based upon 147a; July 2, 1723); 147a, Herz und Mund und Tat und Leben (not extant; Dec. 20, 1716); 148, Bringet dem Herrn Ehre seines Namens (Sept. 19, 1723); 149, Man singet mit Freuden vom Sieg (c. 1728–29); 150, Nach dir, Herr, verlanget mich (c. 1708–9); 151, Süsser Trost, mein Jesus kommt (Dec. 27, 1725); 152, Tritt auf die Glaubensbahn (Dec. 30, 1714); 153, Schau, lieber Gott, wie meine Feind’ (Jan. 2, 1724); 154, Mein liebster Jesus ist verloren (Jan. 9, 1724); 155, Mein Gott, wie lang, ach lange (Jan. 19, 1716); 156, Ich steh’ mit einem Fuss im Grabe (Jan. 23, 1729); 157, Ich lasse dich nicht, du segnest mich denn (Feb. 6, 1727); 158, Der Friede sei mit dir (date unknown); 159, Sehet, wir geh’n hinauf gen Jerusalem (Feb. 27, 1729); 161, Komm, du süsse Todesstunde (Oct. 6, 1715); 162, Ach! ich sehe, jetzt, da ich zur Hochzeit gehe (Nov. 3, 1715); 163, Nurjedem das Seine (Nov. 24, 1715); 164, Ihr, die ihr euch von Christo nennet (Aug. 26, 1725); 165, O heil’ges Geist- und Wasser-bad (June 16, 1715); 166, Wo gehest du hin? (May 7, 1724); 167, Ihr Menschen, rühmet Gottes Liebe (June 24, 1723); 168, Tue Rechnung! Donnerwort (July 29, 1725); 169, Gott soil allein mein Herze haben (Oct. 20, 1726); 170, Vergnügte Ruh’, beliebte Seelenlust (July 28, 1726); 171, Gott, wie dein Name, so ist auch dein Ruhm (c. 1729); 172, Erschallet, ihr Lieder (May 20, 1714); 173, Erhöhtes Fleisch und Blut (based upon secular cantata 173a; May 29, 1724); 174, Ich liebe den Höchsten von ganzem Gemüte (June 6, 1729); 175, Er rufet seinen Schafen mit Ñamen (May 22, 1725); 176, Es ist ein trotzig, und versagt Ding (May 27, 1725); 177, Ich ruf zu dir, Herr Jesu Christ (July 6, 1732); 178, Wo Gott der Herr nicht bei uns halt (July 30, 1724); 179, Siehe zu, dass deine Gottesfurcht (Aug. 8, 1723); 180, Schmücke dich, o liebe Seek (Oct. 22, 1724); 181, Leichtgesinnte Flattergeister (Feb. 13, 1724); 182, Himmelskönig, sei willkommen (1714); 183, Sie werden euch in den Bann tun (May 13, 1725); 184, Erwünschtes Freudenlicht (based upon lost secular cantata 184a; May 30, 1724); 185, Barmherziges Herze der ewigen Liebe (July 14, 1715); 186, Ärg’re dich, o Seek, nicht (based upon 186a; July 11, 1723); 186a, Ärg’re dich o Seek, nicht (not extant; Dec. 13, 1716); 187, Es wartet alies auf dich (Aug. 4, 1726); 188, Ich habe meine Zuversicht (c. 1728); 190, Singet dem Herrn ein neues Lied! (part of score not extant; Jan. 1, 1724); 190a, Singet dem Herrn ein neues Lied! (based upon 190; not extant; 1730); 191, Gloria in excelsis Deo (based upon 232, Mass in B minor; c. 1740); 192, Nun danket alle Gott (part of score not extant; 1730); 193, Ihr Tore zu Zion (c. 1727); 194, Höchsterwünschtes Freudenfest (based upon lost secular cantata 194a; Nov. 2, 1723); 195, Dem Gerechten muss das Licht (c. 1737); 196, Der Herr denket an uns (c. 1708); 197, Gott ist uns’re Zuversicht (c. 1742); 197a, Ehre sie Gott in der Höne (part of score not extant, c. 1728); 199, Mein Herze schwimmt im Blut (Aug. 12, 1714); 200, Bekennen will ich seinen Namen (fragment only extant; c. 1742). BWV numbers have been assigned to the following lost or incomplete cantatas: 223, Meine Seek soil Gott loben (not extant; date unknown); 224a, Klagt, Kinder, klagt es aller Welt (music not extant; March 24, 1729); Anh. 1, Gesegnet ist die Zuversicht (not extant; date unknown); Anh. 2, fragment only; Anh. 3, Gott, gib dein Gerichte dem Kònige (music not extant; 1730); Anh. 4, Wünschet Jerusalem Glück (music not extant; c. 1727); Anh. 4a, Wünschet Jerusalem Glück (music not extant; 1730); Anh. 5, Lobet den Herrn, alle seine Heerscharen (music not extant; Dec. 10, 1718); Anh. 14, Sein Segen fliesst daher wie ein Strom (music not extant; Feb. 12, 1725); Anh. 15, Siehe, der Hüter Israel (not extant; April 27, 1724); Anh. 17, Mein Gott, nimm die gerechte Seek (not extant; date unknown); 1, 045, title unknown (autograph fragment only extant; c. 1742); also the following without BWV numbers: Herrscher des Himmels, Kônig der Ehren (final chorus only, based upon secular cantata 208, extant; Aug. 29, 1740); Ich bin ein Pilgrim auf der Welt (fragment of 4^th movement only extant; April 18, 1729); Ihr wallenden Wolken (not extant; date unknown); Leb’ ich oder kb’ ich nicht (music not extant; May 19, 1715); Sie werden euch in den Bann tun (6-bar sketch only); etc. BWV numbers have been assigned to the following doubtful and spurious cantatas: 15, Denn du wirst meine Seek (by J.L. Bach); 53, Schlage doch, gewünschte Stunde (by G.M. Hoffmann); 141, Das ist je gewisslich wahr (by Telemann); 142, Uns ist ein Kind geboren (doubtful); 143, Lobe den Herrn, meine Seek (doubtful); 160, Ich weiss, dass mein Erlböser lebt (by Telemann); 189, Meine Seek rühmt und preist (doubtful); 217, Gedenke, Herr, wie es uns gehet (spurious); 218, Gott der Hoffnung erfülk euch (by Telemann); 219, Siehe, es hat überwunden der Löwe (by Telemann); 220, Lobt ihn mit Herz und Munde (spurious); 221, Wer sucht die Pracht, wer wünscht den Glanz (spurious); 222, Mein Odem ist schwach (by J.E. Bach); Anh. 16, Schliesset die Gruft! ihr Trauerglocken (not extant; doubtful); also without BWV number, Siehe, eine Jungfrau ist schwanger (doubtful). secular cantatas: 22 are extant in full: 30a, Angenehtnes Wiederau, freue dich (Sept. 28, 1737); 36b, Die Freude reget sich (c. 1735); 36c, Schwingt freudig euch empor (1725); 134a, Die Zeit, die Tag und Jahre macht (Jan. 1, 1719); 173a, Durchlaucht’ster Leopold (c. 1722); 198, Trauer Ode: Lass, Fürstin, lass noch einen Strahl (Oct. 17, 1727); 201, Der Streit zwischen Phoebus und Pan: Geschwinde, ihr wirbeln den Winde (c. 1729); 202, Weichet nur, betrübte Schatten (c. 1718–23); 203, Amore traditore (date unknown); 204, Ich bin in mir vergnügt (c. 1726–27); 205, Der zufriedengestellte Äolus: Zerreisset, zerspringet, zertrümmert die Gruft (Aug. 3, 1725); 206, Schleicht, spielende Wellen (Oct. 7, 1736); 207, Vereinigte Zwietracht der wechselnden Saiten (Dec. 11, 1726); 207a, Auf, schmetternde Töne (Aug. 3, 1735); 208, Was mir behagt, ist nur die muntre Jagd! (c. 1713); 209, Non sa che sia dolore (e. 1734); 210, O holder Tag, erwünschte Zeit (c. 1740); 211, Schweigt stille, plaudert nicht (Coffee Cantata; c. 1734–35); 212, Mer hahn en neue Oberkeet (Peasant Cantata; Aug. 30, 1742); 213, Hercules auf dem Scheidewege: Lasst uns sorgen, lasst uns wachen (Sept. 5, 1733); 214, T’ónet, ihr Pauken! Erschallet, Trompeten! (Dec. 8, 1733); 215, Preise dein Glucke, gesegnetes Sachsen (Oct. 5, 1734). BWV numbers have been assigned to the following lost or incomplete cantatas: 36a, Steigt freudig in die Luft (music not extant; Nov. 30, 1726); 66a, Der Himmel dacht auf Anhalts Ruhm und Glück (music not extant; Dec. 10, 1718); 184a, title unknown (not extant); 193a, Ihr Hauser des Himmels, ihr scheinenden Lichter (music not extant; Aug. 3, 1727); 194a, title unknown (not extant); 205a, Blast Larmen, ihr Feinde! (based upon 205; music not extant; Feb. 19, 1734); 208a, Was mir behagt, ist nur die muntre Jagd! (music not extant; c. 1740^2); 210a, O angenehme Melodei! (music not extant; c. 1738–40); 216, Vergnügte Pleissenstadt (only partially extant; Feb. 5, 1728); 216a, Erwählte Pleissenstadt (music not extant; c. 1728); 249a, Entfliehet, verschwindet, entweichet, ihr Sorgen (music not extant; Feb. 23, 1725); 249b, Die Feier des Genius: Verjaget, zerstreuet, zerrüttet, ihr Sterne (music not extant; Aug. 25, 1726); Anh. 6, Dich loben die lieblichen Strahlen (music not extant; Jan. 