ヨハン・セバスチャン・バッハの作品一覧

ヨハン・セバスチャン・バッハの声楽曲には、カンタータ、モテット、ミサ曲、マニフィカト、受難曲、オラトリオ、四声部コラール、歌曲、アリアなどがある。器楽曲には、協奏曲、組曲、ソナタ、フーガ、その他オルガン、チェンバロ、リュート、ヴァイオリン、ヴィオラ・ダ・ガンバ、チェロ、フルート、室内楽、管弦楽のための作品がある。

バッハの作品は1000曲以上知られている。そのほとんどすべてがバッハ作品目録（BWV）に掲載されており、これはバッハの作品の中で最もよく知られ、最も広く利用されている目録である。

バッハの作品一覧

ヨハン・セバスチャン・バッハの初期の伝記の中には、彼の作品リストが含まれているものがある。例えば、彼の死亡記事には、作曲家の生前に出版された器楽曲のリストがあり、続いて未出版作品のおおよそのリストが掲載されている。^{[ 1 ]}ヨハン・ニコラウス・フォルケルによる、作曲家の最初の単独出版の伝記も同じアプローチをとっている。第9章では、まず出版された作品のリスト（18世紀後半に出版された4声部のコラールを追加）が掲載され、続いて未出版作品のおおまかな概要が掲載されている。^[²^] 19世紀前半にはさらに多くの作品が出版されたため、次の伝記（1850年のシャウアーとヒルゲンフェルト）には、出版された作品をリストアップし、出版社名と、これらの出版物で作品に与えられた番号またはページ番号を参照する、より詳細な付録が掲載されている。例えば、変ホ長調の前奏曲とフーガは、「 CF Peters Vol. III No. 1」と表記することも、あるいは「 Griepenkerl and Roitzsch Vol. 3 p. 2」、「Peters Book 242 p. 2」、「PSV, Cah. 3 (242), No. 1」などのいずれかのバリエーションで表記することもできます。

背景

19世紀後半、バッハ協会（BG）はバッハの全作品を約50巻にまとめて出版し、いわゆるバッハ協会版（BGA）とした。^{[ 3 ]}これにより、バッハの既知の全作品が一意に識別できるようになり、このシステムはすぐに伝記作家などに採用された。フィリップ・シュピッタは、19世紀後半にバッハの伝記を執筆していた際に出版されたBG版の巻数に、ペータース版の番号付けを補完する形でこのシステムを使用した（例えば、前述の変ホ長調の前奏曲には「BG、III、p. 173」と記されている）。また、テリーは、20世紀に翻訳したフォルケルの伝記の第3付録でこのシステムを使用した。^{[ 4 ]}

それにもかかわらず、依然として多くの混乱があった。著者の中には、ノヴェロ版、オーゲナー版、またはシルマー版に従ってバッハの作品をリストアップすることを好む者もおり、バッハの作品に関する書籍の巻末にさまざまな換算表が設けられることになった（例えば、1922年に出版されたハーヴェイ・グレースのバッハのオルガン作品に関する書籍に掲載されているものなど）。

NBG

1900年、BGは最後の巻を出版し、バッハの既知の作品すべてを出版するという主要な目的が達成されたため解散した。BGの後継として、新たな目標（バッハ年鑑、バッハ音楽祭、バッハ博物館）を掲げたノイエ・バッハ協会（NBG）が発足した。しかし、NBGは時折、新たに発見された作品や、BGAに掲載されていない異版を出版した。例えば、1740年代版の「O Jesu Christ, meins Lebens Licht」^{は、1916年にNBG XVII 1}に掲載された（同じ曲の1730年代版は、異なるオーケストレーションでBG 24、pp. 185–192に掲載されていた）。 ^{[ 4 ]}

BWV

1950年にバッハ作品目録（文字通り「バッハ作品目録」、BWV）が出版され、バッハの既知のすべての作品に固有の番号が割り当てられました。この目録の編集者であるヴォルフガング・シュミーダーは、作品をジャンル別（年代順ではない）に分類し、照合に関してはBGにほぼ従いました（例：BGのカンタータ番号＝BWVのカンタータ番号）：^[⁵^]

BWVは主題目録であるため、上記の BWV 1006第2楽章（ルーレ）の冒頭のように、各楽曲の各楽章を最初の小節で識別します。

カンタータBWV 1-224
モテッテン (モテット) BWV 225–231
メッセン、メッセンセッツェ、マニフィカト (ミサ、大衆運動、マニフィカト)、BWV 232–243
受難曲、オラトリエン (受難曲、オラトリオ) BWV 244-249
Vierstimmige Choräle (4 部構成のコラール) BWV 250–438
歌曲、アリエン、クオリベト（歌曲、アリア、クオリベト）、BWV 439-524
Werke für Orgel (オルガンのための作品) BWV 525–771
Werke für Klavier (鍵盤作品) BWV 772–994
Werke für Laute (リュート曲) BWV 995–1000
カンマームジーク (室内楽) BWV 1001–1040
管弦楽作品集（ BWV 1041–1071）は、元々は協奏曲（BWV 1041–1065）と序曲（BWV 1066–1071）の2つの章に分かれていた。
カノン (カノン) BWV 1072–1078
Musikalisches Opfer, Kunst der Fuge (音楽の捧げ物、フーガの芸術)、BWV 1079–1080

例えば、変ホ長調の前奏曲とフーガはBWV 552となり、オルガン作品の音域に位置づけられた。^{[ 6 ]}

モーツァルトの作品のケッヘル目録など他の目録とは対照的に、BWVの番号付けでは年代順の構成は試みられていない。例えば、BWV 992は比較的番号が大きいが、バッハの初期の作品である。^[⁶^]

あまり一般的ではないが、BWV番号は、元の編集者にちなんでシュミーダー（S）番号とも呼ばれることがある。例えば、S. 225はBWV 225 と同じである。^[⁶^]

BWVの順序付けの原則によるもう一つの結果は、既知の作品集が分割されたことである。例えば、クラヴィーア練習曲集IIIは一部がオルガン作品の範囲（BWV 552と669～689）に含まれ、4つの二重奏曲は鍵盤楽器作品（BWV 802～805）の中にリストされている。

BWV Anh.

BWVの目録に掲載されたものの、主要目録には不適当と判断された作品の付録（Anhang (Anh.)）は、以下の3つのセクションに分かれています。

I – 失われた作品、またはごく一部しか現存していない作品（Anh. 1–23）
II – 信憑性が疑わしい作品（Anh. 24–155）
III – かつてバッハの作品とされていたが、実際には彼の作品ではないことが判明した作品（Anh. 156–189）

付録の各セクション内では、作品はジャンル別に分類されており、メインカタログと同じジャンル順で並べられている。

シュミーダーは1990年にBWVの第2版を出版し、真贋の判別に関するいくつかの修正を加え、メインカタログと付録にさらに多くの作品を追加しました。追加を挿入する場合、または他の理由で作品が再編成される場合は、厳密な番号による照合は放棄されました。たとえば、以前はカンタータとして記載されていたBWV 11は、メインカタログの第4章にオラトリオとして移動されました。作品の番号を振り直す代わりに、矢印で作品が挿入された場所を示しました。「BWV 11/249b→」は「BWV 11、BWV 249bの後に挿入」(第4章)を意味します。同様に、BWV 1083/243a→はBWV 1083、BWV 243aの後に挿入」(第3章)を意味します。また、新しい研究に基づく真贋の判別により、カタログ内でこのような再配置が行われることがあります。例えば、「BWV Anh. II 114」は「Anh. II 114/Anh. III 183→」となり、偽作とみなされるようになったことを示している。^{[ 7 ]}

1998年、アルフレッド・デュールと小林義武は、1990年の第2版を基にしたカタログの小版を出版した。BWV ^2aとして知られるこの版には、いくつかのさらなる更新と照合の再編成が含まれていた。^{[ 8 ]}

^{BWV 2} /BWV ^2aへの新たな追加 (Nachträge) には次のものが含まれます。

BWV 1081–1126
BWV Anh. 190–213

作品番号を振り直さないという原則にはいくつかの例外があり、アンハングの作品がバッハの作品として発見または認証され、主要カタログに掲載するに値すると判断された場合、1080を超える番号が与えられました。例えば、BWV Anh. 205 (BWV ² ) → BWV 1121 (BWV ^2a、オルガン作品としてセクション7に掲載) となります。^{[ 9 ]}

その他の番号変更や追加番号は、基本的に同じ楽曲の別バージョンや初期バージョンに関するもので、BWV番号に小文字のアルファベットを追加することで示されました。例：

BWV 243a : 1723年版、変ホ長調。1733年版マニフィカト（ニ長調） BWV 243の翻案。
BWV 1071はBWV 1046a（ブランデンブルク協奏曲第1番の初期版）に番号が変更された。
BWV Anh. 198はBWV 149/1aに改番された（カンタータBWV 149の冒頭楽章の、以前に放棄されたバージョン）。

一部のバージョンはカタログから完全に削除されました。例えば、BWV 655bとcなどです。

スラッシュは楽章を表します。例えば、BWV 149 /1 はカンタータ BWV 149 の第 1 楽章を表します。別の例として、ロ短調ミサ曲のアニュス・デイは、BWV 232/22 (楽曲の第 22 楽章) と表記することも、BWV 232 ^IV /4 (BWV 232、第 4 部の第 4 楽章) と表記することもできます。

21世紀の追加要素

BWV 1126より上の番号は21世紀に追加されたものです。

再構築版

BWV番号に大文字のRが付加されている場合、それは復元版、つまり既知の楽曲の推定される初期バージョンであることを示します。そのような復元版の1つである、ダブルチェンバロ協奏曲BWV 1060を基にNBA VII/7（補遺）p. 75に掲載されたオーボエとヴァイオリンのための協奏曲は、BWV 1060Rとして知られています。

BWV ³

2018 年半ばから、バッハのデジタルウェブサイトは、2020 年に出版予定のバッハ作品目録第 3 版の新しい番号の実装を開始しました。^{[ 10 ]}例えば、ライプツィヒ版のカンタータ「キリストは死の鎖につかまる」は、以前の目録では BWV 4 でしたが、BWV ^3ではBWV 4.2になりました。^{[ 11 ]}

NBA

NBAは楽譜版に、写本や同時代の版からの複製図版を掲載している。例えば、NBAシリーズIV第4巻（*Clavier-Übung III*）には、1739年の初版の表紙の複製図版が収録されている。

その一方で、新バッハ版（Neue Bach-Ausgabe、略称NBA）が出版され、^{[ 12 ]}^{[ 13 ]}バッハの作品を参照するための新しいシステムが提供されました。例えば、 BWV 552については、 NBA IV/4: 2, 105は、シリーズ IV、第 4 巻、p. 2（前奏曲）と p. 105（フーガ）を意味します。

