Part III

). But in this case, Bach uses a special notation:

[Music]

In his Method for clavecin Ph. E. Bach, in speaking of a similar figure, thus explains it: "The first note of this figure must not be made too short, if the tempo be slow or moderate; for the second would then be held too long. It should be gently dwelt upon, not suddenly hammered."

"Play _flautato_," says W. Rust[195] upon the subject of such a fugue in an orchestral part; one should thus anticipate the beat with the flutist's stroke of the tongue, according to Quantz (_Essai d'une méthode pour apprendre à jouer de la Flûte traversière_. Berlin, 1752); that is to say, that the first of the two notes should be considered as written thus:

[Music]

[Footnote 195: B.-G. xiii, p. xvi. We again encounter this grouping in the flute part of the _et in unum Deum_ of the _B_ minor Mass.]

In a solfeggio lesson by J.G. Walther,[196] written in 1708, this indication, called _punctus serpens_, signifies that the notes are to be slurred; that is, bound together, two by two. This is, undoubtedly, the most correct interpretation, which fairly corresponds to what S. Scheidt calls "_imitatio violistica_."

[Footnote 196: The autograph was contained in the collection of Ph. Spitta.]

Analogous notations of Frescobaldi[197] and Muffat[198] indicate a similar manner of execution.

[Footnote 197: _Toccata_ II (_libro_ i).]

[Footnote 198: _Toccata 6a_ (adagio), and _Toccata 3a_ of the _Apparatus musico-organisticus_.]

Appendix

To facilitate the perusal of our work, we will close with a short sketch of J.S. Bach's life.

Bach was born March 21, 1685, at Eisenach. His father, Ambrosius Bach, was a musician of the town; his uncle, Johann Christoph Bach, an organist.[199]

[Footnote 199: Veit Bach was born in Gotha during the second half of the sixteenth century; he is considered the progenitor of the Bach family. He was the first representative of the race of musicians who furnished "cantors" and organists to the greater number of the central German cities. At Erfurt, for instance, the direction of the "council music" was in their hands from 1625 until 1735, and even after their disappearance the town musicians were still referred to as "the Bachs."]

When Bach was nine years of age his mother died; the next year followed the decease of his father, and the boy was taken in by his elder brother, organist at Ohrdruf. Here he attended the Lyceum, where the teaching of music held an important place; the chorus, formed of the pupils, was renowned. Young Sebastian, gifted with a good soprano voice, was a member of this chorus; and in addition studied the clavecin under the direction of his brother, a pupil of Pachelbel. With such zeal did he devote himself to these studies, that he copied by moonlight a volume of pieces which he had been forbidden to play, his brother wishing to reserve for himself the right to conquer their difficulties.

He did not remain long under the charge of his brother, whose family was gradually increasing. In 1700, undoubtedly upon the recommendation of Elias Herda, cantor of the school in Ohrdruf, Bach was admitted to St. Michael's School in Lüneburg; but he was now no longer a pupil, for in return for the general instruction which he received he was obliged to act as a sort of assistant chorusmaster for his comrades; at least as a leader. When his voice changed, which soon came about, he was charged with the clavecin accompaniment at chorus rehearsals, or with playing a violin part in the orchestra. He had, in fact, studied that instrument since his earliest childhood, his father having been a good violinist. He profited in his new surroundings by the advice of Georg Böhm, organist of St. John's Church in Lüneburg, and a musician of merit, whose influence upon Bach is apparent in many of the latter's earlier compositions, especially in the chorales.

The location of Lüneburg permitted him also, from this time on, to make trips on foot to Hamburg, where he heard Adam Reinken and Vincent Lübeck, or to Celle, where the orchestra of the ducal court performed French music; then the fashion, complains Mattheson, not because of a value whose existence this German critic denied, but simply--the final misfortunes of the reign of Louis XIV. had not yet dimmed this glory--because it was French.

In 1703 Bach left St. Michael's School; he had been so busily occupied with music while there, that he very likely had been unable to exhaust the depths of the general curriculum, which in itself was rather limited. Not that they had been satisfied with giving him instruction of a too elementary nature; but Bach, in point of intellectual culture, was much inferior to most of the great musicians of his time, Mattheson and Händel, for instance, both of whom had attended the University.

In any case, Bach's scant means would have forbidden his availing himself of a university education. On leaving St. Michael's School he was obliged to provide for himself; but here his talent for the violin came to his aid, and procured him admission, at Weimar, not only to the court orchestra, but to an orchestra which Johann Ernst, the brother of the reigning Duke Wilhelm Ernst, maintained at his own expense. He did not remain there long; in the summer of 1703, as a result of a journey to Arnstadt, where he was heard upon the organ of the New Church,[200] the position of organist of this parish was offered him. The place was a modest one (seventy thalers salary), but advantageous for Bach, who at his leisure could perfect himself in organ-playing and practise vocal composition, having a choir to conduct; his first cantata dates from Arnstadt.

