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List of organ compositions by Johann Sebastian Bach
View on Wikipediafrom Wikipedia
| Lists of |
| Compositions by Johann Sebastian Bach |
|---|
Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions),[1] or, in the New Bach Edition, the compositions in Series IV.[2]
Six Sonatas (BWV 525–530)
[edit]- BWV 525 – Sonata No. 1 in E-flat major
- BWV 526 – Sonata No. 2 in C minor
- BWV 527 – Sonata No. 3 in D minor
- BWV 528 – Sonata No. 4 in E minor
- BWV 529 – Sonata No. 5 in C major
- BWV 530 – Sonata No. 6 in G major
In the form of a Prelude, Toccata, Fantasia, Passacaglia, middle movement and/or Fugue (BWV 531–582)
[edit]- BWV 531 – Prelude and Fugue in C major
- BWV 532 – Prelude and Fugue in D major
- BWV 532a – Fugue in D major (alternative version of the fugue of BWV 532)
- BWV 533 – Prelude and Fugue in E minor ("Cathedral")
- BWV 533a – Prelude and Fugue in E minor (alternative version of BWV 533 without pedals)
- BWV 534 – Prelude and Fugue in F minor (doubtful)[3][4]
- BWV 535 – Prelude and Fugue in G minor
- BWV 535a – Prelude and Fugue in G minor (alternative version of BWV 535)
- BWV 536 – Prelude and Fugue in A major
- BWV 536a – Prelude and Fugue in A major (alternative version of BWV 536, possibly based on the original manuscript)[5]
- BWV 537 – Fantasia and Fugue in C minor
- BWV 538 – Toccata and Fugue in D minor ("Dorian")
- BWV 539 – Prelude and Fugue in D minor ("Fiddle") (uncertain)[6]
- BWV 539a – Fugue in D minor (see BWV 1000 for the lute arrangement, movement 2 of BWV 1001 for the violin arrangement)
- BWV 540 – Toccata and Fugue in F major
- BWV 541 – Prelude and Fugue in G major
- BWV 542 – Fantasia and Fugue in G minor ("Great")
- BWV 542a – Fugue in G minor (alternative version of the fugue from BWV 542)
- BWV 543 – Prelude and Fugue in A minor
- BWV 544 – Prelude and Fugue in B minor
- BWV 545 – Prelude and Fugue in C major
- BWV 545a – Prelude and Fugue in C major (alternative version of BWV 545)
- BWV 545b – Prelude, Trio and Fugue in B-flat major (alternative version of BWV 545; the Trio is an arrangement of the finale of BWV 1029; some parts possibly by Johann Tobias Krebs)
- BWV 546 – Prelude and Fugue in C minor
- BWV 547 – Prelude and Fugue in C major ("9/8")
- BWV 548 – Prelude and Fugue in E minor ("Wedge")
- BWV 549 – Prelude and Fugue in C minor
- BWV 550 – Prelude and Fugue in G major
- BWV 551 – Prelude and Fugue in A minor
- BWV 552 – Prelude and Fugue in E-flat major ("St. Anne") (part of Clavier-Übung III)
- BWV 553 – Eight Short Preludes and Fugues – Prelude and Fugue in C major (spurious, possibly by Johann Tobias Krebs)[7]
- BWV 554 – Eight Short Preludes and Fugues – Prelude and Fugue in D minor (spurious, possibly by Johann Tobias Krebs)[7]
- BWV 555 – Eight Short Preludes and Fugues – Prelude and Fugue in E minor (spurious, possibly by Johann Tobias Krebs)[7]
- BWV 556 – Eight Short Preludes and Fugues – Prelude and Fugue in F major (spurious, possibly by Johann Tobias Krebs)[7]
- BWV 557 – Eight Short Preludes and Fugues – Prelude and Fugue in G major (spurious, possibly by Johann Tobias Krebs)[7]
- BWV 558 – Eight Short Preludes and Fugues – Prelude and Fugue in G minor (spurious, possibly by Johann Tobias Krebs)[7]
- BWV 559 – Eight Short Preludes and Fugues – Prelude and Fugue in A minor (spurious, possibly by Johann Tobias Krebs)[7]
- BWV 560 – Eight Short Preludes and Fugues – Prelude and Fugue in B-flat major (spurious, possibly by Johann Tobias Krebs)[7]
- BWV 561 – Fantasia and Fugue in A minor (spurious, possibly by Johann Christian Kittel)[8]
- BWV 562 – Fantasia and Fugue in C minor (fugue unfinished)
- BWV 563 – Fantasia in B minor (Fantasia and Imitatio) (spurious)
- BWV 564 – Toccata, Adagio and Fugue in C major
- BWV 565 – Toccata and Fugue in D minor
- BWV 566 – Toccata and Fugue in E major (also published in C major)
- BWV 566a – Toccata in E major (earlier version of BWV 566)
- BWV 567 – Prelude in C major (possibly by Johann Ludwig Krebs)[9]
- BWV 568 – Prelude in G major (doubtful)[9]
- BWV 569 – Prelude in A minor
- BWV 570 – Fantasia in C major
- BWV 571 – Fantasia (Concerto) in G major (spurious)
- BWV 572 – Fantasia in G major (Pièce d'Orgue)
- BWV 573 – Fantasia in C major (incomplete, from the 1722 Notebook for Anna Magdalena Bach)
- BWV 574 – Fugue in C minor (on a theme of Legrenzi)
- BWV 574a – Fugue in C minor (alternative version of BWV 574)
- BWV 574b – Fugue in C minor (alternative version of BWV 574)
- BWV 575 – Fugue in C minor
- BWV 576 – Fugue in G major (doubtful)[10]
- BWV 577 – Fugue in G major à la Gigue (doubtful)[11]
- BWV 578 – Fugue in G minor ("Little")
- BWV 579 – Fugue in B minor (on a theme by Corelli, from Op. 3, No. 4)
- BWV 580 – Fugue in D major (doubtful)[12]
- BWV 581 – Fugue in G major (not by Bach, composed by Gottfried August Homilius)
- BWV 582 – Passacaglia and Fugue in C minor
Trios (BWV 583–586)
[edit]- BWV 583 – Trio in D minor (spurious, possibly a transcription of a chamber trio by another composer)[13]
- BWV 584 – Trio in G minor (spurious, a version of BWV 166/2 or another, lost, aria)
- BWV 585 – Trio in C minor (spurious, after Johann Friedrich Fasch)
- BWV 586 – Trio in G major (spurious, possibly after Georg Philipp Telemann)
Miscellaneous pieces (BWV 587–591)
[edit]- BWV 587 – Aria in F major (spurious, after François Couperin)
- BWV 588 – Canzona in D minor
- BWV 589 – Allabreve in D major
- BWV 590 – Pastorella in F major (first movement probably incomplete)
- BWV 591 – Little Harmonic Labyrinth (Kleines harmonisches Labyrinth) (spurious, possibly by Johann David Heinichen)
Concertos (BWV 592–597)
[edit]- BWV 592 – Concerto in G major (after a concerto by Prince Johann Ernst of Saxe-Weimar)
- BWV 592a – Concerto in G major (an arrangement of BWV 592 for harpsichord)
- BWV 593 – Concerto in A minor (after Antonio Vivaldi's Concerto for two violins, Op. 3 No. 8, RV 522)
- BWV 594 – Concerto in C major (after Antonio Vivaldi's Grosso mogul violin concerto, RV 208)
- BWV 595 – Concerto in C major (after a concerto by Prince Johann Ernst of Saxe-Weimar)
- BWV 596 – Concerto in D minor (after Antonio Vivaldi's Concerto for two violins and cello, Op. 3 No. 11, RV 565)
- BWV 597 – Concerto in E-flat major (doubtful)
Pedal exercise (BWV 598)
[edit]- BWV 598 – Pedal-Exercitium ("Pedal Exercise") in G minor (fragment, authorship uncertain, presumably by Carl Philipp Emanuel Bach)[14]
Chorale Preludes
[edit]Traditionally known as chorale preludes, the compositions in the BWV 599–771 range of the Bach-Werke-Verzeichnis, and later additions BWV 1085, 1090–1120 (Neumeister Chorales) and 1128, are also indicated as chorale settings for organ,[15] and include multi-movement chorale partitas[16] and sets of variations.[17]
| column | content | links to | |
|---|---|---|---|
| 1 | Name | Name of the chorale prelude, by J. S. Bach unless otherwise indicated | Work page at Bach Digital website |
| 2 | BWV | Number of the composition in the Bach-Werke-Verzeichnis | Description of the chorale prelude |
| 3 | Zahn | Zahn number of the hymn tune used in the chorale prelude.[18] | Description of the Lutheran hymn or tune |
| 4 | Other | Works by Bach, other than chorale preludes, using the same hymn tune[19] | Description of the related composition |
Orgelbüchlein (Little Organ Book, BWV 599–644)
[edit]The Orgelbüchlein contains 46 chorale preludes, and a fragment (BWV Anh. 200).
- Advent
- BWV 599 – Nun komm, der Heiden Heiland
- BWV 600 – Gott durch deine Güte (or) Gottes Sohn ist kommen
- BWV 601 – Herr Christ, der ein'ge Gottes Sohn (or) Herr Gott, nun sei gepreiset (also in the Neumeister Collection)
- BWV 602 – Lob sei dem allmächtigen Gott
- Christmas
- BWV 603 – Puer natus in Bethlehem
- BWV 604 – Gelobet seist du, Jesu Christ
- BWV 605 – Der Tag, der ist so freudenreich
- BWV 606 – Vom Himmel hoch, da komm ich her
- BWV 607 – Vom Himmel kam der Engel Schar
- BWV 608 – In dulci jubilo
- BWV 609 – Lobt Gott, ihr Christen, allzugleich
- BWV 610 – Jesu, meine Freude
- BWV 611 – Christum wir sollen loben schon
- BWV 612 – Wir Christenleut'
- New Year
- Epiphany
- Lent
- BWV 618 – O Lamm Gottes, unschuldig
- BWV 619 – Christe, du Lamm Gottes
- BWV 620 – Christus, der uns selig macht
BWV 620a – Christus, der uns selig macht (older version) - BWV 621 – Da Jesus an dem Kreuze stund
- BWV 622 – O Mensch, bewein dein Sünde groß
- BWV 623 – Wir danken dir, Herr Jesu Christ
- BWV 624 – Hilf Gott, daß mir's gelinge
- Easter
- Pentecost
- Catechism hymns
- Miscellaneous
Schübler Chorales (BWV 645–650)
[edit]Most of the Schübler Chorales, which were published around 1748 as Sechs Chorale von verschiedener Art (Six Chorales of Various Kinds), are transcriptions of extant cantata movements:
- BWV 645 – Wachet auf, ruft uns die Stimme
- BWV 646 – Wo soll ich fliehen hin (or) Auf meinen lieben Gott
- BWV 647 – Wer nur den lieben Gott läßt walten
- BWV 648 – Meine Seele erhebt den Herren
- BWV 649 – Ach, bleib bei uns, Herr Jesu Christ
- BWV 650 – Kommst du nun, Jesu, vom Himmel herunter
Great Eighteen Chorale Preludes, a.k.a. Leipzig Chorales (BWV 651–668)
[edit]- BWV 651 – Fantasia super: Komm, Heiliger Geist, Herre Gott
BWV 651a – Fantasia (Präludium) super: Komm, Heiliger Geist, Herre Gott (ältere, Weimarer Fassung) - BWV 652 – Komm, Heiliger Geist, Herre Gott
BWV 652a – Komm, Heiliger Geist, Herre Gott (ältere, Weimarer Fassung) - BWV 653 – An Wasserflüssen Babylon
BWV 653a – An Wasserflüssen Babylon alio modo a 4 (ältere, Weimarer Fassung)
BWV 653b – An Wasserflüssen Babylon (Weimarer Urfassung) - BWV 654 – Schmücke dich, o liebe Seele
BWV 654a – Schmücke dich, o liebe Seele (ältere, Weimarer Fassung) - BWV 655 – Trio super: Herr Jesu Christ, dich zu uns wend
BWV 655a – Trio super: Herr Jesu Christ, dich zu uns wend (ältere, Weimarer Fassung)
BWV 655b – Herr Jesu Christ, dich zu uns wend
BWV 655c – Herr Jesu Christ, dich zu uns wend - BWV 656 – O Lamm Gottes, unschuldig
BWV 656a – O Lamm Gottes, unschuldig (ältere, Weimarer Fassung) - BWV 657 – Nun danket alle Gott (Leuthen Chorale) (ältere Weimarer und Leipziger Fassung)
- BWV 658 – Von Gott will ich nicht lassen
BWV 658a – Fantasia super: Von Gott will ich nicht lassen (ältere, Weimarer Fassung) - BWV 659 – Nun komm, der Heiden Heiland
BWV 659a – Fantasia super: Nun komm, der Heiden Heiland (ältere, Weimarer Fassung) - BWV 660 – Trio super: Nun komm, der Heiden Heiland
BWV 660a – Nun komm, der Heiden Heiland (ältere, Weimarer Fassung)
BWV 660b – Nun komm, der Heiden Heiland - BWV 661 – Nun komm, der Heiden Heiland
BWV 661a – Nun komm, der Heiden Heiland (ältere, Weimarer Fassung) - BWV 662 – Allein Gott in der Höh' sei Ehr'
BWV 662a – Allein Gott in der Höh' sei Ehr' (ältere, Weimarer Fassung) - BWV 663 – Allein Gott in der Höh' sei Ehr'
BWV 663a – Allein Gott in der Höh' sei Ehr' (ältere, Weimarer Fassung) - BWV 664 – Trio super: Allein Gott in der Höh' sei Ehr'
BWV 664a/b – Trio super: Allein Gott in der Höh' sei Ehr' (ältere Weimarer Fassung/Entwurf) - BWV 665 – Jesus Christus, unser Heiland
BWV 665a – Jesus Christus, unser Heiland (in organo pleno) (ältere, Weimarer Fassung) - BWV 666 – Jesus Christus, unser Heiland (alio modo)
BWV 666a – Jesus Christus, unser Heiland (ältere, Weimarer Fassung) - BWV 667 – Komm, Gott Schöpfer, heiliger Geist
BWV 667a/b – Komm, Gott Schöpfer, heiliger Geist (ältere, Weimarer Fassungen) - BWV 668 – Vor deinen Thron tret' ich (Fragment)
BWV 668a – Wenn wir in höchsten Nöten sein (Diktatschrift: Fragment)
Chorale preludes in Clavier-Übung III (BWV 669–689)
[edit]- Kyrie (three stanzas of "Kyrie, Gott Vater in Ewigkeit"):
- "Allein Gott in der Höh' sei Ehr'" (Gloria):
- "Dies sind die heilgen zehn Gebot" (Ten Commandments):