NBAレブ

NBAが2007年に完成してから数年後、出版社のベーレンライターは再びバッハ・アーカイブと提携し、バッハの楽譜の改訂版を出版した。これらの改訂版は、NBA版（形式、レイアウト）に準拠しているが、その出版物群とは別物として、「ヨハン・セバスチャン・バッハ：全作品の新版 – 改訂版」（Johann Sebastian Bach: Neue Ausgabe sämtlicher Werke – Revidierte Edition）、略して「新バッハ版 – 改訂版」（Neue Bach-Ausgabe – Revidierte Edition）、略してNBArevという名称で出版された。オリジナルのNBA版はドイツ語のみであったが、改訂版シリーズの各巻にはドイツ語と英語の両方の序文が付いている。その第1巻であるNBArev 1は、2010年に出版されたロ短調ミサ曲の新版である。 ^{[ 14 ]}

紀元前

バッハの声楽曲を網羅したカタログであるバッハ・コンペンディウム（BC）は1985年に出版された。 ^{[ 15 ]} BWV番号のない作品でも、BC番号で識別できる場合がある。例えば、「 Der Gerechte kömmt um 」はBC C 8で、これは様式的にバッハの作品とされているが、BWVには記載されていない。^[¹⁶^]

BNB

バッハ楽譜ライブラリー（BNB）は、バッハが所有していた作品のリストです。バッハが編曲した、または演奏のために彼が（または彼が写譜した）他の作曲家の作品には、通常BNB番号が付けられています。^{[ 17 ]}

SBB

ベルリン国立図書館（Staatsbibliothek zu Berlin = SBB）は、バッハに関連する重要な作曲写本のコレクションを所蔵しています。作品のいくつかのバージョンは、SBBに所蔵されている主要な写本によって最もよく知られています。たとえば、BWV 525a = SBB St 345、またはバッハデジタルウェブサイトで使用されている略語に従ってDB Mus. ms. Bach St 345 です。

作品番号順、および年代順リスト

*バッハの作品1（クラヴィーア練習曲集I* 、1731年）の表紙。彼が作品番号を使用した唯一の例と思われる。

バッハは、最初に発表した鍵盤楽曲を作品番号1と記した以外は、作品番号を使用しませんでした。例えば、バッハの訃報の最初のリストには、出版年代順のリストが暗示されていますが、BG番号（BGA出版順序内）――バッハの全作品を初版順に網羅した総合的なリスト――は、バッハの作品を紹介する一般的な方法ではありません。

バッハの作品を作曲年代順に一覧化することは、包括的に行うことはできません。多くの作品において、作曲された時期は非常に広範囲に及ぶからです。バッハの大規模な声楽曲（カンタータ、受難曲など）については、研究によって多かれ少なかれ一般的に受け入れられている年代順がいくつか確立されており、これらの作品のほとんどを網羅しています。この意味でのカタログとしては、フィリップ（とジェラール）ツヴァングによるカンタータBWV 1～215および248～249に年代順の番号を付与したリストが挙げられます。^{[ 18 ]}このリストは1982年にパリで『Guide pratique des cantates de Bach』として出版されました（ISBN 100、1982年）。 2-221-00749-22005年に改訂版が出版されました（ISBN 2747598888)

その他の作曲家

他の作曲家の作品を含むさまざまなカタログは、バッハに関連する作品のコレクションと交差している。^{[ 19 ]}

BR-WFB（または）BR

ヴィルヘルム・フリーデマン・バッハの作品のバッハレパートリー番号、例: BWV 970 = BR A49

その他のBR：

BR-CPEB ：カール・フィリップ・エマヌエル・バッハの作品（ただし、この作曲家についてはヘルム番号またはヴォトクエンヌ番号がより頻繁に使用される）
BR-JCFB ：ヨハン・クリストフ・フリードリヒ・バッハの作品

Fk（または）F

ヴィルヘルム・フリーデマン・バッハの作品に対するファルクのカタログ番号、例：BWV 970 = F 25/2

H

カール・フィリップ・エマヌエル・バッハの作品のヘルム番号、例：BWV 1036 = H 569

HWV

ゲオルク・フリードリヒ・ヘンデルの作品、例：BWV Anh. 106 = HWV 605

TWV

ゲオルグ・フィリップ・テレマンによる作曲、例: BWV 824 = TWV 32:14

ワーブ（または）W

ヨハン・クリスティアン・バッハの作品に対するウォーバートン番号、例：BWV Anh. II 131 = W A22 (または: Warb A 22 )

Wq

カール・フィリップ・エマヌエル・バッハの作品のヴォトクエンヌ番号、例：BWV 1036 = Wq 145

バッハの目録および作品集に収録されている作品

バッハ作品目録（例えば『バッハ作品集』）や、バッハ関連作品集（例えば『アンナ・マグダレーナ・バッハの手稿』など）には、1500曲以上の作品が掲載されています。そのうち約1000曲はバッハによるオリジナル作品であり、つまり、彼自身や他の作曲家による以前の作品の単なるコピーや転写ではない作品です。

By genre

Cantatas (BWV 1–224)

See #BWV Chapter 1 in the table above

In the 1950 first edition of the BWV the cantatas were largely listed according to their BGA number:

BWV 1–200: Church cantatas
BWV 201–216: Secular cantatas
BWV 217–224: Cantatas with various issues (lost, incomplete, spurious, doubtful)

Additionally Anh. I of the first edition of the BWV started with a list of some 20 lost cantatas, while Anh. III of that edition listed a few cantata (movements) by other composers (Anh. 156–158).

BWV^2a added many more lost cantatas (BWV Anh. 190–199 and 209–212) and alternative versions to known works indicating (partially) lost cantatas or cantata versions, e.g. BWV 244a, the music of which was partially preserved in the St Matthew Passion, BWV 244.

Motets (BWV 225–231)

See #BWV Chapter 2 in the table above

There are over a dozen motets attributed to Bach, about half of which are authentic by all accounts:

BWV 225–230 are the six compositions that have always been considered motets composed by Bach
BWV 231 was later renumbered to BWV 28/2a, a variant of the second movement of cantata BWV 28
BWV 118, published as a cantata in the 19th century, was later recategorised as a motet, following Bach's designation on the score.
BWV Anh. 159–165 are motets with a doubtful or spurious assignation to Bach, the first of which is however most likely composed by Bach.

Liturgical works in Latin (BWV 232–243)

See #BWV Chapter 3 in the table above

Bach's involvement with Latin church music, as composer, arranger or copyist, includes:

BWV 232–242: Masses and Mass movements (Mass in B minor; Kyrie–Gloria Masses; separate Mass movements)
BWV 243: Magnificat
BWV 1081–1083: later additions to the BWV catalogue
BWV Anh. 24–30, 166–168: doubtful and spurious works
BNB I/B/48, I/C/1, I/P/2: copies and arrangements

Passions and oratorios (BWV 244–249)

See #BWV Chapter 4 in the table above

Passions and oratorios composed or contributed to by Bach include:

BWV 244–247: Passions (St Matthew Passion; St John Passion; St Luke Passion; St Mark Passion)
BWV 248–249: Oratorios (Christmas Oratorio; Easter Oratorio)
BWV 11: Ascension Oratorio
BWV 127/1, 500a, 1084, 1088, deest: St Mark Passion (attributed to Keiser), Weimarer Passion, Wer ist der, so von Edom kömmt
BWV Anh. 169: passion text by Picander (not set by Bach, apart from using some parts of this text in his St Matthew Passion)

Four-part chorales (BWV 250–438)

See #BWV Chapter 5 in the table above

Bach's chorale settings (usually for SATB choir) are included in:

BWV 250–438: separate chorale settings
Cantatas (most prominently in the chorale cantatas), motets, passions, oratorios, Second Notebook for Anna Magdalena Bach
BWV 1089, 1122–1126: later additions to the BWV catalogue
BWV Anh. 31, 201–204: doubtful and spurious

Songs and arias (BWV 439–524)

See #BWV Chapter 6 in the table above

Songs and (separate) arias by Bach are included in several collections:

BWV 439–507: Schemellis Gesangbuch
BWV 508–518: Second Notebook for Anna Magdalena Bach
BWV 519–523: D-B Mus. ms. Bach P 802, a manuscript by Johann Ludwig Krebs
BWV Anh. 32–39: Deutsche Übersetzungen und Gedichte (doubtful)
BWV Anh. 40–41: Singende Muse an der Pleiße (doubtful)

Associated with the Songs and Arias group:

BWV 524: (Wedding) Quodlibet for four voices (incomplete)
BWV 1127: "Alles mit Gott und nichts ohn' ihn" (strophic aria rediscovered in 2005)^[103]

Works for organ (BWV 525–771)

See #BWV Chapter 7 in the table above

Bach's organ compositions include:

BWV 525–530: Sonatas
BWV 531–582: compositions of the type Prelude/Fantasia/Toccata/Adagio/Passacaglia or Fugue
BWV 583–591: various free organ compositions (Trios/Aria/Canzona/Allabreve/Pastorale/Kleines harmonisches Labyrinth )
BWV 592–597: Concertos (transcriptions)
BWV 598: Pedal-Exercitium
BWV 599–764: Chorale preludes (Orgelbüchlein; Schübler Chorales; Great Eighteen Chorale Preludes or Leipzig Chorales; Chorale preludes from Clavier-Übung III; Kirnberger chorale preludes; other chorale preludes)
BWV 765–768: Chorale partitas
BWV 769–771: Chorale variations (includes Canonic Variations on "Vom Himmel hoch da komm' ich her")
BWV 1085–1087, 1121, 1128: various later additions to the BWV catalogue
BWV 1090–1120: Neumeister Chorales
BWV Anh. 42–79, 171–178, 200, 206, 208, 213: lost, doubtful and spurious organ pieces

Works for keyboard (BWV 772–994)

See #BWV Chapter 8 in the table above

Bach's works for harpsichord, clavichord and other keyboard instruments include:

BWV 772–801: Inventions and Sinfonias
BWV 802–805: Duets from Clavier-Übung III
BWV 806–845: Suites and suite movements (English Suites; French Suites; Partitas = Clavier-Übung I; Overture in the French style from Clavier-Übung II; etc.)
BWV 846–893: The Well-Tempered Clavier (book I, book II)
BWV 894–962: compositions of the type Prelude/Fantasia/Concerto/Toccata or Fugue/Fughetta (includes Chromatic Fantasia and Fugue, Six Little Preludes, several parts of the Klavierbüchlein für Wilhelm Friedemann Bach, etc.)
BWV 963–970: Sonatas and sonata movements
BWV 971–987: Concertos (includes Italian Concerto from Clavier-Übung II and various concerto transcriptions)
BWV 988–991: Variations (includes Goldberg Variations = Clavier-Übung IV and Aria variata alla maniera italiana)
BWV 992–994: Capriccios and Applicatio (includes Capriccio on the departure of a beloved brother)

