[93] This is the term which Bach employs in the preface to his Inventionen und Sinfonien compiled in 1723, that his pupils might, through their study, acquire un jeu cantable.
[94] P. viii, 6.
[95] Commer. Musica Sacra (Vol. I, No. 123, p. 137).
[96] P. i, 2. B.-G. xv, p. 289. [M. Pirro writes me: "You may state that the theme of the Passacaglia was the composition of the French organist André Raison." To which M. Widor adds: "André Raison, organist of St.-Étienne du Mont in Paris at the time of Louis XIV, left a volume of organ works, now very rare, which I have presented to the library of the Conservatoire. Raison's collection is interesting, in that it gives indications of the registration of his time; the chorale is usually found in the pedal, treated as the tenor, the real bass being played by the left hand. The melody of the chorale is performed upon a reed stop in the pedal, while upon the manuals only mixtures are drawn." Tr.]
[97] P. ii, 5. B.-G. xv, p. 104.
[98] P. iii, 6. B.-G. xv, p. 129, and P. iv, 12 (a 5 voci). Accompanying the latter Fantasia is a fugue of which, unfortunately, only the first twenty-seven measures are extant.
[99] P. iii, 2. B.-G. xv, p. 155.
[100] P. ii, 6. B.-G. xv, p. 218.
[101] P. iii, 3. B.-G. xv, p. 136.
[At the time of Bach it was a frequent usage to omit an accidental from the signature; in the above case the omission of the only flat undoubtedly suggested the appellation frequently given "in modo dorico," although otherwise the composition bears hardly a trace of the Dorian mode. Tr.]