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6366:. Then in bars 23–27, the soprano plays the second subject twice in sequence followed by the inverted form in the alto. Below the bass and tenor play the first subject with a stretto of one bar: for the only time in the fugue, however, these entries of the first subject are not prominent, but play a background role. After the second subject is heard a third time in the soprano, the music seems to draw to a close in the middle of a bar over a 2.5-bar-long pedal C in the bass. However, as the tenor takes up the second subject, the music surges up in semiquaver motifs in the soprano and alto parts to reach a climax at bar 30, when, in a moment of high pathos, the second subject is heard high in the soprano. But then in the succeeding bar, the music transforms into a peaceful and harmonious mood of consolation, with the major tonality heard for the first time. In a long and beautiful passage, the now-tranquil second subject descends in successive bars through the alto and bass parts, passing into the tenor part to reach the second main cadence of the fugue, after which it is heard no more until the last section. 8767:, where he had been taught by Crotch. He was also an accomplished organist, familiar with the works of Bach. (After brief appointments as organist, he subsequently practised on the organ in Hanover Square Rooms, later surprising his son with his mastery of the harder pedal passages on a pedal-piano.) Mendelssohn immediately invited him to Germany. Reportedly when Sterndale Bennett asked to go as his student, Mendelssohn replied, "No, no, you must come to be my friend." Sterndale Bennett eventually visited Leipzig for 6 months from October 1836 to June 1837. There he made friends with Schumann, who became his soul mate and drinking partner. Sterndale Bennett made only two further trips to Germany during the lifetimes of Mendelssohn and Schumann, in 1838–1839 and 1842, although he retained their friendship and helped arrange Mendelssohn's visits to Britain. He became a firm proponent of Bach, organising concerts of his chamber music in London. He was one of the founders in 1849 of the original 5042:; the lack of a pedal part allows more freedom and integration of parts in the latter work. The cantus firmus is played without interruption in the uppermost part, accompanied by three-part counterpoint in the lower parts. The accompaniment uses two motifs: the five descending semiquavers in the first bar, derived from the fourth line of the chorale "und willst das beten von uns han" (and wishes us to pray); and the three quaver figure in the alto part in the second half of bar 5. The first motif is also inverted. The quiet and sweetly harmonious nature of the music is evocative of prayer and contemplation. Its intimate scale and orthodox style provide a complete contrast to the previous "larger" setting in BWV 682. At the beginning of each line of the chorale, the musical texture is pared down, with more voices added towards the end of the line: the long very first note of the chorale is unaccompanied. The prelude comes to a subdued conclusion in the lower registers of the keyboard. 7502: 8127:"gave a taste of his quality which in extemperaneous performance is certainly of the highest kind ... he has not we believe kept up that constant mechanical exercise of the instrument which is necessary to execute elaborate written works." In 1837, despite having performed the St Anne prelude and fugue in England to great acclaim, on his return to Germany Mendelssohn still felt dissatisfied, writing that, "This time I have resolved to practice the organ her in earnest; after all, if everyone takes me for an organist, I am determined, after the fact, to become one." It was only in the summer of 1839 that an opportunity arose when he spent six weeks on holiday in Frankfurt. There he had daily access to the pedal piano of his wife Cécile's cousin Friedrich Schlemmer and, probably through him, access to the organ in the 9175:, allowing the Parisian audience to hear pedal technique far beyond what was known in France at that time. While impressed by his pedal playing, French commentators at the time gave Hesse mixed praise, one remarking that, while he might be the "king of the pedal ... he thinks of nothing but power and noise, his playing astonishes, but does not speak to the soul. He always seems to be the minister of an angry God who wants to punish." Another commentator, however, who had heard Hesse playing Bach on the organ at an industrial exhibition beforehand, noted that "if the organ of the Doublaine-Callinet firm is perfect from bottom to top, Monsieur Hesse is a complete organist from head to feet." The new organ had a short life: it was destroyed by fire from a falling candle in December 1844. 9051:: Gounod described her as "an outstanding musician and a woman of superior intelligence, small, slender, but gifted with an energy which showed in her deep-set eyes and in her burning look". In response Fanny noted in her diary that Gounod was "passionately fond of music in a way I have rarely seen before." She introduced Gounod to the music of Bach, playing from memory fugues, concertos and sonatas for him on the piano. At the end of his stay in 1842, the twenty-five-year-old Gounod had become a confirmed Bach devotee. In 1843, after a seven-month stay in Vienna, with a letter of introduction from Fanny, Gounod spent 4 days with her brother in Leipzig. Mendelssohn played Bach for him on the organ of the Thomaskirche and conducted a performance of his Scottish Symphony by the 6058: 7339: 8923:, son of Samuel Wesley and an accomplished organist, particularly of Bach. He worked in consultation with a panel of university professors of music, who often disagreed with his eccentric suggestions. When Wesley tried to argue about the range of manual keyboards, justifying himself by the possibility of playing octaves with the left hand, he was reminded by the professors that the use of octaves was more common among pianists than first-rate organists and moreover that when he had been organist at Leeds Parish Church, "the dust on the half-dozen lowest keys on the GG manuals remained undisturbed for months." Willis was commissioned to build the organ only in 1851, after he had impressed the committee with the organ for 9478: 8965: 9464: 9321:, these started as six free concerts during the exhibition. Attracting huge crowds—the concert hall could seat 5,000 with sometimes an extra 2,000 standing—the concerts continued until the turn of the century. Guilmant programmed primarily the organ music of the two composers whom he referred to as "musical giants", Bach and Handel, still mostly unknown to these mass audiences, as well as the works of older masters such as Buxtehude and Frescobaldi. The St Anne prelude and fugue featured in the concerts, Saint-Saëns playing it in one of the first in 1879 and Guilmant again in 1899, in a special concert to mark the twentieth anniversary of the series. The concerts represented a new 8004:... so I asked for something learned. But it was not much to be proud of. He modulated around enough to make one giddy, but nothing unusual came of it; he made a number of entries, but no fugue was forthcoming. When my turn came, I let loose with the D minor toccata of Bach and remarked that this was at the same time something learned and for the people too, at least some of them. But see, I had hardly started to play when the superintendent dispatched his valet downstairs with the message that this playing had to be stopped right away because it was a weekday and he could not study with that much noise going on. Goethe was very much amused by this story. 7353:, to which he had referred earlier in the book for biographical details; and in 1771 he had acquired Scheibe's writings through Ebeling. In Germany Burney's book was not well received, infuriating even his friend Ebeling: in a passage that he changed in later editions, he had repeated without attribution comments from a letter of Louis Devisme, British plenipotentiary in Munich, that, "if innate genius exists, Germany is certainly not the seat of it; though it must be allowed, to be that of perseverance and application." Once aware of the offence this might cause to Germans, Burney had marked with pencil the offending passages in the copy of his daughter 9404: 8736: 5808: 3365: 1480: 5826: 8190: 8476: 4368: 3385: 8135: 7916: 4995: 9197: 8876: 3095: 6168: 8106: 8597: 1932:, this is the longest of Bach's organ preludes. It combines the elements of a French overture (first theme), an Italian concerto (second theme) and a German fugue (third theme), although adapted to the organ. There are the conventional dotted rhythms of an ouverture, but the alternation of themes owes more to the tradition of contrasting passages in organ compositions than the solo-tutti exchanges in a Vivaldi concerto. Originally possibly written in the key of D major, a more common key for a concerto or ouverture, Bach might have transposed it and the fugue into E 8792: 5544: 4069: 430: 1715: 397:) can engross a sensible composer so that he can sincerely and secretly delight in his own work. But through this self-love we are unwittingly led away from the true purpose of music, until we hardly think of others at all, although it is our goal to delight them. Really we should follow not only our own inclinations, but those of the listener. I have often composed something that seemed to me trifling, but unexpectedly attained great favour. I made a mental note of this, and wrote more of the same, although it had little merit when judged according to artistry. 5841: 5504: 5236: 5723: 4620: 7584: 2780: 1234: 4171: 8607: 8488: 9280: 8033: 7599: 4341: 1750:. According to Wolff there is a cyclic order. The opening prelude and fugue frame three groups of pieces: the nine chorale preludes based on the kyrie and gloria of the Lutheran Mass; the six pairs of chorale preludes on the Lutheran catechism; and the four duets. Each group has its own internal structure. The first group is made up of three groups of three. The first three chorales on the kyrie in the stile antico hark back to the polyphonic Masses of Palestrina, with increasingly complex textures. The next group consists of three short 9129: 6321: 4534: 5375: 7434: 9144: 6995: 4152:, subsuming the same notes and bar lengths as each corresponding phase. The additional motifs in the theme are ingeniously developed throughout the piece: the three rising starting notes; the three falling triplets in bar 2; the leaping octaves at the beginning of bar 3; and the quaver figure in bar 4. These are playfully combined in ever-changing ways with the two motifs from the counter subject—the triplet figure at the end of bar 5 and the semiquaver scale at the beginning of bar 6—and their inversions. At the end of each 3843: 7535: 3290: 2236: 1876: 4602: 5075: 160:, the composition of which, according to Gregory Butler's dating of the engraving, started as early as 1735. This inference has been drawn from the special indication on the title page that it was "prepared for music-lovers and particularly connoisseurs" of music; from contemporary reports of Bach's custom of giving organ recitals for devotees after services; and from the subsequent tradition among music lovers in Dresden of attending Sunday afternoon organ recitals in the Frauenkirche given by Bach's student 9055:, specially convened in his honour. Back in Paris, Gounod took up an appointment as organist and music director in the Église des Missions Étrangères on the rue de Bac, on condition that he would be allowed to have autonomy over the music: Bach and Palestrina figured strongly in his repertoire. When churchgoers initially objected to this daily diet of counterpoint, Gounod was confronted by the Abbé, who eventually yielded to Gounod's conditions, although not without commenting "What a terrible man you are!" 7927: 9182:, participated in the inauguration in 1854 of the new organ at St Eustache. Lemmens had studied with Hesse and Fétis; already in the early 1850s he had started giving public concerts in Paris, featuring Bach's organ music and using the brilliant foot technique he had learnt in Germany. At the same time Lemmens had published 18 installments of an organ manual for the use of "organistes du culte catholique", giving a complete introduction to the Bach tradition of organ playing, henceforth adopted in France. 8158:. The proceeds from the concert were to go towards a statue of Bach in the vicinity of the Thomaskirche. Most of the repertoire in the concert had been played by Mendelssohn elsewhere, but nevertheless as he wrote to his mother, "I practised so much the previous eight days that I could barely stand on my own two feet and walked along the street in nothing but organ passages." The concert was wholly devoted to Bach's music, except for an improvised "free fantasy" at the end. In the audience was the elderly 4326: 3201: 1171: 6553:"unnatural" and "artificial". Despite many proposed explanations—for example as accompaniments to communion, with the two parts possibly signifying the two sacramental elements of bread and wine—it has never been determined whether Bach attached any religious significance to the four duets; instead it has been considered more likely that Bach sought to illustrate the possibilities of two-part counterpoint as fully as possible, both as a historical account and "for the greater glory of God". 1825: 125: 7990:, stopping on the way in Leipzig where they were shown the cantor's room in the choir school of the Thomaskirche by Bach's successor Schicht. They stayed two weeks in Weimar with Goethe, to whom Mendelssohn played extensively on the piano each day. All Mendelssohn's music lessons stopped by summer 1822 when his family left for Switzerland. In the 1820s, Mendelssohn visited Goethe four more times in Weimar, the last time being in 1830, a year after his resounding success in reviving Bach's 8346:, reacting to modernist trends in German music, had encouraged a return to the style of Bach, stating that, "Beyond this style there is no salvation ... Bach becomes for that reason the criterion of our art of writing for the organ." In 1894–1895 Reger composed his first suite for organ in E minor which was published in 1896 as his Op.16 with a dedication "To the Memory of Johann Sebastian Bach". The original intention was a sonata in three movements: an introduction and triple fugue; an 8782:, who had studied with Mozart and since 1796 had been organist of St Paul's Cathedral. Through Attwood Mendelssohn gained access to the organ at St Paul's, which was suitable for Bach, despite the unusual alignment of the pedalboard. In 1837, however, during a recital at St Paul's, just before playing to Wesley, the air supply to the organ had suddenly been interrupted; in a later account, that he had to retell annoyingly often, Mendelssohn related that George Cooper, the sub-organist, 7029: 7009: 9335: 8994: 8331: 364: 2927: 9345: 7519: 1921: 9292: 7906: 6439: 2700:) and thus provides the new pulse. The third subject is lively and dancelike, resembling a gigue, again starting on the second beat of the bar. The characteristic motif of 4 semiquavers in the third beat has already been heard in the countersubject of the first section and in the second subject. The running semiquaver passagework is an accelerated continuation of the quaver passagework of the second section; occasionally it incorporates motifs from the second section. 9355: 2818:— have here a peculiar importance as being substituted in the Lutheran church for the two first numbers of the mass, and sung at the beginning of the service in Leipzig. The task of glorifying in music the doctrines of Lutheran christianity which Bach undertook in this set of chorales, he regarded as an act of worship, at the beginning of which he addressed himself to the Triune God in the same hymns of prayer and praise as those sung every Sunday by the congregation. 8563: 7861: 2281: 8143: 110: 8746: 3812: 422: 22: 8374:. In 1896, Reger sent a copy of the suite to Brahms, his only contact. In the letter he asked permission to dedicate a future work to Brahms, to which he received the reply, "Permission for that is certainly not necessary, however! I had to smile, since you approach me about this matter and at the same time enclose a work whose all-too-bold dedication terrifies me!" The overall form of the suite follows the scheme of the eighth organ sonata Op.132 (1882) of 3828: 3764: 8248: 8023: 8321: 8583: 1217:(see illustration) centres on the Ten Commandments, the Creed, the Lord's Prayer, Baptism, Office of the Keys and Confession, and the Eucharist, the exact subjects of Luther's own six catechism chorales. In Bach's part of Germany, these catechism hymns were sung at school assemblies on weekdays, with the Kyrie and Gloria on Sundays. Luther's hymn book contains all six of the chorales. However, it is more likely that Bach used these hymns, some of them 5520: 7019: 9454: 8891: 8573: 8234: 9186: 5399: 5262: 1500: 7841:. Forkel and Kollmann corresponded during this period: they shared the same enthusiasm for Bach and the publication of his works. When Forkel's biography of Bach appeared in Germany in 1802, his publishers Hoffmeister and Kühnel wished to have control over translations into English and French. No complete authorized English translation was produced at the time. In 1812, Kollmann used parts of the biography in a long article on Bach in the 1464: 454:(1739), Mattheson included a letter by Scheibe, resulting from his exchanges with Birnbaum, in which Scheibe expressed strong preference for Mattheson's "natural" melody over Bach's "artful" counterpoint. Through his friend Mizler and his Leipzig printers Krügner and Breitkopf, also printers for Mattheson, like others Bach would have had advance knowledge of the content of Mattheson's treatise. Concerning counterpoint, Mattheson wrote: 4628: 4258: 3560: 2293: 8286:, where, after several visits from Brahms, he died in 1856. From its inception, Brahms subscribed to the Bach-Gesellschaft, of which he became an editor in 1881. An organist himself and a scholar of early and baroque music, he carefully annotated and analysed his copies of the organ works; he made a separate study of Bach's use of parallel fifths and octaves in his organ counterpoint. Brahms' Bach collection is now preserved in the 356: 2794: 8203:, the Schumanns rented a pedalboard to place under their upright piano. As Clara recorded at the time, "On April 24th we got on hire a pedal-board to attach below the pianoforte, and we had great pleasure from it. Our chief object was to practice organ playing. But Robert soon found a higher interest in this instrument and composed some sketches and studies for it which are sure to find high favour as something quite new." The 7444: 7245: 7875: 1732: 2458:, Bach's intent with BWV 552/2 may not have been to combine all three subjects, although this would theoretically have been possible. Rather, as the work progresses, the first subject is heard singing out through the others: sometimes hidden; sometimes, as in the second section, quietly in the alto and tenor voices; and finally, in the last section, high in the treble and, as the climactic close approaches, 8979: 7781: 405:, Mattheson's commentary on Bach had been positive. In 1730, however, he heard by chance that Gottfried Benjamin Hancke had been commenting unfavourably on his own keyboard technique: "Bach will play Mattheson into a sack and out again." From 1731 onwards, his vanity pricked, Mattheson's writing became critical of Bach, whom he referred to as "der künstliche Bach". Over the same period Bach's former pupil 6100:. The eccentric angularity of the keyboard subject with its great widening or narrowing leaps is derived from the melody. It has prompted much speculation as to its iconographic significance. "Unwavering faith" has been taken to be the underlying theme by many commentators, including Spitta and Schweitzer, who compared the unsteady theme to the vision of a sailor seeking a firm foothold on a stormy deck ( 8935:. The completed organ had four manual keyboards and a thirty key pedalboard, with 17 sets of pedal pipes and a range from CC to f. The instrument had unequal temperament and, as Wesley had stipulated, the air supply came from two large underground bellows powered by an eight horse-power steam engine. Among the innovations introduced by Willis were the cylindrical pedal-valve, the pneumatic lever and the 7424: 7314: 2430:, which Bach himself published in 1734, might have been a deliberate attempt by Bach to blind his public with science. Roger Wibberly has shown that the foundation of all three fugue subjects, as well as of certain passages in the Prelude, may be found in the first four phrases of the chorale "O Herzensangst, O Bangigkeit". The first two sections of BWV 552/2 share many affinities with the fugue in E 8418:, a student of Reimann. According to a later account by one of Straube's students, Reimann had described the work as "so difficult as to be almost unplayable", which had "provoked Straube's virtuosic ambition, so that he set about mastering the work, which placed him before utterly new technical problems, with unflagging energy." Straube gave two further performances in 1898, in the cathedral at 8009: 6955: 7853: 230: 8559:, constructed in 1834 by William Hill, had three sets of pedal pipes connected to the pedalboard, which could also be operated independently by a two-octave keyboard to the left of the manual keyboards. Hill's experiment of installing gigantic 32-foot pedal pipes, some currently still present, was only partially successful, as their scale did not permit them to sound properly. 5337: 8687:, that would later bring out an English edition of Bach's complete organ works. In 1827, the E flat fugue had been arranged for organ or piano duet by Jacob and was even performed by three players two years later on the organ in St. James, Bermondsey, where the pedal could be played on a supplementary keyboard. It had also been used for auditions for organists: Wesley's son 7365:. Later that year, to Fanny's horror, the Queen requested that Fanny show her copy to her daughter Princess Elizabeth. The book was viewed by both the King and Queen, who accepted Fanny's hastily invented explanations of the markings; she similarly managed to excuse herself when Princess Elizabeth later read all the marked passages assuming them to be Fanny's favourites. 7983:. Mendelssohn's organ lessons were conducted on the Wagner organ, with Fanny present; they commenced in 1820 and lasted for less than two years. It is probable that he learnt some of J. S. Bach's organ works, which had remained in the repertoire of many Berlin organists; his choice would have been limited, because at that stage his pedal technique was still rudimentary. 6148:(bar 6) of the fugue subject and of the countersubject (bars 7–9) is used and developed extensively throughout BWV 688, sometimes in inverted form. The theme itself is transformed in all sorts of ways, including inversion, reflection, reversal and syncopation, the variety increased by how the two upper voices combine. Once started, the semiquaver figures form a 3623:; from the use of parallel thirds in the doubling of subject and countersubject; from the clear tonalities of the four-part writing, progressing from G major to A minor, D minor, A minor and at the close E major; and from the softening effect of the occasional chromaticism, no longer dramatic as in the conclusion of the previous chorale prelude BWV 671. 7560:, where he himself had been trained. From 1756 Carl Fasch shared the role of harpsichord accompanist to Frederick the Great at Potsdam with C.P.E. Bach. He briefly succeeded Agricola as director of the Royal Opera in 1774 for two years. In 1786. the year of Frederick the Great's death, Hiller organised a monumental performance in Italian of Handel's 3693:. The fughetta starts in the key of C major, modulating to D minor, then moving to A minor before the final cadence. Fluidity comes from the many passages with parallel thirds and sixths. Original features of the contrapuntal writing include the variety of entries of the subject (all notes of the scale except G), which occur in stretto and in canon. 6362: 1848:(using the Baroque convention of identifying I with J and U with V). The later cadence at bar 56 in the 91 bar chorale prelude gives another instance of the golden ratio. 91 itself factorises as 7, signifying prayer, times 13, signifying sin, the two elements—canonic law and the wayward soul—also represented directly in the musical structure. 