[Footnote 200: This instrument was constructed in 1701 by Wender, an organ-builder in Mühlhausen. Wender had a certain local reputation, but was unskilful and not very conscientious.]

Besides, meagre as was his salary, he could save enough for a journey to Lübeck to hear Buxtehude, whom he had long desired to know; for while his brother Christoph had taught him Pachelbel's methods, Georg Böhm, of another school, had already impressed on him that dualism whence was born, when another element was added to it, his own originality. Receiving the favor of a leave of absence for one month, Bach betook himself from Arnstadt to Lübeck the last of October, 1705; he did not return until February, 1706. From this journey he brought back a new virtuosity and the susceptibility of a young artist who from that moment felt himself a master; the former singularly disappointed the parish. He now accompanied the chorale with Buxtehude's exaggerated freedom; the ears of the faithful could not follow such elaborations, and, still worse, their voices lost the clue, and the choir fell into confusion. Hence a scandal, and thereupon a reprimand from the vestry. Moreover, had not Bach singularly outstayed his leave of absence? And again, why should he now neglect his choir? Why no more "music"? and still other grievances. Stung to the quick, Bach answered them by thenceforth affecting the very excesses in accompaniment which had met with such opposition, and by leaving entirely to themselves his choristers, whose _sottise_ and coarseness disgusted him. As to the rest, he explained nothing, but sought another place; more than a year passed in these troubles. Upon the death of G. Ahle, organist of the church of St. Blasius in Mühlhausen, he applied for this position; it fell to his lot as the result of a competition, and he entered upon his duties during the summer of 1707. The same year (October 17) he married his cousin, Maria Barbara Bach.

From a pecuniary point of view the situation was not bad,[201] but the organ was detestable. Bach gave himself no rest until he accomplished its restoration by the council; he himself drew up a scheme for this, which was found to be so practical that it was adopted. But scarcely had the work been commenced, when the Duke of Saxe-Weimar, Wilhelm Ernst, offered him the position of court organist (1708). Bach accepted; Mühlhausen was then the scene of sectarian dissensions, pietists and orthodox were in open strife, in which were lost the efforts of Bach to establish a "regular style of music wholly to the glory of God,"[202] as he himself said; to which, moreover, the pietists were by doctrine[203] opposed. An aggravating circumstance was that Frohne, the _Oberintendant_ of the church of St. Blasius, was one of the most ardent disciples of Spener, the founder of the pietists' sect; and Bach had chosen, as godfather for his first child, Eilmar, pastor of the Church of the Blessed Virgin Mary, who was the defender of the older traditions, to which Bach was devotedly attached.

[Footnote 201: Besides a salary of 85 thalers, he had various perquisites "in kind."]

[Footnote 202: One of his cantatas, _Gott ist mein König_, was engraved in separate parts by Brückner of Mühlhausen.]

[Footnote 203: See Philipp Spitta: _Johann Sebastian Bach_, vol. i, p. 354.]

Bach spent nine years at Weimar; for him this period was the complement of his finished years of study, and was the most brilliant in his career as a virtuoso. He played at neighboring courts, and his reputation was sufficiently great to put to flight Marchand (who was called "_le grand Marchand_"), who had been invited in 1717 to meet him in a sort of musical tournament. Numerous cantatas, as well as some chamber music, date from this period. In fact, during the last years of his residence in Weimar, Bach had undertaken the duties, without the title, of director of chamber music to the court, in addition to his vocation as organist; succeeding the aged Drese, who was too old to fill the position effectively. Upon the death of the latter, late in 1716, Bach expected the appointment; but nothing came of it, and this lack of recognition caused him to accept the offer he received next year from the Prince of Anhalt-Cöthen.

At Cöthen there was no more organ playing to be done; no more church music to direct--the prince was a Calvinist. As to his duties, for which he had been well prepared by his recent experience at Weimar, Bach was content with the composition of most of the suites and sonatas for violin, _viola da gamba_, flute, and clavecin; further, the first part of the Well-tempered Clavichord dates from Cöthen. This is worthy of note, because of the relationship which can be established between certain organ works and some of those in this volume.

A life which might thenceforward have been so quiet, Bach being treated as a friend by his prince, and having no further care than the performance of music in an intimate manner, was in 1720 crossed by a sudden misfortune; upon his return from a journey to Carlsbad, Bach found his home desolate; his wife, Maria Barbara, was dead.

Despite his grief, Bach recovered himself in a comparatively short time, for in November of the same year he went to Hamburg to conduct the cantata _Wer sich selbst erhöhet, der soll erniedriget werden_; he drew from Adam Reinken, by his improvisations upon the organ, an outburst of enthusiasm which the old man had never entertained for anyone but himself.