Works for solo lute (BWV 995–1000)

See #BWV Chapter 9 in the table above

Bach's compositions for lute or lute-harpsichord (Lautenwerck) include:

BWV 995–1000 suites and separate movements for lute or lute-harpsichord
BWV 1006a: transcription of BWV 1006

Chamber music (BWV 1001–1040)

See #BWV Chapter 10 in the table above

Bach wrote chamber music for solo violin, cello or flute, sonatas for harpsichord and an instrumental soloist, and trio sonatas:

BWV 1001–1006: Sonatas and partitas for solo violin
BWV 1007–1012: Cello Suites
BWV 1013: Partita for solo flute
BWV 1014–1026: works for accompanied violin (sonatas, suite for violin and harpsichord; sonatas, fugue for violin and basso continuo)
BWV 1027–1029: sonatas for viola da gamba and harpsichord
BWV 1030–1035: sonatas for accompanied flute (sonatas for flute and harpsichord; sonatas for flute and basso continuo)
BWV 1036–1040: trio sonatas

Orchestral works (BWV 1041–1071)

See #BWV Chapter 11 in the table above

Bach wrote concertos and orchestral suites:

BWV 1041–1045: Violin concertos (in A minor, in E major, Double Concerto); Triple Concerto; Concerto movement/Sinfonia fragment
BWV 1046–1051: Brandenburg Concertos
BWV 1052–1065: Harpsichord concertos
BWV 1066–1071: Orchestral suites and Sinfonia (early version of BWV 1046)

Canons (BWV 1072–1078)

See #BWV Chapter 12 in the table above

Separate canons by Bach are listed in the 12th chapter of the BWV:

BWV 1072–1078: canons
BWV 1086–1087: later additions

Late contrapuntal works (BWV 1079–1080)

See #BWV Chapter 13 in the table above

The list of late contrapuntal works contains only two items:

BWV 1079: The Musical Offering
BWV 1080: The Art of Fugue

20th-century additions to the BWV catalogue and Anhang

Additions as published in BWV^2a

Additions to the main catalogue (BWV 1081–1126)

BWV 1081 – Credo in unum Deum in F major (for choir), included in Chapter 3 in BWV^2a
BWV 1082 – Suscepit Israel by Antonio Caldara (for choir), as copied by Bach;^[269] Included in Chapter 3 in BWV^2a
BWV 1083 – Tilge, Höchster, meine Sünden (motet, "parody", i.e., reworked version, of Pergolesi's Stabat Mater), included in Chapter 3 in BWV^2a
BWV 1084 – O hilf, Christe, Gottes Sohn (chorale from Bach's Leipzig versions of the St Mark Passion attributed to Keiser), included in Chapter 5 in BWV^2a
BWV 1085 – O Lamm Gottes, unschuldig (chorale prelude), included in Chapter 7 in BWV^2a
BWV 1086 – Canon Concordia discors, included in Chapter 12 in BWV^2a
BWV 1087 – 14 canons on the First Eight Notes of Goldberg Variations Ground (discovered 1974), included in Chapter 12 in BWV^2a
BWV 1088 – "So heb ich denn mein Auge sehnlich auf" (arioso for bass), No. 20 in Wer ist der, so von Edom kömmt (pasticcio Passion oratorio);^[270] Included in Chapter 4 in BWV^2a
BWV 1089 – Da Jesus an dem Kreutze stund (four-part chorale), included in Chapter 5 in BWV^2a
BWV 1090–1120 – 31 chorale preludes for organ from the Neumeister Collection, discovered in 1985 in the archives of the Yale University library; Included in Chapter 7 in BWV^2a, except for BWV 1096, attributed to Johann Pachelbel,^[271]^[272] which was moved to Anh. III (spurious works).
BWV 1121, previously Anh. 205 – Fantasie in C minor (organ), included in Chapter 7 in BWV^2a
BWV 1122–1126 – five four-part chorales,^[273] moved to Chapter 5 in BWV^2a

Additions to the Anhang (BWV Anh. 190–213)

BWV Anh. 190–213 were added between the 1950 and 1990s editions of the catalogue

BWV Anh. 190–197 – Cantatas added to Anh. I (music lost); see also List of Bach cantatas
BWV Anh. 198 – Abandoned sketch of a cantata opening, renumbered to BWV 149/1a and added to Chapter 1 in BWV^2a
BWV Anh. 199 – Cantata added to Anh. I (music lost); see also List of Bach cantatas
BWV Anh. 200 – Fragment of a chorale prelude O Traurigkeit, o herzeleid, added to Anh. I (unused sketch for the Orgelbüchlein)
BWV Anh. 201–204 – Four-part chorales added to Anh. II (doubtful)
BWV Anh. 205 – Fantasia in C minor, authenticated as BWV 1121 and added to Chapter 7 in BWV^2a
BWV Anh. 206 – Doubtful chorale prelude, added to Anh. II
BWV Anh. 207 – Doubtful keyboard fugue, added to Anh. II
BWV Anh. 208 – Spurious organ fugue, added to Anh. III
BWV Anh. 209–212 – Lost cantatas added to Anh. I; see also List of Bach cantatas
BWV Anh. 213 – Lost arrangement for organ of an unidentified Telemann concerto, added to Anh. I

21st-century additions to the BWV catalogue (BWV 1127 and higher)

See also #BWV Later in the table above

BWV numbers assigned after the publication of BWV^2a:

BWV 1127: strophic aria "Alles mit Gott und nichts ohn' ihn" (discovered June 2005)^[103]
BWV Anh. 71, renumbered to BWV 1128: chorale fantasia for organ "Wo Gott der Herr nicht bei uns hält" (BWV Anh. II 71 was authenticated as a composition by Bach after Wilhelm Rust's 1877 copy was recovered in March 2008)^[274]^[105]
BWV 1129 and higher: BWV³ numbers, see BWV#Numbers above BWV 1126

Derivative works

There is not much system in the way works derived from Bach's compositions are listed. The "R" addition to the BWV number is only well-established for the reconstructions included in NBA VII/7 (e.g. solo violin reconstructions of BWV 565 are not usually indicated as BWV 565R, neither is the system used for reconstructed vocal works). For some series of transcriptions and arrangements works catalogues of these transcribers/arrangers may hold sublists with works derived from compositions by Bach.

Reconstructed concertos

See also #Reconstructions in the table above

Each reconstructed concerto is created after the harpsichord concerto for the presumed original instrument. Such reconstructions are commonly referred to as, for example, BWV 1052R (where the R stands for 'reconstructed'). Other reconstructions and completions of for instance BWV 1059 have been indicated as BWV 1059,^[275] or BWV 1059a.^[276]

Adaptations

Transcriptions and arrangements in the catalogues of works by other composers include:

Ferruccio Busoni: Catalogue numbers BV B 20 to B 46 are arrangements of works by Bach, many of which published in the Bach-Busoni Editions.

References

For abbreviations used in the references see also Bibliography at www.bachdigital.de

