136:, using manuscript copies dating from 1758. The project was aborted in 1763, because Marpurg was no longer available, having assumed responsibility for the Royal Prussian Lottery. The first part of the Birnstiel edition was later published in 1765, with C. P. E. Bach in the title page and preface. C. P. E. Bach was, however, dissatisfied with the second part of Birnstiel's 1769 edition. He broke off negotiations and surrendered the manuscript rights to Kirnberger in 1771. Despite Kirnberger's promises to publish Breitkopf's edition during the intervening period (1771–1777), no manuscripts materialised. Following a respectful pause to mark Kirnberger's death in 1783, C.P.E. Bach resumed discussion on the chorales with Breitkopf, with a positive outcome for the first instalment in July 1784. With no further reasons to delay printing, the first instalment began at the end of the year, followed by further annual instalments until the whole collection was completed in 1787. After two false starts in 1765 and 1769, a new chapter thus commenced in the history of Bach's impact, as his choral repertory became more extensively available.
241:
229:
195:
28:
109:. Here he wrote that his aim was to instil "the dignity of Harmony" into the fugue and explained its importance both for "the music mechanic" knowing only "the fugue by name", as well as "the contemporary composer, who considers the fugue the child of ancient aberration, the manly element which should prevail in music," as opposed to "the spreading rubbish of womanly song." The attempt at recruiting subscribers, musically well-versed in counterpoint, was again unsuccessful, with hardly thirty copies sold. Disappointed for the second time by the response, C.P.E. Bach sold the plates in 1756.
473:
143:
159:
175:
485:
400:
124:
in the chorale, and mingled many strange notes in it, and for the fact that the congregation has been confused by it". It is possible that Bach's reluctance to publish any four-part chorales was a consequence of such criticisms. At any rate, even fifteen years after Bach's death, the first editions
89:
and the four-part chorales were available in print prior to 1800. The demand in that period was partly affected by publishers' printing expenses and partly by changing tastes. Amongst amateurs, there was a market for more popular, tuneful and approachable repertoire: amongst professional musicians,
559:
According to recent findings, neither
Marpurg, C. P. E. Bach Emanuel or Kirnberger had priority to the principal collector of Bach's four-part chorales. Instead the honour fell to an alumnus of the Thomasschule zu Leipzig, unknown until the early 1960s, one of the choristers aimed at Bach's famous
112:
The initiative for publishing the four-part chorales of Bach was different. Possibly didactic in purpose, the four-part chorales were "miniature masterpieces of harmony and voice leading" with "searching harmonies and busy inner parts". The chorales were extracted from Bach's church music by the
555:
Despite the merits of Smend's commentary, however, it has been criticised because it does not quite tally with known evidence. The assumptions of Smend are evaluated in the technical editorial report . Staying within the limited scope of this account, the complicated picture underlying Bach's
576:
The fact that manuscript "R 18" originated in this way is entirely conclusive: the special musical notation, the watermarks, the repertoire from the
Christmas Oratorio and the exact dating of one of the last chorales to be copied—the final movement of cantata "Was Gott micht mit die Zeit"
513:
Becker subsequently seems to have regretted his decision. A new edition for the four-part choral harmonisations was published in
Leipzig by Robert Freise in three instalments, 1841–1843, without omitting Becker's own participation in the 1831 edition. At that stage organist at the Leipzig
432:
Since the number 283 was used twice (last number of Vol. III and first number of Vol. IV), the collection actually contained 371 items. The collection also contained several doubles (e.g. No. 156 is identical to No. 307): it totalled 348 independent harmonisations.
1453:
240:
228:
547:
Based on decades of familiarity with the sources of the four-part chorales, Smend, in his 1966 Bach-Jahrbuch, significantly advanced the scientific investigation of sources, which previously had been left in a precarious state following
84:
Bach's posthumous publications in the second half of the eighteenth century, like those printed during his life, gave the impression of a readership aimed at connoisseurs with a "learned" expertise in keyboard music. Thus only
1652:
525:, however, the editor of the Bach-Gesellschaft responsible for the chorales, judged that Erk had gone too far in his criticism and had himself made mistakes. No serious faults were found in the 1784–1787 edition.
