List of compositions by Johann Sebastian Bach

Template:Short description Template:Use dmy dates

Canon triplex a 6: first printed in 1747 (below), it appears on both versions of the portrait Haussmann made of Bach (1746, 1748 – above). In the 19th-century Bach Gesellschaft edition the canon was published in Volume 45¹, p. 138. In 1950 the piece was assigned the number 1076 in Schmieder's catalogue of Bach's works (BWV). The 1998 edition of that catalogue (BWV^2a) mentions Haussmann's paintings as original sources for the work (p. 438), and likewise the Bach digital website gives a description of both paintings as sources for the piece (linked from Bach digital Work page Template:BDW).

Template:Lists of compositions by Johann Sebastian Bach

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra.

There are over 1,000 known compositions by Bach. Almost all are listed in the Script error: No such module "Lang". (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Listing Bach's compositions

Some of the early biographies of Johann Sebastian Bach contain lists of his compositions. For instance, his obituary contains a list of the instrumental compositions printed during the composer's lifetime, followed by an approximate list of his unpublished work.Template:Sfn The first separately published biography of the composer, by Johann Nikolaus Forkel, follows the same approach: its ninth chapter first lists printed works (adding four-part chorales which had been published in the second half of the 18th century), followed by a rough overview of the unpublished ones.Template:Sfn In the first half of the 19th century more works were published, so the next biographies (Schauer and Hilgenfeldt in 1850) had more elaborate appendices listing printed works, referring to these works by publisher, and the number or page number given to the works in these publications. So, for example, the Prelude and Fugue in E-flat major can be indicated as "C. F. Peters Vol. III No. 1", or any of the variants ("Griepenkerl and Roitzsch Vol. 3 p. 2", "Peters Book 242 p. 2", "P. S. V., Cah. 3 (242), No. 1", etc.)

BG

File:WTK-I-12-01-Leipzig Breitkopf & Haertel, 1866.jpg

The Prelude in F minor of The Well-Tempered Clavier book 1, in the BGA known as Vol. 14, p. 44, over eighty years before it was given the number 857 in the Bach-Werke-Verzeichnis

In the 2nd half of the 19th century the Bach-Gesellschaft (BG) published all Bach's works in around 50 volumes, the so-called Bach Gesellschaft Ausgabe (BGA).^[1] This offered a unique identification of all Bach's known works, a system that was quickly adopted, for instance, by the biographers: Philipp Spitta used it complementarily to the Peters edition's numbering for the BG volumes that had appeared when he was writing his Bach-biography in the second half of the 19th century (e.g. "B. G., III., p. 173" for the above-mentioned Prelude in E-flat major), and Terry used it in the third Appendix to his 20th-century translation of Forkel's biography.Template:Sfn

Despite this, there was still much confusion. Some authors preferred to list Bach's works according to Novello's editions, or Augener's, or Schirmer's, giving rise to various conversion tables at the end of books on Bach's compositions (e.g. Harvey Grace's in a 1922 book on Bach's organ compositions).

NBG

In 1900 the BG published its last volume, and dissolved itself, as its primary goal, publishing all of Bach's known works, was accomplished. The BG was succeeded by the Neue Bachgesellschaft (NBG), with a new set of goals (Bach yearbook, Bach festivals, and a Bach museum). Occasionally, however, the NBG published newly discovered works, or variants not published in the BGA. For instance the 1740s version of O Jesu Christ, meins Lebens Licht was published in NBG XVII¹ in 1916 (the 1730s version of the same piece, with a different orchestration, had been published in BG 24, pp. 185–192).Template:Sfn

BWV

Script error: No such module "Labelled list hatnote". In 1950 the Bach-Werke-Verzeichnis (Template:Literal translation; BWV) was published, allocating a unique number to every known composition by Bach. Wolfgang Schmieder, the editor of that catalogue, grouped the compositions by genre (not chronologically), largely following BG for the collation (e.g., BG cantata number = BWV number of the cantata):Template:Sfn

File:Loure bach.png

The BWV is a thematic catalogue, thus it identifies every movement of every composition by its first measures, like the opening of BWV 1006, movement 2 (Loure) above.

Kantaten (Cantatas), BWV 1–224
Motetten (Motets), BWV 225–231
Messen, Messensätze, Magnificat (Masses, Mass movements, Magnificat), BWV 232–243
Passionen, Oratorien (Passions, Oratorios), BWV 244–249
Vierstimmige Choräle (Four-part chorales), BWV 250–438
Lieder, Arien, Quodlibet (Songs, Arias and Quodlibet), BWV 439–524
Werke für Orgel (Works for organ), BWV 525–771
Werke für Klavier (Keyboard compositions), BWV 772–994
Werke für Laute (Lute compositions), BWV 995–1000
Kammermusik (Chamber music), BWV 1001–1040
Orchesterwerke (Works for orchestra), BWV 1041–1071, originally in two separate chapters: Concertos (BWV 1041–1065) and Overtures (BWV 1066–1071)
Kanons (Canons), BWV 1072–1078
Musikalisches Opfer, Kunst der Fuge (Musical Offering, Art of the Fugue), BWV 1079–1080

For instance, the Prelude and Fugue in E-flat major now became BWV 552, situated in the range of the works for organ.^[2]

In contrast to other catalogues, such as the Köchel catalogue for Mozart's compositions, no attempt is made at chronological organization in the BWV numbering; for instance, although BWV 992 has a relatively high number, it happens to be an early composition by Bach.^[2]

Although not as common, BWV numbers are sometimes also known as Schmieder (S) numbers, after the original editor; for example, S. 225 is the same as BWV 225.^[2]

Another consequence of the ordering principles of the BWV was that it split known collections apart; for instance, Clavier-Übung III was partly in the organ compositions range (BWV 552 and 669–689), with the four duets listed among the keyboard compositions (BWV 802–805).

BWV Anh.

The Anhang (Anh.), i.e. Appendix, of the BWV listed works that were not suitable for the main catalogue, in three sections:

I – lost works, or works of which only a tiny fraction had survived (Anh. 1–23)
II – works of dubious authenticity (Anh. 24–155)
III – works that were once attributed to Bach, but for which it had been established they were not composed by him (Anh. 156–189)

Within each section of the Anhang the works are sorted by genre, following the same sequence of genres as the main catalogue.

Schmieder published the BWV's second edition in 1990, with some modifications regarding authenticity discriminations, and more works added to the main catalogue and the Anhang. A strict numerical collation was abandoned to insert additions, or when for another reason compositions were regrouped. For example, BWV 11, formerly listed as a Cantata, was moved to the fourth chapter of the main catalogue as an Oratorio. Rather than renumbering a composition, an arrow indicated where the composition was inserted: "BWV 11/249b→" meaning "BWV 11, inserted after BWV 249b" (4th chapter). Similarly, BWV 1083/243a→ meant BWV 1083, inserted after BWV 243a (3rd chapter). Also, authenticity discriminations, based on new research, could lead to such repositionings within the catalogue; for example, "BWV Anh. II 114" became "Anh. II 114/Anh. III 183→, indicating it was now considered a spurious work.Template:Sfn

In 1998, Alfred Dürr and Yoshitake Kobayashi published a small edition of the catalogue, based on the 1990 second edition. This edition, known as BWV^2a, contained a few further updates and collation rearrangements.Template:Sfn

New additions (Nachträge) to BWV²/BWV^2a included:

BWV 1081–1126
BWV Anh. 190–213

A few exceptions to the principle that compositions were not renumbered were when a composition from the Anhang could be recovered or authenticated as Bach's, so that it deserved a place in the main catalogue, in which case it was given a number above 1080. So, for example, BWV Anh. 205 (BWV²) → BWV 1121 (BWV^2a, where it is in section 7 as a work for organ).^[3]

Other renumberings and additional numbers involved alternative or earlier versions of basically the same composition, which were indicated by adding a lower case letter to the BWV number. Examples:

BWV 243a: 1723 ETemplate:Flat major version of the 1733 Magnificat in D major BWV 243
BWV 1071 renumbered to BWV 1046a (early version of the first Brandenburg Concerto)
BWV Anh. 198 renumbered to BWV 149/1a (earlier abandoned version of the opening movement of Cantata BWV 149)

Some versions were completely removed from the catalogue, e.g. BWV 655b and c.