1, 1720); Anh. 7, Heut ist gewiss ein guter Tag (music not extant; Dec. 10, 1720); Anh. 8, title unknown (not extant); Anh. 9, Entfernet euch, ihr heitern Sterne (music not extant; May 12, 1727); Anh. 10, So kampfet nur, ihr muntern Töne (music not extant; Aug. 25, 1731); Anh. 11, Es lebe der König, der Vater im Lande (music not extant; Aug. 3, 1732); Anh. 12, Frohes Volk, vergnügte Sachsen (based upon Anh. 18; music not extant; Aug. 3, 1733); Anh. 13, Willkommen! Ihr herrschenden Götter (music not extant; April 28, 1738); Anh. 18, Froher Tag, verlangte Stunden (music not extant; June 5, 1732); Anh. 19, Thomana sass annoch betrübt (music not extant; Nov. 21, 1734); Anh. 20, title unknown (not extant); also, without BWV number, Auf! süss entzückende Gewalt (music not extant; Nov. 27, 1725). OTHER CHURCH MUSIC: 232, Mass in B minor (assembled c. 1747–49 from music previously composed by Bach); 233, 233a, 234–36, 4 missae breves: F major (Kyrie in F major), A major, G minor, G major (late 1730s); 237–41, 5 settings of the Sanctus: C major, D major, D minor, G major, D major (although preserved in Bach’s own hand, these appear to be arrangements of works by other composers, 238 excepted); 243a, Magnificat in E-flat major (including 4 Christmas texts: Vom Himmel hoch, Freut euch und jubiliert, Gloria in excelsis, Virga Jesse floruit; Dec. 25, 1723); 243, a revision of the preceding, without Christmas texts, as Magnificat in D major (c. 1728–31); 244, Matthäuspassion (St. Matthew Passion; first perf. April 11, 1727, or April 15, 1729); 245, Johannespassion (St. John Passion; April 7, 1724; later rev.); 248, Weihnachtsoratorium (Christmas Oratorio), 6 cantatas for Christmas to Epiphany: Jauchzet, frohlocket, aufpreiset die Tage (Dec. 25, 1734), Und es waren Hirten in derselben Gegend (Dec. 26, 1734), Herrscher des Himmels, erhöre das Lallen (Dec. 27, 1734), Fallt mit Danken, fallt mit Loben (Jan. 1, 1735), Ehre sei dir, Goti, gesungen (Jan. 2, 1735), Herr, wenn die stolzen Feinde schnauben (Jan. 6, 1735); 249, Easter Oratorio (first perf. as a cantata, April 1, 1725; rev. as an oratorio 1732–35); motets, including 225, Singet dem Herrn ein neues Lied (May 12, 1727), 226, Der Geist hilft unsrer Schwachheit auf (Oct. 24, 1729), 227, Jesu, meine Freude (July 18, 1723), 228, Fürchte dich nicht (Feb. 4, 1726), 229, Komm, Jesu, komm! (March 26, 1730), 230, Lobet den Herrn alle Heiden (date unknown). Also 247, St. Mark Passion (score and parts not extant; March 23, 1731; partial reconstruction from other works made by D. Hellmann, Stuttgart, 1964); 246, St. Luke Passion (spurious). CHORALES: 3 wedding chorales for 4 Voices: 250, Was Gott tut das ist wohlgetan; 251, Sei Lob und Ehr’ dem hböchsten Gut; 252, Nun danket alle Gott. Also, 186 arrangements for 4 Voices: 253, Ach bleib bei uns, Herr Jesu Christ; 254, Ach Gott, erhbör’ mein Seufzen; 255, Ach Gott und Herr; 256, Ach lieben Christen, seid getrost; 259, Ach, was soil ich Sünder machen; 260, Allein Gott in der Höh’ sei Ehr’; 261, Allein zu dir, Herr Jesu Christ; 262, Alle Menschen müssen sterben; 263, Alies ist an Gottes Segen; 264, Ais der gütige Gott; 265, Als Jesus Christus in der Nacht; 266, Als vierzig Tag nach Ostern; 267, An Wasserflüssen Babylon; 268, Auf, auf, mein Herz, und du mein ganzer Sinn; 269, Aus meines Herzens Grunde; 270, Befiehl du deine Wege; 271, Befiehl du deine Wege; 272, Befiehl du deine Wege; 273, Christ, der du bist der helle Tag; 274, Christe, der du bist Tag und Licht; 275, Christe, du Beistand deiner Kreuzgemeinde; 276, Christ ist erstanden; 277, Christ lag in Todesbanden; 278, Christ lag in Todesbanden; 279, Christ lag in Todesbanden; 280, Christ, unser Herr, zum Jordan kam; 281, Christus, der ist mein Leben; 282, Christus, der ist mein Leben; 283, Christus, der uns selig macht; 284, Christus ist erstanden, hat überwunden; 285, Da der Herr Christ zu Tische sass; 286, Danket dem Herrén; 287, Dank sei Gott in der Höne; 288, Das alte Jahr vergangen ist; 289, Das alte Jahr vergangen ist; 290, Das wait’ Gott Vater und Gott Sohn; 291, Das wait’ mein Gott, Vater, Sohn und heiliger Geist; 292, Den Vater dort oben; 293, Der du bist drei in Einigkeit; 294, Der Tag, der ist so freudenreich; 295, Des heü’gen Geistes reiche Gnad’; 296, Die Nacht ist kommen; 297, Die Sonn hat sich mit ihrem Glanz; 298, Dies sind die heil’gen zehn Gebot’; 299, Dir, dir, Jehova, will ich singen; 300, Du grosser Schmerzensmann; 301, Du, o schönes Weltgebaude; 302, Ein’feste Burg ist unser Gott; 303, Ein’feste Burg ist unser Gott; 304, Eins ist Not! ach Herr, dies Eine; 305, Erbarm’ dich mein, o, Herré Gott; 306, Erstanden ist der heil’ge Christ; 307, Es ist gewisslich an der Zeit; 308, Es spricht der Unweisen Mund wohl; 309, Es stehn vor Gottes Throne; 310, Es wird schier der letzte Tag herkommen; 311, Es wolV uns Gott genädig sein; 312, Es woll’ uns Gott genädig sein; 327, F¨r deinen Thron tret’ ich hiermit; 313, Fur Freuden lasst uns springen; 314, Gelobet seist du, Jesu Christ; 315, Gib dich zufrieden und sei stille; 316, Gott, der du selber bist das Licht; 317, Gott, der Vater, wohn’ uns bei; 318, Gottes Sohn ist kommen; 319, Gott hat das Evangelium; 320, Gott lebet noch; 321, Gottlob, es geht nunmehr zu Ende; 322, Gott sei gelobet und gebenedeiet; 323, Gott sei uns gnädig; 325, Heilig, heilig; 326, Herr Gott, dich loben aile wir; 328, Herr, Gott, dich loben wir; 329, Herr, ich denk’ an jene Zeit; 330, Herr, ich habe missgehandelt; 331, Herr, ich habe missgehandelt; 332, Herr Jesu Christ, dich zu uns wend’; 333, Herr Jesu Christ, du hast bereit’t; 334, Herr Jesu Christ, du hôchstes Gut; 335, Herr Jesu Christ, mein’s Lebens Licht; 336, Herr Jesu Christ, wahr’r Mensch und Gott; 337, Herr, nun lass in Frieden; 338, Herr, straf mich nicht in deinem Zorn; 339, Herr, wie du willst, so schick’s mit mir; 340, Herzlich lieb hab ich dich, o Herr; 341, Heut’ ist, o Mensch, ein grosser Trauertag; 342, Heut’ trium-phieret Gottes Sohn; 343, Hilf, Gott, dass mir’s gelinge; 344, Hilf,Herr Jesu, lass gelingen; 345, Ich bin ja, Herr, in deiner Macht; 346, Ich dank’ dir, Goti, für all’ Wohltat; 347, Ich dank’ dir, lieber Herre; 348, Ich dank’ dir, lieber Herre; 349, Ich dank’ dir schon durch deinen Sohn; 350, Ich danke dir, o Goti, in deinem Throne; 351, Ich hab’ mein’ Sach’ Gott heimgestellt; 352, Jesu, der du meine Seek; 353, Jesu, der du meine Seek; 354, Jesu, der du meine Seek; 355, Jesu, der du selbsten wohl; 356, Jesu, du mein liebstes Leben; 357, Jesu, Jesu, du bist mein; 358, Jesu, meine Freude; 359, Jesu meiner Seelen Wonne; 360, Jesu meiner Seelen Wonne; 361, Jesu, meines Herzens Freud’; 362, Jesu, nun sei gepreiset; 363, Jesus Christus, unser Heiland; 364, Jesus Christus, unser Heiland; 365, Jesus, meine Zuversicht; 366, Ihr Gestirn’, ihr hohlen Lüfte; 367, In alien meinen Taten; 368, In dulci jubilo; 369, Keinen hat Gott verlassen; 370, Komm, Gott Schöpfer, heiliger Geist; 371, Kyrie, Gott Vater in Ewigkeit; 372, Lass, o Herr, dein Ohr sich neigen; 373, Liebster Jesu, wir sind hier; 374, Lobet den Herrén, denn er ist freundlich; 375, Lobt Gott, ihr Christen, allzugk-ich; 376, Lobt Gott, ihr Christen, allzugleich; 377, Mach’s mit mir, Gott, nach deiner Gut’; 378, Meine Augen schliess’ ich jetzt; 379, Meinen Jesum lass’ ich nicht, Jesus; 380, Meinen Jesum lass’ ich nicht, weil; 322, Meine Seek erhebet den Herrn; 381, Meines Lebens letzte Zeit; 382, Mit Fried’ und Freud’ ichfahr’ dahin; 383, Mitten wir im Leben sind; 384, Nicht so