1692:
521:, in his painstaking two-volume Peters edition of 1850 and 1865. His comparison of the original manuscripts and reliable copies with the 1831 Breitkopf edition was devastating, with many examples of errors.
568:
identified the copyist as Johann Ludwig Dietel (1713-1777), who attended the
Thomasschule from 1727 to 1735, matriculated at the University of Leipzig in 1736 and later became cantor in his home town of
552:'s reported loss of manuscripts. Above all, in 1964 Peter Krause unearthed manuscript R 18 in the Musikbibliothek des Stadt Leipzig, the missing source for volumes III–IV of the 1784–1787 edition.
263:
in 1713. A handful of its four-part chorale settings ended up in the first volume of
Birnstiel's first volume of chorale settings by Bach. The sixth and last movement of Bach's chorale cantata
218:
and completed, edited and supplemented with a preface and a list of errata by C. P. E. Bach. A second volume of 100 was issued by the same publisher in 1769, edited by
1591:
496:
The new 1831 score was revised directly by
Breitkopf, only afterwards approaching an expert to supply the preface and title. The choice of the Leipzig music collector
514:
Nikolaikirche, Becker's critical commentary was the first to discuss the manuscript sources prepared by
Kirnberger and C. P. E. Bach, even if only in a general way.
142:
1846:
1762:
94:—a foundation-stone for musicians—was printed for the first time in 1801, followed by publications of complete editions of Bach's works throughout the century.
1520:[The four-part chorales of Johann Sebastian Bach: research into the printed editions from 1765 to 1732 and regarding the question of authenticity]. In
264:
73:, to publish the chorales. Following Kirnberger's death in 1783, C.P.E. Bach approached Breitkopf, who published them in four volumes between 1784 and 1787.
1622:
174:
510:, Becker's critical commentary was the first to discuss the manuscript sources prepared by Kirnberger and C. P. E. Bach, even if only in a general way.
1595:
564:
to have been "Hauptkopist F", Bach's principal copyist in the first half of the 1730s, who for example performed in the
Christmas Oratorio. In 1981
194:
158:
27:
391:
on 30 May 1769, in which he also claimed that some of the chorale harmonisations included in the volume had not been composed by his father.
105:
published an edition through subscription in 1751: few subscribers took up the offer. In 1752 a second edition was printed with a new foreword by
1258:
1375:
Schulze, Hans-Joachim (1996). "J.S. Bach's Vocal Works in the
Breitkopf Nonthematic Catalogs of 1761 to 1836". In George B. Stauffer (ed.).
57:, who owned the original manuscripts, then set about the same task, producing two volumes in 1765 and 1769. Dissatisfied with his publisher
1740:
387:
C. P. E. Bach criticised
Birnstiel's second volume as being full of mistakes in an article which was published in Hamburg in the
271:
415:
After Kirnberger died in 1783, C. P. E. Bach became Breitkopf's editor for the chorales, which he then published in four parts:
1518:"Die vierstimmigen Choräle Johann Sebastian Bachs: Untersuchungen zu den Druckausgaben von 1765 bis 1932 und zur Frage der Authentizität"
532:, with which he was not entirely happy. It still competed for quality with the complete and practical Breitkopf edition with 389 pieces (
1110:
1165:
1129:
1087:
991:
537:
97:
The task of engraving "The Art of the Fugue" was interrupted by Bach's death in 1750. Assisted by the family and former assistants,
70:
1769:
1825:
1615:
66:
53:
was the first to start preparing a published edition of Bach's four-part chorales, but in 1763 was prevented by royal duties.