Slashes indicate movements: e.g. BWV 149/1 indicates the first movement of the Cantata BWV 149. Another example: the Agnus Dei of the Mass in B minor can be indicated as BWV 232/22 (22nd movement of the composition), or alternatively as BWV 232^IV/4 (BWV 232, fourth movement of Part IV).

21st-century additions

Numbers above BWV 1126 were added in the 21st century.

Reconstructed versions

An upper case R added to a BWV number indicates a reconstructed version, that is a conjectured earlier version of a known composition. One of such reconstructions, the Concerto for oboe and violin, as published in NBA VII/7 (Supplement) p. 75, based on the double harpsichord concerto BWV 1060, is known as BWV 1060R.

BWV³

As of mid-2018 the Bach digital website started to implement the new numbers of the 3rd edition of the Bach-Werke-Verzeichnis, which has been announced for publication in 2020.Template:Sfn For example, the Leipzig version of the Christ lag in Todes Banden cantata used to be BWV 4 in previous versions of the catalogue, and, in BWV³, has become BWV 4.2.^[4]

NBA

File:CU3title.jpg

The NBA illustrates its score editions with facsimiles from manuscripts or contemporary editions: for instance NBA Series IV Volume 4 (Clavier-Übung III) contains a facsimile of the title page of the 1739 first edition of that collection.

In the meantime, the New Bach Edition (Neue Bach-Ausgabe, abbreviated as NBA) was being published,^[5]^[6] offering a new system to refer to Bach's works, e.g. NBA IV/4: 2, 105, which is Series IV, Volume 4, p. 2 (Prelude) and p. 105 (Fugue), for BWV 552.

NBArev

Script error: No such module "Labelled list hatnote". Some years after the completion of the NBA in 2007 its publisher Bärenreiter joined with the Bach Archive again to publish revised editions of some of Bach's scores. These revised editions, aligning with the NBA editions (format, layout), but outside that group of publications, were published under the name Johann Sebastian Bach: New Edition of the Complete Works – Revised Edition (Johann Sebastian Bach: Neue Ausgabe sämtlicher Werke – Revidierte Edition), in short: New Bach Edition – Revised (Neue Bach-Ausgabe – Revidierte Edition), abbreviated as NBArev. Where the original NBA editions were exclusively in German, the volumes of the Revised series have their introductions both in German and English. Its first volume, NBArev 1, was a new edition of the Mass in B minor, appearing in 2010.^[7]

BC

The Bach Compendium (BC), a catalogue covering Bach's vocal works was published in 1985.^[8] Occasionally works that have no BWV number can be identified by their BC number, e.g. BC C 8 for "Der Gerechte kömmt um" an arrangement attributed to Bach on stylistic grounds, but unmentioned in the BWV.^[9]

BNB

Bachs Notenbibliothek (BNB) is a list of works Bach had at his disposition. Works of other composers which were arranged by Bach or which he (had) copied for performance usually have a BNB number.^[10]

SBB

The Berlin State Library (Staatsbibliothek zu Berlin = SBB) holds an important collection of composition manuscripts relating to Bach. Some versions of works are best known by their principal manuscript in the SBB, for instance BWV 525a = SBB St 345, or according to the abbreviations used at the Bach-digital website D-B Mus. ms. Bach St 345. Script error: No such module "anchor".

By opus number, and chronological lists

File:Clavier-Übung-I-title-page.jpg

Title page of Bach's Opus 1 (Clavier-Übung I, 1731), the only time he seems to have used an opus number

Apart from indicating his first published keyboard composition as Opus 1, Bach did not use opus numbers. Lists following publication chronologies are for example implied in the first list in Bach's obituary, and BG numbers (within the BGA sequence of publication) – overall lists covering all of Bach's compositions in order of first publication are however not a way Bach's compositions are usually presented.

Listing Bach's works according to their time of composition cannot be done comprehensively: for many works the period in which they were composed is a very wide range. For Bach's larger vocal works (cantatas, Passions,...) research has led to some more or less generally accepted chronologies, covering most of these works: a catalogue in this sense is Philippe (and Gérard) Zwang's list giving a chronological number to the cantatas BWV 1–215 and 248–249.^[11] This list was published in 1982 as Guide pratique des cantates de Bach in Paris, Template:ISBN. A revised edition was published in 2005 (Template:ISBN).

Other composers

Script error: No such module "Labelled list hatnote". Various catalogues with works by other composers have intersections with collections of works associated with Bach:^[12]

BR-WFB (or) BR

Bach-Repertorium numbers for works by Wilhelm Friedemann Bach, e.g. BWV 970 = BR A49

Other BRs:

BR-CPEB: works by Carl Philipp Emanuel Bach (for this composer Helm or Wotquenne numbers are however more often used)
BR-JCFB: works by Johann Christoph Friedrich Bach

Fk (or) F: Falck catalogue numbers for works by Wilhelm Friedemann Bach, e.g. BWV 970 = F 25/2
H: Helm numbers for works by Carl Philipp Emanuel Bach, e.g. BWV 1036 = H 569
HWV: Works by George Frideric Handel, e.g. BWV Anh. 106 = HWV 605
TWV: Compositions by Georg Philipp Telemann, e.g. BWV 824 = TWV 32:14
Warb (or) W: Warburton numbers for works by Johann Christian Bach, e.g. BWV Anh. II 131 = W A22 (or: Warb A 22)
Wq: Wotquenne numbers for works by Carl Philipp Emanuel Bach, e.g. BWV 1036 = Wq 145

Works in Bach's catalogues and collections

There are over 1500 works that feature in a catalogue of works by Bach, like the Bach-Werke-Verzeichnis, or in a collection of works associated with Bach (e.g. in one of the Notebooks for Anna Magdalena Bach). Of these around a thousand are original compositions by Bach, that is: more than a mere copy or transcription of an earlier work by himself or another composer.

Template:Bach's compositions (legend) Template:Bach's compositions (background)

Table sections (collated as in BWV^2a for BWV 1–1126 and Anhang)
BWV (original ranges in parentheses)
1. Cantatas (1–224) • 2. Motets (225–231) • 3. Masses, Mass movements, Magnificat (232–243) • 4. Passions, Oratorios (244–249) • 5. Four-part chorales (250–438) • 6. Songs, Arias and Quodlibet (439–524) • 7. Works for organ (525–771) • 8. Keyboard compositions (772–994) • 9. Lute compositions (995–1000) • 10. Chamber music (1001–1040) • 11. Works for orchestra (1041–1071) • 12. Canons (1072–1078) • 13. Musical Offering, The Art of Fugue (1079–1080) • Later additions (1081–...) • Reconstructions
BWV Anhang (Appendix)
I: Lost/fragmentary (1–23) • II: Doubtful (24–155) • III: Spurious (156–189) • N: Nachträge (New additions, 190–213)
Not in BWV (BWV deest)
Sorted by BC, BGA, BNB, NBA, etc.

Collections
Without resorting the table (i.e. collection kept together in BWV^2a)
Cello Suites BWV 1007–1012 • Christmas Oratorio, BWV 248 • Clavier-Übung IV = Goldberg Variations BWV 988 • Inventions BWV 772–786 • Sinfonias BWV 787–801 • Sonatas and partitas for solo violin BWV 1001–1006
Using the sort function (not available in all browsers)
Cantatas by function (Advent I → Trinity XXVII; other Feasts, celebrations and church services; Secular cantatas): sort by NBA → I/1 Clavier-Übung I (1731): sort by NBA → V/1 Clavier-Übung II (1735): sort by NBA → V/2 Clavier-Übung III (1739): sort by NBA → IV/4 Kirnberger collection of chorale preludes: sort by BWV → BWV 690 Klavierbüchlein für Wilhelm Friedemann Bach (1720): sort by NBA → V/5 Twelve Little Preludes: sort by BG → 36: 118 Neumeister Chorales by J. S. Bach (without BWV 601, 639, 719, 723, 737 and 751): sort by NBA → IV/9 Notebook for Anna Magdalena Bach (1722): sort by Name → Notebook A. M. Bach (1722) Notebook for Anna Magdalena Bach (1725): sort by Name → Notebook A. M. Bach (1725) Vivaldi arrangements: sort by Additional info → after Vivaldi The Well-Tempered Clavier book I (1722): sort by BG → Vol. 14 The Well-Tempered Clavier book II (1739–1742): sort by NBA → V/6.2 The Well-Tempered Clavier book II (1744): sort by BG → 14: 91