9256: 7833:, followed by Book I; slightly later Nägeli came out with a third edition in Zürich.) Hoffmeister and Kühnel did not take up Forkel's suggestion of including in their fifteenth volume the four duets BWV 802–805, which were only published by Peters much later in 1840. Nine of the chorale preludes BWV 675–683 were printed in the four volume 2387:, such as those of Froberger and Frescobaldi: firstly in the way that themes become progressively faster in successive sections; and secondly in the way one theme transforms into the next. Bach can also be seen as continuing a Leipzig tradition for contrapuntal compositions in sections going back to the keyboard ricercars and fantasias of 6862: 6485:. Their purpose has remained a source of debate. Like the beginning prelude and fugue BWV 552 they are not explicitly mentioned on the title page and there is no explicit indication that they were intended for organ. However, as several commentators have noted, at a time when Bach was busy composing counterpoint for the second book of 6573: 218:—in 1735. Bach used two groups of engravers because of delays in preparation: 43 pages by three engravers from the workshop of Johann Gottfried Krügner in Leipzig and 35 pages by Balthasar Schmid in Nuremberg. The final 78-page manuscript was published in Leipzig in Michaelmas (late September) 1739 at the relatively high price of 3 6532:: a piece for two voices involving more than just "imitation at the unison and the octave". It was Mattheson's view that "a composer's true masterpiece" could rather be found in "an artful, fugued duet, more than a many-voiced alla breve or counterpoint". In choosing the form of the compositions, which go considerably beyond his 4569: 459: 7464:, including an appreciation of Bach's keyboard and organ music and ending with the injunction, "This man, the greatest orator-poet that ever addressed the world in the language of music, was a German! Let Germany be proud of him! Yes, proud of him, but worthy of him too!" In 1779, Forkel published a review of Burney's 2716: 1696:, ritornello, development of motifs and various forms of counterpoint. There are five polyphonic stile antico compositions (BWV 669–671, 686 and the first section of 552/ii), showing the influence of Palestrina and his followers, Fux, Caldara and Zelenka. Bach, however, even if he employs the long note values of the 8864:, where Mendelssohn frequently performed solo recitals. During his last visit in 1847, he once more entertained Victoria and Albert in Buckingham Palace in May before playing a few days later the prelude and fugue on the name of "BACH" BWV 898 on the barely functional organ in Hanover Square Rooms during one of the 7959:, circumstances which gave her family close contacts with Bach and resulted in his music enjoying a privileged status in the Mendelssohn household. Felix's mother Lea, who had studied under Kirnberger, gave him his first music lessons. In 1819, Zelter was appointed as the composition teacher of Felix and his sister 7060:, in preference to fugal or contrapuntal writing, which by then was considered old-fashioned and out-moded, too scholarly and conservative. Although Bach did not actively participate in the ensuing debate on musical styles, he did incorporate elements of this modern style in his later compositions, in particular in 4871: 7531:, saw in Bach's music "the bold and wonderful, romantic cathedral with all its fantastic embellishments, which, artistically swept up into a whole, proudly and magnificently rise in the air". Hoffmann wrote of the sublime in Bach's music—the "infinite spiritual realm" in Bach's "mystical rules of counterpoint". 446: 8549:, had exceptionally already been fitted with a 25-key pedalboard (two octaves C-c') of pull-down German pedals in the first half of the 18th century, probably as early as 1720, on the recommendation of Handel. By the 1790s, these had been linked to separate pedal pipes, described with detailed illustrations in 6874:. There are three episodes which move between different keys and combine three new pairs of motifs, either 2 bars, 4 bars or 8 bars long, in highly original and constantly changing ways. The first episode starts in bar 18 below with the first pair of new motifs, the upper one characterised by an octave drop: 2845:, describing how the Mass could be conducted using congregational hymns in the German vernacular, intended in particular for use in small towns and villages where Latin was not spoken. Over the next thirty years numerous vernacular hymnbooks were published all over Germany, often in consultation with Luther, 9011:, Bach was rarely performed in public concerts in France and it was preferred that church organists play operatic arias or popular airs instead of counterpoint. One exception was a public performance in the Paris Conservatoire in December 1833, repeated two years later in the Salons Pape, of the opening 9394: 9255: 8528: 8341: 8003: 7892: 7472: 7178: 6357: 1824: 1691: 8730: 8708: 8207: 7501: 7313: 6861: 6421: 6420: 6375: 6057: 5476: 4730:, probably because of the exceptional length of the hymn. Features of the remainder of the hymn, however, suffuse the writing, in particular the scale-like passages and the melodic leaps. The fugue counter-subject is adapted to the pedal as a vigorous striding bass with alternate footwork; its quasi- 2710: 1938: 458: 256: 9408: 8721: 8315: 7874: 7414: 7397: 6672: 6629: 6572: 6428: 1960: 8439: 8117: 6361: 5336: 4970: 4456: 4367: 3547: 2729: 445: 409: 9329: 8786: 8180: 7376:, upon the most natural and pleasing subjects, he has surpassed Frescobaldi, and even Sebastian Bach, and others of his countrymen, the most renowned for abilities in this difficult and elaborate species of composition." His account was translated into German by Hiller. Writing anonymously in the 6552: 5261: 4773: 4568: 2984:, the highly original musical style is tailored to organ technique, varying with each of the three chorale preludes. Nevertheless, as in other high-church settings of plainsong, Bach's writing remains "grounded in the unchangeable rules of harmony", as described in Fux's treatise on counterpoint, 2462: 1942: 100: 7994: 7579: 6994: 5184: 5009: 1839: 1714: 8122: 7883: 7518: 7380: 2365: 2317: 4978: 3688: 2370: 1451: 1426: 10350: 8964: 7570: 4991:. The mounting lombardic figures have been interpreted as representing "hope" and "trust" and the anguished chromaticism as "patience" and "suffering". At the climax of the work in bar 41, the chromaticism reaches its most extreme in the upper parts as the lombardic rhythms pass to the pedal: 4814: 1221: 242: 9403: 7222: 7168: 3857: 7680: 7173: 5632:(1724). The fact that the setting in BWV 686 flows more easily, has more countersubjects, has more novel features and has typically organ figurations in the final section has suggested that in this case the whole of Luther's text was taken into account and that it is a purer version of the 6358: 5281: 4770: 4216: 9389: 3462: 4774: 7736: 8646:" Wesley subsequently consulted Burney, now a convert to the music of Bach, on his project to publish his own corrected transcription, stating, "I believe I can fairly securely affirm that mine is now the most correct copy in England." This project was eventually undertaken in with 471: 1900: 8168:, a journal that had promoted the music of Bach: Rochlitz is reported to have declared afterwards, "I shall depart now in peace, for never shall I hear anything finer or more sublime." The recital started with the St Anne prelude and fugue BWV 552. The only chorale prelude was 4267: 8670: 3535:. They are also linked harmonically: all start in a major key and move to a minor key before the final cadence; the top part of each fughetta ends on a different note of the E major triad; and there is a matching between closing and beginning notes of successive pieces. What 2260: 8943:, who later that year was appointed resident organist, attracting crowds of thousands to hear his playing. In 1867, he had the organ retuned to equal temperament. He remained in his post until 1894, giving performances elsewhere in England, including at the Crystal Palace, 1969: 1431:. In 1730, Bach had written a now-famous letter to the Leipzig town council—his "Short but Most Necessary Draft for a Well-Appointed Church Music"—complaining not only of performing conditions, but also of the pressure to employ performing styles from different countries: 9409: 7064:. Bach's musical contributions, however, could only be properly assessed at the beginning of the 19th century, when his works became more widely available: up until then much of his musical output—in particular his vocal works—was relatively little known outside Leipzig. 4515: 8524:, i.e. pedals that operated pipes connected to the manual stops. Pedalboards rarely contained more than 13 keys (an octave) or exceptionally 17 keys (an octave and a half). Pull-down pedalboards became more common from 1790 onwards. The pedaliter chorale preludes in 8208: 7169: 6156: 4471: 3425:. This technique of beginning and ending on the dominant chord can still be used nowadays, especially in those movements in which a concerto, symphony or sonata does not come to a full conclusion ... This type of ending awakens a desire to hear something additional. 8699: 1951: 10630:, p. 394 The surviving autograph score of the Ricercar a 6 is annotated on two staves, although the printed version has six staves, with one for each part. Most Bach scholars have taken this to be an indication that it was intended for keyboard performance. 4448: 4718:. Italian elements are apparent in the trio-sonata structure, which combines the upper fugal parts with the ostinato figured bass; and in the ingenious use of the full range of Italianate semiquaver motifs. The five notes in the original hymn for the opening 1529: 6601: 4951: 7897: 7706:). Heck in particular promoted fugues in his treatise "The Art of Playing the Harpsichord" (1770), describing them later as "a particular stile of music peculiar to the Organ than the Harpsichord"; in his biographical entry for Bach in the 1780s in the 3797: 1803: 7622: 9162: 7938: 5640: 4317: 6128: 9385:, Franck's successor on his death in 1890, who introduced the chorale preludes as a fundamental part of organ teaching there, where Bach's other organ works already provided the foundation stone. Widor believed that the music of Bach represented 8503: 7879:, Heinrich Friedrich Schütz, trained by Bach's student Kittel, would serenade him for hours with the music of the masters, from Bach to Beethoven, so that Goethe could acquaint himself with music from a historical perspective. In 1827, he wrote: 5223: 1669: 1223: 4160:, the complexity of the outer parts lessens, with simple triplet descending scale passages in the soprano and quavers in the bass. The harmonisation is similar to that in Bach's Leipzig cantatas, with the keys shifting between major and minor. 8914: 6279: 4971: 8270:, staying with them until early November. Like Schumann, perhaps even more so, Brahms was deeply influenced by Bach's music. Shortly after his arrival he gave a performance on the piano of Bach's organ toccata in F BWV 540/1 in the house of 8224:, an institution dedicated to publishing, without any editorial additions, the complete works of Bach through the publishers Breitkopf and Härtel. The project was completed in 1900. The third volume, devoted to keyboard works, contained the 3587: 2730: 3315: 8306: 1403: 8185: 410: 7468: 4252: 14268: 4123: 1281: 4752:. After each occurrence of the ostinato counter-subject in the pedal, there is a semiquaver bridging passage (bars 8–9, 19–20, 31–32, 44–45, 64–66) in which the music modulates into a different key while the three upper parts play in 323: 6796: 6120:? I have trodden the winepress alone; and of the people there was none with me: for I will tread them in mine anger, and trample them in my fury; and their blood shall be sprinkled upon my garments, and I will stain all my raiment." 3739: 2196: 1212: 8901: 7348: 5290: 3328: 8759:, had been a resounding success and Mendelssohn had been embraced by all strata of British musical society. On his fourth trip to Britain in 1833 he was accompanied by his father and heard the seventeen-year-old pianist-composer 6230:. The fugue subject is derived from the first line of the chorale. In order to facilitate the stretti which underlie the whole conception of BWV 689, Bach chose to transform the modal melody by sharpening the fourth note from a B 5295:. The compact style, imitative contrapuntal writing and sometimes capricious touches, such as repetition and the ambiguity in the number of parts, are features that BWV 685 shares with the shorter chorale preludes in Kauffmann's 8628:(1766–1837) played a significant role in awakening interest in Bach's music in England, mostly in the period 1808–1811. After a lull in his own career, in the first half of 1806 he made a hand copy of Nägeli's Zürich edition of 4756:: in this way the three different melodic lines can be freely interchanged between the three voices. These highly original transitional passages punctuate the work and give a coherence to the whole movement. Although the added G 3132: 7308: 6317:; the coda over the tenor's sustained F is built on the motifs of the countersubject. The different types of stretti result in a large variety of harmonisations of the theme and musical textures throughout the chorale prelude. 4831:). It also complements the preceding chorale prelude by following an Italian style with a contrasting French one. Although still evidently written for organ, in style it most resembles the Gigue for harpsichord from the first 8844:, Mendelssohn improvised on Albert's organ and accompanied the queen in two songs by Fanny and himself. Between these two visits, he once more performed the St Anne prelude and fugue, this time before an audience of 3,000 in 8787: 8402:, paying homage to Bach as a composer of instrumental counterpoint. It has a similarly dense texture of six parts, two of them in the pedal. The outer sections are directly inspired by the musical form of the chorale prelude 6597: 6429: 312:(1707) and others. Bach's formulation of the title page follows some of these earlier works in describing the particular form of the compositions and appealing to "connoisseurs", his only departure from the title page of 45:, started in 1735–36 and published in 1739. It is considered Bach's most significant and extensive work for organ, containing some of his most musically complex and technically demanding compositions for that instrument. 4979: 6854: 6765: 6739: 6621: 6565: 6184: 5799: 5707: 5354: 5252: 5066: 5022: 4861: 4798: 4593: 4560: 4385: 4281: 4187: 4088: 3712: 3642: 3579: 3281: 3192: 3086: 8825:, published by Hollier & Addison, which he dubbed the "Giant Fugue" because of its striding pedal part. In the second half of the 19th century, this became the best-known of all the pedaliter chorale preludes from 6193: 5477: 1898: 186:. It was the only portion of music meant for the organ, the other three parts being for harpsichord. The title, meaning "keyboard practice", was a conscious reference to a long tradition of similarly titled treatises: 7231:, did not consider it economically viable to prepare new printed editions of Bach's works; instead he retained a master copy of Clavier-Übung III in his large library of original scores from which handwritten copies ( 6651: 6246: 3458:, produced 44 such fughettas. The brevity of the fughettas is thought to have been dictated by space limitations: they were added to the manuscript at a very late stage in 1739 to fill space between already engraved 2258: 2992: 8071: 3890:. More recent commentators have confirmed that all three pieces conform to the general principles Bach adopted for the collection, in particular their unconventionality and the "strangeness" of the counterpoint. 3673:. The semiquaver scale motif in bar 4 is also related and is much developed throughout the piece. The countersubject, which is taken from the subject itself, uses the same syncopated leaping motif as the earlier 3324:. The quaver motifs in ascending and descending sequences, starting with dactyl figures and becoming increasingly continuous, swirling and scalelike, are a departure from the previous chorale preludes. Among the 2366: 14261: 1452: 148:. The following week, on the afternoon of December 1, Bach gave a two-hour organ recital there, which received "great applause". Bach was used to playing on church organs in Dresden, where since 1733 his son, 8446: 2318: 4946: 1899: 3242:) on one manual in semibreve beats. As in BWV 669, the single fugal theme of the other three parts, two in the second manual and one in the pedal, is in minim beats and based on the first two lines of the 13925: 2259: 8426:, where he met Reger for the first time. In 1902, Straube was appointed organist at the Thomaskirche and in the following year cantor; he became the main proponent and performer of Reger's organ works. 6894: 4815: 14254: 4766: 6152:. At some points, they contain hidden versions of the quaver fugue subject; but as the work progresses, they gradually simplify to scale passages. Even the ending is unconventional, with a simulated 2686: 14062: 9787: 9047:, where he developed a passionate interest in the polyphonic music of Palestrina. He also met Mendelssohn's sister Fanny, herself an accomplished concert pianist and by then married to the artist 2676: 2666: 4363: 2403: 8755: 6855: 6766: 6683: 6622: 6566: 6185: 5800: 5748: 5708: 5355: 5253: 5067: 5023: 4862: 4799: 4594: 4561: 4386: 4282: 4188: 4089: 3713: 3643: 3580: 3282: 3193: 3087: 7514: 6889: 4923: 264: 6900: 10351: 7575: 7132: 1558: 13889: 9429:. Dupré started lessons with Guilmant at the age of eleven, later becoming his successor at the conservatoire. In two celebrated series of concerts at the conservatoire in 1920 and at the 5693: 268: 6692: 3918: 6424: 6112:) of the sixth verse; or as the anger of God appeased by the suffering of Christ (the theme followed by its inversion); or as a reference to the treading of the winepress in the passage 3783: 3333:, the crotchet figures drop successively by semitones with dramatic and unexpected dissonances, recalling a similar but less extended passage at the end of the five-part chorale prelude 1649:, a keen musician, is reported to have brought back Italian and French music from his travels in Europe. At the same time, or possibly earlier, Bach made meticulous copies of the entire 9369: 5611: 8063:, Schumann seems to have started developing a deeper interest in Bach's organ music in 1832. In his diary he recorded sightreading the six organ fugues BWV 543–548 for four hands with 6879: 6667: 6588: 4211:, which in this case uses an earlier variant with the last line identical to the second. This feature and the length of the lines themselves account for the unusual length of BWV 676. 4203:—are similar to those of the trio sonatas for organ BWV 525–530. The chorale prelude is easy on the ear, belying its technical difficulty. It departs from the trio sonatas in having a 14452: 14102: 8731: 8658:; you see I have only risked one modest Experiment, & it has electrified the Town just in the way that we wanted." Further concerts took place there and in the Surrey Chapel with 5004: 3748: 2349:, a tune that was not likely known to Bach. A fugue in three sections of 36 bars, 45 bars and 36 bars, with each section a separate fugue on a different subject, it has been called a 96: 9301: 7199:, was responsible for relaying copies from Berlin to Vienna. The reception of the works was mixed, partly because of their technical difficulty: composers like Mozart, Beethoven and 6781: 2641: 6678: 6791: 6274: 6264: 6162: 6079: 5717: 5498: 5206: 4961: 4938: 4546: 4466: 4300: 4293:, and countersubject are heard in stretto, with a response in bars 5 to 7. The originality of the complex musical texture is created by pervasive but unobtrusive references to the 4165: 3753: 3698: 3628: 3354: 3267: 3178: 7763: 7527:. Reichardt's comparison between Bach's music and the Gothic cathedral would often be repeated by composers and music critics. His student, the writer, composer and music critic 6242:, a modification already found in 17th-century hymnbooks. This change also allowed Bach to introduce dissonances, imbuing the work with what the French organist and musicologist 5047: 4840: 4574: 4312: 14282: 11727: 9441:, having acquired Guilmant's Cavaillé-Coll organ in 1926. The funeral service for Guilmant at his home in 1911, prior to his burial in Paris, included a performance by Jacob of 985: 6776:, of which it most closely resembles the last, No.15 BWV 786. The bass accompaniment in detached quavers of the subject does not appear in the upper part and is not developed. 3467:, which otherwise does not figure directly. The motifs themselves are developed independently with the subtlety and inventiveness typical of Bach's later contrapuntal writing. 2743: 2705: 2656: 2627: 2222: 2212: 2180: 2170: 2145: 2135: 6608: 5752: 1302: 9413: 7460:, was another promoter and collector of Bach's music. An active correspondent with both of Bach's sons in Berlin, he published the first detailed biography of Bach in 1802, 5680: 6647:, in the form ABA. The first section has 37 bars and the second 75 bars, so that with repeats there are 149 bars. There is a sharp contrast between the two sections, which 8817:, also called George, became the next sub-organist at St Paul's. He promoted the organ music of Bach and in 1845 produced the first English edition of the chorale prelude 8342: 3744: 1885: 8726: 7099: 2894:, also adapted from plainchant, eventually became adopted almost universally throughout Germany: it first appeared in print with these words in the 1545 Magdeburg hymnal 8537:), newly constructed and existing organs started to be fitted with dedicated diapason pipes for the pedals, according to the well-established German model. The organ in 7304: 6198:. It must also be one of the most dramatic, in the sense of eventful, fugues Bach ever wrote. The drama begins in a mood of sobriety and pain and ends in transcendence. 7884: 2245: 8533:, eventually influenced organ builders in England. By the 1840s, after a series of experiments with pedals and pedal pipes starting around 1800 (in the spirit of the 7290: 7150:(The true principles for the practice of harmony), twenty years later, between 1771 and 1779. In his treatise Marpurg had adopted some of the musical theories on the 5185: 2207:, such as the first duet BWV 802. The older style two- or three-part writing forms a contrast to the harmonically more complex and modern writing of the first theme. 9433: 9330: 6513:), so within the relatively narrow compass of almost every organ of the time. The pieces can nevertheless be played on any single keyboard, such as a harpsichord or 3882: 1194:. The Mass and Catechism settings correspond to the schedule of Sunday worship in Leipzig, the morning Mass and afternoon catechism. In contemporary hymn books, the 7489: 5645: 11289:, p. 76. In 1915 Reger composed two settings of BWV 622 for violin and organ and for string orchestra, which Anderson describes as "overwhelmingly beautiful". 7330: 1328:, only the last fugue BWV 689 has anything in common. Bach's musical plan has a multitude of structures: the organum plenum pieces; the three styles of polyphony, 13907: 13898: 9224: 1645:. (The latter, according to an anecdote of Forkel, fled from Dresden in 1717 to avoid competing with Bach in a keyboard "duel".) At the court of Weimar in 1713, 7951:, who had assembled one of the most-important private collections of 18th-century music in Europe. An accomplished harpsichordist, Sara Levy's teacher had been 6536: 2898: 5232:. The musical content of the ritornello contains explicit allusions to the melody of the chorale, sometimes hidden in the semiquaver passage work and motifs. 4297: 3592:, which also provides material for several cadences and a later descending quaver figure (bar 8 below). Some of the sequential writing resembles that of the B 1844:(the Lord's Prayer), a pivotal point, where the manual and pedal parts are exchanged, occurs at bar 41, which is the sum of the numerical order of letters in 7415: 2395:. The tempo transitions between different sections are natural: the minims of the first and second sections correspond to the dotted crotchets of the third. 6852: 6763: 6619: 6563: 6481: 6182: 5797: 5705: 5352: 5250: 5064: 5020: 4859: 4796: 4591: 4558: 4383: 4279: 14788: 4185: 4086: 3710: 3640: 3577: 3279: 3190: 3084: 11760: 9078:, there had already been a revival of interest in France in choral music of the baroque and earlier periods, particularly of Palestrina, Bach and Handel: 8078:, in which he promoted the music of Bach as well as that of contemporary composers, such as Chopin and Liszt. One of the main contributors was his friend 3490: 14868: 14278: 14130: 9325: 6144: 4119: 1408:(1750), because chorale preludes such as Bach's were "so difficult and almost unusable by players"; Vogel, Bach's former student from Weimar, wrote his 14997: 7334: 6222: 2203: 8955: 8939:, the latter two features being adopted widely by English organ builders in the second half of the 19th century. The organ was inaugurated in 1855 by 14808: 8771: 8666:, another advocate of Bach, lectured on Bach in 1809 in the Hanover Square Rooms prior to publishing his edition of the E major fugue BWV 878/2 from 2651: 13916: 9417:, where he gave lessons to a wide range of pupils, including a whole generation of organists from the United States. Among his French students were 7419:; and both, by writing a style more popular, would have extended their fame, and been indisputably the greatest musicians of the eighteenth century. 14931: 9236:, including in 1866 a set of twelve studies for pedalboard alone. In the 1870s, Alkan, by that time a recluse, returned to give a series of public 8840: 14465: 7119: 7087:, then crown prince before his accession to the throne in 1740. C.P.E. Bach remained in Berlin until 1768, when he was appointed Kapellmeister in 14824: 14394: 13930: 7643: 2130: 1710: 8520:. Until the 1830s, most church organs in England did not have separate pedal pipes and before that the few organs that had pedalboards were all 2353:. However, the second subject is not stated precisely within the third section, but only strongly suggested in bars 93, 99, 102–04, and 113–14. 