↑Bach & Agricola 1754, pp. 167–169.
↑Forkel & Terry 1920, "Chapter IX: Bach's Compositions" pp. 114–142.
1 2Bach-Gesellschaft Ausgabe, .../Prefaces, .../Thematic Catalogue: documentation and facsimiles at the International Music Score Library Project
1 2Forkel & Terry 1920, "Appendix III" pp. 225–286.
↑Schmieder 1950.
1 2 3OCLC 18856743
↑Schmieder 1990.
↑Dürr & Kobayashi 1998.
↑"Fantasia, c BWV 1121 [BWV 1998]; BWV Anh. 205 / Anh. II 45→". Bach Digital. Leipzig: Bach Archive; et al. 14 May 2019.
↑Blanken 2019.
↑"Christ lag in Todes Banden (Leipzig version) BWV 4.2; BWV 4". Bach Digital. Leipzig: Bach Archive; et al. 11 March 2019.
↑Johann Sebastian Bach (1685–1750): New Edition of the Complete Works at the Bärenreiter website.
1 2Neue Bach-Ausgabe: documentation at the International Music Score Library Project
↑Johann Sebastian Bach: New Edition of the Complete Works – Revised Edition at the Bärenreiter website.
↑Hans-Joachim Schulze and Christoph Wolff. Bach Compendium: Analytisch-bibliographisches Repertorium der Werke Johann Sebastian Bachs, Vol. 1 (Part 1–4). Leipzig 1985ff.
↑"Der Gerechte kömmt um ... BWV deest (BC C 8)". Bach Digital. Leipzig: Bach Archive; et al. 25 May 2019.
↑Kirsten Beißwenger (1992). Johann Sebastian Bachs Notenbibliothek. Kassel: Bärenreiter. ISBN 3-7618-1036-9
↑Johann Sebastian Bach: Correspondance Catalogues Zwang — Schmeider at www.musiqueorguequebec.ca
↑Works Catalogues at www.bachdigital.de
1 2 3 4 5 6 7 8 9Melamed 1995, p. 102.
↑BWV 281 at Luke Dahn's www.bach-chorales.com website (2018).
↑Zahn 1889–1893, III, p. 131.
↑l. u. (1885). "Moller, Heinrich von" . Allgemeine Deutsche Biographie (in German). Vol. 22. Leipzig: Duncker & Humblot. pp. 758–759.
1 2Platen 1976, pp. 53–54.
1 2 3 4Schulze 1983, pp. 81ff.
↑Leaver, Robin A., ed. (2016). The Routledge Research Companion to Johann Sebastian Bach. Taylor & Francis. pp. 153–154. ISBN 9781315452807.
↑Pietrzak, Ewa (2014). "Schlesier in den deutschen Sprachgesellschaften des 17. Jahrhunderts"[Silesians in the German-speaking communities of the 17th century]. In Garber, Klaus; Wismann, Heinz; Siebers, Winfried (eds.). Europäische Sozietätsbewegung und demokratische Tradition: Die europäischen Akademien der Frühen Neuzeit zwischen Frührenaissance und Spätaufklärung. Frühe Neuzeit (in German). Vol. 26–27. Walter de Gruyter. p. 1296. ISBN 9783110963243.
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36US-NHub Music Deposit 31 (Klavierbüchlein für W. F. Bach) at Bach Digital.
↑RISM 467300920
↑RISM 467300939
↑Philipp Spitta. Musikgeschichtliche Aufsätze. Berlin (1894), 117f
↑Talbot, Michael (2011). The Vivaldi Compendium. Boydell Press. p. 54. ISBN 9781843836704.
↑Johann Sebastian Bach: Concerti nach Vivaldi u.a. – III at www.crescendo-music.com
↑Johann Sebastian Bach, edited by Hermann Scherchen, preface by Charles van den Borren. Facsimile of BR Bruxelles II. 4805, appendix in Musica viva, Vol. III. Brussels (1936)
1 2Johann Sebastian Bach, edited by E. Capriani. "Documenti storici" in Opere per Liuto, Vol. III. Rovereto (1977)
↑MB Lpz III. 11. 3
1 2 3 4Johann Sebastian Bach, introduction by Hans-Joachim Schulze. Drei Lautenkompositionen in zeitgenössischer Tabulatur (BWV 995, 997, 1000). Leipzig (1975)
↑Artzt. "The third Lute Suite by Bach: Three Manuscripts and their Implications" in Journal of the Lute Society of America (1968), pp. 9ff
↑Grossman. "Der Intavolator als Interpret: Johann Sebastian Bachs Lautensuite g-moll, BWV 995, im Autograph und in zeitgenössischer Tabulatur" in Basler Jahrbuch (1986), pp. 223–244
1 2 3 4 5 6 7 8Henning 1987.
1 2Junghänel. "Bach und die zeitgenössische Lautenpraxis" in Bericht Duisburg
1 2 3 4 5 6 7 8Radke. Fs Engel, pp. 271ff
1 2 3 4 5 6 7 8 9Schulze, Dok III
↑Schulze. Mf 1968, pp. 203f
↑Schulze. "«Monsieur Schouster» – ein vergessener Zeitgenosse Johann Sebastian Bachs" in Fs Dürr, pp. 243ff
↑Schulze. St
1 2 3 4Schulze. "Wer intavolierte Johann Sebastian Bachs Lautentabulaturen?" in Mf 1966, pp. 32ff
1 2 3 4 5 6Siegele Diss
↑Beißwenger, Acht Präl: 27
↑Dömling/Kohlhase, AcM 1971: 108f
1 2 3 4 5Schulze St
1 2 3 4Spitta I: 768; II: 646
↑Wiemer, BJ 1987: 29ff
1 2 3Dreyfus Cont Gr
↑Johann Sebastian Bach with an introduction by Hiroshi Hoshino. "The Manuscript Copy of J. S. Bach's Prelude, Fugue and Allegro for Lute or Harpsichord, E-flat major (BWV 998), in the Possession of Ueno Gakuen" (contains facsimile of Prelude pour la Luth. ò Cembal. par J. S. Bach.) in Fs for Ueno Gakuen. Tokyo (1974), pp. 171ff
↑Dombois. "The Allegro from J. S. Bachs Prelude, Fugue and Allegro in E-flat major" in Lute Society Journal (1972), pp. 25ff, 51ff
1 2 3 4Kobayashi Chr
↑Neemann 1931.
↑Badura-Skoda
↑Spitta I: 663
↑Kilian, Mf 1961: 323 (regarding BWV 539)
1 2Dadelsen TBSt 4/5
↑Hofmann, Fs Scheide: 14~154
↑Spitta I: 707
↑Zingel. "Bach auf der Harfe" in Schweizerische Musikzeitung (1964), pp. 286ff
1 2Forkel & Terry 1920, p. 137 (footnote 4), pp. 234–235 and p. 242.
↑BWV 1045 at www.bach-cantatas.com
↑BWV 1045 at www.jsbachcantatas.com
↑Friedrich Wilhelm Marpurg. Abhandlung von der Fuge Vol. 2. Berlin (1754), TAB XXXVII
↑Herz BQA
↑Neumann/Schulze, Dok I, Nr. 147
1 2 3 4 5Schulze. "Johann Sebastian Bachs Kanonwidmungen" in BJ 1967, pp. 82ff
↑Spitta I: 386
↑Wolff, Mf 1973: 217ff
↑Georg Philipp Telemann. Der getreue Music-Meister. Hamburg (1728), p. 68
↑Johann Mattheson. Der vollkommene Capellmeister. Hamburg (1739), p. 412
↑Lorenz Christoph Mizler. Neu eröffnete musikalische Bibliothek Vol. III. Leipzig (1747), p. 482ff
↑Friedrich Wilhelm Marpurg. Abhandlung von der Fuge nach den Grundsätzen und Exemplen der besten deutschen und ausländischen Meister entworfen ... Vol. 2. Berlin (1754), TAB XXXIII, Fig. 2–3
↑Neumann/Schulze, Dok I, Nr. 158; Dok II, Nr. 325, 564
↑Spitta II: p. 478 / 798
↑Johann Sebastian Bach. Canon triplex à 6 Voc:. Leipzig (1747)
↑C. L. Hilgenfeldt. Johann Sebastian Bach's Leben, Wirken und Werke: ein Beitrag zur Kunstgeschichte des achtzehnten Jahrhunderts. Leipzig: Friedrich Hofmeister (1850), p. 212
↑Clement
↑Neumann/Schulze, Dok II, Nr. 559
↑Smend. Johann Sebastian Bach bei seinem Namen gerufen: Eine Noteninschrift und ihre Deutung. Kassel (1950). Reprint in: Smend Bach-St: 176ff
↑Nowak. "Ein Bach-Fund" in Fontes artis musicae (1966), pp. 95ff
↑Spitta II, p. 506 / p. 747
1 2Wolff Stile antico
↑Neumann/Schulze, Dok I, Nr. 174
↑Neumann/Schulze, Dok I, Nr. 177
↑Spitta Vol. II, pp. 717ff / Anh. p. 19
↑NBA VIII/1 Krit. Bericht: 36f
↑Neumann/Schulze, Dok II, Nr. 602, 603
↑Reich. "Johann Sebastian Bach und Johann Gottfried Müthel – zwei unbekannte Kanons" in Mf 1960, pp. 449f
↑Stam, Mf 1968: 317ff, bes. 319
↑BN Paris Ms. 17669, Bl. 18v at gallica.bnf.fr
↑Alain. "Un supplément inédit aux Variations Goldberg de J. S. Bach" in Revue de Musicologie (1975), pp. 244ff
↑Gárdonyi. "Zu einigen Kanons von J. S. Bach" in Studia Musicologica: Academiae Seientiarum Hungaricae Vol. 28 (1986), pp. 321–324
↑Kennyon. "A newly discovered Group of Canons by Bach" in MT (1976), pp. 391ff
↑Wolff. "Bach's Handexemplar of the Goldberg Variations" in JAMS (1976), pp. 224ff
↑Johann Sebastian Bach. Musicalisches Opfer. Leipzig, 7 July 1747.
↑Johann Sebastian Bach. Die Kunst der Fuge, edited by Carl Philipp Emanuel Bach. Leipzig, c.1751.
1 2 3Maul 2005.
↑Kuznik 2008.
1 2Blaut & Schulze 2008.
↑Texte / Zur Leipziger / Kirchen-Music, / Auf den andern, dritten, vierdten Sonntage / nach der Erscheinung Christi, / Das Fest Mariä Reinigung, / Und die Sonntage / Septuagesimae, Sexagesimae, / Esto mihi, / Ingleichen / Auf das Fest / der Verkündigung Mariä. Leipzig: Immanuel Tietzen (1724)
↑Hobohm, BJ 1973: 5ff
↑Neumann BT: 159, 427
↑Hofmann, BJ 1982: 51ff
↑Christine Blanken. "A Cantata-Text Cycle of 1728 from Nuremberg: a Preliminary Report on a Discovery relating to J. S. Bach's so-called 'Third Annual Cantata Cycle'", pp. 9–30 in Understanding Bach, Vol. 10, 2015
↑Häfner, BJ 1975: 99ff
↑Brinkmann. "Neues über J. S. Bach in Mühlhausen" in Mühihäuser Geschichtsblätter Vol. 31 (1932): 242ff
1 2 3 4 5Geiringer JSB 1971
1 2Picander (=Christian Friedrich Henrici). Ernst-Schertzhaffte und Satyrische Gedichte, Volume III. Leipzig: Joh. Theod. Boetii Tochter (1732); 2nd printing 1737
↑Neumann, Werner (1962). "Eine verschollene Ratswechselkantate J. S. Bachs"[A lost council change cantata by J. S. Bach]. In Dürr, Alfred; Neumann, Werner (eds.). Bach-Jahrbuch 1961[Bach Yearbook 1961]. Bach-Jahrbuch (in German). Vol. 48. Neue Bachgesellschaft. Berlin: Evangelische Verlagsanstalt. pp. 52–57. doi:10.13141/bjb.v1961.
↑Nützliche Nachrichten Von Denen Bemühen derer Gelehrten und andern Begebenheiten in Leipzig (in German). Leipzig: Johann Christian Langenheim. 1740. pp. 82ff.
↑Hudson, NBA I/33, Krit. Bericht: 31ff
↑BC: Werk [B 12]
↑Schaumburg-Lippische Hofbibliothek Bückeburg, V 100 F, No. 31
12Tiggemann, BJ 1994: 7–22
1 2 3 4Picander (=Christian Friedrich Henrici). Ernst-Schertzhaffte und Satyrische Gedichte, Volume IV. Leipzig: Friedrich Matthias Friesen (1737).
↑Schaumburg-Lippische Hofbibliothek Bückeburg, Cb 76 II, Nr. 214
↑Smend Köthen: 27f, 169, 184f
↑Breitkopf-Werke, 1. Ausgabe: 33
↑Neumann BT: 184
↑Verzeichniß der von dem verstorbenen Doctor und Musikdirector Forkel in Göttingen nachgelassenen Bücher und Musikalien. Göttingen (1819), Nr. 94
↑Neumann, NBA I/4, Krit. Bericht: 118
↑Dürr, NBA I/35, Krit. Bericht: 117
↑Smend Köthen: 27, 69, 195–198
↑Dürr, NBA I/35, Krit. Bericht: 120, 275f
↑Dürr, NBA I/35, Krit. Bericht: 118f
↑Smend Köthen: 27, 69, 199ff
↑Wäschke. "Die Zerbster Hofkapelle unter Fasch" in Zerbster Jahrbuch II (1906): 47ff
↑Wäschke. "Eine noch unbekannte Komposition J. S. Bachs" in SIMG 10 (1908/09): 633f
↑Leipziger Post-Zeitungen (10 August 1723)
↑Neumann, NBA I/38, Krit. Bericht: 10
↑Christoph Ernst Sicul. Das frohlockende Leipzig. Leipzig (1727), pp. 3ff
↑Neumann, NBA I/36, Krit. Bericht: 11ff
↑Schulze, BJ 1985; 166ff
↑Neumann, NBA I/36, Krit. Bericht: 20ff
↑Neumann, NBA I/36, Krit. Bericht: 24ff
↑Neumann, NBA I/39, Krit. Bericht: 42
↑Dürr, Bericht Duisburg
↑Neumann, NBA I/37, Krit. Bericht: 97ff
↑Wolff, Bericht Duisburg
↑Als die / von / E. Hoch=Edlen / und / Hoch=Weisen Rathe / der Stadt Leipzig / neugebauete und eingerichtete / Schule zu S. Thomae / den 5. Jun. durch etliche Reden eingeweyhet wurde, / ward folgende / CANTATA / dabey verfertiget und aufgeführet / von / Joh. Sebastian Bach, / Fürstl. Sächs. Weissfels. Capellmeister, und besagter Schulen Cantore / und / M. Johann Heinrich Winckler, / Collega IV Leipzig: Bernhard Christoph Breitkopf (1732)
↑Dürr, Gs Albrecht: 121ff
↑Neumann, NBA I/39, Krit. Bericht: 14f
↑Christoph Gottsched. Versuch einer Critischen Dichtkunst vor die Deutschen ... Leipzig (1730): 371ff
↑Neumann, NBA I/40, Krit. Bericht: 22ff
↑Smend, Bach-Gs 1950: 42ff
↑Melamed 1988.
1 2 3 4 5Wilfried Fischer. Verschollene Solokonzerte in Rekonstruktionen: Fünf Konzerte nach BWV 1052, 1055, 1056, 1060, 1064 (NBA VII/7 Supplement). Bärenreiter 1970.
↑Pfau 2008, p. 99.
↑Hoffmann 1738.
↑Zahn 1889–1893, I, p. 513.
↑Hofmann 1987.
↑Dürr & Jones 2006, p. 871.
↑Spitta 1899, I, pp. 343–344.
↑Dadelsen 1957, p. 39.
↑Beißwenger 1991, pp. 150–151.
↑David 1961.
↑Schicht 1805.
↑Spitta 1899, Vol. III, p. 28.
↑Wollny 2015, p. 132.
↑RISM 467019500
↑Thielemann 2012.
↑Torri 2013, p. 4.
↑Schneider 1912.
↑Vetter 1713, No. 35.
↑Vetter 1713, No. 29.
↑Vetter 1713, No. 20.
↑Vetter 1713, No. 5.
1 2 3 4 5 6 7 8Landmann 1907.
1 2Spitta 1894.
↑Scholze 1736, pp. 33–34.
↑Buhle 1909, pp. XVIII–XXI, 52.
↑Scholze 1736, p. 48.
↑Buhle 1909, pp. XVIII–XXI, 34–35.
↑Dömling & Kohlhase 1971.
↑Dirksen 2016, pp. 20, 146–147.
↑Keller 1937, pp. 63–64.
↑Keller 1937, pp. 70–71.
↑Williams 2003, pp. 176–178.
↑Williams 2003, p. 182.
↑Spitta 1899, I, pp. 455–456.
↑Williams 2003, pp. 56, 59.
↑Williams 2003, pp. 101–102, 105–106.
↑Schulenberg 2013, p. 13; online appendix 2.
1 2 3 4 5 6 7 8Tittel 1966, pp. 114–123.
1 2 3 4 5 6 7 8Dürr 1987.
↑Dirksen 2010, p. 28; online appendix 6.
↑Dirksen 2010, p. 21; online appendix 3–5.
↑Spitta 1899, II, p. 43; III, p. 206.
↑Wright 2000.
↑Feder 1958, p. 78.
↑Perreault 2004, pp. 187–188.
↑Eichberg 1976, pp. 47–49.
1 2Eichberg 1976, pp. 8–11.
↑Kretzschmar 1910, p. 71.
↑Eichberg 1976, pp. 18–19.
1 2 3Eichberg 1976, pp. 20–29.
↑Morana 1993, p. 26.
1 2Koska 2011.
1 2Eichberg 1976, p. 45.
1 2Kobayashi 1978, p. 51.
↑Schulze 1984, pp. 80–81.
↑Eichberg 1976, pp. 8–25.
↑Eichberg 1976, pp. 7–17.
↑Eichberg 1976, pp. 17–19.
1 2 3Feder 1958, p. 77.
1 2Eichberg 1976, pp. 29–42.
↑Eichberg 1976, pp. 42–47.
↑Eppstein 1966, p. 187.
↑Kobayashi 1978, pp. 52–53.
1 2 3 4Leisinger & Wollny 1993, pp. 192–196.
1 2Eppstein 1966, p. 181.
↑van Leyden 1956.
↑Siegele 1957.
↑Eppstein 1982, p. 77.
↑Eppstein 1982, p. 84.
↑Hellmann 1965.
↑Hofmann 1999, pp. 72–75.
↑Spitta 1899, III, p. 143.
↑Kenyon 2011, p. 352.
↑Schulenberg 2010, p. 54.
↑Dürr 1952, p. 42.
↑Dürr 1952, pp. 40f.
↑Scheide 1960, pp. 66ff.
↑Dürr 1952, pp. 31–36.
↑Dürr 1952, pp. 37f.
↑Dürr 1952, pp. 35ff.
↑Dürr 1952, pp. 38f.
↑Dürr 1952, pp. 39f.
↑Hofmann 1983, p. 126.
↑Kobayashi 1978, pp. 46–50.
↑Glöckner 1983.
↑Henrici 1725.
↑Vetter 1713, No. 91.
1 2Platen 1976, p. 51.
↑So how many Bach four–part chorales are there? at Luke Dahn's www.bach-chorales.com (2018)
↑Platen 1976.
↑Kobayashi 1978, p. 46.
↑Dirksen 1998.
1 2Feder 1958, p. 76.
↑Tittel 1966, p. 106.
↑Williams 2003, p. 549.
↑Perreault 2004, p. 56.
↑Williams 2003, pp. 526–527.
↑Perreault 2004, pp. 197–198.
↑Perreault 2004, p. 53.
1 2Eichberg 1976, p. 12.
↑Ahlgrimm 1969, p. 67.
↑Kobayashi 1978, p. 44.
↑Kirnberger 1774.
↑Kirnberger 1780.
1 2Schulze 1980, pp. 54–58, 64.
↑Schulze 1980, p. 50.
↑Schulze 1980, pp. 45ff.
↑Schneider 1907, p. 159.
↑Heinichen 1728, pp. 885–895.
↑Dürr 1954.
↑Bonporti 1712, No. 2.
↑Bonporti 1712, No. 5.
↑Bonporti 1712, No. 6.
↑Bonporti 1712, No. 7.
↑Zuccari c. 1747.
↑D-B Mus. ms. 1160Archived 4 March 2016 at the Wayback Machine at www.bachdigital.de
↑Kirsten Beißwenger (ed.) Werke zweifelhafter Echtheit, Bearbeitungen fremder Kompositionen (Volume 9 of Series II: Masses, Passions, Oratorios from the New Bach Edition). Bärenreiter, 2000.
↑Wer ist der, so von Edom kömmt by Johann Christoph Altnikol et al.: Scores at the International Music Score Library Project
↑Williams 2003, p. 549.
↑Perreault 2004, p. 56.
↑Marx, Wolfgang (2000). Bach: Chorales, Motet BWV 118, Quodlibet, Notenbüchlein for A.M. Bach (Bach 2000, Vol. 87) (Media notes). Koopman, Gritton, et al. Teldec Classics. p. 8.
↑"Wo Gott der Herr nicht bei uns hält BWV 1128; BWV Anh. 71; Emans 195". Bach Digital. Leipzig: Bach Archive; et al. 14 February 2019.
↑Igor Kipnis, The London Strings, Neville Marriner. Bach: The Harpsichord Concertos. CBS 1989
↑André Isoir, Le Parlement de Musique, Martin Gester. Johann Sebastian Bach: L'oeuvre pour orgue et orchestre. Calliope 1993