traurig, nicht so sehr; 385, Nun bitten wir den heiligen Geist; 386, Nun danket alle Gott; 387, Nun freut euch, Gottes Kinder all’; 388, Nunfreut euch, lieben Christen, g’mein; 389, Nun lob’, mein’ Seel’, den Herrén; 390, Nun lob’, mein Seel’, den Herrén; 391, Nun preiset alle Gottes Barmherzigkeit; 392, Nun ruhen alle Wälder; 393, O Welt, sieh hier dein Leben; 394, O Welt, sieh dein Leben; 395, O Welt, sieh hier dein Leben; 396, Nun sich der Tag geendet hat; 397, O Ewigkeit, du Donnerwort; 398, O Gott, du frommer Gott; 399, O Gott, du frommer Gott; 400, O Herzensangst, o Bangigkeit; 401, O Lamm Gottes, unschuldig; 402, O Mensch, bewein’ dein’ Sünde gross; 403, O Mensch, schau Jesum Christum an; 404, O Traurigkeit, o Herzekid; 405, O wie selig seid ihr doch, ihr Frommen; 406, O wie selig seid ihr doch, ihr Frommen; 407, O wir armen Sunder; 408, Schaut, ihr Sunder; 409, Seelen-Bräutigam; 410, Sei gegmsset, Jesu gütig; 411, Singet dem Herrn ein neues Lied; 412, So gibst du nun, mein Jesu, gute Nacht; 413, Sollt’ ich meinem Gott nicht singen; 414, Uns ist ein Kindkin heut’ gebor’n; 415, Valet will ich dir geben; 416, Vater unser im Himmel-reich; 417, Von Gott will ich nicht lassen; 418, Von Gott will ich nicht lassen; 419, Von Gott will ich nicht lassen; 257, Wär’ Gott nicht mit uns diese Zeit; 420, Warum betrübst du dich, mein Herz; 421, Warum betrübst du dich, mein Herz; 422, Warum sollt’ ich mich denn grämen; 423, Was betrübst du dich, mein Herze; 424, Was bist du doch, o Seek, so betrübet; 425, Was willst du dich, o meine Seek; 426, Weltlich Ehr’ und zeitlich Gut; 427, Wenn ich in Angst und Not; 428, Wenn mein StUndkin vorhanden ist; 429, Wenn mein Stündlein vorhanden ist; 430, Wenn mein Stündlein vorhanden ist; 431, Wenn wir in höchsten Noten sein; 432, Wenn wir in höchsten Nöten sein; 433, Wer Gott vertraut, hat wohl gebaut; 434, Wer nur den lieben Gott lässt walten; 435, Wie bist du, Seek, in mir so gar betrübt; 436, Wie schön kuchtet der Morgenstern; 437, Wir glauben all’ an einen Gott; 258, Wo Gott der Herr nicht bei uns hält; 438, Wo Gott zum Haus nicht gibt sein’ Gunst. SACRED SONGS: 69 for Voice with Basso Continuo only: 439, Ach, dass nicht die letzte Stunde; 440, Auf, auf! die rechte Zeit ist hier; 441, Auf, auf! mein Herz, mit Freuden; 422, Beglückter Stand getreuer Seelen; 443, Beschrankt, ihr Weisen dieser Welt; 444, Brich entzwei, mein armes Herze; 445, Brunnauell aller Güter; 446, Der lieben Sonnen Licht und Pracht; 447, Der Tag ist hin, die Sonne gehet nieder; 448, Der Tag mit seinem Lichte; 449, Dich bet’ ich an, mein höchster Gott; 450, Die bittre Leidenszeit beginnet abermal; 451, Die goldne Sonne, voli Freud’ und Wonne; 452, Dir, dir Jehovah, will ich singen (melody by Bach); 453, Eins ist Not! ach Herr, dies Eine; 454, Ermuntre dich, mein schwacher Geist; 455, Erwürgtes Lamm, das die verwahrten Siegel; 456, Es glänzet der Christen; 457, Es ist nun aus mit meinem Leben; 458, Es ist vollbracht! vergiss ja nicht; 459, Es kostet viel, ein Christ zu sein; 460, Gieb dich zufrieden und sei stille; 461, Gott lebet nodi; Seek, was verzagst du doch?; 462, Gott, wie gross ist deine Gilte; 463, Herr, nicht schicke deine Rache; 464, Ich bin ja, Herr, in deiner Macht; 465, Ichfreue mich in dir; 466, Ich halte treulich still und Hebe; 467, Ich lass’ dich nicht; 468, Ich Hebe Jesum alle Stund’; 469, Ich steh’ an deiner Krippen hier; 476, Ihr Gestirn’, ihr hohen Lüfte; 471, Jesu, deine Liebeswunden; 470, Jesu, Jesu, du bist mein; 472, Jesu, meines Glaubens Zier; 473, Jesu, meines Herzens Freud’; 474, Jesus ist das schönste Licht; 475, Jesus, unser Trost und Leben; 477, Kein Stündkin geht dahin; 478, Komm, süsser Tod, komm, sel’ge Ruh’l (melody by Bach); 479, Kommt, Seelen, dieser Tag; 480, Kommt wieder aus der finstern Gruft; 481, Lasset uns mit Jesu ziehen; 482, Liebes Herz, bedenke doch; 483, Liebster Gott, wann werd’ ich sterben?; 484, Liebster Herr Jesu! wo bleibest du so lange?; 485, Liebster Immanuel, Herzog der Frommen; 488, Meines Lebens letzte Zeit; 486, Mein Jesu, dem die Seraphinen; 487, Mein Jesu! was für Seelenweh; 489, Nicht so traurig, nicht so sehr; 490, Nur mein Jesus ist mein Leben; 491, O du Liebe meine Liebe; 492, O finstre Nacht; 493, O Jesulein süss, o Jesukin mild; 494, O liebe Seek, zieh’ die Sinnen; 495, O wie selig seid ihr doch, ihr Frommen; 496, Seelen-Bräutigam, Jesu, Gottes Lamm!; 497, Seelenweide, meine Freude; 499, Sei gegmsset, Jesu gütig; 498, Selig, wer an Jesum denkt; 500, So gehst du nun, mein Jesu, hin; 501, So giebst du nun, mein Jesu, gute Nacht; 502, So wünsch’ ich mir zu guter Letzt; 503, Steh’ ich bei meinem Gott; 504, Vergiss mein nicht, dass ich dein nicht; 505, Vergiss mein nicht, vergiss mein nicht (melody by Bach); 506, Was bist du doch, o Seek, so betrübet; 507, Wo ist mein Schäflein, das ich liebe. BWV numbers have been assigned to the following sacred songs, which are most likely spurious: 519, Hier lieg’ ich nun; 520, Das wait’ mein Gott; 521, Gott mein Herz dir Dank; 522, Meine Seek, lass es gehen; 523, Ich gnüge mich an meinem Stande. Organ: 525–30, 6 trio sonatas: E-flat major, C minor, D minor, E minor, C major, G major; 531, Prelude and Fugue in C major; 532, Prelude and Fugue in D major; 533, Prelude and Fugue in E minor; 534, Prelude and Fugue in F minor; 535, Prelude and Fugue in G minor; 536, Prelude and Fugue in A major; 537, Fantasia and Fugue in C minor; 538, Toccata and Fugue in D minor, “Dorian”; 539, Prelude and Fugue in D minor; 540, Toccata and Fugue in F major; 541, Prelude and Fugue in G major; 542, Fantasia and Fugue in G minor; 543, Prelude and Fugue in A minor; 544, Prelude and Fugue in B minor; 545, Prelude and Fugue in C major; 546, Prelude and Fugue in C minor; 547, Prelude and Fugue in C major; 548, Prelude and Fugue in E minor; 549, Prelude and Fugue in C minor; 550, Prelude and Fugue in G major; 551, Prelude and Fugue in A minor; 552, Prelude and Fugue in E-flat major, “St. Anne”; 562, Fantasia and Fugue in C minor; 563, Fantasia in B minor; 564, Toccata, Adagio, and Fugue in C major; 565, Toccata and Fugue in D minor; 566, Prelude and Fugue in E major; 568, Prelude in G major; 569, Prelude in A minor; 570, Fantasia in C major; 572, Fantasia in G major; 573, Fantasia in C major; 574, Fugue in C minor (on a theme by Legrenzi); 575, Fugue in C minor; 578, Fugue in G minor; 579, Fugue in B minor (on a theme by Corelli); 582, Passacaglia in C minor; 583, Trio in D minor; 586, Trio in G major (Bach’s organ transcription of a work by Telemann); 587, Aria in F major (transcription from Couperin); 588, Canzona in D minor; 590, Pastorale in F major; 592–97, 6 concertos: G major (arrangement of a concerto by Duke Johann Ernst of Saxe-Weimar), A minor (arrangement of Vivaldi’s op.3, no. 8), C major (arrangement of Vivaldi’s op.7, no. 5), C major (arrangement of a concerto by Duke Johann Ernst of Saxe-Weimar), D minor (arrangement of Vivaldi’s op.3, no. 11), E-flat major (arrangement of a concerto by an unknown composer); 598, Pedal-Exercitium; 802–5, 4 duettos: E minor, F major, G major, A minor; 1, 027a, Trio in G major (transcription from final movement of sonata 1, 027). Also the following organ chorales that were discovered in the Neumeister Collection at Yale Univ.: 1090, Wir Christenleut; 1091; Das alte Jahr vergangen ist; 1092, Herr Gott, nun schleuss den Himmel aufi 1093, Herzlieb-ster Jesu, was hast du verbrochen; 1094, O }esu, wie ist dein Gestalt; 1095, O Lamm Gottes unschuldig; 