1318:, Bach had a clear liturgical purpose in his organ compendium, with its cyclic order and plan, clear to the eye if not the ear. Even though the 14172: 13880: 6772: 6343: 2696: 2345: 4702: 2361: 467: 14961: 14380: 2902:(1682) of Gottfried Vopelius. Luther was a firm advocate of the use of the arts, particularly music, in worship. He sang in the choir of the 9090: 3548: 1535: 14966: 14341: 5671: 1723: 68:. At the same time, Bach was forward-looking, incorporating and distilling modern baroque musical forms, such as the French-style chorale. 5683: 14720: 14707: 14673: 14660: 14575: 14562: 14032: 9058: 6853: 6764: 6620: 6564: 6183: 5798: 5706: 5690: 5353: 5251: 5065: 5021: 4860: 4797: 4592: 4559: 4384: 4280: 4186: 4087: 3711: 3641: 3578: 3280: 3191: 3085: 2972:) for "God the Son" and in the pedal bass for "God the Holy Ghost". Although having features in common with Bach's vocal settings of the 375:, the university church, in the background. In the 1730s both of Bach's friends Mizler and Birnbaum were professors there and Bach's son 8679:. In 1812, in the Hanover Square Rooms he performed an arrangement of the E flat prelude for organ duet and orchestra with the arranger 7237:) could be ordered from 1763 onwards. A similar service was provided by the musical publishers Johann Christoph Westphal in Hamburg and 1840: 1542:, which became popular in Germany between 1680 and 1710. It is probable that Bach heard the orchestra at the Duke's summer residence at 14992: 14971: 14733: 14628: 14615: 14588: 7745:. Calcott corresponded with Kollmann about the musical theories of the Bach school. In 1798, he was one of the founding members of the 4762: 3898: 13980: 11742: 4461:; it is followed by the disorder of sinful waywardness; and finally order is restored in the closing bars with the calm of salvation. 14409: 13920: 13911: 13902: 13893: 13884: 8379: 6630: 1929: 14443: 12658: 7749:, a club with a limited membership of twelve professional musicians, dedicated to composition in counterpoint and the stile antico. 2157: 336:, it was in part a response to musical requirements in church services. Bach's references to Italian, French and German music place 15002: 9503: 8059:, one year his junior, who had moved to Leipzig in 1830. Having been taught piano by J.G. Kuntsch, organist at the Marienkirche in 7510:, since 1775 the successor to Agricola as Capellmeister in the court of Frederic the Great, quoted this passage from Goethe in the 5628: 4734: 1288: 13548: 12895:, J. S. Bach as Organist: His Instruments, Music, and Performance Practices, Indiana University Press, pp. 81–101, 256–273, 11958: 9265: 7254: 6930: 1198: 8216:, with detailed analytic markings by Robert Schumann. On the centenary of Bach's death in 1850, Schumann, Becker, Hauptmann and 3446: 1427: 14763: 14375: 14326: 13992: 13540: 7632: 2918: 8118: 7183: 6605: 6577:. The harmonies between the two chromatic parts are similar to those in the A minor prelude BWV 889/1 from the second book of 5657:"joy" motifs (a crotchet followed by two quavers) in the last section of the prelude reflects the optimism in the last verse. 4520: 2593: 2371: 14924: 14746: 14700: 14693: 14686: 14653: 14646: 14608: 14601: 14555: 14548: 14529: 14385: 14361: 14356: 14351: 14346: 14336: 14331: 14321: 14316: 13952: 13864: 13731: 13587: 12789: 12721: 12702: 12635: 12436: 12418: 12400: 12298: 12176: 12149: 12065: 11998: 9172: 6867: 6269: 3914:, posthumously printed by Bach's Leipzig printer Krügner. In BWV 675 and 677 there are similarities with some of Kauffmann's 1361: 1306:. Similarly, the ostinato bass of the fugue BWV 680 is prefigured by a ricercare fugue with a five-note ostinato bass in the 215: 8763: 7523: 6106:). Others have interpreted the leaping theme as representing Man's parting from and return to God; or as the "great agony" ( 3886:, particularly the "much-maligned" BWV 675, which Hermann Keller considered could have been written during Bach's period in 2711: 1692: 402: 93:. The chorale preludes range from compositions for single keyboard to a six-part fugal prelude with two parts in the pedal. 14150: 11070: 8176:, a favourite of both Mendelssohn and Schumann. Until that time very few of these or the shorter chorale preludes from the 8128: 8110: 6786: 1808: 1684: 13085: 6687:; and a new chromatic countersubject emerges in the central 13-bar segment (which begins in bar 69, the fifth bar below). 2463: 156:. It is considered likely that for the December recital Bach performed for the first time parts of his as yet unpublished 14520: 14513: 14506: 13367:, J. S. Bach as Organist: His Instruments, Music, and Performance Practices, Indiana University Press, pp. 193–211, 12859:, J. S. Bach as Organist: His Instruments, Music, and Performance Practices, Indiana University Press, pp. 212–239, 12556:, J. S. Bach as Organist: His Instruments, Music, and Performance Practices, Indiana University Press, pp. 256–273, 9582: 8625: 8566: 8460: 7829: 11709: 7943: 7481:, a fierce critic of Rameau, described counterpoint as a "gothic and barbaric invention", the antithesis of the melodic 7046: 1661: 383: 14817: 8468: 4199:, the paraphrase in the subject of the upper parts and in the harmony. The compositional style and detail—charming and 1646: 8364:(a scherzo and trio) as the third movement and expanded the adagio to contain a central section on the Lutheran hymns 5770: 4726: 2217: 14246: 14179: 13844: 13814: 13796: 13778: 13756: 13711: 13689: 13671: 13653: 13606: 13534: 13488: 13453: 13429: 13372: 13354: 13336: 13318: 13300: 13281: 13263: 13245: 13172: 13076: 13045: 13023: 12992: 12969: 12948: 12900: 12882: 12864: 12846: 12823: 12757: 12739: 12617: 12599: 12579: 12561: 12543: 12525: 12505: 12484: 12371: 12353: 12280: 12261: 12254: 12243: 12220: 12198: 12113: 12047: 12029: 11948: 11930: 11907: 11889: 8090:. Schumann remained as editor-in-chief until 1843, the year in which Mendelssohn became the founding director of the 7624: 7358: 7338: 7224: 7050:. His comments represented a change in contemporary musical aesthetics: he advocated the simpler and more expressive 6068: 5856: 5487: 5363: 5195: 5097: 4886: 4636: 4394: 4289: 4242: 3938: 3788: 3001: 2828: 13381: 12628: 9477: 8662:, a fellow organist with whom Wesley corresponded copiously an effusively about Bach. The musicologist and organist 6924: 6226: 3669: 2887: 1203: 703: 14938: 12807: 8079: 7809:. Previously in 1802 Hoffmeister and Kühnel and had published a collection of Bach's keyboard music, including the 7666: 7603: 7362: 5572: 5091: 4953: 4100: 3421: 3377: 2721: 938: 892: 57: 9100: 8638: 7274:, the music critic engaged in translating this work into German, Burney made one of his first references to Bach: 4195: 15007: 14801: 14435: 14366: 14235: 14025: 9374: 8911: 8879: 8241: 8173: 8164: 7785: 4988: 4956:. The canon could be a reference to the Law, the adherence to which Luther saw as one of the purposes of prayer. 3539: 1575: 1551: 1230:; finally in 1739 he set the catechism hymns (see earlier illustration of title page) as organ chorale preludes. 9463: 9220:), a grand piano fitted with a full German-style pedalboard. The French composer, organist and virtuoso pianist 9164: 9148: 222:. Bach's Lutheran theme was in keeping with the times, since already that year there had been three bicentenary 14861: 14846: 12976: 11757: 9122: 8701: 8654: 8352: 7545: 7538: 7238: 5576: 1206:" and "Wir glauben all an einen Gott"' in different keys: Bach uses three of the six tonalities between E and B 14067: 12767: 9171: 8199: 8094:. Schumann was appointed professor for piano and composition at the conservatory; other appointments included 14080: 13641: 12212: 9310: 9007: 8852:. In London there were few church organs with German pedal boards going down to CC: those which did included 8542: 8287: 7975:(unrelated to J.S. Bach), who had himself studied musical theory under Zelter. A.W. Bach was organist of the 7611: 7398: 4703: 3413: 805: 9306: 9284: 8074: 7963:; he taught counterpoint and music theory according to the methods of Kirnberger. Felix's piano teacher was 6313: 1943: 243: 14768: 14757: 14500: 14399: 14075: 12007: 11518: 9551:(1876–1944), arrangements of chorale preludes BWV 672–675, 677, 679, 681, 683, 685, 687, 689 for piano solo 9052: 8644: 8529: 8411: 8182: 8087: 8048: 7976: 7920: 7689: 7228: 4998: 3476: 3397: 1665:. Much later, in the exchanges between Birnbaum and Scheibe over Bach's compositional style in 1738, while 285: 8240: 1435: 1348:, to mark the beginning of the second half of the collection. It is written using the musical motifs of a 48: 14881: 9109:, it became one of the main training grounds for French organists. The Belgian composer and musicologist 8705: 8513: 8509: 7123: 4329: 2882:, explaining its absence in Luther's text the following year. Although there was a German version of the 2427: 277: 12646: 9079: 8294:, of which he became musical director and conductor in 1872. In 1875, he conducted a performance in the 8274:, a friend of Schumann. Three months after Brahms' visit, Schumann's mental state deteriorated: after a 8055:, a post he held until his death in 1847 at the age of 38. He soon met other Bach enthusiasts including 7368: 6325: 2175: 15012: 14888: 14773: 14302: 14018: 13828: 13703: 13579: 13480: 12235: 12127: 11859: 9719: 9696: 9627: 9110: 8829: 8370: 8099: 7738: 7507: 7486: 7447: 7437: 1680: 870: 847: 13949: 11042:, p. 79, Appendix A contains a detailed list of works of Bach published by Kühnel and Hoffmeister 10815:, p. 79, Appendix A contains a detailed list of works of Bach published by Kühnel and Hoffmeister 7497:, where he was a student, Goethe was one of the first writers to connect gothic art with the sublime: 7457: 2140: 401: 14841: 14404: 14134: 13347: 12312: 8779: 8760: 8739: 8630: 8200: 8159: 7817: 7649: 7300: 7205: 7129: 7112: 7100: 7076: 7032: 7012: 6579: 6537: 6510: 6487: 6255: 4984: 4715: 3911: 3835: 3600: 3556: 3484: 3405: 2988:." The solidity of his writing might have been a musical means of reflecting 'firmness in faith'. As 2438: 1614: 1518: 1504: 1324: 1227: 1195: 376: 269: 211: 161: 12185: 9699:, arranged the prelude and fugue BWV 552 for orchestra, recording it with them on December 22, 1944. 9159: 8903: 8735: 7164:(1722) in explaining Bach's fugal compositions, an approach which Kirnberger rejected in his tract: 6501:) using a very wide harpsichord range, Bach wrote the duets to lie comfortably in the range C to c″″ 5807: 2350: 1820:). The duets are related by the successive key progression, E minor, F major, G major, and A minor. 14485: 13748: 12190: 9426: 9113:, a contemporary and colleague of Choron in Paris, shared his interest in early and baroque music. 8861: 8814: 8610: 8302: 8226: 7996: 7964: 7944: 7838: 7811: 7662: 7271: 7057: 6654: 6506: 5829: 3903: 3820: 3803: 3487: 3364: 2392: 2308: 1662: 1606: 289: 203: 8695: 7893: 7266:, had made a tour of France and Italy. On his return in 1771 he published a report on his tour in 4444: 4170: 1340:, two for full organ); and the free invention in the duets. The fughetta BWV 681 at the centre of 14782: 13770: 13615: 13462: 13445: 12815: 11966: 11746: 11731: 9179: 8920: 8869: 8853: 8688: 8676: 8383: 8303: 7952: 7802: 7674: 7572: 7406:; or even an easy and obvious passage, that is not loaded with crude an difficult accompaniments. 7096: 7084: 6965: 5833: 4753: 3846: 3098: 2309: 1479: 415: 372: 149: 13311: 8906:. One of the main names in organ building in England in the second half of the 19th century was 8551: 8516:, with the possible exception of op.7 No.1, all appear to have been written for a single manual 7834: 7462: 5825: 5636:. Following the huge scale of the opening, Bach highly inventively incorporates motifs from the 5362: 5332: 5323: 5215: 2946: 1674: 1510:. copied by Bach in Weimar between 1709 and 1716 in the same manuscript as his copy of Grigny's 1271: 14946: 14198: 9672: 9614: 9596: 9378: 9221: 9200: 9106: 8857: 8837: 8796: 8764: 8710: 8691: 8647: 8614: 8586: 8538: 8496: 8475: 8209: 8124: 7846: 7822: 7628: 7607: 7549: 7453: 7427: 7200: 7092: 3384: 2738: 1579: 1559: 1517: 1453: 418:. In March 1738 Scheibe launched a further attack on Bach for his "not inconsiderable errors": 223: 191: 13983: 13040:, Europe, empire, and spectacle in nineteenth-century British music, Ashgate, pp. 29–44, 9295: 8378: 6088: 5320: 4491: 14538: 14490: 14457: 14414: 14287: 14225: 14042: 13971: 13809:, New perspectives in music history and criticism, vol. 10, Cambridge University Press, 12911: 12447: 9168: 8916: 8534: 8382: 7915: 7871: 7864: 7654: 7636: 7478: 7118: 7047: 6798: 5314: 4994: 4928: 3451: 2915: 2911: 2388: 1428: 1376:), marked "Ouverture. a 1 Clav", and Contrapunctus VII in the original manuscript version of 1353: 411: 368: 42: 14852: 9196: 8875: 8189: 8138: 5760: 3254: 391: 14495: 14311: 14107: 13181: 9586: 9554: 9548: 9512: 9251: 9207: 9189: 8924: 8651: 8642: 8590: 8556: 8530: 8480: 8105: 8091: 8037: 7592: 7567: 7552:, who, on the death of Kuhnau in 1722, had turned down the post, later awarded to Bach, of 7490: 7369: 7155: 7146: 7043: 7000: 6727: 6167: 5650: 5512: 5038: 4832: 4711: 3875: 3345: 3094: 2557: 2554:, 4 parts, second subject, then 15 entries of combined first and second subjects from b.57 2467: 2464: 2454: 1591: 1393: 1242: 479: 406: 293: 145: 141: 133: 129: 86: 53: 14427: 14113: 12941: 11898: 10258:"J. S. Bach's Prelude and Fugue in E Flat (BWV 552,1/2): An Inspiration of the Heart?" in 9581: 9095: 8791: 8596: 8230: 8134: 5612: 5543: 5074: 4068: 2521: 1939: 1634: 1412:"principally for those who have to play in country" churches; and another Weimar student, 429: 325: 8: 14794: 14097: 13538: 13410: 12673: 12167: 11991: 9709: 9506: 9485: 9457: 9382: 9338: 9261: 9252: 8940: 8894: 8772: 8650:, published in four installments between 1810 and 1813. In June 1808 after a concert the 7972: 7940: 7658: 7473: 7159: 6820: 6545: 6533: 6493: 6339: 6116:"Wherefore art thou red in thine apparel, and thy garments like him that treadeth in the 5848: 5840: 5722: 5503: 5235: 4619: 4457: 3430: 2955: 2850: 2681: 1583: 1539: 1413: 1369: 1344: 333: 329: 199: 173: 14918: 14085: 13185: 11513: 9621: 9273: 7784: 7583: 6814: 3169: 2779: 1233: 14163: 13854: 13721: 13621: 13557: 13514: 13398: 13132: 13102: 12928: 12835: 12589: 12464: 12445: 12342: 12329: 12093: 11920: 9758: 9736: 9557: 9348: 9314: 9257: 9248:: Alkan's repertoire included the St Anne prelude as well as several chorale preludes. 9137: 8944: 8936: 8928: 8492: 8375: 8083: 7991: 7711: 7210: 7104: 6808: 4096: 4073: 2854: 2661: 1388: 14276: 12610: 11971: 11941: 9279: 9228: 8606: 8487: 8032: 7598: 4885: 4635: 4393: 4340: 1622: 1472: 14220: 13860: 13840: 13810: 13792: 13774: 13752: 13727: 13707: 13685: 13667: 13649: 13602: 13583: 13529:, The New Grove Bach Family, W. W. Norton & Company, pp. 167–177, 0393303543 13484: 13449: 13439: 13425: 13368: 13350: 13332: 13314: 13296: 13277: 13259: 13241: 13226: 13211: 13168: 13115: 13072: 13041: 13019: 12988: 12965: 12944: 12896: 12878: 12860: 12842: 12819: 12785: 12753: 12735: 12717: 12698: 12631: 12613: 12595: 12575: 12557: 12539: 12521: 12501: 12495: 12480: 12432: 12414: 12396: 12381: 12367: 12349: 12294: 12276: 12257: 12239: 12216: 12194: 12172: 12145: 12109: 12076: 12061: 12043: 12025: 11994: 11944: 11926: 11903: 11885: 11784: 11533: 11500: 10591: 9634: 9624: 9592: 9471: 9269: 9229: 9128: 9091: 9075: 9008: 8997: 8970: 8948: 8841: 8808: 8800: 8714: 8221: 8012: 7960: 7948: 7909: 7888: 7640: 7588: 7184: 7022: 6884: 6320: 5267: 4533: 4225: 3553: 3338: 3173:, the parts move in steps, creating an effortless smoothness in the chorale prelude. 2362: 2323: 1638: 1543: 1492: 1488: 1214: 1191: 305: 301: 118: 13989: 13599: 13215: 9539:"freely arranged for concert use on the piano" the prelude and fugue BWV 552 in 1890 9031: 8951:. The St Anne prelude and fugue BWV 552 was used by Best to start off the series of 8258: 6838: 6309: 5374: 2685: 1554:, a visitor in 1701, both of whom were influenced by the French style. Later in the 195: 14138: 14125: 13832: 13630: 13506: 13390: 13331:, Music and German national identity, University of Chicago Press, pp. 36–58, 13200: 13152: 13124: 13094: 12957: 12920: 12456: 12321: 12085: 9536: 9533:(1873–1916), arrangement of prelude and fugue BWV 552 for piano duet and piano solo 9143: 9024: 8932: 8618: 8546: 8343: 8154: 8095: 7830: 7797:, omitting the duets BWV 802–805, was produced by Ambrosius Kühnel in 1804 for the 7716: 7615: 7562: 7122:. Not only did Kirnberger build up a large collection of Bach's manuscripts in the 6937: 6574: 6529: 6391: 6363: 6243: 5585: 5299:. The contrary motion between the parts in bar 9 harks back to the compositions of 3842: 3293: 2797: 1630: 1587: 1399: 438: 384: 14419: 13856: 12273: 9370: 9318: 9133: 9067: 8986: 8177: 7534: 7187:, Austrian envoy to the Prussian court from 1770 to 1777 and afterwards patron of 5039: 3678: 3289: 1546: 482:, for which Bach had a special fondness, having acquired his own personal copy in 183: 13996: 13740: 11764: 11713: 11074: 9692: 9650: 9578: 9521: 9418: 9087: 8756: 8749: 8684: 8680: 8600: 8464: 8299: 8275: 8263: 8237: 8068: 8056: 8026: 7768: 7553: 7528: 6684: 6097: 5756: 5654: 5239: 4749: 4601: 4485: 4437: 3681:, similar to gigue-like figures used earlier by Buxtehude in his chorale prelude 3162: 2891: 2675: 2305: 1626: 1618: 1595: 1571: 1349: 1218: 1175: 345: 165: 65: 13143: 11063: 9422: 9358: 9059: 8394:, with the beginning of the central section directly inspired by the setting of 8142: 7926: 7433: 7294: 6704: 4778:, according to Bach's own performance direction) with a registration of all due 4325: 2665: 1610: 14000: 13033: 13016: 12307: 9764: 9542: 9497: 9481: 9152: 9048: 9032: 9001: 8982: 8833: 8804: 8663: 8659: 8635: 8576: 8505: 8334: 8259: 7986: 7980: 7968: 7670: 7259: 7255: 7248: 6730: 6673: 6125: 6063: 5620: 5604: 5596: 5524: 5482: 5300: 5190: 4967: 4540:, 1527: woodcut in Luther's prayer book of Moses receiving the Ten Commandments 4530: 4441: 3763: 3200: 2823: 2787: 2755: 2442:, Book 2, written during the same period. Unlike true triple fugues, like the F 2367: 1642: 1602: 474: 13204: 9767:, Dritter Theil der Clavier-Übung, Brilliant Classics, 2 SuperAudioCDs or CDs. 9742: 9241: 9063: 7056: 6888: 5519: 5329: 5010: 1202: 1170: 14986: 14189: 13836: 13001: 12924: 12690: 11706: 9770: 8517: 7627:, a dedicated keyboard player, had as music teacher the German-born organist 7295: 7263: 7142:, 1753–1754) cites the opening segment of the six-part fugal chorale prelude 6899: 6752: 6203: 6149: 5844: 5819: 5626: 5564: 5560: 5508: 5388: 4948: 4727: 4613: 4508: 4453:, although Bach makes much greater technical demands on the right hand part. 4358: 4352: 4319: 3544: 3447: 3369: 3304: 3235: 3212: 3129: 3106: 2866: 2838: 2783: 2346: 2301: 1957: 1944: 1439: 1179: 309: 187: 153: 124: 61: 49: 13038: 12460: 9354: 9334: 8993: 8330: 8267: 7028: 7008: 6329: 5781: 4623: 4232: 1567: 1547: 1383: 363: 14230: 14205: 13946: 12647: 12515: 9640: 9628: 9509:(1795–1866), arrangement of chorale preludes BWV 679 and 683 for piano solo 9467: 9396: 9344: 9040: 9036: 8907: 8883: 8768: 8415: 8391: 8271: 8155: 8147: 7557: 7354: 7342: 7306: 7151: 6832: 6644: 6171: 6138: 5600: 4537: 3258: 3204: 2926: 2846: 2815: 2715: 2590:, 5 parts, third subject, then combined first and third subjects from b.87 2297: 2193: 1832: 1448: 1199: 349: 219: 14005: 13634: 13394: 13156: 12572: 11743: 11728: 9291: 7905: 7079:, who in 1738 at the age of 24 had been appointed court harpsichordist at 6746: 6736: 6438: 4870: 13965: 13961: 11882: 9788: 9748: 9607: 9524: 9515: 9211: 8845: 8639: 8562: 8357: 8308: 8295: 8251: 8193: 8064: 7956: 7860: 7806: 7322: 6915: 6130: 6093: 5727: 5220: 5035: 4699: 4458: 3735: 3471: 2622: 2280: 1800: 1601: 1293: 13926: 13054: 9015: 8745: 8123: 7326:, consisting of preludes, fugues, upon two, three and four subjects; in 6933: 6691: 5855: 3827: 3811: 2966:– in the soprano voice for "God the Father", in the middle tenor voice ( 421: 136: 21: 13402: 12429: 12366:, Itinéraires du cantus firmus, Presses Paris Sorbonne, pp. 9–24, 11916: 8582: 8361: 8247: 8041: 8022: 8016: 7494: 6927: 6921: 6918: 6710: 6643: 6541: 6514: 6446: 6153: 4975: 4502: 3247: 3138: 2272: 1912: 14453: 13518: 13136: 13106: 12932: 12468: 12333: 12097: 12042:, Goethe: musical poet, musical catalyst, Peter Lang, pp. 41–65, 11779: 9453: 8890: 8572: 8422:, where he had recently been appointed organist, and prior to that in 8233: 7067: 7018: 6912: 6658:, melodious, harmonious and undemanding on the listener—the "natural" 6284: 3926:; and BWV 677 has many details in common with Kauffmann's fughetta on 1731: 13984: 13363: 13256: 12855: 12829:, Description of Schoenberg's recomposition of BWV 552 for orchestra. 10654: 9660: 9530: 9185: 8423: 8338: 8324: 8320: 8217: 7876: 7845:; and an unauthorized anonymous English translation was published by 7381: 7318: 7196: 6878: 6780: 6666: 6587: 3297: 2798: 2066: 1920: 1563: 1499: 1420:(1737) so that it could be played "by a lady, without much trouble". 14010: 13942: 12985: 12310:(1994), "Feminist Theory, Music Theory, and the Mind/Body Problem", 9545:(1860–1930), arrangement of prelude and fugue BWV 552 for piano solo 9527:(1826–1905), arrangement of prelude and fugue BWV 552 for piano duet 9518:(1833–1894), arrangement of prelude and fugue BWV 552 for two pianos 9500:(1778–1829), arrangement of prelude and fugue BWV 552 for piano duet 6863: 6749: 6455: 5398: 5003: 4627: 4257: 3559: 2379: 2292: 1463: 109: 13510: 13128: 13098: 12325: 12136: 12089: 10761:, pp. 23–46, "Bach among the Theorists", by Thomas Christensen 9611: 9118: 8832: 8279: 7999: 7410: 6743: 5684: 5580: 4731: 4125: 3608: 3455: 3141: 2907: 2858: 2793: 2640: 2380: 355: 97: 13327: 13287:, Chapter 6, "The orchestral transcriptions of Bach's organ works" 9761:, Complete organ works of Bach, Ricercar/Allegro, discs 11 and 12. 9637:(1873–1934), arranged the prelude and fugue BWV 552 for orchestra. 9114: 8008: 7443: 6733: 6677: 6369: 1653:(1699) of de Grigny and the table of ornaments from d'Anglebert's 1332: 257: 14006: 13937: 12893: 11863: 9028: 8060: 8052: 7837: 7244: 7088: 7080: 6790: 6662: 6273: 6263: 6227: 6161: 6145: 6117: 6078: 5765: 5716: 5668: 5497: 5280: 5225: 5205: 5088: 5046: 4960: 4937: 4839: 4769: 4719: 4573: 4545: 4465: 4333: 4311: 4299: 4215: 4164: 3752: 3720: 3697: 3650: 3627: 3353: 3266: 3177: 2996: 2981: 2697: 2633: 2384: 2010: 140: 114: 13593:, Chapter 6, "Bach, Mendelsohn and the English organ, 1810–1845" 12877:, Bach perspectives, vol. 2, University of Nebraska Press, 12841:, Bach Perspectives, vol. 3, University of Nebraska Press, 12552: 9365: 7107: 6306: 4305: 3933: 2636: 2422:" time signature, rising fourths and a narrow melodic range. As 176: 85:—are 21 chorale preludes, BWV 669–689, setting two parts of the 9438: 9414: 9362: 9016: 8978: 8291: 7987: 7931: 7780: 7566: 7213: 7188: 7068: 7052: 6905: 5815: 5589: 5579:. This is Bach's unique six-part composition for organ, if the 5384: 5082: 4878: 4609: 4348: 3887: 2774: 483: 463: 13497: 13441: 12232: 10155: 10153: 9745:, Complete works for organ of Bach, Calliope, discs 13 and 14. 9395: 7732:; prior to their publication in 1802 these were "tried at the 7423: 4128:(AAB) with bar lengths of sections divisible by 3: the 18 bar 12891: 12038: 11768: 9167:, built by Doublaine and Callinet. The German organ virtuoso 9071: 9020: 8419: 7825: 7192: 6291: 6103: 5676: 4736: 4266: 3685: 2869: 2742: 2704: 2655: 2626: 1858: 1700:, goes beyond the original model, as for example in BWV 671. 1468: 1260:, Bach's personal copy of which was signed "J.S. Bach 1714": 169: 12708: 12108:, Master musicians (3rd ed.), Oxford University Press, 11758: 8067:, the twelve-year-old daughter of his Leipzig piano teacher 7852: 7710:, he gave examples of counterpoint from Bach's late period ( 4488: 3922:; that of BWV 676 to the fifth of Walther's own settings of 2861: 2221: 2211: 2179: 2169: 2144: 2134: 1924: 1352:, as in the first movement of the fourth of Bach's keyboard 206:(Leipzig 1736–1746). Bach started composing after finishing 13646: 12490:, Chapter 4, "Bach, Regeneration and Historicist Modernism" 10150: 9044: 8283: 6583:, presumed to have been composed at roughly the same time. 6524: 6469: 6288: 6134: 4966: 4482: 4104: 3359: 3161: 2765: 450: 229: 13648:, Cambridge Studies in Music, Cambridge University Press, 7653:. Other German musicians moving in royal circles included 5571:, it is composed in the strict polyphonic stile antico of 4359: 4245: 2921: 1456:, wrote that, "it is best if German part writing, Italian 12267: 11494:, Programme for inauguration of Willis organ in Liverpool 9739:, Complete works for organ of Bach, Erato, discs 6 and 7. 