[173] B.-G. iv. [The first and last numbers, respectively, of Part I. In the first the chorale is sung by a special chorus of sopranos, usually boys, while the two mixed choruses and the two orchestras are treated contrapuntally. In the other instance the two choruses are united in one, as are also the two orchestras, and the chorale is sung by all the sopranos, the counterpoint being assigned to the remaining three vocal parts, supported by the orchestra.—Tr.]
[174] B.-G. v.
[175] B.-G. xviii, 10.
[176] The organo obbligato was sometimes written with more delicate intentions; for example, in the alto aria with accompaniment of an oboe da caccia, from the cantata Wer weiss, wie nahe mir mein Ende? (B.-G. v.).
[177] We should add here, that the organs were not of the same pitch as the other instruments, for they were tuned to chorus-pitch, a whole tone lower than the normal diapason. The organ at Weimar, on the contrary, was a minor third higher.
[178] Oberwerk means literally the higher manual; in two-manual organs the stronger was, at that time, found above the other. The name Rückpositif came from the custom of placing the pipes behind the back (Rücken) of the organist. Finally, the swell bore the name Brustwerk, the pipes being placed facing the breast (Brust) of the player. In a three-manual organ the great keyboard was situated between the swell, which was above, and the choir, which was below it.
[179] This instrument was constructed in 1701, by J.F. Wender, an organ-builder of Mühlhausen. [The specification as compiled from the existing stop-handles by Mr. C.F.A. Williams ("Bach": J.M. Dent & Co.: London), differs slightly from the above, which is given by Spitta.—Tr.]
[180] A sort of Glockenspiel, which produced l'accord parfait [undoubtedly the major triad].
[181] This was a reed stop.
[182] Historische Nachrichten von der berühmten Residenzstadt Weimar. Weimar, 1737, p. 175, 176.