1856:
1462:
1388:
1670:
1657:
90:
however, manuscripts continued to be circulated through hand copies. In the nineteenth century fashions changed again: the
1851:
1665:
1380:
560:
1730 "Draft for a Well-Appointed Church Music" ("Entwurf einer wohlbestallten Kirchenmusik"). It was already known from
506:
1547:
1432:
1351:
1301:
133:
58:
128:
After 1750, Marpurg was the first to embark on preparing a published edition of Bach's four-part chorales during the
17:
1608:
1324:["150 pieces from the Bach estate": on the transmission of Johann Sebastian Bach's four-part chorales]. In
1102:
533:
117:
500:
followed a traditional route: a former chorister from the Thomanerschule, who was later appointed organist at the
125:
of the four-part chorales also proved to be controversial and were not well-received, even amongst Bach devotees.
1724:
219:
215:
181:
165:
149:
50:
1157:
472:
76:
About half of the chorale harmonisations in this collection have their origin in other extant works by Bach.
1060:
1042:
983:
915:
891:
867:
683:
656:
541:
504:
in Leipzig. Becker subsequently seems to have regretted his decision. At that stage organist at the Leipzig
1322:""150 Stücke von den Bachischen Erben": Zur Überlieferung der vierstimmigen Choräle Johann Sebastian Bachs"
1788:
1144:
276:
1815:
1632:
1543:
1428:
1347:
1297:
497:
91:
36:
1703:
1697:
1681:
1521:
1325:
1317:
1275:
86:
1687:
1675:
1251:
The Creative Development of Johann Sebastian Bach: Music to Delight the Spirit, Volume 1: 1695–1717
1246:
565:
129:
1585:
1234:
1213:
1177:
820:
816:
1753:
484:
1145:
Bach Werke Verzeichnis: Kleine Ausgabe – Nach der von Wolfgang Schmieder vorgelegten 2. Ausgabe
441:
The Breitkopf collection went through four more editions and countless reprintings until 1897:
69:. From 1777 onwards, Kirnberger unsuccessfully made requests to Birnstiel and a new publisher,
1810:
1559:
1501:
1384:
1363:
1254:
1161:
1125:
1106:
1083:
987:
62:
1517:
1402:
1728:
1715:
1551:
1436:
1355:
1305:
1205:
1020:
536:). Nevertheless, at that stage the most exact and scientifically useful edition was that of
522:
41:
1529:
1525:
1414:
1333:
1329:
1279:
529:
211:
45:
in the early 1750s, the only further publications prior to the 1790s were the settings of
1483:
1478:
1473:
1466:
1120:
Dirst, Matthew (2017). "Early Posthumous Published Editions". In Leaver, Robin A. (ed.).
766:
1321:
854:
274:, close enough to Vetter's original to be marked as spurious in the 1998 edition of the
1448:
1410:
1406:
1405:[Regarding the eldest collections of J. S. Bach's four-part chorales]. In
1398:
1139:
1006:
561:
1274:[On the authenticity of some of Johann Sebastian Bach's chorale settings]. In
1840:
1779:
1581:
1577:
1539:
1513:
1491:
1424:
1343:
1293:
1217:
1011:
549:
256:
102:
54:
1820:
1795:
1225:
Jerold, Beverly (2014). "Johann Philipp Kirnberger and the Bach Chorale Settings".
1070:
1065:
1052:
1047:
925:
920:
901:
896:
877:
872:
778:
693:
688:
666:
661:
203:
106:
246:
Birnstiel's first volume (1765): second half of C. P. E. Bach's Preface.
581:), composed for 30 January 1735, that appeared as entry CXXIX in the manuscript.
234:
Birnstiel's first volume (1765): first half of C. P. E. Bach's Preface.