7752: 1562: 1538: 16: 14173: 14103: 13957: 12536: 10000: 9998: 9996: 7870: 7544: 5674: 5663: 5653:(i.e., with doubled note lengths). The proliferation of 4221: 3853: 3157:, the contrapuntal writing is quite elaborate. The many 2426: 1190:, twenty-one, coincides with the number of movements in 8722: 6303: 4309:, starts in the alto part on the last quaver of bar 7: 4235: 2296: 12714: 11808: 11806: 5832:, 1852: The Sophienkirche in Dresden where Bach's son 3758: 2962:. All three have portions of the same melody as their 296: 12909: 12695: 12534: 9993: 9671: 9158: 9125: 9084: 8778: 8499:, 1852, with the Father Smith organ in the background 7071:, keen to preserve his reputation and promulgate his 6208: 4810: 4261: 3774: 2725: 13525: 12479:, University of California Press, pp. 138–185, 12122: 5311: 4698: 4371: 4174: 13329: 13186:"The French influence in Bach's instrumental music" 12837: 12594:, Encyclopedia of keyboard instruments, Routledge, 12189:, Litterae Organi:Essays in Honor of Barbara Owen, 11803: 11543:, Programme for inauguration of Willis organ in RAH 9889: 9887: 9283:Cavaillé-Colle organ in the Salle des Fêtes of the 9151:, rebuilt in 1989 in the original case designed by 8709:and his daughter were invited to the organ loft of 8266:appeared on the doorstep of the Schumann's home in 8047:In 1835, Mendelssohn was appointed director of the 7930:Engraving of the Church of St Peter and St Paul in 7298:, that Burney received a copy of the first book of 6713: 4499: 2518:, 5 parts, 12 entries, countersubject in crotchets 1754:on the kyrie that have progressive time signatures 12834: 12697:, University of California Press, pp. 76–85, 12533: 12341: 10931: 8278:, Schumann committed himself to the sanitorium in 6723:The musical structure of Section B is as follows: 6707:bars 9–16: episode on material from countersubject 6697:The musical structure of Section A is as follows: 6294:bar 10: between alto and soprano, 1 crotchet later 4479:the dotted minim in the second part of bar 1 above 3604:. Smoothness and mellifluousness result from what 2878:in 1525 was held at Advent so did not contain the 1657:(1689), and his student Vogler made copies of two 14367:Eight Short Preludes and Fugues, BWV 553–560 13825:Bach's Feet: The Organ Pedals in European Culture 13408: 12344:The idea of absolute music (transl. Roger Lustig) 12142:Music in the Baroque Era: From Monteverdi to Bach 12040:Goethe and Zetler: an exchange of musical letters 11393: 9716:BWV 682 for flute, violin, viola, cello and organ 7724:, including his own completion of the unfinished 7602:Thanksgiving service in 1789 for the recovery of 7282:in 40 parts, may be a good Entertainment for the 5764:; it is answered by inversions of the subject in 4845: 3320:and is answered by its inversion, typical of the 14984: 14925:Concerto transcriptions, BWV 592–596 and 972–987 14342:Fantasia and Fugue in G minor ("Great"), BWV 542 14332:Toccata and Fugue in D minor ("Dorian"), BWV 538 13954:A Joy Forever- Opus 41 at Goshen College, disc 2 13943:Free downloads of the complete Clavier-Übung III 12732:Between modes and keys: German theory, 1592–1802 9884: 7372:that "in his full, masterly and excellent organ- 6701:bars 1–4: (first) subject in right hand, F major 5851:, Hamburg, one of the organs Bach played in 1720 5228:continuo, according to the model of Kauffmann's 4827:and in the group of five numbered canons in the 4526:major (G minor): it expresses the purity of the 2448:minor BWV 883 from the same book or some of the 75:: between its opening and closing movements—the 14825:Capriccio on the departure of a beloved brother 14395:Prelude (Toccata) and Fugue in E major, BWV 566 14362:Prelude and Fugue in E minor ("Wedge"), BWV 548 12873:May, Ernest (1995), Stauffer, George B. (ed.), 12160:Bach's Clavier-Übung III: the making of a print 10027: 10025: 9685:Herman Boessenroth (1884–1968), arrangement of 8131:built in 1779–1780 by Franz and Philipp Stumm. 7805:that later became the music publishing firm of 6300:bars 23–24: between bass and tenor, a bar later 5326:bars 18–20: episode derived from countersubject 4476:the three crotchets at beginning of bar 1 above 2748: 41:, is a collection of compositions for organ by 14400:Fantasia ("Pièce d'Orgue") in G major, BWV 572 13573: 13069:A history of the organs in St Paul's cathedral 12763:, Chapter 9, "The Marpurg-Kirnberger Disputes" 12752:, Harvard University Press, pp. 231–257, 12750:Compositional theory in the eighteenth century 12411:Charles Valentin Alkan: his life and his music 12252:Charru, Philippe; Theobald, Christoph (2002), 12251: 12187:Manual registrations as designation indicators 11473: 11426: 11338: 11209: 11207: 10728: 10389: 8102:(violin) and Becker (organ and music theory). 7801:in Leipzig, his joint publishing venture with 7268:The Present State of Music in France and Italy 6460: 5317:bars 8–10: episode derived from countersubject 5307:has given a precise analysis of the fughetta: 387:remarked in "Die kanonische Anatomie" (1722): 76: 14962:List of compositions by Johann Sebastian Bach 14381:Toccata, Adagio and Fugue in C major, BWV 564 14262: 14081:Picander's 1728–29 cycle of cantata librettos 14026: 13000: 11601: 11599: 11587: 11585: 10320: 10318: 10316: 10314: 10312: 10310: 10308: 10306: 10216: 7357:, when in 1786 she became lady-in-waiting to 7038:In 1737, two years before the publication of 6804:BWV 804 has the following musical structure: 6548:had been translated by Bach's friend Mizler. 6297:bar 16: between alto and tenor, a minim later 5590: 5511:, Dresden, in 1910 showing the 1720 organ of 4974:The theme in the upper parts is an elaborate 3552:from the time of Palestrina. As Bach's pupil 2865:, one of several Lutheran adaptations of the 1726: 1598:, but also of "some old and good Frenchmen." 1387:, like that of Bach's later compositions—the 1322:fugues were written at the time as Book 2 of 101:beyond previous treatises on musical theory. 14967:List of fugal works by Johann Sebastian Bach 13664:Bach, Handel, Scarlatti, tercentenary essays 13113:Ross, J. M. (1974), "Bach's Trinity Fugue", 12171:, About Bach, University of Illinois Press, 10022: 9564:BWV 687, transcribed for piano 4 hands from 9215: 8440:special Service to us: the triple fugue in E 8398:in the pedaliter chorale prelude BWV 686 of 7232: 7214: 7137: 6841:bars 38–39: subject in G major in right hand 6826:bars 24–25: subject in C major in right hand 6107: 6101: 5742:is a four-part chorale motet in the key of F 5089: 4505:the phrase in the second part of bar 5 above 3598:major fugue BWV 890/2 in the second book of 3392:settings of Bach have similarities with two 2967: 2954:correspond to the three verses. They are in 2775:Chorale preludes BWV 669–677 (Lutheran Mass) 1851: 1536:Georg Wilhelm, Duke of Braunschweig-Lüneburg 392: 144:, in a central and symbolic position in the 13767:Johann Sebastian Bach: the learned musician 13162: 12875:Connections between Breitkopf and J.S. Bach 12364:Le Cantus Firmus et le Kyrie Fons Bonitatis 12362:Dennery, Annie (2001), Weber, Édith (ed.), 11204: 10627: 9178:Two Belgian organist-composers, Franck and 8555:(1819). The four-manual "monster" organ in 8467:reporting on a performance of BWV 552/2 at 8146:Programme for Mendelssohn's concert in the 7639:to act as organist and schoolmaster at the 5774:in minims and ending with a one bar cadence 3970:fort g'schieht, was dein Will' hat bedacht; 3207:, 1527: woodcut of Christ carrying the Lamb 3047:We confess Thy power, all worlds upholding. 1746:has given an analysis of the numerology of 489: 344:, a similar but much earlier collection by 90: 14972:List of concertos by Johann Sebastian Bach 14269: 14255: 14033: 14019: 13890:Prelude and Fugue in E-flat major, BWV 552 13477:Bach and the riddle of the number alphabet 13422:J. S. Bach's Great Eighteen Organ Chorales 13224: 13210: 12234:, Bach studies 2 (ed. Daniel R. Melamed), 12121: 11925:(2nd ed.), Harvard University Press, 11596: 11582: 11051: 10303: 9976: 9448: 9317:, a pupil of Lemmens, in conjunction with 8508:. Handel's principal works for organ, his 8360:. In the final version, Reger inserted an 7216:Sie sind zu schwer! Sie gefallen mir nicht 7203:embraced these compositions, particularly 6944: 5700:BWV 687 Aus tiefer Noth schrei' ich zu dir 5667:first and third line: fugal section, with 5340: 5219:in the tenor register of the pedal in the 3071:That at the last we hence in peace depart. 2806:These two chorales—German versions of the 2304:preached in 1539 and where Bach served as 1443:Already in 1695, in the dedication of his 1252:has suggested the following features that 1222:passions; in 1736 he had helped prepare a 14998:Chorale preludes by Johann Sebastian Bach 14410:Passacaglia and Fugue in C minor, BWV 582 14303:Fugue in G minor, BWV 131a 13921:International Music Score Library Project 13912:International Music Score Library Project 13903:International Music Score Library Project 13894:International Music Score Library Project 13885:International Music Score Library Project 13524: 13496: 13326: 13032:Parrott, Isabel (2006), Cowgill, Rachel; 12806: 11938: 11836: 11498:"Brief chronicle of the last fortnight", 11383: 11131: 11098: 10968: 10925: 10901: 10895: 10890: 9121:, where he was appointed director of the 8624:The organist, composer and music teacher 7456:, from 1778 the director of music in the 6971:Please consider summarizing the material. 6716:bars 29–32: subject in left hand, F major 6433: 5785: 5549:Modus Pleno Organo Pedaliter: Benedicamus 4786:is truly a walker's piece at the organ." 4579: 4553:BWV 679 Dies sind die heil'gen zehn Gebot 4378:BWV 678 Dies sind die heil'gen zehn Gebot 3874:in the pedal, similar in style to Bach's 3023:unser Mittler bist in dem höchsten Thron; 2080:Third theme with countersubject in pedal 1550:, organist at the Johanniskirche, and of 164:, whose programme was usually made up of 13822: 13804: 13719: 13697: 13679: 13661: 13640: 13409:Sterndale Bennett, James Robert (1907), 13380: 13362: 13344: 13145:Journal of the Royal Musical Association 12854: 12832: 12800:Dr. Charles Burney: a literary biography 12797: 12339: 12169:Final Disposition of Bach's Art of Fugue 12139: 12074:Bond, Ann (1987), "Bach and the Organ", 12019: 11897: 11879: 11478: 11343: 11308: 11286: 11039: 10937: 10854: 10812: 10758: 10722: 10704: 10698: 10692: 10615: 10562: 10533: 10521: 10509: 10465: 10379: 10374: 10246: 10234: 10221: 10159: 10111: 10076: 10065: 10042: 10004: 9987: 9964: 9952: 9941: 9929: 9917: 9893: 9878: 9866: 9830: 9818: 9678:Alfred Akon (1905–1977), arrangement of 9476: 9462: 9452: 9353: 9343: 9333: 9290: 9278: 9195: 9184: 9142: 9127: 8992: 8977: 8889: 8874: 8799:playing the organ in the Old Library in 8790: 8744: 8734: 8717:. As Mendelssohn recorded in his diary, 8605: 8595: 8581: 8571: 8561: 8486: 8474: 8329: 8319: 8246: 8232: 8188: 8141: 8133: 8104: 8031: 8021: 8007: 7925: 7914: 7904: 7859: 7851: 7793:A new printed "movable type" edition of 7779: 7597: 7582: 7533: 7442: 7432: 7422: 7337: 7243: 7148:Die Kunst des reinen Satzes in der Musik 7103:, court composer, first director of the 7027: 7017: 7007: 6648: 6549: 6456: 6437: 6319: 6281: 6166: 5839: 5824: 5806: 5753: 5721: 5660: 5629:Aus tiefer Not schrei ich zu dir, BWV 38 5542: 5518: 5502: 5347:BWV 686 Aus tiefer Not schrei ich zu dir 5304: 5245:BWV 685 Christ unser Herr zum Jordan kam 5234: 5073: 5059:BWV 684 Christ unser Herr zum Jordan kam 4993: 4869: 4706:, the chorale prelude is written in the 4626: 4618: 4600: 4532: 4511:the last three crotchets in bar 7 above. 4339: 4324: 4256: 4169: 4067: 3891: 3841: 3826: 3810: 3762: 3745: 3666: 3605: 3566:BWV 672 in the original printing of 1739 3558: 3536: 3383: 3363: 3360:Manualiter settings of Kyrie BWV 672–674 3342: 3288: 3246:. The writing is again mostly modal, in 3199: 3093: 2989: 2925: 2871:Kyrie summum bonum: Kyrie fons bonitatus 2792: 2778: 2756: 2423: 2291: 2279: 1919: 1859: 1828: 1730: 1703: 1498: 1478: 1462: 1315: 1249: 1232: 1169: 428: 420: 362: 354: 228: 123: 108: 89:and six catechism chorales, followed by 20: 14185:(Vol. I: 1873; Vol. II: 1880) 13461: 13437: 13419: 13308: 13180: 13142: 13084: 13066: 13031: 13013: 12656: 12625: 12607: 12513: 12361: 12270: 12006: 11959:"An old look at Schumann's organ works" 11797: 11716:for the organ of Marcel Dupré in Meudon 11575: 11455: 11445: 11421: 11411: 11388: 11348: 11321: 11267: 11234: 11229: 11192: 11174: 11151: 11093: 11057: 11009: 10999: 10980: 10949: 10867: 10849: 10843: 10824: 10578: 10436: 10384: 10340: 10298: 10138: 10031: 9842: 8683:, founder of the music publishing firm 8410:. The suite was first performed in the 7741:and had himself published a version of 7722:A Selection of Ten Miscellaneous Fugues 7286:of a Critic, but can never delight the 6909:bars 1–8: subject in left hand, A minor 6445:, the 1725 treatise on counterpoint by 6044:Take thou heed thou love thy neighbour; 5404:First page of original print of BWV 686 5052: 4684:Through all snares and perils leads us, 4631:First page of original print of BWV 680 4148:theme provides a fore-imitation of the 4056:From Satan's power Thou wilt, we trust, 4045:Thou Lamb once slain, our God and Lord, 3878:BWV 525–530; and the last a three-part 3067:Who of life and light the fountain art, 3060:Lord, to Thee alone in our need we cry, 3025:zu dir schreien wir aus Herzens Begier, 2922:Pedaliter settings of Kyrie BWV 669–671 2886:in the Naumburg hymnal, the 1523 hymn " 1867: 414:, a music lover and friend of Bach and 14985: 14764:Fantasia and Fugue in C minor, BWV 906 14376:Fantasia and Fugue in C minor, BWV 562 14327:Fantasia and Fugue in C minor, BWV 537 14063:Printed during the composer's lifetime 13614: 13474: 13365:Bach's organ registration reconsidered 13313:, University of North Carolina Press, 13220:(2nd ed.), Breitkopf & Härtel 13053: 12956: 12938: 12908: 12779: 12766: 12747: 12729: 12711: 12689: 12643: 12587: 12554:French influence in Bach's organ works 12474: 12444: 12390: 12306: 12288: 12184: 12166: 12157: 12055: 12037: 11988: 11956: 11847: 11678: 11655: 11450: 11416: 11378: 11362: 11303: 11272: 11249: 11239: 11213: 11197: 11169: 11141: 11136: 11108: 11103: 11033: 11027: 10943: 10907: 10806: 10800: 10782: 10777: 10753: 10747: 10675: 10651: 10639: 10471: 10449: 10345: 10271: 10143: 10087: 8545:and completed in 1697, with a case by 7979:, which had an organ built in 1723 by 7753:Nineteenth and early twentieth century 7708:Musical Library and Universal Magazine 7633:Augustus Frederic Christopher Kollmann 6593:BWV 802 has been analysed as follows: 6449:, Austrian composer and music theorist 6336: 6253:minor BWV 891/2 of the second book of 5985:Thence death instead of life he knows. 5948:Die Frucht soll auch nicht ausbleiben: 5454:If each should have its rightful meed, 5175:Which hurts of all kinds maketh whole, 4791:BWV 681 Wir glauben all' an einen Gott 4690:All things are governed by His might. 4586:BWV 680 Wir glauben all' an einen Gott 4555:(These are the holy Ten Commandments) 4422:Which came to us from God's own hands, 4380:(These are the holy Ten Commandments) 4238:bars 78–92: third and fourth lines of 4041:By Whom lost sinners are brought nigh, 3054:Who with Thy blood didst for us atone; 2328:Jean-Sebastien Bach, le musicien-poête 172:. Bach was later to complain that the 104: 14530:Overture in the French style, BWV 831 14491:English Suites, BWV 806–811 14486:Inventions and Sinfonias, BWV 772–801 14386:Toccata and Fugue in D minor, BWV 565 14357:Prelude and Fugue in C minor, BWV 546 14352:Prelude and Fugue in B minor, BWV 544 14347:Prelude and Fugue in A minor, BWV 543 14337:Toccata and Fugue in F major, BWV 540 14322:Prelude and Fugue in D major, BWV 532 14317:Prelude and Fugue in C major, BWV 531 14250: 14040: 14014: 13931:Chorale preludes and four duets from 13807:Bach and the meanings of counterpoint 13786: 13764: 13739: 13546: 13533: 13412:The life of William Sterndale Bennett 13290: 13271: 13253: 13235: 13217:Jean-Sebastien Bach le musicien-poète 12982: 12569: 12426: 12408: 12379: 11824: 11812: 11701: 11683: 11660: 11650: 11632: 11627: 11621: 11605: 11591: 11570: 11554: 11244: 11004: 10884: 10557: 10497: 10485: 10431: 10414: 10402: 10324: 10262:, Volume 4, Number 5, September 1998. 10171: 10123: 9905: 9854: 9806: 7692:(1738–1824) and Joseph Diettenhofer ( 6988: 6868:Overture in the French style, BWV 831 6756: 6637:Bach and the meanings of counterpoint 6259:, composed at roughly the same time. 6177:BWV 689 Jesus Christus, unser Heiland 6030:If thou wilt set thine own self free. 6012:Lest at last thou shouldst evil fare. 5976:And, to drink, His blood in the wine. 5965:Through His sufferings sore and main, 5927:Sein Kunst wird an ihm gar ein Spott. 5792:BWV 688 Jesus Christus, unser Heiland 5247:(Christ our Lord to the Jordan came) 5173:With Christ's blood dyed and blended, 5127:der Glaub im Geist die Kraft versteht 5061:(Christ our Lord to the Jordan came) 4903:hilf, dass es geh' aus Herzensgrund. 4823:, in the early manuscript version of 3153:major. Even when playing beneath the 3036:fröhlich abscheiden aus diesem Elend, 3012:aller Ding ein Schöpfer und Regierer. 2958:in the stile antico of Frescobaldi's 2734:in the pedal and the forward looking 1743: 1362:Overture in the French style, BWV 831 261:, Leipzig. Published by the author". 216:Overture in the French style, BWV 831 182:is the third of four books of Bach's 113:The market place and Frauenkirche in 14496:French Suites, BWV 812–817 14405:Fugue in G minor ("Little"), BWV 578 13852: 13596: 13470:, Riemschneider Bach Institute: 1–66 13112: 12551: 12497:Johann Sebastian Bach: life and work 12493: 12477:German modernism: music and the arts 12229: 12206: 12103: 12073: 12058:Goethe and Zelter: Musical Dialogues 11915: 11146: 11113: 10974: 10663: 10603: 10573: 10568: 10551: 10282: 10211: 10194: 10188: 10099: 10054: 10016: 8910:. The manner in which the organ for 7635:was summoned by George III from the 7548:, son of the violinist and composer 6948: 6845: 6612: 6472:recording, please click on the link. 6006:Such kindness and such grace to get, 5932:Was durft denn ich für dich sterben? 5726:Hans Brosamer, 1550: woodcut of the 5687:(two quavers followed by a crotchet) 5515:destroyed by bombing in World War II 5171:Faith sees therein a red flood roll, 4918:From deepest heart oh help its way. 4901:gib, dass nicht bet allein der Mund, 3983:Lamm Gottes, heil'ger Herr und Gott, 3979:versöhner der'r, die war'n verlor'n, 3895: 3806:, letter written on January 26, 1736 3468: 1182:, 1529, intended for use by children 348:, one of Bach's predecessors at the 284:(1734–1735) and chorale preludes by 128:Reconstruction of the facade of the 14468:Wo Gott der Herr nicht bei uns hält 12890: 12872: 11045: 10818: 10369: 9682:BWV 680 for string orchestra, 1942. 9313:in 1878. Organized by the organist 9000:in a drawing by her future husband 8985:in his studio in 1893, playing his 7179:of my late father are anti-Rameau." 7075:. The group centred around his son 6556: 6042:But bear fruit, or lose thy labour: 6039:And so the food thy soul will feed. 5921:Er spricht selber:Kommt, ihr Armen, 5903:Du sollst glauben und nicht wanken, 5885:Wer sich will zu dem Tische machen, 5437:das ist mein Trost und treuer Hort, 4916:Grant that the mouth not only pray, 4782:, the feet move with real purpose 4229:in the left hand in bars 12 and 28. 4030:Thy power is endless as Thy praise, 4015:His word declares good-will to men, 3998:durch große Mart'r und bittern Tod, 3994:vor's Teufels G'walt fortan behüt', 3955:nun ist groß' Fried' ohn' Unterlaß, 3849:, 1512: woodcut of the Holy Trinity 3759:Allein Gott in der Höh' BWV 675–677 3637:(Christ, Comfort of all the world) 3238:of G are played in the tenor part ( 3187:(Christ, Comfort of all the world) 3058:Our Redeemer! our Advocate on high! 2768:recording, please click on the link 1996:First theme – God, the Father 1831:comments on the occurrences of the 1277:The first of the three sets of the 785:Dies sind die heil'gen zehn Gebot' 765:Dies sind die heil'gen zehn Gebot' 13: 14818:Aria variata alla maniera italiana 14539:Well-Tempered Clavier, BWV 846–893 13745:Bach: essays on his life and music 9605:Aus tiefer Noth schrei' ich zu dir 9562:Aus tiefer Noth schrei' ich zu dir 9039:in 1839, spent three years in the 8469:St Nicholas Church, Great Yarmouth 6141:in certain sections of the score. 6048:As thy God makes Himself to thee. 6033:If such faith thy heart possesses, 6026:Why for thee then should I suffer? 5997:Have this faith, and do not waver, 5945:Und die Speise dein Seel erquickt. 5912:Solch groß Gnad und Barmherzigkeit 5896:Daß er dich so wohl wollt speisen, 5887:Der hab wohl acht auf sein Sachen; 5869:der von uns den Gottes Zorn wandt, 5740:Aus tiefer Noth schrei' ich zu dir 5702:(Out of the depths I cry to Thee) 5431:auf ihn mein Herz soll lassen sich 5349:(Out of the depths I cry to Thee) 5118:durch sein selbst Blut und Wunden; 5096:" with the English translation by 5015:BWV 683 Vater unser im Himmelreich 4899:und willst das Beten vor uns ha'n, 4852:BWV 682 Vater unser im Himmelreich 4405:Dies sind die heil'gen zehn Gebot, 4207:form dictated by the lines of the 4047:To needy prayers Thine ear afford, 4037:O Jesus Christ, enthroned on high, 4032:Thou speak'st, the universe obeys: 4009:And thanks, that He's so gracious, 3990:O Heil'ger Geist, du höchstes Gut, 3705:BWV 674 Kyrie, Gott heiliger Geist 3450:in common use in Central Germany. 3419:–B, as illustrated by the chorale 3274:BWV 671 Kyrie, Gott heiliger Geist 3034:allermeist daß wir am letzten End' 2234: 2038:Third theme – the Holy Ghost 1874: 1676:Dies sind die heil'gen zehn Gebot' 1460:and French passion are combined". 1368:), the sixteenth variation of the 1186:The number of chorale preludes in 960:Aus tiefer Noth schrei ich zu dir 403:Ich hatte viel Bekümmernis, BWV 21 14: 15024: 14993:Preludes by Johann Sebastian Bach 13874: 13576:The making of the Victorian organ 13574:Thistlethwaite, Nicholas (1990), 12409:Eddie, William Alexander (2007), 12393:Mendelssohn and Victorian England 12383:Pianos and their makers, Volume 1 9726:BWV 802–805 for violin and viola. 9689:BWV 680 for full orchestra, 1942. 9210:introduced a new instrument, the 8868:organized by Prince Albert, with 7270:. Later that year in a letter to 7258:, the musicologist and friend of 7225:Johann Gottlob Immanuel Breitkopf 6817:bars 11–15: transition to E minor 6035:And the same thy mouth confesses, 6003:Can no more for its anguish rest. 5990:That He thee would feed so truly, 5967:Did help us all out of hell-pain. 5963:Who from us did God's anger turn, 5950:Deinen Nächsten sollst du lieben, 5934:Dieser Tisch auch dir nicht gilt, 5918:Daß du nicht kriegest bösen Lohn. 5894:Du sollst Gott den Vater preisen, 5882:Und zu trinken sein Blut im Wein. 5847:organ constructed in 1693 in the 5452:If Thou rememberest each misdeed, 5448:Bend down Thy gracious ear to me, 5412:Aus tiefer Not schrei ich zu dir, 5167:But inward faith the power untold 5144:To Jordan when our Lord had gone, 4914:And wilt have prayer from us all, 4912:Brothers to be, and on Thee call, 4908:Our Father in the heaven Who art, 4688:He cares for us by day and night, 4682:All we want His hand provides us, 4678:Hath the claim of children given. 4657:Leib und Seel auch wohl bewahren, 4372:The Ten Commandments BWV 678, 679 4026:Father, Thy kingdom lasts always, 4022:We humbly Thee adore, and praise, 4019:Through Jesus Christ our Saviour. 4000:abwend all unsern Jamm'r und Not! 3985:nimm an die Bitt' von unsrer Not, 3953:ein Wohlgefall'n Gott an uns hat, 3635:BWV 673 Christe, aller Welt Trost 3250:strict counterpoint with similar 3185:BWV 670 Christe, aller Welt Trost 3019:uns Sünder allein du hast erlöst; 2938:, from the 1537 Naumburg hymnbook 2284:Part of the third section of the 2227: 1735:A baroque number alphabet in the 939:Aus tiefer Noth schrei ich zu dir 915:Christ unser Herr zum Jordan kam 340:directly in the tradition of the 13165:The keyboard music of J. S. Bach 12022:The History of the English Organ 11853: 11841: 11830: 11818: 11791: 11773: 10932:Harrison, Wood & Gaiger 2000 9777:, Membran Musics, discs 8 and 9. 9773:, Complete organ works of Bach, 9585:and Novello at the organ in the 8404:O Mensch, bewein dein Sünde groß 8298:of an orchestral arrangement by 7955:and she had been a patroness of 7618:, can be seen in the background. 7111:, 1754), and more significantly 6953: 6898: 6887: 6877: 6850: 6789: 6779: 6761: 6690: 6676: 6665: 6617: 6586: 6561: 6272: 6262: 6180: 6160: 6077: 6024:Hadst thou any claim to proffer, 6021:He makes a mockery of his skill. 6019:No physician th' whole man will, 6010:Is it well with thee? take care, 6001:Who, his heart with sin opprest, 5994:Up unto death has given His Son. 5988:God the Father praise thou duly, 5979:Who will draw near to that table 5972:Gave He us His flesh, to eat it, 5961:Christ Jesus, our Redeemer born, 5939:Glaubst du das von Herzensgrunde 5914:Sucht ein Herz in großer Arbeit; 5873:half er aus uns der Höllen Pein. 5795: 5715: 5703: 5557:Aus tiefer Not schrei ich zu dir 5496: 5469:Here is my comfort and my trust, 5459:And thus my hope is in the Lord, 5444:Out of the depths I cry to Thee, 5435:die mir zusagt sein wertes Wort; 5424:wer kann, Herr, vor dir bleiben? 5397: 5373: 5350: 5279: 5248: 5213:Christ unser Herr zum Jordan kam 5204: 5179:And by ourselves brought on us. 5169:Of Jesus Christ's blood knoweth. 5123:Das Aug allein das Wasser sieht, 5112:Da wollt er stiften uns ein Bad, 5108:von Sanct Johann die Taufe nahm, 5104:Christ unser Herr zum Jordan kam 5092:Christ unser Herr zum Jordan kam 5081:from a 1577 edition of Luther's 5079:Christ unser Herr zum Jordan kam 5062: 5045: 5018: 5002: 4959: 4954:Jesu, der du meine Seele, BWV 78 4936: 4857: 4838: 4794: 4768: 4686:Watches that no harm betides us; 4665:es steht alles in seiner Macht. 4663:Er sorgt für uns, hüt und wacht, 4589: 4572: 4556: 4544: 4464: 4420:These are the holy ten commands, 4409:durch Mosen, seiner Diener treu. 4381: 4310: 4298: 4277: 4274:BWV 677 Allein Gott in der Höh' 4265: 4214: 4183: 4180:BWV 676 Allein Gott in der Höh' 4163: 4132:has 9 bars with and without the 4084: 4081:BWV 675 Allein Gott in der Höh' 4072:Silbermann organ (1710–1714) in 4017:On earth is peace restored again 3960:Wir loben, preis'n, anbeten dich 3945:Allein Gott in der Höh' sei Ehr' 3937:with the English translation of 3751: 3708: 3696: 3638: 3626: 3575: 3483:, published by his contemporary 3422:Ach Gott, vom Himmel sieh darein 3352: 3277: 3265: 3188: 3176: 3082: 3000:with the English translation of 2934:, an adaptation of the Catholic 2741: 2714: 2703: 2684: 2674: 2664: 2654: 2639: 2625: 2271:Problems playing this file? See 2256: 2220: 2210: 2178: 2168: 2143: 2133: 1911:Problems playing this file? See 1896: 893:Christ unser Herr zum Jordan kam 77:prelude and "St Anne" fugue in E 15003:Fugues by Johann Sebastian Bach 14869:Prelude, Fugue and Allegro in E 14769:Toccatas, BWV 910–916 14501:Partitas, BWV 825–830 14437:Great Eighteen Chorale Preludes 14236:Johann Sebastian Bach Institute 13823:Yearsley, David Gaynor (2012), 13805:Yearsley, David Gaynor (2002), 13547:Terry, Charles Sanford (1921), 12833:Marissen, Michael, ed. (1998), 12348:, University of Chicago Press, 12271:Clement, Arie Albertus (1999), 12209:The Cambridge Companion to Bach 12056:Bodley, Lorraine Byrne (2009), 11751: 11736: 11721: 11690: 11667: 11639: 11610: 11559: 11548: 11462: 11434: 11400: 11367: 11356: 11327: 11315: 11292: 11280: 11256: 11218: 11181: 11158: 11120: 11082: 11016: 10988: 10957: 10914: 10873: 10861: 10832: 10789: 10766: 10736: 10711: 10681: 10669: 10657: 10645: 10633: 10621: 10609: 10597: 10585: 10539: 10527: 10515: 10503: 10491: 10479: 10454: 10443: 10420: 10408: 10396: 10357: 10329: 10292: 10276: 10265: 10252: 10240: 10228: 10202: 10177: 10165: 10129: 10117: 10105: 10093: 10081: 10070: 10059: 10048: 10036: 10010: 9981: 9970: 9958: 9946: 9935: 9923: 9911: 9381:in the 1870s and 1880s. It was 9377:) as examination pieces at the 9232:, composed extensively for the 9117:exerted a similar influence in 8634:. In early 1808 Wesley visited 8242:Jean-Joseph Bonaventure Laurens 8174:Great Eighteen Chorale Preludes 8165:Allgemeine musikalische Zeitung 6046:That thou food to him mayst be, 6037:Fit guest then thou art indeed, 6008:Seeks a heart with agony great. 