1096, Christe, der du bist Tag und Licht, oder: Wir danken dir, Herr Jesu Christ; 1097, Ehre sei dir, Christe, der du leidest Not; 1098, Wir glauben all an einen Gott; 1099, Aus tiefer Not schrei ich zu dir; 1100, Allein zu dir, Herr Jesu Christ; 1101, Durch Adams Fall ist ganz verderbt; 1102, Du Friedefürst, Herr Jesu Christ; 1103, Erhalt uns, Herr, bei deinem Wort; 1104, Wenn dich Unglück tut greifen an; 1105, Jesu, meine Freude; 1106, Gott ist mein Heil, mein Hilf und Trost; 1107, Jesu, meines Lebens Leben; 1108, Als Jesus Christus in der Nacht; 1109, Ach Gott, tu dich erbarmen; 1110, O Herre Gott, dein göttlich Wort; 1111, Nun lasset uns den Leib begrab’n; 1112, Christus, der ist mein Leben; 1113, Ich hab mein Sach Gott heimgestellt; 1114, Herr Jesu Christ, du höchstes Gut; 1115, Herzlich lieb hab ich dich, o Herr; 1116, Was Gott tut, das ist wohlgetan; 1117, Alle Menschen muüssen sterben; 1118, Werde munter, mein Gemute; 1119, Wie nach einer Wasserquelle; 1120, Christ, der du bist der helle Tag. BWV numbers have been assigned to the following doubtful and spurious works: 131a, Fugue in G minor (spurious); 561, Fantasia and Fugue in A minor (spurious); 567, Prelude in C major (spurious); 571, Fantasia in G major (spurious); 576, Fugue in G major (spurious); 577, Fugue in G major (spurious); 580, Fugue in D major (spurious); 581, Fugue in G major (spurious); 584, Trio in G minor (doubtful); 585, Trio in C minor (by J.F. Fasch); 589, Allabreve in D major (doubtful); 591, Kleines harmonisches Labyrinth (doubtful); also 8 brief preludes and fugues: C major, D minor, E minor, F major, G major, G minor, A minor, B-flat major (doubtful). Other Organ Music: 45 Chorales in Das Orgel-Büchlein: 599, Nun komm, der Heiden Heiland; 600, Gott, durch deine Güte; 601, Herr Christ, der ein’ge Gottes-Sohn; 602, Lob sei dem allmächtigen Gott; 603, Puer natus in Bethlehem; 604, Gelobet seist du, Jesu Christ; 605, Der Tag, der ist so freudenreich; 606, Vom Himmel hoch, da komm’ ich her; 607, Vom Himmel kam der Engel Schar; 608, In dulci jubilo; 609, Lobt Gott, ihr Christen, allzugleich; 610, Jesu, meine Freude; 611, Christum wir sollen loben schon; 612, Wir Christenleut’; 613, Helft mir Gottes Güte preisen; 614, Das alte Jahr vergangen ist; 615, In dir ist Freude; 616, Mit Fried’ und Freud’ ichfahr dahin; 617, Herr Gott, nun schleuss den Himmel auf; 618, O Lamm Gottes unschuldig; 619, Christe, du Lamm Gottes; 620, Christus, der uns selig macht; 621, Da Jesus an dem Kreuze stund’; 622, O Mensch, bewein’ dein’ Sünde gross; 623, Wir danken dir, Herr Jesu Christ; 624, Hilf Gott, dass mir’s gelinge; 625, Christ lag in Todesbanden; 626, Jesus Christus, unser Heiland; 627, Christ ist erstanden; 628, Erstanden ist der heil’ge Christ; 629, Erschienen ist der herrliche Tag; 630, Heut’ triumphieret Gottes Sohn; 631, Komm, Gott Schöpfer, heiliger Geist; 632, Herr Jesu Christ, dich zu uns wend’; 633, Liebster Jesu, wir sind hier; 635, Dies sind die heil’gen zehn Gebot’; 636, Vater unser im Himmelreich; 637, Durch Adams Fall ist ganz verderbt; 638, Es ist das Heil uns Kommen her; 639, Ich ruf zu dir, Herr Jesu Christ; 640, In dich hab’ ich gehoffet, Herr; 641, Wenn wir in höchsten Nöten sein; 642, Wer nur den lieben Gott lässt walten; 643, Alle Menschen müssen sterben; 644, Ach wie nichtig, ach wieflüchtig; 6 chorales publ. by J.G. Schübler, hence the name Schübler-Chorales: 645, Wachet auf, ruft uns die Stimme (based upon Cantata 140, 4^th movement), 646, Wo soil ichfliehen hin (source unknown), 647, Wer nur den lieben Gott lasst walten (based upon Cantata 93, 4^th movement), 648, Meine Seele erhebet den Herrén (based upon Cantata 10, 5^th movement), 649, Ach bleib’ bei uns, Herr Jesu Christ (based upon Cantata 6, 3^rd movement), 650, Kommst du nun, Jesu, vom Himmel herunter (based upon Cantata 137, 2^nd movement); 651, Fantasia super Komm, Heiliger Geist; 652, Komm, Heiliger Geist; 653, An Wasserflüssen Babylon; 654, Schmücke dich, o Hebe Seele; 655, Trio super Herr Jesu Christ, dich zu uns wend; 656, O Lamm Gottes, unschuldig; 657, Nun danket alle Gott; 658, Von Gott will ich nicht lassen; 659, Nun komm, der Heiden Heiland; 660, Trio super Nun komm, der Heiden Heiland; 661, Nun komm, der Heiden Heiland; 662, Allein Gott in der Höh’ sei Ehr; 663, Allein Gott in der Höh’ sei Ehr; 664, Trio super Allein Gott in der Hoh’ sei Ehr; 665, Jesus Christus, unser Heiland; 666, Jesus Christus, unser Heiland; 667, Komm, Gott Schöpfer, Heiliger Geist; 668, Wenn wir in höchsten Nöten sein (Vor deinen Thron tret ich). Chorale preludes in the 3^rd part of the Clavier-Übung: 669, Kyrie, Gott Vater in Ewigkeit; 670, Christe, aller Welt Trost; 671, Kyrie, Gott heiliger Geist; 672, Kyrie, Gott Vater in Ewigkeit; 673, Christe, aller Welt Trost; 674, Kyrie, Gott heiliger Geist; 675, Allein Gott in der Höh’ sei Ehr; 676, Allein Gott in der Höh’ sei Ehr; 677, Fughetta super Allein Gott in der Höh’ sei Ehr; 678, Dies sind die heil’gen zehn Gebot’; 679, Fughetta super Dies sind die heil’gen zehn Gebot’; 680, Wir glauben all an einen Gott; 681, Fughetta super Wir glauben all’ an einen Gott; 682, Vater unser im Himmelreich; 683, Vater unser im Himmelreich; 684, Christ, unser Herr, zum Jordan kam; 685, Christ, unser Herr, zum Jordan kam; 686, Aus tiefer Not schrei ich zu dir; 687, Aus tiefer Not schrei ich zu dir; 688, Jesus Christus, unser Heiland, der von uns den Zorn Gottes wandt; 689, Fuga super Jesus Christus unser Heiland. Further chorales: 690, Wer nur den lieben Gott lässt walten; 691, Wer nur den lieben Gott lässt walten; 694, Wo soil ich fliehen hin; 695, Fantasia super Christ lag in Todesbanden; 696, Christum wir sollen loben schon; 697, Gelobet seist du, Jesu Christ; 698, Herr Christ, der ein’ge Gottes-Sohn; 699, Nun komm, der Heiden Heiland; 700, Vom Himmel hoch, da komm ich her; 701, Vom Himmel hoch, da komm ich her; 703, Gottes Sohn ist kommen; 704, Lob sei dem allmächtigen Gott; 706, Liebster Jesu, wir sind hier; 709, Herr Jesu Christ, dich zu uns wend; 710, Wir Christenleut’ haben jetzt Freud; 711, Allein Gott in der Höh’ sei Ehr; 712, In dich hab ich gehoffet, Herr; 713, Fantasia super Jesu, meine Freude; 714, Ach Gott und Herr; 715, Allein Gott in der Höh’ sei Ehr; 717, Allein Gott in der Höh’ sei Ehr; 718, Christ lag in Todesbanden; 720, Ein’feste Burg ist unser Gott; 721, Erbarm’ dich mein, o Herré Gott; 722, Gelobet seist du, Jesu Christ; 724, Gott, durch deine Güte (Gottes Sohn ist kommen); 725, Herr Gott, dich loben wir; 726, Herr Jesu Christ, dich zu uns wend; 727, Herzlich tut mich verlangen; 728, Jesus, meine Zuversicht; 729, In dulci jubilo; 730, Liebster Jesu, wir sind hier; 731, Liebster Jesu, wir sind hier; 732, Lobt Gott, ihr Christen, allzugleich; 733, Meine Seele erhebet den Herrén (Fuge über das Magnificat); 734a, Nun freut euch, lieben Christen g’mein; O Lamm Gottes, unschuldig; 735, Fantasia super Valet will ich dir geben; 736, Valet will ich dir geben; 737, Vater unser im Himmelreich; 738, Vom Himmel hoch, da komm ich her; 739, Wie schon leucht’t uns der Morgenstern; 741, Ach Gott vom Himmel sieh darein; 753, Jesu, meine Freude; 764, Wie schön leuchtet uns der Morgenstern; 766, Christ, der du bist der helle Tag; 767, O Gott, dufrommer Gott; 768, Sei gegrüsset, Jesu gütig. BWV numbers have been assigned to the following doubtful and spurious works: 691a, Wer nur den lieben Gott lässt walten (doubtful); 692, Ach Gott und Herr (by J.G. Walther); 693, Ach Gott und Herr (by J.G. Walther); 695a, Fantasia