1454:
Johann Sebastian Bach: His Work and Influence on the Music of Germany, 1685–1750
1283:
98:
1267:
1458:
570:
518:
389:
Staats- und Gelehrte Zeitung des Hamburgischen unpartheyeschen Correspondenten
1563:
1505:
1367:
1080:
The New Bach Reader: A Life of Johann Sebastian Bach in Letters and Documents
868:"Du Friedefürst, Herr Jesu Christ, BWV Anh. 201 / Anh. II 31→"
832:
1150:
Bach Works Catalogue: Small Edition – After Wolfgang Schmieder's 2nd edition
657:"An Wasserflüssen Babylon / Ein Lämmlein geht und trägt die Schuld, BWV 267"
399:
1178:"Johann Philipp Kirnberger versus Friedrich Wilhelm Marpurg: A Reappraisal"
1024:
528:
Erk's Peters edition was still available with a revised version in 1932 by
1209:
1193:
517:
The task of preparing a detailed critical edition was first undertaken by
1271:
114:
1238:
1555:
1440:
1403:"Zu den ältesten Sammlungen der vierstimmigen Choräle J. S. Bachs"
1359:
1309:
916:"O Traurigkeit, o Herzeleid, BWV Anh. 204 / Anh. II 31→"
303:
684:"Ich hebe meine Augen auf, BWV Anh. 203 / Anh. II 31→"
578:
113:
Berlin circle around C.P.E. Bach. Already in 1709, as a youth in the
1600:
1043:"Liebster Gott, wenn werd ich sterben [1st version] BWV 8.1"
892:"Gott hat das Evangelium, BWV Anh. 202 / Anh. II 31→"
214:
published 100 chorales in Berlin. The edition had been initiated by
1153:
398:
193:
26:
1594:: Breitkopf edition Vol. 1–4 (1784–1787), facsimiles at the
1009:(1957). "Zur Chronologie der Leipziger Vokalwerke J. S. Bachs".
270:
is a slightly reworked version of Vetter's four-part setting of
1604:
1078:
David, Hans Theodore; Mendel, Arthur; Wolff, Christoph (1999).
837:
783:
1495:
1099:
Engaging Bach: The Keyboard Legacy from Marpurg to Mendelssohn
284:
Chorale settings by D. Vetter in Birnstiel's 1765 Volume
1377:
J.S. Bach, the Breitkopfs, and Eighteenth-century Music Trade
767:
Liebster Gott, wenn werd ich sterben BWV 8.1 at Bach Digital
855:
Liebster Gott, wenn werd ich sterben BWV 8/6 at Bach Digital
1272:"Zur Echtheit einiger Choralsätze Johann Sebastian Bachs"
1122:
The Routledge Research Companion to Johann Sebastian Bach
1763:
Ueber Johann Sebastian Bachs Leben, Kunst und Kunstwerke
1693:
Canonic Variations on "Vom Himmel hoch da komm' ich her"
961:
959:
1152:] (in German). Kirsten BeiĂźwenger (collaborator). (
198:
Birnstiel's first volume (1765), p. 3, containing
120:, Bach had been scolded for having "made many curious
1097:
Dirst, Matthew (2012). "Inventing the Bach chorale".
639:
637:
635:
633:
631:
629:
627:
625:
623:
621:
403:
Breitkopf 1784: No. 1 "Aus meines Herzens Grunde" (=
18:
Bach's four-part chorales published by Birnstiel
1739:
1641:
61:, he surrendered the manuscript rights in 1771 to
452:In addition there were other historic editions:
39:'s death in 1750, apart from the publication of
1061:"Liebster Gott, wenn werd ich sterben BWV 8/6"
779:So how many Bach four–part chorales are there?
1671:Picander's 1728–29 cycle of cantata librettos
1616:
950:
800:
407:) and No. 2 "Ich dank' dir, lieber Herre" (=
8:
1233:(1). Riemenschneider Bach Institute: 34–43.
31:Birnstiel's first volume (1765): title page.
1497:Musicalische Kirch- und Hauß-Ergötzlichkeit
980:Johann Sebastian Bach: the learned musician
556:Chorales can be outlined in a few strokes.
261:Musicalische Kirch- und Hauß-Ergötzlichkeit
1623:
1609:
1601:
1194:"Johann Philipp Kirnberger and Authorship"
1124:. Taylor & Francis. pp. 464–474.
282:
1596:International Music Score Library Project
1204:(4). Music Library Association: 688–705.