5981:Must take heed, all he is able. 5974:Hid in poor bread, gift divine, 5970:That we never should forget it, 5943:So bist du recht wohl geschickt 5936:So du selber dir helfen willst. 5907:Den ihr Herz von Sünden schwer, 5905:Daß ein Speise sei den Kranken, 5900:In den Tod sein Sohn geben hat. 5539:had six parts with double pedal 5471:His help I wait with patience. 5450:Let my prayer come before Thee! 5429:auf mein Verdienst nicht bauen; 5427:Darum auf Gott will hoffen ich, 5422:was Sünd und Unrecht ist getan, 5420:denn so du willst das sehen an, 5156:And also drown that cruel Death 5152:Therein He would appoint a bath 5148:He took His baptism of St John, 5034:chorale prelude BWV 683 in the 5017:(Our Father who art in heaven) 4989:Gloria in excelsis Deo, BWV 191 4895:der du uns alle heissest gleich 4672:We all believe in One true God, 4661:kein Leid soll uns widerfahren. 4649:Schöpfer Himmels und der Erden, 4647:Wir glauben all' an einen Gott, 3968:ganz ungemeß'n ist deine Macht, 3665:time. It has been described by 3574:(Kyrie, O God, Eternal Father) 3454:, Bach's uncle and organist at 3101:, 1527: woodcut of the Creation 3081:(Kyrie, O God, Eternal Father) 3043:O Lord the Father for evermore! 2914:was later organist, his father 2407:subjects of the time: a "quiet 35:, sometimes referred to as the 14135:Bach-Gesellschaft edition 13787:Wolff, Christoph, ed. (1997), 13726:, Cambridge University Press, 13684:, Cambridge University Press, 13666:, Cambridge University Press, 13601:, Cambridge University Press, 12977:American Musicological Society 12215:. Cambridge University Press. 12024:, Cambridge University Press, 11902:, Routledge, pp. 76–115, 11880:Anderson, Christopher (2003), 9899: 9872: 9860: 9848: 9836: 9824: 9812: 9800: 9751:, Bach organ works, Volume 5, 9687:Wir glauben all' an einen Gott 9680:Wir glauben all' an einen Gott 9655:Wir glauben all' an einen Gott 9645:Wir glauben all' an einen Gott 9619:Wir glauben all' an einen Gott 9601:Wir glauben all' an einen Gott 9123:Royal Conservatory of Brussels 8848:in a concert organized by the 8795:G. Durand, 1842: engraving of 8353:Es ist das Heil uns kommen her 8210:Riemenschneider Bach Institute 7546:Carl Friedrich Christian Fasch 7525:Allgemeine Deutsche Bibliothek 7378:Allgemeine Deutsche Bibliothek 7239:Johann Carl Friedrich Rellstab 6376:a dance-like accompaniment in 6092:in minims in the pedal in the 6017:Poor, that I may pity show ye. 6015:He doth say, Come hither, O ye 5992:And for ill deeds by thee done 5930:Hättst dir war kunnt erwerben, 5925:Kein Arzt ist dem Starken not, 5891:Für das Leben den Tod empfäht. 5878:Gab er uns sein Leib zu essen, 5867:Jesus Christus, unser Heiland, 5836:was appointed organist in 1733 5446:Lord, hear me, I implore Thee! 5165:As from man's hand it floweth; 5163:The eye but water doth behold, 5160:'Twas no less than a new life. 5146:His Father's pleasure willing, 5139:auch von uns selbst begangen. 5131:und ist vor ihm ein rote Flut, 5110:sein Werk und Amt zu 'rfüllen, 4910:Who tellest all of us in heart 4846:The Lord's Prayer BWV 682, 683 4740:movements, for example in the 4674:Maker of the earth and heaven; 4424:By Moses, who obeyed His will, 4276:(All glory be to God on high) 4182:(All glory be to God on high) 4083:(All glory be to God on high) 4058:Protect Christ's congregation, 3975:O Jesu Christ, Sohn eingebor'n 3870:trio sonata with hints of the 3768:Allein Gott in der Höh sei Ehr 3707:(Kyrie, O God the Holy Ghost) 3276:(Kyrie, O God the Holy Ghost) 3065:Holy Lord, God the Holy Ghost! 3008:Kyrie, Gott Vater in Ewigkeit, 2888:Allein Gott in der Höh sei Ehr 1799:. In the third group of three 1204:Allein Gott in der Höh sei Ehr 1008:Jesus Christus, unser Heiland 827:Wir glauben all an einen Gott 1: 13908:Chorale Preludes, BWV 679–689 13899:Chorale Preludes, BWV 669–678 13700:The Organ Music of J. S. Bach 13682:Bach, the Goldberg variations 13067:Plumley, Nicholas M. (2001), 12500:, Houghton Mifflin Harcourt, 12213:Cambridge Companions to Music 12140:Bukofzer, Manfred F. (2008), 11900:Twentieth-Century Organ Music 11872: 10285:, pp. 35–45, Chapter 3, 9730: 9669:Jesus Christus, unser Heiland 9173:Toccata in F major, BWV 540/1 8775:in the Hanover Square Rooms. 8702:St Katherine's, Regent's Park 8288:Gesellschaft der Musikfreunde 7700: 7693: 7682: 7647:in addition to both books of 7278:A long & laboured Fugue, 6220:Jesus Christus, unser Heiland 6086:Jesus Christus, unser Heiland 5923:Laßt mich über euch erbarmen; 5916:Ist dir wohl, so bleib davon, 5909:Und vor Angst betrübet, sehr. 5876:Daß wir nimmer des vergessen, 5812:Jesus Christus, unser Heiland 5467:That He is merciful and just— 5463:I rest upon His faithful word 5439:das will ich allzeit harren. 5416:Dein gnädig Ohren kehr zu mir 5150:His work and task fulfilling; 5135:die allen Schaden heilen tut, 5116:ersaüfen auch den bittern Tod 4897:Brüder sein und dich rufen an 4854:(Our Father who art in heaven 4710:Italian style reminiscent of 4680:He in soul and body feeds us, 4655:Er will uns allzeit ernähren, 4653:dass wir seine Kinder werden. 4651:der sich zum Vater geben hat, 4060:His everlasting truth assert, 4024:And laud for Thy great glory: 3928:Wir glauben all an einen Gott 3832:Wir glauben all an einen Gott 3215:for two manuals and pedal in 3109:for two manuals and pedal in 3069:With faith sustain our heart, 3032:tröst', stärk' uns im Glauben 3010:groß ist dein Barmherzigkeit, 2863:Kyrie, Gott Vater in Ewigkeit 2671:then in the treble of bar 54 2607:The first section is a quiet 1360:), the first movement of his 986:Jesus Christus, unser Heiland 806:Wir glauben all an einen Gott 452:Der vollkommene Capellmeister 435:Der Vollkommene Capellmeister 14758:Chromatic Fantasia and Fugue 13415:, Cambridge University Press 13345:Stauffer, George B. (1990), 12987:, Indiana University Press, 12666:English Harpsichord Magazine 12134:Der volkommene Capellmeister 11943:, Cornell University Press, 10592:J.S. Bach, le musicien-poète 9722:(1810–1873), arrangement of 9712:(1776–1835), arrangement of 9663:(1900–1995), arrangement of 9657:BWV 680 for orchestra, 1937. 9653:(1891–1967), arrangement of 9647:BWV 680 for orchestra, 1929. 9643:(1890–1975), arrangement of 8912:St. George's Hall, Liverpool 8880:St. George's Hall, Liverpool 8386:. The second movement is an 8371:O Haupt voll Blut und Bunden 8183:Friedrich Konrad Griepenkerl 8170:Schmücke dich, o liebe Seele 8098:(harmony and counterpoint), 7971:, and his organ teacher was 7690:Charles Frederick Baumgarten 7610:. The Grand Organ, built by 7229:Bernhard Christoph Breitkopf 6461:Charru & Theobald (2002) 5999:'Tis a food for every craver 5954:Wie dein Gott an dir getan. 5871:durch das bitter Leiden sein 5414:Herr Gott, erhör mein Rufen. 5272:J.S. Bach, le musicien-poète 4819:volumes, in both volumes of 4793:(We all believe in one God) 4676:The Father Who to us in love 4588:(We all believe in one God) 4052:O Comforter, God Holy Ghost, 4043:And guilt and curse removed; 4007:To God on high all glory be, 3957:all' Fehd' hat nun ein Ende. 3951:uns rühren kann kein Schade. 3949:darum daß nun und nimmermehr 3675:Jesus Christus unser Heiland 3477:Nun komm, der Heiden Heiland 3398:Nun komm, der Heiden Heiland 3230:time. The four lines of the 3124:time. The four lines of the 3045:We Thy wondrous grace adore; 2749:Chorale preludes BWV 669–689 2125:First theme: God, the Father 1256:borrowed from Frescobaldi's 286:Hieronymus Florentinus Quehl 71:The work has the form of an 7: 14882:Prelude in C minor, BWV 999 14415:Concertos, BWV 592–597 13859:, Oxford University Press, 13853:Zohn, Steven David (2008), 13424:, Oxford University Press, 13309:Smither, Howard E. (1977), 13225:Schweitzer, Albert (1911), 13163:Schulenberg, David (2006), 13018:, Oxford University Press, 12798:Lonsdale, Roger H. (1965), 12784:, Oxford University Press, 12780:Little, William A. (2010), 12659:"Was Bach a mathematician?" 12431:, Oxford University Press, 12386:, Covina publishing company 12289:Craggs, Stewart R. (2007), 11922:Harvard Dictionary of Music 9781: 9665:Kyrie, Gott, heiliger Geist 8836:to the throne. Her husband 8111:Katharinenkirche, Frankfurt 8015:, 1836: watercolour of the 6218:four-part chorale prelude, 6179:(Jesus Christ our Saviour) 6028:This table is not for thee, 5941:Und bekennest mit dem Mund, 5880:Verborgen im Brot so klein, 5794:(Jesus Christ our Saviour) 5465:To them of contrite spirit; 5456:Who may abide Thy presence? 5158:In His blood of assoilment: 5154:To wash us from defilement, 5125:wie Menschen Wasser gießen; 4893:Vater unser im Himmelreich, 4821:Das Wohltemperierte Clavier 4659:allem Unfall will er wehren 4426:On the top of Sinai's hill. 4407:die uns gab unser Herr Gott 4248:bars 100–139: last line of 4054:Thou source of consolation, 4034:In such a Lord we're happy. 3992:du allerheilsamst' Tröster, 3972:wohl uns des feinen Herren! 3966:regierst ohn' alles Wanken. 3964:daß du, Gott Vater ewiglich 3962:für deine Ehr'; wir danken, 3030:Kyrie, Gott heiliger Geist, 2428:Conrad Friedrich Hurlebusch 2288:BWV 552 from the 1739 print 2187:Third theme: the Holy Ghost 2052:Second part of first theme 1525:, Bach's obituary of 1754: 670:Kyrie, Gott heiliger Geist 580:Kyrie, Gott heiliger Geist 278:Conrad Friedrich Hurlebusch 152:, had been organist at the 25:Johann Sebastian Bach, 1746 10: 15029: 14932:Klavierbüchlein W. F. Bach 14889:Fugue in G minor, BWV 1000 14789:Harpsichord solo concertos 13829:Cambridge University Press 13723:J.S. Bach: A Life in Music 13704:Cambridge University Press 13580:Cambridge University Press 13481:Cambridge University Press 12975:(reprinted in 1978 by the 12591:The organ: an encyclopedia 12236:Cambridge University Press 12128:Cambridge University Press 12020:Bicknell, Stephen (1999), 11860:Digital Bach-archiv record 10729:Charru & Theobald 2002 10390:Charru & Theobald 2002 9714:Vater unser im Himmelreich 9697:Chicago Symphony Orchestra 9074:. In the aftermath of the 8541:commissioned in 1694 from 8463:, 18 July 1815, letter to 8429: 8075:Neue Zeitschrift für Musik 7843:Quarterly Musical Register 7757: 7739:Royal Society of Musicians 7512:Musicalisches Kunstmagazin 7508:Johann Friedrich Reichardt 7487:Johann Wolfgang von Goethe 7328:Modo recto & contrario 5983:Who unworthy thither goes, 5952:Daß er dein genießen kann, 5523:Title page of Part III of 5461:And not in mine own merit; 5418:und meiner Bitt sei öffne; 5133:von Christi Blut gefärbet, 5114:zu waschen uns von Sünden, 5106:nach seines Vaters Willen, 4944:Vater unser im Himmelreich 4875:Vater unser im Himmelreich 4062:All evil graciously avert, 4028:Not frail, nor transitory: 4011:That hence to all eternity 3977:deines himmlischen Vaters, 3876:six trio sonatas for organ 3866:in the alto; the second a 2596:Stile moderno, gigue-like 2341:major BWV 552/2 that ends 2152:Second theme: God, the Son 2024:First part of first theme 1930:Toccata in F major BWV 540 1842:Vater unser in Himmelreich 1727:Numerological significance 1681:Vater unser im Himmelreich 871:Vater unser im Himmelreich 848:Vater unser im Himmelreich 637:Christe, aller Welt Trost 560:Christe, aller Welt Trost 14957: 14898: 14862:Suite in C minor, BWV 997 14847:Suite in E minor, BWV 996 14842:Suite in G minor, BWV 995 14834: 14478: 14295: 14216: 14149: 14051: 13789:The New Grove Bach Family 13765:Wolff, Christoph (2002), 13438:Stinson, Russell (2006), 13420:Stinson, Russell (2001), 13238:Saint-Saëns and the organ 12943:, Yale University Press, 12857:Harpsichord or "Klavier"? 12782:Mendelssohn and the Organ 12712:Leaver, Robin A. (2007), 12626:Kassler, Michael (2008), 12608:Kassler, Michael (2004), 12427:Ellis, Katharine (2008), 12313:Perspectives of New Music 11939:Applegate, Celia (2005), 11519:Dwight's Journal of Music 11066:The Well-Tempered Clavier 10594:, p. 345 (in French) 9667:BWV 671 and the fugue on 9094:and took his name as the 8958: 8761:William Sterndale Bennett 8668:The Well-Tempered Clavier 8631:The Well-Tempered Clavier 8162:, founding editor of the 7827:The Well-Tempered Clavier 7818:The Well-Tempered Clavier 7720:). Diettenhofer prepared 7650:The Well-Tempered Clavier 7301:The Well-Tempered Clavier 7206:The Well-Tempered Clavier 7130:Friedrich Wilhelm Marpurg 7113:Johann Philipp Kirnberger 7101:Johann Friedrich Agricola 7077:Carl Philipp Emanuel Bach 6968:and excessively detailed. 6580:The Well-Tempered Clavier 6538:Friedrich Wilhelm Marpurg 6511:scientific pitch notation 6488:The Well-Tempered Clavier 6256:The Well-Tempered Clavier 5649:in the tenor register in 5607:in two settings from his 5177:From Adam here descended, 5090: 4716:Giovanni Battista Bassani 4411:hoch auf dem Berge Sinai. 4064:Lead us to life eternal. 4049:And on us all have mercy. 4013:No evil shall oppress us: 4002:darauf wir uns verlaßen. 3987:erbarm' dich unser aller! 3981:du Stiller unsers Haders, 3947:und Dank für seine Gnade, 3912:Georg Friedrich Kauffmann 3836:Georg Friedrich Kauffmann 3601:The Well-Tempered Clavier 3572:BWV 672 Kyrie, Gott Vater 3485:Georg Friedrich Kauffmann 3406:Georg Friedrich Kauffmann 3079:BWV 669 Kyrie, Gott Vater 3052:O Christ, our Hope alone, 3017:Christe, aller Welt Trost 2853:and other figures of the 2524:Stile antico, fuga grave 2439:The Well-Tempered Clavier 1852:Prelude and fugue BWV 552 1336:in canon, two with pedal 1325:The Well-Tempered Clavier 1228:Georg Christian Schemelli 270:Georg Friedrich Kauffmann 212:Italian Concerto, BWV 971 162:Gottfried August Homilius 14912:: Prelude and Fugue in E 14446:Sei gegrüßet, Jesu gütig 13968:BWV 552 by Gary Bricault 13837:10.1017/CBO9781139003681 13749:Harvard University Press 13720:Williams, Peter (2007), 13698:Williams, Peter (2003), 13680:Williams, Peter (2001), 13662:Williams, Peter (1985), 13550:Bach's Chorals, vol. III 13231:, Breitkopf & Härtel 13014:Olleson, Philip (2001), 12939:Murray, Michael (1998), 12644:Keller, Hermann (1967), 12588:Kassel, Richard (2006), 12574:, Franz Steiner Verlag, 12291:Alan Bush: a source book 12207:Butt, John, ed. (1997). 12191:Organ Historical Society 12158:Butler, Gregory (1990), 10887:, pp. ix–xxiii, 152 10162:, pp. 133, 137, 416 9793: 9206:In 1855, the piano firm 9080:Alexandre-Étienne Choron 8706:St. Sepulchre's, Holborn 8414:in 1897 by the organist 8227:Inventions and Sinfonias 8212:, contains the whole of 8040:in the courtyard of the 7997:Johann Gottfried Walther 7839:Johann Gottfried Schicht 7812:Inventions and Sinfonias 7663:Johann Christian Fischer 7614:with a case designed by 7577:Academy of Ancient Music 7466:General History of Music 7383:General History of Music 7272:Christoph Daniel Ebeling 6936:bars 104–108: coda with 6655:Inventions and Sinfonias 6507:Helmholtz pitch notation 6326:Johanniskirche, Lüneburg 5889:Wer unwürdig hiezu geht, 5865: 5830:Christian Gottlob Hammer 5603:in the 16th century; to 5595:) can be traced back to 5559:BWV 686 is a monumental 5410: 5129:des Blutes Jesu Christi; 5120:es galt ein neues Leben. 5102: 4891: 4645: 4403: 4330:Luther's Large Catechism 4039:The Father's Son beloved 3996:die Jesus Christ erlöset 3943: 3904:Johann Gottfried Walther 3858:treatments: the first a 3855:Allein Gott in der Höh' 3821:Johann Gottfried Walther 3804:Johann Gottfried Walther 3006: 2900:Neu Leipziger gesangbuch 2393:Friedrich Wilhelm Zachow 1687:Commentators have taken 1663:Johann Gottfried Walther 1503:Table of ornaments from 745:Allein Gott in der Höh' 725:Allein Gott in der Höh' 503:Liturgical significance 490:Textual and musical plan 290:Johann Gottfried Walther 204:Johann Sigismund Scholze 14777:, BWV 933–938 13771:Oxford University Press 13597:Todd, R. Larry (1983), 13446:Oxford University Press 13274:Stokowski and the organ 13205:10.1093/earlyj/13.2.180 12816:Oxford University Press 12716:, Eerdmans Publishing, 12672:: 32–36, archived from 12570:Jacob, Andreas (1997), 12514:Harding, James (1973), 12475:Frisch, Walter (2005), 12340:Dahlhaus, Carl (1991), 12162:, Duke University Press 12144:, Von Elterlein Press, 11989:Barger, Judith (2007), 11970:: 24–29, archived from 11957:August, Robert (2010), 11747:University of Rochester 11732:University of Rochester 11064:The Simrock Edition of 9449:Historic transcriptions 9437:. Dupré also taught in 9180:Jacques-Nicolas Lemmens 8953:Popular Monday Concerts 8921:Samuel Sebastian Wesley 8850:Sacred Harmonic Society 8689:Samuel Sebastian Wesley 8613:, 1812: Watercolour of 8384:Brahms' fourth symphony 8304:eleven chorale preludes 7953:Wilhelm Friedemann Bach 7803:Franz Anton Hoffmeister 7675:Johann Samuel Schroeter 7631:; and in the same year 7573:Sing-Akademie zu Berlin 7475:Dictionnaire de Musique 7458:University of Göttingen 7139:Abhandlung von der Fuge 7097:Wilhelm Friedemann Bach 6945:Reception and influence 5433:und seiner Güte trauen, 5341:Confession BWV 686, 687 4754:invertible counterpoint 4144:and 18 without it. The 3847:Lucas Cranach the Elder 3770:, an adaptation of the 3374:Missa Sanctorum Meritis 3099:Lucas Cranach the Elder 1739:of Johann Henning, 1683 1534:The court orchestra of 704:Allein Gott in der Höh' 416:Lorenz Christoph Mizler 190:(Leipzig, 1689, 1692), 150:Wilhelm Friedemann Bach 91:four duets, BWV 802–805 15008:Compositions for organ 14947:Twelve Little Preludes 14199:Bach-Werke-Verzeichnis 14092:Clavier-Übung III 13535:Terry, Charles Sanford 13291:Smith, Ronald (1977), 13272:Smith, Rollin (2004), 13254:Smith, Rollin (2002), 13236:Smith, Rollin (1992), 12925:10.1093/mq/xxxvi.4.485 12657:Kellner, H.A. (1978), 12391:Eatock, Colin (2009), 12380:Dolge, Alfred (1911), 12293:, Ashgate Publishing, 12275:(in German), AlmaRes, 12104:Boyd, Malcolm (2000), 11394:Sterndale Bennett 1907 11060:, pp. 12, 178–210 9977:Buelow & Marx 1983 9673:Cambridge Arts Theatre 9615:Ralph Vaughan Williams 9597:Philadelphia Orchestra 9488: 9474: 9460: 9411: 9392: 9379:Conservatoire de Paris 9366: 9351: 9341: 9332: 9311:third Paris exhibition 9298: 9288: 9268:(1869), the chapel in 9222:Charles Valentin Alkan 9216: 9203: 9201:Charles Valentin Alkan 9193: 9160:Aristide Cavaillé-Coll 9155: 9140: 9107:Conservatoire de Paris 9004: 8990: 8976: 8904:Aristide Cavaillé-Coll 8898: 8887: 8882:, with organ built by 8858:Christ Church, Newgate 8811: 8789: 8765:Royal Academy of Music 8752: 8742: 8733: 8724: 8713:for a Bach recital by 8711:Christ Church, Newgate 8648:Charles Frederick Horn 8621: 8615:Christ Church, Newgate 8603: 8593: 8587:Thomas Hosmer Shepherd 8579: 8569: 8500: 8484: 8473: 8412:Trinity Church, Berlin 8380:passacaglia in C minor 8335: 8327: 8318: 8262:, the twenty-year-old 8255: 8244: 8196: 8151: 8139: 8114: 8044: 8029: 8019: 8006: 7935: 7923: 7912: 7895: 7886: 7867: 7857: 7823:Johann Nikolaus Forkel 7790: 7778: 7629:Charles Frederick Horn 7619: 7595: 7550:Johann Friedrich Fasch 7541: 7521: 7504: 7454:Johann Nikolaus Forkel 7450: 7440: 7430: 7428:Johann Nikolaus Forkel 7421: 7408: 7402:, that is natural and 7345: 7336: 7316: 7292: 7251: 7233: 7215: 7181: 7171: 7138: 7093:Georg Philipp Telemann 7035: 7025: 7015: 7006: 6835:bars 32–33: transition 6829:bars 26–27: transition 6823:bars 20–23: transition 6641: 6450: 6434:Four duets BWV 802–805 6333: 6212: 6172: 6122: 6108: 6102: 6075: 5898:Und für deine Missetat 5852: 5837: 5822: 5786:Communion BWV 688, 689 5731: 5591: 5552: 5540: 5516: 5494: 5297:Harmonische Seelenlust 5277: 5240: 5230:Harmonische Seelenlust 5202: 5085: 4999: 4934: 4882: 4632: 4624: 4616: 4580:The Creed BWV 680, 681 4541: 4495:and five in the bass: 4436:The prelude is in the 4355: 4337: 4262: 4175: 4076: 3908:Harmonische Seelenlust 3850: 3839: 3824: 3809: 3794: 3779: 3776:Kirchengesenge Deudsch 3683:Auf meinen lieben Gott 3567: 3481:Harmonische Seelenlust 3440: 3435:Anleitung zur Fantasie 3409: 3402:Harmonische Seelenlust 3381: 3300: 3208: 3102: 2968: 2939: 2896:Kirchengesenge Deudsch 2835: 2802: 2790: 2786:, 1526: Title page of 2399:Source of the subjects 2333: 2313: 2289: 2239: 2114:Repeat of first theme 1947:in the first theme; a 1925: 1879: 1740: 1717: 1560:Johann Nikolaus Forkel 1532: 1514: 1496: 1476: 1454:Georg Philipp Telemann 1441: 1380:as contained in P200. 1246: 1183: 461: 448: 441: 426: 399: 393: 380: 360: 274:Harmonische Seelenlust 245: 237: 226:festivals in Leipzig. 202:(Nuremberg, 1739) and 192:Johann Philipp Krieger 137: 121: 26: 14288:Johann Sebastian Bach 14226:Neue Bachgesellschaft 14182:Johann Sebastian Bach 14086:Clavier-Übung II 13977:for organ/harpsichord 13617:Well-Tempered Clavier 13475:Tatlow, Ruth (1991), 13182:Schulze, Hans-Joachim 12983:Ochse, Orpha (2000), 12912:The Musical Quarterly 12769:The American Organist 12748:Lester, Joel (1994), 12730:Lester, Joel (1989), 12494:Geck, Martin (2006), 12461:10.1093/mq/xxxv.4.588 12448:The Musical Quarterly 12124:New Mattheson Studies 9480: 9466: 9456: 9401: 9387: 9357: 9347: 9337: 9327: 9294: 9282: 9199: 9188: 9169:Adolf Friedrich Hesse 9146: 9131: 9111:François-Joseph Fétis 8996: 8981: 8962: 8927:he had on display at 8917:Liverpool Corporation 8893: 8878: 8862:St. Peter's, Cornhill 8794: 8784: 8748: 8738: 8728: 8719: 8609: 8599: 8585: 8575: 8565: 8535:Industrial Revolution 8510:organ concertos Op. 4 8490: 8478: 8451:, & consequently 8433: 8333: 8323: 8313: 8250: 8236: 8192: 8145: 8137: 8108: 8035: 8025: 8011: 8001: 7929: 7918: 7908: 7890: 7881: 7872:Carl Friedrich Zelter 7865:Carl Friedrich Zelter 7863: 7856:Sing-Akademie in 1843 7855: 7783: 7761: 7655:Johann Christian Bach 7637:Electorate of Hanover 7601: 7586: 7537: 7516: 7499: 7479:Jean-Jacques Rousseau 7446: 7436: 7426: 7412: 7387: 7341: 7320: 7311: 7276: 7247: 7176: 7166: 7048:Georg Frideric Handel 7031: 7021: 7011: 6992: 6627: 6441: 6323: 6191: 6170: 6133:on the Greek letters 6114: 6069:Johann Sebastian Bach 6055: 5857:Charles Sanford Terry 5843: 5828: 5810: 5725: 5546: 5522: 5506: 5488:Johann Sebastian Bach 5474: 5364:Charles Sanford Terry 5259: 5238: 5196:Johann Sebastian Bach 5182: 5137:von Adam her geerbet, 5098:Charles Sanford Terry 5077: 4997: 4921: 4887:Charles Sanford Terry 4873: 4637:Charles Sanford Terry 4630: 4622: 4604: 4536: 4395:Charles Sanford Terry 4343: 4328: 4260: 4173: 4140:has 12 bars with the 4071: 3939:Charles Sanford Terry 3920:Nun ruhen alle Wälder 3845: 3830: 3814: 3795: 3791:, Bach Chorales, 1921 3789:Charles Sanford Terry 3781: 3766: 3562: 3452:Johann Christoph Bach 3411: 3387: 3367: 3292: 3203: 3097: 3002:Charles Sanford Terry 2976:, for example in his 2929: 2916:Johann Ambrosius Bach 2912:Johann Christoph Bach 2910:, where Bach's uncle 2829:Johann Sebastian Bach 2804: 2796: 2782: 2389:Nicolaus Adam Strungk 2315: 2295: 2283: 2238: 1923: 1878: 1734: 1712: 1706:describes one aim of 1527: 1502: 1485:Premier Livre d'Orgue 1482: 1466: 1433: 1236: 1173: 456: 443: 432: 425:Johann Adolph Scheibe 424: 412:University of Leipzig 389: 369:University of Leipzig 366: 358: 282:Compositioni Musicali 240: 232: 146:Frauenkirche, Dresden 134:Frauenkirche, Dresden 127: 112: 43:Johann Sebastian Bach 24: 14461:, BWV 1090–1120 14312:Sonatas, BWV 525–530 14108:The Musical Offering 14076:Clavier-Übung I 13917:Duettos, BWV 802–805 13582:, pp. 163–180, 12818:, pp. 268–269, 12256:, Editions Mardaga, 11351:, pp. 42, 53–54 9587:Hanover Square Rooms 9549:William G. Whittaker 9053:Gewandhaus orchestra 8925:Winchester Cathedral 8854:St. Paul's Cathedral 8740:W. Sterndale Bennett 8677:St. Paul's Cathedral 8652:Hanover Square Rooms 8591:Hanover Square Rooms 8557:Birmingham Town Hall 8531:Handel Commemoration 8481:Birmingham Town Hall 8092:Leipzig Conservatory 8049:Gewandhaus Orchester 8038:Leipzig Conservatory 7995:where Bach's cousin 7977:Marienkirche, Berlin 7947:, the great-aunt of 7921:Marienkirche, Berlin 7847:Boosey & Company 7835:Breitkopf and Härtel 7787:Allgem. Mus. Zeitung 7734:Savoy Church, Strand 7667:Frederick de Nicolay 7568:Handel Commemoration 7370:Handel Commemoration 7156:Jean-Philippe Rameau 7044:Johann Adolf Scheibe 7001:Johann Adolf Scheibe 6811:bars 5–6: transition 6799:Brandenburg Concerto 6520:The use of the term 6084:The chorale prelude 5615:, in his organ Mass 5567:of C. The climax of 5555:The chorale prelude 5513:Gottfried Silbermann 5211:The chorale prelude 5053:Baptism BWV 684, 685 4835:in D minor BWV 812. 4712:Girolamo Frescobaldi 4345:The Ten Commandments 3368:Second Kyrie in the 3311:and pedal. The bass 3262:passages in sixths. 