The bracket states the title by which the tune is better known.
The Chorals are taken from two sources, Anna Magdalena Bach's “Notenbuch” (1726; see B.G. XLIII. (2)), and Schemelli's “Musicalisches Gesang-Buch” (1736), of which Bach was the musical editor. The latter contains sixty-nine melodies (with figured bass), the former seven: one melody (No. 14) is in both collections. The Schemelli tunes are indicated by an S within a bracket after the numeral. One melody (No. 71) is indubitably by Bach himself. It, and others, which may be attributed to him on good evidence, are marked by an asterisk. The seventy-five settings are published in practicable form by the N.B.G. I. (1) and I. (2).
Nos. 22 and 23 are the same tune.
For a discussion of Bach's original hymn-tunes see the present writer's “Bach's Chorals,” Part II. Introduction, pp. 67 ff. Six more of Bach's original hymn-tunes are printed there.
The first three Arias are published by Novello, and also by the N.B.G. I. (1).
In the Royal Library, Berlin. Kirnberger was a pupil of Bach. See section on Variants infra.
Novello omits the concluding four-part Choral.
The Prelude is also attributed to J. L. Krebs, a pupil of Bach.
See section on Variants infra.:
Variant, P. bk. 245 p. 106.