Left alone with his children, who were still young, Bach lost no time in remarrying (December 3, 1721); this time a good musician, Anna Maria Wülken, who acted as his copyist, and for whom he wrote several pieces.

Upon the death of Kuhnau, cantor at St. Thomas' School in Leipzig (1722), Bach advanced his candidacy. He was not unknown in Leipzig, where enough confidence had been reposed in him to cause his summons as an expert, in 1717, to examine with Kuhnau the organ in the University Church.

Meanwhile there were delays; Bach was not installed until May 31, 1723. Beside music lessons, and the direction of the choirs in St. Thomas' and St. Nicholas' Churches, the cantor (the third in the school by order of precedence) was still charged with certain duties of supervision, and in addition had a course in Latin to conduct; the latter Bach avoided as much as possible.

In itself it was not, on the whole, a very advantageous position for Bach, nor one where his independence would be respected; many annoyances, besides an almost overwhelming amount of labor, were caused him by the director, or more indirectly by envious musicians. Despite all these mortifications, and the difficulties of his situation--mitigated, it is true, as long as the celebrated Gessner was at the head of the school--Bach never left it; in soliciting it, he had taken into consideration the advantages it offered for bringing up his family, which was steadily increasing.

We have commented upon the relatively small number of organ compositions which date from this period, but this is not the case with the other religious works; of 295 cantatas, divided among five liturgical years, about 266 were written in Leipzig; five settings of the Passion, the Christmas Oratorio (1734), the Easter (1736), that of the Ascension, and a number of motets, composed between 1723 and 1734--only a few of these are to-day complete; others are apocryphal--four "_Missae breves_" (short masses), the Mass in _B_ minor, composed between 1730 and 1737, testify to his prodigious activity in this style of music. Further, he did not rest without writing numerous secular works, in particular the concertos for several clavecins; he published some technical studies which he engraved himself; and he completed the second part of the Well-tempered Clavichord. If we add to the time devoted to the composition of these works that given to the duties of his position--to lessons, rehearsals, etc.--and to numerous pupils, we shall realize why this last period is less productive of biographical incidents of note. We may finally mention the famous journey to Berlin in 1740, the last triumph of "Old Bach."

In consequence of this excess of fatigue, Bach was destined to lose his sight during the last years of his life; the unskilfulness of the surgeons did the rest.

Bach passed away July 28, 1750. His remains were interred in St. John's cemetery; but the location of his grave is to-day unknown, because of the transformation which this burying ground underwent at the end of the last century.[204]

[Footnote 204: [Subsequent to the writing of the above, and during the progress of general disinterment incidental to the devotion to other uses of the land occupied by the cemetery, Bach's remains were found and identified by most scientific methods. In August, 1900, took place the official ceremony of reinterment in a stone sarcophagus, contained in a crypt constructed for the purpose at the foot of the chancel steps of the new _Johanniskirche_ (St. John's Church). Upon this occasion the University _Gesangverein zu St. Pauli_ sang. September 2d of the same year, at the close of the weekly "Abend-Motette" (the program on this occasion having been devoted entirely to works of Bach), the solo-quartet of the church sang in the crypt the chorale from the St. Matthew Passion _Wenn ich einmal soll scheiden_, in the presence of a few other reverent "friends of Bach's music." The following morning the lid of the sarcophagus was permanently closed and sealed.

By its side, enclosed in a similar receptacle, lie the ashes of Gellert, the poet.--TR.]]

Catalogue

OF THE

COMPLETE WORKS

OF

JOHANN SEBASTIAN BACH

EDITION OF THE BACH-GESELLSCHAFT

FIRST YEAR.

CHURCH CANTATAS. VOL. I.

No. 1. Wie schön leuchtet der Morgenstern. " 2. Ach Gott, vom Himmel sieh darein. " 3. Ach Gott, wie manches Herzeleid. (First setting.) " 4. Christ lag in Todesbanden. " 5. Wo soll ich fliehen hin. " 6. Bleib' bei uns, denn es will Abend werden. " 7. Christ unser Herr zum Jordan kam. " 8. Liebster Gott, wann werd' ich sterben? " 9. Es ist das Heil uns kommen her. " 10. Meine Seel' erhebt den Herren!

SECOND YEAR.

CHURCH CANTATAS. VOL. II.

No. 11. Lobet Gott in seinen Reichen. " 12. Weinen, Klagen, Sorgen, Zagen. " 13. Meine Seufzer, meine Thränen. " 14. Wär' Gott nicht mit uns diese Zeit. " 15. Denn du wirst meine Seele nicht in der Hölle lassen. " 16. Herr Gott, dich loben wir. " 17. Wer Dank opfert, der preiset mich. " 18. Gleich wie der Regen und Schnee vom Himmel fällt. " 19. Es erhub sich ein Streit. " 20. O Ewigkeit, du Donnerwort. (First setting.)