965:
938:
742:
718:
678:
676:
483:
471:
132:. Marpurg employed the Berlin publisher
1775:(Vol. I: 1873; Vol. II: 1880)
643:
598:
596:
594:
590:
259:had published the second volume of his
224:
152:by Berol after a drawing by Kauke, 1758
138:
1653:Printed during the composer's lifetime
812:
754:
730:
462:The Bach-Gesellschaft edition of 1892.
1847:Compositions by Johann Sebastian Bach
1142:; Kobayashi, Yoshitake, eds. (1998).
1101:. Musical Performance and Reception.
706:
613:
602:
314:Liebster Gott, wann werd ich sterben
266:Liebster Gott, wenn werd ich sterben?
7:
1500:(in German). Vol. 2. Leipzig.
1379:. Bach Perspectives. Vol. 2.
425:Vol. III (1786): Nos. 195–283
25:
428:Vol. IV (1787): Nos. 283–370
328:Du FriedefĂĽrst, Herr Jesu Christ
71:Johann Gottlob Immanuel Breitkopf
459:The Peters edition of 1850/1865.
437:Reception: the Dietel manuscript
422:Vol. II (1785): Nos. 97–194
239:
227:
173:
157:
141:
1826:Johann Sebastian Bach Institute
1463:Fuller Maitland, John Alexander
395:Chorales published by Breitkopf
190:Chorales published by Birnstiel
67:Princess Anna Amalia of Prussia
1725:Bach-Gesellschaft edition
1592:371 Vierstimmige Choralgesänge
1172:Preface in English and German.
448:The Breitkopf edition of 1898.
445:The Breitkopf edition of 1832.
1:
1578:Birnstiel, Vol. 1 (1765)
1185:Dutch Journal of Music Theory
419:Vol. I (1784): Nos. 1–96
1582:Birnstiel Vol. 2 (1769)
1381:University of Nebraska Press
408:
404:
199:
1548:Evangelische Verlagsanstalt
1542:(in German). Vol. 69.
1433:Evangelische Verlagsanstalt
1427:(in German). Vol. 52.
1352:Evangelische Verlagsanstalt
1346:(in German). Vol. 69.
1302:Evangelische Verlagsanstalt
1296:(in German). Vol. 61.
1253:, Oxford University Press,
468:The Peters edition of 1932.
465:The Oxford edition of 1929.
456:The Friese edition of 1843.
376:O Traurigkeit, o Herzeleid
272:the hymn with the same name
134:Friedrich Wilhelm Birnstiel
59:Friedrich Wilhelm Birnstiel
1873:
1103:Cambridge University Press
534:Bernhard Friedrich Richter
1806:
978:Wolff, Christoph (2002),
951:DĂĽrr & Kobayashi 1998
801:DĂĽrr & Kobayashi 1998
573:, north east of Leipzig.
359:Ich hebe meine Augen auf
297:
294:
291:
288:
184:by C.F.R. Lisiewski, 1780
51:Friedrich Wilhelm Marpurg
47:Bach's four-part chorales
1192:Jerold, Beverly (2013).
1176:Jerold, Beverly (2012).
342:Gott hat das Evangelium
35:In the period following
1156: ed.). Wiesbaden:
984:Oxford University Press
202:by J. S. Bach and
55:C. P. E. Bach
1789:Bach-Werke-Verzeichnis
1682:Clavier-Ăśbung III
1247:Jones, Richard Douglas
1158:Breitkopf & Härtel
1025:10.13141/bjb.v19571520
493:
481:
412:
277:Bach-Werke-Verzeichnis
207:
32:
1857:18th century in music
1816:Neue Bachgesellschaft
1772:Johann Sebastian Bach
1676:Clavier-Ăśbung II
1544:Neue Bachgesellschaft
1522:Schulze, Hans-Joachim
1429:Neue Bachgesellschaft
1348:Neue Bachgesellschaft
1326:Schulze, Hans-Joachim
1318:Schulze, Hans-Joachim
1298:Neue Bachgesellschaft
1276:Schulze, Hans-Joachim
1210:10.1353/not.2013.0064
538:Charles Sanford Terry
498:Carl Ferdinand Becker
487:
475:
402:
197:
92:Well-Tempered Clavier
37:Johann Sebastian Bach
30:
1698:The Musical Offering
1666:Clavier-Ăśbung I
1073:; et al. 2019-05-22.
