Footnotes (continued 2)
Charles Sanford Terry translation
423.
They ore Nos. 6, 17, 22, 43, 48, 57, 144, 148, 157, 159,171, 190,195, and the incomplete Cantata, Ehre sei Gott in der Höhe.
424.
Nos. 16, 23, 63, 81, 83, 153, 154, 184, 194. See the Table.
425.
No. 4: Christ lag in Todesbanden.
426.
Vol. ii. 393.
427.
See the Table: No. 112, Derr herr ist mein getreuer Hirt.
428.
Nos. 8, 20, 93.
429.
No. 148: Bringet dem Herrn Ehre seines Namens.
430.
No. 8: Liebster Gott, wann werd' ich sterben.
431.
No. 181: Leichtgesinnte Flattergeister.
432.
Vol. ii. 340 ff.
433.
The volume is entitled Sammlung Erbaulicher Gedancken, Bey und über gewohnlichen Sonn- und Festtags-Evangelien, Leipzig.
434.
Cantaten auf die Sonn- und Fest-Tage durch das gantze Jahr, Leipzig, 1728. He reprinted them in 1732 in his Satyrische Gedichte.
435.
But see Cantata No. 148 and Spitta, ii. 693. Also No. 19.
436.
Cantatas Nos. 145, 156, 159, 171, 174, 188, 190 (one version), and the Cantata Ehre sei Gott.
437.
No. 157.
438.
Nos. 19, 30, 36, 84, 148, 197.
439.
Vol. ii. 346.
440.
Nos. 32, 48, 67, 90, 144, 181.
441.
Nos. 16, 22, 23, 27, 35, 51, 56, 58, 63, 66, 81, 82, 83, 153, 154, 194, 195. No. 184 is an adaptation. See also Nos. 19, 36, 84, 144, 145, 148, for Bach's collaboration with Picander.
442.
Besides No. 80, a Choral Cantata.
443.
Schweitzer, ii. 332 ff.
444.
Entitled Versuch in gebundener Schreibart.
445.
Vol. iii. 71.
446.
Vol. ii. 331 n.
447.
No. 85: Ich bin ein guter Hirt.
448.
Note 60.
449.
Vol. ii. 331 n.
450.
No. 33: Gott färet auf mit Jauchzen.
451.
See Table.
452.
No. 74.
453.
Op. cit., p. 377.
454.
See Table.
455.
Nos. 100 and 107, both of them c. 1735.
456.
No. 8, for the Sixteenth Sunday after Trinity.
457.
No. 93, for the Fifth Sunday after Trinity (1728).
458.
Nos. 9 (? 1731), 99 (c. 1733).
459.
No. 122.
460.
No. 80.
461.
Nos. 1, 2, 5, 8, 20, 26, 62, 78, 91, 92, 93, 96, 115, 121, 124, 127, 138, 140.
462.
Nos. 7, 9, 10, 14, 33, 41, 94, 99, 101, 111, 113, 114, 116, 125, 126, 130, 139, 178, 180.
463.
Nos. 4, 97, 100, 107, 112, 117, 129, 137, 177, 192.
464.
Nos. 3, 38, 123, 133, 135.
465.
P. xxiv.
466.
Nos. 3, 123, 133, 135.
467.
See supra, p. 180.
468.
Nos. 17, 34, 43, 151, 197, and Herr Gott, Beherrsoher aller Dinge.
469.
Nos. 30, 32, 48, 57, 90.
470.
Nos. 45, 79, 110, 143.
471.
No. 28.
472.
No. 50.
473.
No. 118.
474.
Nos. 6, 11, 13, 146, 193.
475.
See Bach's Chorals, Part II., Introduction.
476.
The above article and the Table that follows were communicated originally to the Musical Association on March 28, 1918.
477.
General mourning for the Queen lasted from Sept. 7, 1727, to Jan. 6, 1728. No Cantatas were sung in the period.
478.
The Church Cantatas are published by Peters and also by Breitkopf and Haertel. A prefixed asterisk indicates that an English edition of the Cantata or Oratorio is published by Novello or Breitkopf and Haertel. The Organ music is published by Novello, to whose edition references are given (N.), Peters, and Breitkopf and Haertel. collation of the Peters and Novello editions is given in Appendix V. The Clavier and Instrumental music is published by Peters, to whose edition references are given (P.).
479.