THIRD YEAR.

PIANOFORTE WORKS. VOL. I.

Fifteen Inventions and Fifteen Symphonies.

_Klavierübung:_ First Part: Six partitas. Second " A concerto and a partita. Third Part: Chorale-preludes and duets. Fourth " Aria, with thirty variations.

Toccata in F sharp minor. Toccata in C minor. Fugue in A minor.

FOURTH YEAR.

Passion-music according to St. Matthew the Evangelist.

FIFTH YEAR.

_First Issue:_

CHURCH CANTATAS. VOL. III.

No. 21. Ich hatte viel Bekümmerniss. " 22. Jesus nahm zu sich die Zwölfe. " 23. Du wahrer Gott und David's Sohn. " 24. Ein ungefärbt Gemüthe. " 25. Es ist nichts Gesundes an meinen Leibe. " 26. Ach wie flüchtig, ach wie nichtig. " 27. Wer weiss, wie nahe mir mein Ende. " 28. Gottlob! nun geht das Jahr zu Ende. " 29. Wir danken dir, Gott, wir danken dir. " 30. Freue dich, erlöste Schaar.

_Second Issue:_

Christmas Oratorio, the Text from St. Luke, ii: 1-21; and St. Matthew ii: 1-12.

First Part: For Christmas Eve: Jauchzet, frohlocket, auf, preiset die Tage! Second " For the day after Christmas: Und es waren Hirten in derselben Gegend. Third " For the second day after Christmas: Herrscher des Himmels, erhöre das Lallen. Fourth " For New Year's Day: Fallt mit Danken, fallt mit Loben. Fifth " For the Sunday after New Year's: Ehre sei dir, Gott, gesungen. Sixth " For the Feast of the Epiphany: Herr, wenn die stolzen Feinde schnauben.

SIXTH YEAR.

The Mass in B Minor.

SEVENTH YEAR.

CHURCH CANTATAS. VOL. IV.

No. 31. Der Himmel lacht, die Erde jubiliret. " 32. Liebster Jesu, mein Verlangen. " 33. Allein zu dir, Herr Jesu Christ. " 34. O ewiges Feuer, o Ursprung der Liebe. " 35. Geist und Seele wird verwirrt. " 36. Schwingt freudig euch empor. " 37. Wer da glaubet und getauft wird. " 38. Aus tiefer Noth schrei' ich zu dir. " 39. Brich dem Hungrigen dein Brot. " 40. Dazu ist erschienen der Sohn Gottes.

EIGHTH YEAR.

Four Masses, in F major, A major, G minor and G major.

NINTH YEAR.

CHAMBER-MUSIC. VOL. I.

Three Sonatas for pianoforte and flute. Suite for pianoforte and violin. Six Sonatas for pianoforte and violin. Three Sonatas for pianoforte and _viola da gamba_. Sonata for flute, violin, and figured bass. Sonata for two violins and figured bass. Appendix.

TENTH YEAR.

CHURCH CANTATAS. VOL. V.

No. 41. Jesu, nun sei gepreiset. " 42. Am Abend aber desselbigen Sabbaths. " 43. Gott fähret auf mit Jauchzen. " 44. Sie werden euch in den Bann thun. " 45. Es ist dir gesagt, Mensch, was gut ist. " 46. Schauet doch und sehet, ob irgend ein Schmerz sei. " 47. Wer sich selbst erhöhet, der soll erniedriget werden. " 48. Ich elender Mensch, wer wird mich erlösen. " 49. Ich geh' und suche mit Verlangen. " 50. Nun ist das Heil und die Kraft.

ELEVENTH YEAR.

_First Issue:_

Magnificat in D major.

Four _Sanctus_, in C major, D major, D minor and G major. Appendix.

_Second Issue:_

VOCAL CHAMBER-MUSIC. VOL. I.

TWELFTH YEAR.

_First Issue:_

Passion-music according to St. John the Evangelist.

_Second Issue:_

CHURCH CANTATAS. VOL. VI.

No. 51. Jauchzet Gott in allen Landen. " 52. Falsche Welt, dir trau' ich nicht. " 53. Schlage doch, gewünschte Stunde. " 54. Widerstehe doch der Sünde. " 55. Ich armer Mensch, ich Sündenknecht. " 56. Ich will den Kreuzstab gerne tragen. " 57. Selig ist der Mann. " 58. Ach Gott, wie manches Herzeleid. (Second Setting.) " 59. Wer mich liebet, der wird mein Wort halten. (First Setting.) " 60. O Ewigkeit, du Donnerwort. (Second Setting.)

THIRTEENTH YEAR.

