BWV 39.1 – Choir Fugue: “Brich dem Hungrigen dein Brot”
BWV 45.1 – Preludium (3 Fughettas) bar 1 - 37 Fugue bar 54 - 77 Fugue bar 78 - 126 Preludium (3 Fughettas) bar 169 - 186: “Es ist dir gesagt, Mensch, was gut ist”
BWV 46.1 – Preludium and Fugue: “Schauet doch und sheet”
BWV 47.1 – Double Fugue: “Wer sich selbst erhöhet”
BWV 50.1 – Permutation Fugue: “Nun ist das Heil und die Kraft”
BWV 54.3 – Aria Double Fugue: “Wer Sünde tut, der ist vom Teufel”
BWV 63.1 – “Denn der Strahl, so da einbricht” bars 132 - 159
BWV 63.7 – Two Double Fugues: Höchster, schau in Gnaden an””
BWV 65.1 – Choir Triple Fugue: “Sie werden aus Saba alle kommen”
BWV 67.1 – Sinfonia and Double Choir Fugue: “Halt im Gedächtnis Jesum Christ”
BWV 68.5 – Double Choir Fugue: “Wer an ihn gläubet”
BWV 69.1 – Double Fugue: “Lobe den Herrn, meine Seele”
BWV 71.3 – Choir triple permutation Fugue: “Dein Alter sei wie deine Jugend”
BWV 1014 – Sonata No. 1 in B minor: 2. Allegro and 4. Allegro
BWV 1015 – Sonata No. 2 in A major: 2. Allegro assai and 4. Presto
BWV 1016 – Sonata No. 3 in E major: 2. Allegro and 4. Allegro
BWV 1017 – Sonata No. 4 in C minor: 2. Allegro and 4. Allegro
BWV 1018 – Sonata No. 5 in F minor: 2. Allegro and 4. Vivace
BWV 1019 – Sonata No. 6 in G major: 5. Allegro
Other sonatas
BWV 965 – Sonata in A minor: 2. Fugue
BWV 1021 – Sonata in G major: 4. Presto
Cello Suites
BWV 1011 Prelude
Suite No. 5 in C minor, in French Overture AB form, the B part is a single-line Fugue
Canons and fugal works in the last two chapters of the Bach-Werke-Verzeichnis (1998)
Legend to the table
column
content
01
BWV
Bach-Werke-Verzeichnis (
lit.'Bach-works-catalogue'; BWV) numbers. Anhang (Annex; Anh.) numbers are indicated as follows:
preceded by I: in
Anh. I (lost works) of
BWV1 (1950 first edition of the BWV)
preceded by II: in
Anh. II (doubtful works) of BWV1
preceded by III: in
Anh. III (spurious works) of BWV1
preceded by N: new Anh. numbers in
BWV2 (1990) and/or
BWV2a (1998)
02
2a
Section in which the composition appears in BWV2a:
Chapters of the main catalogue indicated by Arabic numerals (1-13)
Anh. sections indicated by Roman numerals (I–III)
Reconstructions published in the
NBE indicated by "R"
03
Date
Date associated with the completion of the listed version of the composition. Exact dates (e.g. for most cantatas) usually indicate the assumed date of first (public) performance. When the date is followed by an abbreviation in brackets (e.g. JSB for Johann Sebastian Bach) it indicates the date of that person's involvement with the composition as composer, scribe or publisher.
04
Name
Name of the composition: if the composition is known by a German
incipit, that German name is preceded by the composition type (e.g. cantata, chorale prelude, motet, ...)
See
scoring table below for the abbreviations used in this column
07
BG
Bach Gesellschaft-Ausgabe (BG edition; BGA): numbers before the colon indicate the volume in that edition. After the colon an Arabic numeral indicates the page number where the score of the composition begins, while a Roman numeral indicates a description of the composition in the Vorwort (Preface) of the volume.[3]
08
NBE
New Bach Edition (
German: Neue Bach-Ausgabe, NBA): Roman numerals for the series, followed by a slash, and the volume number in Arabic numerals. A page number, after a colon, refers to the "Score" part of the volume. Without such page number, the composition is only described in the "Critical Commentary" part of the volume. The volumes group Bach's compositions by genre:[4]
BWV 1026 – Fugue in G minor for violin and harpsichord. Once considered spurious, current thinking[by whom?] is that this is an early work by Bach.[42]
Notes
^Klaus Hoffmann 1983: composed by Bach, Festschrift Alfred Dürr, p. 126-140.