A Variant of the first Invention is on p. 342 of the volume. A Variant of Sinfonia ix. is on p. vi. of the Nachtrag.
480.
A Variant is in B.G. XI.
481.
A Variant is in P. bk. 244 p. 109.
482.
“If genuine, the Sonata is a youthful work,” remarks Schweitzer, i. 401 n.
483.
Additional movements of the second, third, and fourth Suites are in Appendix II. of B.G. XXXVI.
484.
The volume contains an Appendix of Variants, etc. See also B.G. XLV. (1) Appendix. Variants of Nos. 1, 3, 6 of Part II. are in Appendix I. of B.G. XXXVI.
485.
See publications of the N.B.G. xiv. (2) no. 5.
486.
See publications of the N.B.G. vii. (3) no. 3.
487.
For this work, in its original form as a Violin Concerto, see N.B.G. XVIII. (1 and 2).
488.
The D major (No. 3) and G minor (No. 7) Concertos are identical with the Violin Concertos in E major and A minor. See B.G. XXI. (1). No. 6 (F. major) is the fourth Brandenburg Concerto (in G.). See B.G. XIX. no. 4.
489.
In a shortened form this work appears also as a Sinfonia in F major. See B.G. XXXI. (1) no. 5, and N.B.G. X. (2).
490.
Identical with the G minor Clavier Concerto. See B.G. XVII. no. 7, and also B.G. XLV. (1), Appendix, p. 233.
491.
Identical with the D major Clavier Concerto. See B.G. XVII. no. 3, and N.B.G. VIII. (1)
492.
Identical with the Concerto for two Claviers in C minor. See B.G. XXI. (2) no. 3.
493.
The movement is described as being from “einer unbekannten Kirchencantate” for four voices and Orchestra. The Autograph is incomplete. The movement is not published elsewhere than in the B.G. edition.
494.
Identical with the Concerto for 2 Violins, in D minor. See B.G. XXI. (1) no. 3. Also pp. 131, 158, 160, supra.
495.
Also in N.B.G. XVII. (1 and 2).
496.
For an exposition of Bach's design in the “Orgelbüchlein,” see the present writer's articles in “The Musical Times” for January_March 1917, and “Bach's Chorals,” Part III. See N.B.G. II. (1) for an arrangement of the Preludes for two pianofortes.
497.
See B.G. XLII. for a Clavier version.
498.
See B.G. XLII. for a Clavier version.
499.
Boosey and Co. also publish an English edition.
500.
This is a shortened form of the first Brandenberg Concerto (see B.G. XIX. no. 1). It consists of the Allegro, Adagio, Minuet, Trio I. and Trio II. of the latter, and omits its second Allegro and Polacca.
501.
The Appendix contains Joh. Philipp Kernberger's solutions of the Canons and his expansion of the figured bass of the Clavier part of the Sonata.
502.
See publications of the N.B.G. XIV. (2) no. 2.
503.
See publications of the N.B.G. XIV. (2) no. 2.
504.
Text and music are identical with the version in B.G. XX. (2).
505.
Another Allemande to the Suite is in B.G. XXXVI. 217 (also in P.).
506.
The subject of the Fughetta is the same as that of Fugue No. 17 in the second part of the “Well-tempered Clavier.”
507.
The Prelude is No. 11 in Peters (B.G. xxxvi. 220). The Fughetta is his No. 10. It is the same subject an that of Fugue 16 in the second part of the “Well-tempered Clavier.” An alternative Prelude (P. 214 p. 78) is in the Appendix (p. 220).
508.
They are described as “zur vierten französischen Suite.” The Prelude is in P. bk. 1959 p. 67.
509.
Written respectively for the second and third French Suites (not in P.).
510.
A fingered exercise.
511.
The Appendices of the volume contain variant readings of movements elsewhere contained in it, and of the first, third, and sixth Preludes and Fugues in the second part of the “Well-tempered Clavier.”
512.
See B.G. XLV. (1) Appendix.
513.
Only nos. 2 and 3 are derived from Vivaldi.
514.
A variant text is in B.G. XLII. 282.
515.
Vivaldi's text of the first movement is in the Appendix (p. 229).
516.
See B.G. XLIII. (2) sec. 1 no. 2.
517.
The fugal subject is taken from the Allabreve.
518.
Bach's instrumental accompaniments are in the Appendix (p. 143).
519.