_First Issue:_

MARRIAGE CANTATAS.

Dem Gerechten muss das Licht. Der Herr denket an uns. Gott ist unsere Zuversicht. Three Chorales.

_Second Issue:_

PIANOFORTE WORKS. VOL. II.

Six greater Suites, known as the "English." Six lesser Suites, known as the "French."

_Third Issue:_

Funeral Ode upon the death of the wife of August the Strong, "Christiane Eberhardine," Queen of Poland and Electress of Saxony.

FOURTEENTH YEAR.

PIANOFORTE WORKS. VOL. III.

The Well-tempered Clavichord. First Part, 1722. Second Part, 1744.

Appendix. Supplementary Readings and Explanations.

FIFTEENTH YEAR.

ORGAN WORKS. VOL. I.

Six Sonatas for 2 manuals and pedal. Six Preludes and Fugues. First Series. Six " " " Second " Six " " " Third " Three Toccatas. Passacaglia.

SIXTEENTH YEAR.

CHURCH CANTATAS. VOL. VII.

No. 61. Nun komm, der Heiden Heiland. (First Setting.) " 62. Nun komm, der Heiden Heiland. (Second Setting.) " 63. Christen, ätzet diesen Tag. " 64. Sehet, welch' eine Liebe hat uns der Vater erzeiget. " 65. Sie werden aus Saba Alle kommen. " 66. Erfreut euch, ihr Herzen. " 67. Halt' im Gedächtniss Jesum Christ. " 68. Also hat Gott die Welt geliebt. " 69. Lobe den Herrn, meine Seele. " 70. Wachet, betet, seid bereit allezeit.

SEVENTEENTH YEAR.

CHAMBER MUSIC. VOL. II.

Seven Concertos for Pianoforte with orchestral accompaniment:

No. 1, D minor; No. 2, E major; No. 3, D major; No. 4, A major; No. 5, F minor; No. 6, F major; No. 7, G minor.

Triple Concerto for Pianoforte, flute and violin, with orchestral accompaniment.

Appendix.

EIGHTEENTH YEAR.

CHURCH CANTATAS. VOL. VIII.

No. 71. Gott ist mein König. " 72. Alles nur nach Gottes Willen. " 73. Herr, wie du willst, so schick's mit mir. " 74. Wer mich liebet, der wird mein Wort halten. (Second and more elaborate Setting.) " 75. Die Elenden sollen essen. " 76. Die Himmel erzählen die Ehre Gottes. " 77. Du sollst Gott, deinen Herrn, lieben. " 78. Jesu, der du meine Seele. " 79. Gott der Herr ist Sonn' und Schild. " 80. Ein' feste Burg ist unser Gott.

NINETEENTH YEAR.

CHAMBER MUSIC. VOL. III.

1. Concerto in F major for two horns, three oboes, bassoon, _obbligato Quart-Geige_,[205] two violins, viola, violoncello, and _continuo_.

[Footnote 205: A small-sized violin, tuned a fourth higher.]

2. Concerto in F major for _obbligato_ trumpet, flute, oboe and violin, with accompaniment of two violins, viola and _continuo_.

3. Concerto in G major for three violins, three violas, three violoncellos and _continuo_.

4. Concerto in G major for _obbligato_ violin with accompaniment of two flutes (_flûtes à bec_), two violins, viola, violoncello and _continuo_.

5. Concerto in D major for pianoforte, flute and violin, with accompaniment of violin, viola, violoncello and _continuo_.

6. Concerto in B flat major for two violas, two gambas, violoncello and _continuo_.

TWENTIETH YEAR.

_First Issue:_

CHURCH CANTATAS. VOL. IX.

No. 81. Jesus schläft, was soll ich hoffen? " 82. Ich habe genug. " 83. Erfreute Zeit im neuen Bunde. " 84. Ich bin vergnügt in meinem Glücke. " 85. Ich bin ein guter Hirt. " 86. Wahrlich, ich sage euch. " 87. Bisher habt ihr nichts gebeten in meinem Namen. " 88. Siehe, ich will viel Fischer aussenden, spricht der Herr. " 89. Was soll ich aus dir machen, Ephraim? " 90. Es reifet euch ein schrecklich Ende.

_Second Issue:_

VOCAL CHAMBER MUSIC. VOL. II.

Drama for the birthday of August III, king of Poland, etc.

Drama for a university festival, upon which Dr. Gottlieb Kortte received the appointment of professor.

Drama for the name-day of King Augustus.

TWENTY-FIRST YEAR.

_First Issue:_

CHAMBER MUSIC. VOL. IV.

Concertos for violin with orchestral accompaniment.

No. 1, in A minor, } for one violin. No. 2, in E major, } No. 3, in D minor, for two violins. No. 4, in D major. Symphonic movement for _obbligato_ violin.