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Vetter, Daniel (1713). Musicalische Kirch- und Hauß-Ergötzlichkeit (in German). Vol. 2. Leipzig. OCLC 857536916.
Williams, Peter (2003). The Organ Music of J. S. Bach. Cambridge University Press. ISBN 978-0-521-89115-8.
Wollny, Peter (2015). "Vom „apparat der auserleßensten kirchen Stücke" zum „Vorrath an Musicalien, von J. S. Bach und andern berühmten Musicis": Quellenkundliche Ermittlungen zur frühen Thüringer Bach-Überlieferung und zu einigen Weimarer Schülern und Kollegen Bachs". Bach-Jahrbuch 2015[Bach Yearbook 2015]. Bach-Jahrbuch (in German). Vol. 101. Neue Bachgesellschaft. Leipzig: Evangelische Verlagsanstalt. ISBN 978-3-374-04320-0. ISSN 0084-7682.
Wright, Craig (2000). "Bachs Kleines harmonisches Labyrinth (BWV 591): Echtheitsfragen und theologischer Hintergrund"[Bach's Little Harmonical Labyrinth (BWV 591): Authenticity issues and theological background]. In Schulze, Hans-Joachim; Wolff, Christoph (eds.). Bach-Jahrbuch 2000[Bach Yearbook 2000]. Bach-Jahrbuch (in German). Vol. 86. Translated by Steinwachs, Barbara. Neue Bachgesellschaft. Leipzig: Evangelische Verlagsanstalt. pp. 51–65. doi:10.13141/bjb.v2000. ISBN 3-374-01828-9. ISSN 0084-7682.
Zuccari, Carlo (c. 1747). "Sonata X" [Sonata No. 10]. Sonate a Violino, e Basso ò Cembalo: Opera Prima[Sonatas for violin, and bass or harpsichord, Op. 1] (in Italian). Vol. I. Milan. pp. 16–20.
Zahn, Johannes (1889–1893). Die Melodien der deutschen evangelischen Kirchenlieder (in German). Gütersloh: Bertelsmann. Volume:I – II – III – IV – V – VI

External links

Authority file (Wikidata): Q375345
List of works by Johann Sebastian Bach: Scores at the International Music Score Library Project
Johann Sebastian Bach: Systematisch-chronologisches Werkverzeichnis at www.klassika.info(in German)
Works of Johann Sebastian Bach (1685–1750) at Muziekweb website

[FOOTNOTEBachAgricola1754[httpsarchiveorgdetailsbub_gb_lfQ4AAAAIAAJpagen1045mode2up_167]–[httpsarchiveorgdetailsbub_gb_lfQ4AAAAIAAJpagen1047mode2up_169]-1] Bach & Agricola 1754, pp. 167–169.

[FOOTNOTEForkelTerry1920[httpsarchiveorgdetailsjohannsebastian01terrgoogpagen161mode2up_"Chapter_IX:_Bach's_Compositions"_pp.&nbsp;114–142]-2] Forkel & Terry 1920, "Chapter IX: Bach's Compositions" pp. 114–142.

[BGAIMSLP-3] 1 2Bach-Gesellschaft Ausgabe, .../Prefaces, .../Thematic Catalogue: documentation and facsimiles at the International Music Score Library Project

[FOOTNOTEForkelTerry1920[httpsarchiveorgstreamjohannsebastian01terrgoogpagen274mode1up_"Appendix_III"_pp.&nbsp;225–286]-4] 1 2Forkel & Terry 1920, "Appendix III" pp. 225–286.

