811:. The falling scales have been interpreted as representing Christ's descent from Heaven to Earth, a reference to the text of the last verse. The repetition in the text "glad tidings of great joy" (iines 2–3, verse 1) provides a similar repetition for the music in the canon. The involved semiquaver passages with octave imitations, along with the slowly progressing harmonies, create an effect of resonant and echoing solemnity. Bach avoids monotony and lack of pace by modulating into the minor, followed by a brief G-major passage in the third line of the cantus firmus. The graceful introductory ritornello is recapitulated before the last line of the pedal cantus firmus, played in the tenor register with an 8' stop.
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with pleasant writing and graceful slurs. The imitation follows a different pattern, less expansive with a shorter scale, the two distinct motifs answering in turn. With 23 bars in
Variatio II compared to 18 in Variatio I, there is far more tonal variety, e.g. the minor modulation in bar 3. The secondary motive emerges from semiquaver figures on parallel thirds: beginning with bar 9, these develop into a climax at the start of bar 16 in the cantus firmus. The articulation of both the print and autograph versions give a calmer impression of the semiquavers in Variatio II than in Variatio I. From the last quaver of bar 4,
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crotchets of the cantus firmus ; that is equally true for the conventional canonic parts and their inversions, in the third, second and ninth. In the third and ninth canons, the chorale melody is initially played reflected: the pleasure and anticipation of the listener is enhanced by hearing the true melody afterwards. In the autograph manuscript version, BWV 769a, the sequence of
Variatio II and then Variatio V makes it much easier to follow the canonic parts. The striding quaver figures in the pedal part, however, are unusual and are a response to Bach's development from a baroque to a more modern style.
508:. The only sources were Balthasar Schmid's engraving and Bach's autograph manuscript, a much larger collection referred to as P271. In addition there were further manuscripts of Bach, used for rough working and sketches, which have not survived. The chronology shows that four of the five variations were engraved halfway through 1746, starting with Variatio I, II and III, and ending with Variatio V. Only in 1747, after a year had elapsed, was Variatio IV engraved. As a consequence, not all of the variations could have been performed by Mizler at the Society; and, in Hans Klotz's 1957 critical report of the
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various family members correspond numerically, using an alphabetical code, to meaningfully identified values, such as 14 (for B=2, A=1, C=3 and H=8) and 41; and finally the total number of bars in major works of Bach can almost always be divided into proportions of 1:1 and 1:2. In the first part of Tatlow's book, there is an account of the eighteenth century from the viewpoint of musical theory and theology. The second part illustrates specific works or collections of works, including a detailed and lengthy discussion of the five variations in
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447:. The musical language of Bach in BWV 769 is as different from his other organ music as that of the Goldberg Variations is from his earlier harpsichord music. Combining complex counterpoint with the spiritual associations of Advent and Christmas, Bach's harmony and keyboard technique produce a musical style "at times strangely new, at others very approachable" yet "elusive enough to prompt admirers to search outside music for suitable expressive metaphor." As
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1045:, that no longer conform to the rigid canon. Between the two voices of the canon is a free alto line, with the cantus firmus in the tenor. The alto voice sometimes rises above the soprano line, creating a "halo" effect. All three manual parts derive from elements of the cantus firmus. When these occur in the elaborate and unusual soprano line, these provide apparently new ways of hearing the melody of the chorale.
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417:), 700, 701 and 738, with accompanying motifs above and below the melodic line that were to recur in BWV 769. There are also similarities with several of the Goldberg Variations, notably the third and thirteenth, with shared motifs, keyboard technique and general structure. In the case of the earlier harpsichord work, however, the variations are written over a fixed bass line, while BWV 769 is based on a melody.
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2nd and 3rd variations; and with four variations now at Bach's disposal, that marked a new stage in Bach's development, with the flourish in
Variatio V starting to gain a sense of finality. The calmer Augmentation Canon (Variatio IV), on the other hand, similar to the thirteenth Goldberg variation, has a clear reference to the BACH motif in its 39th bar, its anguished harmonies resolved peacefully by the final
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1259:, there are now five voices, joined right at the end by a new sixth voice that heralds a restatement of the melodic theme. The supposed occurrence of the BACH motif shared between the two inner manual parts in the last bar did not occur in the original printing of BWV 769, where there is B flat (B in German) instead of a B natural (H in German); this was modified by editors in later editions.
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in
Variatio IV. After completing the soprano canon in bar 21, Bach produces a freely composed line with extraordinarily long phrases and the same elaborately embellished texture. As a contrast, Bach then punctuates the long ornate phrases by a handful of brief and accented baroque motives: in bar 23, there is an unmistakable reprise of the
575:. Because of continual reworkings, it is now believed that Bach never intended there to be a final fixed version. In particular, commentators have pointed out that although the order of the variations in the autograph version gives it a certain aesthetic symmetry, the order in the engraved version might be more appropriate for performance.
1305:, with the registration on a 16' stop, the cantus firmus would correspond to a bass part, with many crossings in the left hand of the manual. Likewise Variatio II is for a bass part and Variatio III for a soprano. These earlier variations are significant for understanding the performance and balance of the augmentation canon.
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first in the right hand with the imitative part above the left hand; then in the left hand with the imitative part below the canon. With the quaver canonic voices now accompanied by continuously flowing semiquavers, the feeling of endless movement in
Variatio III and IV is now experienced in Variatio V, a new form of
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Variatio IV takes the form of a newly composed melismatic arioso solo line in the right hand—elegant and elaborately ornamented—followed in the left hand by the bass canon at half the speed. Contrasting with the strict counterpoint of the steady bass part, the soprano voice adopts a modern expressive
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start to appear in
Variatio II; further on, Bach's suspensions in the descending scales also hint at the beginning of Variatio I. As in Variatio I, there is a recapitulation of the opening ritornello—but now in syncopation with faster note values—before the last line of the cantus firmus, which is it
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for producing music that was too old-fashioned, abstract and artificial. Scheibe had described Bach's output as "altogether too much art" and had referred to the canons as outmoded follies ("Thorheiten"). However, despite the logic of the canon that underlies the
Canonic Variations, Bach succeeded in
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line. In the middle parts the slower dragging Bach motif comes to a climax: the alto voice plays the motif B-A-C-H in the last quavers of bar 39, and then, in the four semiquavers with an upbeat on bars 40–41, the backwards (or retrograde) motif H-C-A-B. Bach further enhances the musical material by
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The two part canon is based on the first and second lines of the cantus firmus. The compact imitative passagework follows the same scheme as
Variatio I, but now with the canon at the fifth. Again the antiquated "puzzle" notation for the canon in the printed version belies the modern "natural" style,
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in its closing bars. In the autograph manuscript, it becomes the central variation, comparable to the role played by the central large-scale sixteenth
Goldberg variation. This variation in three separate sections was engraved after variations 1–3; it might have been intended to be placed between the
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In the second section, the pedal and the separate hands again play the chorale line by line in inverted canon, separated by an interval of a second and then a ninth, with a free imitative part in the hand playing the canon and a free running semiquaver part in the other hand. The semiquavers occur
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canon in the upper manual of
Variatio IV, with its many elaborate motives derived from the tenor cantus firmus. The main musical features in Variatio III—the ornamentation in the numerous motives and the lengthening phrases as if an imaginary vocal soloist is pausing between breaths—are intensified
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ritornello derived from the first line of the cantus firmus with interludes when the cantus firmus recurs. The two canons framing Variatio II and III are similar, the suspensions developing in the same way. In contrast the musical material in the cantabile passagework contains a remarkable range of
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and proportion with reference to Bach's compositions. Based on what she has termed "proportional parallelism," Tatlow has described three uniform features: firstly the total number of bars in printed or manuscript works are multiples of tens, hundreds or thousands; secondly the initials of Bach and
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The Canonic Variations seem to have been composed, not necessarily in their final form, in 1746 or at least for the New Year's Fair of 1747. In the engraved version the first three variations, written in annotated form, could not be performed directly from the copy, since only one part of the canon
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The two part canon is derived from the first and last lines of the cantus firmus. Despite the "enigmatic" notation for the printed version in the canon, Bach's musical style gives the impression of simplicity, gracefulness and beauty: no disharmony disturbs the pervading mood of peacefulness. The
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speculates, it might have been that the first three variations initially comprised some form of presentation; one suitable festive occasion, appropriate for such a performance, would have been the baptism of Bach's grandson Johann August, celebrated in early December 1745. The engraved version was
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These are full of passionate vitality and poetical feeling. The heavenly hosts soar up and down, their lovely song sounding out over the cradle of the Infant Christ, while the multitude of the redeemed "join the sweet song with joyful hearts." But the experiences of a fruitful life of sixty years
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In the augmentation canon, the upper soprano voice plays at twice the pace, with the lower voice slower. It makes sense to place the faster canonic voice in the upper manual and the longer canonic one in the lower manual, with the free alto voice also in the lower manual. A few notes of the right
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In this variation, the canon is the melody of the chorale itself. It has three sections, the first and second further subdivided in two, building up to a majestic and complex climax in the final bars of the third section. In the first section, the two manual parts play the chorale line by line in
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melody was the most significant difference between the printed and manuscript version. Bach's practice was freely to extemporise on ornamentation, so that no performance was the same. From all the versions of the second line of the chorale, the musical intensity increased, with shorter and more
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has even indicated that theoretically the three voices—the two canonic voices and the free alto voice—could be performed on three different manuals. According to the previous observation on the positioning of the chorale melody, the most appropriate place for the cantus firmus is in the middle
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in the canon of Variatio IV is hardly noticeable and is imperceptible after 3 bars; the musical structure of the canons in Variatio V, however, is much clearer than any of the other variations. The mirror-inversion between the canonical voices in the sixth is immediately heard, mostly in plain
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Some Canonic Variations on the Christmas hymn "From Heaven above to Earth I come". For organ with two manuals and pedal, by Johann Sebastian Bach, Royal Polish and Electoral Saxon Court Composer, Kapellmeister and Director of the Musical Ensemble, Leipzig. Nuremberg, published by Balthasar
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also probably devised to minimize page turns and economize on space, so the combination of these factors speaks against any particular significance in the order of the movements. It is also not clear which of the remaining two canons was prepared specially for Mizler's Society.
