Examples for The Music of Wilhelm Friedemann Bach by David Schulenberg (University of Rochester Press, 2010)

Click below to view the example in score or to hear a synthesized audio version. If you are viewing the example, use the “back” button of your browser to return to this page.
A few examples comprise more than one page. In those cases, the second page is shown as a separate image, but a single audio file contains the content of both pages.
If your browser does not display the staff lines of the examples properly, try zooming in to the example (increase the magnification of your browser display from 100% to 125% or 150%).
Chapter 1
Example 1.1. Sonata in E-flat, F. 5, mvt. 1, mm. 1–3: graphic audio
Example 1.2. C. P. E. Bach, Concerto in D minor for keyboard and strings, W. 23, mvt. 1, mm. 1–8 (viola omitted): graphic audio
Example 1.3. Concerto in D, F. 41, mvt. 1, mm. 1–5: graphic audio
Example 1.4. Concerto in E-flat, F. 42, mvt. 1, (a) mm. 1–4, (b) mm. 35b–38: graphic audio
Example 1.5. (a) Sonata in E-flat, F. 5, mvt. 1, mm. 9–14; (b) Concerto in E-flat, F. 42, mvt. 1, mm. 55–57 (keyboard part only): graphic audio
Example 1.6. Concerto in F, F. 44, mvt. 3, mm. 104–7 (keyboard part only). In passagework, the direction of the note stems identifies which hand plays (upward stem = right hand, downward stem = left hand): graphic audio
Example 1.7. Sonata in C, F. 1, mvt. 1: (a) early version (F. 1B), mm. 13–15; (b) later version (F. 1A), mm. 12–14: graphic audio
Example 1.8. Flute Concerto, mvt. 1, mm. 13–14: graphic audio
Chapter 2
Example 2.1. Two-part invertible counterpoint from SA 3650, p. 5, staves 1–2. Examples (a) and (d) are in Friedemann’s hand, the remainder in Sebastian’s. graphic audio
Example 2.2. Two-part invertible counterpoint from SA 3650, p. 5, staves 17–18. Example (a) is in Sebastian’s hand, (b) in Friedemann’s. graphic audio
Example 2.3. Two-part counterpoint from SA 3650, p. 6, staves 1–2. The top staff of the example is a reconstruction of the original version of the embellished upper line. graphic audio
Example 2.4a. Trio sonata in D for two flutes and basso continuo, F. 47, mvt. 1, mm. 8–10: graphic audio
Example 2.4b. Sinfonia in F for strings and continuo, F. 67, mvt. 3, mm. 1–6: graphic audio
Example 2.5a. J. G. Graun, Sonata 6 in G for violin and basso continuo, GraunWV A:XVII:6, mvt. 1, mm. 1–2: graphic audio
Example 2.5b. J. S. Bach, Partita in G, BWV 829, mvt. 1, mm. 1–4: graphic audio
Example 2.6. J. G. Graun, Sonata 5 in G minor for violin and basso continuo, GraunWV A:XVII:7, mvt. 2, mm. 60–61, 65b–67: graphic audio
Example 2.7. J. G. Graun (?), Sonata in C minor for viola and obbligato keyboard, GraunWV Av:XV:20, mvt. 2, mm. 13–16a: graphic audio
Example 2.8. J. G. Graun (?), Sonata in C minor for viola and obbligato keyboard, GraunWV Av:XV:20, mvt. 1, mm. 1–8: graphic audio
Example 2.9. J. G. Graun, Concerto in C minor for violin, viola da gamba, strings, and continuo, GraunWV A:XIII:3, mvt. 1, mm. 27–35 (gamba and continuo parts only): graphic audio
Example 2.10. (a) Fantasia in E minor, F. 21, mm. 19b–21; (b) J. C. Bach, Sonata in C minor, op. 17, no. 2, mm. 30–34: graphic audio