3137:. The writing is in 2936:Kyrie fons bonitatis 2455:The Art of the Fugue 2310:swallow's nest organ 1868:BWV 552/1 Praeludium 1719:The musical plan of 1519:Carl Philipp Emanuel 1394:The Musical Offering 1243:Girolamo Frescobaldi 480:Girolamo Frescobaldi 407:Johann Adolf Scheibe 377:Carl Philipp Emanuel 294:Johann Caspar Vogler 142:Gottfried Silbermann 14939:Notebook A. M. Bach 14795:Goldberg Variations 14775:Six Little Preludes 14459:Neumeister chorales 14098:Goldberg Variations 14079:(1726–1730; 1731); 14070:Gott ist mein König 13972:Midi recordings of 13960:Midi recordings of 13635:10.1093/ml/81.3.364 13622:Music & Letters 13395:10.1093/em/xxi.1.83 13389:(1): 83–84, 86–96, 13276:, Pendragon Press, 13258:, Pendragon Press, 13240:, Pendragon Press, 13157:10.1093/jrma/67.1.1 12734:, Pendragon Press, 12538:, Wiley-Blackwell, 12230:Butt, John (2006), 11782:of A.H. Stevens in 11474:Thistlethwaite 1990 11427:Thistlethwaite 1990 11339:Thistlethwaite 1990 11036:, pp. 116, 122 10809:, pp. 116, 122 10500:, pp. 115, 208 10287:Music and Lutherism 10260:Music Theory Online 9710:Abraham Mendelssohn 9695:, conductor of the 9595:, conductor of the 9507:Adolf Bernhard Marx 9486:Abraham Mendelssohn 9458:Adolf Bernhard Marx 9431:Palais du Trocadéro 9383:Charles-Marie Widor 9339:Charles-Marie Widor 9307:Palais du Trocadéro 9296:Camille Saint-Saëns 9285:Palais du Trocadéro 9086:in 1817. After the 8941:William Thomas Best 8895:William Thomas Best 8803:in the presence of 8773:St. Matthew Passion 8656:played into Fashion 8539:St Paul's Cathedral 8497:St Paul's Cathedral 8483:constructed in 1834 8125:St Paul's Cathedral 7973:August Wilhelm Bach 7941:Abraham Mendelssohn 7747:Concentores Society 7659:Carl Friedrich Abel 7641:Royal German Chapel 7608:St Paul's Cathedral 7589:Royal German Chapel 7161:Treatise on Harmony 7085:Frederick the Great 6774:Two Part Inventions 6546:Gradus ad Parnassum 6534:Two part inventions 6494:Goldberg Variations 6443:Gradus ad Parnassum 6328:, where Bach heard 5577:florid counterpoint 4829:Musikalisches Opfer 3431:Georg Andreas Sorge 3296:, 1514: woodcut of 3056:O Jesu! Son of God! 2986:Gradus ad Parnassum 2956:strict counterpoint 2851:Philipp Melanchthon 2436:major BWV 876/2 in 1647:Prince Johann Ernst 1540:Jean-Baptiste Lully 1414:Johann Ludwig Krebs 1370:Goldberg Variations 1192:French organ Masses 334:Dieterich Buxtehude 330:Johann Caspar Kerll 302:French Organ Masses 200:Georg Andreas Sorge 194:(Nuremberg, 1698), 105:History and origins 14439:, BWV 651–668 14431:, BWV 645–650 14423:, BWV 599–644 14277:Compositions for 14202:(1950; 1990; 1998) 14131:Four-part chorales 13995:2011-07-19 at the 13499:19th-Century Music 13212:Schweitzer, Albert 12808:MacDonald, Malcolm 12308:Cusick, Suzanne G. 12130:, pp. 293–305 11815:, pp. 146–147 11763:2011-07-18 at the 11712:2011-07-27 at the 11073:2011-07-22 at the 10983:, pp. 228–231 10946:, pp. 506–508 10750:, pp. 487–500 10725:, pp. 530–531 10701:, pp. 529–530 10642:, pp. 151–152 10554:, pp. 219–221 10536:, pp. 107–109 10524:, pp. 410–413 10512:, pp. 265–269 10174:, pp. 265–268 10126:, pp. 343–346 10114:, pp. 207–208 10007:, pp. 393–394 9990:, pp. 390–391 9920:, pp. 387–388 9869:, pp. 387–389 9857:, pp. 205–208 9833:, pp. 225–226 9759:Bernard Foccroulle 9737:Marie-Claire Alain 9489: 9475: 9461: 9367: 9352: 9349:Alexandre Guilmant 9342: 9315:Alexandre Guilmant 9299: 9289: 9204: 9194: 9156: 9141: 9138:St. Sulpice, Paris 9005: 8991: 8937:combination action 8929:The Crystal Palace 8899: 8888: 8812: 8753: 8743: 8622: 8604: 8594: 8580: 8570: 8501: 8493:Duke of Wellington 8485: 8376:Joseph Rheinberger 8336: 8328: 8256: 8245: 8197: 8160:Friedrich Rochlitz 8152: 8140: 8115: 8082:, organist at the 8045: 8030: 8020: 7992:St Matthew Passion 7936: 7924: 7913: 7868: 7858: 7815:and both books of 7791: 7712:Canonic Variations 7620: 7596: 7542: 7451: 7441: 7431: 7389:The very terms of 7346: 7252: 7211:Johann Adam Hiller 7125:Amalien-Bibliothek 7036: 7026: 7016: 6989:Eighteenth century 6757:Duetto III BWV 804 6451: 6334: 6173: 5853: 5838: 5834:Wilhelm Friedemann 5823: 5732: 5553: 5541: 5517: 5241: 5086: 5000: 4883: 4825:Die Kunst der Fuge 4633: 4625: 4617: 4542: 4440:of G, ending on a 4356: 4338: 4263: 4176: 4077: 4074:Freiberg Cathedral 3851: 3840: 3825: 3780: 3772:Gloria in excelsis 3568: 3410: 3382: 3301: 3209: 3103: 3073:Have mercy, Lord. 3021:Jesu, Gottes Sohn, 2940: 2855:German Reformation 2803: 2791: 2314: 2300:in Leipzig, where 2290: 2240: 2111:173 (overlap)–205 2091:160–173 (overlap) 1928:Together with the 1926: 1880: 1741: 1655:Pièces de clavecin 1515: 1508:Pièces de Clavecin 1497: 1477: 1445:Florilegium Primum 1389:Canonic Variations 1378:Die Kunst der Fuge 1247: 1184: 1174:Title page of the 604:Kyrie, Gott Vater 540:Kyrie, Gott Vater 442: 427: 381: 361: 238: 138: 122: 27: 15013:1739 compositions 14980: 14979: 14910:Clavier-Übung III 14855: 14811: 14804: 14749: 14747:No. 24 in B minor 14742: 14729: 14716: 14703: 14701:No. 12 in F minor 14696: 14689: 14682: 14669: 14656: 14649: 14637: 14624: 14611: 14609:No. 16 in G minor 14604: 14602:No. 10 in E minor 14597: 14584: 14571: 14558: 14551: 14523: 14516: 14509: 14466:Chorale fantasia 14429:Schübler Chorales 14391: 14372: 14308: 14283:keyboard and lute 14244: 14243: 14221:Bach Gesellschaft 14114:Schübler Chorales 13999:for recording by 13974:Clavier-Übung III 13933:Clavier-Übung III 13881:Clavier-Übung III 13866:978-0-19-516977-5 13733:978-0-521-87074-0 13589:978-0-521-34345-9 13293:Alkan: The enigma 13123:(1574): 331–333, 13116:The Musical Times 13071:, Positif Press, 12958:Niecks, Frederick 12812:Arnold Schoenberg 12802:, Clarendon Press 12791:978-0-19-539438-2 12723:978-0-8028-3221-4 12704:978-0-520-25389-6 12637:978-0-7546-6064-4 12520:, Stein and Day, 12438:978-0-19-536585-6 12420:978-1-84014-260-0 12402:978-0-7546-6652-3 12300:978-0-7546-0894-3 12178:978-0-252-03344-5 12151:978-1-4437-2619-1 12084:(1731): 293–296, 12077:The Musical Times 12067:978-0-7546-5520-6 12000:978-0-7546-5129-1 11985:(September issue) 11785:The Musical Times 11534:The Musical Times 11501:The Musical Times 11486:The Musical World 9967:, pp. 93–111 9704:Chamber ensembles 9675:in November 1941. 9635:Henri Verbrugghen 9625:Arnold Schoenberg 9617:, arrangement of 9593:Leopold Stokowski 9472:Arnold Schoenberg 9435:Clavier-Übung III 9240:each year in the 9230:Bach Gesellschaft 9132:Engraving of the 9105:. Along with the 9096:École Niedermeyer 9092:Louis Niedermeyer 9076:French Revolution 9035:, having won the 9009:French Revolution 8998:Fanny Mendelssohn 8949:Royal Albert Hall 8872:in the audience. 8870:William Gladstone 8842:Buckingham Palace 8827:Clavier-Übung III 8823:Clavier-Übung III 8809:Felix Mendelssohn 8801:Buckingham Palace 8715:Felix Mendelssohn 8693:Clavier-Übung III 8673:Clavier-Übung III 8552:Rees's Cyclopædia 8526:Clavier-Übung III 8406:BWV 622 from the 8400:Clavier-Übung III 8222:Bach Gesellschaft 8214:Clavier-Übung III 8172:BWV 654 from the 8013:Felix Mendelssohn 7949:Felix Mendelssohn 7910:Felix Mendelssohn 7799:Bureau de Musique 7795:Clavier-Übung III 7728:BWV 1080/19 from 7726:Contrapunctus XIV 7645:Clavier-Übung III 7593:St James's Palace 7351:Treatise on fugue 7185:Baron van Swieten 7134:Treatise on fugue 7105:Royal Opera House 7091:in succession to 7062:Clavier-Übung III 7040:Clavier-Übung III 7033:Friedrich Marpurg 7023:Johann Kirnberger 6986: 6985: 6938:neapolitan sixths 6856: 6846:Duetto IV BWV 805 6767: 6623: 6613:Duetto II BWV 803 6567: 6483:Clavier-Übung III 6186: 6054: 6053: 5801: 5730:in Luther's Bible 5709: 5613:François Couperin 5569:Clavier-Übung III 5356: 5268:Albert Schweitzer 5254: 5068: 5024: 4987:from his cantata 4968:lombardic rhythms 4863: 4812:Clavier-Übung III 4800: 4784:Wir glauben all' 4696: 4695: 4595: 4562: 4434: 4433: 4387: 4283: 4189: 4090: 3884:Clavier-Übung III 3815:Fifth setting of 3778:(Magdeburg, 1545) 3714: 3677:BWV 626 from the 3644: 3581: 3554:Johann Kirnberger 3339:Matthias Weckmann 3283: 3260:canone sine pausa 3194: 3167:canone sine pausa 3088: 3062:Have mercy, Lord. 3049:Have mercy, Lord. 2600: 2599: 2375:Form of the fugue 2363:Albert Schweitzer 2343:Clavier-Übung III 2324:Albert Schweitzer 2312:at the east end. 2261: 2205:Clavier-Übung III 2161:responses marked 2121: 2120: 2063:111 (upbeat)–129 2049:98 (overlap)–111 1901: 1837:Clavier-Übung III 1822:Clavier-Übung III 1748:Clavier-Übung III 1721:Clavier-Übung III 1708:Clavier-Übung III 1689:Clavier-Übung III 1667:Clavier-Übung III 1639:Nicolas de Grigny 1635:François Couperin 1493:Nicolas de Grigny 1489:French organ Mass 1424:Clavier-Übung III 1385:Clavier-Übung III 1342:Clavier-Übung III 1254:Clavier-Übung III 1215:Shorter Catechism 1188:Clavier-Übung III 1168: 1167: 788:Ten Commandments 768:Ten Commandments 469:Clavier-Übung III 465:Clavier-Übung III 367:Engraving of the 338:Clavier-Übung III 326:François Couperin 321:Clavier-Übung III 306:Nicolas de Grigny 250:Clavier-Übung III 235:Clavier-Übung III 198:(Hamburg, 1728), 180:Clavier-Übung III 158:Clavier-Übung III 119:Bernardo Bellotto 38:German Organ Mass 32:Clavier-Übung III 15020: 14950: 14941: 14934: 14927: 14920: 14917: 14916: 14891: 14884: 14877: 14874: 14873: 14864: 14851: 14807: 14800: 14783:Italian Concerto 14745: 14739: 14738: 14732: 14726: 14725: 14719: 14713: 14712: 14706: 14699: 14694:No. 6 in D minor 14692: 14687:No. 5 in D major 14685: 14679: 14678: 14672: 14666: 14665: 14659: 14654:No. 2 in C minor 14652: 14647:No. 1 in C major 14645: 14634: 14633: 14627: 14621: 14620: 14614: 14607: 14600: 14594: 14593: 14587: 14581: 14580: 14574: 14568: 14567: 14561: 14556:No. 2 in C minor 14554: 14549:No. 1 in C major 14547: 14519: 14512: 14505: 14444:Chorale partita 14389: 14370: 14306: 14290: 14271: 14264: 14257: 14248: 14247: 14139:New Bach Edition 14126:The Art of Fugue 14045: 14035: 14028: 14021: 14012: 14011: 13919:: Scores at the 13910:: Scores at the 13901:: Scores at the 13892:: Scores at the 13883:: Scores at the 13869: 13849: 13819: 13801: 13783: 13761: 13741:Wolff, Christoph 13736: 13716: 13702:(2nd ed.), 13694: 13676: 13658: 13637: 13611: 13592: 13570: 13569: 13568: 13562: 13556:, archived from 13555: 13543: 13530: 13521: 13493: 13471: 13458: 13434: 13416: 13405: 13377: 13359: 13341: 13323: 13305: 13286: 13268: 13250: 13232: 13221: 13207: 13190: 13177: 13159: 13139: 13109: 13081: 13063: 13050: 13028: 13010: 12997: 12974: 12953: 12935: 12905: 12887: 12869: 12851: 12840: 12828: 12803: 12794: 12776: 12762: 12744: 12726: 12707: 12686: 12685: 12684: 12678: 12663: 12653: 12640: 12622: 12604: 12584: 12566: 12548: 12530: 12510: 12489: 12471: 12441: 12423: 12405: 12387: 12376: 12358: 12347: 12336: 12303: 12285: 12266: 12248: 12226: 12203: 12181: 12163: 12154: 12131: 12118: 12100: 12070: 12052: 12034: 12016: 12009:Musik und Kirche 12003: 11984: 11983: 11982: 11976: 11963: 11953: 11935: 11912: 11894: 11866: 11857: 11851: 11845: 11839: 11834: 11828: 11822: 11816: 11810: 11801: 11795: 11789: 11777: 11771: 11755: 11749: 11740: 11734: 11725: 11719: 11694: 11688: 11671: 11665: 11643: 11637: 11624:, pp. 15–16 11614: 11608: 11603: 11594: 11589: 11580: 11563: 11557: 11552: 11546: 11542: 11531:"Henry Willis", 11527: 11509: 11493: 11466: 11460: 11438: 11432: 11404: 11398: 11371: 11365: 11360: 11354: 11331: 11325: 11319: 11313: 11296: 11290: 11284: 11278: 11260: 11254: 11222: 11216: 11211: 11202: 11185: 11179: 11162: 11156: 11124: 11118: 11086: 11080: 11048:, pp. 12–13 11030:, pp. 65–66 11020: 11014: 10992: 10986: 10971:, pp. 12–13 10961: 10955: 10928:, pp. 48–52 10918: 10912: 10877: 10871: 10870:, pp. 55–59 10865: 10859: 10846:, pp. 51–54 10836: 10830: 10821:, pp. 12–13 10803:, pp. 65–66 10793: 10787: 10770: 10764: 10740: 10734: 10715: 10709: 10685: 10679: 10673: 10667: 10666:, pp. 72–73 10661: 10655: 10649: 10643: 10637: 10631: 10628:Schulenberg 2006 10625: 10619: 10613: 10607: 10601: 10595: 10589: 10583: 10543: 10537: 10531: 10525: 10519: 10513: 10507: 10501: 10495: 10489: 10483: 10477: 10458: 10452: 10447: 10441: 10424: 10418: 10412: 10406: 10400: 10394: 10361: 10355: 10333: 10327: 10322: 10301: 10296: 10290: 10280: 10274: 10269: 10263: 10256: 10250: 10244: 10238: 10232: 10226: 10206: 10200: 10181: 10175: 10169: 10163: 10157: 10148: 10133: 10127: 10121: 10115: 10109: 10103: 10097: 10091: 10085: 10079: 10074: 10068: 10063: 10057: 10052: 10046: 10040: 10034: 10029: 10020: 10014: 10008: 10002: 9991: 9985: 9979: 9974: 9968: 9962: 9956: 9950: 9944: 9939: 9933: 9927: 9921: 9915: 9909: 9903: 9897: 9891: 9882: 9876: 9870: 9864: 9858: 9852: 9846: 9840: 9834: 9828: 9822: 9821:, pp. 25–26 9816: 9810: 9804: 9755:, Teldec, 2 CDs. 9537:Ferruccio Busoni 9399:later recalled: 9309:, built for the 9219: 9104: 8974: 8933:Great Exhibition 8866:Ancient Concerts 8685:Novello & Co 8619:Christopher Wren 8547:Christopher Wren 8471: 8445: 8444: 8344:Heinrich Reimann 8129:Katharinenkirche 8096:Moritz Hauptmann 8086:and in 1837 the 7776: 7773:Neue Zeitschrift 7743:The Art of Fugue 7730:The Art of Fugue 7717:The Art of Fugue 7705: 7702: 7698: 7695: 7687: 7684: 7616:Christopher Wren 7587:Interior of the 7485:style. In 1772, 7438:J. W. von Goethe 7236: 7218: 7152:fundamental bass 7141: 7058:classical period 7004: 6981: 6978: 6972: 6957: 6956: 6949: 6902: 6891: 6881: 6872:Clavier-Übung II 6858: 6857: 6793: 6783: 6769: 6768: 6719:bars 33–37: coda 6694: 6685:augmented triads 6680: 6669: 6639: 6635:David Yearsley, 6625: 6624: 6590: 6575:chromatic fourth 6569: 6568: 6557:Duetto I BWV 802 6530:Johann Mattheson 6504: 6499:Clavier-Übung IV 6419: 6418: 6414: 6411: 6405: 6404: 6403: 6402: 6390: 6389: 6388: 6387: 6374: 6373: 6356: 6355: 6351: 6348: 6276: 6266: 6252: 6251: 6244:Norbert Dufourcq 6241: 6240: 6235: 6234: 6210: 6188: 6187: 6164: 6111: 6105: 6081: 6073: 5862: 5861: 5803: 5802: 5747: 5746: 5719: 5711: 5710: 5594: 5586:Musical Offering 5507:Interior of the 5500: 5492: 5401: 5377: 5358: 5357: 5283: 5275: 5256: 5255: 5208: 5200: 5095: 5094: 5070: 5069: 5049: 5026: 5025: 5006: 4963: 4940: 4932: 4865: 4864: 4842: 4802: 4801: 4772: 4761: 4760: 4642: 4641: 4597: 4596: 4576: 4564: 4563: 4548: 4525: 4524: 4468: 4400: 4399: 4389: 4388: 4314: 4302: 4285: 4284: 4269: 4218: 4191: 4190: 4167: 4118: 4117: 4116: 4115: 4092: 4091: 3807: 3792: 3755: 3734: 3733: 3732: 3731: 3716: 3715: 3700: 3664: 3663: 3662: 3661: 3646: 3645: 3630: 3622: 3621: 3620: 3619: 3597: 3596: 3583: 3582: 3564:Kyrie Gott Vater 3534: 3533: 3532: 3531: 3519: 3518: 3517: 3516: 3504: 3503: 3502: 3501: 3438: 3418: 3417: 3356: 3294:Lucas van Leyden 3285: 3284: 3269: 3229: 3228: 3227: 3226: 3196: 3195: 3180: 3152: 3151: 3146: 3145: 3123: 3122: 3121: 3120: 3090: 3089: 2978:Missa in F major 2971: 2950:settings of the 2833: 2814:of the Lutheran 2745: 2718: 2707: 2688: 2678: 2668: 2658: 2643: 2629: 2621: 2620: 2619: 2618: 2584: 2583: 2582: 2581: 2548: 2547: 2546: 2545: 2512: 2511: 2510: 2509: 2470: 2469: 2447: 2446: 2435: 2434: 2421: 2420: 2419: 2418: 2357:The number three 2340: 2339: 2331: 2263: 2262: 2252:major, BWV 552/2 2251: 2250: 2237: 2224: 2214: 2202: 2201: 2192:This theme is a 2182: 2172: 2147: 2137: 2099: 2098: 2094:Third theme in B 2035:71–98 (overlap) 1973: 1972: 1961:The markings of 1937: 1936: 1903: 1902: 1892:major, BWV 552/1 1891: 1890: 1877: 1798: 1797: 1796: 1795: 1783: 1782: 1781: 1780: 1768: 1767: 1766: 1765: 1400:The Art of Fugue 1374:Clavier-Übung IV 1366:Clavier-Übung II 1282:post-communion). 1211: 1210: 1164: 1163: 1155:per organo pleno 1136: 1135: 1134: 1133: 1106: 1105: 1104: 1103: 1076: 1075: 1074: 1073: 1046: 1045: 1044: 1043: 977: 976: 689: 688: 687: 686: 656: 655: 654: 653: 623: 622: 621: 620: 532: 531: 523:pro organo pleno 494: 493: 439:Johann Mattheson 396: 385:Johann Mattheson 359:Johann Mattheson 314:Clavier-Übung II 252: 208:Clavier-Übung II 166:chorale preludes 130:Silbermann organ 82: 81: 15028: 15027: 15023: 15022: 15021: 15019: 15018: 15017: 14983: 14982: 14981: 14976: 14953: 14944: 14937: 14930: 14923: 14914: 14913: 14907: 14900: 14894: 14887: 14880: 14871: 14870: 14867: 14860: 14830: 14809:Gould recording 14736: 14735: 14723: 14722: 14710: 14709: 14676: 14675: 14663: 14662: 14631: 14630: 14618: 14617: 14591: 14590: 14578: 14577: 14565: 14564: 14474: 14291: 14286: 14275: 14245: 14240: 14212: 14211: 14154: 14145: 14144: 14053: 14047: 14041: 14039: 13997:Wayback Machine 13877: 13872: 13867: 13847: 13817: 13799: 13791:, W.W. Norton, 13781: 13759: 13734: 13714: 13692: 13674: 13656: 13642:Williams, Peter 13609: 13590: 13566: 13564: 13560: 13553: 13491: 13456: 13432: 13375: 13357: 13349:, C.F. Peters, 13339: 13321: 13303: 13284: 13266: 13248: 13188: 13175: 13079: 13048: 13034:Rushton, Julian 13026: 12995: 12972: 12962:Robert Schumann 12951: 12903: 12885: 12867: 12849: 12826: 12792: 12760: 12742: 12724: 12705: 12682: 12680: 12676: 12661: 12638: 12620: 12602: 12582: 12564: 12546: 12528: 12508: 12487: 12439: 12421: 12403: 12374: 12356: 12301: 12283: 12264: 12246: 12223: 12201: 12179: 12152: 12132:, Chapter 13, " 12116: 12068: 12050: 12032: 12001: 11980: 11978: 11974: 11961: 11951: 11933: 11910: 11892: 11875: 11870: 11869: 11858: 11854: 11846: 11842: 11835: 11831: 11823: 11819: 11811: 11804: 11796: 11792: 11778: 11774: 11765:Wayback Machine 11756: 11752: 11741: 11737: 11726: 11722: 11714:Wayback Machine 11695: 11691: 11672: 11668: 11644: 11640: 11615: 11611: 11604: 11597: 11590: 11583: 11564: 11560: 11553: 11549: 11530: 11512: 11497: 11483: 11467: 11463: 11439: 11435: 11405: 11401: 11372: 11368: 11361: 11357: 11332: 11328: 11320: 11316: 11297: 11293: 11285: 11281: 11261: 11257: 11223: 11219: 11212: 11205: 11186: 11182: 11163: 11159: 11125: 11121: 11087: 11083: 11075:Wayback Machine 11052:Schweitzer 1911 11021: 11017: 10993: 10989: 10977:, pp. 9–10 10962: 10958: 10919: 10915: 10878: 10874: 10866: 10862: 10837: 10833: 10794: 10790: 10771: 10767: 10741: 10737: 10716: 10712: 10686: 10682: 10674: 10670: 10662: 10658: 10650: 10646: 10638: 10634: 10626: 10622: 10614: 10610: 10602: 10598: 10590: 10586: 10544: 10540: 10532: 10528: 10520: 10516: 10508: 10504: 10496: 10492: 10484: 10480: 10459: 10455: 10448: 10444: 10425: 10421: 10413: 10409: 10401: 10397: 10362: 10358: 10334: 10330: 10323: 10304: 10297: 10293: 10289:by Robin Leaver 10281: 10277: 10270: 10266: 10257: 10253: 10245: 10241: 10233: 10229: 10207: 10203: 10182: 10178: 10170: 10166: 10158: 10151: 10134: 10130: 10122: 10118: 10110: 10106: 10098: 10094: 10086: 10082: 10075: 10071: 10064: 10060: 10053: 10049: 10041: 10037: 10030: 10023: 10015: 10011: 10003: 9994: 9986: 9982: 9975: 9971: 9963: 9959: 9951: 9947: 9940: 9936: 9928: 9924: 9916: 9912: 9904: 9900: 9892: 9885: 9877: 9873: 9865: 9861: 9853: 9849: 9841: 9837: 9829: 9825: 9817: 9813: 9805: 9801: 9796: 9784: 9733: 9720:Ferdinand David 9693:Frederick Stock 9651:Fabien Sevitzky 9579:Vincent Novello 9451: 9443:Aus tiefer Noth 9419:Nadia Boulanger 9361:at his home in 9303:Salle des Fêtes 9287:, built in 1878 9272:(1873) and the 9238:Petits Concerts 9098: 9088:July Revolution 8975: 8969: 8961: 8945:St James's Hall 8757:Ignaz Moscheles 8750:Ignaz Moscheles 8681:Vincent Novello 8611:George Shepherd 8601:Vincent Novello 8491:Funeral of the 8472: 8465:Vincent Novello 8459: 8442: 8441: 8435:The people who 8432: 8350:on the chorale 8300:Bernhard Scholz 8276:suicide attempt 8264:Johannes Brahms 8238:Johannes Brahms 8100:Ferdinand David 8069:Friedrich Wieck 8057:Robert Schumann 8027:Robert Schumann 7777: 7769:Robert Schumann 7767: 7760: 7755: 7703: 7696: 7685: 7625:Queen Charlotte 7529:E.T.A. Hoffmann 7448:J. F. Reichardt 7359:Queen Charlotte 7144:Aus tiefer Noth 7095:. (His brother 7005: 6999: 6991: 6982: 6976: 6973: 6970: 6958: 6954: 6947: 6851: 6848: 6762: 6759: 6649:Yearsley (2002) 6640: 6634: 6618: 6615: 6562: 6559: 6550:Yearsley (2002) 6502: 6468:To listen to a 6457:Williams (2003) 6436: 6416: 6412: 6409: 6407: 6401: 6396: 6395: 6394: 6393: 6392: 6386: 6381: 6380: 6379: 6378: 6377: 6371: 6370: 6353: 6349: 6346: 6344: 6282:Williams (2003) 6249: 6248: 6238: 6237: 6232: 6231: 6211: 6202: 6181: 6098:Gregorian chant 6074: 6062: 6050: 6047: 6045: 6043: 6041: 6040: 6038: 6036: 6034: 6032: 6031: 6029: 6027: 6025: 6023: 6022: 6020: 6018: 6016: 6014: 6013: 6011: 6009: 6007: 6005: 6004: 6002: 6000: 5998: 5996: 5995: 5993: 5991: 5989: 5987: 5986: 5984: 5982: 5980: 5978: 5977: 5975: 5973: 5971: 5969: 5968: 5966: 5964: 5962: 5956: 5953: 5951: 5949: 5947: 5946: 5944: 5942: 5940: 5938: 5937: 5935: 5933: 5931: 5929: 5928: 5926: 5924: 5922: 5920: 5919: 5917: 5915: 5913: 5911: 5910: 5908: 5906: 5904: 5902: 5901: 5899: 5897: 5895: 5893: 5892: 5890: 5888: 5886: 5884: 5883: 5881: 5879: 5877: 5875: 5874: 5872: 5870: 5868: 5796: 5788: 5754:Williams (2003) 5744: 5743: 5704: 5661:Williams (2003) 5609:Tabulatura Nova 5529:Tabulatura Nova 5493: 5481: 5473: 5470: 5468: 5466: 5464: 5462: 5460: 5458: 5457: 5455: 5453: 5451: 5449: 5447: 5445: 5441: 5438: 5436: 5434: 5432: 5430: 5428: 5426: 5425: 5423: 5421: 5419: 5417: 5415: 5413: 5409: 5408: 5407: 5406: 5405: 5402: 5393: 5392: 5391: 5378: 5351: 5343: 5305:Williams (2003) 5276: 5266: 5249: 5201: 5189: 5181: 5178: 5176: 5174: 5172: 5170: 5168: 5166: 5164: 5162: 5161: 5159: 5157: 5155: 5153: 5151: 5149: 5147: 5145: 5141: 5138: 5136: 5134: 5132: 5130: 5128: 5126: 5124: 5122: 5121: 5119: 5117: 5115: 5113: 5111: 5109: 5107: 5105: 5063: 5055: 5019: 4985:Mass in B minor 4933: 4927: 4920: 4917: 4915: 4913: 4911: 4909: 4905: 4902: 4900: 4898: 4896: 4894: 4858: 4848: 4795: 4776:In Organo pleno 4767: 4758: 4757: 4750:Mass in B Minor 4692: 4689: 4687: 4685: 4683: 4681: 4679: 4677: 4675: 4673: 4667: 4664: 4662: 4660: 4658: 4656: 4654: 4652: 4650: 4648: 4590: 4582: 4557: 4522: 4521: 4438:mixolydian mode 4430: 4427: 4425: 4423: 4421: 4415: 4412: 4410: 4408: 4406: 4382: 4374: 4361: 4278: 4184: 4136:and the 30 bar 4114: 4109: 4108: 4107: 4106: 4105: 4085: 4066: 4063: 4061: 4059: 4057: 4055: 4053: 4051: 4050: 4048: 4046: 4044: 4042: 4040: 4038: 4036: 4035: 4033: 4031: 4029: 4027: 4025: 4023: 4021: 4020: 4018: 4016: 4014: 4012: 4010: 4008: 4004: 4001: 3999: 3997: 3995: 3993: 3991: 3989: 3988: 3986: 3984: 3982: 3980: 3978: 3976: 3974: 3973: 3971: 3969: 3967: 3965: 3963: 3961: 3959: 3958: 3956: 3954: 3952: 3950: 3948: 3946: 3906:as well as the 3892:Williams (2003) 3808: 3802: 3793: 3787: 3761: 3746:Williams (1980) 3730: 3725: 3724: 3723: 3722: 3721: 3709: 3667:Williams (2003) 3660: 3655: 3654: 3653: 3652: 3651: 3639: 3618: 3613: 3612: 3611: 3610: 3609: 3606:Williams (2003) 3594: 3593: 3576: 3537:Williams (2003) 3530: 3525: 3524: 3523: 3522: 3521: 3515: 3510: 3509: 3508: 3507: 3506: 3500: 3495: 3494: 3493: 3492: 3491: 3439: 3429: 3415: 3414: 3362: 3349:—"have mercy". 