C. P. E. Bach's collection of his father's Choral settings was published by Immanuel Breitkopf in four volumes between the years 1784-87. They are all inoluded in Breitkopf and Haertel's edition (1898) of Bach s “Choralgesänge”; the numerals in brackets in the above list indicate the position of each Choral in that collection. The latter includes also the simple four-part Chorals from the Oratorios and Cantatas; hence the numeration of that volume and B.G. XXXIX. is not uniform.
520.
The bracket states the title by which the tune is better known.
521.
The Chorals are taken from two sources, Anna Magdalena Bach's “Notenbuch” (1726; see B.G. XLIII. (2)), and Schemelli's “Musicalisches Gesang-Buch” (1736), of which Bach was the musical editor. The latter contains sixty-nine melodies (with figured bass), the former seven: one melody (No. 14) is in both collections. The Schemelli tunes are indicated by an S within a bracket after the numeral. One melody (No. 71) is indubitably by Bach himself. It, and others, which may be attributed to him on good evidence, are marked by an asterisk. The seventy-five settings are published in practicable form by the N.B.G. I. (1) and I. (2).
522.
Nos. 22 and 23 are the same tune.
523.
For a discussion of Bach's original hymn-tunes see the present writer's “Bach's Chorals,” Part II. Introduction, pp. 67 ff. Six more of Bach's original hymn-tunes are printed there.
524.
The first three Arias are published by Novello, and also by the N.B.G. I. (1).
525.
In the Royal Library, Berlin. Kirnberger was a pupil of Bach. See section on Variants infra.
526.
Novello omits the concluding four-part Choral.
527.
The Prelude is also attributed to J. L. Krebs, a pupil of Bach.
528.
See section on Variants infra.:
529.
Variant, P. bk. 245 p. 106.
530.
Ernst Naumann remarks, “Das Stück kann recht gut von Seb. Baoh herrühren.” The text is complete, and the omission of the Prelude from the Novello edition is to be regretted.
531.
A transcription of the second Sonata for Solo Violin, in A minor, See B.G. XXVII. (1).
532.
A transcription of the third Partita, in E major, for Solo Violin. See ibid.
533.
From the third Sonata for Solo Violin, in C major. See ibid.
534.
Both Sonatas are arrangements of instrumental Sonatas in J. A. Reinken's “Hortus Musicus.” See Spitta, i. 430.
535.
Both Sonatas are arrangements of instrumental Sonatas in J. A. Reinken's “Hortus Musicus.” See Spitta, i. 430.
536.
After a Sonata movement by J. A. Reinken.
537.
After a Fugue by J. C. Erselius. The original is given in Anhang II. of the volume.
538.
Only Nos. 1, 2, 4, 5, 7, 9, 14 are derived from Vivaldi. The others are founded on Benedetto Marcello (No. 3), Duke Johann Ernst of Weimar (Nos. 11, 16, and perhaps 13).
539.
The Toccata is by Henry Purcell. See Grove, vol. iii. p. 857.
540.
The volume also contains a Variant of the first Organ Concerto (B.G. XXXVIII.).
541.
The Concerto is an arrangement of one by Antonio Vivaldi for four Violins, the original of which (in B minor) is given in the Appendix to the volume.
542.
Omitting the vocal numbers, movements printed elsewhere, and the “Menuet fait par Mons. Böhm,” Peters' Bk. 1959 contains the remaining twenty numbers of the Notebook. They are indicated in the above index by a P in a bracket.
543.
A separate Preface to the reprinted Suites is by Ernst Naumann. It is dated 1895.
544.
Perhaps an arrangement of an orchestral piece. See Schweitzer, i. 342 n.
545.
The Appendix to the volume contains addenda to the Violin Concerto in A minor (see B.G. XXL. (1)) and Cantata 188 (see B.G. XXXVII.). Also the Zurich and London texts of the “Welltempered Clavier” (B.G. XIV.), with critical notes.
546.
The Preface is dated 1899. The volume was issued in 1900.
547.
The original words are “Die Schätzbarkeit der weiten Erden.”
548.
The title-page is dated 1913 and the Preface “Im Advent auf 1914.”
549.
The Aria is no. 20 of A. M. Bach's “Notenbuch” for 1725. See E.G. XLII. (2) no. 20.
550.
This publication, announced for 1916, appears under a different title as the third issue for 1917. See infra, XVII. (3).