[31] The other three have been already included under the concertante instruments.
[32] Three of them have been excellently transcribed for the pianoforte by Joachim Raff, and published at Leipzig by Rieter-Biedermann.
[33] Another composition for these instruments is one of the endless varieties of the Musikalische Opfer, but its position there removes it somewhat from the field of Bach’s chamber works.
[34] Forkel, pp. 22 f.
[35] Goerner has one claim to remembrance, since he lived to draw out the stops for Mozart when he made his historical visit to the Thomaskirche in 1789.
[36] Vol. ii. p. 52.
[37] To this class we may assign without hesitation the cantatas, Ich bin vergnügt mit meinem Glücke (No. 84) and Ich habe genug (No. 82). The latter is printed in a form which Bach afterwards gave to it, changing the soprano into a bass solo. Possibly Wer nur den lieben Gott lässt walten (93) had a like origin: see Spitta, ii. 274 f., 302 f., 269 ff. A secular cantata of which the subject closely resembles that of the two first-named works should seem to belong to the same category: it is printed in the Bach-Gesellschaft xi. (2) p. 105.
[38] Ein Teuflisches Geplerr und Geleyer. The expression occurs in his treatise on Thorough Bass, printed by Spitta, ii. 913-950.
[39] Published by the Bach-Gesellschaft, xi. (2) p. 139. The music was used again for the Coronation Festival in 1734.
[40] B.-G. xx. (2) p. 73; used again for the King’s birthday.