3343:Williams (2003) 3278: 3225: 3220: 3219: 3218: 3217: 3216: 3189: 3149: 3148: 3143: 3142: 3119: 3114: 3113: 3112: 3111: 3110: 3083: 3075: 3072: 3070: 3068: 3066: 3064: 3063: 3061: 3059: 3057: 3055: 3053: 3051: 3050: 3048: 3046: 3044: 3040: 3037: 3035: 3033: 3031: 3029: 3028: 3026: 3024: 3022: 3020: 3018: 3016: 3015: 3013: 3011: 3009: 2990:Williams (2003) 2924: 2892:Nikolaus Decius 2834: 2822: 2777: 2764:To listen to a 2757:Williams (2003) 2751: 2617: 2612: 2611: 2610: 2609: 2608: 2580: 2575: 2574: 2573: 2572: 2571: 2544: 2539: 2538: 2537: 2536: 2535: 2508: 2503: 2502: 2501: 2500: 2499: 2479:Time signature 2465:Roger Bullivant 2444: 2443: 2432: 2431: 2424:Williams (2003) 2417: 2412: 2411: 2410: 2409: 2408: 2337: 2336: 2332: 2322: 2278: 2277: 2269: 2267: 2266: 2265: 2264: 2257: 2254: 2248: 2247: 2241: 2235: 2230: 2199: 2198: 2096: 2095: 2007:32 (upbeat)–50 1949:quasi-pizzicato 1934: 1933: 1918: 1917: 1909: 1907: 1906: 1905: 1904: 1897: 1894: 1888: 1887: 1881: 1875: 1870: 1860:Williams (2003) 1854: 1829:Williams (2003) 1818:Auf tiefer Noth 1794: 1789: 1788: 1787: 1786: 1785: 1779: 1774: 1773: 1772: 1771: 1770: 1764: 1759: 1758: 1757: 1756: 1755: 1729: 1704:Williams (2007) 1578:, Frescobaldi, 1572:Nicolaus Bruhns 1521:records in the 1473:Matthäus Merian 1418:Klavierübung II 1358:Clavier-Übung I 1350:French overture 1316:Williams (2003) 1250:Williams (1980) 1208: 1207: 1176:small catechism 1161: 1160: 1132: 1127: 1126: 1125: 1124: 1123: 1102: 1097: 1096: 1095: 1094: 1093: 1072: 1067: 1066: 1065: 1064: 1063: 1042: 1037: 1036: 1035: 1034: 1033: 974: 973: 948:in pleno organo 815:in organo pleno 685: 680: 679: 678: 677: 676: 652: 647: 646: 645: 644: 643: 619: 614: 613: 612: 611: 610: 529: 528: 492: 346:Elias Ammerbach 254: 247: 107: 79: 78: 17: 12: 11: 5: 15026: 15016: 15015: 15010: 15005: 15000: 14995: 14978: 14977: 14975: 14974: 14969: 14964: 14958: 14955: 14954: 14952: 14951: 14942: 14935: 14928: 14921: 14904: 14902: 14896: 14895: 14893: 14892: 14885: 14878: 14875:major, BWV 998 14865: 14858: 14857: 14856: 14844: 14838: 14836: 14832: 14831: 14829: 14828: 14821: 14814: 14813: 14812: 14805: 14791: 14786: 14779: 14771: 14766: 14761: 14753: 14752: 14751: 14750: 14743: 14730: 14717: 14704: 14697: 14690: 14683: 14670: 14657: 14650: 14640: 14639: 14638: 14625: 14612: 14605: 14598: 14585: 14572: 14559: 14552: 14542: 14534: 14533: 14526: 14525: 14524: 14517: 14510: 14498: 14493: 14488: 14482: 14480: 14476: 14475: 14473: 14472: 14463: 14455: 14450: 14441: 14433: 14425: 14417: 14412: 14407: 14402: 14397: 14392: 14383: 14378: 14373: 14364: 14359: 14354: 14349: 14344: 14339: 14334: 14329: 14324: 14319: 14314: 14309: 14299: 14297: 14293: 14292: 14274: 14273: 14266: 14259: 14251: 14242: 14241: 14239: 14238: 14233: 14228: 14223: 14217: 14214: 14213: 14210: 14209: 14203: 14194: 14186: 14177: 14168: 14159: 14158: 14156: 14147: 14146: 14143: 14142: 14118: 14058: 14057: 14055: 14049: 14048: 14038: 14037: 14030: 14023: 14015: 14009: 14008: 14003: 14001:Masaaki Suzuki 13987: 13981:Midi recording 13978: 13969: 13958: 13950: 13940: 13928: 13923: 13914: 13905: 13896: 13887: 13876: 13875:External links 13873: 13871: 13870: 13865: 13850: 13845: 13820: 13815: 13802: 13797: 13784: 13779: 13762: 13757: 13737: 13732: 13717: 13712: 13695: 13690: 13677: 13672: 13659: 13654: 13638: 13629:(3): 364–391, 13612: 13607: 13594: 13588: 13571: 13544: 13531: 13522: 13511:10.2307/746502 13505:(3): 207–220, 13494: 13489: 13472: 13459: 13454: 13435: 13430: 13417: 13406: 13378: 13373: 13360: 13355: 13342: 13337: 13324: 13319: 13306: 13301: 13288: 13282: 13269: 13264: 13251: 13246: 13233: 13222: 13208: 13199:(2): 180–184, 13178: 13173: 13160: 13140: 13129:10.2307/958266 13110: 13099:10.2307/854303 13087:Music Analysis 13082: 13077: 13064: 13051: 13046: 13029: 13024: 13011: 12998: 12993: 12980: 12970: 12954: 12949: 12936: 12919:(4): 485–510, 12906: 12901: 12888: 12883: 12870: 12865: 12852: 12847: 12830: 12824: 12804: 12795: 12790: 12777: 12764: 12758: 12745: 12740: 12727: 12722: 12709: 12703: 12691:Kerman, Joseph 12687: 12654: 12641: 12636: 12623: 12618: 12605: 12600: 12585: 12580: 12567: 12562: 12549: 12544: 12531: 12526: 12511: 12506: 12491: 12485: 12472: 12455:(4): 588–601, 12442: 12437: 12424: 12419: 12406: 12401: 12388: 12377: 12372: 12359: 12354: 12337: 12326:10.2307/833149 12304: 12299: 12286: 12281: 12268: 12262: 12249: 12244: 12227: 12221: 12204: 12199: 12182: 12177: 12164: 12155: 12150: 12137: 12119: 12114: 12101: 12090:10.2307/965146 12071: 12066: 12053: 12048: 12035: 12030: 12017: 12004: 11999: 11986: 11954: 11949: 11936: 11931: 11913: 11908: 11895: 11890: 11876: 11874: 11871: 11868: 11867: 11852: 11840: 11837:MacDonald 2006 11829: 11817: 11802: 11790: 11772: 11750: 11735: 11720: 11718: 11717: 11704: 11689: 11687: 11686: 11681: 11666: 11664: 11663: 11658: 11653: 11638: 11636: 11635: 11630: 11625: 11609: 11595: 11581: 11579: 11578: 11573: 11558: 11547: 11545: 11544: 11528: 11514:"Music Review" 11510: 11495: 11484:"Provincial", 11481: 11476: 11461: 11459: 11458: 11453: 11448: 11433: 11431: 11430: 11424: 11419: 11414: 11399: 11397: 11396: 11391: 11386: 11384:Temperley 1989 11381: 11366: 11355: 11353: 11352: 11346: 11341: 11326: 11314: 11312: 11311: 11306: 11291: 11279: 11277: 11276: 11270: 11255: 11253: 11252: 11247: 11242: 11237: 11232: 11217: 11203: 11201: 11200: 11195: 11180: 11178: 11177: 11172: 11157: 11155: 11154: 11149: 11144: 11139: 11134: 11132:Applegate 2005 11119: 11117: 11116: 11111: 11106: 11101: 11099:Applegate 2005 11096: 11081: 11079: 11078: 11061: 11055: 11049: 11043: 11037: 11031: 11015: 11013: 11012: 11007: 11002: 10987: 10985: 10984: 10978: 10972: 10969:Applegate 2005 10956: 10954: 10953: 10947: 10941: 10935: 10929: 10926:Sponheuer 2002 10913: 10911: 10910: 10905: 10902:Applegate 2005 10899: 10896:Sponheuer 2002 10893: 10891:Temperley 1997 10888: 10872: 10860: 10858: 10857: 10852: 10847: 10831: 10829: 10828: 10822: 10816: 10810: 10804: 10788: 10786: 10785: 10780: 10765: 10763: 10762: 10756: 10751: 10735: 10733: 10732: 10726: 10710: 10708: 10707: 10702: 10696: 10680: 10668: 10656: 10644: 10632: 10620: 10608: 10596: 10584: 10582: 10581: 10576: 10571: 10566: 10560: 10555: 10538: 10526: 10514: 10502: 10490: 10478: 10476: 10475: 10469: 10453: 10442: 10440: 10439: 10434: 10419: 10407: 10395: 10393: 10392: 10387: 10382: 10377: 10372: 10356: 10354: 10353: 10348:, p. 160 10343: 10328: 10302: 10291: 10275: 10264: 10251: 10239: 10227: 10225: 10224: 10219: 10217:O'Donnell 1976 10214: 10201: 10199: 10198: 10192: 10176: 10164: 10149: 10147: 10146: 10141: 10128: 10116: 10104: 10092: 10080: 10069: 10058: 10047: 10035: 10021: 10019:, pp. 3–4 10009: 9992: 9980: 9969: 9957: 9945: 9934: 9922: 9910: 9898: 9883: 9871: 9859: 9847: 9835: 9823: 9811: 9798: 9797: 9795: 9792: 9791: 9790: 9783: 9780: 9779: 9778: 9768: 9765:Matteo Messori 9762: 9756: 9746: 9740: 9732: 9729: 9728: 9727: 9717: 9701: 9700: 9690: 9683: 9676: 9658: 9648: 9638: 9632: 9622: 9612: 9590: 9570: 9569: 9555: 9552: 9546: 9543:August Stradal 9540: 9534: 9528: 9522: 9519: 9513: 9510: 9504: 9501: 9498:Benjamin Jacob 9482:Wilhelm Hensel 9450: 9447: 9153:Victor Baltard 9049:Wilhelm Hensel 9033:Charles Gounod 9002:Wilhelm Hensel 8983:Charles Gounod 8971:Vincent D'Indy 8967: 8960: 8957: 8834:Queen Victoria 8805:Queen Victoria 8780:Thomas Attwood 8664:William Crotch 8660:Benjamin Jacob 8636:Charles Burney 8617:, designed by 8577:William Crotch 8457: 8431: 8428: 8396:Aus tiefer Not 8366:Aus tiefer Not 8260:Joseph Joachim 8201:piano concerto 8150:In August 1840 7981:Joachim Wagner 7969:Muzio Clementi 7765: 7759: 7756: 7754: 7751: 7671:Wilhelm Cramer 7280:recte et retro 7260:Samuel Johnson 7256:Charles Burney 7249:Charles Burney 6997: 6990: 6987: 6984: 6983: 6977:September 2024 6961: 6959: 6952: 6946: 6943: 6942: 6941: 6934: 6931: 6928: 6925: 6922: 6919: 6916: 6913: 6910: 6847: 6844: 6843: 6842: 6839: 6836: 6833: 6830: 6827: 6824: 6821: 6818: 6815: 6812: 6809: 6758: 6755: 6754: 6753: 6750: 6747: 6744: 6741: 6737: 6734: 6731: 6728: 6721: 6720: 6717: 6714: 6711: 6708: 6705: 6702: 6632: 6614: 6611: 6610: 6609: 6606: 6603: 6599: 6558: 6555: 6526:Critica Musica 6475: 6474: 6465: 6435: 6432: 6431: 6430: 6422: 6397: 6382: 6367: 6359: 6311: 6310: 6307: 6304: 6301: 6298: 6295: 6292: 6289: 6200: 6190: 6189: 6064:Philipp Spitta 6060: 6052: 6051: 5959: 5957: 5818:of Luther and 5814:from the 1524 5805: 5804: 5787: 5784: 5783: 5782: 5775: 5768: 5713: 5712: 5697: 5691: 5688: 5681: 5672: 5621:Louis Marchand 5605:Samuel Scheidt 5597:Arnolt Schlick 5525:Samuel Scheidt 5483:Philipp Spitta 5479: 5442: 5403: 5396: 5395: 5394: 5387:of Luther and 5383:from the 1524 5381:Aus tiefer Not 5379: 5372: 5371: 5370: 5369: 5368: 5360: 5359: 5342: 5339: 5334: 5333: 5330: 5327: 5324: 5321: 5318: 5315: 5312: 5301:Samuel Scheidt 5264: 5258: 5257: 5191:Philipp Spitta 5187: 5142: 5072: 5071: 5054: 5051: 5028: 5027: 4925: 4906: 4877:from Luther's 4868: 4867: 4847: 4844: 4804: 4803: 4704:Peter Williams 4694: 4693: 4670: 4668: 4612:of Luther and 4599: 4598: 4581: 4578: 4566: 4565: 4513: 4512: 4509: 4506: 4503: 4500: 4493: 4492: 4489: 4486: 4483: 4480: 4477: 4442:plagal cadence 4432: 4431: 4418: 4416: 4391: 4390: 4373: 4370: 4360: 4357: 4351:of Luther and 4287: 4286: 4255: 4254: 4246: 4243: 4236: 4233: 4230: 4193: 4192: 4110: 4094: 4093: 4005: 3902:by his cousin 3862:trio with the 3800: 3785: 3760: 3757: 3726: 3718: 3717: 3656: 3648: 3647: 3614: 3585: 3584: 3526: 3511: 3496: 3427: 3372:of E from the 3361: 3358: 3309:organum plenum 3287: 3286: 3221: 3198: 3197: 3115: 3092: 3091: 3041: 2960:Fiori Musicali 2923: 2920: 2876:Deutsche Messe 2843:Deutsche Messe 2841:published his 2824:Philipp Spitta 2820: 2788:Deutsche Messe 2776: 2773: 2772: 2771: 2761: 2750: 2747: 2723:quasi-ostinato 2647:Second section 2632:There are two 2613: 2598: 2597: 2594: 2591: 2588:a pleno organo 2585: 2576: 2569: 2566: 2562: 2561: 2558: 2555: 2549: 2540: 2533: 2530: 2526: 2525: 2522: 2519: 2516:a pleno organo 2513: 2504: 2497: 2494: 2490: 2489: 2486: 2483: 2480: 2477: 2474: 2460:quasi-ostinato 2413: 2368:Hermann Keller 2335:The fugue in E 2320: 2268: 2255: 2244: 2243: 2242: 2233: 2232: 2231: 2229: 2228:BWV 552/2 Fuga 2226: 2119: 2118: 2115: 2112: 2109: 2105: 2104: 2101: 2092: 2089: 2085: 2084: 2081: 2078: 2075: 2071: 2070: 2067: 2064: 2061: 2057: 2056: 2053: 2050: 2047: 2043: 2042: 2039: 2036: 2033: 2029: 2028: 2025: 2022: 2019: 2015: 2014: 2011: 2008: 2005: 2001: 2000: 1997: 1994: 1991: 1987: 1986: 1983: 1980: 1977: 1945:basso continuo 1908: 1895: 1884: 1883: 1882: 1873: 1872: 1871: 1869: 1866: 1865: 1864: 1853: 1850: 1810:plenum organum 1790: 1775: 1760: 1728: 1725: 1659:Livres d'Orgue 1552:Johann Fischer 1483:Title page of 1312: 1311: 1297: 1283: 1272: 1258:Fiori musicali 1239:Fiori Musicali 1237:Title page of 1166: 1165: 1157: 1151: 1149: 1146: 1142: 1141: 1138: 1128: 1121: 1119: 1116: 1112: 1111: 1108: 1098: 1091: 1089: 1086: 1082: 1081: 1078: 1068: 1061: 1059: 1056: 1052: 1051: 1048: 1038: 1031: 1029: 1026: 1022: 1021: 1018: 1012: 1009: 1006: 1002: 1001: 998: 991: 988: 983: 979: 978: 970: 964: 961: 958: 954: 953: 950: 944: 941: 936: 932: 931: 928: 919: 916: 913: 909: 908: 905: 898: 895: 890: 886: 885: 882: 876: 875:Lord's Prayer 873: 868: 864: 863: 860: 853: 852:Lord's Prayer 850: 845: 841: 840: 837: 831: 828: 825: 821: 820: 817: 811: 808: 803: 799: 798: 795: 789: 786: 783: 779: 778: 775: 769: 766: 763: 759: 758: 755: 749: 746: 743: 739: 738: 735: 729: 726: 723: 719: 718: 715: 709: 706: 701: 697: 696: 693: 681: 674: 671: 668: 664: 663: 660: 648: 641: 638: 635: 631: 630: 627: 615: 608: 605: 602: 598: 597: 594: 584: 581: 578: 574: 573: 570: 564: 561: 558: 554: 553: 550: 544: 541: 538: 534: 533: 525: 520: 518: 515: 511: 510: 507: 504: 501: 498: 491: 488: 475:Fiori musicali 433:Title page of 379:was a student. 373:Paulinerkirche 298:Livres d'orgue 259:chorus musicus 248:Title page of 239: 233:Title page of 196:Vincent Lübeck 106: 103: 83:major, BWV 552 15: 9: 6: 4: 3: 2: 15025: 15014: 15011: 15009: 15006: 15004: 15001: 14999: 14996: 14994: 14991: 14990: 14988: 14973: 14970: 14968: 14965: 14963: 14960: 14959: 14956: 14949: 14948: 14943: 14940: 14936: 14933: 14929: 14926: 14922: 14919: 14911: 14906: 14905: 14903: 14897: 14890: 14886: 14883: 14879: 14876: 14866: 14863: 14859: 14854: 14850: 14849: 14848: 14845: 14843: 14840: 14839: 14837: 14833: 14827: 14826: 14822: 14820: 14819: 14815: 14810: 14806: 14803: 14799: 14798: 14797: 14796: 14792: 14790: 14787: 14785: 14784: 14780: 14778: 14776: 14772: 14770: 14767: 14765: 14762: 14760: 14759: 14755: 14754: 14748: 14744: 14741: 14731: 14728: 14718: 14715: 14705: 14702: 14698: 14695: 14691: 14688: 14684: 14681: 14671: 14668: 14658: 14655: 14651: 14648: 14644: 14643: 14641: 14636: 14626: 14623: 14613: 14610: 14606: 14603: 14599: 14596: 14586: 14583: 14573: 14570: 14560: 14557: 14553: 14550: 14546: 14545: 14543: 14541: 14540: 14536: 14535: 14532: 14531: 14527: 14522: 14518: 14515: 14511: 14508: 14504: 14503: 14502: 14499: 14497: 14494: 14492: 14489: 14487: 14484: 14483: 14481: 14477: 14471: 14469: 14464: 14462: 14460: 14456: 14454: 14451: 14449: 14447: 14442: 14440: 14438: 14434: 14432: 14430: 14426: 14424: 14422: 14421:Orgelbüchlein 14418: 14416: 14413: 14411: 14408: 14406: 14403: 14401: 14398: 14396: 14393: 14387: 14384: 14382: 14379: 14377: 14374: 14368: 14365: 14363: 14360: 14358: 14355: 14353: 14350: 14348: 14345: 14343: 14340: 14338: 14335: 14333: 14330: 14328: 14325: 14323: 14320: 14318: 14315: 14313: 14310: 14304: 14301: 14300: 14298: 14294: 14289: 14284: 14280: 14272: 14267: 14265: 14260: 14258: 14253: 14252: 14249: 14237: 14234: 14232: 14229: 14227: 14224: 14222: 14219: 14218: 14215: 14207: 14204: 14201: 14200: 14195: 14192: 14191: 14190:Bach-Jahrbuch 14187: 14184: 14183: 14178: 14175: 14174: 14169: 14166: 14165: 14161: 14160: 14157: 14152: 14148: 14140: 14137:(1851-1899); 14136: 14133:(1765–1787); 14132: 14128: 14127: 14122: 14119: 14116: 14115: 14110: 14109: 14104: 14100: 14099: 14094: 14093: 14088: 14087: 14082: 14078: 14077: 14072: 14071: 14065: 14064: 14060: 14059: 14056: 14050: 14044: 14036: 14031: 14029: 14024: 14022: 14017: 14016: 14013: 14007: 14004: 14002: 13998: 13994: 13991: 13988: 13986: 13982: 13979: 13976: 13975: 13970: 13967: 13963: 13959: 13956: 13955: 13951: 13948: 13944: 13941: 13939: 13935: 13934: 13929: 13927: 13924: 13922: 13918: 13915: 13913: 13909: 13906: 13904: 13900: 13897: 13895: 13891: 13888: 13886: 13882: 13879: 13878: 13868: 13862: 13858: 13857: 13851: 13848: 13846:9781139003681 13842: 13838: 13834: 13830: 13826: 13821: 13818: 13816:0-521-80346-2 13812: 13808: 13803: 13800: 13798:0-393-30354-3 13794: 13790: 13785: 13782: 13780:0-19-924884-2 13776: 13772: 13768: 13763: 13760: 13758:0-674-05926-3 13754: 13750: 13746: 13742: 13738: 13735: 13729: 13725: 13724: 13718: 13715: 13713:0-521-89115-9 13709: 13705: 13701: 13696: 13693: 13691:0-521-00193-5 13687: 13683: 13678: 13675: 13673:0-521-25217-2 13669: 13665: 13660: 13657: 13655:0-521-31700-2 13651: 13647: 13643: 13639: 13636: 13632: 13628: 13624: 13623: 13618: 13613: 13610: 13608:0-521-24655-5 13604: 13600: 13595: 13591: 13585: 13581: 13577: 13572: 13563:on 2010-06-26 13559: 13552: 13551: 13545: 13542: 13541: 13536: 13532: 13528: 13523: 13520: 13516: 13512: 13508: 13504: 13500: 13495: 13492: 13490:0-521-36191-5 13486: 13482: 13478: 13473: 13469: 13465: 13460: 13457: 13455:0-19-517109-8 13451: 13447: 13443: 13442: 13436: 13433: 13431:0-19-516556-X 13427: 13423: 13418: 13414: 13413: 13407: 13404: 13400: 13396: 13392: 13388: 13384: 13379: 13376: 13374:0-253-21386-X 13370: 13366: 13361: 13358: 13356:0-938856-04-9 13352: 13348: 13343: 13340: 13338:0-226-02130-0 13334: 13330: 13325: 13322: 13320:0-8078-1274-9 13316: 13312: 13307: 13304: 13302:0-87597-105-9 13298: 13295:, Crescendo, 13294: 13289: 13285: 13283:1-57647-103-9 13279: 13275: 13270: 13267: 13265:1-57647-076-8 13261: 13257: 13252: 13249: 13247:0-945193-14-9 13243: 13239: 13234: 13230: 13229: 13223: 13219: 13218: 13213: 13209: 13206: 13202: 13198: 13194: 13187: 13183: 13179: 13176: 13174:0-415-97400-3 13170: 13167:, CRC Press, 13166: 13161: 13158: 13154: 13150: 13146: 13141: 13138: 13134: 13130: 13126: 13122: 13118: 13117: 13111: 13108: 13104: 13100: 13096: 13092: 13088: 13083: 13080: 13078:0-906894-28-X 13074: 13070: 13065: 13061: 13057: 13052: 13049: 13047:0-7546-5208-4 13043: 13039: 13035: 13030: 13027: 13025:0-19-816423-8 13021: 13017: 13012: 13008: 13004: 12999: 12996: 12994:0-253-21423-8 12990: 12986: 12981: 12978: 12973: 12971:0-404-13065-8 12967: 12963: 12959: 12955: 12952: 12950:0-300-07291-0 12946: 12942: 12937: 12934: 12930: 12926: 12922: 12918: 12914: 12913: 12907: 12904: 12902:0-253-21386-X 12898: 12894: 12889: 12886: 12884:0-8032-1044-2 12880: 12876: 12871: 12868: 12866:0-253-21386-X 12862: 12858: 12853: 12850: 12848:0-8032-1048-5 12844: 12839: 12838: 12831: 12827: 12825:0-19-517201-9 12821: 12817: 12813: 12809: 12805: 12801: 12796: 12793: 12787: 12783: 12778: 12774: 12770: 12765: 12761: 12759:0-674-15523-8 12755: 12751: 12746: 12743: 12741:0-918728-77-0 12737: 12733: 12728: 12725: 12719: 12715: 12710: 12706: 12700: 12696: 12692: 12688: 12679:on 2010-12-26 12675: 12671: 12667: 12660: 12655: 12652:, C.F. Peters 12651: 12649: 12642: 12639: 12633: 12629: 12624: 12621: 12619:1-84014-666-4 12615: 12611: 12606: 12603: 12601:0-415-94174-1 12597: 12593: 12592: 12586: 12583: 12581:3-515-07105-9 12577: 12573: 12568: 12565: 12563:0-253-21386-X 12559: 12555: 12550: 12547: 12545:0-631-20064-9 12541: 12537: 12532: 12529: 12527:0-8128-1541-6 12523: 12519: 12518: 12512: 12509: 12507:0-15-100648-2 12503: 12499: 12498: 12492: 12488: 12486:0-520-24301-3 12482: 12478: 12473: 12470: 12466: 12462: 12458: 12454: 12450: 12449: 12443: 12440: 12434: 12430: 12425: 12422: 12416: 12412: 12407: 12404: 12398: 12394: 12389: 12385: 12384: 12378: 12375: 12373:2-84050-153-8 12369: 12365: 12360: 12357: 12355:0-226-13487-3 12351: 12346: 12345: 12338: 12335: 12331: 12327: 12323: 12319: 12315: 12314: 12309: 12305: 12302: 12296: 12292: 12287: 12284: 12282:90-805164-1-4 12278: 12274: 12269: 12265: 12263:2-87009-801-4 12259: 12255: 12250: 12247: 12245:0-521-02891-4 12241: 12237: 12233: 12228: 12224: 12222:0-521-58780-8 12218: 12214: 12210: 12205: 12202: 12200:0-913499-22-6 12196: 12192: 12188: 12183: 12180: 12174: 12170: 12165: 12161: 12156: 12153: 12147: 12143: 12138: 12135: 12129: 12125: 12120: 12117: 12115:0-19-514222-5 12111: 12107: 12102: 12099: 12095: 12091: 12087: 12083: 12079: 12078: 12072: 12069: 12063: 12059: 12054: 12051: 12049:1-904505-10-4 12045: 12041: 12036: 12033: 12031:0-521-65409-2 12027: 12023: 12018: 12014: 12010: 12005: 12002: 11996: 11992: 11987: 11977:on 2011-07-21 11973: 11969: 11968: 11960: 11955: 11952: 11950:0-8014-4389-X 11946: 11942: 11937: 11934: 11932:0-674-37501-7 11928: 11924: 11923: 11918: 11914: 11911: 11909:9781136497896 11905: 11901: 11896: 11893: 11891:0-7546-3075-7 11887: 11883: 11878: 11877: 11865: 11861: 11856: 11850:, p. 134 11849: 11844: 11838: 11833: 11827:, p. 146 11826: 11821: 11814: 11809: 11807: 11800:, p. 163 11799: 11794: 11787: 11786: 11781: 11776: 11770: 11766: 11762: 11759: 11754: 11748: 11744: 11739: 11733: 11729: 11724: 11715: 11711: 11708: 11705: 11703: 11700: 11699: 11698: 11693: 11685: 11682: 11680: 11677: 11676: 11675: 11670: 11662: 11659: 11657: 11654: 11652: 11649: 11648: 11647: 11642: 11634: 11631: 11629: 11626: 11623: 11620: 11619: 11618: 11613: 11607: 11602: 11600: 11593: 11588: 11586: 11577: 11574: 11572: 11569: 11568: 11567: 11562: 11556: 11551: 11540: 11536: 11535: 11529: 11525: 11521: 11520: 11515: 11511: 11507: 11503: 11502: 11496: 11491: 11487: 11482: 11480: 11479:Bicknell 1999 11477: 11475: 11472: 11471: 11470: 11465: 11457: 11454: 11452: 11449: 11447: 11444: 11443: 11442: 11437: 11429:, p. 169 11428: 11425: 11423: 11420: 11418: 11415: 11413: 11410: 11409: 11408: 11403: 11395: 11392: 11390: 11387: 11385: 11382: 11380: 11377: 11376: 11375: 11370: 11364: 11359: 11350: 11347: 11345: 11344:Bicknell 1999 11342: 11340: 11337: 11336: 11335: 11330: 11324:, p. 307 11323: 11318: 11310: 11309:Anderson 2003 11307: 11305: 11302: 11301: 11300: 11295: 11288: 11287:Anderson 2013 11283: 11275:, p. 143 11274: 11271: 11269: 11266: 11265: 11264: 11259: 11251: 11248: 11246: 11243: 11241: 11238: 11236: 11233: 11231: 11228: 11227: 11226: 11221: 11215: 11210: 11208: 11199: 11196: 11194: 11191: 11190: 11189: 11184: 11176: 11173: 11171: 11168: 11167: 11166: 11161: 11153: 11150: 11148: 11145: 11143: 11140: 11138: 11135: 11133: 11130: 11129: 11128: 11123: 11115: 11112: 11110: 11107: 11105: 11102: 11100: 11097: 11095: 11092: 11091: 11090: 11085: 11076: 11072: 11069: 11067: 11062: 11059: 11056: 11054:, p. 250 11053: 11050: 11047: 11044: 11041: 11040:Stauffer 1990 11038: 11035: 11032: 11029: 11026: 11025: 11024: 11019: 11011: 11008: 11006: 11003: 11001: 10998: 10997: 10996: 10991: 10982: 10979: 10976: 10973: 10970: 10967: 10966: 10965: 10960: 10951: 10948: 10945: 10942: 10939: 10938:Dahlhaus 1991 10936: 10934:, p. 758 10933: 10930: 10927: 10924: 10923: 10922: 10917: 10909: 10906: 10903: 10900: 10897: 10894: 10892: 10889: 10886: 10883: 10882: 10881: 10876: 10869: 10864: 10856: 10855:Lonsdale 1965 10853: 10851: 10848: 10845: 10842: 10841: 10840: 10835: 10826: 10823: 10820: 10817: 10814: 10813:Stauffer 1990 10811: 10808: 10805: 10802: 10799: 10798: 10797: 10792: 10784: 10781: 10779: 10776: 10775: 10774: 10769: 10760: 10759:Marissen 1998 10757: 10755: 10752: 10749: 10746: 10745: 10744: 10739: 10731:, p. 232 10730: 10727: 10724: 10723:Williams 2003 10721: 10720: 10719: 10714: 10706: 10705:Yearsley 2002 10703: 10700: 10699:Williams 2003 10697: 10695:, p. 232 10694: 10693:Marshall 2000 10691: 10690: 10689: 10684: 10677: 10672: 10665: 10660: 10653: 10652:Cusick (1994) 10648: 10641: 10636: 10629: 10624: 10618:, p. 421 10617: 10616:Williams 2003 10612: 10605: 10600: 10593: 10588: 10580: 10577: 10575: 10572: 10570: 10567: 10565:, p. 337 10564: 10563:Williams 1985 10561: 10559: 10556: 10553: 10550: 10549: 10547: 10542: 10535: 10534:Yearsley 2012 10530: 10523: 10522:Williams 2003 10518: 10511: 10510:Williams 1980 10506: 10499: 10494: 10488:, p. 230 10487: 10482: 10474:, p. 133 10473: 10470: 10468:, p. 402 10467: 10466:Williams 2003 10464: 10463: 10462: 10457: 10451: 10446: 10438: 10435: 10433: 10430: 10429: 10428: 10423: 10417:, p. 206 10416: 10411: 10404: 10399: 10391: 10388: 10386: 10383: 10381: 10380:Williams 1980 10378: 10376: 10375:Williams 2003 10373: 10371: 10368: 10367: 10365: 10360: 10352: 10347: 10344: 10342: 10339: 10338: 10337: 10332: 10326: 10321: 10319: 10317: 10315: 10313: 10311: 10309: 10307: 10300: 10295: 10288: 10284: 10279: 10273: 10268: 10261: 10255: 10249:, p. 299 10248: 10247:Bukofzer 2008 10243: 10237:, p. 139 10236: 10235:Williams 2003 10231: 10223: 10222:Williams 1980 10220: 10218: 10215: 10213: 10210: 10209: 10205: 10197:, p. 748 10196: 10193: 10191:, p. 195 10190: 10187: 10186: 10185: 10180: 10173: 10168: 10161: 10160:Williams 2003 10156: 10154: 10145: 10142: 10140: 10137: 10136: 10132: 10125: 10120: 10113: 10112:Stauffer 1986 10108: 10102:, p. 295 10101: 10096: 10089: 10084: 10078: 10077:Williams 1980 10073: 10067: 10066:Williams 2003 10062: 10056: 10051: 10044: 10043:Stauffer 1993 10039: 10033: 10028: 10026: 10018: 10013: 10006: 10005:Williams 2003 10001: 9999: 9997: 9989: 9988:Williams 2003 9984: 9978: 9973: 9966: 9965:Yearsley 2002 9961: 9955:, p. 394 9954: 9953:Williams 2003 9949: 9943: 9942:Yearsley 2002 9938: 9932:, p. 389 9931: 9930:Williams 2003 9926: 9919: 9918:Williams 2003 9914: 9908:, p. 207 9907: 9902: 9896:, p. 388 9895: 9894:Williams 2003 9890: 9888: 9881:, p. 387 9880: 9879:Williams 2003 9875: 9868: 9867:Williams 2003 9863: 9856: 9851: 9844: 9839: 9832: 9831:Williams 2007 9827: 9820: 9819:Williams 2001 9815: 9809:, p. 207 9808: 9803: 9799: 9789: 9786: 9785: 9776: 9772: 9771:Helmut Walcha 9769: 9766: 9763: 9760: 9757: 9754: 9753:Das Alte Werk 9750: 9747: 9744: 9741: 9738: 9735: 9734: 9725: 9721: 9718: 9715: 9711: 9708: 9707: 9706: 9705: 9698: 9694: 9691: 9688: 9684: 9681: 9677: 9674: 9670: 9666: 9662: 9659: 9656: 9652: 9649: 9646: 9642: 9639: 9636: 9633: 9630: 9626: 9623: 9620: 9616: 9613: 9610: 9606: 9602: 9598: 9594: 9591: 9588: 9584: 9583:Samuel Wesley 9580: 9577: 9576: 9575: 9574: 9567: 9563: 9559: 9558:György Kurtág 9556: 9553: 9550: 9547: 9544: 9541: 9538: 9535: 9532: 9529: 9526: 9523: 9520: 9517: 9514: 9511: 9508: 9505: 9502: 9499: 9496: 9495: 9494: 9493: 9487: 9483: 9479: 9473: 9469: 9465: 9459: 9455: 9446: 9444: 9440: 9436: 9432: 9428: 9427:Georges Jacob 9424: 9420: 9416: 9410: 9407: 9400: 9398: 9391: 9386: 9384: 9380: 9376: 9372: 9364: 9360: 9356: 9350: 9346: 9340: 9336: 9331: 9326: 9324: 9323:fin de siècle 9320: 9319:Eugène Gigout 9316: 9312: 9308: 9304: 9297: 9293: 9286: 9281: 9277: 9275: 9271: 9267: 9263: 9259: 9254: 9249: 9247: 9243: 9239: 9235: 9231: 9227: 9223: 9218: 9213: 9209: 9202: 9198: 9191: 9187: 9183: 9181: 9176: 9174: 9170: 9166: 9161: 9154: 9150: 9145: 9139: 9135: 9134:Cavaillé-Coll 9130: 9126: 9124: 9120: 9116: 9112: 9108: 9102: 9097: 9093: 9089: 9085: 9081: 9077: 9073: 9069: 9065: 9061: 9056: 9054: 9050: 9046: 9042: 9038: 9034: 9030: 9026: 9022: 9018: 9014: 9010: 9003: 8999: 8995: 8988: 8987:Cavaillé-Coll 8984: 8980: 8972: 8966: 8956: 8954: 8950: 8946: 8942: 8938: 8934: 8930: 8926: 8922: 8918: 8913: 8909: 8905: 8896: 8892: 8885: 8881: 8877: 8873: 8871: 8867: 8863: 8859: 8855: 8851: 8847: 8843: 8839: 8838:Prince Albert 8835: 8830: 8828: 8824: 8821:BWV 680 from 8820: 8816: 8810: 8806: 8802: 8798: 8797:Prince Albert 8793: 8788: 8783: 8781: 8776: 8774: 8770: 8766: 8762: 8758: 8751: 8747: 8741: 8737: 8732: 8727: 8723: 8718: 8716: 8712: 8707: 8703: 8698: 8694: 8690: 8686: 8682: 8678: 8674: 8669: 8665: 8661: 8657: 8653: 8649: 8645: 8641: 8637: 8633: 8632: 8627: 8626:Samuel Wesley 8620: 8616: 8612: 8608: 8602: 8598: 8592: 8588: 8584: 8578: 8574: 8568: 8567:Samuel Wesley 8564: 8560: 8558: 8554: 8553: 8548: 8544: 8540: 8536: 8532: 8527: 8523: 8519: 8518:chamber organ 8515: 8511: 8507: 8498: 8494: 8489: 8482: 8477: 8470: 8466: 8462: 8461:Samuel Wesley 8456: 8454: 8450: 8438: 8427: 8425: 8421: 8417: 8413: 8409: 8408:Orgelbüchlein 8405: 8401: 8397: 8393: 8389: 8385: 8381: 8377: 8373: 8372: 8367: 8363: 8359: 8355: 8354: 8349: 8345: 8340: 8332: 8326: 8322: 8317: 8312: 8310: 8305: 8301: 8297: 8293: 8289: 8285: 8281: 8277: 8273: 8269: 8265: 8261: 8253: 8249: 8243: 8239: 8235: 8231: 8229: 8228: 8223: 8219: 8215: 8211: 8206: 8202: 8195: 8191: 8187: 8184: 8179: 8178:Orgelbüchlein 8175: 8171: 8167: 8166: 8161: 8157: 8149: 8144: 8136: 8132: 8130: 8126: 8121: 8112: 8109:Organ in the 8107: 8103: 8101: 8097: 8093: 8089: 8088:Nikolaikirche 8085: 8081: 8077: 8076: 8070: 8066: 8062: 8058: 8054: 8050: 8043: 8039: 8034: 8028: 8024: 8018: 8014: 8010: 8005: 8000: 7998: 7993: 7989: 7984: 7982: 7978: 7974: 7970: 7967:, a pupil of 7966: 7965:Ludwig Berger 7962: 7958: 7954: 7950: 7946: 7942: 7933: 7928: 7922: 7919:Organ in the 7917: 7911: 7907: 7903: 7901: 7894: 7889: 7885: 7880: 7878: 7873: 7866: 7862: 7854: 7850: 7848: 7844: 7840: 7836: 7832: 7828: 7824: 7820: 7819: 7814: 7813: 7808: 7804: 7800: 7796: 7789: 7788: 7782: 7774: 7770: 7764: 7750: 7748: 7744: 7740: 7735: 7731: 7727: 7723: 7719: 7718: 7713: 7709: 7691: 7678: 7676: 7672: 7668: 7664: 7660: 7656: 7652: 7651: 7646: 7642: 7638: 7634: 7630: 7626: 7617: 7613: 7609: 7605: 7600: 7594: 7590: 7585: 7581: 7578: 7574: 7569: 7565: 7564: 7559: 7555: 7551: 7547: 7540: 7536: 7532: 7530: 7526: 7520: 7515: 7513: 7509: 7503: 7498: 7496: 7492: 7488: 7484: 7480: 7476: 7470: 7467: 7463: 7459: 7455: 7449: 7445: 7439: 7435: 7429: 7425: 7420: 7418: 7411: 7407: 7405: 7401: 7396: 7392: 7386: 7384: 7379: 7375: 7371: 7366: 7364: 7360: 7356: 7352: 7344: 7340: 7335: 7333: 7329: 7325: 7319: 7315: 7310: 7307: 7303: 7302: 7297: 7296:Low Countries 7291: 7289: 7285: 7281: 7275: 7273: 7269: 7265: 7264:James Boswell 7261: 7257: 7250: 7246: 7242: 7240: 7235: 7234:hand-exemplar 7230: 7226: 7220: 7217: 7212: 7208: 7207: 7202: 7198: 7194: 7190: 7186: 7180: 7175: 7170: 7165: 7163: 7162: 7157: 7153: 7149: 7145: 7140: 7135: 7131: 7127: 7126: 7121: 7116: 7114: 7110: 7106: 7102: 7098: 7094: 7090: 7086: 7082: 7078: 7074: 7070: 7065: 7063: 7059: 7055: 7054: 7049: 7045: 7041: 7034: 7030: 7024: 7020: 7014: 7013:C. P. E. Bach 7010: 7002: 6996: 6980: 6969: 6967: 6962:This section 6960: 6951: 6950: 6939: 6935: 6932: 6929: 6926: 6923: 6920: 6917: 6914: 6911: 6908: 6907: 6906: 6903: 6901: 6896: 6892: 6890: 6885: 6882: 6880: 6875: 6873: 6869: 6865: 6859: 6840: 6837: 6834: 6831: 6828: 6825: 6822: 6819: 6816: 6813: 6810: 6807: 6806: 6805: 6802: 6800: 6794: 6792: 6787: 6784: 6782: 6777: 6775: 6770: 6751: 6748: 6745: 6742: 6738: 6735: 6732: 6729: 6726: 6725: 6724: 6718: 6715: 6712: 6709: 6706: 6703: 6700: 6699: 6698: 6695: 6693: 6688: 6686: 6681: 6679: 6674: 6670: 6668: 6663: 6661: 6657: 6656: 6650: 6646: 6638: 6631: 6626: 6607: 6604: 6600: 6596: 6595: 6594: 6591: 6589: 6584: 6582: 6581: 6576: 6570: 6554: 6551: 6547: 6543: 6539: 6535: 6531: 6527: 6523: 6518: 6516: 6512: 6509:(C2 to C6 in 6508: 6500: 6496: 6495: 6490: 6489: 6484: 6480: 6473: 6471: 6466: 6464: 6462: 6458: 6453: 6452: 6448: 6444: 6440: 6427: 6426:cantus firmus 6423: 6400: 6385: 6368: 6365: 6360: 6342: 6341: 6340: 6338: 6337:Kerman (2008) 6331: 6327: 6324:Organ in the 6322: 6318: 6316: 6315:cantus firmus 6308: 6305: 6302: 6299: 6296: 6293: 6290: 6287: 6286: 6285: 6283: 6277: 6275: 6270: 6267: 6265: 6260: 6258: 6257: 6245: 6229: 6225: 6221: 6217: 6209: 6205: 6204:Joseph Kerman 6199: 6197: 6178: 6175: 6174: 6169: 6165: 6163: 6158: 6155: 6151: 6150:moto perpetuo 6147: 6142: 