[83] Here are noticeable the pauses Bach contrives to introduce for one of the hands, that it might effect the changes in registration necessary to play the fugue coll'organo pleno.
[84] P. iv, 8.
[85] Corelli was born in 1653, and died in 1713. The theme mentioned is found in Joachim's edition of Corelli's works (Denkmäler der Tonkunst, vol. iii. Bergedorf, near Hamburg, 1871). It is the theme of a fugue, the second part of a "church sonata," opus 3; the fugue is marked vivace, and is but thirty-nine measures in length.
[86] The manuscript of this fugue, coming down from Andreas Bach, bears the following qualification: "Thema Legrenzianum elaboratum cum subjecto pedaliter."
[87] P. iv, 10.
[88] Sweelinck, who was born at Deventer about 1560, studied with Zarlino at Venice, and upon his return home in 1580 occupied (until his death in 1620) the position of organist to the old Protestant Church in Amsterdam (see Max Seiffert: J. Peter Sweelinck und seine directen deutschen Schüler).
[89] It is the third number in the volume entitled, Drei Phantasien, drei Toccaten und vier Variationen, nach einem Manuscript des grauen Klosters zu Berlin aus der Orgeltabulatur übersetzt und herausgegeben von Rob. Eitner (Berlin, 1870).
[90] Livre d'orgue (1701).
[91] Let it be remembered that Bach, imitating these same Sonatas in composing the Lamento of the "Capriccio upon the departure of his most beloved brother" (1704), employs this motif as a basso quasi ostinato, and that in the Easter Cantata written in the same year the viola sorrowfully gives expression to the same theme.
[92] His compatriot, John Bull, who died in Antwerp in 1628, had already written a series of variations upon this subject. (See "A General History of Music," by Charles Burney. London, 1789, p. 115.)