ORCHESTRA
Concerto in F (261). For violins, piccolo, three oboes, and two corni di caccia, with accompaniment for two violins, viola, violoncello and bass.
Concerto in F (262). For violin, flute, oboe, and trumpet concertante, with accompaniment for two violins, viola, violoncello and bass.
Concerto in G (263). For three violins, three violas, three violoncellos and one bass. Rearranged as the introductory “symphony” to the cantata “Ich liebe den Höchsten.”
Concerto in G (264). For violin and two flutes concertante, with accompaniment for two violins, viola, violoncello and bass.
Concerto in D (265). For clavecin, flute and violin concertante, with accompaniment for one violin, viola, violoncello and bass.
Concerto in B flat (266). For two violas, two violas da gamba, with accompaniment for violoncello and bass.
Overture or Suite in C major (267). For two violins, viola, two oboes, bassoon, violoncello and bass.
Overture or Suite in B minor (268). For two violins, viola, violoncello, flute and bass.
Overture or Suite in D major (269). For two violins, viola, bass kettle-drums, two oboes, and three trumpets.
Works for Cembalo, Clavichord, Spinet, &c.
The Forty-eight Preludes and Fugues. Part I. (1 and 1a). Part II. (2 and 1b). For clavichord. See p. 131.
Sonatas (213) in A minor. From a sonata for two violins, viola da gamba and bass in Reinken’s “Hortus Musicus.”
In C major. Arranged from Reinken’s “Hortus Musicus.”
In D minor. Arranged from the sonata in A minor for violin alone (228).
Prelude and Fugue in E flat (214).
Fugue in B minor (214).
Suites in A minor (214).
In E flat.
In G.
Preludio con Fughetta in F (214).
In G.
Prelude in G (214).
The adagio of violin solo sonata in C arranged for clavier (214).
Chromatic Fantasia and Fugue in D minor (207).
Prelude and Fugue in A minor (207). Composed at Cöthen.
Toccata and Fugue in E minor (210). The toccata is in three movements.
Toccata and Fugue in F sharp minor (210). Allegro moderato, lento, fugue (for three voices) allegro moderato fugue (for four voices).
Toccata and Fugue in C minor (210). The toccata is in two movements—allegro moderato and adagio.
Fantasia and Fugue in A minor (208).
Fantasia and Fughetta in B flat (212). These are written on one stave, with figures for the harmony.
In D.
Capriccio sopra la lontananza del suo fratello dilettissimo (208). See p. 28.
Toccata and Fugue in D minor (210). The toccata contains three movements—allegro moderato, allegro, adagio.
Four Duets (208). For right and left hand.
A Prelude with Fugue on the notes B, A, C, H (212). Apocryphal.
Six Partitas in B flat, C minor, A minor, D, G, E minor (205). From the Clavierübung, Part I.
Concerto “in the Italian style” (207). From the Clavierübung, Part II.
Suite in B minor (208) or Partita. From the Clavierübung, Part II. The work is entitled “an overture after French taste, for a clavicymbal with two manuals.”
Air with thirty variations for harpsichord with two manuals (209). From the Clavierübung. The theme is in the bass. The work was composed for his clever pupil, J. T. Goldberg, at the request of Baron Kayserling, who presented Bach with a snuff-box containing one hundred louis d’or in return for it.
Six little Preludes (200).
Little two-part Fugue in C minor (200).
Fifteen two-part Inventions (201).
Fifteen three-part Inventions; also called Symphonies (202).
Six little Suites called the French Suites (202). From Anna Magdalena’s first book.
Six large Suites called the English Suites (203).
Toccata and Fugue in G minor (211). The toccata is in three movements.
Prelude and Fugue in A minor (211).
Fantasia and Fugue in D (211). The fantasia is in five movements.
Prelude and Fughetta in D minor (200).
„ „ E minor (200).
Prelude and Fugue in A minor (200).
Two Fantasias in C minor (207, 212).
Two Fugues in C (200).
Two Fugues in D minor (212).
Fugues in A major (212).
„ E minor.
„ A minor.
Twelve little Preludes or exercises for beginners (200). No. 3 is also intended for the lute. Some of these are found in the “Clavierbüchlein für W. F. Bach.”
Part of a Suite in F minor (212).
Unfinished Fugue in C minor (212).
Sixteen Concertos arranged from the Violin Concertos of Vivaldi (217).
Art of Fugue (218). See p. 134.
The Musical Offering (219). See p. 135.
Fantasia in A minor (215).
Air varied in G minor (215).
Toccata in G (215). In three movements.
Overture in F. Consisting of “Overture,” “Entrée,” “Minuet,” “Trio,” “Bourrée,” “Gigue,” all in the same key.
Fantasia in G minor (215).
Capriccio in E (215). “In honour of J. C. Bach of Ohrdruf.”
Fantasia con imitazione in B minor (216). It is doubtful whether this is intended for organ or pedal harpsichord.
Sonata in D (216). Modelled on Kuhnau.
Two Fugues in A (216).
Three Minuets (216).
Minuet in G minor (1959).
Adagio and Presto in D minor (1959).
Prelude in E flat (1959).
Fugue in B flat (1959). From a fugue by J. C. Erselius.
Sixty-nine Chorale Melodies with figured bass. Published in 1736.
Of doubtful authenticity (1959):
Sarabande with 16 Partite.
Passacaille in D minor.
Allemande }
Courante } in A.
Gigue }
Fantasia. Through all keys. Attributed to J. D. Heinichen.
Fantasia in G minor. In five movements.
Fantasia and Fugue in D minor.
Fugue in G minor.
Scherzo in D minor.
Andante in G minor.
Fugue in B flat. An extension of a sonata movement in Reinken’s “Hortus Musicus.”
Fugues—
In C.
„ E minor.
„ G.
„ D.
„ (a) E minor.
„ (b) E minor.
Chaconnes—
In A.
„ G.
Of works not already mentioned, the “Bachgesellschaft” publishes in vol. xlii., Part II., the following apparently authentic compositions:—
Prelude and Fugue in A minor.
Concerto and Fugue in C minor.
Prelude in B minor.
Of more doubtful authenticity:
Fantasia in C minor. Molto allegro.
Toccata quasi fantasia con fuga, A major.
Partie, A major.
Allemande in C minor.
Gigue, F minor.
Allemande and Courante, A major.
Allemande in A minor.
Two Fantasias and Fughettas.