- "Wir glauben all an einen Gott" (Credo):
- "Vater unser im Himmelreich" (Lord's Prayer):
- "Christ unser Herr zum Jordan kam" (Baptism):
- "Aus tiefer Not schrei ich zu dir" (Penitence):
- "Jesus Christus, unser Heiland, der von uns den Zorn Gottes wandt" (Lord's Supper):
24 chorale preludes, formerly known as "from the Kirnberger collection" (BWV 690–713)
[edit]The 24 chorale preludes and five variants published as "from the Kirnberger Collection" ("in Kirnberger's Sammlung") in the 40th volume of the Bach-Gesellschaft Ausgabe (1893) were all retained in the 690–713a range of the Bach-Werke-Verzeichnis. Johann Kirnberger's involvement with this collection of chorale preludes, some of which are spurious or doubtful, is however uncertain: modern scholarship no longer refers to this set as "Kirnberger Collection" (unless with qualifiers such as "so-called" or "formerly").[20]
- BWV 690 – Wer nur den lieben Gott läßt walten
- BWV 691 – Wer nur den lieben Gott läßt walten (manuals only; No. 11 in the 1725 Notebook for Anna Magdalena Bach, No. 3 in the Klavierbüchlein für Wilhelm Friedemann Bach)
BWV 691a – Wer nur den lieben Gott läßt walten (doubtful variant of BWV 691)[21] - BWV 692 – Ach, Gott und Herr (spurious: composed by Johann Gottfried Walther)[22]
BWV 692a – Ach, Gott und Herr (spurious early version of BWV 692: composed by Johann Gottfried Walther)[23] - BWV 693 – Ach, Gott und Herr (spurious: composed by Johann Gottfried Walther)[24]
- BWV 694 – Wo soll ich fliehen hin
- BWV 695 – Fantasia super: Christ lag in Todesbanden (manuals only)
BWV 695a – Christ lag in Todesbanden (doubtful variant of BWV 695)[25] - BWV 696 – Christum wir sollen loben schon (or) Was fürchtest du Feind, Herodes, sehr (fughetta; manuals only)
- BWV 697 – Gelobet seist du, Jesu Christ (fughetta; manuals only)
- BWV 698 – Herr Christ, der ein'ge Gottes-Sohn (fughetta; manuals only)
- BWV 699 – Nun komm, der Heiden Heiland (fughetta; manuals only)
- BWV 700 – Vom Himmel hoch, da komm' ich her
- BWV 701 – Vom Himmel hoch, da komm' ich her (fughetta, manuals only)
- BWV 702 – Das Jesulein soll doch mein Trost (fughetta)
- BWV 703 – Gottes-Sohn ist kommen (fughetta, manuals only)
- BWV 704 – Lob sei dem allmächtigen Gott (fughetta, manuals only)
- BWV 705 – Durch Adams Fall ist ganz verderbt
- BWV 706 – Liebster Jesu, wir sind hier
- BWV 707 – Ich hab' mein' Sach' Gott heimgestellt
- BWV 708 – Ich hab' mein' Sach' Gott heimgestellt
BWV 708a – Ich hab' mein' Sach' Gott heimgestellt (variant of BWV 708) - BWV 709 – Herr Jesu Christ, dich zu uns wend'
- BWV 710 – Wir Christenleut habn jetzund Freud
- BWV 711 – Allein Gott in der Höh' sei Ehr'
- BWV 712 – In dich hab' ich gehoffet, Herr (manuals only)
- BWV 713 – Jesu, meine Freude (manuals only)
BWV 713a – Jesu, meine Freude (Fantasia, doubtful variant of BWV 713)[26]
Miscellaneous chorale preludes (BWV 714–765)
[edit]- BWV 714 – Ach Gott und Herr (also in the Neumeister Collection)
- BWV 715 – Allein Gott in der Höh sei Ehr
- BWV 716 – Fuga super Allein Gott in der Höh sei Ehr
- BWV 717 – Allein Gott in der Höh sei Ehr'
- BWV 718 – Christ lag in Todesbanden (chorale fantasia)[27]
- BWV 719 – Der Tag, der ist so freudenreich (also in the Neumeister Collection)
- BWV 720 – Ein feste Burg ist unser Gott
- BWV 721 – Erbarm dich mein, o Herre Gott
- BWV 722 – Gelobet seist du, Jesu Christ
- BWV 723 – Gelobet seist du, Jesu Christ (also in the Neumeister Collection; likely by Johann Michael Bach)
- BWV 724 – Gott, durch deine Güte (Gottes Sohn ist kommen)
- BWV 725 – Herr Gott, dich loben wir
- BWV 726 – Herr Jesu Christ, dich zu uns wend (ⓘ)
- BWV 727 – Herzlich tut mich verlangen
- BWV 728 – Jesus, meine Zuversicht (from the 1722 Notebook for Anna Magdalena Bach)
- BWV 729 – In dulci jubilo
- BWV 730 – Liebster Jesu, wir sind hier
- BWV 731 – Liebster Jesu, wir sind hier
- BWV 732 – Lobt Gott, ihr Christen, allzugleich
- BWV 733 – Fuga sopra il Magnificat (Meine Seele erhebt den Herren, a.k.a. German Magnificat – possibly composed by Bach's pupil Johann Ludwig Krebs; ⓘ)[28][29]
- BWV 734 – Nun freut euch, lieben Christen g'mein/Es ist gewisslich an der Zeit
- BWV 735 – Valet will ich dir geben
- BWV 736 – Valet will ich dir geben
- BWV 737 – Vater unser im Himmelreich (also in the Neumeister Collection)
- BWV 738 – Von Himmel hoch, da komm' ich her
- BWV 738a – Von Himmel hoch, da komm' ich her
- BWV 739 – Wie schön leuchtet der Morgenstern
- BWV 740 – Wir glauben all' an einen Gott, Vater (spurious, partly attributed to Johann Tobias Krebs)[30]
- BWV 741 – Ach Gott, von Himmel sieh' darein
- BWV 742 – Ach Herr, mich armen Sünder (also in the Neumeister Collection)
- BWV 743 – Ach, was ist doch unser Leben
- BWV 744 – Auf meinen lieben Gott (not by Bach, possibly by Johann Tobias Krebs)
- BWV 745 – Aus der Tiefe rufe ich (not by Bach, composed by Carl Philipp Emanuel Bach)
- BWV 746 – Christ ist erstanden (not by Bach, composed by Johann Caspar Ferdinand Fischer)
- BWV 747 – Christus, der uns selig macht
- BWV 748 – Gott der Vater wohn' uns bei (not by Bach, composed by Johann Gottfried Walther)
- BWV 748a – Gott der Vater wohn' uns bei
- BWV 749 – Herr Jesu Christ, dich zu uns wend' (attribution doubtful)[31]
- BWV 750 – Herr Jesu Christ, mein's Lebens Licht (attribution doubtful)[32]
- BWV 751 – In dulci jubilo (also in the Neumeister Collection; spurious: likely by Johann Michael Bach or possibly by Johann Gottfried Walther)
- BWV 752 – Jesu, der du meine Seele (attribution doubtful)[33]
- BWV 753 – Jesu, meine Freude (incomplete)
- BWV 754 – Liebster Jesu, wir sind hier (attribution doubtful)[34]
- BWV 755 – Nun freut euch, lieben Christen
- BWV 756 – Nun ruhen alle Wälder (attribution doubtful)[35]
- BWV 757 – O Herre Gott, dein göttlich's Wort
- BWV 758 – O Vater, allmächtiger Gott
- BWV 759 – Schmücke dich, o liebe Seele (not by Bach, composed by Gottfried August Homilius)[36]
- BWV 760 – Vater unser im Himmelreich (not by Bach, composed by Georg Böhm)[37]
- BWV 761 – Vater unser im Himmelreich (not by Bach, composed by Georg Böhm)[38]
- BWV 762 – Vater unser im Himmelreich (attribution doubtful)[39]
- BWV 763 – Wie schön leuchtet der Morgenstern
- BWV 764 – Wie schön leuchtet der Morgenstern (incomplete)
- BWV 765 – Wir glauben all' an einen Gott
Chorale partitas (BWV 766–768)
[edit]- BWV 766 – Chorale partita Christ, der du bist der helle Tag
- BWV 767 – Chorale partita O Gott, du frommer Gott
- BWV 768 – Chorale partita Sei gegrüsset, Jesu gütig
Canonic Variations (BWV 769–769a)
[edit]- BWV 769 – Canonic Variations on "Vom Himmel hoch da komm' ich her"
- BWV 769a – Canonic Variations on "Vom Himmel hoch da komm' ich her" (alternative version of BWV 769)
Chorale variations (BWV 770–771)
[edit]- BWV 770 – Chorale variations "Ach, was soll ich Sünder machen"
- BWV 771 – Chorale variations "Allein Gott in der Höh' sei Ehr'" (not by Bach, possibly by Andreas Nicolaus Vetter)[40]
Also known in a version for keyboard (BWV 957)
[edit]- BWV 957 – Machs mit mir, Gott, nach deiner Güt (chorale prelude for organ in the Neumeister Collection, previously listed as Fugue in G major)
Later additions to the BWV catalogue
[edit]Various (BWV 1085–1087)
[edit]- BWV 1085 – O Lamm Gottes, unschuldig (chorale prelude)
- Canons, sometimes indicated as organ pieces:
- BWV 1086 – Canon concordia discors
- BWV 1087 – 14 canons on the First Eight Notes of Goldberg Variations Ground (discovered 1974)
Neumeister Chorales (BWV 1090–1120)
[edit]31 chorale preludes for organ, discovered 1985 in the archives of the Yale University library.
- BWV 1090 – Wir Christenleut
- BWV 1091 – Das alte Jahr vergangen ist
- BWV 1092 – Herr Gott, nun schleuß den Himmel auf
- BWV 1093 – Herzliebster Jesu, was hast du verbrochen
- BWV 1094 – O Jesu, wie ist dein Gestalt
- BWV 1095 – O Lamm Gottes unschuldig
- BWV 1096 – Christe, der du bist Tag und Licht (or) Wir danken dir, Herr Jesu Christ (spurious: attributed to Johann Pachelbel)[41][42]
- BWV 1097 – Ehre sei dir, Christe, der du leidest Not
- BWV 1098 – Erhalt uns, Herr, bei deinem Wort
- BWV 1099 – Aus tiefer Not schrei ich zu dir
- BWV 1100 – Allein zu dir, Herr Jesu Christ
- BWV 1101 – Durch Adams Fall ist ganz verderbt
- BWV 1102 – Du Friedefürst, Herr Jesu Christ
- BWV 1103 – Erhalt uns, Herr, bei deinem Wort
- BWV 1104 – Wenn dich Unglück tut greifen an
- BWV 1105 – Jesu, meine Freude
- BWV 1106 – Gott ist mein Heil, mein Hilf und Trost
- BWV 1107 – Jesu, meines Lebens Leben
- BWV 1108 – Als Jesus Christus in der Nacht
- BWV 1109 – Ach Gott, tu dich erbarmen
- BWV 1110 – O Herre Gott, dein göttlich Wort
- BWV 1111 – Nun lasset uns den Leib begrab'n
- BWV 1112 – Christus, der ist mein Leben
- BWV 1113 – Ich hab mein Sach Gott heimgestellt
- BWV 1114 – Herr Jesu Christ, du höchstes Gut
- BWV 1115 – Herzlich lieb hab ich dich, o Herr
- BWV 1116 – Was Gott tut, das ist wohlgetan
- BWV 1117 – Alle Menschen müssen sterben
- BWV 1118 – Werde munter, mein Gemüte
- BWV 1119 – Wie nach einer Wasserquelle
- BWV 1120 – Christ, der du bist der helle Tag
Recovered from the Anhang (BWV 1121 and 1128)
[edit]- BWV 1121 (=BWV Anh. 205) – Fantasie in C minor (organ)
- BWV 1128 (previously BWV Anh. 71) – Organ chorale fantasia Wo Gott der Herr nicht bei uns hält (BWV Anh. II 71 was authenticated as a composition by Bach after Wilhelm Rust's 1877 copy was recovered in March 2008).[43][44]
Organ compositions in the seventh chapter of the Bach-Werke-Verzeichnis (1998)
[edit]| column | content | |
|---|---|---|
| 1 | BWV | Bach-Werke-Verzeichnis (lit. 'Bach-works-catalogue'; BWV) numbers. Anhang (Annex; Anh.) numbers are indicated as follows: |
| 2 | 2a | Section in which the composition appears in BWV2a:
|
| 3 | Date | Date associated with the completion of the listed version of the composition. Exact dates (e.g. for most cantatas) usually indicate the assumed date of first (public) performance. When the date is followed by an abbreviation in brackets (e.g. JSB for Johann Sebastian Bach) it indicates the date of that person's involvement with the composition as composer, scribe or publisher. |
| 4 | Name | Name of the composition: if the composition is known by a German incipit, that German name is preceded by the composition type (e.g. cantata, chorale prelude, motet, ...) |
| 5 | Key | Key of the composition |
| 6 | Scoring | See scoring table below for the abbreviations used in this column |
| 7 | BG | Bach Gesellschaft-Ausgabe (BG edition; BGA): numbers before the colon indicate the volume in that edition. After the colon an Arabic numeral indicates the page number where the score of the composition begins, while a Roman numeral indicates a description of the composition in the Vorwort (Preface) of the volume.[45] |
| 8 | NBE | New Bach Edition (German: Neue Bach-Ausgabe, NBA): Roman numerals for the series, followed by a slash, and the volume number in Arabic numerals. A page number, after a colon, refers to the "Score" part of the volume. Without such page number, the composition is only described in the "Critical Commentary" part of the volume. The volumes group Bach's compositions by genre:[46]
|
| 9 | Additional info | may include:
Provenance of standard texts and tunes, such as Lutheran hymns and their chorale melodies, Latin liturgical texts (e.g. Magnificat) and common tunes (e.g. Folia), are not usually indicated in this column. For an overview of such resources used by Bach, see individual composition articles, and overviews in, e.g., Chorale cantata (Bach)#Bach's chorale cantatas, List of chorale harmonisations by Johann Sebastian Bach#Chorale harmonisations in various collections and List of organ compositions by Johann Sebastian Bach#Chorale Preludes. |
| 10 | BD | Bach Digital Work page |
