[102] Geschichte der evangelisch-lutherischen St. Agnuskirche in Köthen. Herausgegeben von C.F. Hartmann, Köthen, in der Commission der Huschen Buchhandlung (1802). The organ is described on pages 19 and 20.
[103] [The pedal, even of modern organs, extends upwards only to f'. Since the middle of the last decade, the house of Cavaillé-Coll in Paris, has applied to the larger instruments constructed by it the compass of C to g'. This range was recommended by the translator and adopted for an organ now in process of construction in Boston; it is also a feature of the large organ for Yale University, recently contracted for.]
[104] P. iii, 2. B.-G. xv, p. 155.
[105] The beginning, at least; while the conclusion is characterized by repetitions, this part of the work is not its least imposing portion.
[106] P. ii, 3. B.-G. xv, p. 120.
[107] This cantata, written for soloists, was first performed December 29, 1715. B.-G. xxx, 2.
[108] For example, in the fugue in G minor (P. iv, 7).
[109] P. i, 1. B.-G. xv.
[110] The first part of the sonata in D minor undoubtedly dates from the year 1722; the adagio and vivace of the sonata in E minor are transcribed from the cantata Die Himmel erzählen (1723), B.-G. xviii. The last movement of this sonata was originally intended to serve as an interlude between the prelude and the fugue in G major (P. ii, 2. B.-G. xv, p. 169. The theme of the fugue is, in major, that of the first chorus in the cantata Ich hatte viel Bekümmerniss, performed in 1714), composed, according to the water-mark of the autograph, in 1724 or 1725.
[111] See S. Bagge: Die geschichtliche Entwickelung der Sonate.