The Music of Carl Philipp Emanuel Bach

Examples

*Examples included in the printed edition of the book are signified by asterisks.
Example 1.1. “Württemberg” Sonata no. 6 in B minor W. 49/6, movement 1, mm. 1–9: score; audio
Example 1.2. Sonata in A, W. 56/6, movement 1, mm. 1–10: score; audio
Example 2.1. Miscellanea musica W. 121, extract (from Bc 5895, top of p. 10; editorial additions in small notes): score; audio
Example 2.2. Quantz, first six examples of embellishment from Versuch (1752, 13.13), tabula 9, figure 2: score; audio
*Example 3.1. Suite in E minor, W. 65/4, early version, movement 3, (a) mm. 1–2, (b) mm. 17–18: score; audio
*Example 3.2. (a) Suite in E minor, W. 65/4, early version, movement 3, mm. 8–11a; (b) Scherzo in E minor, BWV 844a, mm. 31–34: score; audio
Example 3.3. Suite in G (CPEBCW 1/8.2, no. 68), (a) movement 2, mm. 17–20; (b) movement 1, mm. 5–8a: score; audio
Example 3.4. (a) W. F. Bach, Minuet in G minor, F. 25/1, mm. 1–4; (b) Minuet in C, W. 111, mm. 1–6: score; audio
Example 3.5. Anonymous suite in G from P 368, fascicle 11: (a) Sarabande, mm. 1–4; (b) “Paisane,” mm. 1–4; (c) Gigue, mm. 1–4: score; audio
Example 3.6. Sonata in E-flat, W. 65/7, late version, movement 1, mm. 45–64, with corresponding measures of early version on lower staves: score; audio (late version); audio (early version)
Example 3.7. Sonata in F, W. 65/1, movement 1, mm. 1–31, showing possible cut corresponding to lost early version: score; audio (extant late version); audio (hypothetical early version)
Example 3.8. (a) Sonata in B minor for keyboard and violin, W. 71, movement 3, mm. 1–4, (b) J. S. Bach, Sonata in B minor for keyboard and violin, BWV 1014, movement 1, mm. 1–7: score; audio
Example 3.9. (a) J. S. Bach, Trio in C Minor from the Musical Offering, BWV 1079, movement 3, mm. 22–24; (b) Trio in A Minor, W. 148, movement 2, mm. 13–15: score; audio
Example 3.10. Trio in E Minor for flute, violin, and bass, W. 144, movement 3, mm. 112–27: score; audio
Example 3.11. Sonata in D for keyboard and violin, W. 71, movement 1, mm. 29–43: score; audio
Example 3.12. Trio in C for flute, violin, and bass, W. 147, movement 1, mm. 12–18: score; audio
Example 3.13. Sonata in D minor for keyboard and violin, BWV 1036, movement 1, mm. 1–7: score; audio
Example 3.14. (a) Sonata in D minor for keyboard and violin, BWV 1036, movement 3, mm. 34–41; (b) Trio in D minor for flute, violin, and bass, W. 145, movement 2, mm. 48–55: score; audio
*Example 4.1. (a) Sonata in E-flat, W. 65/7, late version, movement 2, mm. 1–8; (b) Sonata in B-flat, W. 65/9, late version, mm. 7; both with early version on lower staves: score; audio:
ex. 4.1a, late version
ex. 4.1a, early version
ex. 4.1b, late version
ex. 4.1b, early version
Example 4.2. Sonata in A, W. 65/10, early version, movement 1, mm. 16–20: score; audio
Example 4.3. Sonata in B-flat, W. 65/9, early version, movement 1, mm. 24–26: score; audio
Example 4.4. Sonata in A minor, W. 65/2, movement 1, mm. 1–9, 11–13, and 16–18: score; audio
*Example 4.5. Variations on a Minuet by Locatelli, W. 118/7: opening of nos. 3, 6, and 19, with parallels in J. S. Bach, Goldberg Variations, BWV 988, nos. 12, 5, and 8: score; audio (W. 118/7); audio (BWV 988)
Example 4.6a. Locatelli, Sonata in G, movement 3, variation 2, mm. 1–4: score; audio
Example 4.6b. Locatelli Variations, W. 118/7, no. 5; Minuet With Five Variations, W. 118/3, no. 1; Arioso With Seven Variations, W. 118/4, no. 2: score; audio
Example 4.7. Locatelli Variations, W. 118/7, no. 1, mm. 1–4, 9–12: score; audio
Example 4.8. Locatelli Variations, W. 118/7, no. 13, mm. 1–6: score; audio
Example 4.9. Sonata in G minor, W. 65/11, early version, mm. 1–8: score; audio
Example 4.10. Sonata in G minor, W. 65/11, movement 3: (a) early version, mm. 1–4; (b) intermediate version, mm. 1–8: score; audio
Example 4.11. (a) Oboe Sonata in G Minor, W. 135, movement 1, mm. 7–8, 12–13; (b) Flute Sonata in G, W. 134, movement 1, mm. 4–5: score; audio
Example 4.12a. Flute Sonata in E Minor, W. 124, movement 1, mm. 9–11: score; audio
Example 4.12b. J. S. Bach, Sonata in B Minor for Flute and Keyboard, BWV 1030, movement 1, mm. 13–14, 23–24: score; audio
Example 4.13. Suite in E Minor, W. 65/4, late version, movement 3, mm. 19–23: score; audio
Example 4.14. Suite in E Minor, W. 65/4, early version, movement 3, mm. 29–33: score; audio
Example 4.15. Ich bin vergnügt mit meinem Stande, movement 1, opening, (a) initial and (b) revised readings: score; audio
Example 4.16. (a) Ich bin vergnügt mit meinem Stande, movement 3, mm. 20–7; (b) J. S. Bach, Komm, du süsse Todesstunde, BWV 161, movement 3, mm. 11–16: score; audio
Example 4.17a. “Reißt euch los,” BWV 224, mm. 21–25: score; audio
Example 4.17b. Ich bin vergnügt mit meinem Stande, movement 1, mm. 12–15: score; audio
Example 4.18a. J. S. Bach, Coffee Cantata, BWV 211, movement 2, mm. 3b–5a and 13b–15a: score; audio
Example 4.18b. “Reißt euch los,” BWV 224, mm. 62–66: score; audio
*Example 4.19. (a) J. S. Bach, St. Matthew Passion, BWV 244, no. 11, mm. 35b–39; (b) Ich bin vergnügt mit meinem Stande, movement 3, mm. 115–26: score; audio
Example 4.20. Ich bin vergnügt mit meinem Stande, movement 1, mm. 61–5 (asterisks mark the transposed form of the B-A-C-H motive): score; audio
Example 4.21. Ich bin vergnügt mit meinem Stande, movement 3, mm. 75–84: score; audio
Example 5.1. (a) C. H. Graun, “Quest’ o dio! lugubre aspetto,” from Rodelinda, mm. 1–4; (b) Concerto in D Minor, W. 23, movement 1, mm. 1–10: score; audio
Eample 5.2. (a) C. H. Graun, “Su le sponde del torbido Lete,” from Artaserse, mm. 1–7, without horns; (b) Concerto in D, W. 13, movement 3, mm. 1–8: score; audio
Example 5.3a. C. H. Graun, “La mente mia sentisti,” from Rodelinda, mm. 23–28: score; audio
Example 5.3b. Sonata in E, W. 49/3, movement 2, mm. mm. 1–4: score; audio
Example 5.4a. Concerto in E Minor, W. 15, early version, movement 1, mm. 1–4 (opening of ritornello): score; audio
Example 5.4b. Concerto in E Minor, W. 15, early version, movement 1, mm. 36–39, keyboard only (opening of first solo episode): score; audio
Example 5.5. Concerto in E minor, W. 15, late version, movement 1, mm. 37–46: score; audio
Example 5.6. Anonymous Sinfonia in G, Wq. n.v. 69, movement 1, mm. 34–37, 46–50: score; audio
Example 5.7. Concerto in G, W. 4, movement 1, mm. 1–4, composite score showing early and late versions (the latter on upper staves; angle brackets signify notes changed in the later version, parentheses surround indications not found in all sources): score; audio
*Example 5.8. Concerto in G, W. 4, movement 2, mm. 55b–57, violins omitted (composite score as in example 5.7): score; audio
*Example 5.9. Concerto in G, W. 4, movement 2, mm. 10–15, strings omitted (composite score as in example 5.7): score; audio
Example 5.10. Concerto in E Minor, W. 24, movement 3, composite score showing mm. 329–37 of late version, mm. 329–39 of early version: score; audio
*Example 5.11. Concerto in D Minor, W. 23, movement 2, mm. 74–77, composite score showing mm. 74–77 of the late version (upper staves) with the early version from P 354 (lower staves): score; audio
*Example 5.12. Concerto in D Minor, W. 23, movement 2, mm. 1–2, composite score showing the late version (upper staves) with a reconstruction of the early version (lower staves): score; audio
*Example 5.13. Concerto in G, W. 16, movement1, mm. 31–38, without strings, composite score showing late and early versions: score; audio
Example 6.1. Prussian Sonata no. 6 in A, W. 48/6, movement 1, mm. 1–5: score; audio
Example 6.2. Württemberg Sonata no. 6 in B Minor, W. 49/6, movement 2, mm. 1–6: score; audio
Example 6.3. Württemberg Sonata no. 6 in B Minor, W. 49/6, movement 3, mm. 105–15: score; audio
Example 6.4. Sonata in D, W. 65/14, movement 2, mm. 1–4: score; audio
Example 6.5. Sonata in C, W. 65/16, movement 1, mm. 31–45: score; audio
*Example 6.6. (a) Sonata in G Minor, W. 65/17, movement 1, opening; (b) Sonata in B-flat, W. 65/20, movement 1, mm. 1–17: score; audio
Example 6.7a. Sonata in F Minor, W. 62/6, movement 1, mm. 9–13: score; audio
Example 6.7b. Concerto in F, W. 12, movement 1, mm. 1–3 (for W. 15, see example 5.4a): score; audio
*Example 6.8. Sonata in C, W. 62/7, movement 1, mm. 1–21, with B-A-C-H motive in bass, mm. 18—21: score; audio
Example 6.9. Sonata in C, W. 62/7, movement 1, mm. 85–90: score; audio
Example 6.10. Sonata in G, W. 65/15, movement 3, mm. 53–66: score; audio
Example 6.11. Oboe Concerto in B-flat, movement 1, (a) sketch for opening ritornello from PL Kj Mus. ms. Bach P 745 (bass transposed an octave lower); (b) movement 1, mm. 60–64: score; audio
*Example 6.12. Concerto in E Minor, W. 24, movement 3, mm. 98–111: score; audio
Example 6.13a. Concerto in A Minor, W. 1, movement 1, late version, mm. 1–4: score; audio
Example 6.13b. Concerto in A Minor, W. 1, movement 1, early version, mm. 15–22: score; audio
Example 6.13c. J. S. Bach, Sonata in B Minor for Flute and Keyboard, BWV 1030, movement 1, mm. mm. 21–22: score; audio
Example 6.14. Concerto in A Minor, W. 1, early version, movement 2, (a) mm. 12–19, (b) mm. 36–9, both without strings (keyboard only): score; audio
Example 6.15. (a) Concerto in A Minor, W. 1, movement 1, mm. 31b–33; (b) W. F. Bach, Concerto in A Minor, F. 45, movement 3, mm. 205–9. Both keyboard only (strings omitted): score; audio
Example 6.16. Concerto in A Minor, W. 1, movement 1, mm. 72–3 (keyboard only): score; audio
Example 6.17. Concerto in A Minor, W. 1, movement 3, mm. 13–16: score; audio
Example 6.18. (a) W. F. Bach, Concerto in F, F. 44, movement 3, mm. 1–6; (b) Concerto in G, W. 4, movement 3, mm. 1–8: score; audio
Example 6.19a. Concerto in A Minor, W. 1, movement 3, later version, mm. 1–14 (mm. 5–12 were a later insertion): score; audio
Example 6.19b. Concerto in A Minor, W. 1, movement 3, early version, mm. 45–52 (keyboard only; this passage was later eliminated): score; audio
Example 6.20. (a) W. F. Bach, Concerto in D, F. 41, movement 1, mm. 1–5; (b) Concerto in G, W. 3, movement 1, mm. 31–35: score; audio
Example 6.21. (a) Graun, recititave “Eterni Dei” from Rodelinda, mm. 1–4; (b) J. S. Bach, Concerto in D Minor, BWV 1052, movement 2, mm. 1–6; (c) Concerto in G, movement 2, mm. 1–4: score; audio
Example 6.22a. Concerto in E-flat, W. 2, movement 1, mm. 156–63: score; audio
Example 6.22b. J. S. Bach, Brandenburg Concerto no. 5 in D, BWV 1050, movement 1, mm. 71–74: score; audio
Example 6.23. (a) Hasse, overture from Cleofide, movement 1, mm. 1–5 (strings only); (b) Concerto in E-flat, movement 3, mm. 1–4: score; audio
Example 6.24. Concerto in E-flat, movement 3, mm. 38–47 (strings omitted): score; audio
Example 6.25. Concerto in E-flat, movement 3, mm. 114–23 (strings omitted): score; audio
Example 6.26. Concerto in E-flat, movement 3, mm. 142–50: score; audio
Example 6.27. Concerto in D, W. 18, movement 3, mm. 277–98: score; audio
Example 6.28a. J. S. Bach, aria “Blute nur” from the Saint Matthew Passion, mm. 13–16 (flutes omitted): score; audio
Example 6.28b. Concerto in G, W. 16, movement 1, mm. 12—20: score; audio
*Example 6.29. Concerto in D Minor, W. 23, (a) movement 1, mm. 1–10; (b) movement 2, mm. 1–8; (c) movement 3, mm. 1–7: score; audio
Example 6.30. Concerto in D Minor, W. 23, movement 1, (a) mm. 18–21 (sequence), (b) mm. 79–85 (passagework): score; audio
Example 6.31a. Concerto in D Minor, W. 22, movement 2, mm. 68–74: score; audio
Example 6.31b. Fantasia in C, W. 59/6, mm. 13–16: score; audio
Example 6.32. Concerto in A Minor, W. 21, early version, movement 3, (a) mm. 11–20; (b) mm. 133–43: score; audio
Example 6.33. Concerto in A Minor, W. 21, early version, movement 1, mm. 220–31: score; audio
*Example 6.34. Program Trio, W. 161/1, movement 1, mm. 1–36, with rubrics from the composer’s Vorbericht (preface): score; audio
Example 6.35. Concerto in A, W. 19, movement 1, mm. 24–37: score; audio
Example 7.1. (a) J. S. Bach, Magnificat, BWV 243, no. 8, “Deposuit,” mm. 15–18; (b) Magnificat, W. 215, no. 6, “Deposuit,” mm. 16–19: score; audio
Example 7.2a. J. S. Bach, B-Minor Mass, “Gratias,” mm. 25–31 (tenor and bass only): score; audio
Example 7.2.b. Magnificat, W. 215, no. 9, “Sicut erat,” mm. 91–95 (soparano and alto only): score; audio
Example 7.3. Magnificat, W. 215 (without winds and timpani), (a) no. 1, “Magnificat,” mm. 22–25; (b) “Gloria patri,” mm. 4–7: score; audio
Example 7.4. Magnificat, W. 215, no. 4, “Quia fecit” (without windes), mm. 34–37: score; audio
Example 7.5. Magnificat, W. 215, no. 5, “Et misericordia,” 14–28 (flutes omitted): score; audio
Example 7.6. J. C. Bach, Magnificat in C (1760), no. 1, mm. 15–18 (winds and viola omitted): score; audio
Example 7.7. (a) Prallender Doppelschlag from Versuch, i, tabula 5, fig. lxiii (the tie on a’ in the “realization” of the ornament is understood); (b) Couperin, Les goûts réunis (Paris, 1724), Premier Concert: score; audio
*Example 7.8. Performance of prallender Doppelschlag from Versuch, i.2.4.28 (second edition): score; audio
Example 7.9. Passing appoggiaturas from Versuch, i.2.2.25: score; audio
Example 7.10. Accompaniment of appoggiaturas from Versuch, ii.27.10 (“t.s.” stands for tasto solo, i.e., without realization, as signified by the rest): score; audio
Example 7.11. Accompaniment of a syncopated melodic line, from Versuch, ii.26.4: score; audio
Example 7.12. Sonata in G, W. 62/11, (a) movement 1, mm. 8–13; (b) movement 2, mm. 1–2; (c) same, mm. 20–21: score; audio
*Example 7.13. Sonata in G Minor, W. 51/6, movement 1, mm. 56–64: score; audio
*Example 7.14. Sonata in G Minor, W. 51/6, movement 3, (a) mm. 17–20; (b) mm. 41–50: score; audio
Example 7.15. Sonata in G Minor, W. 51/6, movement 1, mm. 21b–23a: score; audio
*Example 7.16. Sonata in G Minor, W. 51/6, movement 2, m. 28 through movement 3, m. 4: score; audio
*Example 7.17. Sonata in G Minor, W. 51/6, movement 2, mm. 5–8, 12–16: score; audio
Example 7.18. (a) Sinfonia in F, W. 122/2, movement 1, mm. 1–6; (b) Sonata in G, W. 62/19, movement 3, mm. 1–4: score; audio
Example 7.19. (a) Concerto in C, W. 112/13, movement 1, mm. 14–17; (b) Symphony in G, W. 112/13, movement 1, mm. 1–5: score; audio
Example 7.20. (a) Sonata in A, W. 70/1, later version, movement 2, mm. 57–60; (b) Chopin, Waltz in B Minor, op. 69, no. 2, mm. 32–48: score; audio
Example 7.21. (a) Sonata in B-flat, movement 1, mm. 72–76; (b) Sonata in A Minor, W. 70/4, movement 1, mm. 15–24: score; audio
Example 7.22. (a) Fantasia and Fugue in C Minor, W. 119/7, mm. 1–2; (b) J. S. Bach, Prelude in C Minor, BWV 546/1, mm. 1–4
Example 7.23. Fugue in G Minor, W. 119/5, mm. 105–14: score; audio
Example 7.24. Fugue in F, W. 119/3, (a) mm. 61–70, (b) mm. 92–100: score; audio
Example 7.25. Fugue in E-flat, W. 119/6, mm. 17–22: score; audio
Example 7.26. (a) Suite in E Minor, W. 62/12, movement 1 (Allemande), mm. 1–2; (b) J. S. Bach, French Suite no. 1 in D Minor, BWV 812, movement 1 (Allemande), mm. 1–2: score; audio
Example 7.27. (a) Suite in E Minor, W. 62/12, movement 6 (Minuet 3), mm. 1–4; (b) Rameau, “Les Niais de Sologne,” mm. 1–2: score; audio
Example 7.28. Suite in E Minor, W. 62/12, movement 2 (Courante), mm. 1–3: score; audio
Example 7.29a. Minuet in F, W. 116/7, no. 1, mm. 1–8: score; audio
Example 7.29b. J. S. Bach, Sonata in G for violin and obbligato keyboard, BWV 1019a, movement 3, mm. 1–4: score; audio
Example 7.30. “La Stahl,” W. 117/25, (a) mm. 1–4; (b) mm. 24–27: score; audio
Example 7.31. (a) Allegro in D, W. 116/20, mm. 1–8; (b) Applicatio, BWV 994, mm. 1–4; (c) “La Philippine,” W. 117/34, mm. 1–4: score; audio
Example 7.32. (a) “Les langueurs tendres,” W. 117/30, mm. 1–8; (b) Couperin, “Les langueurs tendres,” mm. 1–2: score; audio
Example 7.33. “Les langueurs tendres,” W. 117/30, mm. 32–39 (*asterisks mark B-A-C-H motive): score; audio
Unnumbered example for note in online supplement 7.9. “Les langueurs tendres,” W. 117/30, tentative reconstruction for mm. 19–20: score; audio
*Example 7.34. “L’Aly Rupalich,” W. 117/27, mm. 184–94: score; audio
*Example 7.35. “L’Aly Rupalich,” W. 117/27, (a) mm. 25–33, (b) mm. 56–63: score; audio
*Example 7.36. (a) “L’Aly Rupalich,” W. 117/27, mm. 1–7; (b) Concerto in C, W. 20, movement 1, mm. 1–6, (c) same, movement 3, mm. 1–6: score; audio
Example 8.1. Telemann, aria “Horche nur,” from Horche nur, dort regt sich was (TWV 1: 806), (a) mm. 1–7, (b) mm. 54–58: score; audio
Example 8.2. Telemann, aria “Horche nur,” from Horche nur, dort regt sich was (TWV 1: 806), mm. 69–73: score; audio
Example 8.3. Fantasia in C minor, from Probestücke, W. 63/6 (movement 3), opening, with Gerstenberg’s alternative texts: score; audio
Example 8.4. J. S. Bach, aria “Ich bin vergnügt,” from Ich bin vergnügt mit meinem Glücke, BWV 84 (movement 1), mm. 1–8, (a) original (oboe and strings omitted), (b) Nichelmann’s version (his example 85): score; audio
Example 8.5. Graun, aria “Da dal furor portato,” from Ezio, mm. 1–6, (a) original, (b) Nichelmann’s version, both from his example 96: score; audio
Example 8.6. Concerto in D, W. 11, movement 1, mm. 1–3, (a) original (Nichelmann’s example 29), (b) Nichelmann’s version (his example 30): score; audio
Example 8.7. “Amint,” W. 199/11, mm. 5–8, (a) original (Nichelmann’s example 73), (b) Nichelmann’s version (his example 74): score; audio
Example 8.8. “Trinklied,” W. 199/5, (a) original, mm. 19–22 (Nichelmann’s example 38), (b) Nichelmann’s version (his example 39): score; audio
Example 8.9. “Die Küsse,” W. 199/4, mm. 1–9, (a) as published, without later autograph revisions (mm. 1– 5 = Nichelmann’s example 45); (b) Nichelmann’s version (from his example 77): score; audio
Example 8.10. Homilius, chorus “Herr, lehr uns thun,” as incorporated into nach Herr, lehr uns thun, nach deinem Wohlgefallen, H. 817 (movement 1), mm. 17–20 (winds and strings omitted): score; audio
Example 8.11. “Die Küsse,” W. 199/4, mm. 16–26, (a) as published; (b) Nichelmann’s version (from his example 77): score; audio
Example 8.12. Recitative “So wird mein Heiland nun erhöht,” no. 2 from Easter Music, W. 244, mm. 21–4: score; audio
Example 8.13. (a) Recitative “So wird mein Heiland nun erhöht,” no. 2 from Easter Music, W. 244, mm. 24–30; (b) Handel, aria “Waft her, angels, through the skies,” from Jephtha, mm. 5b–9a: score; audio
Example 8.14. Recitative “So wird mein Heiland nun erhöht,” no. 2 from Easter Music, W. 244, mm. 31–35 (revised readings from the autograph P 345): score; audio
Example 8.15. Aria “Wie freudich seh’ ich dir entgegen,” no. 5 from Easter Music, W. 244, mm. 78–87 (without flutes): score; audio
*Example 8.16. Aria “Wie freudich seh’ ich dir entgegen,” no. 5 from Easter Music, W. 244, mm. 95–99 (without flutes): score; audio
Example 8.17. Recitative “So sei nun, Seele, sei erfreut,” no. 4 from Easter Music, W. 244, mm. mm. 31–35: score; audio
Example 8.18. Recitative “So sei nun, Seele, sei erfreut,” no. 4 from Easter Music, W. 244, mm. mm. 42–46: score; audio
Example 8.19. Aria “Wie freudich seh’ ich dir enggegen,” no. 5 from Easter Music, W. 244, mm. mm. 13–16: score; audio
Example 8.20. Aria “Dir sing ich froh,” no. 3 from Easter Music, W. 244, mm. 1–6: score; audio
Example 8.21. Chorus “Hallelujah!” from Messiah, mm. 57–68 (voices and continuo only): score; audio
Example 8.22. Sonata in F, W. 62/8, movement 3, mm. 42–54: score; audio
Example 8.23. Sinfonia in D, W. 183/1, movement 1, mm. 1–14: score; audio
Example 8.24. Sanctus in E-flat, W. 219, mm.79–87 (voices and continuo only): score; audio
Example 8.25. Aria “Dir sing ich froh,” no. 3 from Easter Music, W. 244, mm. 102–17 (original text, but with revised readings of notes from autograph P 345): score; audio
*Example 8.26. “Gottes Macht und Vorsehung,” W. 194/16 (complete), stanzas 1 and 10: score; audio
Example 8.27. “Vaterlandslied,” W. 202F/1 (complete): score; audio
Example 8.28. “Herausforderungslied vor der Schlacht bey Rossbach,” W. 199/20 (complete), stanzas 1 and 3: score; audio
Example 8.29. “Die Würde des Christen,” W. 197/8, mm. 9–16: score; audio
Example 8.30. “Demuth,” W. 194/48, mm. 7–10: score; audio
Example 8.31a. “Weihnachtslied,” W. 194/5, mm. 1–8: score; audio
Example 8.31b. Chorale “Auf, schicke dich,” no. 1 from the Christmas Piece W. 249, mm. 1–13 (vocal parts only): score; audio
Example 8.32. “La Sophie,” W. 117/40, mm. 9–12: score; audio
Example 8.33. (a) Psalm 130, W. 196/36, mm. 1–4; (b) J. S. Bach, Aus der Tiefe, BWV 131, mm. 24–8 (oboe and strings omitted): score; audio
Example 8.34. “Osterlied,” W. 194/42, mm. 9–13 (stanzas 1, 2, 5, and 6): score; audio
Example 8.35. (b) “Das Gebiet,” W. 194/21, mm. 1–4; (b) “Am neuen Jahre,” W. 194/21, mm. 1–4: score; audio
*Example 8.36. “Bußlied,” settings by (a) Rackemann and (b) Bach (W. 194/46), both complete: score; audio
*Example 8.37. “Der 88. Psalm,” W. 195/12 (complete): score; audio
Example 8.38. “Nonnelied,” W. 200/3, (a) mm. 9–12, (b) mm. 88–92: score; audio
Example 8.39. “Nonnelied,” W. 200/3, sketch: score; audio
Example 8.40a. “Die Grazien,” W. 240/18, mm. 198–206: score; audio
Example 8.40b. Aria “Mein Herr, mein Gott,” no. 18 from the Resurrection Cantata, W. 240, mm. 1–10: score; audio
Example 8.41. “Die Grazien,” W. 240/18, mm. 76–81: score; audio
Example 8.42. “Der 42. Psalm,” W. 196/14, mm. 1–17: score; audio
Example 8.43. “Der 19. Psalm,” W. 196/7, mm. 1–9: score; audio
Example 8.44. (a) “Der 110. Psalm,” W. 196/30 (complete); (b) Aria “Groß ist der Herr!,” no. 2 from Auf, schicke dich, W. 249, mm. 1–17: score; audio
Example 8.45. “Der 128. Psalm,” W. 196/35, mm. 1–10 (the original lacks the sharp on e’ in m. 3): score; audio
Example 8.46. “Der 33. Psalm,” W. 196/12, mm. 1–17: score; audio
Example 8.47. “Der 23. Psalm,” W. 196/8 (complete): score; audio
*Example 8.48. “Der 96. Psalm,” W. 196/24, mm. 1–4: score; audio
*Example 8.49. (a) “Der 47. Psalm,” W. 196/16 (complete); (b) aria “Ihr Thore Gottes,” no. 21 from the Resurrection Cantata, W. 240, mm. 8–15 (voice and continuo only): score; audio
Example 8.50. Beethoven, Symphony no. 9 in D minor, op. 125, movement 4, mm. 604–15 (voices and bass only): score; audio
Example 8.51. “Der 148. Psalm,” W. 196/41 (complete): score; audio
Example 8.52. Handel, chorus ”She deliver’d the poor that cried,” no. 7 from the Funeral Anthem, HWV, 264, (a) mm. 40–50, (b) mm. 117–20: score; audio
Example 8.53. (a) “Beschleunigung der Buße,” W. 197/12), complete; (b) Sonata in C Minor, W. 65/49, movement 1, mm. 1–8: score; audio
Example 8.54a. “Der 8. Psalm,” W. 196/4, mm. 1–6: score; audio
Example 8.54b. “Der 8. Psalm,” W. 196/4, mm. 20–25: score; audio
Example 8.55. Aandel, aria “Brich, mein Herz, zerfliess in Thränen,” no. 5 from the Brockes-Passion, HWV 48, mm. 7–10: score; audio
Example 8.56. (a) “Andenken an den Tod,” W. 198/12, mm. 1–4; (b) Sonata in B Minor, W. 55/3, movement 1, mm. 1–4: score; audio
Example 8.57. (a) “Fürbitte des gekreuzigten Jesu für seine Feinde,” W. 198/21, mm. 11–13; (b) aria “Wie ruhig ist dein Angesicht,” no. 8 from the St. Matthew Passion for 1769, H. 782a, mm. 15–19 (without strings): score; audio
Example 8.58. “Passionslied,” W. 198/6, (a) mm. 1–4; (b) mm. 11–14 (stanza 5): score; audio
Example 8.59. “Jesus in Gethsemane,” W. 198/29, mm. 1–6: score; audio
Example 8.60. “Der Tag des Weltgerichts,” W. 197/13, (a) mm. 1–3; (b) mm. 11–14: score; audio
Example 8.61. “Über die Finsternis kurz vor dem Tode Jesu,” W. 197/29, (a) mm. 1–8, (b) mm. 25–30: score; audio
Example 8.62. “Neujahrslied,” W. 197/19, (a) mm. 1–8; (b) mm. 25–32 (stanza 13): score; audio
Example 8.63a. “Der Frühling,” W. 197/14, mm. mm. 1–3, 13–16: score; audio
Example 8.63b. Mozart, “Im Frühlingsanfang” K. 597, mm. 1–4, 13–16: score; audio
Example 9.1. Sonata in B Minor for keyboard and violin, W. 76, movement 1, mm. 120–2: score; audio
Example 9.2. (a) J. S. Bach, Sonata in F Minor for keyboard and violin, BWV 1018, movement 1, mm. 1–9; (b) Sonata in C Minor for keyboard and violin, W. 78, movement 2, mm. 1–14: score; audio
*Example 9.3. Sonata in B Minor for keyboard and violin, W. 76, movement 1, mm. 1–12: score; audio
Example 9.4. Sonata in B-flat for keyboard and violin, W. 77, movement 2, mm. 1–4, 9–12: score; audio
Example 9.5. Sonata in B-flat for keyboard and violin, W. 77, movement 2, mm. 66–75: score; audio
Example 9.6. (a) Sonata in C Minor for keyboard and violin, W. 78, movement 3, mm. 191–99; (b) J. S. Bach, Trio Sonata in C Minor for flute, violin, and bass, from the Musical Offering, movement 2, mm. 157–63: score; audio
Example 9.7. Sonata in C Minor for keyboard and violin, W. 78, movement 3, (a) mm. 1–8, (b) mm. 96–101: score; audio
Example 9.8. Oboe Concerto in B-flat, W. 164, movement 2, mm. 1–8: score; audio
Example 9.9. (a) Sonatina no. 4 in G, W. 98, movement 1, mm. 1–8; (b) Sonatina no. 5 in F, W. 99, movement 1, mm. 1–6 (both without flutes): score; audio
Example 9.10a. Sonatina no. 5 in F, W. 99, movement 3, mm. 1–6 (without horns): score; audio
Example 9.10b–c. Sonatina no. 5 in F, W. 99, movement 3, (b) mm. 115–21, (c) mm. 178–82 (both without horns): score; audio
Example 9.11. Concerto in B-flat, movement 1, mm. 118–22, (a) original cello version, W. 171; (b) keyboard version, W. 28 (both without ripieno strings): score; audio
Example 9.12. (a) Concerto in A Minor, W. 26, movement 1, mm. 1–4; (b) Concerto in B-flat, W. 28, movement 3, mm. 1–8 (viola omitted in both): score; audio
*Example 9.13. Concerto in A, W. 29, movement 1, mm. 1–12: score; audio
*Example 9.14. Concerto in A, W. 29, movement 3, mm. 1–8: score; audio
Example 9.15. Concerto in B Minor, W. 30, movement 1, (a) mm. 144–46, (b) mm. 205–6, (c) mm. 83–85, (d) mm. 170–71 (keyboard only): score; audio
Example 9.16. Concerto in B Minor, W. 30, movement 3, mmm. 170–73: score; audio
Example 9.17. Concerto in B Minor, W. 30, movement 1, mm. 267–74: score; audio
Example 9.18. (a) Concerto in D Minor, W. 23, connection between movements 1 and 2 (b) same, Concerto in B Minor, W. 30; (c) Concerto in B Minor, W. 30, movement 2, mm. 42–45: score; audio
Example 9.19. Concerto in B Minor, W. 30, movement 1, mm. 1–9 (viola omitted): score; audio
Example 9.20. Concerto in B Minor, W. 30, movement 1, (a) mm. 35–38; (b) mm. 244–49: score; audio
*Example 9.21. Concerto in C Minor, W. 31, movement 2, (a) early version, mm. 17–22; (b) corresponding passage in late version, mm. 17–23: score; audio
Example 9.22. Concerto in C Minor, W. 31, movement 1, (a) mm. 1–2, (b) mm. 52–54: score; audio
Example 9.23. Concerto in C Minor, W. 31, movement 3, mm. 19–28: score; audio
Example 9.24. Concerto in G Minor, W. 32, movement 1, mm. 1–8 (viola omitted): score; audio
Example 9.25. Concerto in F, W. 33, movement 1, mm. 47–55: score; audio
Example 9.26. Concerto in D Minor, W. 23, movement 3, mm. 164–75: score; audio
Example 9.27. Concerto in F, W. 33, movement 3, mm. 178–92: score; audio
Example 9.28. Concerto in F, W. 33, movement 3, mm. 169—80: score; audio
Example 9.29. Concerto in G, W. 34, movement 3, mm. 158–61, with flute version of solo part (= W. 169) on top staff, as in the autograph P 354: score; audio
Example 9.30. Concerto in F for solo keyboard, H. 242, movement 1, mm. 44–55 (“S” = solo passage in W. 42; “T” = passage for tutti): score; audio
Example 9.31. Concerto in F, W. 42, movement 3, (a) mm.1–4, (b) mm. 97–104: score; audio
Example 9.32. (a) Concerto in F for solo keyboard, H. 242, movement 3, mm. 278–81, with (b) corresponding passage in ensemble version, W. 42, mm. 327–30: score; audio
Example 9.33. (a) Concerto in E-flat, W. 41, movement 3, mm. 1–8 (without horns and violas; flutes double violins); (b) J. S. Bach, Partita no. 2 in C minor, BWV 826, movement 5, mm. 1–8: score; audio
Example 9.34. Concerto in E-flat, W. 43/3, movement 1, (a) mm. 16–19, (b) 24–27 (both without horns): score; audio
Example 9.35a. Sonata, W. 63/4, movement 1 (Probestuck in B minor), mm. 1–4 (fingerings omitted): score; audio
Example 9.35b. Concerto in C Minor, W. 43/4, mm. 1–8: score; audio
Example 9.36a. Concerto in E-flat, W. 43/3, movement 1, mm. 92–100 (without horns): score; audio
Example 9.36b. Concerto in E-flat, W. 43/3, movement 1, mm. 148–51 (including cadenza), without horns: score; audio
Example 9.37. Concerto in F, W. 43/1, movement 3, mm. 9–13 (without horns): score; audio
Example 9.38. Concerto in E-flat, W. 43/3, movement 1, (a) mm. 1–2, (b) mm. 16–20 (without horns and flutes): score; audio
*Example 9.39. (a) Concerto in C, W. 43/6, movement 1, mm. 1–10, 28–31; (b) J. C. Bach, Concerto in C, op. 7, no. 1, mm. 1–6, 54–59 (both: keyboard only, including reduction of tutti passages): score; audio
Example 9.40. Concerto in C, W. 43/6, movement 1, mm. 97–100 (keyboard only): score; audio
Example 9.41. Concerto in D, movement 1, mm. 39–42: score; audio
Example 9.42. Rondo in C Minor, W. 59/4, mm. 107–9: score; audio
Example 9.43a. Concerto in G, W. 44, movement 3, mm. 138–41: score; audio
Example 9.43b. Sonata in E, W. 59/1, last movement, mm. 55–60: score; audio
Example 9.44. Double Concerto in E-flat, W. 47, movement 1, mm. 7–10 (first violin and bass only): score; audio
Example 9.45. Double Concerto in E-flat, W. 47, movement 2, (a) mm. 1–8, (b) mm. 108–20, both without flutes (which largely double the violins): score; audio
Example 9.46. (a) Double Concerto in E-flat, W. 47, movement 3, mm. 8 (violins only); (b) Sonata in G for flute and continuo, W. 133, last movement, mm. 1–8 (flute only): score; audio
Example 9.47. Double Concerto in E-flat, W. 47, movement 3, mm. 145–53 (without flutes and horns): score; audio
Example 9.48. Double Concerto in E-flat, W. 47, movement 3, mm. 302–13: score; audio
Example 9.49. (a) Telemann, duet “Er donnert” from Donnerode, part 1, mm. 1–6; (b) recitative “Ganz Lieb und Güte,” no. 2 from Hymn of Thanks, H. 823, mm. 14–16: score; audio
*Example 9.50. Sinfonia in B-flat, W. 182/2, movement 3, mm. 25–38: score; audio
Example 9.51. Sinfonia in E Minor, W. 177, movement 1, mm. 135–41: score; audio
Example 9.52. Sinfonia in E Minor, W. 177, movement 1, mm. 1–7: score; audio
Example 9.53. Sinfonia in B minor, W. 180, movement 1, m. 131, through movement 2, m. 2 (winds omitted): score; audio
Example 9.54. Sinfonia in F, W. 181, movement 1, m. 65, through movement 2, m. 4 (winds omitted): score; audio
Example 9.55. Sinfonia in F, W. 175, movement 1, mm. 1–8 (as arranged for keyboard in W. 122/2: score; audio
Example 9.56. (a) Sinfonia in G, W. 173, movement 1, mm. 86–90; (b) Sinfonia in G, W. 180, movement 3, mm. 65–68 (without winds): score; audio
Example 9.57. Sinfonia in G, W. 173, movement 1, mm. 49–54: score; audio
Example 9.58. Sinfonia in G, W. 182/1, movement 1, mm. 1–8: score; audio
*Example 9.59. Orchestral Sinfonia in E-flat, W. 183/2, movement 3, mm. 55–60 (winds omitted): score; audio
Example 9.60. Sinfonia in C, W. 182/3, movement 2, mm. 1–5: score; audio
Example 9.61. Sinfonia in E, W. 182/6, movement 2, (a) mm. 1–5, (b) mm. 43–52: score; audio
Example 9.62. Sinfonia in B-flat, W. 182/2, movement 1, mm. 54–66: score; audio
Example 9.63. Sinfonia in B Minor, W. 182/5, movement 1, (a) mm. 11–16; (b) mm. 24–28: score; audio
Example 9.64. Orchestral Sinfonia in D, W. 183/1, movement 2, mm. 1–4: score; audio
Example 9.65. Orchestral Sinfonia in D, W. 183/1, movement 1, mm. 35–48: score; audio
Example 9.66a. Orchestral Sinfonia in G, W. 183/4, movement 4, mm. 39–43 (without winds): score; audio
Example 9.66b. Aria “Ihr Thore Gottes,” no. 21 from the Resurrection Cantata, W. 240, mm. 10–15 (winds and timpani omitted): score; audio
*Example 10.1. Keyboard Trio in A Minor, W. 90/1, (a) movement 1, mm. 1–4; (b) movement 3, mm. 49–54: score; audio
Example 10.2. Keyboard Trio in A, W. 89/3, movement 3, mm. 1–8 (without strings): score; audio
Example 10.3. Keyboard Trio in B-flat, W. 89/1, movement 1, mm. 1–3: score; audio
Example 10.4. Keyboard Trio in E Minor, W. 91/3, (a) movement 3, mm. 1–8; (b) movement 2, mm. 1–8
Example 10.5. Keyboard Trio in B-flat, W. 89/1, movement 1, mm. 46–48: score; audio
Example 10.6. Keyboard Trio in F, W. 91/3, movement 1, mm. 1–6: score; audio
Example 10.7. Keyboard Trio in C, W. 91/4, transition from variation 7 to variation 8 (keyboard only): score; audio
Example 10.8. Keyboard Trio in C, W. 91/4, mm. 1–8 (all parts), with varied reprise from W. 118/10 on two upper staves (asterisks mark clashes between violin and varied reprise): score; audio
Example 10.9. Quartet in A Minor, W. 93, movement 2, mm. 1–8 (keyboard only, without doublings in flute and viola): score; audio
Example 10.10. Quartet in D, W. 94, movement 2, mm. 32–43: score; audio
Example 10.11. Quartet in G, W. 95, movement 2, mm.*21b–24: score; audio
Example 10.12. (a) Miscellanea musica, W. 121 (from Bc 5894, top of page 9; small notes are editorial); (b) Fantasia in C, W. 59/6, mm. 13–19: score; audio
Example 10.13. (a) diatonic and chromatic descending scales in A minor, from Versuch, ii.41 (the two sets of figures represent alternatives; the editorial realization in small notes realizes the lower set of figures); (b) Rondo in A Minor, W. 56/5, mm. 142–57: score; audio
*Example 10.14. Sonata in F, W. 55/5, (a) movement 1, mm. 1–3; (b) movement 2, mm. 1–4; (c) movement 3, mm. 1–4: score; audio
*Example 10.15. Sonata in B Minor, W. 55/3, (a) movement 1, mm. 1–4; (b) movement 2, mm. 1–4: score; audio
*Example 10.16. Sonata in B Minor, W. 55/3, (a) movement 2, mm. 9–16 and 20–25 (asterisks mark recurring voice leading); (b), movement 1, mm. mm. 32–36: score; audio
Example 10.17. Sonata in B Minor, W. 55/3, movement 3, mm. 1–4, 9–12: score; audio
Example 10.18. Sonata in G, W. 55/6, (a) movement 2, m. 1; (b) movement 1, mm. 41–44; (c) movement 3, mm. 70–82: score; audio
Example 10.19. Sonata in A, W. 56/6, movement 2, mm. 39–42: score; audio
*Example 10.20. Sonata in F minor, W. 57/6, (a) movement 2, mm. 1–2; (b) movement 3, mm. 1–2; (c) movement 3, mm. 1–2: score; audio
*Example 10.21. Sonata F minor, W. 57/6, movement 2, (a) mm. 26–8, (b) mm. 40–44: score; audio
Example 10.22. Sonata in F minor, W. 57/6, movement 1, mm. 53–66: score; audio
Example 10.23. Sonata in G, W. 58/2, movement 2, m. 51, through movement 3, m. 4: score; audio
Example 10.24. (a) Sonata in G, W. 58/2, movement 2, mm. 13—16; (b) Sonata in B-flat, W. 65/45, movement 3, mm. 21–24 (main version): score; audio
Example 10.25. Sonata in C, W. 65/47, movement 1, mm. 1–16, with bass-line sketch: score; audio
Example 10.26. Sonata in C, W. 65/47, (a) movement 2, mm. 1–2; (b) movement 1, mm. 67–68: score; audio
Example 10.27. Sonata in G for Bogenclavier, W. 65/48, (a) movement 1, mm. 23–26, and (b) movement 2, mm. 14–16; (c) Sonata in C, W. 65/47, movement 3, mm. 10–13: score; audio
Example 10.28. Rondo in D, W. 56/3, mm. 1–4: score; audio
Example 10.29. Rondo in G, W. 59/22, mm. 68–77: score; audio
Example 10.30. Rondo in E Minor, W. 66, mm. 78–84: score; audio
Example 10.31. (a) Fantasia in C Minor, W. 63/6, movement 3, (a) opening (fingerings omitted); (b) Fantasia in F, W. 59/5, semibreves 10–11 (system 1d in CPEBCW 1/4.2); (c) Fantasia in C, mm. 84–86 (CPEBCW 1/4.2): score; audio
*Example 10.32. Fantasia in C, W. 59/6, (a) mm. 31–38; (b) mm. 130–35 (CPEBCW 1/4.2): score; audio
*Example 10.33. Fantasia in C, W. 59/6, mm. 136–43 (CPEBCW 1/4.2): score; audio
Example 10.34. Fantasia in F-sharp minor, W. 67, last three measures: score; audio
Example 10.35. Variations on La Follia, W. 118/9, opening of: (a) variation 1, (b) variation 7; Corelli, Sonata in D Minor, op. 5, no. 12, opening of: (a) variation 17, (b) variation 10: score; audio
Example 10.36. Variations on La Follia, W. 118/9, theme, mm. 1–8 (editorial additions in small notes): score; audio
Example 10.37. Variations on a Canzonetta, W. 118/8, last six measures: score; audio
Example 10.38. (a) Allegro in D, W. 116/24, (a) mm. 1–4, 13–16; (b) Duetto in B-flat, W. 115/1, mm. 1–4, 13–20: score; audio
Example 10.39. (a) Sonata in G, movement 1, mm. 17–20; (b) Keyboard Trio in E-flat, W. 92/2, 17–20: score; audio
Example 10.40. Sonata for Winds in E-flat, W. 184/4, mm. 21–28: score; audio