| Voices (see also SATB) | ||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| a | A | b | B | s | S | t | T | v | V | |||
| alto (solo part) | alto (choir part) | bass (solo part) | bass (choir part) | soprano (solo part) | soprano (choir part) | tenor (solo part) | tenor (choir part) | voice (includes parts for unspecified voices or instruments as in some canons) | vocal music for unspecified voice type | |||
| Winds and battery (bold = soloist) | ||||||||||||
| Bas | Bel | Cnt | Fl | Hn | Ob | Oba | Odc | Tai | Tbn | Tdt | Tmp | Tr |
| bassoon (can be part of Bc, see below) | bell(s) (musical bells) | cornett, cornettino | flute (traverso, flauto dolce, piccolo, flauto basso) | natural horn, corno da caccia, corno da tirarsi, lituo | oboe | oboe d'amore | oboe da caccia | taille | trombone | tromba da tirarsi | timpani | tromba (natural trumpet, clarino trumpet) |
| Strings and keyboard (bold = soloist) | ||||||||||||
| Bc | Hc | Kb | Lu | Lw | Org | Str | Va | Vc | Vdg | Vl | Vne | |
| basso continuo: Vdg, Hc, Vc, Bas, Org, Vne and/or Lu | harpsichord | keyboard (Hc, Lw, Org or clavichord) | lute, theorbo | Lautenwerck (lute-harpsichord) | organ (/man. = manualiter, without pedals) | strings: Vl I, Vl II and Va | viola(s), viola d'amore, violetta | violoncello, violoncello piccolo | viola da gamba | violin(s), violino piccolo | violone, violone grosso | |
| Colour | Meaning |
|---|---|
| green | extant or clearly documented partial or complete manuscript (copy) by Bach and/or first edition under Bach's supervision |
| yellow | extant or clearly documented manuscript (copy) or print edition, in whole or in part, by close relative, i.e. brother (J. Christoph), wife (A. M.), son (W. F. / C. P. E. / J. C. F. / J. Christian) or son-in-law (Altnickol) |
| orange-brown | extant or clearly documented manuscript (copy) by close friend and/or pupil (Kellner, Krebs, Kirnberger, Walther, ...), or distant family member |
| BWV | 2a | Date | Name | Key | Scoring | BG | NBE | Additional info | BD |
|---|---|---|---|---|---|---|---|---|---|
| 525 | 7. | 1727–1731 | Trio Sonata No. 1/6 | E♭ maj. | Organ | 15: 3 | IV/7: 1 | → BWV 525a | 00597 |
| 526 | 7. | 1727–1731 | Trio Sonata No. 2/6 | C min. | Organ | 15: 13 | IV/7: 14 | 00598 | |
| 527 | 7. | 1727–1731 | Trio Sonata No. 3/6 (+e. v. for /1) | D min. | Organ | 15: 26 | IV/7: 28 | → BWV 1044/2 | 00599 |
| 528 | 7. | 1727–1731 | Trio Sonata No. 4/6 (+e. v. for /2, /3) | E min. | Organ | 15: 40 | IV/7: 44 | after BWV 76/8 | 00600 |
| 529 | 7. | 1727–1731 | Trio Sonata No. 5/6 (+e. v. for /2) | C maj. | Organ | 15: 50 | IV/7: 56 | 00601 | |
| 530 | 7. | 1727–1731 | Trio Sonata No. 6/6 | G maj. | Organ | 15: 66 | IV/7: 76 | 00602 | |
| 531 | 7. | c. 1703–1706 | Prelude and Fugue | C maj. | Organ | 15: 81 | IV/5: 3 | in Möllersche Handschrift | 00603 |
| 532.2 | 7. | c. 1708–1712 | Prelude and Fugue | D maj. | Organ | 15: 88 | IV/5: 58 | after BWV 912/1, 532.1 | 00604 |
| 532.1 | 7. | Fugue (early version) | D maj. | Organ | IV/6: 95 | → BWV 532.2/2 | 00605 | ||
| 533 | 7. | c.1704 | Prelude and Fugue ("Cathedral") | E min. | Organ | 15: 100 | IV/5: 90 | ↔ BWV 533a | 00606 |
| 533a | 7. | Prelude and Fugue | E min. | Keyboard | IV/6: 106 | ↔ BWV 533 | 00607 | ||
| 535 | 7. | after 1717 | Prelude and Fugue | G min. | Organ | 15: 112 | IV/5: 157 | after BWV 535a | 00609 |
| 535a | 7. | c.1702–1704 | Prelude and Fugue (incomplete) | G min. | Organ | IV/6: 109 | → BWV 535; in Möllersche Handschrift | 00610 | |
| 536 | 7. | 1708–1717 | Prelude and Fugue | A maj. | Organ | 15: 120 | IV/5: 180 | ↔ BWV 152/1; → 536a | 00611 |
| 537 | 7. | 1729–1750 | Fantasia and Fugue | C min. | Organ | 15: 129 | IV/5: 47 | 00613 | |
| 538 | 7. | 1712–1717 | Toccata and Fugue ("Dorian") | D min. | Organ | 15: 136 | IV/5: 76 | 00614 | |
| 539 | 7. | 1724–1750? | Prelude and Fugue | D min. | Organ | 15: 148 | IV/5: 70 | after BWV 1001/2, 1000 | 00615 |
| 540 | 7. | c.1712–1717? | Toccata and Fugue | F maj. | Organ | 15: 154 | IV/5: 112 | 00616 | |
| 541 528/3 |
7. | c.1712–1717? | Toccata and Fugue (Trio BWV 528/3 e. v. as possible middle movement) | G maj. | Organ | 15: 169 | IV/5: 146 | → BWV 528/3 | 00617 |
| 542 | 7. | c.1714–1720? | Fantasia and Fugue ("Great"; independent compositions?; fugue also in F minor) | G min. | Organ | 15: 177 | IV/5: 167 | 00618 | |
| 543 | 7. | after c.1730 | Prelude and Fugue | A min. | Organ | 15: 189 | IV/5: 186 | after BWV 543/1a | 00619 |
| 543/1a | 7. | bef. c.1725 | Prelude | A min. | Organ | IV/6: 121 | → BWV 543/1 | 00620 | |
| 544 | 7. | 1727–1731 (JSB) | Prelude and Fugue | B min. | Organ | 15: 199 | IV/5: 198 | 00621 | |
| 545 529/2 |
7. | 1708–1717 after 1722 |
Prelude and Fugue (middle movement BWV 529/2 e. v. removed after 1722) | C maj. | Organ | 15: 212 | IV/5: 10 | after BWV 545a, b; → 529/2 | 00622 |
| 545a | 7. | 1708–1717 | Prelude and Fugue (early version) | C maj. | Organ | IV/6: 77 | → BWV 545b, 545 | 00623 | |
| 546 | 7. | 1708–1750 | Prelude and Fugue | C min. | Organ | 15: 218 | IV/5: 35 | 00625 | |
| 547 | 7. | 1719–1750 | Prelude and Fugue | C maj. | Organ | 15: 228 | IV/5: 20 | 00626 | |
| 548 | 7. | 1727–1731 (JSB) | Prelude and Fugue ("Wedge") | E min. | Organ | 15: 236 | IV/5: 94 | 00627 | |
| 549 | 7. | 1705–1750 | Prelude and Fugue | C min. | Organ | 38: 3 | IV/5: 30 | after BWV 549a | 00628 |
| 549a | 7. | bef. c.1703 | Prelude (or: Fantasia) and Fugue | D min. | Organ | IV/6: 101 | → BWV 549; in Möllersche Handschrift | 00629 | |
| 550 | 7. | c.1708–1712 | Prelude and Fugue | G maj. | Organ | 38: 9 | IV/5: 138 | 00630 | |
| 551 | 7. | c.1699 | Prelude and Fugue | A min. | Organ | 38: 17 | IV/6: 63 | 00631 | |
| 552 | 7. | 1739 | Prelude and Fugue ("St Anne") from Clavier-Übung III | E♭ maj. | Organ | 3: 173, 254 | IV/4: 2, 105 | 00632 | |
| 562 | 7. | 1720–c.1748 | Fantasia and Fugue (unfinished fugue added c.1747–1748) | C min. | Organ | 38: 64, 209 44: 4 |
IV/5: 54 | 00642 | |
| 563 | 7. | c.1704 | Fantasia and Imitatio | C maj. | Organ | 38: 59 | IV/6: 68 | in Andreas-Bach-Buch | 00643 |
| 564 | 7. | 1708–1717 | Toccata, Adagio and Fugue | C maj. | Organ | 15: 253 | IV/6: 3 | 00644 | |
| 565 | 7. | c.1704? | Toccata and Fugue | D min. | Organ | 15: 267 | IV/6: 31 | 00645 | |
| 566 | 7. | 1703–1707 | Prelude and Fugue (earliest manuscripts: C major; /1 as Toccata in BGA) | E maj. C maj. |
Organ | 15: 276 | IV/6: 40 | 00646 | |
| 569 | 7. | 1703–c.1704 | Prelude | A min. | Organ | 38: 89 | IV/6: 59 | 00649 | |
| 1121 | 7. | c.1708–1709 | Fantasia | C min. | Organ | IV/11: 54 | in Andreas-Bach-Buch; was Anh. 205 | 01516 | |
| 570 | 7. | c.1698–1704 | Fantasia | C maj. | Organ | 38: 62 | IV/6: 16 | in Andreas-Bach-Buch | 00650 |
| 572 | 7. | 1708–c.1712 | Fantasia, a.k.a. Pièce d'Orgue (+reworked version) | G maj. | Organ | 38: 75 | IV/7: 130, 144 | 00652 | |
| 573 | 7. | c.1723–1724 | Notebook A. M. Bach (1722) No. 6 Fantasia (incomplete?) | C maj. | Keyboard | 38: 209 432: 3 |
V/4: 39 IV/6: 18 |
00653 | |
| 574 | 7. | after c.1708? | Fugue on a theme by Legrenzi | C min. | Organ | 38: 94 | IV/6: 19 | after BWV 574b; ↔ 574a | 00654 |
| 574a | 7. | after c.1708? | Fugue on a theme by Legrenzi (variant) | C min. | Organ | 38: 205 | IV/6: 82 | after BWV 574b; ↔ 574 | 00655 |
| 574b | 7. | c.1707–1713 or earlier | Fugue on a theme by Legrenzi (early version) | C min. | Organ | IV/6: 88 | after Legrenzi (theme); → BWV 574a, 574; in Andreas-Bach-Buch | 00656 | |
| 575 | 7. | 1708–1717? | Fugue | C min. | Organ | 38: 101 | IV/6: 26 | 00657 | |
| 578 | 7. | c.1713 or earlier | Fugue ("Little") | G min. | Organ | 38: 116 | IV/6: 55 | in Andreas-Bach-Buch | 00660 |
| 579 | 7. | c.1703–1707 | Fugue on a theme by Corelli | B min. | Organ | 38: 121 | IV/6: 71 | after Corelli (theme) | 00661 |
| 582 | 7. | c.1709–1710 | Passacaglia (and Fugue) | C min. | Organ | 15: 289 | IV/7: 98 | in Andreas-Bach-Buch | 00664 |
| 583 | 7. | c.1708–1717 | Trio | D min. | Organ | 38: 143 | IV/7: 94 | 00665 | |
| 585 | 7. | c.1726–1727 (JSB) | Trio | C min. | Organ | 38: 219 | IV/8: 73 | after Fasch J. F., FaWV N:c2/1, /2; arr. by Bach | 00667 |
| 586 | 7. | bef. c.1740 | Trio | G maj. | Organ | IV/8: 78 | after Telemann? | 00668 | |
| 587 | 7. | c.1714? | Aria | F maj. | Organ | 38: 222 | IV/8: 82 | after Couperin, Les NationsIII/4 | 00669 |
| 588 | 7. | c.1703–1707 | Canzona | D min. | Organ | 38: 126 | IV/7: 118 | in Möllersche Handschrift | 00670 |
| 589 | 7. | bef. c.1742 | Alla breve | D maj. | Organ | 38: 131 | IV/7: 114 | 00671 | |
| 590 | 7. | c.1723–1727 or later | Pastorella (/1 incomplete?) | F maj. | Organ | 38: 135 | IV/7: 122 | 00672 | |
| 592 | 7. | c.1714–1717 | Concerto for solo organ | G maj. | Organ | 38: 149 | IV/8: 56 | after J. E. of Saxe-Weimar, Concerto a 8; → BWV 592a | 00674 |
| 592a | 7. | c.1714–1717 | Concerto for solo harpsichord | G maj. | Keyboard | 42: 282 | V/11: 150 | after BWV 592 | 00675 |
| 593 | 7. | c.1714–1717 | Concerto for solo organ | A min. | Organ | 38: 158 | IV/8: 16 | after Vivaldi, Op. 3 No. 8 (RV 522) | 00676 |
| 594 | 7. | c.1714–1717 | Concerto for solo organ | C maj. | Organ | 38: 171 | IV/8: 30 | after Vivaldi, RV 208, Grosso Mogul | 00677 |
| 595 | 7. | c.1714–1717 | Concerto for solo organ | C maj. | Organ | 38: 196 | IV/8: 65 | after BWV 984/1 | 00678 |
| 596 | 7. | c.1714–1717 | Concerto for solo organ (arrangement previously attributed to W. F. Bach) | D min. | Organ | IV/8: 3 | after Vivaldi, Op. 3 No. 11 (RV 565) | 00679 | |
| 599 | 7. | c.1711–1713 | chorale setting "Nun komm, der Heiden Heiland" (Orgelbüchlein No. 1) | A min. | Organ | 252: 3 | IV/1: 3 | after Z 1174 | 00682 |
| 600 | 7. | c.1711–1713 | chorale setting "Gott durch deine Güte" (Orgelbüchlein No. 2) | F maj. | Organ | 252: 4 | IV/1: 4 | after Z 3294 | 00683 |
| chorale setting "Gottes Sohn ist kommen" (Orgelbüchlein No. 2) | |||||||||
| 601 | 7. | c.1708–1711 or earlier | chorale setting "Herr Christ, der ein'ge Gottes Sohn" (Orgelbüchlein No. 3; also in Neumeister Collection) | A maj. | Organ | 252: 5 | IV/1: 6 | after Z 4297a | 00684 |
| chorale setting "Herr Gott, nun sei gepreiset" (Orgelbüchlein No. 3; also in Neumeister Collection) | |||||||||
| 602 | 7. | c.1711–1713 | chorale setting "Lob sei dem allmächtigen Gott" (Orgelbüchlein No. 4) | D min. | Organ | 252: 6 | IV/1: 7 | after Z 339 | 00685 |
| 603 | 7. | c.1711–1713 | chorale setting "Puer natus in Bethlehem" (Orgelbüchlein No. 5) | G min. | Organ | 252: 6 | IV/1: 8 | after Z 192b | 00686 |
| 604 | 7. | c.1711–1713 | chorale setting "Gelobet seist du, Jesu Christ" (Orgelbüchlein No. 6) | G maj. | Organ | 252: 7 | IV/1: 11 | after Z 1947 | 00687 |
| 605 | 7. | c.1711–1713 | chorale setting "Der Tag, der ist so freudenreich" (Orgelbüchlein No. 7) | G maj. | Organ | 252: 8 | IV/1: 11 | after Z 7870 | 00688 |
| 606 | 7. | c.1708–1711 or earlier | chorale setting "Vom Himmel hoch, da komm ich her" (Orgelbüchlein No. 8) | D maj. | Organ | 252: 9 | IV/1: 13 | after Z 346 | 00689 |
| 607 | 7. | c.1711–1713 | chorale setting "Vom Himmel kam der Engel Schar" (Orgelbüchlein No. 9) | G min. | Organ | 252: 10 | IV/1: 14 | after Z 192a | 00690 |
| 608 | 7. | c.1711–1713 | chorale setting "In dulci jubilo" (Orgelbüchlein No. 10) | A maj. | Organ | 252: 12 | IV/1: 16 | after Z 4947 | 00691 |
| 609 | 7. | c.1711–1713 | chorale setting "Lobt Gott, ihr Christen allzugleich" (Orgelbüchlein No. 11) | G maj. | Organ | 252: 13 | IV/1: 18 | after Z 198 | 00692 |
| 610 | 7. | c.1711–1713 | chorale setting "Jesu, meine Freude" (Orgelbüchlein No. 12) | C min. | Organ | 252: 14 | IV/1: 19 | after Z 8032 | 00693 |
| 611 | 7. | c.1714–1716 | chorale setting "Christum wir sollen loben schon" (Orgelbüchlein No. 13) | E min. | Organ | 252: 15 | IV/1: 20 | after Z 297c | 00694 |