super Christ lag in Todesbanden (doubtful); 702, Das Jesulein soil doch mein Trost (doubtful); 705, Durch Adam’s Fall ist ganz verderbt (doubtful); 707, Ich hab’ mein’ Sach’ Gott heimgestellt (doubtful); Ich hab’ mein’ Sach’ Gott heimgestellt (doubtful); 713a, Fantasia super Jesu, meine Freude (doubtful); 716, Fuga super Alleiti Gott in der Höh’ sei Ehr (doubtful); 719, Der Tag, der ist so freudenreich (doubtful); 723, Gelobet seist du, Jesu Christ (doubtful); 734, Nun freut euch, lieben Christen g’mein (doubtful); 740, Wir glauben all’ an einen Gott, Vater (doubtful); 742, Ach Herr, midi armen Sunder (spurious); 743, Ach, was ist dodi unser Leben (spurious); 744, Auf meinen lieben Gott (doubtful); 745, Aus der Tiefe rufe idi (doubtful); 746, Christ ist erstanden (doubtful); 747, Christus, der uns selig macht (spurious); 748, Gott der Vater wohn’ uns bei (doubtful); 749, Herr Jesu Christ, dich zu uns wend’ (spurious); 750, Herr Jesu Christ, mein’s Lebens Licht (spurious); 751, In dulci jubilo (spurious); 752, Jesu, der du meine Seele (spurious); 754, Liebster Jesu, wir sind hier (spurious); 755, Nun freut euch, lieben Christen (spurious); 756, Nun ruhen alle Walder (spurious); 757, O Herré Gott, dein göttlich’s Wort (spurious); 758, O Vater, allmächtiger Gott (doubtful); 759, Schmücke dich, o liebe Seele (by G.A. Homilius); 760, Vater unser im Himmelreich (doubtful); 761, Vater unser im Himmelreich (doubtful); 762, Vater unser im Himmelreich (spurious); 763, Wie schön leuchtet der Morgenstern (spurious); 765, Wir glauben all’ an einen Gott (spurious); 770, Ach, was soil ich Sünder machen? (doubtful); 771, Allein Gott in der Höh sei Ehr’ (nos. 3 and 8 by A.N. Vetter). Other Keyboard Music: 772–86, 15 2–part inventions in the Clavier- Büchlein für Wilhelm Friedemann Bach: C major, C minor, D major, D minor, E-flat major, E major, E minor, F major, F minor, G major, G minor, A major, A minor, B-flat major, B minor; 787–801, 15 3-part inventions, called sinfonias, in the Clavier-Büchlein für Wilhelm Friedemann Bach: C major, C minor, D major, D minor, E-flat major, E major, E minor, F major, F minor, G major, G minor, A major, A minor, B-flat major, B minor; 806–11, 6 English suites: A major, A minor, G minor, F major, E minor, D minor; 812–17, 6 French suites: D minor, C minor, B minor, E-flat major, G major, E major; 825–30, 6 partitas in part 1 of the Clavier-Übung: B-flat major, C minor, A minor, D major, G major, E minor; 831, Ouvertüre nach französischer Art, a partita in B minor in part 2 of the Clavier-Übung) 846–93, Das wohltemperierte Clavier (The Well-Tempered Clavier), in 2 parts: 24 preludes and fugues in each part in all the major and minor keys; 971, Concerto nach italianischem Gusto (Concerto in the Italian Style) in part 2 of the Clavier-Übung; 988, Aria mit verschiedenen Veranderungen (the so-called Goldberg Variations), part 4 of the Clavier-Übung. Further keyboard works: 818, Suite in A minor; 819, Suite in E-flat major; 820, Ouverture in F major; 821, Suite in B-flat major; 822, Suite in G minor; 823, Suite in F minor; 832, Partie in A major; 833, Prelude and Partita in F major; 836 and 837, 2 allemandes in G minor (1 unfinished); 841–43, 3 minuets: G major, G minor, G major; 894, Prelude and Fugue in A minor; 896, Prelude and Fugue in A major; 900, Prelude and Fughetta in E minor; 901, Prelude and Fughetta in F major; 902, Prelude and Fughetta in G major; 903, Chromatic Fantasia and Fugue in D minor; 904, Fantasia and Fugue in A minor; 906, Fantasia and Fugue in C minor; 910, Toccata in F- sharp minor; 911, Toccata in C minor; 912, Toccata in D major; 913, Toccata in D minor; 914, Toccata in E minor; 915, Toccata in G minor; 916, Toccata in G major; 944, Fugue in A minor; 946, Fugue in C major; 950, Fugue in A major (on a theme by Albinoni); 951, Fugue in B minor (on a theme by Albinoni); 953, Fugue in C major; 954, Fugue in B-flat major; 955, Fugue in B-flat major; 958, Fugue in A minor; 959, Fugue in A minor; 963, Sonata in D major; 965, Sonata in A minor (based upon a sonata by J.A. Reinken); 966, Sonata in C major (based upon part of a sonata by J.A. Reinken); 967, Sonata in A minor (based upon the 1^st movement of a sonata by an unknown source); 989, Aria variata in A minor; 991, Air with variations in C minor (fragment); 992, Capriccio sopra la lontananza del suo fratello dilettissimo (Capriccio on the Departure of His Most Beloved Brother), in B-flat major; 993, Capriccio in E major; also 924–29, 6 works from the Clavier-Büchlein für Wilhelm Friedemann Bach: Praeambulum in C major, Prelude in D minor, Praeambulum in F major, Prelude in F major, Trio in G minor, Praeambulum in G minor; 933–38, 6 preludes: C major, C minor, D minor, D major, E major, E minor; 939–43, 5 preludes: C major, D minor, E minor, A minor, C major; 994, Applicatio in C major, the first piece in the Clavier-Büchlein für Wilhelm Friedemann Bach; several pieces in the 2 parts of the Clavier- Büchlein für Anna Magdalena Bach) and 972–87, 16 concertos: D major (arrangement of Vivaldi’s op.3, no. 9), G major (arrangement of Vivaldi’s op.8/II, no. 2), D minor (arrangement of Oboe Concerto by A. Marcello), G minor (arrangement of Vivaldi’s op.4, no. 6), C major (arrangement of Vivaldi’s op.3, no. 12), C major (source unknown), F major (arrangement of Vivaldi’s op.3, no. 3), B minor (source unknown), G major (arrangement of Vivaldi’s op.4, no. 1), C minor (source unknown), B-flat major (arrangement of a concerto by Duke Johann Ernst of Saxe-Weimar), G minor (source unknown), C major (arrangement of a concerto by Duke Johann Ernst of Saxe-Weimar), G minor (arrangement of Violin Concerto by Telemann), G major (source unknown), D minor (arrangement of a concerto by Duke Johann Ernst of Saxe-Weimar). BWV numbers have been assigned to the following doubtful and spurious works: 824, Suite in A major (fragment; by Telemann); Allemande in C minor (spurious); 835, Allemande in A minor (by Kirnberger); 838, Allemande and Courante in A major (by C. Graupner); 839, Sarabande in G minor (spurious); 840, Courante in G major (by Telemann); 844, Scherzo in D minor (by WF. Bach); 845, Gigue in F minor (spurious); 895, Prelude and Fugue in A minor (doubtful); 897, Prelude and Fugue in A minor (partly doubtful; prelude by C.H. Dretzel); 898, Prelude and Fugue in B-flat major (doubtful); 899, Prelude and Fughetta in D minor (doubtful); 905, Fantasia and Fugue in D minor (doubtful); 907, Fantasia and Fughetta in B-flat major (doubtful); 908, Fantasia and Fughetta in D major (doubtful); 909, Concerto and Fugue in C minor (doubtful); 917, Fantasia in G minor (doubtful); 918, Fantasia on a rondo in C minor (doubtful); 919, Fantasia in C minor (doubtful); 920, Fantasia in G minor (doubtful); 921, Prelude in C minor (doubtful); 922, Prelude in A minor (doubtful); 923, Prelude in B minor (doubtful); 945, Fugue in E minor (spurious); 947, Fugue in A minor (doubtful); 948, Fugue in D minor (doubtful); 949, Fugue in A major (doubtful); 952, Fugue in C major (doubtful); 956, Fugue in E minor (doubtful); 957, Fugue in G major (doubtful); 960, Fugue in E minor (unfinished; spurious); 961, Fughetta in C minor (doubtful); 962, Fugato in E minor (by Albrechtsberger); 964, Sonata in D minor (doubtful; arrangement of Violin Sonata 1, 003); 968, Adagio in G major (doubtful; arrangement of 1^st movement of Violin Sonata 1, 005); 969, Andante in G minor (spurious); 970, Presto in D minor (by WE Bach); 990, Sarabande