1055:; et al. 2020-04-08.
928:; et al. 2018-07-07.
904:; et al. 2018-07-07.
880:; et al. 2018-07-07.
696:; et al. 2018-07-07.
669:; et al. 2019-03-11.
383:Second volume (1769)
212:F. W. Birnstiel
87:The Art of the Fugue
1852:18th-century prints
1688:Goldberg Variations
1669:(1726–1730; 1731);
1660:Gott ist mein König
1354:. pp. 81–100.
285:
252:First volume (1765)
220:J. F. Agricola
164:Pastel portrait of
1792:(1950; 1990; 1998)
1721:Four-part chorales
1586:University of Bonn
1556:10.13141/bjb.v1983
1550:. pp. 51–79.
1536:Bach Yearbook 1983
1531:Bach-Jahrbuch 1983
1441:10.13141/bjb.v1966
1421:Bach Yearbook 1966
1416:Bach-Jahrbuch 1966
1383:. pp. 35–52.
1360:10.13141/bjb.v1983
1340:Bach Yearbook 1983
1335:Bach-Jahrbuch 1983
1310:10.13141/bjb.v1975
1304:. pp. 50–62.
1290:Bach Yearbook 1975
1285:Bach-Jahrbuch 1975
1105:. pp. 34–54.
833:BWV 8.6 (=BWV 8/6)
494:
482:
413:
283:
216:F. W. Marpurg
208:
206:by D. Vetter.
33:
1834:
1833:
1811:Bach Gesellschaft
1704:SchĂĽbler Chorales
1435:. pp. 5–40.
1260:978-0-19-816440-1
941:, pp. 56–57.
721:, pp. 54–55.
502:Alte Peterskirche
492:, Leipzig in 1850
480:, Leipzig in 1880
478:Alte Peterskirche
380:
379:
204:BWV Anh. 203
168:, Hamburg, c 1780
63:Johann Kirnberger
16:(Redirected from
1864:
1729:New Bach Edition
1716:The Art of Fugue
1635:
1625:
1618:
1611:
1602:
1584:: facsimiles at
1567:
1526:Wolff, Christoph
1509:
1470:
1467:Novello & Co
1457:. Translated by
1444:
1399:Smend, Friedrich
1394:
1371:
1330:Wolff, Christoph
1313:
1280:Wolff, Christoph
1263:
1242:
1221:
1188:
1182:
1171:
1135:
1116:
1093:
1074:
1056:
1029:
1028:
1003:
997:
996:
975:
969:
963:
954:
948:
942:
936:
930:
929:
912:
906:
905:
888:
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881:
864:
858:
852:
846:
844:
841:
839:
830:
824:
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764:
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746:
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616:
611:
605:
600:
566:Andreas Glöckner
372:
352:
286:
243:
231:
177:
161:
145:
130:Seven Years' War
42:The Art of Fugue
21:
1872:
1871:
1867:
1866:
1865:
1863:
1862:
1861:
1837:
1836:
1835:
1830:
1802:
1801:
1744:
1735:
1734:
1643:
1637:
1631:
1629:
1574:
1514:Wachowski, Gerd
1512:
1490:
1449:Spitta, Philipp
1447:
1411:Neumann, Werner
1397:
1391:
1374:
1316:
1266:
1261:
1245:
1224:
1191:
1180:
1175:
1168:
1138:
1132:
1119:
1113:
1096:
1090:
1082:. W.W. Norton.