Example 2.11. Concerto in F for two keyboards, F. 10, mvt. 3, mm. 40–48: graphic audio
Example 2.12. C. P. E. Bach, “Württemberg” Sonata no. 1 in A minor, W. 49/1, mvt. 1, (a) mm. 1–2, (b) mm. 9b–12a: graphic audio
Example 2.13. Sonata in D, F. 3, mvt. 1, (a) mm. 1–4, (b) mm. 15–18: graphic audio
Example 2.14. (a) Sonata in E-flat, F. 5, mvt. 3, mm. 1–6; (b) C. P. E. Bach, Sonata in E-flat, W. 65/7 (early version), mvt. 3, mm. 1–7: graphic audio
Example 2.15. (a) Sonata in F, F. 202, mvt. 1, mm. 1–12; (b) Italian Concerto in F, BWV 971, mvt. 1, mm. 1–8: graphic audio
Example 2.16. Flute Concerto, mvt. 1, mm. 9–11: graphic audio
Example 2.17. Concerto in A minor, F. 45, mvt. 3 (outer parts only; the draft lacks inner voices): (a) rejected draft; (b) final version, mm. 1–20: graphic audio
Example 2.18. Concerto in E-flat, F. 42, mvt. 1, mm. 1–29 (opening ritornello):
graphic (p. 1)
graphic (p. 2)
audio
Example 2.19. Sinfonia in D, F. 64, mvt. 1, mm. 76–80 (winds omitted): graphic audio
Chapter 3
Example 3.1. Sonata in E-flat, F. 201, mvt. 1, mm. 67–70 (last four measures): graphic audio
Example 3.2. Sonata in E-flat, F. 201: (a) mvt. 1, mm. 1–4; (b) mvt. 3, mm. 1–6: graphic audio
Example 3.3. Concerto in E minor, F. 43, mvt. 3, mm. 53–58 (keyboard part only): graphic audio
Example 3.4. Suite in G minor, F. 24, mvt. 2 (courante), mm. 40–43: graphic audio
Example 3.5. Fantasia in D minor, F. 19, mm. 75–79: graphic audio
Example 3.6a. Polonaise in D, F. 12/3, mm. 1–3: graphic audio
Example 3.6b. J. S. Bach, Wer mich liebet, der wird mein Wort halten, BWV 74, aria “Nichts kann mich erretten,” mm. 10–15 (the solo violin part would have been realized as arpeggiation in thirty-seconds): graphic audio
Example 3.7. Fantasia in D minor, F. 19, (a) mm. 33–34, (b) mm. 41–42, (c) mm. 53–54: graphic audio
Example 3.8. Minuet in G minor, F. 25/1, (a) mm. 1–4, (b) mm. 41–45: graphic audio
Example 3.9. Minuet in D minor, F. 25/2: (a) later version, mm. 9–16 (b) earlier version, mm. 9–18: graphic audio
Example 3.10. Prelude (?) in C minor, F. 29, ending: (a) autograph version; (b) manuscript copy: graphic audio
Example 3.11. (a) Suite in G minor, F. 24, mvt. 6, mm. 13–16; (b) J. S. Bach, Menuet Trio, BWV 929, mm. 13–16: graphic audio
Example 3.12. (a) Sonata in F, F. 202, mvt. 3, mm. 63–66; (b) Sonata in F, F. 6, mvt. 3, mm. 21–24: graphic audio
Example 3.13. Sonata in F, F. 202, mvt. 2, mm. 1–4: graphic audio
Example 3.14. Sonata in C, F. 1, mvt. 1: (a) early version (F. 1B), mm. 45–59; (b) late version (F. 1A), mm. 44–52: graphic audio
Example 3.15. Sonata in C, F. 1, mvt. 1: (a) early version (F. 1B), mm. 29–34; (b) late version (F. 1A), mm. 28–33: graphic audio
Example 3.16. Sonata in D, F. 3, mvt. 1, mm. 45–55: graphic audio
Example 3.17. (a) J. S. Bach, Contrapunctus 11 from Art of Fugue, BWV 1080, mm. 158–62; (b) Sonata in D, F. 3, mvt. 2, mm. 42–46: graphic audio
Example 3.18. Sonata in D, F. 3, mvt. 2, mm. 54–56, renotated on three staves to clarify voice leading: graphic audio
Example 3.19. Sonata in G, F. 7, mvt. 1: (a) mm. 1–2; (b) mm. 15–16; (c) mm. 39–43: graphic audio
Example 3.20. Sonata in G, F. 7, mvt. 2, mm. 17–24: graphic audio