| 612 | 7. | c.1711–1713 | chorale setting "Wir Christenleut" (Orgelbüchlein No. 14) | G min. | Organ | 252: 16 | IV/1: 22 | after Z 2072 | 00695 |
| 613 | 7. | c.1740 | chorale setting "Helft mir Gotts Güte preisen" (Orgelbüchlein No. 15) | B min. | Organ | 252: 18 | IV/1: 24 | after Z 5267 | 00696 |
| 614 | 7. | c.1711–1713 | chorale setting "Das alte Jahr vergangen ist" (Orgelbüchlein No. 16) | A min. | Organ | 252: 19 | IV/1: 25 | after Z 381c | 00697 |
| 615 | 7. | c.1708–1711 | chorale setting "In dir ist Freude" (Orgelbüchlein No. 17) | G maj. | Organ | 252: 20 | IV/1: 27 | after Z 8537 | 00698 |
| 616 | 7. | c.1714–1716 | chorale setting "Mit Fried und Freud ich fahr dahin" (Orgelbüchlein No. 18) | D min. | Organ | 252: 24 | IV/1: 30 | after Z 3986 | 00699 |
| 617 | 7. | c.1714–1716 | chorale setting "Herr Gott, nun schleuß den Himmel auf" (Orgelbüchlein No. 19) | A min. | Organ | 252: 26 | IV/1: 32 | after Z 7641b | 00700 |
| 618 | 7. | c.1714–1716 | chorale setting "O Lamm Gottes, unschuldig" (Orgelbüchlein No. 20) | F maj. | Organ | 252: 28 | IV/1: 34 | after Z 4361a | 00701 |
| 619 | 7. | c.1714–1716 | chorale setting "Christe, du Lamm Gottes" (Orgelbüchlein No. 21) | F maj. | Organ | 252: 30 | IV/1: 36 | after Z 58 | 00702 |
| 620 | 7. | c.1726 | chorale setting "Christus, der uns selig macht" (Orgelbüchlein No. 22) | A min. | Organ | 252: 30 | IV/1: 37 | after BWV 620a | 00703 |
| 620a | 7. | c.1714–1716 | chorale setting "Christus, der uns selig macht" (Orgelbüchlein No. 22, e. v.) | A min. | Organ | 252: 149 | IV/1: 78 | after Z 6283b; → BWV 620 | 00704 |
| 621 | 7. | c.1711–1713 | chorale setting "Da Jesus an dem Kreuze stund" (Orgelbüchlein No. 23) | A min. | Organ | 252: 32 | IV/1: 39 | after Z 1706 | 00705 |
| 622 | 7. | c.1711–1713 | chorale setting "O Mensch, bewein dein Sünde groß" (Orgelbüchlein No. 24) | E♭ maj. | Organ | 252: 33 | IV/1: 40 | after Z 8303; → BWV 622 (var.) | 00706 |
| 622 (var.) | 7. | 1716–1789 | chorale setting "O Mensch, bewein dein Sünde groß" (variant) | Organ | after BWV 622 | 00707 | |||
| 623 | 7. | c.1714–1716 | chorale setting "Wir danken dir, Herr Jesu Christ" (Orgelbüchlein No. 25) | G maj. | Organ | 252: 35 | IV/1: 42 | after Z 423 | 00708 |
| 624 | 7. | c.1714–1716 | chorale setting "Hilf Gott, dass mir's gelinge" (Orgelbüchlein No. 26) | G min. | Organ | 252: 36 | IV/1: 44 | after Z 4329 | 00709 |
| 625 | 7. | c.1708–1711 or earlier | chorale setting "Christ lag in Todesbanden" (Orgelbüchlein No. 27) | D min. | Organ | 252: 38 | IV/1: 46 | after Z 7012a | 00710 |
| 626 | 7. | c.1711–1713 | chorale setting "Jesus Christus, unser Heiland, der den Tod überwand" (Orgelbüchlein No. 28) | A min. | Organ | 252: 39 | IV/1: 48 | after Z 1978 | 00711 |
| 627 | 7. | c.1711–1713 | chorale setting "Christ ist erstanden" (Orgelbüchlein No. 29) | D min. | Organ | 252: 40 | IV/1: 49 | after Z 8584 | 00712 |
| 628 | 7. | c.1711–1713 | chorale setting "Erstanden ist der heilge Christ" (Orgelbüchlein No. 30) | D maj. | Organ | 252: 44 | IV/1: 54 | after Z 1747a | 00713 |
| 629 | 7. | c.1711–1713 | chorale setting "Erschienen ist der herrliche Tag" (Orgelbüchlein No. 31) | D min. | Organ | 252: 45 | IV/1: 55 | after Z 1743 | 00714 |
| 630 | 7. | c.1708–1711 or earlier | chorale setting "Heut triumphieret Gottes Sohn" (Orgelbüchlein No. 32) | D min. | Organ | 252: 46 | IV/1: 56 | after BWV 630a | 00715 |
| 630a | 7. | c.1708–1711 or earlier | chorale setting "Heut triumphieret Gottes Sohn" (Orgelbüchlein No. 32, e. v.) | Organ | IV/1: 80 | after Z 2585; → BWV 630 | 00716 | ||
| 631 | 7. | c.1726 | chorale setting "Komm, Gott Schöpfer, heiliger Geist" (Orgelbüchlein No. 33) | D min. | Organ | 252: 47 | IV/1: 58 | after BWV 631a | 00717 |
| 631a | 7. | c.1711–1713 | chorale setting "Komm, Gott Schöpfer, heiliger Geist" (Orgelbüchlein No. 33, e. v.) | G maj. | Organ | 252: 150 | IV/1: 82 | after Z 295; → BWV 631 | 00718 |
| 632 | 7. | c.1711–1713 | chorale setting "Herr Jesu Christ, dich zu uns wend" (Orgelbüchlein No. 34) | F maj. | Organ | 252: 48 | IV/1: 59 | after Z 624 | 00719 |
| 633 | 7. | c.1711–1713 | chorale setting "Liebster Jesu, wir sind hier" distinctus (Orgelbüchlein No. 36) | A maj. | Organ | 252: 49 | IV/1: 61 | after BWV 634 | 00720 |
| 634 | 7. | c.1711–1713 | chorale setting "Liebster Jesu, wir sind hier" (Orgelbüchlein No. 35) | A maj. | Organ | 252: 50 | IV/1: 60 | after Z 3498b; → BWV 633 | 00721 |
| 635 | 7. | c.1711–1713 | chorale setting "Dies sind die heilgen zehn Gebot" (Orgelbüchlein No. 37) | C maj. | Organ | 252: 50 | IV/1: 62 | after Z 1951 | 00722 |
| 636 | 7. | c.1711–1713 | chorale setting "Vater unser im Himmelreich" (Orgelbüchlein No. 38) | D min. | Organ | 252: 52 | IV/1: 64 | after Z 2561 | 00723 |
| 637 | 7. | c.1711–1713 | chorale setting "Durch Adams Fall ist ganz verderbt" (Orgelbüchlein No. 39) | A min. | Organ | 252: 53 | IV/1: 65 | after Z 7549 | 00724 |
| 638 | 7. | c.1708–1711 or earlier | chorale setting "Es ist das Heil uns kommen her" (Orgelbüchlein No. 40) | D maj. | Organ | 252: 54 | IV/1: 66 | after BWV 638a | 00725 |
| 638a | 7. | c.1708–1711 or earlier | chorale setting "Es ist das Heil uns kommen her" (Orgelbüchlein No. 40, e. v.) | Organ | IV/1: 83 | after Z 4430; → BWV 638 | 00726 | ||
| 639 | 7. | c.1708–1711 or earlier | chorale setting "Ich ruf zu dir, Herr Jesu Christ" (Orgelbüchlein No. 41; also in Neumeister Collection) | F min. | Organ | 252: 55 | IV/1: 68 | after Z 7400; → BWV Anh. 73 | 00727 |
| 640 | 7. | c.1711–1713 | chorale setting "In dich hab ich gehoffet, Herr" (Orgelbüchlein No. 42) | E min. | Organ | 252: 56 | IV/1: 70 | after Z 2459 | 00728 |
| 641 | 7. | c.1711–1713 | chorale setting "Wenn wir in höchsten Nöten sein" (Orgelbüchlein No. 43) | G maj. | Organ | 252: 57 | IV/1: 71 | after Z 394 | 00729 |
| 642 | 7. | c.1711–1713 | chorale setting "Wer nur den lieben Gott lässt walten" (Orgelbüchlein No. 44) | A min. | Organ | 252: 58 | IV/1: 72 | after Z 2778 | 00730 |
| 643 | 7. | c.1711–1713 | chorale setting "Alle Menschen müssen sterben" (Orgelbüchlein No. 45) | G maj. | Organ | 252: 59 | IV/1: 74 | after Z 6779a | 00731 |
| 644 | 7. | c.1711–1713 | chorale setting "Ach wie nichtig, ach wie flüchtig" (Orgelbüchlein No. 46) | G min. | Organ | 252: 60 | IV/1: 75 | after Z 1887b | 00732 |
| 645 | 7. | 1747–1748 | chorale setting "Wachet auf, ruft uns die Stimme" (Schübler Chorales No. 1) | E♭ maj. | Organ | 252: 63 | IV/1: 86 | after BWV 140/4 | 00733 |
| 646 | 7. | 1747–1748 | chorale setting "Wo soll ich fliehen hin" (Schübler Chorales No. 2) | E min. | Organ | 252: 66 | IV/1: 90 | after Z 2164 | 00734 |
| chorale setting "Auf meinen lieben Gott" (Schübler Chorales No. 2) | |||||||||
| 647 | 7. | 1747–1748 | chorale setting "Wer nur den lieben Gott lässt walten" (Schübler Chorales No. 3) | C min. | Organ | 252: 68 | IV/1: 92 | after BWV 93/4 | 00735 |
| 648 | 7. | 1747–1748 | chorale setting "Meine Seele erhebt den Herren" (Schübler Chorales No. 4) | D min. | Organ | 252: 70 | IV/1: 94 | after BWV 10/5 | 00736 |
| 649 | 7. | 1747–1748 | chorale setting "Ach bleib bei uns, Herr Jesu Christ" (Schübler Chorales No. 5) | B♭ maj. | Organ | 252: 71 | IV/1: 95 | after BWV 6/3 | 00737 |
| 650 | 7. | 1747–1748 | chorale setting "Kommst du nun, Jesu, vom Himmel herunter" (Schübler Chorales No. 6) | G maj. | Organ | 252: 74 | IV/1: 98 | after BWV 137/2 | 00738 |
| 651 | 7. | c.1740 | chorale setting "Komm, heiliger Geist" (Fantasia; Leipzig Chorales 1/18) | F maj. | Organ | 252: 79 | IV/2: 3 | after BWV 651a | 00739 |
| 651a | 7. | 1708–1714 | chorale setting "Komm, heiliger Geist, Herre Gott" (Fantasia; e. v.: Weimar) | Organ | 252: 151 | IV/2: 117 | after Z 7445a; → BWV 651 | 00740 | |
| 652 | 7. | c.1740 | chorale setting "Komm, heiliger Geist, Herre Gott" (alio modo; Leipzig Chorales 2/18) | G maj. | Organ | 252: 86 | IV/2: 13 | after BWV 652a | 00741 |
| 652a | 7. | 1708–1714 | chorale setting "Komm, heiliger Geist, Herre Gott" (e. v.: Weimar) | Organ | IV/2: 121 | after Z 7445a; → BWV 652 | 00742 | ||
| 653 | 7. | c.1740 | chorale setting "An Wasserflüssen Babylon" (Leipzig Chorales 3/18) | G maj. | Organ | 252: 92 | IV/2: 22 | after BWV 653a | 00743 |
| 653a | 7. | 1708–1717 | chorale setting "An Wasserflüssen Babylon" (alio modo; 2nd v.: Weimar) | Organ | 252: 157 | IV/2: 133 | after BWV 653b; → BWV 653 | 00744 | |
| 653b | 7. | 1708–1714 | chorale setting "An Wasserflüssen Babylon" (à 5; 1st v.: Weimar) | Organ | 40: 49 | IV/2: 130 | after Z 7663; → BWV 653a | 00745 | |
| 654 | 7. | c.1740 | chorale setting "Schmücke dich, o liebe Seele" (Leipzig Chorales 4/18) | E♭ maj. | Organ | 252: 95 | IV/2: 26 | after BWV 654a | 00746 |
| 654a | 7. | 1708–1714 | chorale setting "Schmücke dich, o liebe Seele" (e. v.: Weimar) | Organ | IV/2: 136 | after Z 6923; → BWV 654 | 00747 | ||
| 655 | 7. | c.1740 | chorale setting "Herr Jesu Christ, dich zu uns wend" (Trio; Leipzig Chorales 5/18) | G maj. | Organ | 252: 98 | IV/2: 31 | after BWV 655a; ↔ 655 var. 1–4; → 655b–c | 00748 |
| 655 var. 1 | 7. | 1708–1798 | chorale setting "Herr Jesu Christ, dich zu uns wend" (variant 1) | Organ | after Z 624; ↔ BWV 655(a), var. 2–4 | 00749 | |||
| 655 var. 2 | 7. | 1708–1798 | chorale setting "Herr Jesu Christ, dich zu uns wend" (variant 2) | F maj. | Organ | after Z 624; ↔ BWV 655(a), var. 1, 3–4 | 00750 | ||
| 655 var. 3 | 7. | 1708–1798 | chorale setting "Herr Jesu Christ, dich zu uns wend" (variant 3) | F maj. | Organ | after Z 624; ↔ BWV 655(a), var. 1–2, 4 | 00751 | ||
| 655 var. 4 | 7. | 1708–1798 | chorale setting "Herr Jesu Christ, dich zu uns wend" (variant 4) | F maj. | Organ | after Z 624; ↔ BWV 655(a), var. 1–3 | 00752 | ||
| 655a | 7. | 1708–1714 | chorale setting "Herr Jesu Christ, dich zu uns wend" (Trio; e. v.: Weimar) | Organ | 252: 162 | IV/2: 140 | after Z 624; ↔ BWV 655 var. 1–4; → 655 | 00753 | |
| 656 | 7. | c.1740 | chorale setting "O Lamm Gottes, unschuldig" (Leipzig Chorales 6/18) | A maj. | Organ | 252: 102 | IV/2: 38 | after BWV 656a | 00756 |
| 656a | 7. | 1708–1714 | chorale setting "O Lamm Gottes, unschuldig" (e. v.: Weimar) | Organ | 252: 166 | IV/2: 146 | after Z 4361b; → BWV 656 | 00757 | |
| 657 | 7. | 1708–1714 | Chorale prelude Nun danket alle Gott (Leipzig Chorales 7/18) | G maj. | Organ | 252: 108 | IV/2: 46 | after Z 5142 | 00758 |
| 658 | 7. | c.1740 | chorale setting "Von Gott will ich nicht lassen" (Leipzig Chorales 8/18) | F min. | Organ | 252: 112 | IV/2: 51 | after BWV 658a | 00759 |
| 658a | 7. | 1708–1714 | chorale setting "Von Gott will ich nicht lassen" (Fantasia; e. v.: Weimar) | Organ | 252: 170 | IV/2: 154 | after Z 5264b → BWV 658 | 00760 | |
| 659 | 7. | c.1740 | chorale setting "Nun komm, der Heiden Heiland" (Leipzig Chorales 9/18) | G min. | Organ | 252: 114 | IV/2: 55 | after BWV 659a | 00761 |
| 659a | 7. | 1708–1714 | chorale setting "Nun komm, der Heiden Heiland" (Fantasia; e. v.: Weimar) | Organ | 252: 172 | IV/2: 157 | after Z 1174; → BWV 659 | 00762 | |
| 660 | 7. | c.1740 | chorale setting "Nun komm, der Heiden Heiland" (Trio; Leipzig Chorales 10/18) | G min. | Organ | 252: 116 | IV/2: 59 | after BWV 660a | 00763 |
| 660a | 7. | 1714–1717 | chorale setting "Nun komm, der Heiden Heiland" (Trio; e. v.: Weimar) | Organ | 252: 174 | IV/2: 160 | after Z 1174; → BWV 660, 660b | 00764 | |
| 660b | 7. | 1708–1714 | chorale setting "Nun komm, der Heiden Heiland" (arrangement) | Organ | 252: 176 | by Krebs, J. T. (arr.)?; after BWV 660a | 00765 | ||
| 661 | 7. | c.1740 | chorale setting "Nun komm, der Heiden Heiland" (Leipzig Chorales 11/18) | G min. | Organ | 252: 118 | IV/2: 62 | after BWV 661a | 00766 |