| data-sort-value="1524b" | Up ↑ |- | data-sort-value="0655.B00" | 655b | data-sort-value="500.001" | – | data-sort-value="1748-12-31" | 1708–1789 | chorale setting "Herr Jesu Christ, dich zu uns wend" (alternative version "a" in BGA) | | Organ | data-sort-value="000.25 2: 159" | 25²: 159 | | data-sort-value="after BWV 0655" | after BWV 655(a); ↔ 655c | Template:BDW |- | data-sort-value="0655.C00" | 655c | data-sort-value="500.002" | – | data-sort-value="1748-12-31" | 1708–1789 | chorale setting "Herr Jesu Christ, dich zu uns wend" (alternative version "b" in BGA) | | Organ | data-sort-value="000.25 2: 160" | 25²: 160 | | data-sort-value="after BWV 0655" | after BWV 655(a); ↔ 655b | Template:BDW |- | data-sort-value="0813.A00" | 813a | data-sort-value="500.010" | – | | French Suites, No. 2 – Version B (early version): No. 6 Menuet II | C min. | Keyboard | data-sort-value="000.36: 236" | 36: 236 | data-sort-value="V/08: 079" | V/8: 79 | | Template:BDW |- | data-sort-value="A215.BCC.008.000" | deest | data-sort-value="503.080" | BC
C 8 | data-sort-value="1736-12-31" | 1723–1750?
(JSB?) | Motet Der Gerechte kömmt um (Wer ist der, so von Edom kömmt/39; funer. motet?) | E min. | data-sort-value="SSATB Flx2 Obx2 Str Bc" | SSATB 2Fl 2Ob Str Bc | | I/41: 127 | by Kuhnau? (Tristis est...); arr. by Bach? | Template:BDW |- | data-sort-value="A215.BCD.001.000" | deest | data-sort-value="504.010" | BC
D 1 | data-sort-value="1717-03-28" | 1717-03-28? | Passion Weimarer Passion | | data-sort-value="stbSATB Flx2 Obx2 Str Bc" | ?stbSATB 2Fl 2Ob Str Bc | | | data-sort-value="→ BWV 0023/4" | → BWV 23/4 (and 55/3; 244/29; 245a–c; 283?) | Template:BDW |- style="background: #E3F6CE;" | data-sort-value="A215.BCD.005.A00" | deest | data-sort-value="505.051" | BC
D 5a | data-sort-value="1712-12-31" | 1707 (Kei)
before 1713
(JSB) | Passion Jesus Christus ist um unsrer Missetat willen verwundet (St Mark Passion pastiche, Weimar version) | | SATB 2Vl 2Va Hc | | data-sort-value="II/9: 069" | II/9: 69 | Pasticcio (Keiser G.?, Bach) | Template:BDW |- style="background: #E3F6CE;" | data-sort-value="A215.BCD.005.B00" | deest | data-sort-value="505.052" | BC
D 5b | 1726-04-19
(JSB) | Passion Jesus Christus ist um unsrer Missetat willen verwundet (St Mark Passion pastiche, 1st Leipzig version) | | SATB 2Vl 2Va Org | | II/9 | Pasticcio after BC D 5a (Keiser G.?, Bach) adding BWV 500a and 1084) | Template:BDW |- | data-sort-value="A215.BCD.010.000" | deest | data-sort-value="505.100" | BC
D 10 | data-sort-value="1750-07-01" | c.Script error: No such module "Check for unknown parameters".1750? | Passion Wer ist der, so von Edom kömmt | D min. | data-sort-value="satbSSATB Flx2 Obx2 Str Bc" | satbSSATB 2Fl 2Ob Str Bc | | data-sort-value="I/41: 095" | I/41: 95 | Pasticcio (Graun, C. H.; Telemann; Bach; ...) | Template:BDW |- style="background: #F6E3CE;" | data-sort-value="0008.107" | deest
(8/6*) | data-sort-value="507.131" | BC F 131 .1c | data-sort-value="1735-07-01" | c. Template:TrimScript error: No such module "Check for unknown parameters". | chorale setting "Liebster Gott, wenn werd ich sterben" | E♭ maj. | SATB | | data-sort-value="III/02 1: 148" | III/2.1: 100 | after Z 6634; text by Neumann | Template:BDW |- style="background: #E3F6CE;" | data-sort-value="A215.BGA.432.035" | | data-sort-value="643.535" | BGA | data-sort-value="1725-07-01" | 1725 (JSB) | Notebook A. M. Bach (1725) No. 21 Menuet fait par Mons. Böhm | G maj. | Keyboard | data-sort-value="000.43 2: 035" | 43²: 35 | data-sort-value="V/04: 082" | V/4: 82 | by Böhm | |- id="BNB I/B/48" style="background: #E3F6CE;" | data-sort-value="A215.BNB.01B.048" | | data-sort-value="710.248" | BNB
I/B
/48 | data-sort-value="1738-07-01" | 1709 (Bas.)
c.Script error: No such module "Check for unknown parameters".1738
(JSB) | data-sort-value="Massx6" | 6 Masses without Benedictus and Agnus Dei from Template:Interlanguage link multi | | data-sort-value="SATBx2 Tbnx3 Str Bc" | 2SATB 3Tbn Str Bc | | | by Bassani; copied by Bach (BNB I/B/48), later adding BWV 1081^[130] | Template:BDW |- id= "BNB I/C/1" style="background: #E3F6CE;" | data-sort-value="A215.BNB.01C.001" | | data-sort-value="710.301" | BNB
I/C/1 | data-sort-value="1741-09-15" | 1740–1742 (JSB) | Magnificat | C maj. | data-sort-value="SATB Tbnx4 Tmp Bc" | SATB 4Tbn Tmp Bc | | | by Caldara; → BWV 1082; in DBB 2755/1 | Template:BDW |- style="background: #E3F6CE;" | data-sort-value="A215.BNB.01K.002" | deest | data-sort-value="711.102" | BNB
I/K/2 | data-sort-value="1747-01-01" | before 1719
(Han.)
1743–1748
(JSB) | Passion Jesus Christus ist um unsrer Missetat willen verwundet (St Mark Passion pastiche, 2nd Leipzig version) | | stSATB 2Ob 2Bas 2Vl 2Va Vc Vne Hc | | II/9 | Pasticcio after BC D 5b (Keiser G.?, Bach) and HWV 48/9 /23 /41 /44 /47 /52 /55 (Handel) | Template:BDW |- style="background: #E3F6CE;" | data-sort-value="A215.NBA.209.013" | deest | data-sort-value="829.013" | NBA | data-sort-value="1742-07-01" | 1591 (Pal.)
c.Script error: No such module "Check for unknown parameters".1742
(JSB) | Kyrie–Gloria Mass arranged from Missa sine nomine a 6 | E min. | SSATTB 2Co 4Tro Vne Hc Org | | data-sort-value="II/09: 013" | II/9: 13 | by Palestrina after anon. motet Beata Dei genitrix; arr. by Bach | Template:BDW |- id="NBA V-5" style="background: #E3F6CE;" | data-sort-value="A215.NBA.505.002" | | data-sort-value="855.002" | NBA | 1720-01-22 | data-sort-value="Klavierbüchlein für Wilhelm Friedemann Bach No. 0" | Klavierbüchlein WFB, p. 3a: Claves signatae (introduction on clefs) | | | data-sort-value="000.45 1: 213" | 45¹: 213 | data-sort-value="V/05: 002" | V/5 | Template:Sfn | |- style="background: #E3F6CE;" | data-sort-value="A215.NBA.505.003" | | data-sort-value="855.003" | NBA | 1720-01-22 | data-sort-value="Klavierbüchlein für Wilhelm Friedemann Bach No. 00" | Klavierbüchlein WFB, p. 3b: Explication... (introduction on ornaments) | | | data-sort-value="000.45 1: 213" | 45¹: 213 | data-sort-value="V/05: 003" | V/5 | Template:Sfn | |- style="background: #F5F6CE;" | data-sort-value="A215.NBA.505.040" | | data-sort-value="855.040" | NBA | data-sort-value="1720-07-01" | 1720 (WFB) | data-sort-value="Klavierbüchlein für Wilhelm Friedemann Bach No. 30" | Klavierbüchlein WFB No. 25: Pièce pour le Clavecin | | Keyboard | data-sort-value="000.45 1: 218" | 45¹: 218 | data-sort-value="V/05: 040" | V/5: 40 | by Template:Interlanguage link multi Template:Sfn | |- | data-sort-value="A215.NBA.505.045" | deest | data-sort-value="855.045" | NBA | data-sort-value="1720-07-01" | 1720 (anon) | data-sort-value="Klavierbüchlein für Wilhelm Friedemann Bach No. 30" | Klavierbüchlein WFB No. 30: Bass sketch | G min. | | data-sort-value="000.45 1: 220" | 45¹: 220 | data-sort-value="V/05: 045" | V/5: 45 | Template:Sfn | |- style="background: #F5F6CE;" | data-sort-value="A215.NBA.505.087" | | data-sort-value="855.087" | NBA | data-sort-value="1720-07-01" | 1720 (WFB) | data-sort-value="Klavierbüchlein für Wilhelm Friedemann Bach No. 48a-d" | Klavierbüchlein WFB No. 48^a–d: Partita | | Keyboard | data-sort-value="000.45 1: 223" | 45¹: 223 | data-sort-value="V/05: 087" | V/5: 82 | by Stölzel Template:Sfn | |} Template:Bach's compositions (scoring)