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Einige canonische Veraenderungen über das Weynacht-Lied: Vom Himmel hoch da komm ich her, vor die Orgel Mit 2. Clavieren und dem Pedal von Johann Sebastian Bach Königl: Pohl: Und chur Saechss: Hoff Compositeur Capellm. u. Direct. Chor.Mus. Lips. Nürnberg in Verlegung Balth:
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style—characteristic of the alto melody—as full of musical motives containing "spontaneous and unpredictable ornamentation". When simplified by the ornamentation, the basic notes in the "skeleton" are harmonious: it is the different ornaments—be they suspensions, trills or
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have interwoven themselves with the emotions which possessed him in earlier years ... The work has an element of solemn thankfulness, like the gaze of an old man who watches his grandchildren standing round their Christmas tree, and is reminded of his own childhood.
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BWV 1080. The triplex canon itself became part of the Fourteen Canons BWV 1087, preserved in one surviving copy of the Goldberg Variations. Mizler seems to have been unaware of the numerological significance that the number fourteen had to Bach (B+A+C+H=14).
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was provided, the other having to be worked out "with the pen at home". For variations 1–3, the annotation of canons involved suppressing the second canonic entry, so that the scoring becomes a puzzle, sometimes referred to as an "enigma" or a "riddle". As
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in the soprano and bass manuals. It places far greater demands on the compositional technique than the earlier 4-part Variatio III. The middle alto voice in Variatio IV now plays as an accompaniment, producing a remarkable motivic dialogue between the bass
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passage of Variatio V: "This contrapuntal density generates an expansion of the texture and with the accompanying dynamic boost bursts the shackles of counterpoint, erupting into expressive brilliance and grandeur—the ultimate rhetorical summation".
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of the two canonic parts evokes the dragging of the cross (another example of musical iconography); the tensions of this episode are gradually resolved as the variation comes to a peaceful and harmonious close.
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In June 1747 he entered the Society for the Musical Sciences ... He presented to the Society the chorale "Vom Himmel hoch da komm' ich her" completely worked out, and this was afterwards engraved in copper.
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BWV 651–668. In this later version Bach modified the order of the variations, moving the fifth variation into a central position, and wrote out all the parts in full, with some minor revisions to the score.
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The Canonic Variations were among the works included in J. G. Schicht's four-volume anthology of Bach's organ music (1803–1806), prior to the publication of Bach's complete organ works in 1847 by
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Various stylistic elements in the Canonic Variations recall the compositions of Bach's predecessors and contemporaries. The running figures in the first variation can be found in Toccata No.12 of
986:("delicate things"). In the case of Variatio III, particularly Bach's ornamentation at the close of bars 26–27, Yearsley describes the new style as "marking the apogee of this natural elegance".
1441:, L'Oeuvre pour Orgue (15 discs), Calliope, CAL 3703–3717 (budget edition 2008). The Canonic Variations and the Great Eighteen Chorale Preludes, recorded in 1990 on the G. Westenfelder organ in
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part in the alto voice is easier to read. In this way Bach contrasts his antiquated way of notation with his modern style of writing. The upper manuals play the alto voice with the marking
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1114:, BWV 988, including the elaborate ornamentation of the soprano melody. The unusual change of instrumental timbre from harpsichord to organ fits unexpectedly well with Variatio IV.
982:—that cause disharmonies and create the expressive qualities of Bach's style. The musical theorist Scheibe, formerly a student of Bach, referred to this modern musical style as
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Variatio III is a longer composition lasting 27 bars. With the lower tenor and bass voices of the canons functioning as an accompaniment, the tenor entry is again delayed by two
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is scored in regular quavers with the voices in the tenor (lower manual) and the bass (pedal). The "enigmatic" notation in the printed version simplifies the score, so that the
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producing a work which, far from being abstract and severe, was imbued with an affect of "beauty" and "naturalness", quite modern for its time and in keeping with the spirit of
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Butler, Gregory G. (2000), "J. S. Bachs Kanonische Veränderungen über "Vom Himmel hoch" (BWV 769). Ein Schlußstrich unter die Debatte um die Frage der "Fassung letzter Hand"",
482:, for example in his setting of "Durch Adams Fall ist ganz verdebt", BuxWV 183. The walking pedal-bass beneath the canon at the beginning of the fifth variation is similar to
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1419:, Bach Great Organ Works, Deutsche Grammophon, 2-disc set remastered from recordings between 1947 and 1950, played on the Silbermann Organ, Saint-Pierre-le-Jeune, Strasbourg.
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stamped out in the pedal, first at an interval of sixth and then a third. In the second and third sections, the pedal part returns to the smooth lines of the cantus firmus.
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Complete Organ Works - Breitkopf Urtext (New Edition in 10 Volumes), Vol. 6: Clavierübung III / Schübler-Choräle / Canonische Veränderungen über "Vom Himmel hoch"
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has examined the surviving manuscripts in detail to determine the manner in which the Canonic Variations were composed and published. A similar process was determined by
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527:, where Bach was organist and kantor 1723–1750. The organ, with its gilt Bach monogram, is a reconstruction by Gerald Woehl of a baroque organ played by Bach in the
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describes, the closing passages of Variatio IV reflect Bach's "immense motivic ingenuity", which in bar 39 contains "one of the best bars in the whole of P 271".
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in 1747. The original printed edition of 1747, in which only one line of the canon was marked in the first three variations, was published by Balthasar Schmid in
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The brilliant scale passages not only represent the ascending and descending angels, but sound joyous peals from many belfries ringing in the Saviour's birth.
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In 1951 and 1958 the Swiss organist, conductor and composer Roger Vuataz (1898–1988) made two arrangements of the Canonic Variations for orchestra.
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The exuberant Canon with Inversions (Variatio V) builds up to a cumulative climax, but originally did not contain the passing reference to the
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512:, it could not have been possible for an initial printing of Variatio I, II, III and IV, followed by a later expanded version of Variatio V.
451:, p. 518) puts it, the "canons create harmonies, melodies and progressions not only otherwise unheard but strangely rapt and intense."
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Variatio IV is more musically developed than Variatio III. The freely composed alto voice of Variatio III is now dominated by the soprano
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1461:, Germany, dating from 1714. The recording also includes the Preludes and Fugues BWV 546 and 547 and the Great Eighteen Chorale Preludes.
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of Variatio II have been interpreted as departing angels or the rising up of the soul (again a reference to the last verse of the text).
