Johann Sebastian Bach: His Life, Art, and Work - Johann Nikolaus Forkel

	1. The Great Preludes and Fugues, with obbligato pedal. Their number cannot be stated, but I believe it not to exceed a dozen.[286] At least, after prolonged search I have not been able to collect more than that number.[287] To these I must add a very clever and original Passacaglia, which, [pg 135] however, seems suitable rather for a two-manual Clavicembalo and pedal than for the Organ.[288]
	2. Preludes on Choral Melodies. It was at Arnstadt that Bach began to compose Variations on Choral melodies, under the title Partite diverse.[289] Most of them can be played on the manuals alone. Those which I include here are an exception and require the obbligato pedal. Their number may amount to one hundred. I myself possess above seventy, and more survive elsewhere.[290] No other Choral Preludes approach them in religious feeling, dignity, and sublimity of expression. I cannot notice them individually; they are too numerous. Besides the larger, there is a great number of shorter and easier ones, particularly useful for young players. MSS. of them exist in considerable number.[291]
	3. Six Sonatas, or Trios, for two manuals and an obbligato pedal.[292] Bach wrote them for his eldest son, Wilhelm Friedemann, whom they helped to become the great performer he was when I knew him. It is impossible to overpraise their beauty. Bach composed them when he was in the full vigour of his powers, and they may be considered his chef d'oeuvre in this form.[293] He also wrote other Organ Sonatas, the MSS. of which are in various collections. They are fine compositions, though they do not equal the Six in merit.[294]

1. The Great Preludes and Fugues, with obbligato pedal. Their number cannot be stated, but I believe it not to exceed a dozen.[286] At least, after prolonged search I have not been able to collect more than that number.[287] To these I must add a very clever and original Passacaglia, which, [pg 135] however, seems suitable rather for a two-manual Clavicembalo and pedal than for the Organ.[288]

2. Preludes on Choral Melodies. It was at Arnstadt that Bach began to compose Variations on Choral melodies, under the title Partite diverse.[289] Most of them can be played on the manuals alone. Those which I include here are an exception and require the obbligato pedal. Their number may amount to one hundred. I myself possess above seventy, and more survive elsewhere.[290] No other Choral Preludes approach them in religious feeling, dignity, and sublimity of expression. I cannot notice them individually; they are too numerous. Besides the larger, there is a great number of shorter and easier ones, particularly useful for young players. MSS. of them exist in considerable number.[291]

3. Six Sonatas, or Trios, for two manuals and an obbligato pedal.[292] Bach wrote them for his eldest son, Wilhelm Friedemann, whom they helped to become the great performer he was when I knew him. It is impossible to overpraise their beauty. Bach composed them when he was in the full vigour of his powers, and they may be considered his chef d'oeuvre in this form.[293] He also wrote other Organ Sonatas, the MSS. of which are in various collections. They are fine compositions, though they do not equal the Six in merit.[294]

IV. Instrumental Music

There are few instruments for which Bach did not write. In his day it was usual to play a Concerto or instrumental Solo during the Communion office.[295] Bach composed many of these pieces himself, and always with a view to their improving the technique of the player. Most of them are lost. But two important works of another kind survive and to some extent compensate us. They are:

	1. Six Solos for Violin, unaccompanied.[296]
	2. Six Solos for Violoncello, unaccompanied.[297] The Violin Solos have long been considered by the finest players to be the best instructor for the instrument. The Violoncello Solos are equally effective.[298]

V. Vocal Music

	1. Five complete sets of church Cantatas for the Sundays and Festivals of the year.[299]
	2. Five compositions for Holy Week, one of which is for double chorus.[300]
	3. Several Oratorios,[301] Masses,[302] a Magnificat, settings of the Sanctus,[303] compositions for birthdays and Saints' Days,[304] funerals,[305] marriages,[306] and some Italian Cantatas.[307]
	4. Several Motets for single and double chorus.[308]

Most of these works are now dispersed. The Church Cantatas were divided between his elder sons after their composer's death. Wilhelm Friedemann had the larger share because, being organist at Halle, he could make use of them. Later, circumstances compelled him to part with them gradually. I know of no other collection of Bach's larger choral works. There exist, however, eight or ten Motets for double chorus, but they are dispersed in various hands.[309] In the collection bequeathed by the Princess Amalia of Prussia to the Joachimsthal Gymnasium at Berlin there are some of Bach's vocal compositions.[310] Their number is not considerable, but among them are the following:

	1. Twenty-one Church Cantatas.[311] In one of them, set to the words, Schlage doch, gewünschte Stunde,[312] the composer introduces a bell obbligato. From that fact we may conclude that the Cantata was not composed in the period of Bach's maturity,[313] for the use of bells is of doubtful taste.
	2. Two Masses for five voices with instrumental accompaniment.[314]
	3. A Mass for double chorus, the first being [pg 141] accompanied by Strings and the second by wind instruments.[315]
	4. A Passion, for double Chorus,[316] the text by Picander.[317]
	5. A Sanctus, for four voices and instrumental accompaniment.[318]
	6. A Motet, for four voices, Aus tiefer Noth schrei ich zu dir.[319]
	7. A Motet for five voices, Jesu, meine Freude.
	8. Four Motets, for eight voices in double chorus: (a) Fürchte dich nicht, ich bin dei dir.(b) Der Geist hilft unserer Schwachheit auf.(c) Komm, Jesu, komm.(d) Singet dem Herrn ein neues Lied.[320]
	(a) Fürchte dich nicht, ich bin dei dir.
	(b) Der Geist hilft unserer Schwachheit auf.
	(c) Komm, Jesu, komm.
	(d) Singet dem Herrn ein neues Lied.[320]
	9. A detached four-part fugal chorus, Nimm was dein ist, und gehe hin.[321]
	10. A bucolic Cantata, with Recitatives, Aria, Duet, and Chorus. A note is prefixed to it.[322] On the MS. of the last-named Cantata and of the Mass for double chorus (No. 3 supra) there is a note by Kirnberger analysing the skill and merit of the compositions.