By genre

Cantatas (BWV 1–224)

See #BWV Chapter 1 in the table above

Script error: No such module "Labelled list hatnote". In the 1950 first edition of the BWV the cantatas were largely listed according to their BGA number:

BWV 1–200: Church cantatas
BWV 201–216: Secular cantatas
BWV 217–224: Cantatas with various issues (lost, incomplete, spurious, doubtful)

Additionally Anh. I of the first edition of the BWV started with a list of some 20 lost cantatas, while Anh. III of that edition listed a few cantata (movements) by other composers (Anh. 156–158).

BWV^2a added many more lost cantatas (BWV Anh. 190–199 and 209–212) and alternative versions to known works indicating (partially) lost cantatas or cantata versions, e.g. BWV 244a, the music of which was partially preserved in the St Matthew Passion, BWV 244.

Motets (BWV 225–231)

See #BWV Chapter 2 in the table above

Script error: No such module "Labelled list hatnote". There are over a dozen motets attributed to Bach, about half of which are authentic by all accounts:

BWV 225–230 are the six compositions that have always been considered motets composed by Bach
BWV 231 was later renumbered to BWV 28/2a, a variant of the second movement of cantata BWV 28
BWV 118, published as a cantata in the 19th century, was later recategorised as a motet, following Bach's designation on the score.
BWV Anh. 159–165 are motets with a doubtful or spurious assignation to Bach, the first of which is however most likely composed by Bach.

Liturgical works in Latin (BWV 232–243)

See #BWV Chapter 3 in the table above

Script error: No such module "Labelled list hatnote". Bach's involvement with Latin church music, as composer, arranger or copyist, includes:

BWV 232–242: Masses and Mass movements (Mass in B minor; Kyrie–Gloria Masses; separate Mass movements)
BWV 243: Magnificat
BWV 1081–1083: later additions to the BWV catalogue
BWV Anh. 24–30, 166–168: doubtful and spurious works
BNB I/B/48, I/C/1, I/P/2: copies and arrangements

Passions and oratorios (BWV 244–249)

See #BWV Chapter 4 in the table above

Script error: No such module "Labelled list hatnote". Passions and oratorios composed or contributed to by Bach include:

BWV 244–247: Passions (St Matthew Passion; St John Passion; St Luke Passion; St Mark Passion)
BWV 248–249: Oratorios (Christmas Oratorio; Easter Oratorio)
BWV 11: Ascension Oratorio
BWV 127/1, 500a, 1084, 1088, deest: St Mark Passion (attributed to Keiser), Weimarer Passion, Wer ist der, so von Edom kömmt
BWV Anh. 169: passion text by Picander (not set by Bach, apart from using some parts of this text in his St Matthew Passion)

Four-part chorales (BWV 250–438)

See #BWV Chapter 5 in the table above

Script error: No such module "Labelled list hatnote". Bach's chorale settings (usually for SATB choir) are included in:

BWV 250–438: separate chorale settings
Cantatas (most prominently in the chorale cantatas), motets, passions, oratorios, Second Notebook for Anna Magdalena Bach
BWV 1089, 1122–1126: later additions to the BWV catalogue
BWV Anh. 31, 201–204: doubtful and spurious

Songs and arias (BWV 439–524)

See #BWV Chapter 6 in the table above

Script error: No such module "Labelled list hatnote". Songs and (separate) arias by Bach are included in several collections:

BWV 439–507: Schemellis Gesangbuch
BWV 508–518: Second Notebook for Anna Magdalena Bach
BWV 519–523: D-B Mus. ms. Bach P 802, a manuscript by Johann Ludwig Krebs
BWV Anh. 32–39: Deutsche Übersetzungen und Gedichte (doubtful)
BWV Anh. 40–41: Singende Muse an der Pleiße (doubtful)

Associated with the Songs and Arias group:

BWV 524: (Wedding) Quodlibet for four voices (incomplete)
BWV 1127: "Alles mit Gott und nichts ohn' ihn" (strophic aria rediscovered in 2005)Template:Sfn

Works for organ (BWV 525–771)

See #BWV Chapter 7 in the table above

Script error: No such module "Labelled list hatnote". Bach's organ compositions include:

BWV 525–530: Sonatas
BWV 531–582: compositions of the type Prelude/Fantasia/Toccata/Adagio/Passacaglia or Fugue
BWV 583–591: various free organ compositions (Trios/Aria/Canzona/Allabreve/Pastorale/Kleines harmonisches Labyrinth )
BWV 592–597: Concertos (transcriptions)
BWV 598: Pedal-Exercitium
BWV 599–764: Chorale preludes (Orgelbüchlein; Schübler Chorales; Great Eighteen Chorale Preludes or Leipzig Chorales; Chorale preludes from Clavier-Übung III; Kirnberger chorale preludes; other chorale preludes)
BWV 765–768: Chorale partitas
BWV 769–771: Chorale variations (includes Canonic Variations on "Vom Himmel hoch da komm' ich her")
BWV 1085–1087, 1121, 1128: various later additions to the BWV catalogue
BWV 1090–1120: Neumeister Chorales
BWV Anh. 42–79, 171–178, 200, 206, 208, 213: lost, doubtful and spurious organ pieces

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Works for keyboard (BWV 772–994)

See #BWV Chapter 8 in the table above

Script error: No such module "Labelled list hatnote". Bach's works for harpsichord, clavichord and other keyboard instruments include:

BWV 772–801: Inventions and Sinfonias
BWV 802–805: Duets from Clavier-Übung III
BWV 806–845: Suites and suite movements (English Suites; French Suites; Partitas = Clavier-Übung I; Overture in the French style from Clavier-Übung II; etc.)
BWV 846–893: The Well-Tempered Clavier (book I, book II)
BWV 894–962: compositions of the type Prelude/Fantasia/Concerto/Toccata or Fugue/Fughetta (includes Chromatic Fantasia and Fugue, Six Little Preludes, several parts of the Klavierbüchlein für Wilhelm Friedemann Bach, etc.)
BWV 963–970: Sonatas and sonata movements
BWV 971–987: Concertos (includes Italian Concerto from Clavier-Übung II and various concerto transcriptions)
BWV 988–991: Variations (includes Goldberg Variations = Clavier-Übung IV and Aria variata alla maniera italiana)
BWV 992–994: Capriccios and Applicatio (includes Capriccio on the departure of a beloved brother)

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Works for solo lute (BWV 995–1000)

See #BWV Chapter 9 in the table above

Script error: No such module "Labelled list hatnote". Bach's compositions for lute or lute-harpsichord (Lautenwerck) include:

BWV 995–1000 suites and separate movements for lute or lute-harpsichord
BWV 1006a: transcription of BWV 1006

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Chamber music (BWV 1001–1040)

See #BWV Chapter 10 in the table above

Script error: No such module "Labelled list hatnote". Bach wrote chamber music for solo violin, cello or flute, sonatas for harpsichord and an instrumental soloist, and trio sonatas:

BWV 1001–1006: Sonatas and partitas for solo violin
BWV 1007–1012: Cello Suites
BWV 1013: Partita for solo flute
BWV 1014–1026: works for accompanied violin (sonatas, suite for violin and harpsichord; sonatas, fugue for violin and basso continuo)
BWV 1027–1029: sonatas for viola da gamba and harpsichord
BWV 1030–1035: sonatas for accompanied flute (sonatas for flute and harpsichord; sonatas for flute and basso continuo)
BWV 1036–1040: trio sonatas