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J. S. Bach's Clavier-Ubung III : The Making of a Print, with a Companion Study of the Canonic Variations on Vom Himmel Hoch BWV 769
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in 1831 for soprano, baritone, mixed choir and orchestra, opening with the same descending figures as those in Bach's Variation 1.
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The registration of the five-part Variatio V is more complicated: it initially involves two manuals and pedal; at the concluding
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Conclusion of fifth variation of BWV 769; in the original engraving the BACH motif did not occur in the inner parts in the last
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In June 1747, Bach was admitted as the fourteenth member of the "Correspondierende Societät der musicalischen Wissenschaften" (
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The first three variations concern the voice pitch of the cantus firmus. In Variatio I it is in the lower voice: according to
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2213:(2008), "Zur Registierung der canonischen Veränderungen über "Vom Himmel hoch da komm ich her," BWV 769–769a von J.S. Bach",
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above it. The variation culminates over the closing pedal point with a stretto of all four lines, again with inversions and
916:. It also has similarities with the figurations in the solo line of the slow movement of the F minor harpsichord concerto,
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1072:; there is an easily recognised quotation of the first lines of the cantus firmus, "Vom Himmel hoch da komm' ich her", in
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in his 1752 treatise on flute playing. The elaborate ornamentation of the fourth variation uses many devices from his son
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register, i.e. in the tenor or the alto. For the specific choice of registration in the pedal (tenor or alto, 8' or 4'),
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all studied the Variations, annotating their personal copies of Schicht. Mendelssohn himself composed a six-movement
478:'s treatise on keyboard technique (1753, 1762); the final pedal point harks back to those of the chorale preludes of
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at the same registration. The spirited rising scales above the closing pedal point are in contrast with the falling
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Wells, Robert L. (2017), "Review of 'Bach's Numbers: Compositional Proportion and Significance' by Ruth Tatlow",
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At the conclusion of Variatio IV, above the fourth line of the cantus firmus, the right hand weaves an elaborate
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2454:, New perspectives in music history and criticism, vol. 10, Cambridge University Press, pp. 110–120,
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BWV 1076 towards the viewer. During the last ten years of his life, Bach had become preoccupied musically with
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Szabo, Zoltan (2016), "Review of Ruth Tatlow's 'Bach's Numbers: Compositional Proportions and Significance'",
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made an arrangement of the Canonic Variations for orchestra and mixed choir, adding extra contrapuntal lines.
1245:, the pedal part plays the last line of the cantus firmus, with the first line in true and inverted forms in
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941:, the rising figures of the cantabile melody contrast with the falling motives in the canon. In bar 19, the
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Tomita, Yo (2016), "Review of 'Bach's Numbers: Compositional Proportion and Significance' by Ruth Tatlow",
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973:. The lower voices in the canon, mostly play in intervals of thirds and sixths. Yearsley describes Bach's
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320:. To mark his admission he not only presented a version of the Canonic Variations, but also a portrait by
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5. L'altra Sorte del'Canone all'rovercio, 1) alla Sesta, 2) alla Terza, 3) alla Seconda è 4) alla Nona (
93:. Another version BWV 769a appears in the later autograph manuscript P 271, which also contains the six
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34:
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1094:. It ends manuscript collection P 271 with the surviving fragment of the so-called "deathbed chorale",
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mastered from live recitals recorded between 1967 and 1973 on the first Fisk organ at Memorial Church.
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The Creative Development of Johann Sebastian Bach, Volume II: 1717-1750: Music to Delight the Spirit
2182:(ed.), "Die Argumentationskanon in BWV 769: Rekonstruktion eines möglichen Kompuctionensprozesses",
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1457:, Leipzig Chorales, Ricercar, RIC212 (2 discs). Recorded in 2002 on the large Silbermann organ in
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470:. The galant figures of the free line in the third variation are similar to those promoted by
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in both the printed and autograph versions, with the soprano cantus firmus starting in even
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major ("St. Anne"), BWV 552, Chorale preludes, BWV 669–689, Duets, BWV 802–805
2252:, Review of Ruth Tatlow's 'Bach's numbers: compositional proportion and significance'",
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The compositional technique in Variatio V can be compared with the five-part organ work
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frequent motives: the most intense dissonance occurs at bar 19, coloured with a winding
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2015:
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on a single manual with pedal, possibly with octaves transposed in some doubled parts.
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81:. The variations were prepared as a showpiece for Bach's entry as fourteenth member of
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2160:(2008), "Canonische Veränderungen über "Vom Himmel hoch"", in Rampe, Siegbert (ed.),
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ClavierĂĽbung Part IV (Goldberg Variations) BWV 988 and the Canonic Variations BWV 769
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canon of Variatio I. At the peaceful coda, elegiac piping motifs are repeated over a
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920:. Amongst the notable ornamentation are the "sighing" suspensions and the syncopated
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Strauss, Joseph N. (1986), "Recompositions by Schoenberg, Stravinsky and Webern",
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340:—the Organ Mass BWV 552, BWV 669–689, the four canonic duets BWV 802–805 and the
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descending scale with which it starts is similar to the accompanying figures in
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During this period Bach had been criticized vociferously by the Danish composer
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1228:
1142:
790:
776:
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611:
Below are the first, second and last (fifteenth) verses of the Christmas hymn
583:
567:
62:
2053:
1425:, Heiller at Harvard, Moran-Fisk-Kent, contained on the first disc of a 4-CD
1090:
The last page of the autograph manuscript, BWV 769a, the closing bars of the
2103:
882:
90:
2195:
2150:
819:
389:
1255:. At this point the manual parts, move to one keyboard: in the expansive
921:
917:
894:
878:
841:
2374:
2267:
1218:, another chorale prelude for advent on the theme of descending angels.
1126:
canon of Variatio IV, essentially the same initial bars as the starting
957:
focuses on what he calls "the most modern of the set". The canon at the
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1069:
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284:
In BWV 769a, the variations occur in the modified order 1, 2, 5, 3, 4.
86:
17:
2992:
Canonic Variations on "Vom Himmel hoch da komm' ich her", BWV 769
82:
2549:
2475:
Canonic Variations on "Vom Himmel hoch da komm' ich her"
1445:, are contained on the last 2 discs, which are available separately.
1083:; and there is a further reprise of the short ritornello in bar 34.
399:, BWV 248, and before that as an addition for Christmas in his
2164:, Das Bach-Handbuch (in German), Laaber–Verlag, pp. 949–961,
1152:
993:
818:
775:
598:
578:
During a period of roughly 20 years of research, the musicologist
533:
432:
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152:
29:
913:
2789:
2553:
1110:, the compositional style is similar to that of the thirteenth
621:, published in 1539, with the English translation from 1855 of
603:
Annunciation to the Shepherds, English stained glass, c. 1340,
2279:
The reception of Bach's organ works from Mendelssohn to Brahms
1266:
of Georg Friedrich Kauffmann and with Bach's earlier partita,
462:. The canon in the second variation is close in spirit to the
54:
759:
The descriptions below are based on the detailed analysis in
1204:. The musical texture is similar to that used previously in
949:
In Variatio III, the third engraving of the printed text of
1370:
Ivan Karlovitsch Tscherlitzky (1799–1865), organist in the
969:, while the soprano voice plays the cantus firmus in plain
1318:
has again given detailed advice on the options available.
2493:
Free creative commons downloads of the Canonic Variations
2339:
Bach's Numbers: Compositional Proportion and Significance
1641:
1639:
1309:
hand side can be shared between upper and lower manuals;
933:. Similarly to Variatio II, there is a modulation to the
2712:
Ueber Johann Sebastian Bachs Leben, Kunst und Kunstwerke
2642:
Canonic Variations on "Vom Himmel hoch da komm' ich her"
1490:
1488:
377:
The Canonic Variations are based on the Christmas Hymn "
336:, already much developed in the Parts III and IV of the
51:
Canonic Variations on "Vom Himmel hoch da komm' ich her"
1722:. London: Longman, Brown, Green and Longmans. pp.
312:), a society devoted to musical scholarship founded in
844:
at the end of Variatio I. The ascending scales at the
395:
The chorale itself was set three times by Bach in his
3521:
1612:
1610:
1608:
893:
of bar 4. The canons themselves take the form of an
161:
The title page of the printed version BWV 769 reads
3437:
3373:
3017:
2834:
2688:
2590:
823:
Autograph manuscript of first variation of BWV 769a
2276:
2113:, English introduction and footnotes, pages 18–20.