^Novello published: J. S. Bach: Prelude, Trio and Fugue in B Flat. Walter Emery contributed an erudite and extensive editorial note highlighting two key issues: Is the work really by Bach as the title claims? And why, on the original manuscript, now in the British Museum catalogued as RCM 814, did Benjamin Cooke seek to attribute it to his predecessor John Robinson, organist of Westminster Abbey up to 1762? Organists immediately recognise it is a version of the Prelude and Fugue in C (BWV 545). Cellists soon identify the central Trio as being almost identical with the Finale of the G minor Gamba Sonata (BWV 1029). In addition there is an interpolated 14 bar Adagio and a 5 bar Tutti just before the Fugue which are otherwise unknown. Walter Emery states "There are doubts about the authenticity of the scheme as a whole. ... If entirely authentic it represents a structural experiment unique among his organ works." The composition was unknown to Wolfgang Schmieder when he compiled his Index in 1950 so at the time of publication it had no BWV number. Bärenreiter, when preparing their complete edition of the organ works in 2009, for which they claim "all sources have been extensively researched", included it in Volume 11 as BWV 545b. The second question is: Why did Dr Cooke make a copy of the work and claim it was by John Robinson? At the end of the Fugue, Cooke wrote: "By the late Mr. John Robinson Organist Predecessor to B.C." A faint, anonymous pencilled note follows saying: "It is curious that Dr Cooke should not have known this fine fugue was the composition of Sebastian Bach, not John Robinson". Cooke had been associated with Robinson for twenty years and would have known he was no composer. Walter Emery posits every possibility including the slim one that Cooke had a hope of showing posterity his predecessor was a composer. To summarise, the reader must choose between two possibilities:
That the Benjamin Cooke copy is an entirely genuine Bach composition.
That someone came upon the Prelude and Fugue in C for organ, and the Trio in some form or other, decided to put them together, transposed the prelude and fugue and added the Adagio and Tutti. There would be a need for sufficient technique to play the demanding Trio; also the Westminster Abbey organ had no pedals until 1778. Walter Emery posited that the question of transposition is probably the key to the Cooke text, and must be discussed in detail. ... A copy of the music is available from the 'print on demand' service offered by Chester Music / Novello & Co at Musicroom.com. One of Walter Emery's expressed aims was "to dispel doubts by putting the work in general circulation so that it can be freely discussed by experts." The first performance was given in Canada in 1958 by Hugh McLean (former Organ Scholar to Boris Ord at King's); public performances since then have been rare.
^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
BWV 39.1 – Choir Fugue: “Brich dem Hungrigen dein Brot”
BWV 45.1 – Preludium (3 Fughettas) bar 1 - 37 Fugue bar 54 - 77 Fugue bar 78 - 126 Preludium (3 Fughettas) bar 169 - 186: “Es ist dir gesagt, Mensch, was gut ist”
BWV 46.1 – Preludium and Fugue: “Schauet doch und sheet”
BWV 47.1 – Double Fugue: “Wer sich selbst erhöhet”
BWV 50.1 – Permutation Fugue: “Nun ist das Heil und die Kraft”
BWV 54.3 – Aria Double Fugue: “Wer Sünde tut, der ist vom Teufel”
BWV 63.1 – “Denn der Strahl, so da einbricht” bars 132 - 159
BWV 63.7 – Two Double Fugues: Höchster, schau in Gnaden an””
BWV 65.1 – Choir Triple Fugue: “Sie werden aus Saba alle kommen”
BWV 67.1 – Sinfonia and Double Choir Fugue: “Halt im Gedächtnis Jesum Christ”
BWV 68.5 – Double Choir Fugue: “Wer an ihn gläubet”
BWV 69.1 – Double Fugue: “Lobe den Herrn, meine Seele”
BWV 71.3 – Choir triple permutation Fugue: “Dein Alter sei wie deine Jugend”
BWV 1014 – Sonata No. 1 in B minor: 2. Allegro and 4. Allegro
BWV 1015 – Sonata No. 2 in A major: 2. Allegro assai and 4. Presto
BWV 1016 – Sonata No. 3 in E major: 2. Allegro and 4. Allegro
BWV 1017 – Sonata No. 4 in C minor: 2. Allegro and 4. Allegro
BWV 1018 – Sonata No. 5 in F minor: 2. Allegro and 4. Vivace
BWV 1019 – Sonata No. 6 in G major: 5. Allegro
Other sonatas
BWV 965 – Sonata in A minor: 2. Fugue
BWV 1021 – Sonata in G major: 4. Presto
Cello Suites
BWV 1011 Prelude
Suite No. 5 in C minor, in French Overture AB form, the B part is a single-line Fugue
Canons and fugal works in the last two chapters of the Bach-Werke-Verzeichnis (1998)
Legend to the table
column
content
01
BWV
Bach-Werke-Verzeichnis (
lit.'Bach-works-catalogue'; BWV) numbers. Anhang (Annex; Anh.) numbers are indicated as follows:
preceded by I: in
Anh. I (lost works) of
BWV1 (1950 first edition of the BWV)
preceded by II: in
Anh. II (doubtful works) of BWV1
preceded by III: in
Anh. III (spurious works) of BWV1
preceded by N: new Anh. numbers in
BWV2 (1990) and/or
BWV2a (1998)
02
2a
Section in which the composition appears in BWV2a:
Chapters of the main catalogue indicated by Arabic numerals (1-13)
Anh. sections indicated by Roman numerals (I–III)
Reconstructions published in the
NBE indicated by "R"
03
Date
Date associated with the completion of the listed version of the composition. Exact dates (e.g. for most cantatas) usually indicate the assumed date of first (public) performance. When the date is followed by an abbreviation in brackets (e.g. JSB for Johann Sebastian Bach) it indicates the date of that person's involvement with the composition as composer, scribe or publisher.