Orchestral works (BWV 1041–1071)

See #BWV Chapter 11 in the table above

Script error: No such module "Labelled list hatnote". Bach wrote concertos and orchestral suites:

BWV 1041–1045: Violin concertos (in A minor, in E major, Double Concerto); Triple Concerto; Concerto movement/Sinfonia fragment
BWV 1046–1051: Brandenburg Concertos
BWV 1052–1065: Harpsichord concertos
BWV 1066–1071: Orchestral suites and Sinfonia (early version of BWV 1046)

Canons (BWV 1072–1078)

See #BWV Chapter 12 in the table above

Script error: No such module "Labelled list hatnote". Separate canons by Bach are listed in the 12th chapter of the BWV:

BWV 1072–1078: canons
BWV 1086–1087: later additions

Late contrapuntal works (BWV 1079–1080)

See #BWV Chapter 13 in the table above

Script error: No such module "Labelled list hatnote". The list of late contrapuntal works contains only two items:

BWV 1079: The Musical Offering
BWV 1080: The Art of Fugue

20th-century additions to the BWV catalogue and Anhang

Additions as published in BWV^2a

Additions to the main catalogue (BWV 1081–1126)

BWV 1081 – Credo in unum Deum in F major (for choir), included in Chapter 3 in BWV^2a
BWV 1082 – Suscepit Israel by Antonio Caldara (for choir), as copied by Bach;^[131] Included in Chapter 3 in BWV^2a
BWV 1083 – Tilge, Höchster, meine Sünden (motet, "parody", i.e., reworked version, of Pergolesi's Stabat Mater), included in Chapter 3 in BWV^2a
BWV 1084 – O hilf, Christe, Gottes Sohn (chorale from Bach's Leipzig versions of the St Mark Passion attributed to Keiser), included in Chapter 5 in BWV^2a
BWV 1085 – O Lamm Gottes, unschuldig (chorale prelude), included in Chapter 7 in BWV^2a
BWV 1086 – Canon Concordia discors, included in Chapter 12 in BWV^2a
BWV 1087 – 14 canons on the First Eight Notes of Goldberg Variations Ground (discovered 1974), included in Chapter 12 in BWV^2a
BWV 1088 – "So heb ich denn mein Auge sehnlich auf" (arioso for bass), No. 20 in Wer ist der, so von Edom kömmt (pasticcio Passion oratorio);^[132] Included in Chapter 4 in BWV^2a
BWV 1089 – Da Jesus an dem Kreutze stund (four-part chorale), included in Chapter 5 in BWV^2a
BWV 1090–1120 – 31 chorale preludes for organ from the Neumeister Collection, discovered in 1985 in the archives of the Yale University library; Included in Chapter 7 in BWV^2a, except for BWV 1096, attributed to Johann Pachelbel,Template:Sfn Template:Sfn which was moved to Anh. III (spurious works).
BWV 1121, previously Anh. 205 – Fantasie in C minor (organ), included in Chapter 7 in BWV^2a
BWV 1122–1126 – five four-part chorales,^[133] moved to Chapter 5 in BWV^2a

Additions to the Anhang (BWV Anh. 190–213)

BWV Anh. 190–213 were added between the 1950 and 1990s editions of the catalogue

BWV Anh. 190–197 – Cantatas added to Anh. I (music lost); see also List of Bach cantatas
BWV Anh. 198 – Abandoned sketch of a cantata opening, renumbered to BWV 149/1a and added to Chapter 1 in BWV^2a
BWV Anh. 199 – Cantata added to Anh. I (music lost); see also List of Bach cantatas
BWV Anh. 200 – Fragment of a chorale prelude O Traurigkeit, o herzeleid, added to Anh. I (unused sketch for the Orgelbüchlein)
BWV Anh. 201–204 – Four-part chorales added to Anh. II (doubtful)
BWV Anh. 205 – Fantasia in C minor, authenticated as BWV 1121 and added to Chapter 7 in BWV^2a
BWV Anh. 206 – Doubtful chorale prelude, added to Anh. II
BWV Anh. 207 – Doubtful keyboard fugue, added to Anh. II
BWV Anh. 208 – Spurious organ fugue, added to Anh. III
BWV Anh. 209–212 – Lost cantatas added to Anh. I; see also List of Bach cantatas
BWV Anh. 213 – Lost arrangement for organ of an unidentified Telemann concerto, added to Anh. I

21st-century additions to the BWV catalogue (BWV 1127 and higher)

See also #BWV Later in the table above

BWV numbers assigned after the publication of BWV^2a:

BWV 1127: strophic aria "Alles mit Gott und nichts ohn' ihn" (discovered June 2005)Template:Sfn
BWV Anh. 71, renumbered to BWV 1128: chorale fantasia for organ "Wo Gott der Herr nicht bei uns hält" (BWV Anh. II 71 was authenticated as a composition by Bach after Wilhelm Rust's 1877 copy was recovered in March 2008)^[134]Template:Sfn
BWV 1129 and higher: BWV³ numbers, see BWV#Numbers above BWV 1126

Derivative works

Script error: No such module "Labelled list hatnote". There is not much system in the way works derived from Bach's compositions are listed. The "R" addition to the BWV number is only well-established for the reconstructions included in NBA VII/7 (e.g. solo violin reconstructions of BWV 565 are not usually indicated as BWV 565R, neither is the system used for reconstructed vocal works). For some series of transcriptions and arrangements works catalogues of these transcribers/arrangers may hold sublists with works derived from compositions by Bach.

Reconstructed concertos

See also #Reconstructions in the table above

Script error: No such module "labelled list hatnote". Each reconstructed concerto is created after the harpsichord concerto for the presumed original instrument. Such reconstructions are commonly referred to as, for example, BWV 1052R (where the R stands for 'reconstructed'). Other reconstructions and completions of for instance BWV 1059 have been indicated as BWV 1059,^[135] or BWV 1059a.^[136]

Adaptations

Transcriptions and arrangements in the catalogues of works by other composers include:

Ferruccio Busoni: Catalogue numbers BV B 20 to B 46 are arrangements of works by Bach, many of which published in the Bach-Busoni Editions.

References

For abbreviations used in the references see also Bibliography at Template:Url Template:Sfn whitelist