1451:, Partitas and Canonic Variations, Hyperion, 1991.
1270:, BWV 767. Referring to Scheibe's "sublime fire",
2906:Eight Short Preludes and Fugues, BWV 553–560
1382:, arranged the Canonic Variations for piano solo.
3464:Concerto transcriptions, BWV 592–596 and 972–987
2881:Fantasia and Fugue in G minor ("Great"), BWV 542
2871:Toccata and Fugue in D minor ("Dorian"), BWV 538
1057:canon in the soprano voice serving as a baroque
3364:Capriccio on the departure of a beloved brother
2934:Prelude (Toccata) and Fugue in E major, BWV 566
2901:Prelude and Fugue in E minor ("Wedge"), BWV 548
1274:describes the overwhelming climax in the final
292:
172:
163:
129:
104:
2939:Fantasia ("Pièce d'Orgue") in G major, BWV 572
2097:, Riemenschnedier Bach Facsimiles, vol. 2
2088:(in German), vol. IV, 1, pp. 158–176
1884:
1882:
1880:
1878:
1876:
1874:
1627:
1625:
1435:, Bach Collected Works for Organ, Erato, 1986.
310:Corresponding Society for the Musical Sciences
3501:List of compositions by Johann Sebastian Bach
2920:Toccata, Adagio and Fugue in C major, BWV 564
2801:
2620:Picander's 1728–29 cycle of cantata librettos
2565:
780:Printed version of first variation of BWV 769
8:
3506:List of fugal works by Johann Sebastian Bach
1528:
1471:, J.S. Bach, Organ Works Vol.III, BWV 769a,
403:. Bach also used the hymn melody in earlier
1861:
1859:
1857:
1855:
1853:
3511:List of concertos by Johann Sebastian Bach
2808:
2794:
2786:
2572:
2558:
2550:
1957:
1955:
1953:
1951:
1949:
1936:
1934:
1029:style, with freely added details, such as
27:Organ composition by Johann Sebastian Bach
2949:Passacaglia and Fugue in C minor, BWV 582
2842:Fugue in G minor, BWV 131a
2479:International Music Score Library Project
1921:
1919:
1917:
1915:
1913:
1911:
1909:
1672:
898:expressive figures typical of the modern
401:Magnificat in E-flat major, BWV 243a
1940:
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1900:
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1808:
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1700:
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1467:, recorded in the 1976 Metzger Organ in
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1227:
1135:
1107:
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862:
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760:
514:
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355:
3528:
2724:(Vol. I: 1873; Vol. II: 1880)
2004:
1988:
1986:
1974:
1972:
1970:
1484:
486:'s setting of "Vom Himmel hoch" in his
53:("From Heaven above to Earth I come"),
3303:Fantasia and Fugue in C minor, BWV 906
2915:Fantasia and Fugue in C minor, BWV 562
2866:Fantasia and Fugue in C minor, BWV 537
2602:Printed during the composer's lifetime
1682:
1657:
1631:
591:with six carefully tabulated figures.
579:
501:
458:(1690) and in the keyboard sonatas of
381:", for which text and melody, both by
3554:Compositions by Johann Sebastian Bach
3069:Overture in the French style, BWV 831
3030:English Suites, BWV 806–811
3025:Inventions and Sinfonias, BWV 772–801
2925:Toccata and Fugue in D minor, BWV 565
2896:Prelude and Fugue in C minor, BWV 546
2891:Prelude and Fugue in B minor, BWV 544
2886:Prelude and Fugue in A minor, BWV 543
2876:Toccata and Fugue in F major, BWV 540
2861:Prelude and Fugue in D major, BWV 532
2856:Prelude and Fugue in C major, BWV 531
2452:Bach and the meanings of counterpoint
1687:
1677:
1616:
1515:
904:style, with elaborate ornamentation,
559:
505:
57:769, are a set of five variations in
7:
3035:French Suites, BWV 812–817
2944:Fugue in G minor ("Little"), BWV 578
1992:
1978:
1961:
1865:
1820:
1784:
1748:
1302:
768:
666:Der uns schenkt seinen ein'gen Sohn.
663:Lob, Ehr sei Gott im höchsten Thron,
203:2. Alio Modo in Canone alla Quinta (
3007:Wo Gott der Herr nicht bei uns hält
1669:For reviews of Tatlow's book, see:
1175:inverted canon over a walking bass
881:. The melody in the alto is marked
718:Shall be the joy of all your earth.
657:Das soll eu'r Freud und Wonne sein.
223:3. Canone alla Settima, cantabile (
143:, page 307, Vol. 3, 1921.
121:, Vol. II, 1880 (translation:
3357:Aria variata alla maniera italiana
3078:Well-Tempered Clavier, BWV 846–893
2430:Bach: essays on his life and music
924:(played rapidly on the beat). The
908:episodes and occasional dissonant
736:While angels sing with pious mirth
713:This little child, of lowly birth,
648:Euch ist ein Kindlein heut' geborn
550:in 1723, where Bach was appointed
324:in which Bach holds a copy of his
170:In English translation this reads
25:
912:, resembling the solo part in an
741:A glad New Year to all the earth.
703:To you this night is born a child
690:Glad tidings of great joy I bring
680:From Heaven above to earth I come
633:Vom Himmel hoch, da komm ich her.
3531:
1221:
1190:
1167:
1141:
1122:closing the final bars with the
1009:
856:
827:
789:
731:Who unto man His Son hath given!
695:Whereof I now will say and sing:
685:To bear good news to every home;
672:Und singen uns solch neues Jahr.
654:Ein Kindelein, so zart und fein,
639:Der guten Mär bring ich so viel,
614:Vom Himmel hoch, da komm ich her
582:has developed her own theory of
388:
379:Vom Himmel hoch, da komm ich her
366:Vom Himmel hoch da komm' ich her
270:
250:
230:
210:
190:
3408:Prelude, Fugue and Allegro in E
3308:Toccatas, BWV 910–916
3040:Partitas, BWV 825–830
2976:Great Eighteen Chorale Preludes
2775:Johann Sebastian Bach Institute
2450:Yearsley, David Gaynor (2002),
726:Glory to God in highest Heaven,
669:Des freuen sich der Engel Schar
642:Davon ich singn und sagen will.
497:The Thomaskirche, Leipzig, 1735
99:Great Eighteen Chorale Preludes
65:with two manuals and pedals by
2674:Bach-Gesellschaft edition
2303:Riemenschneider Bach Institute
2016:Bach-Tscherlitzky arrangements
1410:St-Pierre-le-Jeune, Strasbourg
1207:Vom Himmel kam der Engel Schar
1061:, brief and fragmentary, with
636:Ich bring' euch gute neue Mär,
1:
2405:The Organ Music of J. S. Bach
2226:Jones, Richard D. P. (2013),
2162:Bachs Klavier- und Orgelwerke
651:Von einer Jungfrau auserkorn,
425:Annunciation to the shepherds
243:4. Canon per augmentationem (
3297:Chromatic Fantasia and Fugue
1359:cantata on "Vom Himmel hoch"
1239:In the last section, marked
1102:(not in Bach's handwriting).
708:Of Mary, chosen mother mild;
288:History, origins and genesis
123:Vol. III, page 221
41:, BWV 1076. Oil painting by
3421:Prelude in C minor, BWV 999
2954:Concertos, BWV 592–597
2117:Butler, Gregory G. (1990),
1264:Nun komm der Heiden Heiland
179:There are five variations:
3590:
3471:KlavierbĂĽchlein W. F. Bach
3428:Fugue in G minor, BWV 1000
3328:Harpsichord solo concertos
2409:Cambridge University Press
2343:Cambridge University Press
2248:Ledbetter, David (2016), "
2074:Agricola, Johann Friedrich
2070:Bach, Carl Philipp Emanuel
1469:Trinity College, Cambridge
1096:Vor deinen Thron tret' ich
605:Victoria and Albert Museum
385:, were published in 1539:
3496:
3401:Suite in C minor, BWV 997
3386:Suite in E minor, BWV 996
3381:Suite in G minor, BWV 995
2755:
2315:10.1353/bach.2016.a808466
2275:Stinson, Russell (2006),
2121:, Duke University Press,
1345:and Roitzsch in Leipzig.