_Second Issue:_

CHAMBER MUSIC. VOL. V.

Three Concertos for two pianofortes, with orchestral accompaniment.

No. 1, in C minor. " 2, in C major. " 3, in C minor.

_Third Issue:_

Easter Oratorio: "Kommt, eilet und laufet."

TWENTY-SECOND YEAR.

CHURCH CANTATAS. VOL. X.

No. 91. Gelobet seist du, Jesu Christ. " 92. Ich hab' in Gottes Herz und Sinn. " 93. Wer nur den lieben Gott lässt walten. " 94. Was frag' ich nach der Welt. " 95. Christus der ist mein Leben. " 96. Herr Christ, der ein'ge Gottessohn. " 97. In allen meinen Thaten. " 98. Was Gott thut, das ist wohlgethan. (First Setting. B flat major.) " 99. Was Gott thut, das ist wohlgethan. (Second Setting. G major.) " 100. Was Gott thut, das ist wohlgethan. (Third Setting. G major.) Appendix.

TWENTY-THIRD YEAR.

CHURCH CANTATAS. VOL. XI.

No. 101. Nimm von uns, Herr, du treuer Gott. " 102. Herr, deine Augen sehen nach dem Glauben. " 103. Ihr werdet weinen und heulen. " 104. Du Hirte Israel, höre. " 105. Herr, gehe nicht in's Gericht. " 106. Gottes Zeit ist die allerbeste Zeit. " 107. Was willst du dich betrüben. " 108. Es ist euch gut, dass ich hingehe. " 109. Ich glaube, lieber Herr. " 110. Unser Mund sei voll Lachens.

TWENTY-FOURTH YEAR.

CHURCH CANTATAS. VOL. XII.

No. 111. Was mein Gott will, das g'scheh' allzeit. " 112. Der Herr ist mein getreuer Hirt. " 113. Herr Jesu Christ, du höchstes Gut. " 114. Ach, lieben Christen, seid getrost. " 115. Mache dich, mein Geist, bereit. " 116. Du Friedensfürst, Herr Jesu Christ. " 117. Sei Lob und Ehr'dem höchsten Gut. " 118. O Jesu Christ, mein's Lebens Licht. " 119. Preise, Jerusalem, den Herrn. " 120. Gott, man lobt dich in der Stille.

TWENTY-FIFTH YEAR.

_First Issue:_

_Die Kunst der Fuge._ (The Art of Fugue.)

Appendix. The Berlin autograph systematically arranged, and supplementary readings.

_Second Issue:_ (Organ works.)

No. 1. _Orgelbüchlein_ (Little Organ-book). No. 2. Six Chorales (the so-called _Schübler_ chorales). No. 3. Eighteen Chorales (the so-called _great_ ones with the Swan-song "_Vor deinen Thron tret' ich_"). Appendix A. Two older readings from Collection I. B. Fifteen " " " " III.

TWENTY-SIXTH YEAR.

CHURCH CANTATAS. VOL. XIII.

No. 121. Christum wir sollen loben schon. " 122. Das neugebor'ne Kindelein. " 123. Liebster Immanuel, Herzog der Frommen. " 124. Meinen Jesum lass' ich nicht. " 125. Mit Fried' und Freud' ich fahr' dahin. " 126. Erhalt' uns, Herr, bei deinem Wort. " 127. Herr Jesu Christ, wahr'r Mensch und Gott. " 128. Auf Christi Himmelfahrt allein. " 129. Gelobet sei der Herr, mein Gott. " 130. Herr Gott, dich loben alle wir.

TWENTY-SEVENTH YEAR.

CHAMBER MUSIC. VOL. VI.

_First Issue:_

Six Sonatas for violin. Six Suites for violoncello.

_Second Issue:_

Thematic Catalogue of the Church Cantatas, Nos. 1-120.

TWENTY-EIGHTH YEAR.

CHURCH CANTATAS. VOL. XIV.

No. 131. Aus der Tiefe rufe ich, Herr, zu dir. " 132. Bereitet die Wege, bereitet die Bahn. " 133. Ich freue mich in dir. " 134. Ein Herz, das seinen Jesum lebend weiss. " 135. Ach Herr, mich armen Sünder. " 136. Erforsche mich, Gott, und erfahre mein Herz. " 137. Lobe den Herren, den mächtigen König der Ehren. " 138. Warum betrübst du dich, mein Herz. " 139. Wohl dem, der sich auf seinen Gott. " 140. Wachet auf, ruft uns die Stimme.

Appendix. Two older arrangements of the Cantata No. 134:

(_a_) Mit Gnaden bekröne der Himmel die Zeiten. (_b_) Ein Herz, das seinen Jesum lebend weiss.

TWENTY-NINTH YEAR.

VOCAL CHAMBER MUSIC. VOL. III.