↑ Cite error: Script error: No such module "Namespace detect".Script error: No such module "Namespace detect".
↑ ^a ^b ^c Template:Catalog lookup link
↑ Template:BDh
↑ Template:BDh
↑ Johann Sebastian Bach (1685–1750): New Edition of the Complete Works at the Bärenreiter website.
↑ Cite error: Script error: No such module "Namespace detect".Script error: No such module "Namespace detect".
↑ Johann Sebastian Bach: New Edition of the Complete Works – Revised Edition at the Bärenreiter website.
↑ Hans-Joachim Schulze and Christoph Wolff. Bach Compendium: Analytisch-bibliographisches Repertorium der Werke Johann Sebastian Bachs, Vol. 1 (Part 1–4). Leipzig 1985ff.
↑ Template:BDh
↑ Kirsten Beißwenger (1992). Johann Sebastian Bachs Notenbibliothek. Kassel: Bärenreiter. Template:ISBN
↑ Johann Sebastian Bach: Correspondance Catalogues Zwang — Schmeider at Template:Url
↑ Works Catalogues at Template:Url
↑ Script error: No such module "citation/CS1".
↑ Script error: No such module "citation/CS1".
↑ Template:RISM
↑ Template:RISM
↑ Philipp Spitta. Musikgeschichtliche Aufsätze. Berlin (1894), 117f
↑ Script error: No such module "citation/CS1".
↑ Johann Sebastian Bach: Concerti nach Vivaldi u.a. – III at Template:Url
↑ Johann Sebastian Bach, edited by Hermann Scherchen, preface by Charles van den Borren. Facsimile of BR Bruxelles II. 4805, appendix in Musica viva, Vol. III. Brussels (1936)
↑ ^a ^b Johann Sebastian Bach, edited by E. Capriani. "Documenti storici" in Opere per Liuto, Vol. III. Rovereto (1977)
↑ MB Lpz III. 11. 3
↑ ^a ^b ^c ^d Johann Sebastian Bach, introduction by Hans-Joachim Schulze. Drei Lautenkompositionen in zeitgenössischer Tabulatur (BWV 995, 997, 1000). Leipzig (1975)
↑ Artzt. "The third Lute Suite by Bach: Three Manuscripts and their Implications" in Journal of the Lute Society of America (1968), pp. 9ff
↑ Grossman. "Der Intavolator als Interpret: Johann Sebastian Bachs Lautensuite g-moll, BWV 995, im Autograph und in zeitgenössischer Tabulatur" in Basler Jahrbuch (1986), pp. 223–244
↑ ^a ^b Junghänel. "Bach und die zeitgenössische Lautenpraxis" in Bericht Duisburg
↑ ^a ^b ^c ^d ^e ^f ^g ^h Radke. Fs Engel, pp. 271ff
↑ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ Schulze, Dok III
↑ Schulze. Mf 1968, pp. 203f
↑ Schulze. "«Monsieur Schouster» – ein vergessener Zeitgenosse Johann Sebastian Bachs" in Fs Dürr, pp. 243ff
↑ Schulze. St
↑ ^a ^b ^c ^d Schulze. "Wer intavolierte Johann Sebastian Bachs Lautentabulaturen?" in Mf 1966, pp. 32ff
↑ ^a ^b ^c ^d ^e ^f Siegele Diss
↑ Beißwenger, Acht Präl: 27
↑ Dömling/Kohlhase, AcM 1971: 108f
↑ ^a ^b ^c ^d ^e Schulze St
↑ ^a ^b ^c ^d Spitta I: 768; II: 646
↑ Wiemer, BJ 1987: 29ff
↑ ^a ^b ^c Dreyfus Cont Gr
↑ Johann Sebastian Bach with an introduction by Hiroshi Hoshino. "The Manuscript Copy of J. S. Bach's Prelude, Fugue and Allegro for Lute or Harpsichord, E-flat major (BWV 998), in the Possession of Ueno Gakuen" (contains facsimile of Prelude pour la Luth. ò Cembal. par J. S. Bach.) in Fs for Ueno Gakuen. Tokyo (1974), pp. 171ff
↑ Dombois. "The Allegro from J. S. Bachs Prelude, Fugue and Allegro in E-flat major" in Lute Society Journal (1972), pp. 25ff, 51ff
↑ ^a ^b ^c ^d Kobayashi Chr
↑ Badura-Skoda
↑ Spitta I: 663
↑ Kilian, Mf 1961: 323 (regarding BWV 539)
↑ ^a ^b Dadelsen TBSt 4/5
↑ Hofmann, Fs Scheide: 14~154
↑ Spitta I: 707
↑ Zingel. "Bach auf der Harfe" in Schweizerische Musikzeitung (1964), pp. 286ff
↑ Friedrich Wilhelm Marpurg. Abhandlung von der Fuge Vol. 2. Berlin (1754), TAB XXXVII
↑ Herz BQA
↑ Neumann/Schulze, Dok I, Nr. 147
↑ ^a ^b ^c ^d ^e Schulze. "Johann Sebastian Bachs Kanonwidmungen" in BJ 1967, pp. 82ff
↑ Spitta I: 386
↑ Wolff, Mf 1973: 217ff
↑ Georg Philipp Telemann. Der getreue Music-Meister. Hamburg (1728), p. 68
↑ Johann Mattheson. Der vollkommene Capellmeister. Hamburg (1739), p. 412
↑ Lorenz Christoph Mizler. Neu eröffnete musikalische Bibliothek Vol. III. Leipzig (1747), p. 482ff
↑ Friedrich Wilhelm Marpurg. Abhandlung von der Fuge nach den Grundsätzen und Exemplen der besten deutschen und ausländischen Meister entworfen ... Vol. 2. Berlin (1754), TAB XXXIII, Fig. 2–3
↑ Neumann/Schulze, Dok I, Nr. 158; Dok II, Nr. 325, 564
↑ Spitta II: p. 478 / 798
↑ Johann Sebastian Bach. Canon triplex à 6 Voc:. Leipzig (1747)
↑ C. L. Hilgenfeldt. Johann Sebastian Bach's Leben, Wirken und Werke: ein Beitrag zur Kunstgeschichte des achtzehnten Jahrhunderts. Leipzig: Friedrich Hofmeister (1850), p. 212
↑ Clement
↑ Neumann/Schulze, Dok II, Nr. 559
↑ Smend. Johann Sebastian Bach bei seinem Namen gerufen: Eine Noteninschrift und ihre Deutung. Kassel (1950). Reprint in: Smend Bach-St: 176ff
↑ Nowak. "Ein Bach-Fund" in Fontes artis musicae (1966), pp. 95ff
↑ Spitta II, p. 506 / p. 747
↑ ^a ^b Wolff Stile antico
↑ Neumann/Schulze, Dok I, Nr. 174
↑ Neumann/Schulze, Dok I, Nr. 177
↑ Spitta Vol. II, pp. 717ff / Anh. p. 19
↑ NBA VIII/1 Krit. Bericht: 36f
↑ Neumann/Schulze, Dok II, Nr. 602, 603
↑ Reich. "Johann Sebastian Bach und Johann Gottfried Müthel – zwei unbekannte Kanons" in Mf 1960, pp. 449f
↑ Stam, Mf 1968: 317ff, bes. 319
↑ BN Paris Ms. 17669, Bl. 18v at Template:Url
↑ Alain. "Un supplément inédit aux Variations Goldberg de J. S. Bach" in Revue de Musicologie (1975), pp. 244ff
↑ Gárdonyi. "Zu einigen Kanons von J. S. Bach" in Studia Musicologica: Academiae Seientiarum Hungaricae Vol. 28 (1986), pp. 321–324
↑ Kennyon. "A newly discovered Group of Canons by Bach" in MT (1976), pp. 391ff
↑ Wolff. "Bach's Handexemplar of the Goldberg Variations" in JAMS (1976), pp. 224ff
↑ Johann Sebastian Bach. Musicalisches Opfer. Leipzig, 7 July 1747.
↑ Johann Sebastian Bach. Die Kunst der Fuge, edited by Carl Philipp Emanuel Bach. Leipzig, c. Template:TrimScript error: No such module "Check for unknown parameters"..
↑ Texte / Zur Leipziger / Kirchen-Music, / Auf den andern, dritten, vierdten Sonntage / nach der Erscheinung Christi, / Das Fest Mariä Reinigung, / Und die Sonntage / Septuagesimae, Sexagesimae, / Esto mihi, / Ingleichen / Auf das Fest / der Verkündigung Mariä. Leipzig: Immanuel Tietzen (1724)
↑ Hobohm, BJ 1973: 5ff
↑ Neumann BT: 159, 427
↑ Hofmann, BJ 1982: 51ff
↑ Christine Blanken. "A Cantata-Text Cycle of 1728 from Nuremberg: a Preliminary Report on a Discovery relating to J. S. Bach's so-called 'Third Annual Cantata Cycle'", pp. 9–30 in Understanding Bach, Vol. 10, 2015
↑ Häfner, BJ 1975: 99ff
↑ Brinkmann. "Neues über J. S. Bach in Mühlhausen" in Mühihäuser Geschichtsblätter Vol. 31 (1932): 242ff
↑ ^a ^b ^c ^d ^e Geiringer JSB 1971
↑ ^a ^b Picander (=Christian Friedrich Henrici). Ernst-Schertzhaffte und Satyrische Gedichte, Volume III. Leipzig: Joh. Theod. Boetii Tochter (1732); 2nd printing 1737
↑ Script error: No such module "citation/CS1".
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↑ Hudson, NBA I/33, Krit. Bericht: 31ff
↑ BC: Werk [B 12]
↑ Schaumburg-Lippische Hofbibliothek Bückeburg, V 100 F, No. 31
↑ ^a ^b Tiggemann, BJ 1994: 7–22
↑ ^a ^b ^c ^d Picander (=Christian Friedrich Henrici). Ernst-Schertzhaffte und Satyrische Gedichte, Volume IV. Leipzig: Friedrich Matthias Friesen (1737).
↑ Schaumburg-Lippische Hofbibliothek Bückeburg, Cb 76 II, Nr. 214
↑ Smend Köthen: 27f, 169, 184f
↑ Breitkopf-Werke, 1. Ausgabe: 33
↑ Neumann BT: 184
↑ Verzeichniß der von dem verstorbenen Doctor und Musikdirector Forkel in Göttingen nachgelassenen Bücher und Musikalien. Göttingen (1819), Nr. 94
↑ Neumann, NBA I/4, Krit. Bericht: 118
↑ Dürr, NBA I/35, Krit. Bericht: 117
↑ Smend Köthen: 27, 69, 195–198
↑ Dürr, NBA I/35, Krit. Bericht: 120, 275f
↑ Dürr, NBA I/35, Krit. Bericht: 118f
↑ Smend Köthen: 27, 69, 199ff
↑ Wäschke. "Die Zerbster Hofkapelle unter Fasch" in Zerbster Jahrbuch II (1906): 47ff
↑ Wäschke. "Eine noch unbekannte Komposition J. S. Bachs" in SIMG 10 (1908/09): 633f
↑ Leipziger Post-Zeitungen (10 August 1723)
↑ Neumann, NBA I/38, Krit. Bericht: 10
↑ Christoph Ernst Sicul. Das frohlockende Leipzig. Leipzig (1727), pp. 3ff
↑ Neumann, NBA I/36, Krit. Bericht: 11ff
↑ Schulze, BJ 1985; 166ff
↑ Neumann, NBA I/36, Krit. Bericht: 20ff
↑ Neumann, NBA I/36, Krit. Bericht: 24ff
↑ Neumann, NBA I/39, Krit. Bericht: 42
↑ Dürr, Bericht Duisburg
↑ Neumann, NBA I/37, Krit. Bericht: 97ff
↑ Wolff, Bericht Duisburg
↑ Als die / von / E. Hoch=Edlen / und / Hoch=Weisen Rathe / der Stadt Leipzig / neugebauete und eingerichtete / Schule zu S. Thomae / den 5. Jun. durch etliche Reden eingeweyhet wurde, / ward folgende / CANTATA / dabey verfertiget und aufgeführet / von / Joh. Sebastian Bach, / Fürstl. Sächs. Weissfels. Capellmeister, und besagter Schulen Cantore / und / M. Johann Heinrich Winckler, / Collega IV Leipzig: Bernhard Christoph Breitkopf (1732)
↑ Dürr, Gs Albrecht: 121ff
↑ Neumann, NBA I/39, Krit. Bericht: 14f
↑ Christoph Gottsched. Versuch einer Critischen Dichtkunst vor die Deutschen ... Leipzig (1730): 371ff
↑ Neumann, NBA I/40, Krit. Bericht: 22ff
↑ Smend, Bach-Gs 1950: 42ff
↑ D-B Mus. ms. 1160 at Template:Url
↑ Kirsten Beißwenger (ed.) Werke zweifelhafter Echtheit, Bearbeitungen fremder Kompositionen (Volume 9 of Series II: Masses, Passions, Oratorios from the New Bach Edition). Bärenreiter, 2000.
↑ Wer ist der, so von Edom kömmt by Johann Christoph Altnikol et al.: Scores at the International Music Score Library Project
↑ Script error: No such module "citation/CS1".
↑ Template:BDh
↑ Igor Kipnis, The London Strings, Neville Marriner. Bach: The Harpsichord Concertos. CBS 1989
↑ André Isoir, Le Parlement de Musique, Martin Gester. Johann Sebastian Bach: L'oeuvre pour orgue et orchestre. Calliope 1993