| 661a | 7. | 1708–1714 | chorale setting "Nun komm, der Heiden Heiland" (e. v.: Weimar) | Organ | 252: 178 | IV/2: 164 | after Z 1174; → BWV 661 | 00767 | |
| 662 | 7. | c.1740 | chorale setting "Allein Gott in der Höh sei Ehr" (Leipzig Chorales 12/18) | A maj. | Organ | 252: 122 | IV/2: 67 | after BWV 662a | 00768 |
| 662a | 7. | 1708–1717 | chorale setting "Allein Gott in der Höh sei Ehr" (e. v.: Weimar) | Organ | IV/2: 168 | after Z 4457; → BWV 662 | 00769 | ||
| 663 | 7. | c.1740 | chorale setting "Allein Gott in der Höh sei Ehr" (Leipzig Chorales 13/18) | G maj. | Organ | 252: 125 | IV/2: 72 | after BWV 663a | 00770 |
| 663a | 7. | 1708–1717 | chorale setting "Allein Gott in der Höh sei Ehr" (e. v.: Weimar) | Organ | 252: 180 | IV/2: 172 | after Z 4457; → BWV 663 | 00771 | |
| 664 | 7. | 1746–1747 | chorale setting "Allein Gott in der Höh sei Ehr" (Trio; Leipzig Chorales 14/18) | A maj. | Organ | 252: 130 | IV/2: 79 | after BWV 664a–b | 00772 |
| 664a | 7. | 1708–1717 | chorale setting "Allein Gott in der Höh sei Ehr" (Trio; e. v.: Weimar; fair copy) | Organ | 252: 183 | IV/2 | after BWV 664b; → BWV 664 | 00773 | |
| 664b | 7. | 1708–1717 | chorale setting "Allein Gott in der Höh sei Ehr" (Trio; e. v.: Weimar; sketch) | Organ | IV/2: 179 | after Z 4457; → BWV 664(a) | 00774 | ||
| 665 | 7. | 1746–1747 | chorale setting "Jesus Christus, unser Heiland" (Leipzig Chorales 15/18) | E min. | Organ | 252: 136 | IV/2: 87 | after BWV 665a | 00775 |
| 665a | 7. | 1708–1714 | chorale setting "Jesus Christus, unser Heiland" (e. v.: Weimar) | Organ | 252: 188 | IV/2: 187 | after Z 1576; → BWV 665 | 00776 | |
| 666 | 7. | 1708–1748 | chorale setting "Jesus Christus, unser Heiland" (alio modo; Leipzig Chorales 16/18) | E min. | Organ | 252: 140 | IV/2: 91 | after BWV 666a | 00777 |
| 666a | 7. | 1708–1714 | chorale setting "Jesus Christus, unser Heiland" (alio modo; e. v.: Weimar) | Organ | IV/2: 191 | after Z 1576; → BWV 666 | 00778 | ||
| 667 | 7. | 1747–1748 | chorale setting "Komm, Gott Schöpfer, heiliger Geist" (Leipzig Chorales 17/18) | C maj. | Organ | 252: 142 | IV/2: 94 | after BWV 667a | 00779 |
| 667a | 7. | 1708–1717 | chorale setting "Komm, Gott Schöpfer, heiliger Geist" (e. v.: Weimar) | Organ | IV/2 | after BWV 667b; → BWV 667 | 00780 | ||
| 667b | 7. | 1708–1717 | chorale setting "Komm, Gott Schöpfer, heiliger Geist" (e. v.: Weimar; sketch) | Organ | IV/2: 194 | after Z 295; → BWV 667(a) | 00781 | ||
| 668 | 7. | 1747–1748 | chorale setting "Vor deinen Thron tret ich hiermit" (fragment; Leipzig Chorales 18/18) | G maj. | Organ | 252: 145 | IV/2: 113 | after BWV 668a | 00782 |
| 668a | 7. | 1708–1748 | chorale setting "Wenn wir in höchsten Nöten" (e. v.) | Organ | IV/2: 212 | after Z 394; → BWV 668 | 00783 | ||
| 669 | 7. | 1739 | chorale setting "Kyrie, Gott Vater in Ewigkeit" from Clavier-Übung III | Organ | 3: 184 | IV/4: 16 | after Z 8600 | 00784 | |
| 670 | 7. | 1739 | chorale setting "Christe, aller Welt Trost" from Clavier-Übung III | Organ | 3: 186 | IV/4: 18 | after Z 8600 | 00785 | |
| 671 | 7. | 1739 | chorale setting "Kyrie, Gott heiliger Geist" from Clavier-Übung III | Organ | 3: 190 | IV/4: 20 | after Z 8600 | 00786 | |
| 672 | 7. | 1739 | chorale setting "Kyrie, Gott Vater in Ewigkeit" from Clavier-Übung III | Org/man. | 3: 194 | IV/4: 27 | after Z 8600 | 00787 | |
| 673 | 7. | 1739 | chorale setting "Christe, aller Welt Trost" from Clavier-Übung III | Org/man. | 3: 194 | IV/4: 28 | after Z 8600 | 00788 | |
| 674 | 7. | 1739 | chorale setting "Kyrie, Gott heiliger Geist" from Clavier-Übung III | Org/man. | 3: 196 | IV/4: 29 | after Z 8600 | 00789 | |
| 675 | 7. | 1739 | chorale setting "Allein Gott in der Höh sei Ehr" from Clavier-Übung III | Organ | 3: 197 | IV/4: 30 | after Z 4457 | 00790 | |
| 676 | 7. | 1739 | chorale setting "Allein Gott in der Höh sei Ehr" from Clavier-Übung III | Organ | 3: 199 | IV/4: 33 | after Z 4457; → BWV 676a | 00791 | |
| 677 | 7. | 1739 | chorale setting "Allein Gott in der Höh sei Ehr" (Fughetta) from Clavier-Übung III | Org/man. | 3: 205 | IV/4: 41 | after Z 4457 | 00793 | |
| 678 | 7. | 1739 | chorale setting "Dies sind die heiligen zehen Gebot" from Clavier-Übung III | Organ | 3: 206 | IV/4: 42 | after Z 1951 | 00794 | |
| 679 | 7. | 1739 | chorale setting "Dies sind die heiligen zehen Gebot" (Fughetta) from Clavier-Übung III | Org/man. | 3: 210 | IV/4: 49 | after Z 1951 | 00795 | |
| 680 | 7. | 1739 | chorale setting "Wir gläuben all an einen Gott" from Clavier-Übung III | Organ | 3: 212 | IV/4: 52 | after Z 7971 | 00796 | |
| 681 | 7. | 1739 | chorale setting "Wir gläuben all an einen Gott" (Fughetta) from Clavier-Übung III | Org/man. | 3: 216 | IV/4: 57 | after Z 7971 | 00797 | |
| 682 | 7. | 1739 | chorale setting "Vater unser im Himmelreich" from Clavier-Übung III | Organ | 3: 217 | IV/4: 58 | after Z 2561 | 00798 | |
| 683 | 7. | 1739 | chorale setting "Vater unser im Himmelreich" from Clavier-Übung III | Org/man. | 3: 223 | IV/4: 66 | after Z 2561; → BWV 683a | 00799 | |
| 684 | 7. | 1739 | chorale setting "Christ unser Herr zum Jordan kam" from Clavier-Übung III | Organ | 3: 224 | IV/4: 68 | after Z 7246 | 00801 | |
| 685 | 7. | 1739 | chorale setting "Christ unser Herr zum Jordan kam" from Clavier-Übung III | Org/man. | 3: 228 | IV/4: 73 | after Z 7246 | 00802 | |
| 686 | 7. | 1739 | chorale setting "Aus tiefer Not schrei ich zu dir" from Clavier-Übung III | Organ | 3: 229 | IV/4: 74 | after Z 4437 | 00803 | |
| 687 | 7. | 1739 | chorale setting "Aus tiefer Not schrei ich zu dir" from Clavier-Übung III | Org/man. | 3: 232 | IV/4: 78 | after Z 4437 | 00804 | |
| 688 | 7. | 1739 | chorale setting "Jesus Christus, unser Heiland, der von uns den Zorn Gottes wandt" from Clavier-Übung III | Organ | 3: 234 | IV/4: 81 | after Z 1576 | 00805 | |
| 689 | 7. | 1739 | chorale setting "Jesus Christus, unser Heiland, der von uns den Zorn Gottes wandt" (Fugue) from Clavier-Übung III | Org/man. | 3: 239 | IV/4: 89 | after Z 1576 | 00806 | |
| 690 | 7. | c.1700–1717 | chorale setting "Wer nur den lieben Gott lässt walten" (Kirnberger collection No. 1) | Organ | 40: 3 | IV/3: 98 | after Z 2778 | 00807 | |
| 691 | 7. | c.1720 or earlier | Notebook A. M. Bach (1725) No. 11 chorale setting "Wer nur den lieben Gott lässt walten" (WFB No. 3; Kirnb. coll. No. 2) | Organ | 40: 4 432: 30 451: 214 |
V/5: 6 V/4: 90 IV/3: 98 |
after Z 2778; → BWV 691a | 00808 | |
| 694 | 7. | c.1700–1717 | chorale setting "Wo soll ich fliehen hin" (Kirnb. coll. No. 5) | Organ | 40: 6 | IV/3: 103 | after Z 2164 | 00813 | |
| 695 | 7. | c.1700–1717 | chorale setting "Christ lag in Todesbanden" (Fantasia; Kirnb. coll. No. 6) | Organ | 40: 10 | IV/3: 20 | after Z 7012a; → BWV 695a | 00814 | |
| 695a | 7. | 1700–1789 | chorale setting "Christ lag in Todesbanden" (variant) | Organ | 40: 153 | after BWV 695 | 00815 | ||
| 696 | 7. | c.1700–1717 | chorale setting "Christum wir sollen loben schon" (Fughetta; Kirnb. coll. No. 7) | Organ | 40: 13 | IV/3: 23 | after Z 297c | 00816 | |
| chorale setting "Was fürchtest du Feind, Herodes, sehr" (Fughetta; Kirnb. coll. No. 7) | |||||||||
| 697 | 7. | c.1700–1717 | chorale setting "Gelobet seist du, Jesu Christ" (Fughetta; Kirnb. coll. No. 8) | Organ | 40: 14 | IV/3: 32 | after Z 1947 | 00817 | |
| 698 | 7. | c.1700–1717 | chorale setting "Herr Christ, der ein'ge Gottes Sohn" (Fughetta; Kirnb. coll. No. 9) | Organ | 40: 15 | IV/3: 35 | after Z 4297a | 00818 | |
| 699 | 7. | c.1700–1717 | chorale setting "Nun komm, der Heiden Heiland" (Fughetta; Kirnb. coll. No. 10) | Organ | 40: 16 | IV/3: 73 | after Z 1174 | 00819 | |
| 700 | 7. | c.1699 | chorale setting "Vom Himmel hoch da komm ich her" (Kirnb. coll. No. 11) | Organ | 40: 17 | IV/3: 92 | after Z 346 | 00820 | |
| 701 | 7. | c.1700–1717 | chorale setting "Vom Himmel hoch da komm ich her" (Fughetta; Kirnb. coll. No. 12) | Organ | 40: 19 | IV/3: 96 | after Z 346 | 00821 | |
| 702 | 7. | c.1700–1717 | chorale setting "Das Jesulein soll doch mein Trost" (Fughetta; Kirnb. coll. No. 13) | Organ | 40: 20 | IV/3: 45 | after Z 7597 | 00822 | |
| 703 | 7. | c.1700–1717 | chorale setting "Gottes Sohn ist kommen" (Fughetta; Kirnb. coll. No. 14) | Organ | 40: 21 | IV/3: 34 | after Z 3294 | 00823 | |
| 704 | 7. | c.1700–1717 | chorale setting "Lob sei dem allmächtigen Gott" (Fughetta; Kirnb. coll. No. 15) | Organ | 40: 22 | IV/3: 62 | after Z 339 | 00824 | |
| 706/1 706/2 |
7. | c.1700–1717 | chorale setting "Liebster Jesu, wir sind hier" (/2 = alio modo; Kirnb. coll. No. 17) | Organ | 40: 25 | IV/3: 59 | after Z 3498b | 00826 | |
| 707 | 7. | c.1700–1717 | chorale setting "Ich hab mein Sach Gott heimgestellt" (Kirnb. coll. No. 18) | Organ | 40: 26 | IV/10: 87 | after Z 1679 | 00827 | |
| 709 | 7. | c.1700–1717 | chorale setting "Herr Jesu Christ, dich zu uns wend" (Kirnb. coll. No. 20) | Organ | 40: 30 | IV/3: 43 | after Z 624 | 00830 | |
| 710 | 7. | c.1700–1717 | chorale setting "Wir Christenleut habn jetzund Freud" (Kirnb. coll. No. 21) | Organ | 40: 32 | IV/3: 100 | after Z 2072 | 00831 | |
| 711 | 7. | c.1700–1717 | chorale setting "Allein Gott in der Höh sei Ehr" (bicinium; Kirnb. coll. No. 22) | Organ | 40: 34 | IV/3: 11 | after Z 4457 | 00832 | |
| 712 | 7. | c.1708 | chorale setting "In dich hab ich gehoffet, Herr" (Kirnb. coll. No. 23) | Organ | 40: 36 | IV/3: 48 | after Z 2461 | 00833 | |
| 713 | 7. | c.1700–1717 | chorale setting "Jesu, meine Freude" (Kirnb. coll. No. 24) | Org/man. | 40: 38 | IV/3: 54 | after Z 8032; → BWV 713a | 00834 | |
| 713a | 7. | 1700–1789 | chorale setting "Jesu, meine Freude" (Fantasia; variant) | Organ | 40: 155 | IV/10: 93 | after BWV 713 | 00835 | |
| 714 | 7. | 1708–1717 | chorale setting "Ach Gott und Herr" (Neumeister Chorales No. 13) | Organ | 40: 43 | IV/9: 26 IV/3: 3 |
after Z 2050, 2052 | 00836 | |
| 715 | 7. | 1703–1717 | chorale setting "Allein Gott in der Höh sei Ehr" | Organ | 40: 44 | IV/3: 14 | after Z 4457 | 00837 | |
| 717 | 7. | 1708–1717 | chorale setting "Allein Gott in der Höh sei Ehr" | Organ | 40: 46 | IV/3: 8 | after Z 4457 | 00839 | |
| 718 | 7. | 1703–1708 | chorale setting "Christ lag in Todesbanden" | Organ | 40: 52 | IV/3: 16 | after Z 7012a | 00840 | |
| 719 | 7. | c.1704 | chorale setting "Der Tag, der ist so freudenreich" (Neumeister Chorales No. 1) | Organ | 40: 55 | IV/9: 2, 72 | after Z 7870 | 00841 | |
| 720 | 7. | 1709? | chorale setting "Ein feste Burg ist unser Gott" | Organ | 40: 57 | IV/3: 24 | after Z 7377; by Bach, J. Michael? | 00842 | |
| 721 | 7. | c.1703–1707 | chorale setting "Erbarm dich mein, o Herre Gott" | Organ | 40: 60 | IV/3: 28 | after Z 5851 | 00843 | |
| 722 | 7. | 1708–1717 | chorale setting "Gelobet seist du, Jesu Christ" | Organ | 40: 62 | IV/3: 31 | after BWV 722a | 00844 | |
| 722a | 7. | 1709? | chorale setting "Gelobet seist du, Jesu Christ" (sketch) | Organ | 40: 158 | IV/3: 30 | after Z 1947; → BWV 722 | 00845 | |
| 724 | 7. | c. 1699 | chorale setting "Gott durch deine Güte" | Organ | 40: 65 | IV/3: 33 | after Z 3294; in Andreas-Bach-Buch | 00847 | |
| chorale setting "Gottes Sohn ist kommen" | |||||||||
| 725 | 7. | c.1700–1717 | chorale setting "Herr Gott, dich loben wir" | Organ | 40: 66 | IV/3: 36 | after Z 8652 | 00848 | |
| 727 | 7. | 1708–1717 | chorale setting "Herzlich tut mich verlangen" | Organ | 40: 73 | IV/3: 46 | after Z 5385a | 00850 | |
| 728 | 7. | 1722–1723 or earlier | Notebook A. M. Bach (1722) No. 8 chorale setting "Jesus, meine Zuversicht" | Organ | 432: 5 40: 74 |
V/4: 41 IV/3: 58 |
after Z 3432b | 00851 | |
| 729 | 7. | 1708–1717 | chorale setting "In dulci jubilo" | Organ | 40: 74 | IV/3: 52 | after BWV 729a | 00852 | |
| 729a | 7. | 1708–1717 | chorale setting "In dulci jubilo" (sketch) | Organ | 40: 158 | IV/3: 50 | after Z 4947; → BWV 729 | 00853 | |