Cantata. "Was mir behagt, ist nur die muntre Jagd." Cantata. "Non sa che sia dolore." Marriage Cantata. "O holder Tag, erwünschte Zeit." Cantata. "Höchsterwünschtes Freudenfest." Coffee Cantata. "Schweigt stille, plaudert nicht." Cantata. "Mer hahn en neue Oberkeet." Appendix I. Gratulations-Kantate (Thanksgiving Cantata). "Mit Gnaden bekröne der Himmel die Zeiten." II. Cantata. "O angenehme Melodei." III. Instrumental movement for violin, flute and _continuo_.

THIRTIETH YEAR.

CHURCH CANTATAS. VOL. XV.

No. 141. Das ist ja gewisslich wahr. " 142. Uns ist ein Kind geboren. " 143. Lobe den Herrn, meine Seele. " 144. Nimm, was dein ist. " 145. So du mit deinem Munde. " 146. Wir müssen durch viel Trübsal. " 147. Herz und Mund und That und Leben. " 148. Bringet dem Herrn Ehre seines Namens. " 149. Man singet mit Freuden von Sieg. " 150. Nach dir, Herr, verlanget mich.

THIRTY-FIRST YEAR.

_First Issue:_

WORKS FOR ORCHESTRA.

Overtures in C major, B minor, D major, D major; _Sinfonia_ in F major. (With a Supplement to Year XXIX.)

_Second Issue:_

_Das musikalische Opfer_ (Musical Sacrifice), 1747.

Appendix. Resolution of the Canons in the Musical Sacrifice.

_Third Issue:_

CHAMBER MUSIC. VOL. VII.

Two Concertos for three pianofortes, with orchestral accompaniment. No. 1 in D minor, No. 2 in C major.

THIRTY-SECOND YEAR.

CHURCH CANTATAS. VOL. XVI.

No. 151. For the second day after Christmas: "Mein süsser Trost." " 152. " Sunday after Christmas: "Tritt auf die Glaubensbahn." " 153. " Feast of the Circumcision: "Schau, lieber Gott." " 154. " first Sunday after the Epiphany: "Mein liebster Jesus." " 155. " second " " " "Mein Gott, wie lange." " 156. " third " " " "Ich steh' mit einem Fuss." " 157. " Feast of the Purification of the B.V.M.: "Der Friede sei mit Dir." " 158. " " " " " " "Ich lasse Dich nicht." " 159. " Quinquagesima: "Sehet, wir geh'n hinauf gen Jerusalem." " 160. " Monday in Easter-week: "Ich weiss, dass mein Erlöser lebt."

THIRTY-THIRD YEAR.

CHURCH CANTATAS. VOL. XVII.

No. 161. Komm, du süsse Todesstunde. " 162. Ach, ich sehe, jetzt da ich zur Hochzeit gehe. " 163. Nur Jedem das Seine. " 164. Ihr, die ihr euch von Christo nennt. " 165. O heil'ges Geist- und Wasserbad. " 166. Wo gehest du hin. " 167. Ihr Menschen, rühmet Gottes Liebe. " 168. Thue Rechnung! Donnerwort. " 169. Gott soll allein mein Herze haben. " 170. Vergnügte Ruh', beliebte Seelenlust.

THIRTY-FOURTH YEAR.

VOCAL CHAMBER MUSIC. VOL. IV.

Serenata. "Durchlaucht'ster Leopold." Cantata. "Schwingt freudig euch empor." "Die Freude reget sich." Dramma per musica. "Lasst uns sorgen, lasst uns wachen." " " "Tönet, ihr Pauken! Erschallet, Trompeten!" Cantata gratulatoria in adventum regis (Thanksgiving Cantata upon the Accession of the King). "Preise dein Glücke, gesegnetes Sachsen." Appendix. I. Dramma per musica. "Angenehmes Wiederau." " II. " " "Auf, schmetternde Töne der muntern Trompeten."

THIRTY-FIFTH YEAR.

CHURCH CANTATAS. VOL. XVIII.

No. 171. Gott, wie dein Name, so ist auch dein Ruhm. " 172. Erschallet, ihr Lieder. " 173. Erhöhtes Fleisch und Blut. " 174. Ich liebe den Höchsten von ganzem Gemüthe. " 175. Er rufet seinen Schafen mit Namen. " 176. Es ist ein trotzig und verzagt Ding. " 177. Ich ruf' zu dir, Herr Jesu Christ. " 178. Wo Gott der Herr nicht bei uns hält. " 179. Siehe zu, dass deine Gottesfurcht nicht Heuchelei sei. " 180. Schmücke dich, o liebe Seele.

THIRTY-SIXTH YEAR.

PIANOFORTE WORKS. VOL. IV.

Suites. Toccatas, Preludes, Fugues, Fantasies, and other pieces.