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Bibliography Template:Bach's compositions (sources)

External links

Template:Sister project

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[5] Johann Sebastian Bach (1685–1750): New Edition of the Complete Works at the Bärenreiter website.

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[7] Johann Sebastian Bach: New Edition of the Complete Works – Revised Edition at the Bärenreiter website.

[8] Hans-Joachim Schulze and Christoph Wolff. Bach Compendium: Analytisch-bibliographisches Repertorium der Werke Johann Sebastian Bachs, Vol. 1 (Part 1–4). Leipzig 1985ff.

[9] Template:BDh

[10] Kirsten Beißwenger (1992). Johann Sebastian Bachs Notenbibliothek. Kassel: Bärenreiter. Template:ISBN

[11] Johann Sebastian Bach: Correspondance Catalogues Zwang — Schmeider at Template:Url

[12] Works Catalogues at Template:Url

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[17] Philipp Spitta. Musikgeschichtliche Aufsätze. Berlin (1894), 117f

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[19] Johann Sebastian Bach: Concerti nach Vivaldi u.a. – III at Template:Url

[20] Johann Sebastian Bach, edited by Hermann Scherchen, preface by Charles van den Borren. Facsimile of BR Bruxelles II. 4805, appendix in Musica viva, Vol. III. Brussels (1936)

[Capriani1977-21] Johann Sebastian Bach, edited by E. Capriani. "Documenti storici" in Opere per Liuto, Vol. III. Rovereto (1977)

[22] MB Lpz III. 11. 3

[Schulze1975Drei-23] Johann Sebastian Bach, introduction by Hans-Joachim Schulze. Drei Lautenkompositionen in zeitgenössischer Tabulatur (BWV 995, 997, 1000). Leipzig (1975)

[24] Artzt. "The third Lute Suite by Bach: Three Manuscripts and their Implications" in Journal of the Lute Society of America (1968), pp. 9ff

[25] Grossman. "Der Intavolator als Interpret: Johann Sebastian Bachs Lautensuite g-moll, BWV 995, im Autograph und in zeitgenössischer Tabulatur" in Basler Jahrbuch (1986), pp. 223–244

[ReferenceA-26] Junghänel. "Bach und die zeitgenössische Lautenpraxis" in Bericht Duisburg

[Radkep271-27] ↑ ^a ^b ^c ^d ^e ^f ^g ^h Radke. Fs Engel, pp. 271ff

[SchulzeDokIII-28] ↑ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ Schulze, Dok III

[29] Schulze. Mf 1968, pp. 203f

[30] Schulze. "«Monsieur Schouster» – ein vergessener Zeitgenosse Johann Sebastian Bachs" in Fs Dürr, pp. 243ff

[31] Schulze. St

[Schulze1966Wer-32] Schulze. "Wer intavolierte Johann Sebastian Bachs Lautentabulaturen?" in Mf 1966, pp. 32ff

[SiegeleDiss-33] ↑ ^a ^b ^c ^d ^e ^f Siegele Diss

[34] Beißwenger, Acht Präl: 27

[35] Dömling/Kohlhase, AcM 1971: 108f

[SchulzeSt-36] Schulze St

[SpittaI768II646-37] Spitta I: 768; II: 646

[38] Wiemer, BJ 1987: 29ff

[Dreyfus_Cont_Gr-39] Dreyfus Cont Gr

[40] Johann Sebastian Bach with an introduction by Hiroshi Hoshino. "The Manuscript Copy of J. S. Bach's Prelude, Fugue and Allegro for Lute or Harpsichord, E-flat major (BWV 998), in the Possession of Ueno Gakuen" (contains facsimile of Prelude pour la Luth. ò Cembal. par J. S. Bach.) in Fs for Ueno Gakuen. Tokyo (1974), pp. 171ff

[41] Dombois. "The Allegro from J. S. Bachs Prelude, Fugue and Allegro in E-flat major" in Lute Society Journal (1972), pp. 25ff, 51ff

[KobayashiChr-42] Kobayashi Chr

[43] Badura-Skoda

[44] Spitta I: 663

[45] Kilian, Mf 1961: 323 (regarding BWV 539)

[Dadelsen_TBSt_4/5-46] Dadelsen TBSt 4/5

[47] Hofmann, Fs Scheide: 14~154

[48] Spitta I: 707

[49] Zingel. "Bach auf der Harfe" in Schweizerische Musikzeitung (1964), pp. 286ff

[50] Friedrich Wilhelm Marpurg. Abhandlung von der Fuge Vol. 2. Berlin (1754), TAB XXXVII

[51] Herz BQA

[52] Neumann/Schulze, Dok I, Nr. 147

[Schulze1976p82-53] Schulze. "Johann Sebastian Bachs Kanonwidmungen" in BJ 1967, pp. 82ff

[54] Spitta I: 386

[55] Wolff, Mf 1973: 217ff

[56] Georg Philipp Telemann. Der getreue Music-Meister. Hamburg (1728), p. 68

[57] Johann Mattheson. Der vollkommene Capellmeister. Hamburg (1739), p. 412

[58] Lorenz Christoph Mizler. Neu eröffnete musikalische Bibliothek Vol. III. Leipzig (1747), p. 482ff