| 730 | 7. | 1708–1717 | chorale setting "Liebster Jesu, wir sind hier" | Organ | 40: 76 | IV/3: 60 | after Z 3498b | 00854 | |
| 731 | 7. | 1708–1717 | chorale setting "Liebster Jesu, wir sind hier" | Organ | 40: 77 | IV/3: 61 | after Z 3498b | 00855 | |
| 732 | 7. | 1708–1717 | chorale setting "Lobt Gott, ihr Christen, allzugleich" | Organ | 40: 78 | IV/3: 64 | after BWV 732a | 00856 | |
| 732a | 7. | 1708–1717 | chorale setting "Lobt Gott, ihr Christen, allzugleich" (draft) | Organ | 40: 159 | IV/3: 63 | after Z 198; → BWV 732 | 00857 | |
| 733 | 7. | 1708–1717 | chorale setting "Meine Seele erhebt den Herren" (fugue) | Organ | 40: 79 | IV/3: 65 | after Magnificat peregrini toni; by Krebs, J. L.? | 00858 | |
| 734 | 7. | 1708–1717 | chorale setting "Nun freut euch, lieben Christen g'mein" | Organ | 40: 160 | IV/3: 70 | after Z 4429a; → BWV 734a | 00859 | |
| 734a | 7. | 1708–1789 | chorale setting "Es ist gewisslich an der Zeit" | Organ | 40: 84 | IV/10 | after BWV 734; arr. by Scholz? | 00860 | |
| 735 | 7. | c.1700–1717 | chorale setting "Valet will ich dir geben" (Fantasia) | Organ | 40: 86 | IV/3: 77 | after BWV 735a | 00861 | |
| 735a | 7. | c.1706 | chorale setting "Valet will ich dir geben" (early version) | Organ | 40: 161 | IV/3: 81 | after Z 5404a; → BWV 735 | 00862 | |
| 736 | 7. | 1708–1717 or later | chorale setting "Valet will ich dir geben" | Org (V Bc) | 40: 90 | IV/3: 84 | after Z 5404a | 00863 | |
| 737 | 7. | 1703–1707 | chorale setting "Vater unser im Himmelreich" (Neumeister Chorales No. 18) | Organ | 40: 96 | IV/9: 36 IV/3: 90 |
after Z 2561 | 00864 | |
| 738 | 7. | 1708–1717 | chorale setting "Vom Himmel hoch, da komm ich her" | Organ | 40: 97 | IV/3: 94 | after BWV 738a | 00865 | |
| 738a | 7. | 1708–1717 | chorale setting "Vom Himmel hoch, da komm ich her" (sketch) | Organ | 40: 159 | IV/3: 94 | after Z 346; → BWV 738 | 00866 | |
| 739 | 7. | c.1704 | chorale setting "Wie schön leuchtet der Morgenstern" | Organ | 40: 99 | IV/10: 2 | after Z 8359 | 00867 | |
| 741 | 7. | c.1701 | chorale setting "Ach Gott, vom Himmel sieh darein" | Organ | 40: 167 | IV/3: 4 | after Z 4431 | 00869 | |
| 742 | 7. | c.1704 | chorale setting "Ach Herr, mich armen Sünder" (Neumeister Chorales No. 14) | Organ | IV/9: 28 | after Z 5385a | 00870 | ||
| 747 | 7. | 1703–1707 or earlier | chorale setting "Christus, der uns selig macht" | Organ | IV/10: 38 | after Z 6283b | 00875 | ||
| 753 | 7. | c.1720 | chorale setting "Jesu, meine Freude" (unfinished; WFB No. 5) | Organ | 40: 163 451: 214 |
V/5: 8 | after Z 8032 | 00882 | |
| 764 | 7. | c.1704–1705 | chorale setting "Wie schön leuchtet der Morgenstern" | Organ | 40: 164 | IV/10: 6 | after Z 8359 | 00893 | |
| 1085 | 7. | c.1700–1717 | chorale setting "O Lamm Gottes unschuldig" | Organ | IV/3: 76 | after Z 4361 | 01683 | ||
| 1090 | 7. | c.1704 | chorale setting "Wir Christenleut" (Neumeister Chorales No. 2) | Organ | IV/9: 4 | after Z 2072 | 01276 | ||
| 1091 | 7. | c.1699 | chorale setting "Das alte Jahr vergangen ist" (Neumeister Chorales No. 3) | Organ | IV/9: 6 | after Z 381c | 01277 | ||
| 1092 | 7. | c.1701 | chorale setting "Herr Gott, nun schleuß den Himmel auf" (Neumeister Chorales No. 4) | Organ | IV/9: 8 | after Z 7641b | 01278 | ||
| 1093 | 7. | c.1704 | chorale setting "Herzliebster Jesu, was hast du verbrochen" (Neumeister Chorales No. 5) | Organ | IV/9: 10 | after Z 983 | 01279 | ||
| 1094 | 7. | c.1699 | chorale setting "O Jesu, wie ist dein Gestalt" (Neumeister Chorales No. 6) | Organ | IV/9: 12 | after Z 8360 | 01280 | ||
| 1095 | 7. | c.1704 | chorale setting "O Lamm Gottes unschuldig" (Neumeister Chorales No. 7) | Organ | IV/9: 14 | after Z 4361a | 01281 | ||
| 1097 | 7. | c.1699 | chorale setting "Ehre sei dir Christe, der du leidest Not" (Neumeister Chorales No. 9) | Organ | IV/9: 18 | after Z 8187h | 01283 | ||
| 1098 | 7. | c.1704 | chorale setting "Wir glauben all an einen Gott" (Neumeister Chorales No. 10) | Organ | IV/9: 20 | after Z 7971 | 01284 | ||
| 1099 | 7. | c.1701 | chorale setting "Aus tiefer Not schrei ich zu dir" (Neumeister Chorales No. 11) | Organ | IV/9: 22 | after Z 4438 | 01285 | ||
| 1100 | 7. | c.1704 | chorale setting "Allein zu dir, Herr Jesu Christ" (Neumeister Chorales No. 12) | Organ | IV/9: 24 | after Z 7292b | 01286 | ||
| 1101 | 7. | c.1704 | chorale setting "Durch Adams Fall ist ganz verderbt" (Neumeister Chorales No. 15) | Organ | IV/9: 30 | after Z 7549 | 01287 | ||
| 1102 | 7. | c.1706 | chorale setting "Du Friedefürst, Herr Jesu Christ" (Neumeister Chorales No. 16) | Organ | IV/9: 33 | after Z 4373 | 01288 | ||
| 1103 | 7. | 1699–1709 | chorale setting "Erhalt uns Herr, bei deinem Wort" (Neumeister Chorales No. 17) | Organ | IV/9: 35 | after Z 350 | 01289 | ||
| 1104 | 7. | 1699–1709 | chorale setting "Wenn dich Unglück tut greifen an" (Neumeister Chorales No. 19) | Organ | IV/9: 38 | after Z 499 | 01290 | ||
| 1105 | 7. | c.1701 | chorale setting "Jesu, meine Freude" (Neumeister Chorales No. 20) | Organ | IV/9: 39 | after Z 8032 | 01291 | ||
| 1106 | 7. | c.1704 | chorale setting "Gott ist mein Heil, mein Hilf und Trost" (Neumeister Chorales No. 21) | Organ | IV/9: 40 | after Z 4421 | 01292 | ||
| 1107 | 7. | c.1704 | chorale setting "Jesu, meines Lebens Leben" (Neumeister Chorales No. 22) | Organ | IV/9: 42 | after Z 6794 | 01293 | ||
| 1108 | 7. | c.1704 | chorale setting "Als Jesus Christus in der Nacht" (Neumeister Chorales No. 23) | Organ | IV/9: 44 | after Z 258 | 01294 | ||
| 1109 | 7. | 1699–1709 | chorale setting "Ach Gott, tu dich erbarmen" (Neumeister Chorales No. 24) | Organ | IV/9: 46 | after Z 7228c | 01295 | ||
| 1110 | 7. | c.1704 | chorale setting "O Herre Gott, dein göttlich Wort" (Neumeister Chorales No. 25) | Organ | IV/9: 48 | after Z 5690 | 01296 | ||
| 1111 | 7. | c.1701 | chorale setting "Nun lasset uns den Leib begraben" (Neumeister Chorales No. 26) | Organ | IV/9: 50 | after Z 352 | 01297 | ||
| 1112 | 7. | c.1699 | chorale setting "Christus, der ist mein Leben" (Neumeister Chorales No. 27) | Organ | IV/9: 52 | after Z 132 | 01298 | ||
| 1113 | 7. | c.1699 | chorale setting "Ich hab mein Sach Gott heimgestellt" (Neumeister Chorales No. 28) | Organ | IV/9: 54 | after Z 1679 | 01299 | ||
| 1114 | 7. | c.1701 | chorale setting "Herr Jesu Christ, du höchstes Gut" (Neumeister Chorales No. 29) | Organ | IV/9: 56 | after Z 4486 | 01300 | ||
| 1115 | 7. | c.1701 | chorale setting "Herzlich lieb hab ich dich, o Herr" (Neumeister Chorales No. 30) | Organ | IV/9: 58 | after Z 8326 | 01301 | ||
| 1116 | 7. | c.1701 | chorale setting "Was Gott tut, das ist wohlgetan" (Neumeister Chorales No. 31) | Organ | IV/9: 60 | after Z 5629 | 01302 | ||
| 1117 | 7. | c.1701 | chorale setting "Alle Menschen müssen sterben" (Neumeister Chorales No. 32) | Organ | IV/9: 62 | after Z 6779a | 01303 | ||
| 1118 | 7. | c.1701 | chorale setting "Werde munter, mein Gemüte" (Neumeister Chorales No. 34) | Organ | IV/9: 66 | after Z 6551 | 01304 | ||
| 1119 | 7. | c.1699 | chorale setting "Wie nach einer Wasserquelle" (Neumeister Chorales No. 35) | Organ | IV/9: 68 | after Z 1294 | 01305 | ||
| 1120 | 7. | c.1704 | chorale setting "Christ, der du bist der helle Tag" (Neumeister Chorales No. 36) | Organ | IV/9: 70 | after Z 384 | 01306 | ||
| 957 | 7. | c.1701 | chorale setting "Machs mit mir, Gott, nach deiner Güt" (Neumeister Chorales No. 33; a.k.a. Fugue = first half in later arr.) | G maj. | Organ | 42: 203 | IV/9: 64, 74 | after Z 2383 | 01134 |
| 766 | 7. | c.1706 | chorale setting "Christ, der du bist der helle Tag" | Organ | 40: 107 | IV/1: 114 | after Z 384 | 00895 | |
| 767 | 7. | c.1708 | chorale setting "O Gott, du frommer Gott" | Organ | 40: 114 | IV/1: 122 | after Z 5138 | 00896 | |
| 768 | 7. | 1708–1717 or earlier | chorale setting "Sei gegrüßet, Jesu gütig" | Organ | 40: 122 | IV/1: 132, 152 | after Z 3889b | 00897 | |
| 769 | 7. | c.1747–1748 | chorale setting "Vom Himmel hoch da komm ich her'" (canonic variations; print version) | Organ | 40: 137 | IV/2: 197 | after Z 346; → BWV 769a | 00898 | |
| 769a | 7. | c.1747–1748 | chorale setting "Vom Himmel hoch da komm ich her" (canonic variations; autograph) | Organ | IV/2: 98 | after BWV 769 | 00899 | ||
| 770 | 7. | c.1704 | chorale setting "Ach, was soll ich Sünder machen" | Organ | 40: 189 | IV/1: 104 | after Z 3574 | 00900 |
BWV Anhang
[edit]Various lost, doubtful and spurious organ works are included in the BWV Anhang:
- BWV Anh. 42–79
- BWV Anh. 171–178
- BWV Anh. 200, 206, 208, 213
Recordings
[edit]- Bach, Johann Sebastian; Stockmeier, Wolfgang (1997), Das Orgelwerk (20-CD box set), Hamburg: Art & Music, OCLC 163302495
References
[edit]- ^ (BWV2a) Dürr & Kobayashi 1998, pp. 311–355
- ^ The New Bach Edition – Series IV: Organ Works at the Bärenreiter website
- ^ Humphrey, David. Did J.S. Bach Compose the F minor Prelude and Fugue BWV 534? (from "Bach, Handel, Scarlatti 1685–1985"). p. 173.
- ^ Dürr & Kobayashi 1998, p. 314.
- ^ Williams 2003, p. 59.
- ^ Williams 2003, p. 74.
- ^ a b c d e f g h Williams 2003, pp. 141–142
- ^ Williams 2003, p. 145.
- ^ a b Williams 2003, p. 163.
- ^ Williams 2003, p. 176.
- ^ Williams 2003, p. 177.
- ^ Williams 2003, pp. 181–182.
- ^ Williams 2003, p. 190.
- ^ Pedal-Exercitium (fragment) BWV 598 at www
.bach-digital .de - ^ Work 01725 at Bach Digital website
- ^ Work 00897 at Bach Digital website
- ^ Work 00898 at Bach Digital website
- ^ Die Melodien der deutschen evangelischen Kirchenlieder, aus den Quellen geschöpft und mitgeteilt von Johannes Zahn (6 volumes), Verlag Bertelsmann, Gütersloh (1889–93). [further edited by the Gesellschaft zur wissenschaftlichen Edition des deutschen Kirchenlieds. Hildesheim, New York: Georg Olms Verlagsbuchhandlung, 1998. 6 volumes. ISBN 3-487-09319-7]
- ^ BWV2a (1998), pp. 471–481
- ^ Williams 2003, pp. 429–452 "Chorales formerly called 'The Kirnberger Collection' BWV 690–713"
- ^ Work 00809 at Bach Digital website
- ^ Work 00810 at Bach Digital website
- ^ Work 00811 at Bach Digital website
- ^ Work 00812 at Bach Digital website
- ^ Work 00815 at Bach Digital website
- ^ Work 00835 at Bach Digital website
- ^ Blaut & Schulze 2008, p. 21.
- ^ Choralbearbeitung Meine Seele erhebt den Herren (Fuge) BWV 733 at bach-digital
.de - ^ Meine Seele erhebet den Herren, BWV 733: Scores at the International Music Score Library Project
- ^ Work 00868 at Bach Digital website
- ^ Work 00878 at Bach Digital website
- ^ Work 00879 at Bach Digital website
- ^ Work 00881 at Bach Digital website
- ^ Work 00883 at Bach Digital website
- ^ Work 00885 at Bach Digital website
- ^ Work 00888 at Bach Digital website
- ^ Work 00889 at Bach Digital website
- ^ Work 00890 at Bach Digital website
- ^ Work 00891 at Bach Digital website
- ^ Work 00901 at Bach Digital website
- ^ Williams 2003, p. 549.
- ^ Perreault 2004, p. 56.
- ^ "Wo Gott der Herr nicht bei uns hält BWV 1128; BWV Anh. 71; Emans 195". Bach Digital. Leipzig: Bach Archive; et al. 14 February 2019.
- ^ Blaut & Schulze 2008.
- ^ Bach-Gesellschaft Ausgabe, .../Prefaces, .../Thematic Catalogue: documentation and facsimiles at the International Music Score Library Project
- ^ Neue Bach-Ausgabe: documentation at the International Music Score Library Project
Sources
[edit]- Blaut, Stephan; Schulze, Hans-Joachim (2008). ""Wo Gott der Herr nicht bei uns hält" BWV 1128 – Quellenkundliche und stilistische Überlegungen" [Wo Gott der Herr nicht bei uns hält, BWV 1128: source-related and stylistic considerations]. In Wollny, Peter (ed.). Bach-Jahrbuch 2008 [Bach Yearbook 2008]. Bach-Jahrbuch (in German). Vol. 94. Neue Bachgesellschaft. Leipzig: Evangelische Verlagsanstalt. pp. 11–32. doi:10.13141/bjb.v2008. ISBN 978-3-374-02668-5. ISSN 0084-7682 – via Qucosa.