con partite in C major (spurious); etc. Lute: 995, Suite in G minor; 996, Suite in E minor; 997, Partita in C minor; 998, Prelude, Fugue, and Allegro in E-flat major; 999, Prelude in C minor; 1, 000, Fugue in G minor; 1, 006a, Partita in E major (arrangement of 1, 006). CHAMBER: 1, 001–6, sonatas and partitas for Solo Violin: Sonata No. 1 in G minor, Partita No. 1 in B minor, Sonata No. 2 in A minor, Partita No. 2 in D minor, Sonata No. 3 in C major, Partita No. 3 in E major; 1, 007–12, 6 suites for Solo Cello: G major, D minor, C major, E-flat major, C minor, D major; 1, 013, Partita in A minor for Flute; 1, 014–19, 6 sonatas for Violin and Harpsichord: No. 1 in B minor, No. 2 in A major, No. 3 in E major, No. 4 in C minor, No. 5 in F minor, No. 6 in G major; 1, 021, Sonata in G major for Violin and Basso Continuo; 1, 023, Sonata in E minor for Violin and Basso Continuo; 1, 027–29, 3 sonatas for Harpsichord and Viola da Gamba: G major, D major, G minor; 1, 030, Sonata in B minor for Flute and Harpsichord; 1, 032, Sonata in A major for Flute and Harpsichord; 1, 034, Sonata in E minor for Flute and Basso Continuo; 1, 035, Sonata in E major for Flute and Basso Continuo; 1, 039, Sonata in G major for 2 Flutes and Basso Continuo; 1, 040, Trio in F major for Violin, Oboe, and Basso Continuo. BWV numbers have been assigned to the following doubtful and spurious works: 1, 020, Sonata in G minor for Violin and Harpsichord (doubtful); 1, 022, Sonata in F major for Violin and Harpsichord (most likely spurious); 1, 024, Sonata in C minor for Violin and Basso Continuo (doubtful); 1, 025, Suite in A major for Violin and Harpsichord (doubtful); 1, 026, Fugue in G minor for Violin and Harpsichord (doubtful); 1, 037, Sonata in C major for 2 Violins and Harpsichord (most likely spurious); 1, 031, Sonata in E-flat major for Flute and Harpsichord (doubtful); 1, 033, Sonata in C major for Flute and Basso Continuo (doubtful); 1, 036, Sonata in D minor for 2 Violins and Harpsichord (most likely spurious); 1, 038, Sonata in G major for Flute, Violin, and Basso Continuo (most likely spurious). ORCH.: 1, 041, Concerto in A minor for Violin; 1, 042, Concerto in E major for Violin; 1, 043, Concerto in D minor for 2 Violins; 1, 044, Concerto in A minor for Flute, Violin, and Harpsichord; 1, 046–51, 6 Brandenburg Concertos: No. 1 in F major, No. 2 in F major, No. 3 in G major, No. 4 in G major, No. 5 in D major, No. 6 in B-flat major; 1, 052, Concerto in D minor for Harpsichord; 1053, Concerto in E major for Harpsichord; 1, 054, Concerto in D major for Harpsichord; 1, 055, Concerto in A major for Harpsichord; 1, 056, Concerto in F minor for Harpsichord; 1, 057, Concerto in F major for Harpsichord; 1, 058, Concerto in G minor for Harpsichord; 1, 059, Concerto in D minor for Harpsichord; 1, 060, Concerto in C minor for 2 Harpsichords; 1, 061, Concerto in C major for 2 Harpsichords; 1, 062, Concerto in C minor for 2 Harpsichords; 1, 063, Concerto in D minor for 3 Harpsichords; 1, 064, Concerto in C major for 3 Harpsichords; 1, 065, Concerto in A minor for 4 Harpsichords (arrangement of Vivaldi’s op.3, no. 10); 1, 066–69, 4 suites or ouvertures: No. 1 in C major, No. 2 in B minor, No. 3 in D major, No. 4 in D major. Also 1, 045, concerto movement in D major for Violin (fragment); 1, 046a, Sinfonia in F major (early version of 1, 046); 1, 070, Overture in G minor (most likely spurious). OTHER WORKS: 769, Einige canonische Veränderungen über das Weynacht Lied, Vom Himmel hoch da komm’ ich her for Organ (composed for his membership in the Societàt der Musikalischen Wissenschaften); 1, 079, Musikalis-ches Opfer (Musical Offering); 1, 080, Die Kunst der Fuge (The Art of the Fugue).

Bibliography

COLLECTED EDITIONS, SOURCE MATERIAL: J.S. B.’s Werke, the first major edition of his collected works, was publ. by the Bach-Gesellschaft (46 vols., Leipzig, 1851–99; vol. 47, suppl., 1932). The Johann-Sebastian-Bach-Inst. of Göttingen and the Bach-Archiv of Leipzig are now preparing a completely new edition, the Neue Ausgabe sämtlicher Werke (the Neue B.-Ausgabe, or NBA). It began publication in 1954; a Kritischer Bericht accompanies each vol.; in addition, facsimile reproductions of Bach’s original MSS and documents may be found in the Faksimile-Reihe B.scher Werke und Schriftstücke. There are also innumerable reprints of many of Bach’s compositions. The standard thematic catalogue of Bach’s works is to be found in W. Schmieder, Thetnatisch-systematisches Verzeichnis der musikalischen Werke von J.S. B. Bach-Werke-Verzeichnis (Leipzig, 1950; 2^nd ed., rev., 1990); it includes bibliographical information on each composition. See also M. McAll, ed., Melodic Index to the Works of J.S. B. (N.Y., 1962); U. Balestrini, ed., Catalogo Tematico (Incipit) delle Opere di J.S. B. (BWV 1–1080) (Milan, 1988); A. Dürr and Y. Kobayashi, eds., Kleine Ausgabe (Wiesbaden, 1998). Other important sources are as follows: J. Schreyer, Beiträge zur B.-Kritik (vol. 1, Dresden, 1910; vol. 2, Leipzig, 1912); E. Millier von Asow, ed., J.S. B.: Gesammelte Briefe (Regensburg, 1938; 2^nd ed., with H. Muller von Asow, as J.S. B.: Briefe, Gesamtausgabe (Regensburg, 1950); H. David and A. Mendel, eds., The B. Reader (N.Y., 1945; 2^nd ed., rev, 1966; rev. and enl. ed., 1998, by C. Wolff as The New B. Reader, 1998); K. Matthaei, ed., B.-Gedenkschrift (Zurich, 1950); P. Kast, Die B.-Handschriften der Berliner Staatsbibliothek, Tübinger B-Studien, II-III (Trossingen, 1958); W. Neumann and H.-J. Schulze, eds., Schriftstücke von der Hand J.S. B.s., Bach-Dokumente, I (Leipzig, 1963); P. Krause, ed., Handschriften der Werke J.S. B.s. in der Musikbibliothek der Stadt Leipzig (Leipzig, 1964); M. Geek, ed., B.-Interpretationen (Göttingen, 1969); H.-J. Schulze, ed., Fremd-schriftliche und gedruckte Dokumente zur Lebensgeschichte J.S. B.s. 1685–1750, Bach-Dokumente, II (Leipzig, 1969); P. Krause, ed., Originalausgaben und altere Drucke der Werke J.S. B.s in der Musikbibliothek der Stadt Leipzig (Leipzig, 1970); H.-J. Schulze, ed., Dokumente zum Nachwirken J.S. B.s 1750–1800, Bach-Dokumente, III (Leipzig, 1972); W. Neumann, ed., Bilddoku-mente zur Lebensgeschichte J.S. B.s, Bach-Dokumente, IV (Leipzig, 1978); R. Leaver, B.s theologische Bibliothek: Eine kritische Bibliographie—B.’s Theological Library: A Critical Bibliography (Neuhausen-Stuttgart, 1983); H. Raupach, Das wahre Bildnis des J.S. B.: Bericht und Dokumente (Munich, 1983); G. Herz, ed., B.-Quellen in Amerika—B. Sources in America (Kassel, 1984); D. Franklin, ed., B. Studies (Cambridge, 1989); H.-J. Schulze and C. Wolff, eds., B. Compendium: Analytisch-bibliographisches Repertorium des Werke J.S. B.s (7 vols., Leipzig and Dresden, 1986–89); H. Kock and R. Siegel, Genealogisches Lexikon der Familie B. (Wechmar, 1995); J. Butt, ed., Cambridge Companion to B. (Cambridge, 1997); D. Melamed and M. Marissen, An Introduction to B. Studies (N.Y., 1998); M. Boyd, ed., The Oxford Companion to B. (Oxford, 1999). biographical: C.P.E. Bach and J. Agri-cola publ. an obituary (Nekrolog) in L. Mizler’s Neu eröffnete musikalische Bibliothek (Leipzig, 1754; reprint ed. by B. Richter in the B.