[59] Friedrich Wilhelm Marpurg. Abhandlung von der Fuge nach den Grundsätzen und Exemplen der besten deutschen und ausländischen Meister entworfen ... Vol. 2. Berlin (1754), TAB XXXIII, Fig. 2–3

[60] Neumann/Schulze, Dok I, Nr. 158; Dok II, Nr. 325, 564

[61] Spitta II: p. 478 / 798

[62] Johann Sebastian Bach. Canon triplex à 6 Voc:. Leipzig (1747)

[63] C. L. Hilgenfeldt. Johann Sebastian Bach's Leben, Wirken und Werke: ein Beitrag zur Kunstgeschichte des achtzehnten Jahrhunderts. Leipzig: Friedrich Hofmeister (1850), p. 212

[64] Clement

[65] Neumann/Schulze, Dok II, Nr. 559

[66] Smend. Johann Sebastian Bach bei seinem Namen gerufen: Eine Noteninschrift und ihre Deutung. Kassel (1950). Reprint in: Smend Bach-St: 176ff

[67] Nowak. "Ein Bach-Fund" in Fontes artis musicae (1966), pp. 95ff

[68] Spitta II, p. 506 / p. 747

[WolffSA-69] Wolff Stile antico

[70] Neumann/Schulze, Dok I, Nr. 174

[71] Neumann/Schulze, Dok I, Nr. 177

[72] Spitta Vol. II, pp. 717ff / Anh. p. 19

[73] NBA VIII/1 Krit. Bericht: 36f

[74] Neumann/Schulze, Dok II, Nr. 602, 603

[75] Reich. "Johann Sebastian Bach und Johann Gottfried Müthel – zwei unbekannte Kanons" in Mf 1960, pp. 449f

[76] Stam, Mf 1968: 317ff, bes. 319

[77] BN Paris Ms. 17669, Bl. 18v at Template:Url

[78] Alain. "Un supplément inédit aux Variations Goldberg de J. S. Bach" in Revue de Musicologie (1975), pp. 244ff

[79] Gárdonyi. "Zu einigen Kanons von J. S. Bach" in Studia Musicologica: Academiae Seientiarum Hungaricae Vol. 28 (1986), pp. 321–324

[80] Kennyon. "A newly discovered Group of Canons by Bach" in MT (1976), pp. 391ff

[81] Wolff. "Bach's Handexemplar of the Goldberg Variations" in JAMS (1976), pp. 224ff

[82] Johann Sebastian Bach. Musicalisches Opfer. Leipzig, 7 July 1747.

[83] Johann Sebastian Bach. Die Kunst der Fuge, edited by Carl Philipp Emanuel Bach. Leipzig, c. Template:TrimScript error: No such module "Check for unknown parameters"..

[84] Texte / Zur Leipziger / Kirchen-Music, / Auf den andern, dritten, vierdten Sonntage / nach der Erscheinung Christi, / Das Fest Mariä Reinigung, / Und die Sonntage / Septuagesimae, Sexagesimae, / Esto mihi, / Ingleichen / Auf das Fest / der Verkündigung Mariä. Leipzig: Immanuel Tietzen (1724)

[85] Hobohm, BJ 1973: 5ff

[86] Neumann BT: 159, 427

[87] Hofmann, BJ 1982: 51ff

[88] Christine Blanken. "A Cantata-Text Cycle of 1728 from Nuremberg: a Preliminary Report on a Discovery relating to J. S. Bach's so-called 'Third Annual Cantata Cycle'", pp. 9–30 in Understanding Bach, Vol. 10, 2015

[89] Häfner, BJ 1975: 99ff

[90] Brinkmann. "Neues über J. S. Bach in Mühlhausen" in Mühihäuser Geschichtsblätter Vol. 31 (1932): 242ff

[Geiringer1971-91] Geiringer JSB 1971

[Picander1732-92] Picander (=Christian Friedrich Henrici). Ernst-Schertzhaffte und Satyrische Gedichte, Volume III. Leipzig: Joh. Theod. Boetii Tochter (1732); 2nd printing 1737

[93] Script error: No such module "citation/CS1".

[94] Script error: No such module "citation/CS1".

[95] Hudson, NBA I/33, Krit. Bericht: 31ff

[96] BC: Werk [B 12]

[97] Schaumburg-Lippische Hofbibliothek Bückeburg, V 100 F, No. 31

[Tiggemann,_BJ_1994:_7-22-98] Tiggemann, BJ 1994: 7–22

[Picander1737-99] Picander (=Christian Friedrich Henrici). Ernst-Schertzhaffte und Satyrische Gedichte, Volume IV. Leipzig: Friedrich Matthias Friesen (1737).

[100] Schaumburg-Lippische Hofbibliothek Bückeburg, Cb 76 II, Nr. 214

[101] Smend Köthen: 27f, 169, 184f

[102] Breitkopf-Werke, 1. Ausgabe: 33

[103] Neumann BT: 184

[104] Verzeichniß der von dem verstorbenen Doctor und Musikdirector Forkel in Göttingen nachgelassenen Bücher und Musikalien. Göttingen (1819), Nr. 94

[105] Neumann, NBA I/4, Krit. Bericht: 118

[106] Dürr, NBA I/35, Krit. Bericht: 117

[107] Smend Köthen: 27, 69, 195–198

[108] Dürr, NBA I/35, Krit. Bericht: 120, 275f

[109] Dürr, NBA I/35, Krit. Bericht: 118f

[110] Smend Köthen: 27, 69, 199ff

[111] Wäschke. "Die Zerbster Hofkapelle unter Fasch" in Zerbster Jahrbuch II (1906): 47ff

[112] Wäschke. "Eine noch unbekannte Komposition J. S. Bachs" in SIMG 10 (1908/09): 633f

[113] Leipziger Post-Zeitungen (10 August 1723)

[114] Neumann, NBA I/38, Krit. Bericht: 10

[115] Christoph Ernst Sicul. Das frohlockende Leipzig. Leipzig (1727), pp. 3ff

[116] Neumann, NBA I/36, Krit. Bericht: 11ff

[117] Schulze, BJ 1985; 166ff

[118] Neumann, NBA I/36, Krit. Bericht: 20ff

[119] Neumann, NBA I/36, Krit. Bericht: 24ff

[120] Neumann, NBA I/39, Krit. Bericht: 42

[121] Dürr, Bericht Duisburg

[122] Neumann, NBA I/37, Krit. Bericht: 97ff

[123] Wolff, Bericht Duisburg

[124] Als die / von / E. Hoch=Edlen / und / Hoch=Weisen Rathe / der Stadt Leipzig / neugebauete und eingerichtete / Schule zu S. Thomae / den 5. Jun. durch etliche Reden eingeweyhet wurde, / ward folgende / CANTATA / dabey verfertiget und aufgeführet / von / Joh. Sebastian Bach, / Fürstl. Sächs. Weissfels. Capellmeister, und besagter Schulen Cantore / und / M. Johann Heinrich Winckler, / Collega IV Leipzig: Bernhard Christoph Breitkopf (1732)

[125] Dürr, Gs Albrecht: 121ff

[126] Neumann, NBA I/39, Krit. Bericht: 14f

[127] Christoph Gottsched. Versuch einer Critischen Dichtkunst vor die Deutschen ... Leipzig (1730): 371ff

[128] Neumann, NBA I/40, Krit. Bericht: 22ff

[129] Smend, Bach-Gs 1950: 42ff

[130] D-B Mus. ms. 1160 at Template:Url

[Beißwenger2000-131] Kirsten Beißwenger (ed.) Werke zweifelhafter Echtheit, Bearbeitungen fremder Kompositionen (Volume 9 of Series II: Masses, Passions, Oratorios from the New Bach Edition). Bärenreiter, 2000.

[Altnikol1750-132] Wer ist der, so von Edom kömmt by Johann Christoph Altnikol et al.: Scores at the International Music Score Library Project

[133] Script error: No such module "citation/CS1".

[134] Template:BDh

[135] Igor Kipnis, The London Strings, Neville Marriner. Bach: The Harpsichord Concertos. CBS 1989

[136] André Isoir, Le Parlement de Musique, Martin Gester. Johann Sebastian Bach: L'oeuvre pour orgue et orchestre. Calliope 1993

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