[FOOTNOTESchmieder1950-5] Schmieder 1950.

[oclc18856743-6] 1 2 3OCLC 18856743

[FOOTNOTESchmieder1990-7] Schmieder 1990.

[FOOTNOTEDürrKobayashi1998-8] Dürr & Kobayashi 1998.

[9] "Fantasia, c BWV 1121 [BWV 1998]; BWV Anh. 205 / Anh. II 45→". Bach Digital. Leipzig: Bach Archive; et al. 14 May 2019.

[FOOTNOTEBlanken2019-10] Blanken 2019.

[11] "Christ lag in Todes Banden (Leipzig version) BWV 4.2; BWV 4". Bach Digital. Leipzig: Bach Archive; et al. 11 March 2019.

[12] Johann Sebastian Bach (1685–1750): New Edition of the Complete Works at the Bärenreiter website.

[NBAIMSLP-13] 1 2Neue Bach-Ausgabe: documentation at the International Music Score Library Project

[14] Johann Sebastian Bach: New Edition of the Complete Works – Revised Edition at the Bärenreiter website.

[15] Hans-Joachim Schulze and Christoph Wolff. Bach Compendium: Analytisch-bibliographisches Repertorium der Werke Johann Sebastian Bachs, Vol. 1 (Part 1–4). Leipzig 1985ff.

[16] "Der Gerechte kömmt um ... BWV deest (BC C 8)". Bach Digital. Leipzig: Bach Archive; et al. 25 May 2019.

[17] Kirsten Beißwenger (1992). Johann Sebastian Bachs Notenbibliothek. Kassel: Bärenreiter. ISBN 3-7618-1036-9

[18] Johann Sebastian Bach: Correspondance Catalogues Zwang — Schmeider at www.musiqueorguequebec.ca

[19] Works Catalogues at www.bachdigital.de

[FOOTNOTEMelamed1995[httpsbooksgooglecombookshlnlidJDlBMqI628UCpgPA102_102]-20] 1 2 3 4 5 6 7 8 9Melamed 1995, p. 102.

[21] BWV 281 at Luke Dahn's www.bach-chorales.com website (2018).

[FOOTNOTEZahn1889–1893III,_p.&nbsp;[httpsarchiveorgdetails1508285990bsb11304501pagen136mode2up_131]-22] Zahn 1889–1893, III, p. 131.

[23] . u. (1885). "Moller, Heinrich von" . Allgemeine Deutsche Biographie (in German). Vol. 22. Leipzig: Duncker & Humblot. pp. 758–759.

[FOOTNOTEPlaten197653–54-24] 1 2Platen 1976, pp. 53–54.

[FOOTNOTESchulze198381ff-25] 1 2 3 4Schulze 1983, pp. 81ff.

[26] Leaver, Robin A., ed. (2016). The Routledge Research Companion to Johann Sebastian Bach. Taylor & Francis. pp. 153–154. ISBN 9781315452807.

[27] Pietrzak, Ewa (2014). "Schlesier in den deutschen Sprachgesellschaften des 17. Jahrhunderts"[Silesians in the German-speaking communities of the 17th century]. In Garber, Klaus; Wismann, Heinz; Siebers, Winfried (eds.). Europäische Sozietätsbewegung und demokratische Tradition: Die europäischen Akademien der Frühen Neuzeit zwischen Frührenaissance und Spätaufklärung. Frühe Neuzeit (in German). Vol. 26–27. Walter de Gruyter. p. 1296. ISBN 9783110963243.

[FOOTNOTEUS-NHub_Music_Deposit_31_(''Klavierbüchlein_für_W._F._Bach'')_at_Bach_Digital-28] 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36US-NHub Music Deposit 31 (Klavierbüchlein für W. F. Bach) at Bach Digital.

[29] RISM 467300920

[30] RISM 467300939

[31] Philipp Spitta. Musikgeschichtliche Aufsätze. Berlin (1894), 117f

[32] Talbot, Michael (2011). The Vivaldi Compendium. Boydell Press. p. 54. ISBN 9781843836704.

[33] Johann Sebastian Bach: Concerti nach Vivaldi u.a. – III at www.crescendo-music.com

[34] Johann Sebastian Bach, edited by Hermann Scherchen, preface by Charles van den Borren. Facsimile of BR Bruxelles II. 4805, appendix in Musica viva, Vol. III. Brussels (1936)

[Capriani1977-35] 1 2Johann Sebastian Bach, edited by E. Capriani. "Documenti storici" in Opere per Liuto, Vol. III. Rovereto (1977)

[36] MB Lpz III. 11. 3

[Schulze1975Drei-37] 1 2 3 4Johann Sebastian Bach, introduction by Hans-Joachim Schulze. Drei Lautenkompositionen in zeitgenössischer Tabulatur (BWV 995, 997, 1000). Leipzig (1975)

[38] Artzt. "The third Lute Suite by Bach: Three Manuscripts and their Implications" in Journal of the Lute Society of America (1968), pp. 9ff

[39] Grossman. "Der Intavolator als Interpret: Johann Sebastian Bachs Lautensuite g-moll, BWV 995, im Autograph und in zeitgenössischer Tabulatur" in Basler Jahrbuch (1986), pp. 223–244

[FOOTNOTEHenning1987-40] 1 2 3 4 5 6 7 8Henning 1987.

[ReferenceA-41] 1 2Junghänel. "Bach und die zeitgenössische Lautenpraxis" in Bericht Duisburg

[Radkep271-42] 1 2 3 4 5 6 7 8Radke. Fs Engel, pp. 271ff

[SchulzeDokIII-43] 1 2 3 4 5 6 7 8 9Schulze, Dok III

[44] Schulze. Mf 1968, pp. 203f

[45] Schulze. "«Monsieur Schouster» – ein vergessener Zeitgenosse Johann Sebastian Bachs" in Fs Dürr, pp. 243ff

[46] Schulze. St

[Schulze1966Wer-47] 1 2 3 4Schulze. "Wer intavolierte Johann Sebastian Bachs Lautentabulaturen?" in Mf 1966, pp. 32ff

[SiegeleDiss-48] 1 2 3 4 5 6Siegele Diss

[49] Beißwenger, Acht Präl: 27

[50] Dömling/Kohlhase, AcM 1971: 108f

[SchulzeSt-51] 1 2 3 4 5Schulze St

[SpittaI768II646-52] 1 2 3 4Spitta I: 768; II: 646

[53] Wiemer, BJ 1987: 29ff

[Dreyfus_Cont_Gr-54] 1 2 3Dreyfus Cont Gr

[55] Johann Sebastian Bach with an introduction by Hiroshi Hoshino. "The Manuscript Copy of J. S. Bach's Prelude, Fugue and Allegro for Lute or Harpsichord, E-flat major (BWV 998), in the Possession of Ueno Gakuen" (contains facsimile of Prelude pour la Luth. ò Cembal. par J. S. Bach.) in Fs for Ueno Gakuen. Tokyo (1974), pp. 171ff

[56] Dombois. "The Allegro from J. S. Bachs Prelude, Fugue and Allegro in E-flat major" in Lute Society Journal (1972), pp. 25ff, 51ff

[KobayashiChr-57] 1 2 3 4Kobayashi Chr

[FOOTNOTENeemann1931-58] Neemann 1931.

[59] Badura-Skoda

[60] Spitta I: 663

[61] Kilian, Mf 1961: 323 (regarding BWV 539)

[Dadelsen_TBSt_4/5-62] 1 2Dadelsen TBSt 4/5

[63] Hofmann, Fs Scheide: 14~154

[64] Spitta I: 707

[65] Zingel. "Bach auf der Harfe" in Schweizerische Musikzeitung (1964), pp. 286ff

[FOOTNOTEForkelTerry1920[httpsarchiveorgstreamjohannsebastian01terrgoogpagen183mode2up_p.&nbsp;137]_(footnote_4),_[httpsarchiveorgstreamjohannsebastian01terrgoogpagen283mode2up_pp.&nbsp;234–235]_and_[httpsarchiveorgstreamjohannsebastian01terrgoogpagen291mode2up_p.&nbsp;242]-66] 1 2Forkel & Terry 1920, p. 137 (footnote 4), pp. 234–235 and p. 242.

[67] BWV 1045 at www.bach-cantatas.com

[68] BWV 1045 at www.jsbachcantatas.com

[69] Friedrich Wilhelm Marpurg. Abhandlung von der Fuge Vol. 2. Berlin (1754), TAB XXXVII

[70] Herz BQA

[71] Neumann/Schulze, Dok I, Nr. 147

[Schulze1976p82-72] 1 2 3 4 5Schulze. "Johann Sebastian Bachs Kanonwidmungen" in BJ 1967, pp. 82ff

[73] Spitta I: 386

[74] Wolff, Mf 1973: 217ff

[75] Georg Philipp Telemann. Der getreue Music-Meister. Hamburg (1728), p. 68

[76] Johann Mattheson. Der vollkommene Capellmeister. Hamburg (1739), p. 412

[77] Lorenz Christoph Mizler. Neu eröffnete musikalische Bibliothek Vol. III. Leipzig (1747), p. 482ff

[78] Friedrich Wilhelm Marpurg. Abhandlung von der Fuge nach den Grundsätzen und Exemplen der besten deutschen und ausländischen Meister entworfen ... Vol. 2. Berlin (1754), TAB XXXIII, Fig. 2–3

[79] Neumann/Schulze, Dok I, Nr. 158; Dok II, Nr. 325, 564

[80] Spitta II: p. 478 / 798

[81] Johann Sebastian Bach. Canon triplex à 6 Voc:. Leipzig (1747)

[82] C. L. Hilgenfeldt. Johann Sebastian Bach's Leben, Wirken und Werke: ein Beitrag zur Kunstgeschichte des achtzehnten Jahrhunderts. Leipzig: Friedrich Hofmeister (1850), p. 212

[83] Clement

[84] Neumann/Schulze, Dok II, Nr. 559

[85] Smend. Johann Sebastian Bach bei seinem Namen gerufen: Eine Noteninschrift und ihre Deutung. Kassel (1950). Reprint in: Smend Bach-St: 176ff

[86] Nowak. "Ein Bach-Fund" in Fontes artis musicae (1966), pp. 95ff

[87] Spitta II, p. 506 / p. 747

[WolffSA-88] 1 2Wolff Stile antico

[89] Neumann/Schulze, Dok I, Nr. 174

[90] Neumann/Schulze, Dok I, Nr. 177

[91] Spitta Vol. II, pp. 717ff / Anh. p. 19

[92] NBA VIII/1 Krit. Bericht: 36f

[93] Neumann/Schulze, Dok II, Nr. 602, 603

[94] Reich. "Johann Sebastian Bach und Johann Gottfried Müthel – zwei unbekannte Kanons" in Mf 1960, pp. 449f

[95] Stam, Mf 1968: 317ff, bes. 319

[96] BN Paris Ms. 17669, Bl. 18v at gallica.bnf.fr

[97] Alain. "Un supplément inédit aux Variations Goldberg de J. S. Bach" in Revue de Musicologie (1975), pp. 244ff

[98] Gárdonyi. "Zu einigen Kanons von J. S. Bach" in Studia Musicologica: Academiae Seientiarum Hungaricae Vol. 28 (1986), pp. 321–324

[99] Kennyon. "A newly discovered Group of Canons by Bach" in MT (1976), pp. 391ff

[100] Wolff. "Bach's Handexemplar of the Goldberg Variations" in JAMS (1976), pp. 224ff

[101] Johann Sebastian Bach. Musicalisches Opfer. Leipzig, 7 July 1747.

