[163] [The cornet here referred to is obviously a mixture, not the reed of the same name already mentioned.—Tr.]
[164] This organ was the only one with three manuals which Bach could have had in mind while he was in Weimar with Walther; it is natural that in his compositions he should be preoccupied with an organ whose restoration he had planned, and undoubtedly supervised—Weimar being not far from Mühlhausen—and which in all probability he looked forward to inaugurating. This remark, moreover, may apply to the composition of the chorale In dir ist Freude, although here Bach had been disappointed.
[165] That is, for playing the basso continuo of the orchestra.
[166] [En montre signifies literally "on show"; that is, in front. The French designation for a diapason, Montre, is derived from the custom of placing the pipes of that register in an exposed position.—Tr.]
[167] [The filling-out of the figured bass by the organ, made necessary in music with orchestra by the paucity of the instrumental numbers, was referred to as the "music."—Tr.]
[168] [The word swell I have used in the foregoing merely to designate the third manual; and it by no means implies that the pipes belonging to that keyboard were enclosed in a swell-box. Although this invention was applied to an English organ for the first time in 1712 (St. Magnus Church, London Bridge), its adoption in Germany has become general only within comparatively recent years, and then only in newly-built instruments.—Tr.]
[169] J. Th. Mosewius: J.S. Bach in seinen Kirchencantaten und Choralgesängen (Berlin, Trautwein, 1845), p. 25.
[170] This is what was done by Robert Franz. See Offener Brief an Eduard Hanslick (Leipzig, 1873).
[171] Deutliche Anweisung zum Generalbass (Halberstadt, 1772), p. 137.
[172] Anleitung zur practischen Musik (Leipzig, 1782).