Example 3.21. Sonata in C, F. 2, mvt. 1, mm. 48–52 graphic audio
Example 3.22. J. S. Bach (+ W. F. Bach?), Double Concerto in C, BWV 1061, mvt. 1, mm. 100–107: graphic audio
Example 3.23a–b. (a) Concerto in F for two keyboards, F. 10, mvt. 3, mm. 1–10 (the two parts are in unison); (b) J. S. Bach, Concerto in D minor for three harpsichords and strings, BWV 1063, mvt. 1, mm. 1–8 (all parts are in unison or octaves): graphic audio
Example 3.23c. Vivaldi, Concerto in D for flute, oboe, violin, bassoon, and basso continuo, R. 90, “Il giardinello,” mvt. 1, mm. 1–6 (flute doubles oboe and violin one octave higher): graphic audio
Example 3.24. (a) Concerto in F for two keyboards, F. 10, mvt. 3, mm. 87–95; (b) J. S. Bach, Concerto in C minor for two harpsichords and strings, BWV 1060, mvt. 1, mm. 9–10 (strings omitted): graphic audio
Example 3.25a. J. S. Bach, Saint John Passion, BWV 245, aria “Eilt, ihr angefocht’nen Seelen,” mm. 1–6: graphic audio
Example 3.25b. Concerto in F for two keyboards, F. 10, mvt. 3, mm. 121–26: graphic audio
Example 3.26. Concerto in G for solo keyboard, F. 40, mvt. 1: (a) early version (F. 40A), mm. 9–13; (b) late version (F. 40B), mm. 5–7: graphic audio
Example 3.27. Concerto in G for solo keyboard, F. 40, mvt. 1: (a) early version (F. 40A), mm. 39–46; (b) late version (F. 40B), mm. 19–23: graphic audio
Example 3.28a. Concerto in G for solo keyboard (late version), F. 40, mvt. 2, mm. 1–8, 56–60: graphic audio
Example 3.28b. Lasset uns ablegen die Werke der Finsternis, F. 80, aria “Höre, Vater, mit Erbarmen,” mm. 23–32, 107–12 (two violins omitted): graphic audio
Example 3.29. J. G. Ziegler (?), (a) Polonaise no. 17 in A-flat, mm. 5–6; (b) Polonaise no. 18 in F minor, mm. 1–2: graphic audio
Example 3.30. Polonaise in D, F. 12/3, mm. 25–31: graphic audio
Example 3.31. Polonaise in E-flat minor, F. 12/6, with reduction and harmonic analysis, (a) mm. 1–5; (b) mm. 17–21. In the reduction, slurs represent arpeggiation or passing motion; parenthesized symbols represent substitute chords with the same function (“V” in parentheses is a substitute dominant): graphic audio audio (reduction only)
Example 3.32. Polonaise in C minor, F. 12/2, mm. 9–24, with reduction and harmonic analysis: graphic (p. 1) graphic (p. 2) audio audio (reduction only)
Example 3.33. (a) Polonaise in C minor, F. 12/2, mm. 5–6; (b) March in E-flat, F. 30, mm. 9–11: graphic audio
Example 3.34. (a) Concerto in G, F. 40 (late version), mvt. 2, mm. 65–66; (b) Fantasia in C minor, F. 15, mm. 250–55: graphic audio
Example 3.35 (a) Sonata in C, F. 2, mvt. 2, mm. 43–44; (b) Fantasia in C minor, F. 15, mm. 401–3: graphic audio
Example 3.36. Fantasia in E minor, F. 20, mm. 13–18: graphic audio
Example 3.37. Fantasia in E minor, F. 20, (a) mm. 3–5, (b) mm. 53–56: graphic audio
Example 3.38. Fugue subjects from (a) Fischer, Ariadne musica, Fuga no. 5; (b) J. S. Bach, Well-Tempered Clavier, Fugue in G minor, BWV 861/1; (c) Fantasia in D minor, F. 19; (d) Mass in G minor, F. 100, chorus “Du bist allein”: graphic audio
Example 3.39. Fantasia in D minor, F. 19, mm. 131–36, with cadenza by C. P. E. Bach (W. 120/3) adapted for use after the fermata in m. 135: graphic audio
