Sixty-three “Larger and more artistic Chorale-preludes” (245 and 246).
Four Concertos for two manuals and pedal (247). Arranged from the Violin Concertos of Vivaldi. The originals were, like Handel’s “Concerti grossi,” for four violins, one or two violas, violoncello, bass and continuo.
Eight small Preludes and Fugues (247). For the instruction of his son Friedemann.
Allabreve pro organo pleno (247). Organo pleno means a complete organ, as opposed to a positiv, or one manual instrument. It has the same kind of sense as our expression “Full orchestra,” and does not mean that the full force is to be employed the whole time.
Prelude in C (247). Without pedal.
In G “pro organo pleno” (247).
Fantasia in C (247). Without pedal.
Fugue in C (247). The pedal only enters in the last five bars, and is used in Buxtehude’s manner, merely to complete the harmony.
Prelude in G (247). Composed at Weimar.
Fugue in G minor (247).