ORGAN
The numbers refer to the volumes in Peters’ edition in which each work will be found.
Six sonatas for two manuals and pedal (240). These sonatas and the passacaglia were written for his young son, W. Friedemann, to practise on the pedal clavichord. Many of the trills, which are necessary on this instrument, are intended to be omitted when the pieces are played on the organ. According to tradition the date is 1723. The first movement of the sonata in D minor appears in 1722, as the prelude in that key in Part I. of the Forty-eight.
Passacaglia in C minor (240). Trio for two manuals (243) and pedal in D minor. This trio is overladen with grace notes in the fashion of the day. The performer is recommended by Griepenkerl to exercise his taste as to which he retains or omits.
Pastorale in F (240). In four movements. Mostly copied singly. Forkel possessed a copy in which all four movements were combined in a whole.
Preludes and Fugues (241).
In C.
In G. The subject of the fugue is the same as that of the opening chorus in the cantata, “Ich hatte viel Bekümmernis.”
In A.
Fantasia and Fugue in G minor (241). Composed at Cöthen, probably as an act of homage to Reinken. In one copy the fantasia is called “prelude.” In another copy the fugue is in F minor with a remark, “The very best pedal-piece by Herr Joh. Seb. Bach.”
Prelude and Fugue in C (241).
A minor.
E minor.
B minor. The Peters’ edition is from the original MS. in the possession of Sir Herbert Oakeley.
Prelude and Fugue (242) E flat. From the “Clavierübung.” The fugue, like those of Buxtehude, is in three movements.
Toccata and Fugue (242) in F. The compass of the pedals in this toccata shows that it must have been written for the organ in the Lutheran Church at Cöthen. (See Glossary “Orgel-büchlein.”) In the Bachgesellschaft edition the toccata is called fantasia.
In D minor. Called Dorian from the flat being omitted from the signature. The toccata is called “prelude” in some copies.
Preludes and Fugue (242) in D minor. The prelude has no pedal part. The fugue is arranged from the earlier violin solo fugue in G minor (228).
In G minor.
Fantasia and Fugue (242) in C minor.
Prelude and Fugue in C (242). This was originally in E major. The fugue is in two portions, divided by nine bars of florid passages. It was transposed to C for some of the old organs which had only two octaves of pedals. In Kirnberger’s MS. it is called “Preludio con Fantasia con Pedal.”
Toccata and Fugue in C (242). The toccata is separated from the fugue by a very beautiful aria, in which a melody is accompanied by chords and staccato bass, the only instance of the kind in Bach’s organ works. In one MS. the toccata is called “Preludium.”
Prelude and double Fugue (242) in A minor.
Prelude and Fugue (242) in E minor.
Prelude and Fugue (243) in C major.
In G.
In D. The prelude is in two movements. The work, which is very brilliant, is inscribed “Concertata” as if intended more for concert than church use. In one copy the work is called simply “Pièce d’orgue, von Joh. Seb. Bach.”
Toccata and Fugue in D minor (243).
Prelude and Fugue in C minor (243). In some MSS. this is in D minor.
Fugues (243) in C minor. On a theme by Legrenzi. A second subject appears in the course of the fugue, which after being worked independently is finally united to the first in a double fugue.
In G minor.
In B minor. The subject is by Corelli.
In C minor. Probably written for pedal clavichord. Composed at Arnstadt.
Canzona in D minor (243). In two movements. It was popular, and many copies appear to have existed.
Fantasias (243) in G. In three movements of which the tempi are indicated by Bach. “Très Vitement,” “Grave,” “Lentement.” From the number of copies which exist this fantasia, also called “Pièce d’orgue,” appears to have been very popular.
In C minor. In five voices. In some MSS. called “Prelude.”
Prelude in A minor (243).
Fifty-six short Chorale-preludes (244).
Three sets of Chorale Variations called “Partite” (244).
Some Canonic Variations on the Christmas hymn “Vom Himmel hoch da komm ich her” (244).
Seven Chorale-preludes (244).
Sixty-three “Larger and more artistic Chorale-preludes” (245 and 246).
Four Concertos for two manuals and pedal (247). Arranged from the Violin Concertos of Vivaldi. The originals were, like Handel’s “Concerti grossi,” for four violins, one or two violas, violoncello, bass and continuo.
Eight small Preludes and Fugues (247). For the instruction of his son Friedemann.
Allabreve pro organo pleno (247). Organo pleno means a complete organ, as opposed to a positiv, or one manual instrument. It has the same kind of sense as our expression “Full orchestra,” and does not mean that the full force is to be employed the whole time.
Prelude in C (247). Without pedal.
In G “pro organo pleno” (247).
Fantasia in C (247). Without pedal.
Fugue in C (247). The pedal only enters in the last five bars, and is used in Buxtehude’s manner, merely to complete the harmony.
Prelude in G (247). Composed at Weimar.
Fugue in G minor (247).
Fantasia and Fugue in A minor (2067). An early work, in some MS. called “Preludio e Fuga per il cembalo,” so that it was probably intended for the pedal clavichord.
Fugue in G (2067).
Little Harmonic Labyrinth (2067). Consisting of three movements called “Introitus,” “Centrum,” “Exitus.” Starting in the key of C, it perpetually modulates, chiefly by enharmonic changes, and finishes by a return to C.
Fugue in G (2067).
Fugue in D (2067).
Concerto in G (2067). Called also “Fantasia.”
Trio for two manuals and pedal in C minor (2067).
Aria in F for two manuals and pedal (2067).
Eleven Chorale-preludes (2067).