Example 3.40. Fantasia in E minor, F. 21, mm. 156ff., with gap after m. 157 filled conjecturally (a) by four additional measures; (b) by analogy to mm. 77–82 and 21–23: graphic audio
Example 3.41. Cadenza for Fantasia in E minor, F. 21, last two measures: graphic audio
Example 3.42. Subject of Fugue in C, F. 31/1: graphic audio
Example 3.43. Fantasia in D minor, F. 19, mm. 119–26 (note the presence of the “B-A-C-H” motive, transposed, in mm. 123–25, soprano): graphic audio
Example 3.44. Fugue in F, F. 36 (attribution doubtful), mm. 6b–10: graphic audio
Example 3.45. Fugue exposition in C, F. 35 (complete): graphic audio
Example 3.46. Fugue in E minor, F. 31/6, mm. 29–38: graphic audio
Example 3.47. Domenico Scarlatti, Sonata in D minor, K. 120, mm. 12–15: graphic audio
Chapter 4
Example 4.1. (a) Trio sonata in D for two flutes and continuo, F. 47, mvt. 1, mm. 5–6; (b) Trio sonata in D for two flutes and continuo, F. 48, mvt. 1, mm. 4–6, 9–10: graphic audio
Example 4.2. Trio sonata in A minor for two flutes and continuo, F. 49, mvt. 2: (a) complete extant fragment, with conjectural completion of answer and addition of countersubject; (b) conjectural inversion of subject, with added countersubject: graphic audio
Example 4.3. Trio sonata in B-flat, F. 50, mvt. 1, mm. 30–36, showing both flute and violin versions of the top part: graphic audio
Example 4.4. Trio sonata in B-flat, F. 50, mvt. 3, mm. 29–33: graphic audio
Example 4.5a. Trio sonata in D for two flutes and continuo, F. 47, mvt. 2, mm. 1–8 (without flute 1): graphic audio
Example 4.5b. Sonata in D, F. 3, mvt. 2, mm. 1–3: graphic audio
Example 4.6. Trio sonata in D for two flutes and continuo, F. 47, mvt. 2, mm. 49–54: graphic audio
Example 4.7. Subjects: (a) Trio sonata in A minor, F. 49, mvt. 1; (b) Sinfonia in D minor, F. 65, mvt. 2: graphic audio
Example 4.8. Trio sonata in B-flat, F. 50, (a) mvt. 1, mm. 1–2, 59–62; (b) mvt. 2, mm. 33–34; (c) mvt. 3, mm. 61–64: graphic audio
Example 4.9. Trio sonata in B-flat, F. 50, mvt. 3, (a) mm. 1–10; (b) mm. 83–92: graphic audio
Example 4.10. (a) Duo in G for two flutes, F. 54, mvt. 3, mm. 47–51; (b) J. S. Bach, Goldberg Variations, variation 6, mm. 1–5: graphic audio
Example 4.11. Duo in E-flat for two flutes, F. 55, mvt. 1, mm. 43–51: graphic audio
Example 4.12. Duo in F for two flutes, F. 57, mvt. 1, mm. 7–8: graphic audio
Example 4.13. Duo in F for two flutes, F. 57, mvt. 2, mm. 1–6 (flute 2 only): graphic audio
Example 4.14. (a) Duo in F for two flutes, F. 57, mvt. 3 (later version), mm. 1–4, 13–16; (b) Sonata in G, F. 7, mvt. 3, mm. 1–4, 9–12: graphic audio
Example 4.15. Duo in E-flat for two flutes, F. 56, mvt. 2, (a) mm. 97–101, as written; (b) mm. 100–101, incorporating cadenza: graphic audio
Example 4.16. Duo in G for two violas, F. 60, mvt. 2, mm. 1–12: graphic audio
Example 4.17. (a) Sonata in E minor for flute and continuo, mvt. 2, mm. 14, 22, 30; (b) Sonata in F (for keyboard), F. 202, mvt. 2, mm. 14, 22, 30: graphic audio
Example 4.18. (a) Sonata in F for flute and continuo, mvt. 1, mm. 7–8; (b) Sonata in F (for keyboard), intermediate version, F. 6B, mvt. 1, mm. 7–8: graphic audio