04
Name
Name of the composition: if the composition is known by a German
incipit, that German name is preceded by the composition type (e.g. cantata, chorale prelude, motet, ...)
See
scoring table below for the abbreviations used in this column
07
BG
Bach Gesellschaft-Ausgabe (BG edition; BGA): numbers before the colon indicate the volume in that edition. After the colon an Arabic numeral indicates the page number where the score of the composition begins, while a Roman numeral indicates a description of the composition in the Vorwort (Preface) of the volume.[3]
08
NBE
New Bach Edition (
German: Neue Bach-Ausgabe, NBA): Roman numerals for the series, followed by a slash, and the volume number in Arabic numerals. A page number, after a colon, refers to the "Score" part of the volume. Without such page number, the composition is only described in the "Critical Commentary" part of the volume. The volumes group Bach's compositions by genre:[4]
BWV 1026 – Fugue in G minor for violin and harpsichord. Once considered spurious, current thinking[by whom?] is that this is an early work by Bach.[42]
Notes
^Klaus Hoffmann 1983: composed by Bach, Festschrift Alfred Dürr, p. 126-140.
^Novello published: J. S. Bach: Prelude, Trio and Fugue in B Flat. Walter Emery contributed an erudite and extensive editorial note highlighting two key issues: Is the work really by Bach as the title claims? And why, on the original manuscript, now in the British Museum catalogued as RCM 814, did Benjamin Cooke seek to attribute it to his predecessor John Robinson, organist of Westminster Abbey up to 1762? Organists immediately recognise it is a version of the Prelude and Fugue in C (BWV 545). Cellists soon identify the central Trio as being almost identical with the Finale of the G minor Gamba Sonata (BWV 1029). In addition there is an interpolated 14 bar Adagio and a 5 bar Tutti just before the Fugue which are otherwise unknown. Walter Emery states "There are doubts about the authenticity of the scheme as a whole. ... If entirely authentic it represents a structural experiment unique among his organ works." The composition was unknown to Wolfgang Schmieder when he compiled his Index in 1950 so at the time of publication it had no BWV number. Bärenreiter, when preparing their complete edition of the organ works in 2009, for which they claim "all sources have been extensively researched", included it in Volume 11 as BWV 545b. The second question is: Why did Dr Cooke make a copy of the work and claim it was by John Robinson? At the end of the Fugue, Cooke wrote: "By the late Mr. John Robinson Organist Predecessor to B.C." A faint, anonymous pencilled note follows saying: "It is curious that Dr Cooke should not have known this fine fugue was the composition of Sebastian Bach, not John Robinson". Cooke had been associated with Robinson for twenty years and would have known he was no composer. Walter Emery posits every possibility including the slim one that Cooke had a hope of showing posterity his predecessor was a composer. To summarise, the reader must choose between two possibilities:
That the Benjamin Cooke copy is an entirely genuine Bach composition.
That someone came upon the Prelude and Fugue in C for organ, and the Trio in some form or other, decided to put them together, transposed the prelude and fugue and added the Adagio and Tutti. There would be a need for sufficient technique to play the demanding Trio; also the Westminster Abbey organ had no pedals until 1778. Walter Emery posited that the question of transposition is probably the key to the Cooke text, and must be discussed in detail. ... A copy of the music is available from the 'print on demand' service offered by Chester Music / Novello & Co at Musicroom.com. One of Walter Emery's expressed aims was "to dispel doubts by putting the work in general circulation so that it can be freely discussed by experts." The first performance was given in Canada in 1958 by Hugh McLean (former Organ Scholar to Boris Ord at King's); public performances since then have been rare.
^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