The work is an amplification of the Prelude and Fugue in A minor, already catalogued among the Clavier works of the Cöthen period. Schweitzer (i. 340) concludes that it was rearranged as an orchestral Concerto early in the thirties, when Bach needed Concertos for the Telemann Society's Concerts.
The scheme of the G major and C major Preludes and Fugues dates back to the Weimar period. See Spitta, iii. 208; Parry, p. 67.
These so-called “Organ” Sonatas were written for the Pedal Clavicembalo.
The Clavier Suites in E minor, E major, and C minor are arrangements of these, otherwise lost, Lute Partitas. See Schweitzer, i. 344.
In Mizler's Nekrolog.
Supra, p. 138.
See the present writer's Bach's Chorals, Part II. p. 1.
Ibid., p. 4. Four more Cantatas, of doubtful authenticity, are published by the Bachgesellschaft, Jahrgang XLI.
See the Table of Cantatas set out in chronological order.
Nos. 18, 24, 28, 59, 61, 142, 160.