Example 4.19. (a) Sonata in F for flute and continuo, mvt. 2, mm. 5–12; (b) Sonata in F (for keyboard), intermediate version, F. 6B, mvt. 2, mm. 5–12: graphic audio
Example 4.20. (a) Sonata in F for flute and continuo, mvt. 3, mm. 104–7; (b) Sonata in C (for keyboard), early version, F. 1B, mvt. 3, mm. 101–3: graphic audio
Example 4.21. (a) Sonata in F for flute and continuo, mvt. 1, mm. 73–76; (b) Sonata in F (for keyboard), *intermediate version, F. 6B, mvt. 1, mm. 73–76: graphic audio
Example 4.22. Sonata in E minor for flute and continuo, (a) mvt. 1, mm. 29–32; (b) mvt. 3, mm. 45–50: graphic audio
Example 4.23. Sinfonia in F, F. 67, mvt. 1, mm. 1–17: graphic audio
Example 4.24. Sinfonia in C, F. 63, mvt. 1, (a) mm. 1–4; (b) mm. 10–13 (from Falck, Wilhelm Friedemann Bach, pp. 128–29): graphic audio
Example 4.25. Sinfonia in F, F. 67, mvt. 1, mm. 39–43: graphic audio
Example 4.26. Sinfonia in F, F. 67, mvt. 2, mm. 1–6: graphic audio
Example 4.27a. Sinfonia in G, F. 69, Falck’s incipits for mvts. 1 and 2: graphic audio
Example 4.27b. Hasse, Cleofide, act 2, aria “Generoso risuegliati, o core,” mm. 1–4 (winds omitted): graphic audio
Example 4.28a. Wo geht die Lebensreise hin, F. 91, sinfonia, mm. 1–12 (timpani omitted): graphic audio
Example 4.28b. Wo geht die Lebensreise hin, F. 91, sinfonia, mm. 35–41 (timpani omitted; oboes double violins): graphic audio
Example 4.28c. C. P. E. Bach, Auferstehung, W. 240, “Ihr Thore Gottes, öffnet euch,” mm. 16b–21a: graphic audio
Example 4.29. Sinfonia in A, F. 70, mvt. 1, reconstruction of first section (m. 18 of the example is the first measure extant in the autograph fragment): graphic (p. 1) graphic (p. 2) audio
Example 4.30. Sinfonia in D minor, F. 65, mvt. 1, mm. 1–10: graphic audio
Example 4.31. C. H. Graun, Der Tod Jesu, “Sein Odem ist schwach,” mm. l–5: graphic audio
Example 4.32. Sinfonia in D minor, F. 65, mvt. 2, (a) mm. 73–76; (b) mm. 104–10: graphic audio
Example 4.33. Concerto in E minor, F. 43, mvt. 3, mm. 25–29: graphic audio
Example 4.34. Concerto in F, F. 44, mvt. 3, (a) mm. 9–10, (b) mm. 142–51: graphic audio
Example 4.35. Concerto in F, F. 44, mvt. 3, mm. 160–65: graphic audio
Example 4.36. Vivaldi, Concerto in D for violin and strings, R. 208 (“Il grosso mogul”), arranged for organ by J. S. Bach as Concerto in C, BWV 594, mvt. 1, mm. 1–5: graphic audio
Example 4.37. (a) Concerto in D, F. 41, mvt. 1, mm. 48–51; (b) C. H. (?) Graun, Concerto in C for keyboard and strings, GraunWV C:XIII:63, mvt. 1, mm. 30–31: graphic audio
Example 4.38. Concerto in D, F. 41, mvt. 1, mm. 90–98: graphic audio
Example 4.39a. Concerto in D, F. 41, mvt. 1, mm. 68–71: graphic audio
Example 4.39b. Concerto in D, F. 41, mvt. 1, mm. 75b–77 (strings omitted): graphic audio
Example 4.40. Hasse, Cleofide, act 2, aria “Son qual misera columba,” mm. 143–59: graphic audio
Example 4.41. (a) Concerto in A minor, F. 45, mvt. 1, mm. 23–25; (b) Concerto in D, mvt. 3, mm. 41–47 (strings omitted): graphic audio
Example 4.42. (a) Concerto in A minor, F. 45, mvt. 3, mm. 205–9 (strings omitted); (b) Fantasia in A minor, F. 23, mm. 68–73: graphic audio
Example 4.43. Concerto in A minor, F. 45, mvt. 1, mm. 15–21: graphic audio