6140: 6136: 6132: 6127: 6121: 6119: 6113: 6110: 6109:großer Arbeit 6104: 6099: 6096:of G, like a 6095: 6091: 6090:cantus firmus 6087: 6082: 6080: 6071: 6070: 6065: 6059: 6049: 5958: 5955: 5864: 5863: 5860: 5858: 5850: 5846: 5845:Arp Schnitger 5842: 5835: 5831: 5827: 5821: 5817: 5813: 5809: 5793: 5790: 5789: 5780: 5779:cantus firmus 5776: 5773: 5772:cantus firmus 5769: 5767: 5763: 5762:cantus firmus 5759: 5758: 5757: 5755: 5751: 5741: 5737: 5734:This smaller 5729: 5724: 5720: 5718: 5701: 5698: 5696: 5692: 5689: 5686: 5682: 5679: 5678: 5673: 5670: 5666: 5665: 5664: 5662: 5658: 5656: 5652: 5648: 5647:cantus firmus 5644: 5643:cantus firmus 5639: 5638:cantus firmus 5635: 5631: 5630: 5624: 5622: 5618: 5617:des paroisses 5614: 5610: 5606: 5602: 5598: 5593: 5592:doppio pedale 5588: 5587: 5583:a 6 from the 5582: 5578: 5574: 5570: 5566: 5565:phrygian mode 5562: 5561:chorale motet 5558: 5550: 5545: 5538: 5534: 5533:Modum ludendi 5530: 5526: 5521: 5514: 5510: 5509:Sophienkirche 5505: 5501: 5499: 5490: 5489: 5484: 5478: 5472: 5440: 5400: 5390: 5386: 5382: 5376: 5367: 5365: 5348: 5345: 5344: 5338: 5331: 5328: 5325: 5322: 5319: 5316: 5313: 5310: 5309: 5308: 5306: 5302: 5298: 5294: 5293:cantus firmus 5289: 5284: 5282: 5273: 5269: 5263: 5246: 5243: 5242: 5237: 5233: 5231: 5227: 5222: 5218: 5217:cantus firmus 5214: 5209: 5207: 5198: 5197: 5192: 5186: 5180: 5140: 5101: 5099: 5093: 5084: 5080: 5076: 5060: 5057: 5056: 5050: 5048: 5043: 5041: 5040:Orgelbüchlein 5037: 5033: 5016: 5013: 5012: 5011: 5007: 5005: 4996: 4992: 4990: 4986: 4982: 4977: 4972: 4969: 4964: 4962: 4957: 4955: 4950: 4945: 4941: 4939: 4930: 4924: 4919: 4904: 4890: 4888: 4880: 4876: 4872: 4866: 4853: 4850: 4849: 4843: 4841: 4836: 4834: 4830: 4826: 4822: 4818: 4817:Clavier-Übung 4813: 4809: 4792: 4789: 4788: 4787: 4785: 4781: 4777: 4771: 4765: 4755: 4751: 4747: 4743: 4739: 4738: 4733: 4729: 4728:cantus firmus 4725: 4721: 4717: 4713: 4709: 4705: 4701: 4691: 4669: 4666: 4644: 4643: 4640: 4638: 4629: 4621: 4615: 4611: 4607: 4603: 4587: 4584: 4583: 4577: 4575: 4570: 4554: 4551: 4550: 4549: 4547: 4539: 4535: 4531: 4529: 4528:Kyrie eleison 4519: 4518:cantus firmus 4510: 4507: 4504: 4501: 4498: 4497: 4496: 4490: 4487: 4484: 4481: 4478: 4475: 4474: 4473: 4469: 4467: 4462: 4460: 4454: 4452: 4451:Livre d'Orgue 4447: 4446:cantus firmus 4443: 4439: 4429: 4417: 4414: 4402: 4401: 4398: 4396: 4379: 4376: 4375: 4369: 4366: 4354: 4350: 4346: 4342: 4335: 4331: 4327: 4323: 4321: 4320:heavenly host 4315: 4313: 4308: 4307:cantus firmus 4303: 4301: 4296: 4295:cantus firmus 4292: 4291:cantus firmus 4275: 4272: 4271: 4270: 4268: 4259: 4251: 4250:cantus firmus 4247: 4244: 4241: 4240:cantus firmus 4237: 4234: 4231: 4228: 4227:cantus firmus 4224: 4223: 4222: 4219: 4217: 4212: 4210: 4209:cantus firmus 4206: 4202: 4198: 4197:cantus firmus 4181: 4178: 4177: 4172: 4168: 4166: 4161: 4159: 4155: 4151: 4150:cantus firmus 4147: 4143: 4142:cantus firmus 4139: 4135: 4134:cantus firmus 4131: 4127: 4122: 4113: 4103: 4102:cantus firmus 4099: 4098:cantus firmus 4082: 4079: 4078: 4075: 4070: 4065: 4003: 3942: 3940: 3936: 3931: 3929: 3925: 3921: 3917: 3913: 3909: 3905: 3901: 3897: 3893: 3889: 3885: 3881: 3877: 3873: 3872:cantus firmus 3869: 3865: 3864:cantus firmus 3861: 3856: 3848: 3844: 3837: 3833: 3829: 3822: 3818: 3813: 3805: 3799: 3790: 3784: 3777: 3773: 3769: 3765: 3756: 3754: 3749: 3747: 3743: 3738: 3737:cantus firmus 3729: 3706: 3703: 3702: 3701: 3699: 3694: 3692: 3691:cantus firmus 3687: 3684: 3680: 3679:Orgelbüchlein 3676: 3672: 3671:cantus firmus 3668: 3659: 3636: 3633: 3632: 3631: 3629: 3624: 3617: 3607: 3603: 3602: 3591: 3590:cantus firmus 3573: 3570: 3569: 3565: 3561: 3557: 3555: 3551: 3546: 3545:phrygian mode 3542: 3541:cantus firmus 3538: 3529: 3514: 3499: 3488: 3486: 3482: 3478: 3475:settings of " 3474: 3470: 3466: 3465:cantus firmus 3461: 3457: 3453: 3449: 3448:chorale motet 3445: 3436: 3432: 3426: 3424: 3423: 3407: 3403: 3399: 3396:settings of " 3395: 3391: 3386: 3379: 3375: 3371: 3370:phrygian mode 3366: 3357: 3355: 3350: 3348: 3344: 3340: 3336: 3332: 3331:cantus firmus 3327: 3323: 3319: 3318:cantus firmus 3314: 3313:cantus firmus 3310: 3306: 3305:chorale motet 3303:BWV 671 is a 3299: 3295: 3291: 3275: 3272: 3271: 3270: 3268: 3263: 3261: 3257: 3256:cantus firmus 3253: 3249: 3245: 3244:cantus firmus 3241: 3237: 3236:phrygian mode 3233: 3232:cantus firmus 3224: 3214: 3213:chorale motet 3211:BWV 670 is a 3206: 3202: 3186: 3183: 3182: 3181: 3179: 3174: 3172: 3171:cantus firmus 3168: 3164: 3160: 3156: 3155:cantus firmus 3140: 3136: 3135:cantus firmus 3131: 3130:phrygian mode 3127: 3126:cantus firmus 3118: 3108: 3107:chorale motet 3105:BWV 669 is a 3100: 3096: 3080: 3077: 3076: 3074: 3039: 3005: 3003: 2999: 2994: 2991: 2987: 2983: 2979: 2975: 2970: 2965: 2964:cantus firmus 2961: 2957: 2953: 2949: 2945: 2937: 2933: 2930:The Lutheran 2928: 2919: 2917: 2913: 2909: 2905: 2904:Georgenkirche 2901: 2897: 2893: 2889: 2885: 2881: 2877: 2873: 2872: 2868: 2864: 2860: 2856: 2852: 2848: 2844: 2840: 2839:Martin Luther 2831: 2830: 2825: 2819: 2817: 2813: 2809: 2800: 2795: 2789: 2785: 2784:Martin Luther 2781: 2769: 2767: 2762: 2760: 2758: 2753: 2752: 2746: 2744: 2739: 2737: 2736:stile moderno 2733: 2728: 2724: 2719: 2717: 2712: 2708: 2706: 2701: 2699: 2694: 2693: 2692:Third section 2689: 2687: 2682: 2679: 2677: 2672: 2669: 2667: 2662: 2659: 2657: 2652: 2649: 2648: 2644: 2642: 2637: 2635: 2630: 2628: 2623: 2616: 2605: 2604: 2603:First section 2595: 2592: 2589: 2586: 2579: 2570: 2567: 2564: 2563: 2560:Stile antico 2559: 2556: 2553: 2550: 2543: 2534: 2531: 2528: 2527: 2523: 2520: 2517: 2514: 2507: 2498: 2495: 2492: 2491: 2487: 2484: 2481: 2478: 2475: 2472: 2471: 2468: 2466: 2461: 2457: 2456: 2451: 2441: 2440: 2429: 2425: 2416: 2406: 2401: 2400: 2396: 2394: 2390: 2386: 2382: 2377: 2376: 2372: 2369: 2364: 2359: 2358: 2354: 2352: 2348: 2347:William Croft 2344: 2329: 2325: 2319: 2311: 2307: 2303: 2302:Martin Luther 2299: 2294: 2287: 2282: 2276: 2274: 2253: 2225: 2223: 2218: 2215: 2213: 2208: 2206: 2195: 2190: 2189: 2188: 2183: 2181: 2176: 2173: 2171: 2166: 2164: 2160: 2155: 2154: 2153: 2148: 2146: 2141: 2138: 2136: 2131: 2128: 2127: 2126: 2116: 2113: 2110: 2107: 2106: 2102: 2093: 2090: 2087: 2086: 2082: 2079: 2076: 2073: 2072: 2068: 2065: 2062: 2059: 2058: 2054: 2051: 2048: 2045: 2044: 2040: 2037: 2034: 2031: 2030: 2026: 2023: 2020: 2017: 2016: 2012: 2009: 2006: 2003: 2002: 1998: 1995: 1992: 1989: 1988: 1984: 1981: 1978: 1975: 1974: 1971: 1968: 1964: 1959: 1955: 1950: 1946: 1940: 1931: 1922: 1916: 1914: 1893: 1863: 1861: 1856: 1855: 1849: 1847: 1843: 1838: 1834: 1830: 1826: 1823: 1819: 1815: 1811: 1807: 1802: 1793: 1778: 1763: 1753: 1749: 1745: 1738: 1733: 1724: 1722: 1716: 1711: 1709: 1705: 1701: 1699: 1695: 1694:cantus firmus 1690: 1685: 1683: 1682: 1677: 1673: 1668: 1664: 1660: 1656: 1652: 1651:Livre d'Orgue 1648: 1644: 1640: 1636: 1632: 1628: 1624: 1620: 1616: 1612: 1608: 1604: 1599: 1597: 1593: 1589: 1585: 1581: 1577: 1573: 1569: 1565: 1561: 1557: 1553: 1549: 1545: 1541: 1537: 1531: 1526: 1524: 1520: 1513: 1512:Livre d'Orgue 1509: 1506: 1505:d'Anglebert's 1501: 1494: 1490: 1486: 1481: 1474: 1470: 1467:Engraving of 1465: 1461: 1459: 1455: 1450: 1446: 1440: 1438: 1432: 1430: 1425: 1421: 1419: 1415: 1411: 1407: 1402: 1401: 1397:BWV 1079 and 1396: 1395: 1390: 1386: 1381: 1379: 1375: 1371: 1367: 1363: 1359: 1355: 1351: 1347: 1346:Clavier-Übung 1343: 1339: 1338:cantus firmus 1335: 1334:cantus firmus 1331: 1327: 1326: 1321: 1317: 1314:According to 1309: 1305: 1301: 1298: 1295: 1291: 1290:cantus firmus 1287: 1284: 1280: 1276: 1273: 1270: 1266: 1263: 1262: 1261: 1259: 1255: 1251: 1244: 1240: 1235: 1231: 1229: 1225: 1220: 1216: 1205: 1201: 1197: 1196:Lutheran Mass 1193: 1189: 1181: 1180:Martin Luther 1177: 1172: 1158: 1156: 1152: 1150: 1147: 1144: 1143: 1139: 1131: 1122: 1120: 1117: 1114: 1113: 1109: 1101: 1092: 1090: 1087: 1084: 1083: 1079: 1071: 1062: 1060: 1057: 1054: 1053: 1049: 1041: 1032: 1030: 1027: 1024: 1023: 1019: 1017: 1013: 1010: 1007: 1004: 1003: 999: 996: 992: 989: 987: 984: 981: 980: 971: 969: 965: 962: 959: 956: 955: 951: 949: 945: 942: 940: 937: 934: 933: 929: 927: 923: 920: 917: 914: 911: 910: 906: 903: 899: 896: 894: 891: 888: 887: 883: 881: 877: 874: 872: 869: 866: 865: 861: 858: 854: 851: 849: 846: 843: 842: 838: 836: 832: 829: 826: 823: 822: 818: 816: 812: 809: 807: 804: 801: 800: 796: 794: 790: 787: 784: 781: 780: 776: 773: 770: 767: 764: 761: 760: 756: 754: 750: 747: 744: 741: 740: 736: 734: 730: 727: 724: 721: 720: 716: 714: 710: 707: 705: 702: 699: 698: 694: 692: 684: 675: 672: 669: 666: 665: 661: 659: 651: 642: 639: 636: 633: 632: 628: 626: 618: 609: 606: 603: 600: 599: 595: 592: 588: 585: 582: 579: 576: 575: 571: 568: 565: 562: 559: 556: 555: 551: 548: 547:cantus fermus 545: 542: 539: 536: 535: 526: 524: 521: 519: 516: 513: 512: 508: 505: 502: 499: 496: 495: 487: 485: 481: 477: 476: 470: 466: 460: 455: 453: 447: 440: 436: 431: 423: 419: 417: 413: 408: 404: 398: 395: 388: 386: 378: 374: 370: 365: 357: 353: 351: 347: 343: 342:Tabulaturbuch 339: 335: 331: 327: 322: 317: 315: 311: 310:Pierre Dumage 307: 303: 299: 295: 291: 287: 283: 279: 276:(1733–1736), 275: 271: 267: 262: 260: 253: 251: 244: 236: 231: 227: 225: 221: 217: 213: 209: 205: 201: 197: 193: 189: 188:Johann Kuhnau 185: 184:Clavier-Übung 181: 177: 175: 171: 167: 163: 159: 155: 154:Sophienkirche 151: 147: 143: 135: 131: 126: 120: 117:, c 1750, by 116: 111: 102: 99: 94: 92: 88: 87:Lutheran Mass 84: 74: 69: 67: 63: 59: 55: 51: 46: 44: 40: 39: 34: 33: 23: 19: 14945: 14909: 14908: 14823: 14816: 14793: 14781: 14774: 14756: 14537: 14528: 14467: 14458: 14445: 14436: 14428: 14420: 14231:Bach Archive 14206:Bach Digital 14197: 14196:Schmieder's 14188: 14181: 14171: 14162: 14124: 14120: 14112: 14106: 14096: 14091: 14090: 14084: 14074: 14069: 14061: 14052:Music / 14046:publications 13973: 13953: 13947:James Kibbie 13945:recorded by 13932: 13855: 13824: 13806: 13788: 13766: 13744: 13722: 13699: 13681: 13663: 13645: 13626: 13620: 13616: 13598: 13575: 13565:, retrieved 13558:the original 13549: 13539: 13527:Bach Revival 13526: 13502: 13498: 13476: 13467: 13463: 13440: 13421: 13411: 13386: 13382: 13364: 13346: 13328: 13310: 13292: 13273: 13255: 13237: 13227: 13216: 13196: 13192: 13164: 13148: 13144: 13120: 13114: 13093:(1): 55–74, 13090: 13086: 13068: 13059: 13056:Music Review 13055: 13037: 13015: 13006: 13002: 12984: 12961: 12940: 12916: 12910: 12892: 12874: 12856: 12836: 12811: 12799: 12781: 12772: 12768: 12749: 12731: 12713: 12694: 12681:, retrieved 12674:the original 12669: 12665: 12648:Helen Hewitt 12645: 12627: 12609: 12590: 12571: 12553: 12535: 12516: 12496: 12476: 12452: 12446: 12428: 12410: 12392: 12382: 12363: 12343: 12317: 12311: 12290: 12272: 12253: 12231: 12208: 12186: 12168: 12159: 12141: 12133: 12123: 12105: 12081: 12075: 12057: 12039: 12021: 12012: 12008: 11990: 11979:, retrieved 11972:the original 11967:The Diapason 11965: 11940: 11921: 11899: 11881: 11855: 11843: 11832: 11820: 11798:Olleson 2001 11793: 11783: 11775: 11753: 11738: 11723: 11696: 11692: 11673: 11669: 11645: 11641: 11616: 11612: 11576:Harding 1973 11565: 11561: 11550: 11538: 11532: 11523: 11517: 11505: 11499: 11489: 11485: 11468: 11464: 11456:Kassler 2004 11446:Stinson 2006 11440: 11436: 11422:Kassler 2004 11412:Stinson 2006 11406: 11402: 11389:Parrott 2006 11373: 11369: 11358: 11349:Plumley 2001 11333: 11329: 11322:Kassler 2004 11317: 11298: 11294: 11282: 11268:Stinson 2006 11262: 11258: 11235:Stinson 2008 11230:Stinson 2006 11224: 11220: 11193:Stinson 2006 11187: 11183: 11175:Stinson 2006 11164: 11160: 11152:Stinson 2006 11126: 11122: 11094:Stinson 2006 11088: 11084: 11065: 11058:Kassler 2004 11022: 11018: 11010:Kassler 2008 11000:Kassler 2004 10994: 10990: 10981:Smither 1977 10963: 10959: 10952:, p. 18 10950:Smither 1977 10940:, p. 48 10920: 10916: 10904:, p. 78 10898:, p. 38 10879: 10875: 10868:Kassler 2004 10863: 10850:Scholes 1940 10844:Kassler 2004 10838: 10834: 10827:, p. 37 10825:Kassler 2004 10795: 10791: 10772: 10768: 10742: 10738: 10717: 10713: 10687: 10683: 10678:, p. 86 10671: 10659: 10647: 10635: 10623: 10611: 10606:, p. 50 10599: 10587: 10579:Bäumlin 1990 10545: 10541: 10529: 10517: 10505: 10493: 10481: 10460: 10456: 10445: 10437:Clement 1999 10426: 10422: 10410: 10398: 10385:Renwick 1992 10363: 10359: 10349: 10341:Renwick 1992 10335: 10331: 10299:Dennery 2001 10294: 10286: 10278: 10267: 10259: 10254: 10242: 10230: 10204: 10183: 10179: 10167: 10139:Kellner 1978 10131: 10119: 10107: 10095: 10090:, p. 84 10083: 10072: 10061: 10050: 10045:, p. 83 10038: 10032:Schulze 1985 10012: 9983: 9972: 9960: 9948: 9937: 9925: 9913: 9901: 9874: 9862: 9850: 9845:, p. 66 9843:Stinson 2001 9838: 9826: 9814: 9802: 9774: 9752: 9723: 9713: 9703: 9702: 9686: 9679: 9668: 9664: 9654: 9644: 9641:Philip James 9629:Anton Webern 9618: 9608: 9604: 9603:BWV 680 and 9600: 9572: 9571: 9565: 9561: 9491: 9490: 9468:Egon Schiele 9442: 9434: 9430: 9423:Marcel Dupré 9412: 9405: 9402: 9397:Louis Vierne 9393: 9388: 9368: 9359:Marcel Dupré 9328: 9322: 9302: 9300: 9250: 9245: 9244:using their 9237: 9233: 9225: 9205: 9177: 9157: 9083: 9082:founded the 9057: 9041:Villa Medici 9037:Prix de Rome 9012: 9006: 8963: 8952: 8908:Henry Willis 8900: 8884:Henry Willis 8865: 8849: 8831: 8826: 8822: 8818: 8815:Cooper's son 8813: 8785: 8777: 8769:Bach Society 8754: 8729: 8725: 8720: 8696: 8692: 8672: 8667: 8655: 8643: 8629: 8623: 8550: 8543:Father Smith 8525: 8521: 8502: 8452: 8448: 8436: 8434: 8416:Karl Straube 8407: 8403: 8399: 8395: 8392:ternary form 8387: 8369: 8365: 8351: 8347: 8337: 8314: 8272:Joseph Euler 8257: 8225: 8220:founded the 8213: 8204: 8198: 8169: 8163: 8156:Thomaskirche 8153: 8148:Thomaskirche 8119: 8116: 8084:Peterskirche 8073: 8046: 8002: 7985: 7937: 7899: 7896: 7891: 7887: 7882: 7869: 7842: 7826: 7816: 7810: 7798: 7794: 7792: 7786: 7772: 7762: 7746: 7742: 7733: 7729: 7725: 7721: 7715: 7707: 7679: 7648: 7644: 7621: 7612:Father Smith 7576: 7561: 7558:Thomaskirche 7543: 7524: 7522: 7517: 7511: 7505: 7500: 7482: 7474: 7471: 7465: 7461: 7452: 7416: 7413: 7409: 7403: 7399: 7394: 7390: 7388: 7382: 7377: 7373: 7367: 7355:Fanny Burney 7350: 7347: 7343:Fanny Burney 7331: 7327: 7323: 7321: 7317: 7312: 7305: 7299: 7293: 7287: 7283: 7279: 7277: 7267: 7253: 7221: 7204: 7182: 7177: 7172: 7167: 7160: 7147: 7143: 7133: 7124: 7117: 7108: 7072: 7066: 7061: 7051: 7039: 7037: 6993: 6974: 6963: 6904: 6897: 6893: 6886: 6883: 6876: 6871: 6860: 6849: 6803: 6795: 6788: 6785: 6778: 6773: 6771: 6760: 6722: 6696: 6689: 6682: 6675: 6671: 6664: 6659: 6653: 6645:da capo aria 6642: 6636: 6628: 6616: 6592: 6585: 6578: 6571: 6560: 6525: 6521: 6519: 6498: 6492: 6486: 6482: 6478: 6476: 6467: 6454: 6442: 6425: 6398: 6383: 6335: 6314: 6312: 6278: 6271: 6268: 6261: 6254: 6223: 6219: 6215: 6213: 6207: 6196:Clavierübung 6195: 6192: 6176: 6159: 6143: 6123: 6115: 6089: 6085: 6083: 6076: 6067: 6056: 5960: 5866: 5854: 5849:Jacobikirche 5811: 5791: 5778: 5771: 5761: 5750:stile antico 5749: 5739: 5735: 5733: 5714: 5699: 5695:stile antico 5694: 5675: 5659: 5651:augmentation 5646: 5642: 5637: 5634:stile antico 5633: 5627: 5625: 5616: 5608: 5601:Ludwig Senfl 5584: 5568: 5556: 5554: 5548: 5536: 5532: 5531:, 1624. The 5528: 5495: 5486: 5475: 5443: 5411: 5380: 5361: 5346: 5335: 5296: 5292: 5287: 5285: 5278: 5271: 5260: 5244: 5229: 5216: 5212: 5210: 5203: 5194: 5183: 5143: 5103: 5087: 5078: 5058: 5044: 5031: 5029: 5014: 5008: 5001: 4980: 4973: 4965: 4958: 4943: 4942: 4935: 4922: 4907: 4892: 4884: 4874: 4855: 4851: 4837: 4833:French Suite 4828: 4824: 4820: 4816: 4811: 4807: 4805: 4790: 4783: 4779: 4775: 4763: 4745: 4741: 4735: 4723: 4708:stilo antico 4707: 4697: 4671: 4646: 4634: 4608:in the 1524 4605: 4585: 4571: 4567: 4552: 4543: 4538:Sebald Beham 4527: 4517: 4514: 4494: 4470: 4463: 4455: 4450: 4445: 4435: 4419: 4404: 4392: 4377: 4364: 4362: 4347:in the 1524 4344: 4316: 4306: 4304: 4294: 4290: 4288: 4273: 4264: 4249: 4239: 4226: 4220: 4213: 4208: 4204: 4200: 4196: 4194: 4179: 4162: 4157: 4153: 4149: 4145: 4141: 4137: 4133: 4129: 4120: 4111: 4101: 4097: 4095: 4080: 4006: 3944: 3934: 3932: 3927: 3923: 3919: 3915: 3907: 3899: 3883: 3879: 3871: 3867: 3863: 3859: 3854: 3852: 3831: 3816: 3796: 3782: 3775: 3771: 3767: 3750: 3741: 3736: 3727: 3719: 3704: 3695: 3690: 3682: 3674: 3670: 3657: 3649: 3634: 3625: 3615: 3599: 3589: 3586: 3571: 3563: 3549: 3540: 3527: 3512: 3497: 3489: 3480: 3472: 3464: 3459: 3443: 3441: 3434: 3420: 3412: 3401: 3393: 3389: 3373: 3351: 3346: 3334: 3330: 3326:stile antico 3325: 3322:stile antico 3321: 3317: 3312: 3308: 3302: 3273: 3264: 3259: 3255: 3252:stile antico 3251: 3243: 3239: 3231: 3222: 3210: 3205:Sebald Beham 3184: 3175: 3170: 3166: 3159:stile antico 3158: 3154: 3134: 3125: 3116: 3104: 3078: 3042: 3007: 2997: 2995: 2985: 2977: 2973: 2963: 2959: 2951: 2947: 2943: 2941: 2935: 2931: 2903: 2899: 2895: 2883: 2879: 2875: 2874:. The first 2870: 2862: 2847:Justus Jonas 2842: 2836: 2827: 2816:missa brevis 2811: 2807: 2805: 2763: 2754: 2740: 2735: 2732:stile antico 2731: 2727:stile antico 2726: 2722: 2720: 2713: 2709: 2702: 2695: 2691: 2690: 2683: 2680: 2673: 2670: 2663: 2660: 2653: 2650: 2646: 2645: 2638: 2631: 2624: 2614: 2606: 2602: 2601: 2587: 2577: 2551: 2541: 2515: 2505: 2482:Description 2459: 2453: 2450:contrapuncti 2449: 2437: 2414: 2404: 2402: 2398: 2397: 2378: 2374: 2373: 2360: 2356: 2355: 2351:triple fugue 2342: 2334: 2327: 2316: 2298:Thomaskirche 2285: 2270: 2219: 2216: 2209: 2204: 2194:double fugue 2191: 2186: 2185: 2184: 2177: 2174: 2167: 2162: 2158: 2156: 2151: 2150: 2149: 2142: 2139: 2132: 2129: 2124: 2123: 2122: 1982:Description 1966: 1962: 1953: 1948: 1941: 1927: 1910: 1886:Prelude in E 1857: 1845: 1841: 1836: 1833:golden ratio 1827: 1821: 1817: 1813: 1809: 1805: 1801:trio sonatas 1791: 1776: 1761: 1751: 1747: 1744:Wolff (1991) 1742: 1737:Cabbalologia 1736: 1720: 1718: 1713: 1707: 1702: 1698:stile antico 1697: 1693: 1688: 1686: 1679: 1678:BWV 678 and 1675: 1671: 1666: 1658: 1654: 1650: 1600: 1555: 1533: 1528: 1522: 1516: 1511: 1507: 1495:, Paris 1699 1484: 1457: 1449:Georg Muffat 1444: 1442: 1436: 1434: 1423: 1422: 1417: 1416:, wrote his 1409: 1405: 1398: 1392: 1384: 1382: 1377: 1373: 1365: 1357: 1345: 1341: 1337: 1333: 1329: 1323: 1319: 1313: 1307: 1303: 1299: 1289: 1285: 1278: 1274: 1268: 1264: 1257: 1253: 1248: 1238: 1200:Jakob Adlung 1187: 1185: 1154: 1129: 1099: 1069: 1039: 1015: 994: 967: 947: 925: 922:fuga inversa 921: 901: 879: 856: 834: 814: 792: 771: 752: 732: 712: 690: 682: 657: 649: 624: 616: 590: 586: 566: 546: 522: 473: 468: 464: 462: 457: 451: 449: 444: 434: 400: 394:Kunst-Stücke 390: 382: 352:in Leipzig. 350:Thomaskirche 341: 337: 320: 318: 313: 297: 281: 273: 265: 263: 258: 255: 249: 246: 241: 234: 220:Reichsthaler 207: 179: 178: 157: 139: 95: 72: 70: 50:stile antico 47: 37: 36: 31: 30: 28: 18: 14901:collections 14802:discography 14734:No. 22 in B 14721:No. 18 in G 14708:No. 13 in F 14629:No. 22 in B 14616:No. 21 in B 14155:scholarship 14141:(1954–2007) 13990:liner notes 13383:Early Music 13193:Early Music 12630:, Ashgate, 12612:, Ashgate, 12413:, Ashgate, 12395:, Ashgate, 12320:(1): 8–27, 12060:, Ashgate, 11993:, Ashgate, 11917:Apel, Willi 11884:, Ashgate, 11848:Craggs 2007 11679:Murray 1998 11656:Murray 1998 11541:: 301, 1898 11492:: 285, 1855 11451:Little 2010 11417:Little 2010 11379:Eatock 2009 11363:Barger 2007 11304:Frisch 2005 11273:Frisch 2005 11250:Niecks 1925 11240:August 2010 11214:Little 2010 11198:August 2010 11170:Little 2010 11142:Little 2010 11137:Little 2009 11109:Bodley 2009 11104:Bodley 2004 11077:, Yo Tomita 11034:Butler 2008 11028:Butler 1990 10944:Mendel 1950 10908:Franck 1949 10807:Butler 2008 10801:Butler 1990 10783:Picken 1944 10778:Tomita 2000 10754:Lester 1994 10748:Mendel 1950 10676:Kerman 2008 10640:Kassel 2006 10472:Butler 2006 10450:Keller 1967 10405:, p. 9 10346:Lester 1989 10272:Leaver 2007 10144:Tatlow 1991 10088:Butler 1990 9749:Ton Koopman 9743:André Isoir 9609:Wir glauben 9525:Ernst Pauer 9516:Otto Singer 9305:of the old 9242:Salle Érard 9212:pedal piano 9192:pedal piano 9165:St Eustache 9149:St Eustache 9099: [ 9064:Saint-Saëns 8931:during the 8897:(1826–1897) 8846:Exeter Hall 8819:Wir glauben 8697:Wir glauben 8640:C.P.E. Bach 8506:pedalboards 8449:Countenance 8358:passacaglia 8309:Max Kalbeck 8296:Musikverein 8252:Musikverein 8205:pedalflügel 8194:Clara Wieck 8080:Carl Becker 8065:Clara Wieck 7957:C.P.E. Bach 7807:C.F. Peters 7704: 1799 7697: 1743 7686: 1740 7332:piano forte 7241:in Berlin. 7128:, but with 7120:Anna Amalia 6406:time (i.e. 6131:Christogram 6094:Dorian mode 5738:setting of 5728:Fall of Man 5537:Benedicamus 5221:Dorian mode 5036:Dorian mode 4981:Domine Deus 4700:Dorian mode 4606:Wir glauben 4459:Fall of Man 4428:Kyrieleis. 4413:Kyrieleis! 3924:Allein Gott 3900:Allein Gott 3896:Butt (2006) 3817:Allein Gott 3469:Butt (2006) 3335:O lux beata 2857:. The 1537 1985:Bar length 1814:Wir glauben 1615:d'Anglebert 1294:pedal point 1088:Duetto III 963:Confession 943:Confession 878:non-fugal, 549:in soprano 517:Praeludium 224:Reformation 174:temperament 54:Frescobaldi 14987:Categories 14674:No. 4 in C 14661:No. 3 in C 14589:No. 7 in E 14576:No. 4 in C 14563:No. 3 in C 14470:, BWV 1128 14390:(doubtful) 14371:(doubtful) 14307:(doubtful) 14208:(2010–...) 14193:(1904–...) 14121:After 1750 13567:2010-07-21 13228:J. S. Bach 12683:2010-07-06 11981:2010-10-06 11873:References 11825:Smith 2004 11813:Smith 2004 11702:Ochse 2000 11684:Ochse 2000 11661:Ochse 2000 11651:Smith 1992 11633:Eddie 2007 11628:Smith 1977 11622:Smith 2002 11606:Ochse 2000 11592:Ellis 2008 11571:Ellis 2008 11555:Smith 1977 11526:: 38, 1859 11508:: 13, 1855 11245:Dolge 1911 11005:Wolff 1997 10885:Terry 1920 10558:Wolff 1991 10498:Wolff 1991 10486:Jacob 1997 10432:Jacob 1997 10415:Wolff 1991 10403:Terry 1921 10325:Terry 1921 10172:Wolff 2002 10124:Wolff 1991 9906:Wolff 1991 9855:Wolff 1991 9807:Wolff 1991 9731:Recordings 9270:Versailles 9262:Notre Dame 9258:St Sulpice 8522:pull-downs 8362:intermezzo 8311:reported: 8268:Düsseldorf 8181:edited by 8042:Gewandhaus 8017:Gewandhaus 7604:George III 7539:Carl Fasch 7495:Strasbourg 7363:George III 7361:, wife of 7209:; but, as 6940:in bar 105 6801:BWV 1048. 6542:Johann Fux 6528:(1722) of 6515:fortepiano 6447:Johann Fux 6330:Georg Böhm 6224:manualiter 6216:manualiter 6154:ritardando 5736:manualiter 5573:Palestrina 5547:Scheidt's 5288:manualiter 5032:manualiter 4976:coloratura 4879:prayerbook 4808:manualiter 4764:manualiter 4365:manualiter 4205:ritornello 4121:manualiter 3880:manualiter 3860:manualiter 3473:manualiter 3444:manualiter 3442:The three 3394:manualiter 3378:Palestrina 3248:alla breve 3139:alla breve 2552:manualiter 2405:fuga grave 2273:media help 2246:Fugue in E 1913:media help 1812:settings ( 1806:manualiter 1672:manualiter 1548:Georg Böhm 1544:Dannenberg 1458:galanterie 1437:ex tempore 1330:manualiter 1320:manualiter 1300:Structure. 1286:Polyphony. 1118:Duetto IV 1058:Duetto II 1016:manualiter 1011:Communion 990:Communion 968:manualiter 926:manualiter 880:manualiter 835:manualiter 793:manualiter 753:manualiter 713:manualiter 691:manualiter 658:manualiter 625:manualiter 589:in pedal ( 437:(1739) by 266:manualiter 73:Organ Mass 58:Palestrina 52:, such as 14448:, BWV 768 14180:Spitta's 14170:Forkel's 14151:Biography 13985:Dordrecht 12015:: 310–320 11147:Todd 1983 11114:Todd 1983 10975:Todd 1983 10664:Boyd 2000 10604:Butt 2006 10574:Butt 2006 10569:Butt 1997 10552:Geck 2006 10283:Butt 1997 10212:Ross 1974 10195:Apel 1969 10189:Boyd 2000 10100:Bond 1987 10055:Horn 2000 10017:Zohn 2008 9775:Documents 9661:Alan Bush 9573:Orchestra 9568:("Games") 9531:Max Reger 9445:BWV 686. 9274:Trocadéro 9253:Madeleine 9147:Organ at 9136:organ in 8479:Organ in 8424:Frankfurt 8339:Max Reger 8325:Max Reger 8254:in Vienna 8218:Otto Jahn 8120:ten times 8036:Original 7945:Sara Levy 7849:in 1820. 7688:– 1791), 7506:In 1782, 7491:cathedral 7417:recherché 7324:Ricercari 7227:, son of 7197:Beethoven 7158:from his 6866:from the 6660:cantabile 6477:The four 6214:The last 5685:anapaests 4746:Confiteor 4146:invention 3868:pedaliter 3838:, 1733–36 3460:pedaliter 3298:Pentecost 3240:en taille 3038:eleison! 2969:en taille 2948:pedaliter 2837:In 1526, 2799:Magdeburg 2485:Features 1588:Pachelbel 1580:Froberger 1564:Buxtehude 1406:Vorspiele 1391:BWV 769, 1372:BWV 988 ( 1356:BWV 828 ( 1224:hymn book 1219:Gregorian 1153:a 5 voci 1028:Duetto I 997:in pedal 904:in pedal 859:in canon 855:trio and 774:in canon 733:pedaliter 572:C (or G) 569:in tenor 486:in 1714. 371:with the 319:Although 14915:♭ 14872:♭ 14737:♭ 14724:♯ 14711:♯ 14677:♯ 14664:♯ 14632:♭ 14619:♭ 14592:♭ 14579:♯ 14566:♯ 14479:Keyboard 14164:Nekrolog 14129:(1751); 14111:(1747); 14105:(1747); 14101:(1741); 14095:(1739); 14089:(1735); 14073:(1708); 14068:cantata 13993:Archived 13743:(1991), 13644:(1980), 13537:(1920), 13214:(1905), 13184:(1985), 13151:: 1–30, 13036:(eds.), 13003:Diapason 12964:, Dent, 12960:(1925), 12810:(2006), 12693:(2008), 11919:(1969), 11761:Archived 11710:Archived 11071:Archived 11046:May 1995 10819:May 1995 10370:May 2000 9782:See also 9631:in 1929. 9589:in 1812. 9484:, 1823: 9470:, 1917: 9276:(1878). 9264:(1868), 9260:(1862), 9246:pédalier 9234:pédalier 9226:pédalier 9217:pédalier 9119:Brussels 8968:—  8947:and the 8589:, 1830: 8458:—  8443:♭ 8356:; and a 8280:Endenich 7766:—  7477:(1768), 7404:chantant 7109:Nekrolog 6998:—  6966:too long 6633:—  6544:, whose 6491:and the 6372:♭ 6364:sequence 6250:♭ 6239:♮ 6233:♭ 6201:—  6061:—  5816:hymnbook 5777:as each 5745:♯ 5581:Ricercar 5480:—  5385:hymnbook 5265:—  5188:—  5083:hymnbook 4926:—  4780:Gravitas 4759:♯ 4732:ostinato 4610:hymnbook 4523:♭ 4349:hymnbook 4158:abgesang 4156:and the 4138:abgesang 4126:bar form 3801:—  3786:—  3595:♭ 3550:ricercar 3456:Eisenach 3428:—  3416:♯ 3165:and the 3150:♭ 3144:♭ 3027:eleison! 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