-Jahrbuch, 1920; Eng. tr. in H. David and A. Mendel, eds., The B. Reader (N.Y., 1945; 2^nd ed., rev, 1966; rev. and enl. ed., 1998, by C. Wolff as The New B. Reader); Bach’s first biographer was J. Forkel, Über J.S. B.s Leben, Kunst und Kunstwerke (Leipzig, 1802; Eng. tr., London, 1820; new Eng. tr. with notes by C. Terry, London, 1920); C. Hilgenfeldt, J.S. B.’s Leben, Wirken und Werke: Ein Beitrag zur Kunstgeschichte des achtzehnten Jahrhunderts (Leipzig, 1850); C. Bitter, J.S. B. (2 vols., Berlin, 1865; 2^nd ed., 4 vols., Dresden, 1880); P. Spitta, J.S. B. (2 vols., Leipzig, 1873–80; Eng. tr. by C. Bell and J. Fuller Maitland, with many additions, 3 vols., London, 1884–85; 2^nd ed., 1899; reprint, 2 vols., N.Y., 1951); A. Schweitzer, J.S. B.: Le Musicien-poète (Paris, 1905; aug. German eds., 1908, 1915; Eng. tr. by E. Newman, 2 vols., London, 1911); C. Abdy Williams, B. (London, 1900; rev. ed., 1934); A. Pirro, J.–S. B. (Paris, 1906; Eng. tr., N.Y., 1957); P. Wolfrum, J.S. B. (vol. 1, Berlin, 1906; 2^nd ed., 1910; vol. 2, Leipzig, 1910); C. Parry, J.S. B.: The Story of the Development of a Great Personality (N.Y. and London, 1909; rev. ed., 1934); J. Tiersot, J.-S. B. (Paris, 1912; 2^nd ed., 1934); T. Gérold, J.-S. B. (Paris, 1925); C. Terry, B.: A Biography (London, 1928; rev. ed., 1933); R. Boughton, B., the Master: A New Interpretation of His Genius (N.Y. and London, 1930); H. Besseler, J.S. B. (Berlin, 1935; new ed., 1956); T. Scott Buhrmann, B.’s Life Chronologically as He Lived It (N.Y. 1935); H. Moser, J.S. B. (Berlin, 1935; 2^nd ed., 1943); J. Müller-Blattau, J.S. B. (Leipzig, 1935; 2^nd ed., Stuttgart, 1950); H. Preuss, B., àer Lutheraner (Erlangen, 1935); R. Steglich, J.S. B. (Potsdam, 1935); P. Collaer, J.S. B. (Brussels, 1936); W. Gurlitt, J.S. B.: Der Meister unà sein Werk (Berlin, 1936; 3^rd ed., 1949; Eng. tr., St. Louis, 1957); W. Vetter, J.S. B. (Leipzig, 1938; 2^nd ed., 1943); K. Hasse, J.S. B. (Cologne and Krefeld, 1941; 2^nd ed., 1948); R. Pitrou, J.-S. B. (Paris, 1941; 2^nd ed., 1949); A.-E. Cherbuliez, J.S. B.: Sein Leben unà sein Werk (Olten, 1946; 2^nd ed., 1947); H. Gadamer, B. unà Weimar (Weimar, 1946); H. Keller, J.S. B. (Lorch, 1947); E. Fischer, J.S. B. (Bern, 1948); H. Engel, J.S. B. (Berlin, 1950); G. Fock, Der junge B. in Lüneburg (Hamburg, 1950); B. Paumgartner, J.S. B.: Leben una Werk (vol. I, Zurich, 1950); R. Petzoldt, J.S. B.iSein Leben in Bildern (Leipzig, 1950); F. Wiegand, J.S. B. unà seine Verwanàten in Arnstaàt (Arnstadt, 1950); F. Smend, B. in Köthen (Berlin, 1951); W. Neumann, Auf den Lebenswegen J.S. B.s (Berlin, 1953; 4^th ed., 1962); K. Geiringer, The B. Family: Seven Generations of Creative Genius (N.Y., 1954); H. Franck, J.S. B.: Die Geschichte seines Lebens (Berlin, 1960); W. Neumann, B.: Line Bilàbiographie (Munich, 1960; Eng. tr. as B.: A Pictorial Biography, N.Y., 1961; rev. éd. as B. anà His World, N.Y., 1970); R. Miles, J.S. B. (Englewood Cliffs, N.J., 1962); E. Buchet, ed., J.-S. B.: L’OEuvre et la vie (Paris, 1963); I. Hoist, B. (London, 1965); K. Geiringer, J.S. B.: The Culmination of an Era (N.Y., 1966); F. Blume, Der junge B. (Wolfenbüttel, 1967; Eng. tr. as “J.S. B.’s Youth,” Musical Quarterly [Jan. 1968]); E. Buchet, J.-S. B.: Après àeux siècles d’études et de témoignages (Paris, 1968); B. Schwendowius and W. Dömling, eds., J.S. B.: Zeit, Leben, Wirken (Kassel, 1976; tr. as J.S. B.: Life, Times, Influence, London, 1978); M. Boyd, B. (London, 1983); D. Arnold, B. (Oxford, 1984); R. de Candé, J.-S. B. (Paris, 1984); G. Stiller, J.S. B. and Liturgical Life in Leipzig (St. Louis, 1984); H. Wohlfarth, J.S. B. (Freiburg im Briegau, 1984; Eng. tr., Philadelphia and Cambridge, 1985); P. Buscaroli, B. (Milan, 1985); W. Felix, J.S. B. (London, 1985); W. Kolneder, J.S. B. (1685–1750): Leben, Werk, unà Nachwirken in zeitgenössis-chen Dokumenten (Wilhelmshaven, 1991); M. Geck, J.S. B.: Mit Selbstzeugnissen unà Bilààokumenten (Reinbek bei Hamburg, 1993); O. Bettmann, J.S. B. as His Worlà Knew Him (Secaucus, N.J., 1995); K. Eidam, Das wahre Leben àes J.S. B. (Munich, 1999). CRITICAL, ANALYTICAL: In addition to the following writings, numerous articles of importance may be found in the B.-Jahrbuch (1904 et seq.). F. Rochlitz, Wege zu B. (extracted from Fur Freunâe der Tonkunst, Leipzig, 1824–37, by J. Müller-Blattau, Augsburg, 1926); M. Hauptmann, Erläuterungen zu J.S. B.s Kunst der Fuge (Leipzig, 1841; 2^nd ed., 1861); H. Riemann, Handbuch der Fugenkomposition (vols. I and II [analysis of Das Wohltemperierte Klavier; Berlin 1890–91; 3^rd ed., 1914; Eng. tr. by J. Shedlock, 2 vols., London, 1893]; vol. Ill [analysis of the Kunst der Fuge; Berlin, 1894; 3^rd ed., 1921]); A. Pirro, L’Orgue de J.-S. B. (Paris, 1895; Eng. tr., London, 1902); F. Iliff, The 48 Preludes anà Fugues of J.S. B. (London, 1897); A. Pirro, L’Esthétique de J.-S. B. (Paris, 1907); A. Heuss, J.S. B.s Matthauspässion (Leipzig, 1909); R. Wustmann, J.S. B.s Kantatentexte (Leipzig, 1913; 2^nd ed., 1967); C. Terry, B.’s Chorals (3 vols., Cambridge, 1915, 1917, 1921); idem, B.’s Mass in B Minor: A Study (Glasgow, 1915); E. Kurth, Grundlagen des linearen Kontrapunkts: Einführung in Stil una Technik von B.s meloàischer Polyphonie (Bern, 1917; 5^th ed., 1956); H. Grace, The Organ Works of B. (London, 1922); C. Terry, J.S. B.’s Original Hymn-Tunes for Congregational Use (London, 1922); W. Werker, Stuien über die Symmetric im Bau der Fugen unà die motivische Zusammengehörigkeit der Präludien una Fugen des Wohltemperierten Klaviers von J.S. B. (Leipzig, 1922); W. Werker, Die Matthaus- Passion (Leipzig, 1923); C. Terry, B.: The Mass in B Minor (London, 1924; rev. ed., 1931); W. Whittaker, Fugitive Notes on Certain Cantatas and the Motets of J.S. B. (London, 1924); E Franke, B.s Kirchen-Kantaten (Leipzig, 1925); J. Fuller Mait-land, The “48”: B.’s Wohltemperiertes Clavier (London, 1925); idem, The Keyboarà Suites of J.S. B. (London, 1925); C. Terry, B.: The Cantatas ana Oratorios (2 vols., London, 1925); idem, J.S. B.: Cantata Texts, Sacreà and Secular, with a Reconstruction of the Leipzig Liturgy of His Perioà (London, 1926); M. Zulauf, Die Harmonik J.S. B.s (Bern, 1927; 2^nd ed., 1937); C. Terry, B.: The Passions (London, 1926; 2^nd ed., 1935); P. Wackernagel, B.s Brandenburgische Konzerte (Berlin, 1928); H. Abert, B.s Matthauspassion (Halle, 1929); E Atkins, B.’s Passions (London, 1929); J. Fuller Maitland, B.’s “Brandenburg” Concertos (London, 1929; 2^nd ed., 1945); A. Hull, B.’s Organ Works (London, 1929); C. Terry, The Four-Part Chorales of J.S. B. (5 vols., London, 1929); idem, The Magnificat, Lutheran Masses and Motets (London, 1929); idem, B.: The Historical Approach (London, 1930); K. Ziebler, Das Symbol in der KirchenmusikJ.S. B.s (Kassel, 1930); E. Schwebsch, J.S. B. una die Kunst der Fuge (Stuttgart, 1931; 2^nd ed., 1955); D. Tovey, A Companion to the Art of Fugue (London, 1931); C. Terry, B.’s Orchestra (London, 1932; 2^nd ed., 1958); C. Freyse, Eisenacher Dokumente um J.S. B. (Leipzig, 1933); L. Landshoff, Revisionsbericht zur Urtextausgabe von J.S. B.s Inventionen una Sinfonien (Leipzig, 1933); C. Terry, The Music of B.: An Introàuction (London, 1933); H. Huggler, J.S. B.s Orgelbüchlein (Bern, 1935); A. Dickinson, The Art of J.S. B. (London, 1936; rev. ed., 1950); G. Herz, J.S. B. im Zeitalter des Rationalismus und der Frühromantik (Bern, 1936); L. Landshoff, Musikalisches Opfer (Leipzig, 1936); A. Schering, J.S. B.s Leipziger Kirchenmusik (Leipzig, 1936; 2^nd ed., 1954); E. Thiele, Die Chorfugen J.S. B.s (Bern and Leipzig, 1936); H. Besch, J.S. B.: Frömmigkeit und Glaube (Gütersloh, 1938; 2^nd ed., Kassel, 1950); C. Gray, The 48 Preludes and Fugues of J.S. B. (London, 1938); W. Neumann, J.S. B.’s Chorfuge (Leipzig, 1938); G. Frotscher, J.S. B. una die Musik des 17. Jahrhunderts (Wadenswil, 1939); A. Schering, Das Zeitalter J.S. B.s una Johann Aàam Hillers (Leipzig, 1940); B. Martin, Untersuchungen zur Struktur der Kunst der Fuge (Regensburg, 1941); H. Drinker, Texts of the Choral Works of J.S. B. in English Translation (4 vols., N.Y., 1942–43); A. Schering, Über Kantaten J.S. B.s (Leipzig, 1942; 3^rd ed., 1950); S. Taylor, The Chorale Preludes of J.S. B. (London, 1942); H. David, J.S. B.’s Musical Offering: History, Interpretation and Analysis (N.Y., 1945); E Blume, J.S. B. im Wandel der Geschichte (Kassel, 1947; Eng. tr., 1950); F. Florand, J.S. B.: L’OEuvre à’orgue (Paris, 1947); W. Neumann, Handbuch der Kantaten J.S. B.s (Leipzig, 1947; 4^th ed., 1971); F. Smend, J.S. B.: Kirchen-Kantaten (6 vols., Berlin, 1947–49; 3^rd ed., 1966); idem, Luther und B. (Berlin, 1947); M. Dehnert, Das Weltbilà J.S. B.s (Leipzig, 1948; 2^nd ed., 1949); N. Dufourcq, J.S. B.: Le Maître de l’orgue (Paris, 1948); H. Keller, Die Orgelwerke B.s: Ein Beitrag zu ihrer Geschichte, Form, Deutung und Wieâergabe (Leipzig, 1948; Eng. tr., 1967); R. Steglich, Wege zu B. (Regensburg, 1949); H. Besseler and G. Kraft, J.S. B. in Thüringen (Weimar, 1950); W. Blankenburg, Einführung in B.s h- moli Messe (Kassel and Basel, 1950; 3^rd ed., 1973); H. Dràger and K. Laux, eds., B.-Probleme (Leipzig, 1950); H. Keller, Die Klavierwerke B.s (Leipzig, 1950); C. Mahrenholz, J.S. B. und der Gottesdienst seiner Zeit (Kassel and Basel, 1950); R. Petzoldt and L. Weinhold, eds., J.S. B.: Das Schaffen des Meisters im Spiegel einer Staàt (Leipzig, 1950); A. Schmitz, Die Bilàlichkeit der wortgebundenen Musik J.S. B.s (Mainz, 1950); W Vetter, Der Kapellmeister B.: Versuch einer Deutung (Potsdam, 1950); P. Aldrich, Ornamentation in J.S. B.’s Organ Works (N.Y., 1951); W. David, J.S. B.s Orgeln (Berlin, 1951); A. Davison, B. and HandehThe Consummation of the Baroque in Music (Cambridge, Mass., 1951); A. Dürr, Studien über diefrù’hen Kantaten J.S. B.s (Leipzig, 1951; rev. ed., Wiesbaden, 1977); R. Gerber, B.s Brandenburgische Konzerte (Kassel and Basel, 1951); F. Hamel, J.S. B.: Geistige Welt (Göttingen, 1951); W. Scheide, J.S. B. as a Biblical Interpreter (Princeton, 1952); W. Emery, B.’s Ornaments (London, 1953; 2^nd ed., 1961); idem, Notes on B.’s Organ Works: A Companion to the Revised Edition (London, 1953–57); K. Geiringer, Symbolism in the Music of B. (Washington, D.C., 1955); L. Czaczkes, Analyse des Wohltemperierten Klaviers (Vienna, 1956–65); A. Dickinson, B.’s Fugai Works (London, 1956); H. Engel, J.S. B.s Violinkonzerte (Leipzig, 1956); W. Neumann, ed., J.S. B.: Samtliche Kantatentexte (Leipzig, 1956; 2^nd ed., 1967); L. Tagliavini, Studi sui testi delle cantate sacre di J.S. B. (Padua, 1956); G. von Dadelsen, Bemerkungen zur Handschrift J.S. B.s, seiner Familie und seines Kreises (Trossingen, 1957); J. David, Die zweistimmigen Inventionen von J.S. B. (Göttingen, 1957); W. Reich, ed., J.S. B., Leben und Schaffen (Zörich, 1957); G. von Dadelsen, Beitrage zur Chronologie der Werke J.S. B.s, Tübinger B.-Studien, IV-V (Trossingen, 1958); J. David, Die dreistimmigen Inventionen von J.S. B. (Göttingen, 1959); W. Whittaker, The Cantatas of J.S. B., Sacred and Secular (2 vols., London, 1959; 2^nd ed., 1964); E. Bodky, The Interpretation of B.’s Keyboard Works (Cambridge, Mass., 1960); R. Donington, Tempo and Rhythm in B.’s Organ Music (London, 1960); J. Day, The Literary Background to B.’s Cantatas (London, 1961); J. David, Das wohltemperierte Klavier (Göttingen, 1962); R. Steglich, Tanzrhythmen in derMusikJ.S. B.s (Wolfenbüttel, 1962); N. Carrell, B.’s Brandenburg Concertos (London, 1963); J. Chailley, Les Passions de J.-S. B. (Paris, 1963; 2^nd ed., rev, 1984); H. Keller, Das Wohltemperierte Klavier von J.S. B.: Werk und Wiedergabe (Kassel, 1965); J. Westrup, B. Cantatas (London, 1966); N. Carrell, B. the Borrower (London, 1967); M. Geek, Die Wiederentdeckung der Matthauspassion im 19. Jahrhun-dert (Regensburg, 1967); G. Kraft, B. in Eisenach (Jena, 1967); C. Wolff, Der stile antico in der Musik J.S. B.s (Wiesbaden, 1968); A. Dürr, Die Kantaten von J.S. B. (Kassel and Munich, 1971; 5^th ed., rev, 1985); J. Chailley, L’Art de la fugue de J.-S. B. (Paris, 1971–72); R. Marshall, The Compositional Process of J.S. B.: A Study of the Autograph Scores of the Vocal Works (Princeton, 1972); A. Robertson, The Church Cantatas of J.S. B. (London, 1972); W. Kolneder, Die Kunst der Fuge: Mythen des 20. Jahrhunderts (Wilhelmshaven, 1977); P. Williams, The Organ Music of J.S. B. (3 vols., Cambridge, 1980–84); S. Daw, The Music of J.S. B.: The Choral Works (East Brunswick, N.J., 1981); H. Klotz, Streifzüge durch die Bachsche Orgelwelt (Wiesbaden, 1981); R. Azekus, J.S. B. und die Aufklarung (Leipzig, 1982); A. Heinich, B.’s Die Kunst der Fuge: A Living Compendium of Fugai Procedures (Washington, D.C., 1983); P. Williams, ed., B., Handel and Scarlatti–.Tercentenary Essays (Cambridge, 1985); G. Stauffer and E. May, eds., J.S. B. as Organist: His Instruments, Music and Performance Practices (Bloomington, Ind., 1986); H. Vogt, J.S. B.’s Chamber Music (1988); R. Marshall, The Music of J.S. B.: The Sources, the Style, the Significance (N.Y., 1989); W. Young, The Cantatas of J.S. B.: An Analytical Guide (Jefferson, N.C., 1989); J. Butt, B. Interpretation: Articulation Marks in Primary Sources of J.S. B. (Cambridge, 1990); R. Tatlow, B. and the Riddle of the Number Alphabet (Cambridge, 1990); J. Butt, B.: Mass in B Minor (Cambridge, 1991); E. Chafe, Tonal Allegory in the Vocal Music of J.S. B. (Berkeley, 1991); C. Wolff, B.:Essays on His Life and Music (Cambridge, Mass., 1991); D. Schulenberg, The Keyboard Music of J.S. B. (N.Y., 1992); M. Boyd, B.: The Brandenburg Concertos (Cambridge, 1993); G. and J. Csiba, Die Blechblasinstrumente in J.S. B.s Werken (Kassel, 1994); P. Dirksen, Studien zur Kunst der Fuge von J.S. B.: Untersuchungen zur Entstehungsgeschichte, Struk-tur und Auffuhrungspraxis (Wilhelmshaven, 1994); L. Burns, B.’s Modal Chorales (Stuyvesant, N.Y., 1995); E. Kooiman, G. Weinberger, and H. Busch, Zur Interpretation der Orgelmusik J.S. B.s (Kassel, 1995); M. Marissen, The Social and Religious Designs of J.S. B.’s Brandenburg Concertos (Princeton, 1995); D. Melamed, J.S. B. and the German Motet (Cambridge, 1995); L. Dreyfus, B. and the Patterns of Invention (Cambridge, 1996); G. Hartmann, Die Tonfolge B-A-C-H: Zur Emblematik des Kreuzes im Werk J.S. B.s (Bonn, 1996); R. Stinson, B.:The Orgelbüchlein (N.Y., 1996); J. Butt, ed., The Sacred Choral Music of J.S. B.: A Handbook (Brewster, Mass., 1997); M. Geck, ed., B.s Orchesterwerke: Bericht über das 1. Dortmunder B.-Symposion 1996 (Witten, 1997); M. Heinemann and H.-J. Hinrichsen, eds., B. und die Nachwelt (Laaber, 1997 et seq.); C. Wolff, ed., Wereld van de B.- cantates/The World of the B. Cantatas (N.Y., 1997 et seq.); M. Marissen, Lutheranism, Anti-Judaism, and B.’s St. John Passion (N.Y., 1998). ICONOGRAPHY: W. His., J.S. B.: Forschungen über dessen Grabstatte, Gebeine und Antlitz (Leipzig, 1895); K. Geiringer, The Lost Portrait of J.S. B. (N.Y., 1950); H. Raupach, Das wahre Bildnis J.S. B.s (Wolfenbüttel, 1950); F. Smend, J.S. B. bei seinem Namen gerufen (Kassel, 1950); H. Besseler, Fünf echte Bildnisse J.S. B.s (Kassel, 1956); H. van Tuyll van Serooskerken, Probleme des Bachporträts (Bilthoven, 1956); C. Freyse, B.s Antlitz: Betrachtungen und Erkenntnisse zur B.-Ikonographie (Eisenach, 1964).

—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire