J. S. Bach

Preface Abbreviations and Terms Introduction: The World of Bach's Organ Music Central German Music Culture ~ Grandest Machine of All ~ Transmission of Bach's Organ Works Part I - Learning the Craft: Eisenach, Ohrdruf, Lüneburg, and Weimar (1685-1703) 1 - The Young Bach Eisenach ~ Ohrdruf ~ Lüneburg ~ Weimar 2 - Study and Models Ohrdruf: Johann Christoph Bach and Thuringian Circles ~ Lüneburg: Georg Böhm and North German Circles 3 - Initial Efforts Neumeister Chorales ~ Free Works Part II - The "First Fruits": Arnstadt and Mühlhausen (1703-1708) 4 - Bach in Arnstadt and Mühlhausen Organist at the New Church ~ Lübeck Pilgrimage ~ Organist at St. Blasius's Church 5 - Chorale-based Works Chorale Settings ~ Chorale Partitas 6 - Free Works Multi-sectional Praeludia ~ Prelude-Fugue Pairs ~ Independent Fugues ~ Unica Part III - "The Golden Years": Weimar (1708-1717) 7 - Bach in Weimar Organist and Chamber Musician at the Weimar Court ~ Chapel Organ and Other Instruments ~ New Connections, New Influences ~ Eclectic Blends and Hybrid Forms 8 - The Orgel-Büchlein Compositional History ~ Function in Weimar ~ Musical Style: Melody Chorales, Canonic Chorales, Florid-Melody Chorales, Unique Settings 9 - Concerto Transcriptions Incomparable Things ~ Challenges of Transcription Process ~ The Music: Vivaldi Transcriptions, Johann Ernst Transcriptions ~ Bach versus Vivaldi 10 - Large Chorale Settings Fore-Imitation Settings ~ Florid-Melody Settings ~ Chorale Trios ~ Cantus Firmus Settings ~ Eclectic Blends ~ Sei gegrüßet, Jesu gütig 11 - Small Chorale Settings Miscellaneous Manual Works ~ Chorale Fughettas ~ Congregational Accompaniment: Figured-Bass and Interlude Settings 12 - Free Works: Prelude-Fugue Pairs Prelude and Fugue Ideal ~ Modification of North German and French Idioms ~ Adoption of Italian Concerto Principles 13 - Free Works: Independent Fugues and Singular Pieces Independent Fugues ~ Experimental Forms ~ The Great Passacaglia Part IV - The Organist as Capellmeister: Cöthen (1717-1723) 14 - Bach in Cöthen Capellmeister at the Cöthen Court ~ Repertory ~ New Stylistic Developments ~ Organ Inspections and Performances 15 - Organ Teacher, Consultant, and Recitalist Didactic Works ~ Organ Pedagogue ~ Organ Examiner and Consultant ~ Organ Recitalist 16 - Bach's Art of Registration The German Tradition ~ Full Organ ~ All the Remaining Diverse Variations ~ Hymn Accompaniment ~ Particular Stops and Combinations Part V - The Grand Synthesis: Leipzig (1723-1750) 17 - Bach in Leipzig St. Thomas Cantor and Director of Music ~ Fusion of Styles ~ New Role of Revision and Recycling ~ Central German Organ 18 - Cantata and Passion Movements with Obbligato Organ and Miscellaneous Trios Obbligato Organ Repertory ~ Performance Considerations ~ Musical Style ~ Trio Transcriptions and Compositions ~ Function of the Pieces ~ Stylistic Aspects 19 - Six Sonatas The Genesis of the Collection ~ Pedagogical Use ~ Musical Style ~ Performance Issues ~ Postscript 20 - Free Works: Prelude and Fugues An Unorthodox Transcription ~ Four Monumental Works 21 - Free Works: Singular Pieces Singular Pieces ~ Prelude and Fugues: Final Directions 22 - Clavier-Übung III The Clavier-Übung Series ~ Genesis of the Original Print ~ The Music ~ Structure of the Collection ~ Duets ~ Reception of the Music 23 - Canonic Variations on "Vom Himmel hoch, da komm ich her" The Canonic Variations Project ~ The Music ~ Organizational Schemes 24 - The Schübler Chorales The Problematic Original Print ~ Hand-Corrected Copies ~ The Music ~ Structure of the Collection ~ Significance of the Settings 25 - Nineteen Large Chorales of Various Kinds The Leipzig Chorale Portfolio ~ Why These Settings? ~ The Revisions ~ Unanswered Questions ~ Search for Perfection Appendix: Three Central German Organs, specifications