[102] Johann Sebastian Bach. Die Kunst der Fuge, edited by Carl Philipp Emanuel Bach. Leipzig, c.1751.

[FOOTNOTEMaul2005-103] 1 2 3Maul 2005.

[FOOTNOTEKuznik2008-104] Kuznik 2008.

[FOOTNOTEBlautSchulze2008-105] 1 2Blaut & Schulze 2008.

[106] Texte / Zur Leipziger / Kirchen-Music, / Auf den andern, dritten, vierdten Sonntage / nach der Erscheinung Christi, / Das Fest Mariä Reinigung, / Und die Sonntage / Septuagesimae, Sexagesimae, / Esto mihi, / Ingleichen / Auf das Fest / der Verkündigung Mariä. Leipzig: Immanuel Tietzen (1724)

[107] Hobohm, BJ 1973: 5ff

[108] Neumann BT: 159, 427

[109] Hofmann, BJ 1982: 51ff

[110] Christine Blanken. "A Cantata-Text Cycle of 1728 from Nuremberg: a Preliminary Report on a Discovery relating to J. S. Bach's so-called 'Third Annual Cantata Cycle'", pp. 9–30 in Understanding Bach, Vol. 10, 2015

[111] Häfner, BJ 1975: 99ff

[112] Brinkmann. "Neues über J. S. Bach in Mühlhausen" in Mühihäuser Geschichtsblätter Vol. 31 (1932): 242ff

[Geiringer1971-113] 1 2 3 4 5Geiringer JSB 1971

[Picander1732-114] 1 2Picander (=Christian Friedrich Henrici). Ernst-Schertzhaffte und Satyrische Gedichte, Volume III. Leipzig: Joh. Theod. Boetii Tochter (1732); 2nd printing 1737

[115] Neumann, Werner (1962). "Eine verschollene Ratswechselkantate J. S. Bachs"[A lost council change cantata by J. S. Bach]. In Dürr, Alfred; Neumann, Werner (eds.). Bach-Jahrbuch 1961[Bach Yearbook 1961]. Bach-Jahrbuch (in German). Vol. 48. Neue Bachgesellschaft. Berlin: Evangelische Verlagsanstalt. pp. 52–57. doi:10.13141/bjb.v1961.

[116] Nützliche Nachrichten Von Denen Bemühen derer Gelehrten und andern Begebenheiten in Leipzig (in German). Leipzig: Johann Christian Langenheim. 1740. pp. 82ff.

[117] Hudson, NBA I/33, Krit. Bericht: 31ff

[118] BC: Werk [B 12]

[119] Schaumburg-Lippische Hofbibliothek Bückeburg, V 100 F, No. 31

[Tiggemann,_BJ_1994:_7-22-120] 12Tiggemann, BJ 1994: 7–22

[Picander1737-121] 1 2 3 4Picander (=Christian Friedrich Henrici). Ernst-Schertzhaffte und Satyrische Gedichte, Volume IV. Leipzig: Friedrich Matthias Friesen (1737).

[122] Schaumburg-Lippische Hofbibliothek Bückeburg, Cb 76 II, Nr. 214

[123] Smend Köthen: 27f, 169, 184f

[124] Breitkopf-Werke, 1. Ausgabe: 33

[125] Neumann BT: 184

[126] Verzeichniß der von dem verstorbenen Doctor und Musikdirector Forkel in Göttingen nachgelassenen Bücher und Musikalien. Göttingen (1819), Nr. 94

[127] Neumann, NBA I/4, Krit. Bericht: 118

[128] Dürr, NBA I/35, Krit. Bericht: 117

[129] Smend Köthen: 27, 69, 195–198

[130] Dürr, NBA I/35, Krit. Bericht: 120, 275f

[131] Dürr, NBA I/35, Krit. Bericht: 118f

[132] Smend Köthen: 27, 69, 199ff

[133] Wäschke. "Die Zerbster Hofkapelle unter Fasch" in Zerbster Jahrbuch II (1906): 47ff

[134] Wäschke. "Eine noch unbekannte Komposition J. S. Bachs" in SIMG 10 (1908/09): 633f

[135] Leipziger Post-Zeitungen (10 August 1723)

[136] Neumann, NBA I/38, Krit. Bericht: 10

[137] Christoph Ernst Sicul. Das frohlockende Leipzig. Leipzig (1727), pp. 3ff

[138] Neumann, NBA I/36, Krit. Bericht: 11ff

[139] Schulze, BJ 1985; 166ff

[140] Neumann, NBA I/36, Krit. Bericht: 20ff

[141] Neumann, NBA I/36, Krit. Bericht: 24ff

[142] Neumann, NBA I/39, Krit. Bericht: 42

[143] Dürr, Bericht Duisburg

[144] Neumann, NBA I/37, Krit. Bericht: 97ff

[145] Wolff, Bericht Duisburg

[146] Als die / von / E. Hoch=Edlen / und / Hoch=Weisen Rathe / der Stadt Leipzig / neugebauete und eingerichtete / Schule zu S. Thomae / den 5. Jun. durch etliche Reden eingeweyhet wurde, / ward folgende / CANTATA / dabey verfertiget und aufgeführet / von / Joh. Sebastian Bach, / Fürstl. Sächs. Weissfels. Capellmeister, und besagter Schulen Cantore / und / M. Johann Heinrich Winckler, / Collega IV Leipzig: Bernhard Christoph Breitkopf (1732)

[147] Dürr, Gs Albrecht: 121ff

[148] Neumann, NBA I/39, Krit. Bericht: 14f

[149] Christoph Gottsched. Versuch einer Critischen Dichtkunst vor die Deutschen ... Leipzig (1730): 371ff

[150] Neumann, NBA I/40, Krit. Bericht: 22ff

[151] Smend, Bach-Gs 1950: 42ff

[FOOTNOTEMelamed1988-152] Melamed 1988.

[Fischer1970-153] 1 2 3 4 5Wilfried Fischer. Verschollene Solokonzerte in Rekonstruktionen: Fünf Konzerte nach BWV 1052, 1055, 1056, 1060, 1064 (NBA VII/7 Supplement). Bärenreiter 1970.

[FOOTNOTEPfau200899-154] Pfau 2008, p. 99.

[FOOTNOTEHoffmann1738-155] Hoffmann 1738.

[FOOTNOTEZahn1889–1893I,_p.&nbsp;[httpsarchiveorgdetails1508283124bsb11304498pagen520mode2up_513]-156] Zahn 1889–1893, I, p. 513.

[FOOTNOTEHofmann1987-157] Hofmann 1987.

[FOOTNOTEDürrJones2006[httpsbooksgooglecombooksidm9JuwslMcq4CpgPA871_871]-158] Dürr & Jones 2006, p. 871.

[FOOTNOTESpitta1899I,_pp.&nbsp;[httpsarchiveorgstreamjohannsebastianb01spituoftpage343mode2up_343]–[httpsarchiveorgstreamjohannsebastianb01spituoftpage344mode2up_344]-159] Spitta 1899, I, pp. 343–344.

[FOOTNOTEDadelsen195739-160] Dadelsen 1957, p. 39.

[FOOTNOTEBeißwenger1991150–151-161] Beißwenger 1991, pp. 150–151.

[FOOTNOTEDavid1961-162] David 1961.

[FOOTNOTESchicht1805-163] Schicht 1805.

[FOOTNOTESpitta1899Vol.&nbsp;III,_p.&nbsp;[httpsarchiveorgstreamjohannsebastianb03spituoftpage28mode2up_28]-164] Spitta 1899, Vol. III, p. 28.

[FOOTNOTEWollny2015132-165] Wollny 2015, p. 132.

[166] RISM 467019500

[FOOTNOTEThielemann2012-167] Thielemann 2012.

[FOOTNOTETorri20134-168] Torri 2013, p. 4.

[FOOTNOTESchneider1912-169] Schneider 1912.

[FOOTNOTEVetter1713No.&nbsp;35-170] Vetter 1713, No. 35.

[FOOTNOTEVetter1713No.&nbsp;29-171] Vetter 1713, No. 29.

[FOOTNOTEVetter1713No.&nbsp;20-172] Vetter 1713, No. 20.

[FOOTNOTEVetter1713No.&nbsp;5-173] Vetter 1713, No. 5.

[FOOTNOTELandmann1907-174] 1 2 3 4 5 6 7 8Landmann 1907.

[FOOTNOTESpitta1894-175] 1 2Spitta 1894.

[FOOTNOTEScholze173633–34-176] Scholze 1736, pp. 33–34.

[FOOTNOTEBuhle1909XVIII–XXI,_52-177] Buhle 1909, pp. XVIII–XXI, 52.

[FOOTNOTEScholze173648-178] Scholze 1736, p. 48.

[FOOTNOTEBuhle1909XVIII–XXI,_34–35-179] Buhle 1909, pp. XVIII–XXI, 34–35.

[FOOTNOTEDömlingKohlhase1971-180] Dömling & Kohlhase 1971.

[FOOTNOTEDirksen201620,_146–147-181] Dirksen 2016, pp. 20, 146–147.

[FOOTNOTEKeller193763–64-182] Keller 1937, pp. 63–64.

[FOOTNOTEKeller193770–71-183] Keller 1937, pp. 70–71.

[FOOTNOTEWilliams2003[httpsbooksgooglecombooksidgTXxUk1LAowCpgPA176_176–178]-184] Williams 2003, pp. 176–178.

[FOOTNOTEWilliams2003[httpsbooksgooglecombooksidgTXxUk1LAowCpgPA182_182]-185] Williams 2003, p. 182.

[FOOTNOTESpitta1899I,_pp.&nbsp;[httpsarchiveorgstreamjohannsebastianb01spituoftpage455mode2up_455]–[httpsarchiveorgstreamjohannsebastianb01spituoftpage456mode2up_456]-186] Spitta 1899, I, pp. 455–456.

[FOOTNOTEWilliams2003[httpsbooksgooglecombooksidgTXxUk1LAowCpgPA56_56],_[httpsbooksgooglecombooksidgTXxUk1LAowCpgPA59_59]-187] Williams 2003, pp. 56, 59.

[FOOTNOTEWilliams2003[httpsbooksgooglecombooksidgTXxUk1LAowCpgPA101_101]–[httpsbooksgooglecombooksidgTXxUk1LAowCpgPA102_102],_[httpsbooksgooglecombooksidgTXxUk1LAowCpgPA105_105]–[httpsbooksgooglecombooksidgTXxUk1LAowCpgPA106_106]-188] Williams 2003, pp. 101–102, 105–106.

[FOOTNOTESchulenberg2013p.&nbsp;13;_[httpswwwbreitkopfcombach-ediromeditionxmldbexistdbappsbreitkopf-bach-band-1edition-breitkopf-bach-band-1xmlworkwork-02_online_appendix_2]-189] Schulenberg 2013, p. 13; online appendix 2.

[FOOTNOTETittel1966114–123-190] 1 2 3 4 5 6 7 8Tittel 1966, pp. 114–123.

[FOOTNOTEDürr1987-191] 1 2 3 4 5 6 7 8Dürr 1987.

[FOOTNOTEDirksen2010p.&nbsp;28;_[httpswwwbreitkopfcombach-ediromeditionxmldbexistdbappsbreitkopf-bach-band-5edition-breitkopf-bach-band-5xml_online_appendix]_6-192] Dirksen 2010, p. 28; online appendix 6.

[FOOTNOTEDirksen2010p.&nbsp;21;_[httpswwwbreitkopfcombach-ediromeditionxmldbexistdbappsbreitkopf-bach-band-5edition-breitkopf-bach-band-5xml_online_appendix]_3–5-193] Dirksen 2010, p. 21; online appendix 3–5.

[FOOTNOTESpitta1899II,_p.&nbsp;[httpsarchiveorgstreamjohannsebastianb02spituoftpage43mode2up_43];_III,_p.&nbsp;[httpsarchiveorgstreamjohannsebastianb03spituoftpage206mode2up_206]-194] Spitta 1899, II, p. 43; III, p. 206.

[FOOTNOTEWright2000-195] Wright 2000.

[FOOTNOTEFeder195878-196] Feder 1958, p. 78.

[FOOTNOTEPerreault2004[httpsbooksgooglecombooksidnhsqOvqyCzECpgPA187_187]–[httpsbooksgooglecombooksidnhsqOvqyCzECpgPA188_188]-197] Perreault 2004, pp. 187–188.

[FOOTNOTEEichberg197647–49-198] Eichberg 1976, pp. 47–49.

[FOOTNOTEEichberg19768–11-199] 1 2Eichberg 1976, pp. 8–11.

[FOOTNOTEKretzschmar191071-200] Kretzschmar 1910, p. 71.

[FOOTNOTEEichberg197618–19-201] Eichberg 1976, pp. 18–19.

[FOOTNOTEEichberg197620–29-202] 1 2 3Eichberg 1976, pp. 20–29.

[FOOTNOTEMorana199326-203] Morana 1993, p. 26.

[FOOTNOTEKoska2011-204] 1 2Koska 2011.

[FOOTNOTEEichberg197645-205] 1 2Eichberg 1976, p. 45.

[FOOTNOTEKobayashi197851-206] 1 2Kobayashi 1978, p. 51.

[FOOTNOTESchulze198480–81-207] Schulze 1984, pp. 80–81.

[FOOTNOTEEichberg19768–25-208] Eichberg 1976, pp. 8–25.

[FOOTNOTEEichberg19767–17-209] Eichberg 1976, pp. 7–17.

[FOOTNOTEEichberg197617–19-210] Eichberg 1976, pp. 17–19.

[FOOTNOTEFeder195877-211] 1 2 3Feder 1958, p. 77.

[FOOTNOTEEichberg197629–42-212] 1 2Eichberg 1976, pp. 29–42.

[FOOTNOTEEichberg197642–47-213] Eichberg 1976, pp. 42–47.

[FOOTNOTEEppstein1966187-214] Eppstein 1966, p. 187.

[FOOTNOTEKobayashi197852–53-215] Kobayashi 1978, pp. 52–53.

[FOOTNOTELeisingerWollny1993192–196-216] 1 2 3 4Leisinger & Wollny 1993, pp. 192–196.

[FOOTNOTEEppstein1966181-217] 1 2Eppstein 1966, p. 181.

[FOOTNOTEvan_Leyden1956-218] van Leyden 1956.

[FOOTNOTESiegele1957-219] Siegele 1957.

[FOOTNOTEEppstein198277-220] Eppstein 1982, p. 77.

[FOOTNOTEEppstein198284-221] Eppstein 1982, p. 84.

[FOOTNOTEHellmann1965-222] Hellmann 1965.

[FOOTNOTEHofmann199972–75-223] Hofmann 1999, pp. 72–75.

[FOOTNOTESpitta1899III,_p.&nbsp;[httpsarchiveorgstreamjohannsebastianb03spituoftpage143mode2upsearchoboe_143]-224] Spitta 1899, III, p. 143.

[FOOTNOTEKenyon2011[httpsbooksgooglecombooksidx1fm8XWwvJkCpgPA352_352]-225] Kenyon 2011, p. 352.

[FOOTNOTESchulenberg201054-226] Schulenberg 2010, p. 54.

[FOOTNOTEDürr195242-227] Dürr 1952, p. 42.

[FOOTNOTEDürr195240f-228] Dürr 1952, pp. 40f.

[FOOTNOTEScheide196066ff-229] Scheide 1960, pp. 66ff.

[FOOTNOTEDürr195231–36-230] Dürr 1952, pp. 31–36.

[FOOTNOTEDürr195237f-231] Dürr 1952, pp. 37f.

[FOOTNOTEDürr195235ff-232] Dürr 1952, pp. 35ff.

[FOOTNOTEDürr195238f-233] Dürr 1952, pp. 38f.

[FOOTNOTEDürr195239f-234] Dürr 1952, pp. 39f.

[FOOTNOTEHofmann1983126-235] Hofmann 1983, p. 126.

[FOOTNOTEKobayashi197846–50-236] Kobayashi 1978, pp. 46–50.

[FOOTNOTEGlöckner1983-237] Glöckner 1983.

[FOOTNOTEHenrici1725-238] Henrici 1725.

[FOOTNOTEVetter1713No.&nbsp;91-239] Vetter 1713, No. 91.

[FOOTNOTEPlaten197651-240] 1 2Platen 1976, p. 51.

[241] So how many Bach four–part chorales are there? at Luke Dahn's www.bach-chorales.com (2018)

[FOOTNOTEPlaten1976-242] Platen 1976.

[FOOTNOTEKobayashi197846-243] Kobayashi 1978, p. 46.

[FOOTNOTEDirksen1998-244] Dirksen 1998.

[FOOTNOTEFeder195876-245] 1 2Feder 1958, p. 76.

[FOOTNOTETittel1966106-246] Tittel 1966, p. 106.

[FOOTNOTEWilliams2003[httpsbooksgooglecombooksidgTXxUk1LAowCpgPA549_549]-247] Williams 2003, p. 549.

[FOOTNOTEPerreault2004[httpsbooksgooglecombooksidnhsqOvqyCzECpgPA56_56]-248] Perreault 2004, p. 56.

[FOOTNOTEWilliams2003[httpsbooksgooglecombooksidgTXxUk1LAowCpgPA526_526]–[httpsbooksgooglecombooksidgTXxUk1LAowCpgPA527_527]-249] Williams 2003, pp. 526–527.

[FOOTNOTEPerreault2004[httpsbooksgooglecombooksidnhsqOvqyCzECpgPA197_197]–[httpsbooksgooglecombooksidnhsqOvqyCzECpgPA198_198]-250] Perreault 2004, pp. 197–198.

[FOOTNOTEPerreault2004[httpsbooksgooglecombooksidnhsqOvqyCzECpgPA53_53]-251] Perreault 2004, p. 53.

[FOOTNOTEEichberg197612-252] 1 2Eichberg 1976, p. 12.

[FOOTNOTEAhlgrimm196967-253] Ahlgrimm 1969, p. 67.

[FOOTNOTEKobayashi197844-254] Kobayashi 1978, p. 44.

[FOOTNOTEKirnberger1774-255] Kirnberger 1774.

[FOOTNOTEKirnberger1780-256] Kirnberger 1780.

[FOOTNOTESchulze198054–58,_64-257] 1 2Schulze 1980, pp. 54–58, 64.

[FOOTNOTESchulze198050-258] Schulze 1980, p. 50.

[FOOTNOTESchulze198045ff-259] Schulze 1980, pp. 45ff.

[FOOTNOTESchneider1907159-260] Schneider 1907, p. 159.

[FOOTNOTEHeinichen1728885–895-261] Heinichen 1728, pp. 885–895.

[FOOTNOTEDürr1954-262] Dürr 1954.

[FOOTNOTEBonporti1712No.&nbsp;2-263] Bonporti 1712, No. 2.

[FOOTNOTEBonporti1712No.&nbsp;5-264] Bonporti 1712, No. 5.

[FOOTNOTEBonporti1712No.&nbsp;6-265] Bonporti 1712, No. 6.

[FOOTNOTEBonporti1712No.&nbsp;7-266] Bonporti 1712, No. 7.

[FOOTNOTEZuccaric._1747-267] Zuccari c. 1747.

[268] D-B Mus. ms. 1160Archived 4 March 2016 at the Wayback Machine at www.bachdigital.de

[Beißwenger2000-269] Kirsten Beißwenger (ed.) Werke zweifelhafter Echtheit, Bearbeitungen fremder Kompositionen (Volume 9 of Series II: Masses, Passions, Oratorios from the New Bach Edition). Bärenreiter, 2000.

[Altnikol1750-270] Wer ist der, so von Edom kömmt by Johann Christoph Altnikol et al.: Scores at the International Music Score Library Project

[FOOTNOTEWilliams2003549-271] Williams 2003, p. 549.

[FOOTNOTEPerreault200456-272] Perreault 2004, p. 56.

[273] Marx, Wolfgang (2000). Bach: Chorales, Motet BWV 118, Quodlibet, Notenbüchlein for A.M. Bach (Bach 2000, Vol. 87) (Media notes). Koopman, Gritton, et al. Teldec Classics. p. 8.

[274] "Wo Gott der Herr nicht bei uns hält BWV 1128; BWV Anh. 71; Emans 195". Bach Digital. Leipzig: Bach Archive; et al. 14 February 2019.

[275] Igor Kipnis, The London Strings, Neville Marriner. Bach: The Harpsichord Concertos. CBS 1989

[276] André Isoir, Le Parlement de Musique, Martin Gester. Johann Sebastian Bach: L'oeuvre pour orgue et orchestre. Calliope 1993

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