1077:
1059:
1041:
1038:
1033:
1032:
1005:
1004:
1000:
994:
977:
976:
972:
964:
957:
949:
945:
937:
933:
914:
913:
909:
890:
889:
885:
866:
865:
861:
853:
849:
836:
835:at Luke Dahn's
831:
827:
815:, II, pp.
811:
807:
799:
795:
782:
781:at Luke Dahn's
777:
773:
765:
761:
753:
749:
741:
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725:
717:
713:
705:
701:
682:
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619:
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966:Wachowski 1983
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840:.bach-chorales
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803:, p. 468.
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1291:
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1199:
1195:
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748:
745:, p. 55.
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1642:Music /
1636:publications
1535:
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1407:DĂĽrr, Alfred
1376:
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1268:Platen, Emil
1250:
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1197:
1184:
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1140:DĂĽrr, Alfred
1121:
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1071:Bach Archive
1066:Bach Digital
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1048:Bach Digital
1046:
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1010:
1007:DĂĽrr, Alfred
1001:
979:
973:
946:
934:
926:Bach Archive
921:Bach Digital
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694:Bach Archive
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644:Schulze 1983
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431:
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409:BWV 347
405:BWV 269
388:
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200:BWV 267
180:Portrait of
150:F.W. Marpurg
127:
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107:F.W. Marpurg
96:
83:
75:
46:
40:
34:
1745:scholarship
1731:(1954–2007)
1459:Bell, Clara
1069:. Leipzig:
1051:. Leipzig:
924:. Leipzig:
900:. Leipzig:
876:. Leipzig:
813:Spitta 1899
755:Platen 1976
731:Vetter 1713
692:. Leipzig:
665:. Leipzig:
562:Alfred DĂĽrr
544:, in 1929.
166:C.P.E. Bach
99:C.P.E. Bach
1841:Categories
1798:(2010–...)
1783:(1904–...)
1711:After 1750
1546:. Berlin:
1484:Volume III
1431:. Berlin:
1390:0803210442
1350:. Berlin:
1300:. Berlin:
707:Smend 1966
614:Jones 2007
603:Dirst 2012
585:References
571:Falkenhain
519:Ludwig Erk
292:Birnstiel
122:variatones
118:Consistory
49:. In 1758
1770:Spitta's
1760:Forkel's
1741:Biography
1564:0084-7682
1506:857536916
1479:Volume II
1368:0084-7682
1218:162055740
1187:: 91–108.
1019:: 5–162.
364:Anh. 204
347:Anh. 203
333:Anh. 202
319:Anh. 201
1754:Nekrolog
1719:(1751);
1701:(1747);
1695:(1747);
1691:(1741);
1685:(1739);
1679:(1735);
1663:(1708);
1658:cantata
1588:website.
1528:(eds.).
1516:(1983).
1494:(1713).
1474:Volume I
1451:(1899).
1413:(eds.).
1401:(1966).
1332:(eds.).
1320:(1983).
1282:(eds.).
1270:(1976).
1249:(2007),
1239:43489889
210:In 1765
115:Arnstadt
1743: /
1538:].
1423:].
1342:].
1292:].
1036:Sources
295:Vetter
80:History
1766:(1802)
1757:(1754)
1707:(1748)
1644:lyrics
1562:
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990:
845:(2019)
791:(2018)
579:BWV 14
298:Title
1534:[
1419:[
1338:[
1288:[
1235:JSTOR
1214:S2CID
1198:Notes
1181:(PDF)
1148:[
268:BWV 8
1633:Bach
1560:ISSN
1502:OCLC
1385:ISBN
1364:ISSN
1255:ISBN
1227:Bach
1162:ISBN
1126:ISBN
1107:ISBN
1084:ISBN
988:ISBN
842:.com
788:.com
488:The
289:BWV
101:and
1552:doi
1437:doi
1356:doi
1306:doi
1206:doi
1154:BWV
1021:doi
838:www
821:432
817:431
784:www
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322:15
311:91
308:47
304:8/6
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819:–
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709:.
646:.
577:(
411:)
371:0
351:0
20:)
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