- Dürr, Alfred; Kobayashi, Yoshitake, eds. (1998). Bach Werke Verzeichnis: Kleine Ausgabe – Nach der von Wolfgang Schmieder vorgelegten 2. Ausgabe [Bach Works Catalogue: Small Edition – After Wolfgang Schmieder's 2nd edition] (in German). Kirsten Beißwenger (collaborator) (BWV2a ed.). Wiesbaden: Breitkopf & Härtel. ISBN 9783765102493. Preface in English and German.
- Perreault, Jean M. (2004). Donna K. Fitch (ed.). The Thematic Catalogue of the Musical Works of Johann Pachelbel. Lanham, Maryland: Scarecrow Press. ISBN 0-8108-4970-4.
- Williams, Peter (2003). The Organ Music of J. S. Bach (2nd ed.). Cambridge University Press. ISBN 9780521891158.
Further reading
[edit]- Terry, Charles Sanford (1921). Bach's Chorals – Part III: The Hymns and Hymn Melodies of the Organ Works. Cambridge University Press.
External links
[edit]
Wikimedia Commons has media related to Organ music by Johann Sebastian Bach.
- Organ Works (Bach, Johann Sebastian), Orgelwerke (Bach, Johann Sebastian): Scores at the International Music Score Library Project. Accessed: 09:23, 3 April 2016 (UTC).
- James Kibbie – Bach Organ Works: free downloads of the complete organ works of Johann Sebastian Bach, recorded by James Kibbie on original baroque organs in Germany. Accessed: 09:23, 3 April 2016 (UTC).
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List of organ compositions by Johann Sebastian Bach
View on Grokipediafrom Grokipedia
Johann Sebastian Bach's organ compositions form a cornerstone of his oeuvre, comprising over 250 works including chorale preludes, toccatas, fugues, and trio sonatas, primarily cataloged in the Bach-Werke-Verzeichnis (BWV) under numbers 525–771, with additional pieces in BWV 1090–1120, BWV 1178–1179, and some transcriptions or dubious attributions.[1] These pieces, mostly composed between 1703 and 1717 during Bach's appointments as organist in Arnstadt, Mühlhausen, and Weimar, demonstrate his mastery of counterpoint, improvisation, and the North German organ tradition inherited from predecessors like Dieterich Buxtehude.[2] The corpus is divided into free works—such as the renowned Toccata and Fugue in D minor (BWV 565) and Passacaglia and Fugue in C minor (BWV 582)—and chorale-based settings that elaborate Lutheran hymns in various styles, from simple ornamentations to complex canons.[3] Many were preserved as autographs or copies by Bach's sons and pupils, reflecting their status as pedagogical and performance exemplars in the Baroque era.[4] Scholarly editions, such as Peter Williams's The Organ Music of J. S. Bach (Cambridge University Press, 2003), organize them into categories like sonatas (BWV 525–530), preludes and fugues (BWV 531–552), and miscellaneous forms, highlighting Bach's innovative use of the organ's pedal and manual capabilities.[5] This list not only inventories the extant repertoire but also underscores Bach's influence on subsequent organ composition, with works like the Six Trio Sonatas (BWV 525–530) serving as models for clarity and virtuosity in later centuries.[6] Two additional organ chaconnes, BWV 1178 and BWV 1179, were discovered and added to the BWV catalogue in November 2025.[7]
These sonatas, among Bach's most demanding organ works, require the performer to balance melodic independence across voices while navigating complex rhythms and chromaticism, as noted by music theorist Johann Adolph Scheibe for their "extraordinary artifice."[17] Their fugal finales, such as the spirited Allegro in BWV 525, exemplify Bach's fusion of pedagogical rigor with expressive depth, influencing later organ composers and performers.[16]
Bach's adaptation techniques in these concertos involve reducing the full orchestral ensemble to the organ's resources, typically assigning continuo and bass lines to the pedals, solo melodic lines to the upper manuals (often the Hauptwerk and Rückpositiv), and inner voices to middle manuals for textural variety. He maintained the ritornello structure—alternating tutti refrains with solo episodes—while occasionally altering keys for organ suitability or adding ornamental flourishes to enhance registrational changes. These methods not only facilitated solo performance but also influenced Bach's broader transcription practices across keyboard instruments.[18][48]
The purpose of these transcriptions appears to have been both artistic and commercial, enabling Bach to disseminate selections from his cantata repertory in a format accessible to organists and appealing to a wider audience of musicians and collectors. By choosing movements spanning his early Leipzig years (1724–1731), Bach created a cohesive set that demonstrated his evolving style in chorale settings, with decorated melodies and balanced polyphony that suited the organ's capabilities better than the fuller orchestral originals.[69][70]
Publication history marks this as the first printed collection of Bach's organ music, issued around 1747–1748 under the title Sechs Choräle von verschiedener Art vorzuspielen auf einer Orgel mit 2 Clavieren und Pedal by Johann Georg Schübler, an engraver and possible pupil of Bach based in Zella St. Blasii, Thuringia. Schübler, who had previously assisted with engraving Bach's Musical Offering (BWV 1079) in 1747, likely collaborated closely with the composer, as evidenced by Bach's ownership of a personal copy of the edition. The print's modest engraving quality and regional distribution suggest it was intended for practical use by church organists rather than elite patronage, contributing to the chorales' enduring popularity in the 18th century and beyond.[71][72][73]
Background
Bach's Role as Organist and Composer
Johann Sebastian Bach's professional career as an organist commenced in August 1703 when, at age 18, he was appointed organist at the New Church in Arnstadt, Thuringia. There, he inspected the newly built organ by Johann Friedrich Wender and performed the inaugural recital, showcasing his emerging improvisational prowess on the instrument. His tenure in Arnstadt, lasting until 1707, involved regular church services and private musical activities, during which he deepened his study of organ technique amid occasional conflicts with church authorities over his extended absences, such as a four-month journey to Lübeck to hear Dietrich Buxtehude's improvisations. In June 1707, Bach relocated to Mühlhausen as organist at St. Blasius Church, a position he held briefly until 1708; in this role, he contributed to the renovation of the church's organ and continued to demonstrate his skills through improvisation and early compositional efforts tied to liturgical needs. Bach's most prolific phase as an organ composer unfolded during his Weimar appointment from 1708 to 1717, where he initially served as court organist to Duke Wilhelm Ernst and later advanced to Konzertmeister in 1714. This period provided access to high-quality court organs, enabling him to produce the bulk of his organ repertoire, including intricate preludes, fugues, and chorale-based pieces designed for both performance and teaching. He frequently examined organs beyond Weimar, such as testing the instrument at Halle's Market Church in 1713, an event that underscored his reputation as a leading organ expert across central Germany. The stable environment and resources in Weimar allowed Bach to experiment extensively, blending practical duties with creative output that elevated the organ's role in both sacred and courtly settings. Following Weimar, Bach's focus on the organ diminished in subsequent positions. In 1717, he became Kapellmeister at the court of Prince Leopold in Köthen, where his responsibilities shifted toward secular instrumental music, though he occasionally consulted on organ matters. From 1723 until his death in 1750, as Thomaskantor in Leipzig, Bach oversaw the city's main churches and schools, prioritizing vocal compositions and education; his organ playing became more incidental, limited to services, examinations like the 1730s testing of organs in nearby towns, and improvisatory demonstrations that awed contemporaries. Bach revolutionized organ composition through advanced pedal technique, utilizing the pedals for independent melodic lines and complex counterpoint rather than mere harmonic support, which demanded unprecedented foot dexterity from performers. His works fused rigorous North German contrapuntal traditions with Italian concertato influences—such as dynamic contrasts and soloistic episodes—and French stylistic elements like ornamental flourishes and dance-like rhythms, creating a cosmopolitan synthesis that defined Baroque organ music. Approximately 200 organ compositions survive today, comprising roughly 20% of his total output and serving primarily didactic purposes for students and liturgical enhancement in Protestant worship; these are systematically cataloged in the BWV numbering framework.BWV Catalogue and Organ Work Classification
The Bach-Werke-Verzeichnis (BWV), the authoritative catalogue of Johann Sebastian Bach's compositions, was compiled by musicologist Wolfgang Schmieder and first published in 1950, providing a systematic inventory based on earlier editions like the Bach-Gesellschaft volumes.[8] This initial edition assigned unique numerical identifiers to Bach's works, organized broadly by genre and medium rather than chronology, to facilitate scholarly reference and performance.[9] Subsequent revisions addressed evolving research: a second edition appeared in 1990 with updated attributions and listings, while the 1998 edition (BWV2a) introduced a significant reorganization into thematic chapters, grouping organ compositions primarily under Chapter 7 as "Werke für Orgel" (Works for Organ).[8] The most recent edition, BWV3 from 2022, further refined this structure in collaboration with the Bach-Archiv Leipzig, incorporating advances in source studies while maintaining the chapter-based framework.[10] Classification of organ works within the BWV relies on specific criteria to distinguish them from broader keyboard repertoire: pieces explicitly notated for organ, those with idiomatic organ features like pedal parts or registrations, and compositions adaptable to organ through historical performance practice are included, whereas ambiguous keyboard works without clear organ intent—such as certain preludes or fugues viable on harpsichord—are typically excluded or reassigned.[9] This approach reflects Bach's own flexible instrumentation in the Baroque era, where organists often transcribed or adapted works, but prioritizes manuscript evidence and contemporary accounts to ensure genre accuracy. The resulting Chapter 7 encompasses a diverse array of forms, from free works to chorale-based pieces, underscoring the organ's central role in Bach's oeuvre during his Weimar period, a time of intensive organ composition.[11] Authenticity debates have shaped the BWV's organ listings, with rigorous source criticism leading to the relocation of spurious or doubtful works to the Anhang (Appendix), which includes lost, misattributed, or non-Bach pieces once thought genuine.[12] For instance, several early organ chorales initially catalogued as authentic were later deemed by other composers or students in Bach's circle, prompting their appendage status based on stylistic analysis and provenance.[12] Conversely, recoveries of previously unknown authentic works have expanded the canon; the 1985 discovery by Christoph Wolff of the Neumeister Collection at Yale University revealed 31 chorale preludes attributable to Bach, now designated BWV 1090–1120, which were integrated into the main catalogue after verification through handwriting and musical style.[13] These additions highlight ongoing scholarly efforts to authenticate fragments and manuscripts, often resolving long-standing uncertainties about Bach's early organ output. Despite comprehensive coverage, the BWV exhibits gaps from pre-1950 discoveries that predated Schmieder's compilation, such as scattered manuscripts uncovered in the 19th century, and post-1998 editions have incorporated only minor revisions like refined datings or attributions without altering the core organ corpus substantially.[8] No major new organ works surfaced between 2020 and mid-2025, though two early chaconnes (BWV 1178 in D minor and BWV 1179 in G minor, composed ca. 1703–1705) were authenticated and added to the catalogue in November 2025 following their rediscovery in a Brussels manuscript; isolated finds like a chorale fantasia from 2008 (BWV 1128) and these recent additions demonstrate the potential for future revelations amid digital archiving and international collaborations.[14][15] This stability reflects the maturity of Bach scholarship, with emphasis now on interpretive and performative contexts rather than wholesale expansions.[10]Non-Chorale Organ Works
Trio Sonatas (BWV 525–530)
The six Trio Sonatas for organ, BWV 525–530, represent a pinnacle of Johann Sebastian Bach's compositional ingenuity for the instrument, adapting the chamber trio sonata genre—typically scored for two melody instruments and basso continuo—to the solo organ. Composed during Bach's early years in Leipzig, likely between 1727 and 1730, these works were probably created to advance the organ proficiency of his eldest son, Wilhelm Friedemann Bach, serving as advanced pedagogical exercises that demand precise coordination among three independent voices.[16][17] Although some early manuscripts suggest a possible manualiter performance (using only the manuals without pedals), the sonatas are structured for execution on two manuals with the pedal providing the bass line, emulating the contrapuntal dialogue of violin sonatas or concertos and highlighting Bach's skill in polyphonic writing for a single performer.[16][17] Each sonata follows a three-movement form, generally fast–slow–fast, with the outer movements often fugal or imitative and the central ones lyrical and expressive; this structure draws from Italian influences, including the trio sonata models of Arcangelo Corelli and the concerto-style ritornellos of Antonio Vivaldi, which Bach encountered through transcriptions and ensemble practices.[18][19] The resulting pieces transcend mere technical study, achieving a chamber-like intimacy and virtuosity that biographer Nikolaus Forkel described as essential for cultivating "the most perfect mastery" on the organ.[17]| BWV | Key | Movements |
|---|---|---|
| 525 | E♭ major | I. Allegro II. Adagio III. Allegro |
| 526 | C minor | I. Vivace II. Largo III. Allegro |
| 527 | D minor | I. Andante II. Adagio e dolce III. Vivace |
| 528 | E minor | I. Adagio e dolce – Allegro II. Andante III. Un poco presto |
| 529 | C major | I. Allegro II. Largo III. Allegro |
| 530 | G major | I. Vivace II. Lento III. Allegro |
Large-Scale Free Forms: Preludes, Toccatas, Fantasias, Passacaglias, and Fugues (BWV 531–582)
The large-scale free forms in Bach's organ oeuvre, catalogued under BWV 531–582, represent a pivotal body of work characterized by their improvisatory flair, technical demands, and fusion of stylistic traditions. Composed primarily during Bach's tenure as court organist in Weimar (1708–1717) and extending into his early years in Leipzig (from 1723), these pieces showcase his maturation as a virtuoso composer, often drawing on the organ's full expressive capabilities for concertante effects and rhetorical drama.[21][22] These compositions reflect profound influences from North German precedents, particularly the expansive, sectional preludes and toccatas of Dieterich Buxtehude, whom Bach studied intensively during his 1705 visit to Lübeck. Buxtehude's model of free-form introductions with virtuosic manualiter flourishes and pedal points recurs in Bach's works, evident in the rapid scalar passages and rhythmic vitality that evoke improvisatory organ playing in Lutheran church settings. Concurrently, Italian influences—gleaned from Bach's transcriptions of concertos by Antonio Vivaldi and others during the Weimar period—infuse these pieces with concertato textures, idiomatic violinistic figurations adapted to the organ, and a heightened sense of motivic development.[23][21][24] Structurally, the works exhibit considerable variety, ranging from simple paired preludes and fugues to more elaborate multi-movement designs. Many follow a binary format of an opening free-form section (prelude, toccata, or fantasia) leading into a contrapuntal fugue, as seen in BWV 531 (Prelude and Fugue in C major) and BWV 532 (Prelude and Fugue in D major), where the prelude's bold, toccata-like opening yields to intricate fugal entries. Others incorporate middle movements for added contrast, such as the shorter toccatas in BWV 533 (Prelude and Fugue in E minor), BWV 534 (Prelude and Fugue in F minor), and BWV 535 (Prelude and Fugue in G minor), which feature adagio interludes or transitional passages emphasizing manual changes. More complex examples include BWV 538 (Toccata and Fugue in D minor), with its dramatic opening and alla breve fugue, and BWV 540 (Toccata, Adagio, and Fugue in F major), structured as a three-part form blending Italianate lyricism in the slow central movement with North German vigor. The BWV range encompasses approximately 50 such works, including doubtful attributions and early versions, highlighting Bach's experimentation across keys and forms.[21][25][21] Key exemplars underscore the genre's diversity and symbolic depth. BWV 561 (Fantasia and Imitation in A minor, often termed Fantasia and Fugue) deploys a fantasia-like opening with echo effects and rhetorical pauses, transitioning to a lively fugue that demonstrates Bach's command of inversion and stretto. The monumental BWV 582 (Passacaglia and Fugue in C minor), likely from around 1708, builds 20 variations (plus an introductory pedal statement) on an eight-bar ground bass derived from French composer André Raison, with thematic echoes of Buxtehude; these variations progress in groups of seven, culminating in a double fugue that integrates the ostinato subject for profound architectural unity. Such pieces prioritize conceptual depth, using variation techniques to explore harmonic tension and resolution over exhaustive listings of every modulation.[21][26] In performance, these works demand extensive pedal solos—often showcasing Bach's innovative pedaling for soloistic lines—and frequent manual iterations to delineate sections, reflecting the North German organ's multiple keyboards and the Weimar court's Silbermann instrument. Virtuosic elements, like the running sixteenth notes in BWV 538's toccata or the pedal ostinato in BWV 582, require precise articulation and dynamic control to convey improvisatory energy while maintaining contrapuntal clarity, distinguishing them from the more chamber-like trio sonatas (BWV 525–530).[21][26][22]Independent Trios (BWV 583–586)