1182:To an untrained ear, the
1092:canon per augumentationem
476:Carl Philipp Emanuel Bach
3451:: Prelude and Fugue in E
2985:Sei gegrĂĽĂźet, Jesu gĂĽtig
2434:Harvard University Press
2403:Williams, Peter (2003),
2093:Barber, Elinore (1986),
2082:Mizler, Lorenz Christoph
2030:on www.bach-cantatas.com
2028:Bach-Vuataz arrangements
2018:on www.bach-cantatas.com
1529:Bach & Agricola 1754
484:Georg Friedrich Kaufmann
3316:, BWV 933–938
2323:10.22513/bach.47.1.0070
2285:Oxford University Press
2232:Oxford University Press
2086:Musikalische Bibliothek
1268:O Gott, der fromme Gott
800:Christe, du Lamm Gottes
519:The small organ in the
466:for two instruments of
344:BWV 988—as well as the
322:Elias Gottlob Haussmann
318:Lorenz Christoph Mizler
301:Lorenz Christoph Mizler
183:1. Canone all' ottava (
43:Elias Gottlob Haussmann
3559:Compositions for organ
3486:Twelve Little Preludes
2738:Bach-Werke-Verzeichnis
2631:Clavier-Ăśbung III
2196:10.13141/bjb.v20143015
2151:10.13141/bjb.v20001694
2110:Breitkopf & Härtel
2102:Breig, Werner (2010),
2054:10.1093/mq/lxxii.3.301
1412:
1298:
1236:
1164:
1103:
1006:
999:Sophienkirche, Dresden
874:
872:Sophienkirche, Dresden
824:
781:
608:
554:
531:
498:
488:Harmonische Seelenlust
468:Georg Philipp Telemann
435:
374:
369:, Bapst Gesangbuch in
326:canon triplex a 6 voci
297:
177:
168:
158:
146:
128:
95:trio sonatas for organ
83:Mizler's Music Society
46:
39:canon triplex a 6 voci
2827:Johann Sebastian Bach
2765:Neue Bachgesellschaft
2721:Johann Sebastian Bach
2625:Clavier-Ăśbung II
2509:Katholische Hofkirche
2505:Zacharias Hildebrandt
2337:Tatlow, Ruth (2015),
2178:Essl, JĹ«rgen (2014),
1404:
1290:
1231:
1156:
1089:
997:
866:
822:
779:
602:
537:
518:
496:
440:Johann Adolph Scheibe
423:
359:
265:Canon with Inversions
157:Title page of BWV 769
156:
137:Charles Sanford Terry
118:Johann Sebastian Bach
67:Johann Sebastian Bach
37:in 1746, holding his
35:Johann Sebastian Bach
33:
3000:, BWV 1090–1120
2851:Sonatas, BWV 525–530
2647:The Musical Offering
2615:Clavier-Ăśbung I
2511:, Dresden, Germany:
2501:Gottfried Silbermann
2411:, pp. 512–524,
2345:, pp. 204–217,
1714:Winkworth, Catherine
595:Text and translation
225:Canon at the Seventh
97:BWV 525–530 and the
3478:Notebook A. M. Bach
3334:Goldberg Variations
3314:Six Little Preludes
2998:Neumeister chorales
2637:Goldberg Variations
2618:(1726–1730; 1731);
2609:Gott ist mein König
1449:Christopher Herrick
1397:Selected recordings
623:Catherine Winkworth
480:Dieterich Buxtehude
342:Goldberg Variations
185:Canon at the Octave
2978:, BWV 651–668
2970:, BWV 645–650
2962:, BWV 599–644
2816:Compositions for
2741:(1950; 1990; 1998)
2670:Four-part chorales
2397:10.1111/musa.12092
1964:, pp. 960–961
1943:, pp. 114–115
1928:, pp. 522–524
1903:, pp. 113–114
1891:, pp. 520–522
1868:, pp. 959–960
1835:, pp. 115–119
1823:, pp. 958–959
1811:, pp. 519–520
1787:, pp. 957–958
1763:, pp. 111–112
1739:, pp. 518–519
1660:, pp. 204–217
1579:, pp. 112–113
1555:, pp. 250–251
1543:, pp. 512–516
1512:, pp. 512–524
1459:Freiberg Cathedral
1455:Bernard Foccroulle
1433:Marie-Claire Alain
1413:
1299:
1296:Hofkirche, Dresden
1283:Organ registration
1237:
1165:
1162:Freiberg Cathedral
1112:Goldberg Variation
1104:
1018:augmentation canon
1016:Variatio IV is an
1007:
937:at bar 26: in the
875:
825:
782:
609:
555:
532:
499:
460:Domenico Scarlatti
436:
397:Christmas Oratorio
375:
245:Augmentation Canon
205:Canon at the Fifth
159:
47:
3519:
3518:
3449:Clavier-Ăśbung III
3394:
3350:
3343:
3288:
3286:No. 24 in B minor
3281:
3268:
3255:
3242:
3240:No. 12 in F minor
3235:
3228:
3221:
3208:
3195:
3188:
3176:
3163:
3150:
3148:No. 16 in G minor
3143:
3141:No. 10 in E minor
3136:
3123:
3110:
3097:
3090:
3062:
3055:
3048:
3005:Chorale fantasia
2968:SchĂĽbler Chorales
2930:
2911:
2847:
2822:keyboard and lute
2783:
2782:
2760:Bach Gesellschaft
2653:SchĂĽbler Chorales
2375:10.1093/ml/gcw070
2362:Music and Letters
2268:10.1093/em/caw035
2042:Musical Quarterly
1847:, p. 520–921
1567:, p. 512–526
1443:Fère-en-Tardenois
1347:Felix Mendelssohn
753:Musical structure
750:
749:
538:Engraving of the
348:BWV 1079 and the
276:
256:
236:
216:
196:
16:(Redirected from
3581:
3536:
3535:
3534:
3527:
3489:
3480:
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3459:
3456:
3455:
3430:
3423:
3416:
3413:
3412:
3403:
3390:
3346:
3339:
3322:Italian Concerto
3284:
3278:
3277:
3271:
3265:
3264:
3258:
3252:
3251:
3245:
3238:
3233:No. 6 in D minor
3231:
3226:No. 5 in D major
3224:
3218:
3217:
3211:
3205:
3204:
3198:
3193:No. 2 in C minor
3191:
3186:No. 1 in C major
3184:
3173:
3172:
3166:
3160:
3159:
3153:
3146:
3139:
3133:
3132:
3126:
3120:
3119:
3113:
3107:
3106:
3100:
3095:No. 2 in C minor
3093:
3088:No. 1 in C major
3086:
3058:
3051:
3044:
2983:Chorale partita
2928:
2909:
2845:
2829:
2810:
2803:
2796:
2787:
2678:New Bach Edition
2665:The Art of Fugue
2584:
2574:
2567:
2560:
2551:
2477:: Scores at the
2464:
2446:
2426:Wolff, Christoph
2421:
2407:(2nd ed.),
2399:
2377:
2355:
2333:
2297:
2282:
2270:
2244:
2222:
2206:
2174:
2153:
2131:
2112:
2098:
2089:
2057:
2056:
2037:
2031:
2025:
2019:
2013:
2007:
2002:
1996:
1990:
1981:
1976:
1965:
1959:
1944:
1938:
1929:
1923:
1904:
1898:
1892:
1886:
1869:
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1830:
1824:
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1728:
1727:
1710:
1704:
1698:
1692:
1667:
1661:
1655:
1649:
1643:
1634:
1629:
1620:
1619:, pp. 18–29
1614:
1603:
1597:
1591:
1586:
1580:
1574:
1568:
1562:
1556:
1550:
1544:
1538:
1532:
1526:
1520:
1504:
1498:
1492:
1406:Silbermann Organ
1376:Vorontsov Palace
1292:Silbermann Organ
1257:pro organo pleno
1225:
1194:
1171:
1158:Silbermann Organ
1145:
1013:
868:Silbermann Organ
860:
831:
793:
628:
627:
464:Canons MĂ©lodieux
405:chorale preludes
392:
350:Art of the Fugue
346:Musical Offering
304:
278:
277:
258:
257:
238:
237:
218:
217:
198:
197:
144:
126:
21:
3589:
3588:
3584:
3583:
3582:
3580:
3579:
3578:
3569:Christmas music
3544:
3543:
3542:
3538:Classical Music
3532:
3530:
3522:
3520:
3515:
3492:
3483:
3476:
3469:
3462:
3453:
3452:
3446:
3439:
3433:
3426:
3419:
3410:
3409:
3406:
3399:
3369:
3348:Gould recording
3275:
3274:
3262:
3261:
3249:
3248:
3215:
3214:
3202:
3201:
3170:
3169:
3157:
3156:
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3117:
3116:
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3013:
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2242:
2225:
2209:
2177:
2172:
2156:
2134:
2129:
2116:
2101:
2092:
2078:Bach's Nekrolog
2068:
2065:
2060:
2039:
2038:
2034:
2026:
2022:
2014:
2010:
2003:
1999:
1991:
1984:
1977:
1968:
1960:
1947:
1939:
1932:
1924:
1907:
1899:
1895:
1887:
1872:
1864:
1851:
1843:
1839:
1831:
1827:
1819:
1815:
1807:
1803:
1795:
1791:
1783:
1779:
1771:
1767:
1759:
1755:
1747:
1743:
1735:
1731:
1712:
1711:
1707:
1699:
1695:
1668:
1664:
1656:
1652:
1644:
1637:
1630:
1623:
1615:
1606:
1598:
1594:
1587:
1583:
1575:
1571:
1563:
1559:
1551:
1547:
1539:
1535:
1527:
1523:
1505:
1501:
1493:
1486:
1482:
1399:
1390:Igor Stravinsky
1367:
1355:Johannes Brahms
1351:Robert Schumann
1339:
1331:in organo pleno
1311:Williams (2003)
1285:
1272:Yearsley (2002)
1151:
1136:Williams (2003)
1108:Williams (2003)
992:
984:delicate Sachen
955:Yearsley (2002)
854:
817:
787:
765:Yearsley (2002)
761:Williams (2003)
755:
597:
306:
299:
290:
271:
251:
231:
211:
191:
151:
145:
135:
127:
111:
28:
23:
22:
15:
12:
11:
5:
3587:
3585:
3577:
3576:
3574:Canons (music)
3571:
3566:
3561:
3556:
3546:
3545:
3541:
3540:
3517:
3516:
3514:
3513:
3508:
3503:
3497:
3494:
3493:
3491:
3490:
3481:
3474:
3467:
3460:
3443:
3441:
3435:
3434:
3432:
3431:
3424:
3417:
3414:major, BWV 998
3404:
3397:
3396:
3395:
3383:
3377:
3375:
3371:
3370:
3368:
3367:
3360:
3353:
3352:
3351:
3344:
3330:
3325:
3318:
3310:
3305:
3300:
3292:
3291:
3290:
3289:
3282:
3269:
3256:
3243:
3236:
3229:
3222:
3209:
3196:
3189:
3179:
3178:
3177:
3164:
3151:
3144:
3137:
3124:
3111:
3098:
3091:
3081:
3073:
3072:
3065:
3064:
3063:
3056:
3049:
3037:
3032:
3027:
3021:
3019:
3015:
3014:
3012:
3011:
3002:
2994:
2989:
2980:
2972:
2964:
2956:
2951:
2946:
2941:
2936:
2931:
2922:
2917:
2912:
2903:
2898:
2893:
2888:
2883:
2878:
2873:
2868:
2863:
2858:
2853:
2848:
2838:
2836:
2832:
2831:
2815:
2813:
2812:
2805:
2798:
2790:
2781:
2780:
2778:
2777:
2772:
2767:
2762:
2756:
2753:
2752:
2749:
2748:
2742:
2733:
2725:
2716:
2707:
2698:
2697:
2695:
2686:
2685:
2682:
2681:
2657:
2597:
2596:
2594:
2588:
2587:
2579:
2577:
2576:
2569:
2562:
2554:
2548:
2547:
2490:
2481:
2470:
2469:External links
2467:
2466:
2465:
2460:
2447:
2442:
2422:
2417:
2400:
2384:Music Analysis
2378:
2356:
2352:978-1107088603
2351:
2334:
2298:
2293:
2272:
2245:
2241:978-0199696284
2240:
2223:
2211:Haas, Bernhard
2207:
2175:
2170:
2154:
2132:
2127:
2114:
2099:
2090:
2064:
2061:
2059:
2058:
2048:(3): 301–427,
2032:
2020:
2008:
1997:
1982:
1966:
1945:
1930:
1905:
1893:
1870:
1849:
1837:
1825:
1813:
1801:
1789:
1777:
1765:
1753:
1741:
1729:
1719:Lyra Germanica
1705:
1693:
1691:
1690:
1685:
1680:
1675:
1673:Ledbetter 2016
1662:
1650:
1635:
1621:
1604:
1592:
1581:
1569:
1557:
1545:
1533:
1521:
1519:
1518:
1513:
1499:
1483:
1481:
1478:
1477:
1476:
1465:Robert Quinney
1462:
1452:
1446:
1436:
1430:
1420:
1398:
1395:
1394:
1393:
1386:
1383:
1374:adjoining the
1372:Maltese Chapel
1366:
1365:Transcriptions
1363:
1338:
1335:
1284:
1281:
1150:
1147:
991:
988:
853:
850:
816:
813:
786:
783:
774:
773:
754:
751:
748:
747:
745:
744:
743:
738:
733:
728:
723:
720:
715:
710:
705:
700:
697:
692:
687:
682:
675:
674:
673:
670:
667:
664:
661:
658:
655:
652:
649:
646:
643:
640:
637:
634:
596:
593:
529:Paulinerkirche
472:Joachim Quantz
449:Williams (2003
334:canonic fugues
291:
289:
286:
282:
281:
280:
279:
261:
260:
259:
241:
240:
239:
221:
220:
219:
201:
200:
199:
150:
147:
141:Bach's Chorals
133:
113:Philipp Spitta
109:
71:Christmas hymn
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
3586:
3575:
3572:
3570:
3567:
3565:
3562:
3560:
3557:
3555:
3552:
3551:
3549:
3539:
3529:
3525:
3512:
3509:
3507:
3504:
3502:
3499:
3498:
3495:
3488:
3487:
3482:
3479:
3475:
3472:
3468:
3465:
3461:
3458:
3450:
3445:
3444:
3442:
3436:
3429:
3425:
3422:
3418:
3415:
3405:
3402:
3398:
3393:
3389:
3388:
3387:
3384:
3382:
3379:
3378:
3376:
3372:
3366:
3365:
3361:
3359:
3358:
3354:
3349:
3345:
3342:
3338:
3337:
3336:
3335:
3331:
3329:
3326:
3324:
3323:
3319:
3317:
3315:
3311:
3309:
3306:
3304:
3301:
3299:
3298:
3294:
3293:
3287:
3283:
3280:
3270:
3267:
3257:
3254:
3244:
3241:
3237:
3234:
3230:
3227:
3223:
3220:
3210:
3207:
3197:
3194:
3190:
3187:
3183:
3182:
3180:
3175:
3165:
3162:
3152:
3149:
3145:
3142:
3138:
3135:
3125:
3122:
3112:
3109:
3099:
3096:
3092:
3089:
3085:
3084:
3082:
3080:
3079:
3075:
3074:
3071:
3070:
3066:
3061:
3057:
3054:
3050:
3047:
3043:
3042:
3041:
3038:
3036:
3033:
3031:
3028:
3026:
3023:
3022:
3020:
3016:
3010:
3008:
3003:
3001:
2999:
2995:
2993:
2990:
2988:
2986:
2981:
2979:
2977:
2973:
2971:
2969:
2965:
2963:
2961:
2960:OrgelbĂĽchlein
2957:
2955:
2952:
2950:
2947:
2945:
2942:
2940:
2937:
2935:
2932:
2926:
2923:
2921:
2918:
2916:
2913:
2907:
2904:
2902:
2899:
2897:
2894:
2892:
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2887:
2884:
2882:
2879:
2877:
2874:
2872:
2869:
2867:
2864:
2862:
2859:
2857:
2854:
2852:
2849:
2843:
2840:
2839:
2837:
2833:
2828:
2823:
2819:
2811:
2806:
2804:
2799:
2797:
2792:
2791:
2788:
2776:
2773:
2771:
2768:
2766:
2763:
2761:
2758:
2757:
2754:
2746:
2743:
2740:
2739:
2734:
2731:
2730:
2729:Bach-Jahrbuch
2726:
2723:
2722:
2717:
2714:
2713:
2708:
2705:
2704:
2700:
2699:
2696:
2691:
2687:
2679:
2676:(1851-1899);
2675:
2672:(1765–1787);
2671:
2667:
2666:
2661:
2658:
2655:
2654:
2649:
2648:
2643:
2639:
2638:
2633:
2632:
2627:
2626:
2621:
2617:
2616:
2611:
2610:
2604:
2603:
2599:
2598:
2595:
2589:
2583:
2575:
2570:
2568:
2563:
2561:
2556:
2555:
2552:
2545:
2544:
2538:
2537:
2531:
2530:
2524:
2523:
2517:
2516:
2510:
2507:organ in the
2506:
2502:
2498:
2494:
2491:
2489:
2485:
2482:
2480:
2476:
2473:
2472:
2468:
2463:
2457:
2453:
2448:
2445:
2443:0-674-05926-3
2439:
2435:
2431:
2427:
2423:
2420:
2414:
2410:
2406:
2401:
2398:
2394:
2390:
2386:
2385:
2379:
2376:
2372:
2368:
2364:
2363:
2357:
2354:
2348:
2344:
2340:
2335:
2332:
2328:
2324:
2320:
2316:
2312:
2308:
2304:
2299:
2296:
2290:
2286:
2281:
2280:
2273:
2269:
2265:
2261:
2257:
2256:
2251:
2250:Numerate Bach
2246:
2243:
2237:
2233:
2229:
2224:
2220:
2216:
2212:
2208:
2205:
2201:
2197:
2193:
2189:
2185:
2184:Bach-Jahrbuch
2181:
2176:
2173:
2171:9783890074597
2167:
2163:
2159:
2155:
2152:
2148:
2144:
2141:(in German),
2140:
2139:
2138:Bach-Jahrbuch
2133:
2130:
2128:9780822310099
2124:
2120:
2115:
2111:
2107:
2106:
2100:
2096:
2091:
2087:
2083:
2079:
2075:
2071:
2067:
2066:
2062:
2055:
2051:
2047:
2043:
2036:
2033:
2029:
2024:
2021:
2017:
2012:
2009:
2006:
2001:
1998:
1995:, p. 128
1994:
1989:
1987:
1983:
1980:
1975:
1973:
1971:
1967:
1963:
1958:
1956:
1954:
1952:
1950:
1946:
1942:
1941:Yearsley 2002
1937:
1935:
1931:
1927:
1926:Williams 2003
1922:
1920:
1918:
1916:
1914:
1912:
1910:
1906:
1902:
1901:Yearsley 2002
1897:
1894:
1890:
1889:Williams 2003
1885:
1883:
1881:
1879:
1877:
1875:
1871:
1867:
1862:
1860:
1858:
1856:
1854:
1850:
1846:
1845:Williams 2003
1841:
1838:
1834:
1833:Yearsley 2002
1829:
1826:
1822:
1817:
1814:
1810:
1809:Williams 2003
1805:
1802:
1799:, p. 122
1798:
1797:Yearsley 2002
1793:
1790:
1786:
1781:
1778:
1775:, p. 519
1774:
1773:Williams 2003
1769:
1766:
1762:
1761:Yearsley 2002
1757:
1754:
1751:, p. 957
1750:
1745:
1742:
1738:
1737:Williams 2003
1733:
1730:
1725:
1721:
1720:
1715:
1709:
1706:
1703:, p. 250
1702:
1701:Williams 2003
1697:
1694:
1689:
1686:
1684:
1681:
1679:
1676:
1674:
1671:
1670:
1666:
1663:
1659:
1654:
1651:
1648:, p. 516
1647:
1646:Williams 2003
1642:
1640:
1636:
1633:
1628:
1626:
1622:
1618:
1613:
1611:
1609:
1605:
1602:, p. 112
1601:
1600:Yearsley 2002
1596:
1593:
1590:
1589:Williams 2003
1585:
1582:
1578:
1577:Yearsley 2002
1573:
1570:
1566:
1565:Williams 2003
1561:
1558:
1554:
1553:Williams 2003
1549:
1546:
1542:
1541:Williams 2003
1537:
1534:
1531:, p. 173
1530:
1525:
1522:
1517:
1514:
1511:
1510:Williams 2003
1508:
1507:
1503:
1500:
1497:, p. 513
1496:
1495:Williams 2003
1491:
1489:
1485:
1479:
1474:
1470:
1466:
1463:
1460:
1456:
1453:
1450:
1447:
1444:
1440:
1437:
1434:
1431:
1428:
1424:
1423:Anton Heiller
1421:
1418:
1417:Helmut Walcha
1415:
1414:
1411:
1407:
1403:
1396:
1391:
1387:
1384:
1381:
1380:St Petersburg
1377:
1373:
1369:
1368:
1364:
1362:
1360:
1356:
1352:
1348:
1344:
1336:
1334:
1332:
1328:
1324:
1319:
1317:
1316:Bernhard Haas
1312:
1306:
1304:
1297:
1293:
1289:
1282:
1280:
1277:
1273:
1269:
1265:
1260:
1258:
1254:
1250:
1249:
1244:
1243:
1235:
1230:
1226:
1224:
1219:
1217:
1216:OrgelbĂĽchlein
1213:
1209:
1208:
1203:
1202:
1201:moto perpetuo
1195:
1193:
1188:
1185:
1184:voice-leading
1180:
1178:
1172:
1170:
1163:
1159:
1155:
1148:
1146:
1144:
1139:
1137:
1133:
1129:
1125:
1120:
1115:
1113:
1109:
1106:According to
1101:
1097:
1093:
1088:
1084:
1082:
1078:
1075:
1071:
1067:
1064:
1060:
1056:
1051:
1046:
1044:
1043:appoggiaturas
1040:
1036:
1032:
1026:
1024:
1019:
1014:
1012:
1004:
1000:
996:
989:
987:
985:
981:
980:appoggiaturas
976:
972:
968:
964:
960:
956:
952:
947:
944:
940:
936:
932:
927:
923:
919:
915:
911:
910:appoggiaturas
907:
903:
902:
896:
892:
888:
884:
880:
873:
869:
865:
861:
859:
851:
849:
847:
843:
838:
832:
830:
821:
814:
812:
810:
809:OrgelbĂĽchlein
806:
802:
801:
794:
792:
784:
778:
772:
770:
766:
762:
757:
756:
752:
746:
742:
739:
737:
734:
732:
729:
727:
724:
721:
719:
716:
714:
711:
709:
706:
704:
701:
698:
696:
693:
691:
688:
686:
683:
681:
678:
677:
676:
671:
668:
665:
662:
659:
656:
653:
650:
647:
644:
641:
638:
635:
632:
631:
630:
629:
626:
624:
620:
619:Martin Luther
616:
615:
606:
601:
594:
592:
590:
585:
581:
580:Tatlow (2015)
576:
574:
569:
564:
561:
553:
549:
545:
541:
536:
530:
526:
522:
517:
513:
511:
507:
503:
502:Butler (2000)
495:
491:
489:
485:
481:
477:
473:
469:
465:
461:
457:
452:
450:
446:
445:galante music
441:
434:
430:
429:book of hours
426:
422:
418:
416:
415:
414:OrgelbĂĽchlein
410:
406:
402:
398:
393:
391:
386:
384:
383:Martin Luther
380:
372:
368:
367:
362:
361:Martin Luther
358:
354:
351:
347:
343:
339:
338:Clavier-Ăśbung
335:
331:
327:
323:
319:
315:
311:
305:
302:
296:
287:
285:
269:
268:
266:
262:
249:
248:
246:
242:
229:
228:
226:
222:
209:
208:
206:
202:
189:
188:
186:
182:
181:
180:
176:
171:
167:
162:
155:
148:
142:
138:
132:
124:
120:
119:
114:
108:
103:
100:
96:
92:
88:
84:
80:
79:the same name
76:
75:Martin Luther
72:
68:
64:
60:
56:
52:
44:
40:
36:
32:
19:
3484:
3448:
3362:
3355:
3332:
3320:
3313:
3295:
3076:
3067:
3006:
2997:
2991:
2984:
2975:
2967:
2959:
2770:Bach Archive
2745:Bach Digital
2736:
2735:Schmieder's
2727:
2720:
2710:
2701:
2663:
2659:
2651:
2645:
2641:
2635:
2629:
2623:
2613:
2608:
2600:
2591:Music /
2585:publications
2542:
2535:
2528:
2521:
2514:
2499:on the 1755
2497:James Kibbie
2495:recorded by
2451:
2429:
2404:
2388:
2382:
2366:
2360:
2338:
2309:(1): 70–74,
2306:
2302:
2278:
2259:
2253:
2249:
2227:
2218:
2214:
2187:
2183:
2180:Peter Wollny
2161:
2142:
2136:
2118:
2104:
2094:
2085:
2045:
2041:
2035:
2023:
2011:
2005:Stinson 2006
2000:
1896:
1840:
1828:
1816:
1804:
1792:
1780:
1768:
1756:
1744:
1732:
1718:
1708:
1696:
1665:
1653:
1595:
1584:
1572:
1560:
1548:
1536:
1524:
1502:
1340:
1330:
1326:
1320:
1307:
1300:
1267:
1263:
1261:
1256:
1252:
1247:
1240:
1238:
1220:
1215:
1214:, from the
1205:
1199:
1196:
1189:
1181:
1173:
1166:
1140:
1127:
1123:
1116:
1105:
1095:
1091:
1073:
1062:
1054:
1049:
1047:
1027:
1022:
1015:
1008:
983:
974:
966:
962:
948:
943:chromaticism
931:chromaticism
925:
900:
876:
855:
852:Variatio III
833:
826:
808:
798:
795:
788:
758:
740:
735:
730:
725:
717:
712:
707:
702:
694:
689:
684:
679:
612:
610:
577:
565:
560:Breig (2010)
556:
552:Thomaskantor
544:Thomasschule
540:Thomaskirche
521:Thomaskirche
506:Breig (2010)
500:
487:
463:
456:Georg Muffat
453:
437:
412:
409:BWV 606
394:
387:
376:
364:
316:in 1738 by
309:
307:
298:
293:
283:
264:
244:
224:
204:
184:
178:
173:
169:
164:
160:
140:
130:
116:
105:
50:
48:
3440:collections
3341:discography
3273:No. 22 in B
3260:No. 18 in G
3247:No. 13 in F
3168:No. 22 in B
3155:No. 21 in B
2694:scholarship
2680:(1954–2007)
2391:: 268–281,
2369:: 506–507,
2262:: 341–343,
2255:Early Music
1683:Tomita 2016
1658:Tatlow 2015
1632:Butler 2000
1439:André Isoir
1343:Griepenkerl
1323:pedal point
1303:Haas (2008)
1132:pedal point
1079:instead of
1077:semiquavers
1068:instead of
1066:semiquavers
1003:C.J. Hammer
990:Variatio IV
939:pedal point
935:subdominant
837:suspensions
815:Variatio II
769:Butt (2008)
573:pedal point
490:(c. 1733).
3564:Variations
3548:Categories
3213:No. 4 in C
3200:No. 3 in C
3128:No. 7 in E
3115:No. 4 in C
3102:No. 3 in C
3009:, BWV 1128
2929:(doubtful)
2910:(doubtful)
2846:(doubtful)
2747:(2010–...)
2732:(1904–...)
2660:After 1750
2484:Free score
2461:0521803462
2418:0521891159
2294:0195171098
2215:Ars Organi
2158:Butt, John
2063:References
1688:Wells 2017
1678:Szabo 2016
1617:Breig 2010
1516:Breig 2010
1325:there are
1149:Variatio V
1119:coloratura
1059:ritornello
906:melismatic
785:Variatio I
584:numerology
568:BACH motif
407:, notably
2987:, BWV 768
2719:Spitta's
2709:Forkel's
2690:Biography
2331:259592299
2221:: 165–167
2204:232797416
2190:: 27–43,
2076:(1754), "
1993:Essl 2014
1979:Haas 2008
1962:Butt 2008
1866:Butt 2008
1821:Butt 2008
1785:Butt 2008
1749:Butt 2008
1337:Reception
1327:six parts
1253:diminutio
1248:diminutio
1074:diminutio
1063:diminutio
967:Cantabile
963:cantabile
926:cantabile
922:anapaests
883:cantabile
879:crotchets
842:arpeggios
807:, of the
149:Movements
91:Nuremberg
3454:♭
3411:♭
3276:♭
3263:♯
3250:♯
3216:♯
3203:♯
3171:♭
3158:♭
3131:♭
3118:♯
3105:♯
3018:Keyboard
2703:Nekrolog
2668:(1751);
2650:(1747);
2644:(1747);
2640:(1741);
2634:(1739);
2628:(1735);
2612:(1708);
2607:cantata
2541:BWV 769/
2534:BWV 769/
2527:BWV 769/
2520:BWV 769/
2513:BWV 769/
2428:(1991),
2145:: 9–34,
1716:(1855).
1408:, 1780,
1388:In 1956
1177:continuo
1160:, 1714,
1035:mordents
1005:, c.1850
918:BWV 1056
895:ostinato
607:, London
166:Schmids.
134:—
110:—
3392:Bourrée
3181:Book 2
3083:Book 1
2692: /
2488:Mutopia
2084:(ed.),
1475:, 2015.
1329:played
1276:stretto
1212:BWV 607
1100:BWV 668
1070:quavers
1025:canon.
975:galante
959:seventh
951:BWV 769
901:galante
889:on the
805:BWV 619
589:BWV 769
548:Leipzig
525:Leipzig
371:Leipzig
314:Leipzig
175:Schmid.
87:Leipzig
69:on the
18:BWV 769
3524:Portal
2927:
2908:
2844:
2715:(1802)
2706:(1754)
2656:(1748)
2593:lyrics
2458:
2440:
2415:
2349:
2329:
2321:
2291:
2238:
2202:
2168:
2125:
2080:", in
1081:minims
971:minims
891:upbeat
887:minims
722:
699:
660:
645:
427:, 15C
373:, 1567
330:canons
303:, 1754
3438:Mixed
3279:minor
3266:minor
3253:major
3219:minor
3206:major
3174:minor
3161:major
3134:major
3121:minor
3108:major
3060:No. 6
3053:No. 4
3046:No. 2
2835:Organ
2818:organ
2327:S2CID
2319:JSTOR
2200:S2CID
2046:LXXII
1724:12–14
1506:See:
1480:Notes
1242:forte
1134:. As
1124:Comes
1039:turns
1031:slurs
1023:Comes
433:Mainz
63:organ
59:canon
3374:Lute
2582:Bach
2456:ISBN
2438:ISBN
2413:ISBN
2347:ISBN
2289:ISBN
2271:ĂĽber
2236:ISBN
2166:ISBN
2123:ISBN
1473:CORO
1353:and
1041:and
914:aria
846:coda
767:and
542:and
332:and
61:for
49:The
2824:by
2529:iii
2486:at
2393:doi
2371:doi
2311:doi
2264:doi
2192:doi
2188:100
2147:doi
2050:doi
1427:box
1378:in
1234:bar
1128:Dux
1055:Dux
1050:Dux
617:by
546:in
523:in
510:NBA
85:in
77:of
73:by
55:BWV
3550::
2820:,
2662::
2622:;
2605::
2539:,
2536:iv
2532:,
2525:,
2522:ii
2518:,
2436:,
2432:,
2389:36
2387:,
2367:97
2365:,
2341:,
2325:,
2317:,
2307:47
2305:,
2287:,
2283:,
2260:44
2258:,
2234:,
2230:,
2219:56
2217:,
2198:,
2186:,
2143:86
2108:,
2072:;
2044:,
1985:^
1969:^
1948:^
1933:^
1908:^
1873:^
1852:^
1638:^
1624:^
1607:^
1487:^
1349:,
1294:,
1210:,
1098:,
1037:,
1033:,
1001::
953:,
870:,
803:,
763:,
625:.
431:,
363::
267:)
247:)
227:)
207:)
187:)
139:,
125:).
115:,
3526::
2809:e
2802:t
2795:v
2573:e
2566:t
2559:v
2546:.
2543:v
2515:i
2503:/
2395::
2373::
2313::
2266::
2194::
2149::
2052::
1726:.
771:.
411:(
45:.
20:)
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