Appendix I: Additional versions of the foregoing pianoforte compositions, as well as of some pieces in Vol. III.

Appendix II: Fragments of Suites, various single movements and unfinished pieces.

THIRTY-SEVENTH YEAR.

CHURCH CANTATAS. VOL. XIX.

No. 181. Leichtgesinnte Flattergeister. " 182. Himmelskönig, sei willkommen. " 183. Sie werden euch in den Bann thun. (Second Setting.) " 184. Erwünschtes Freudenlicht. " 185. Barmherziges Herze der ewigen Liebe. " 186. Ärg're dich, o Seele, nicht. " 187. Es wartet Alles auf dich. " 188. Ich habe meine Zuversicht. " 189. Meine Seele rühmt und preist. " 190. Singet dem Herrn ein neues Lied. (Lobe, Zion, deinen Gott.)

THIRTY-EIGHTH YEAR.

ORGAN WORKS. VOL. III.

_First Part:_

Preludes, Fugues, Fantasies, and other pieces.

_Second Part:_

Concertos, from Antonio Vivaldi.

Appendix I. Supplementary reading of No. XIV, and unfinished pieces. " II. Compositions whose authenticity is not fully established. " III. The first movement of the second concerto in Vivaldi's original.

THIRTY-NINTH YEAR.

_First Part:_

MOTETS.

No. 1. "Singet dem Herrn ein neues Lied," for eight voices. " 2. "Der Geist hilft unsrer Schwachheit auf," for eight voices. " 3. "Jesu, meine Freude," for five voices. " 4. "Fürchte dich nicht, ich bin bei dir," for eight voices. " 5. "Komm, Jesu, komm," for eight voices. " 6. "Lobet den Herrn, alle Heiden." Psalm 117, for four voices and _continuo_.

Appendix.

I. Instrumental accompaniment and figured organ part to the Motet "Der Geist hilft unsrer Schwachheit auf." II. Motet: "Ich lasse dich nicht, du segnest mich denn," for eight voices. III. " "Sei Lob und Preis mit Ehren," for four voices.

_Second Part:_

CHORALES AND SONGS.

Chorales for four voices from the collection of Carl Philipp Emanuel Bach.

Sacred songs and arias with figured or unfigured bass, from Schemell's _Gesangbuch_ and from Anna Magdalena Bach's _Notenbüchlein_.

FORTIETH YEAR.

ORGAN WORKS. VOL. IV.

_First Part:_

Chorale-preludes in Kirnberger's collection.

_Second Part:_

Other Chorale-preludes.

_Third Part:_

Chorale-variations.

Appendix.

I. Supplementary readings and detached pieces. II. Compositions and MSS. whose authenticity is not fully established.

FORTY-FIRST YEAR.

CHURCH MUSIC. SUPPLEMENTARY VOLUME.

Cantata No. 191. Gloria in Excelsis Deo.

Three incomplete church cantatas.

No. 1. Nun danket alle Gott. " 2. Ihr Pforten zu Zion. " 3. Ehre sei Gott in der Höhe.

Two incomplete Marriage Cantatas.

No. 1. O ewiges Feuer, o Ursprung der Liebe. " 2. Herr Gott, Beherrscher aller Dinge.

Single movements.

Appendix I.

Four Church Cantatas, whose authenticity as of Sebastian Bach's composition is not fully established.

No. 1. Gedenke, Herr, wie es uns gehet. " 2. Gott der Hoffnung erfülle euch. " 3. Siehe, es hat überwunden der Löwe. " 4. Lobt ihn mit Herz und Munde.

Appendix II.

Catalogue of the Church Compositions of Johann Ludwig Bach in Meiningen.

Supplementary notes and comments.

FORTY-SECOND YEAR.

PIANOFORTE WORKS. VOL. V.

Transcriptions of works of Bach's own composition and of that of others. Various Preludes, Fugues, and other pieces whose authenticity is probable.

Appendix I.

Compositions whose authenticity is not fully established, and some supplementary readings.

Appendix II.

Concerto No. 2 of Vivaldi and Fugue of Erselius in their original form.

FORTY-THIRD YEAR.

_First Issue:_

CHAMBER MUSIC. VOL. VIII.

Three sonatas for flute and figured bass. Sonata and Fugue for violin and figured bass. Sonata for two pianofortes. Concerto for four pianofortes, from Antonio Vivaldi.

Appendix.

Concerto for four violins by Antonio Vivaldi in its original form.

_Second Issue:_

Musical pieces in Anna Magdalena Bach's _Notenbüchlein_.

FORTY-FOURTH YEAR.

Joh. Seb. Bach's handwriting, in facsimile and chronological order.

FORTY-FIFTH YEAR.

## Part I : English and French Suites (new corrected edition).

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