The independent trios BWV 583–586 represent a small but significant group of standalone organ pieces in trio sonata style, composed or arranged by Johann Sebastian Bach during his Weimar period (c. 1708–1717), though exact dating remains uncertain due to limited manuscript evidence. These works are single-movement compositions designed for two manuals and pedal, featuring a dialogic texture that treats the three voices—typically the right hand, left hand, and pedal—as equals in imitative counterpoint. Unlike the multi-movement trio sonatas BWV 525–530, they function as concise excerpts or adaptations, possibly derived from larger chamber or orchestral contexts, showcasing Bach's skill in adapting idiomatic organ performance to polyphonic equality among parts.[27] BWV 583, the Trio in D minor, is the most securely attributed of the group to Bach, though its origin as an original organ work or a transcription from a lost chamber trio is debated; surviving manuscripts, including one from C. P. E. Bach's collection, date to the early 18th century, supporting a Weimar-era composition. The piece opens with a lyrical theme passed imitatively between the hands and pedal, building through contrapuntal exchanges that emphasize rhythmic vitality and melodic independence, creating a balanced dialogue akin to violin-bassoon duets adapted for organ. Some scholars suggest it may incorporate a hidden chorale motif in its opening notes, aligning with Bach's occasional embedding of sacred elements in free works.[28] BWV 584, the Trio in G minor, is considered spurious and not an original organ composition by Bach; it is a variant of the sinfonia from his cantata BWV 166 (composed 1724), likely arranged later for pedagogical purposes, with the sole surviving source in a non-autograph manuscript from around 1730. Its texture mirrors the others, with imitative entries and a steady bass line in the pedal supporting fugal development between the manuals, but the attribution to Bach stems from stylistic similarities rather than direct evidence.[29] The remaining two are explicit transcriptions, illustrating Bach's practice of adapting contemporary instrumental music for the organ to explore pedal technique and contrapuntal clarity. BWV 585, the Trio in C minor, is Bach's arrangement of Johann Friedrich Fasch's Trio Sonata for two violins and continuo (FaWV N:c2, c. 1710s), transforming the ensemble texture into organ dialogue with adagio and allegro sections that highlight imitative exchanges and ornamental flourishes suited to manual and pedal interplay. Similarly, BWV 586, the Trio in G major, derives from Georg Philipp Telemann's instrumental trio (possibly TWV 42:G9), with Bach's organ version—doubted in full authorship but accepted as his adaptation—featuring lively counterpoint where the pedal assumes the basso continuo role, underscoring the equality of voices through perpetual motion and thematic inversion. These transcriptions, likely from the Weimar years, reflect Bach's engagement with Italian and German contemporaries, adapting violin or flute lines to the organ's capabilities for teaching or performance.[30][31][32]Miscellaneous Non-Chorale Pieces (BWV 587–591)
The miscellaneous non-chorale pieces BWV 587–591 form a compact collection of eclectic organ works from Bach's early compositional period, likely originating in his Arnstadt, Mühlhausen, or early Weimar years around 1703–1710, and are characterized by their brevity, experimental structures, and influences from French and Italian styles.[33] These pieces contrast with Bach's more extended forms like preludes and fugues by their concise scope and occasional doubts regarding authorship, reflecting his youthful exploration of transcription, archaic genres, and dance-like elements.[34] BWV 587, an aria in F major, functions as a partita-like arrangement based on the fourth movement ("L'Impériale") from François Couperin's Les Nations (1726), where Bach adapts the trio sonata movement for organ with idiomatic pedal lines and ornamentation typical of his transcriptions; considered spurious, though stylistically consistent with his early French-influenced works.[35] The piece's short variations highlight Bach's skill in reworking orchestral material for solo organ, emphasizing lyrical melody over complex counterpoint.[36] BWV 588, a prelude (canzona) in D minor, exemplifies Bach's engagement with the Italian stile antico, drawing directly from Girolamo Frescobaldi's canzonas—Bach owned a 1635 edition—and features two imitative sections connected by a descending chromatic lament bass, creating a mood of solemnity and introspection in its archaic polyphony.[37] Its origins trace to Bach's early Weimar period, where he studied and emulated seventeenth-century models, resulting in a compact form that prioritizes motivic development over virtuosic display.[38] BWV 589, the prelude and fugue in G major, stands out for its dance-infused fugue subject resembling a jig, with the prelude in a free, improvisatory style leading to a lively three-voice fugue that incorporates rhythmic vitality and alla breve meter; composed likely during the Weimar years, its authenticity has been disputed by some scholars due to the sole surviving manuscript lacking Bach's hand, though stylistic traits align with his youthful organ output.[39] The work's experimental blend of free prelude and gigue-like fugue underscores Bach's innovative approach to blending dance rhythms with fugal technique in a short format.[40] BWV 590, the Pastorale (trio sonata) in F major, evokes pastoral Italian concertos with its three movements in trio texture—pastorale, allabreve, and gigue—featuring pastoral drones, imitative entries, and a lively finale; dated to around 1708–1712 in Weimar, it demonstrates Bach's assimilation of Vivaldi-like concerto principles into organ writing, with full authenticity supported by its integration of secular and sacred stylistic elements.[41] The piece's experimental nature lies in its concise adaptation of multi-movement forms to the organ, contrasting larger free works by focusing on textural clarity and rhythmic drive.[42] BWV 591, the trio in C major (Kleines harmonisches Labyrinth), explores harmonic modulation through a three-part structure—Introitus, Centrum, Exitus—traversing remote keys before returning to C major, in a manner suggesting pedagogical intent; its authenticity is highly doubtful, with scholars like Philipp Spitta and Friedrich Haußwald attributing it to Johann David Heinichen or Bach's pupil Johann Tobias Krebs based on stylistic discrepancies and manuscript evidence from Krebs's copies.) This short, labyrinthine piece highlights experimental tonality but differs from Bach's confirmed works in its less refined counterpoint.[43]Organ Concertos (BWV 592–597)
The organ concertos BWV 592–597 represent a series of transcriptions by Johann Sebastian Bach of instrumental concertos originally composed by contemporaries, primarily Antonio Vivaldi and Prince Johann Ernst of Saxe-Weimar, adapted for solo organ performance. These works, created during Bach's tenure at the Weimar court around 1713–1714, demonstrate his early engagement with the Italian concerto style, particularly the ritornello form, which he encountered through scores brought back by Prince Johann Ernst from his travels. Bach's adaptations served both pedagogical and performative purposes, allowing him to explore orchestral textures on the organ while honing techniques for multi-manual instruments with pedalboards. Unlike his later original compositions, these pieces preserve the structural outlines of their sources but condense ensemble elements into the organ's registers. The following table summarizes the key details of each concerto, including key, original source, and notable features:| BWV | Key | Original Source | Movements/Notes |
|---|---|---|---|
| 592 | G major | Violin Concerto in G major by Prince Johann Ernst of Saxe-Weimar (lost original) | Three movements: Allegro, Grave e adagio, Allegro. Bach's transcription closely follows the source's energetic outer movements, assigning solo violin lines to the organ's upper manuals.[44][45] |
| 593 | A minor | Vivaldi's Concerto in A minor for two violins and strings, Op. 3 No. 8 (RV 522), from L'estro armonico | Three movements: Allegro, Adagio e spiccato, Allegro. The duet violin parts are distributed across manuals, with the pedal providing bass support to evoke the original's dialogic interplay.[46][47] |
| 594 | C major | Vivaldi's Violin Concerto in C major, Op. 8 No. 6 (RV 208), Il cimento dell'armonia e dell'inventione (Grosso Mogul) | Three movements: Allegro, Recitativo (organ solo), Allegro. Bach expands the recitativo into a free organ improvisation, highlighting the instrument's expressive capabilities while retaining the source's virtuosic demands.[48][49] |
| 595 | C major | First movement only from Violin Concerto in C major by Prince Johann Ernst of Saxe-Weimar (lost original) | Single movement: Allegro. This incomplete transcription reflects Ernst's schematic style, with Bach simplifying the orchestral accompaniment for manualiter (manual-only) execution in parts.[50][51] |
| 596 | D minor | Vivaldi's Concerto grosso in D minor for two violins and cello, Op. 3 No. 11 (RV 565), from L'estro armonico | Four movements: Allegro, Grave, Siciliana, Allegro. The unusual original texture of solo violin duet and cello obbligato is adapted to three manual voices plus pedal, preserving Vivaldi's rhythmic drive and contrapuntal density.[52][53] |
| 597 | E-flat major | Unknown source; possibly an arrangement of a concerto by an unidentified composer, with authorship and origins uncertain (not definitively by Bach) | Three movements: Allegro, Gigue (Allegro), [no third movement specified]. Lacking a clear model, this work features a more homogeneous texture, potentially influenced by North German styles rather than Italian concerto prototypes.[54] |
Pedal-Only Exercises (BWV 598)
The Pedal-Exercitium, BWV 598, represents a singular instance in Johann Sebastian Bach's oeuvre of a composition designated solely for the organ's pedalboard, eschewing the manuals entirely. Likely originating from his Weimar tenure around the 1710s, it bears the title "Pedal-Exercitium" or alternatively "Praeambulum in F," though scholarly editions typically notate it in G minor to align with the pedal range.[55] The work survives as an autograph fragment in the handwriting of Bach's son Carl Philipp Emanuel, copied during the Leipzig period circa 1730, which has fueled discussions on its precise chronology and transmission.[56] Structurally, BWV 598 unfolds as a concise prelude comprising virtuosic passages of broken chords (arpeggios), chromatic scalar runs, and wide leaps, all executed in a single voice to hone pedal dexterity and independence. Its brevity—spanning roughly 20 measures—culminates abruptly without resolution, suggesting an improvisatory extension was anticipated from the performer. This design emphasizes technical prowess over thematic development, with rapid articulations and unexpected chromatic inflections demanding precise foot control.[57][58] The piece's context points to a pedagogical intent, possibly composed for instructional use or personal exercise on a pedal harpsichord, an instrument Bach encountered in northern Germany and which featured a detached pedalboard for practice. Scholars debate its primary medium—organ versus pedal harpsichord—given the variability of pedal mechanisms in Weimar-era instruments, though its isolation of the pedal aligns with Bach's innovative approach to organ technique.[59] Authorship remains contested, with some attributing it to Carl Philipp Emanuel Bach based on stylistic traits and the manuscript hand, though it is traditionally cataloged under Johann Sebastian.[60] What distinguishes BWV 598 is its exclusive focus on pedal isolation, a rarity amid Bach's predominantly manual-inclusive organ works, thereby contrasting sharply with manualiter compositions that forgo pedals altogether to simulate chamber music textures. This emphasis underscores Bach's advocacy for advanced pedal skills, as evidenced in contemporary accounts praising his pedal virtuosity during Weimar performances.[61] Its pedagogical function echoes that of the Orgelbüchlein, prioritizing practical training in contrapuntal and technical mastery for aspiring organists.[55]Chorale-Based Organ Works
Orgelbüchlein (BWV 599–644)
The Orgelbüchlein, known as the "Little Organ Book" (BWV 599–644), comprises 46 chorale preludes for organ by Johann Sebastian Bach, each a concise setting of a Lutheran chorale melody. Begun during Bach's tenure as court organist in Weimar from approximately 1708 to 1717 and continued during his time in Köthen after 1717, the collection was envisioned as a systematic pedagogical resource but remained unfinished.[62] Bach outlined plans for 164 pieces in his autograph manuscript, with incipits for all intended chorales noted on the title page and in empty staves, reflecting a structured approach to organ composition.[62][63] The preludes follow the liturgical year, starting with Advent (BWV 599–602) and progressing through Christmas, Epiphany, the Passion, Easter, Pentecost, and Trinity Sunday (up to BWV 627), before concluding with settings related to the Lutheran catechism (BWV 636–644). This organization aligns each piece with specific church seasons or doctrinal themes, emphasizing the chorale's textual and musical symbolism for devotional and instructional purposes. Most works are manualiter in style, with independent pedal lines providing harmonic support or contrapuntal interest, and they employ diverse techniques such as ornamentation, canon, and trio textures to vary the presentation of the cantus firmus. For instance, BWV 599 ("Nun komm, der Heiden Heiland") adopts a trio form, where the chorale melody unfolds in long notes in the pedal against imitative manual lines evoking Advent anticipation.[64][63] Likewise, BWV 614 ("Das alte Jahr vergangen ist") features an ornamented chorale with melismatic flourishes in the inner voices, creating a reflective mosaic of descending motifs to symbolize the passage of time at New Year's.) As a teaching manual, the Orgelbüchlein instructs emerging organists in chorale elaboration, rhythmic independence, and expressive registration within brief, practical formats suited to pre-service performance. The title page of the autograph explicitly states its purpose: "To provide... an example of how one may introduce a chorale and, after the usual manner, modulate through all the keys as found in genuine church pieces." Its unfinished nature highlights a significant lacuna in Bach's chorale-based organ works, with no additions or attributions to the project recorded since the BWV catalogue's modern revisions.[62] This collection laid groundwork for Bach's subsequent efforts, such as the Great Eighteen Chorale Preludes.Schübler Chorales (BWV 645–650)
The Schübler Chorales, BWV 645–650, represent a collection of six chorale preludes for organ composed by Johann Sebastian Bach during his Leipzig period in the 1740s. These works are transcriptions of movements from Bach's earlier church cantatas, adapted for solo organ to highlight lyrical melodies and trio textures suitable for performance on instruments with two manuals and pedal. The arrangements simplify the original vocal-orchestral scorings, resulting in smoother, more intimate organ textures that emphasize contrapuntal interplay between the chorale melody, accompanying lines, and bass, often in a trio sonata style. This adaptation allowed for practical use in liturgical settings while showcasing Bach's skill in repurposing vocal music for keyboard instruments.) Five of the preludes derive directly from specific cantata movements, with the sixth (BWV 646) based on a now-lost model, reflecting Bach's selective curation of his own compositions for this publication. The collection exemplifies the chorale prelude tradition by embedding Lutheran hymn tunes in expressive, ornamented forms, connecting to broader German organ practices of the era. The following table summarizes the pieces, their chorale texts, and original cantata sources:| BWV | Chorale Title | Original Cantata and Movement |
|---|---|---|
| 645 | Wachet auf, ruft uns die Stimme | BWV 140/4 (tenor chorale, 1731) |
| 646 | Wo soll ich fliehen hin | Unknown (possibly from lost cantata or original organ piece)[65] |
| 647 | Wer nur den lieben Gott lässt walten | BWV 93/7 (soprano chorale, 1724)[66] |
| 648 | Meine Seele erhebt den Herrn | BWV 10/6 (soprano chorale, 1726)[67] |
| 649 | Ach bleib bei uns, Herr Jesu Christ | BWV 6/4 (soprano chorale, 1725) |
| 650 | Kommst du nun, Jesu, vom Himmel herunter | BWV 137/6 (soprano chorale, 1725)[68] |