Besides the B minor Mass (1733-? 38) Bach wrote four miscalled “short” Masses, in F major, A major, G minor, and G major. They all belong to the Leipzig period (c. 1739).
Besides the setting of the Sanctus in the B minor Mass there are four detached settings, in C major, D major, D minor, and G major. Of these only that in D major is probably by Bach (c. 1723).
The music for Saints' Days is included in the church Cantatas. For the Birthday Odes see supra, Chap. IIA.
Besides the Trauer-Ode, three or four of the church Cantatas and certainly three of the Motets were written for funerals. See Terry, op. cit., pp. 24, 44.
Among the church Cantatas there are at least five for use at weddings. Bach wrote also three secular wedding Cantatas: Weichet nur, betrübte Schatten (c. 1730); O holder Tag (11749); the third (1728) has disappeared.
Two Italian Cantatas—Amore traditore and Non sa che sia dolore—have come down to us. A third, Andro dall colle al prato, is lost. See B.G. XI. (ii.), XXIX.
Only six are genuine. See infra, p. 141.
Of the Motets that have come down to us as his, only six are Bach's. Forkel mentions five of them in secs. 7 and 3 of the next paragraph; he omits Lobet den Herrn, alle Heiden. In 1802-3 Breitkopf and Haertel published six Motets—the five mentioned by Forkel and another, Ich lasse dich nicht, of which Bach made a copy, but whose composer actually was Johann Christoph Bach. We know that Bach composed at least one Latin Motet for double chorus, and Friedemann's share of his father's autographs may have contained it and others known to Forkel but no longer extant.
The Amalienbibliothek of the Joachimsthal Gymnasium, Berlin, contains one of the most important Bach collections, but it has long been superseded by the Royal Library there as the chief repository of Bach's Autographs.
The Amalienbibliothek has only one Autograph, namely, Cantata 34, O ewiges Feuer. The rest are early copies.