Example 11.1a. Aria “Vor dir, dem Vater, der verzeiht,” no. 15 in the 1774 St. Mark Passion, H. 787, mm. 90–96: score; audio
Example 11.1b. Aria “Im Staub gebückt,” no. 21 in the 1789 St. Matthew Passion, W. 235, mm. 55–68: score; audio
Example 11.2. (a) Homilius, aria “Verdammt ihn nur,” no. 13 in the 1770 St. Mark Passion, H. 783, mm. 41–49; (b) Aria “Erfrecht euch nur,” no. 30 in the 1789 St. Matthew Passion, W. 235, mm. 17–24 (both without strings): score; audio
Example 11.3. Chorus “Der Herr lebet,” no. 1 from Inaugural Piece for Pastor Friderici (?), W. 251, mm. 22–36 (without doubling instruments): score; audio
*Example 11.4. Aria “Licht der Welt,” no. 5 in Christmas Music for 1772, H. 811, mm. 53–56 and 63–76 (voice only): score; audio
*Example 11.5. Aria “Noch steht sie, zu des Mittlers Ehre,” no. 12 from Inaugural Piece for Pastor Hornbostel, H. 821e, mm. 72–81: score; audio
Example 11.6. Handel, “O! thou bright orb,” from Joshua, mm. 6–16: score; audio
Example 11.7. (a) Aria “Noch steht sie, zu des Mittlers Ehre,” no. 12 from Inaugural Piece for Pastor Hornbostel, H. 821e, mm. 90–3; (b) “Ihr Thore Gottes,” no. 21 from the Resurrection Cantata, W. 240, mm. 17–18 (both without winds): score; audio
Example 11.8. Chorus “O Wunder!,” no. 16 from Israelites, W. 238, mm. 4–8, without winds and timpani: score; audio
Example 11.9. Recitative “Gott, meiner Väter Gott,” no. 14 from Israelites, W. 238, mm. 4–10 : score; audio
*Example 11.10. End of recitative “Nun sammelt sich” and beginning of chorale “Heiliger Schöpfer Gott,” nos. 23–24 from the Passion Cantata, W. 233: score; audio
Example 11.11. Recitative “Du Göttlicher!,” no. 1 from the Passion Cantata, W. 233, mm. 1–8: score; audio
Example 11.12. Recitative “Den Menschenfreund willst du verraten,” no. 6 from the 1769 St. Matthew Passion, H. 782, mm. 1–5: score; audio
Example 11.13. Arioso “O Petrus, folge nicht,” no. 14 from the 1769 St. Matthew Passion, H. 782, mm. 1–4: score; audio
Example 11.14. Turba chorus “Er ist des Todes schuldig,” no. 15d from the 1769 St. Matthew Passion, H. 782 (complete, without instrumental doublings): score; audio
Example 11.15. Turba chorus “Gegrüßet seist du,” no. 29b from the 1769 St. Matthew Passion, H. 782 (complete, without instrumental doublings): score; audio
Example 11.16. (a) Homilius, aria “Ihr Tränen fließt,” no. 29 from the 1770 St. Mark Passion, H. 783, mm. 11–13; (b) J. S. Bach, aria “Erwäge, wie sein Blut,” no. 20 from the St. John Passion, BWV 245, mm. 5–6: score; audio
Example 11.17. J. S. Bach, chorus “Ruht wohl, ihr heiligen Gebeine, no. 39 from the St. John Passion, BWV 245, mm. 61–72 (soprano part only), (a) parody from the 1772 St. John Passion, H. 785, and (b) original: score; audio
Example 11.18. Homilius, aria “Ich geh von Leiden ganz umgeben,” no. 7 from the 1770 St. Mark Passion, H. 783, (a) mm. 1–8, (b) mm. 99–105: score; audio
Example 11.19a. Telemann (adapted), from no. 2 in the 1772 St. John Passion, H. 785, mm. 30–43: score; audio
Example 11.19b. Homilius, “Da fragte er sie abermal,” no. 6 from the 1776 St. John Passion, H. 789 (complete, without doubling strings): score; audio
Example 11.20a. Aria “Donnre nur ein Wort,” no. 23 from the 1769 St. Matthew Passion, H. 782, mm. 34–39: score; audio
Example 11.20b. Homilius, aria “Mein Heiland, bald wirst du dein Blut vergießen,” no. 20 from the 1773 St. Matthew Passion, mm. 7–12: score; audio
Example 11.21. Stölzel, duet “Wehe dir, verruchtem Volke,” no. 11 from the 1771 St. Like Passion, mm. 1–7: score; audio
Example 11.22a. Homilius, aria “Verkennt ihn nicht,” no. 9 from the 1772 St. John Passion, H. 785, mm. 41–48: score; audio
Example 11.22b. Telemann, aria “Meer und Erde magst du fragen,” no. 30 from the printed short score of his 1745 St. John Passion, TWV 5:30, mm. 1–5, 21–30 (without inner string parts) : score; audio
Example 11.23. Homilius, aria “Die Hölle rüstet sich,” no. 10 from the 1775 St. Luke Passion, H. 788, mm. 25–31: score; audio
Example 11.24. Homilius, chorus “Wir gingen wie verirrte Schafe,” no. 25b from the 1775 St. Luke Passion, H. 788, mm. 60–75 (voices only): score; audio
Example 11.25. Aria “O sel’ge Augen,” no. 3 from the Inaugural Piece for Pastor Palm, H. 821a, mm. 17–24: score; audio
*Example 11.26. Chorale “Dies sind die heil’gen zehn Gebot’,” no. 1 from the Inaugural Piece for Pastor Häselar, H. 821d, mm. 9–19 (without winds and inner strings; tenor and bass double soprano and alto an octave lower): score; audio
Example 11.27. Fugue subjects from (a) chorus “Siehe, ich begehre deiner Befehle,” no. 1 from the Michaelmas Music for 1775, W. 247, mm. 113– 15, and (b) W. F. Bach, chorus “Wohl dem, der den Herrn fürchtet,” no. 1 from F. 76, mm. 31–33: score; audio
Example 11.28a. Chorus “Siehe, ich begehre deiner Befehle,” no. 1 from the Michaelmas Music for 1775, W. 247, mm. 113–18 (without doubling instruments): score; audio
Example 11.28b. Chorus “Siehe, ich begehre deiner Befehle,” no. 1 from the Michaelmas Music for 1775, W. 247, mm. 144–56 (without doubling instruments): score; audio
Example 11.29. (a) W. F. Bach, chorus “Wer mich liebet,” no. 1 from F. 72, mm. 1–4 (winds omitted); (b) “Gott, ich hebe meine Hände,” no. 11 from the Inaugural Piece for Pastor Häselar, H. 821d, mm. 1–4 (winds omitted): score; audio
Example 11.30. Aria “Unwandelbar, welch ein Gedanke!,” no. 3 from the Inaugural Piece for Pastor Schäffer, W. 253, mm. 1–7: score; audio
Example 11.31. Spiega, Ammonia fortunata, W. 216, mm. 69–73 (without brass, winds, and viola): score; audio
Example 11.32. Aria “Wie soll dir Erd und Asche danken,” no. 3 from Hymn of Thanks, H. 824e, mm. 18–25 (strings omitted): score; audio
Example 11.33a. Aria “Der Vogel singt’s,” no. 5 from Hymn of Thanks, H. 824e, mm. 11–18 (without strings): score; audio
Example 11.33b. Aria “Der Vogel singt’s,” no. 5 from Hymn of Thanks, H. 824e, mm. 53–62 without flute (doubling voice): score; audio
Example 11.34. Aria “Ich weiche nicht,” no. 12 from Hymn of Thanks, H. 824e, (a) mm. 1–3; (b) mm. 47–49: score; audio
Example 12.1. “Der 97. Psalm,” W. 196/25, mm. 13–24: score; audio
Example 12.2a. Aria “Schon wehen,” no. 3 from Klopstock’s Morgensang, W. 239, mm. 35–40: score; audio
Example 12.2b. Sonata in E Minor, W. 59/1, movement 2, conclusion: score; audio
Example 12.3. Duet “Herr Gott, barmherzig und gnädig,” no. 4a in Klopstock’s Morgensang, W. 239, mm. 20–28: score; audio
*Example 12.4. Heilig, W. 217, “prelude,” mm. 1–12 (without violin 2 and viola in mm. 8–10): score; audio
*Example 12.5. Heilig, W. 217, fugue, mm. 91–106 (without instrumental doublings): score; audio
Example 12.6. Chorus “All the earth doth worship thee,” no. 2 from Handel, “Chandos” Te Deum, HWV 281, mm. 88–97: score; audio
*Example 12.7. “Sanctus Dominus Sabaoth,” from Graun, Te Deum (without horns, flutes, and oboes): score; audio
Example 12.8a. Arietta “Herr, wert daß Schaaren der Engel,” from Heilig, W. 217, mm. 29–36: score; audio
Example 12.8b. Arietta “Herr, wert daß Schaaren der Engel,” from Heilig, W. 217, mm. 43–46: score; audio
*Example 12.9. Heilig, W. 217, fugue, subject: (a) tonal answer as sung by tenors, m. 5; (b) same, partial statement by bass 1 at m. 91, completed by bass 2 in augmentation: score; audio
Example 12.10. Subjects from the chorus “Sicut erat,” no. 9 from the Magnificat, W. 215, with parody text from “Herr, es ist dir keiner gleich,” no. 8 from the Easter Music for 1784, W. 243, (a) mm. 91–95 (mm. 97–101 in the revised parody), (b) mm. 99–103 (mm. 105–9 in the revised parody): score; audio
Example 12.11. Chorus “Herr, es ist dir keiner gleich,” no. 8 from the Easter Music for 1784, W. 243, revised version, mm. 43–47 (three lower voices only): score; audio
Example 12.12. Chorus “Herr, es ist dir keiner gleich,” no. 8 from the Easter Music for 1784, W. 243, revised version, mm. 157–61 (voices only): score; audio
Example 12.13. Corresponding passages in chorus “Sicut erat,” no. 9 from the Magnificat, W. 215, mm. 52–57 (top), and “Herr, es ist dir keiner gleich,” no. 8 from the Easter Music for 1784, W. 243, mm. 56–61 (bottom): score; audio
Example 12.14. Fugue subjects in: (a) “And with his stripes” from Handel, Messiah; (b) “Herr, es ist dir keiner gleich,” no. 8 from the Easter Music for 1784, W. 243; (c) “Auf daß wir, der Sünde abgestorben,” no. 18b from the Passion Cantata, W. 233: score; audio
Example 12.15. Chorus “Auf daß wir, der Sünde abgestorben,” no. 18b from the Passion Cantata, mm. 168–83: score; audio
*Example 12.16. Leite mich nach deinem Willen, W. 227, opening of each stanza (without viola, continuo, and doubling winds): score; audio
Example 12.17. (a) Mein Heiland, meiner Zuversicht, W. 221, mm. 1–4 (winds omitted); (b) J. S. Bach, chorale “Nun, ich weiss, du wirst mir stillen,” no. 6 from Herr, gehe nicht in’s Gericht, BWV 105, mm. 1–3: score; audio
*Example 12.18. Old Litany, W. 204/1, (a) mm. 426–29, (b) mm. 474–77, both with figured bass from the 1783 Copenhagen hymnbook (the latter to be performed without the three lower voices): score; audio
Example 12.19. Old Litany, W. 204/1, mm. 1–8: score; audio
Example 12.20. New Litany, W. 204/2, mm. 306–30 (verse 28, complete): score; audio
Example 12.21. New Litany, W. 204/2, mm. 408–15: score; audio
Example 12.22. Chorus “O Jesu Christe! Gottes Sohn!,” no. 2 from the St. Matthew Passion for 1789, W. 235, mm. 13–22: score; audio
Example 12.23. Motet “Bitten,” W. 208/3, mm. 105–17: score; audio
Example 12.24. J. S. Bach, chorus “Confiteor unum baptisma,” no. 20 from the B-Minor Mass, BWV 232, mm. 138–46: score; audio
Example 12.25. Fugue subjects in: (a) Graun, “In te Domine speravi,” from Te Deum; (b) chorus “Gott fähret auf mit Jauchzen,” no. 22 from the Resurrection Cantata, W. 240: score; audio
*Example 12.26. Duet “Vater, deiner schwachen Kinder,” no. 9 from the Resurrection Cantata, W. 240, mm. 9–20.: score; audio
Example 12.27. Orchestral introduction, no. 1 from the Resurrection Cantata, W. 240, mm. 1–6: score; audio
Example 12.28. Chorus “Gott, du wirst seine Seele nicht in der Hölle lassen,” no. 2 from the Resurrection Cantata, W. 240, mm. 36–39 (voices only): score; audio
Example 12.29. (a) Recitative “Noch kommt nicht die Sonne,” no. 1 from Klopstock’s Morgensang, W. 239, mm. 1–5; (b) “Judäa zittert,” no. 3 from the Resurrection Cantata, W. 240, mm. 1–3: score; audio
Example 12.30. Aria “Mein Geist, voll Furcht und Freude,” no. 4 from the Resurrection Cantata, W. 240, mm. 5–6 and 40–45 (without horns): score; audio
Example 12.31. Aria “Wie bang,” no. 7 from the Resurrection Cantata, W. 240, mm. 24–34: score; audio
Example 12.32. (a) Aria ““Dir sing ich froh,” no. 3 from Easter Music, W. 244, mm. 94–100; (b) aria “Wie bang,” no. 7 from the Resurrection Cantata, W. 240, mm. 73–79: score; audio
Example 12.33. (a) Chorus “Die Himmel erzählen,” no. 1 from Inaugural Piece for Pastor Hornbostel, H. 821e, mm. 35–48; (b) “Triumph!,” no. 5 from the Resurrection Cantata, W. 240, mm. 35–48 ( soprano only): score; audio
Example 12.34. “Auf die Auferstehung des Erlösers,” W. 200C/8, mm. 1–8: score; audio
Example 12.35. (a) Recitative “Dort seh’ ich aus den Thoren,” no. 14 from the Resurrection Cantata, W. 240, mm. 65–67; (b) aria “Ihr Thore Gottes,” no. 21, mm. 8–15 (without winds): score; audio
Example 12.36. Homilius, aria “Preis und Ruhm gekrönt,” no. 17 from the 1770 St. Mark Passion, mm. 25–34: score; audio
Example 12.37. Aria “Ihr Thore Gottes,” no. 21 from the Resurrection Cantata, W. 240, mm. 1–4 (viola doubles continuo, one octave higher): score; audio
Example 12.38. Aria “Ihr Thore Gottes,” no. 21 from the Resurrection Cantata, W. 240, mm. 17–22: score; audio
Example 12.39. Chorus “Gott fähret auf,” no. 22 from the Resurrection Cantata, W. 240, mm. 45–60 (winds, timpani, and viola omitted): score; audio
Example 12.40. Chorus “Gott fähret auf,” no. 22 from the Resurrection Cantata, W. 240, mm. mm. 113–23, 215–24 (winds omitted): score; audio
*Example 12.41. Instrumental introduction for J. S. Bach, B-Minor Mass, mm. 1–12: score; audio