Example 4.44. (a) Concerto in A minor, F. 45, mvt. 2, mm. 74–77; (b) C. H. (?) Graun, Concerto in C for keyboard and strings, GraunWV C:XIII:63, mvt. 2, mm. 47–49 (strings omitted): graphic audio
Example 4.45. (a) Concerto in D, F. 41, mvt. 2, mm. 39–41 (strings omitted); (b) C. H. (?) Graun, Concerto in D for keyboard and strings, GraunWV C:XIII:72, mvt. 2, mm. 27–28 (strings omitted); (c) J. S. Bach, Partita no. 4 in D, allemande, mm. 38–40: graphic audio
Example 4.46. Concerto in A minor, F. 45, mvt. 3, mm. 1–10: graphic audio
Example 4.47. Concerto in D, F. 41, mvt. 3, mm. 95–101 (strings omitted): graphic audio
Example 4.48. Concerto in A minor, F. 45, mvt. 3, mm. 151–56 (upper strings omitted): graphic audio
Example 4.49. Concerto in F, F. 44, mvt. 1, (a) mm. 1–7, (b) mm. 16–19: graphic audio
Example 4.50. Concerto in F, F. 44, mvt. 1, (a) mm. 91–94, (b) mm. 113–16: graphic audio
Example 4.51. Concerto in F, F. 44, mvt. 1, mm. 123–25 (strings omitted): graphic audio
Example 4.52. (a) Concerto in F, F. 44, mvt. 3, mm. 1–6; (b) C. P. E. Bach, Concerto in G, W. 4 (early version), mvt. 3, mm. 1–8: graphic audio
Example 4.53. Concerto in F, F. 44, mvt. 3, mm. 133–40: graphic audio
Example 4.54. Concerto in F, F. 44, mvt. 3, mm. 182–85 (strings omitted): graphic audio
Example 4.55. (a) Ertönet, ihr seligen Völker, F. 88, sinfonia, and (b) Concerto in E-flat, F. 42, mvt. 1: mm. 27–31: graphic audio
Example 4.56. (a) Double Concerto, F. 46, mvt. 3, mm. 91–92 (first solo part only); (b) J. S. Bach, Fantasia in C minor, BWV 906/1, m. 21: graphic audio
Example 4.57. Flute Concerto, mvt. 2, mm. 13–18: graphic audio
Example 4.58. Concerto in G minor, (a) mvt. 1, mm. 129–33; (b) mvt. 2, mm. 1–2; (c) mvt. 3, mm. 38–42; (d) mvt. 1, mm. 172–76: graphic (p. 1) graphic (p. 2) audio
Example 4.59. (a) Concerto in G minor, mvt. 1, mm. 1–8; (b) C. P. E. Bach, Concerto in G minor, W. 6 (early version), mvt. 1, mm. 1–11: graphic audio
Example 4.60. Concerto in G minor, (a) mvt. 1, mm. 188–193; (b) mvt. 3, mm. 249–55: graphic audio
Example 4.61. Concerto in G minor, mvt. 2, mm. 57–61 (strings omitted): graphic audio
Example 4.62. Concerto in G minor, mvt. 2, mm. 61–65: graphic audio
Example 4.63. Concerto in E minor, F. 43, (a) mvt. 1, m. 21; (b) mvt. 2, mm. 13–14: graphic audio
Example 4.64. Fantasia in E minor, F. 20, mm. 1–2: graphic audio
Example 4.65. Concerto in E minor, F. 43, (a) mvt. 1, mm. 59–60, 73–74; (b) mvt. 3, mm. 43–44: graphic audio
Chapter 5
Example 5.1. Wer mich liebet, F. 72, aria “Süße, Liebe, hohes Gut,” mm. 92–109: graphic audio
Example 5.2. Gott fähret auf, F. 75, chorus “Gott fähret auf,” mm. 10–13 (trumpets and timpani omitted): graphxic audio
Example 5.3. J. S. Bach, Ich hatte viel Bekümmerniss, BWV 21, chorus “Ich hatte viel Bekümmerniss,” mm. 1–3: graphic audio
Example 5.4a. Gott fähret auf, F. 75, chorus “Gott fähret auf,” mm. 39–40 (tenor and continuo only): graphic audio
Example 5.4b. J. S. Bach, Gott fähret auf, BWV 43, chorus “Gott fähret auf,” mm. 28–35 (tenor, bass, and continuo only): graphic audio
Example 5.5. Gott fähret auf, F. 75, solo “Wenn ich erhöhet werde,” mm. 9–11, 23–27: graphic audio
Example 5.6. Dienet dem Herrn, F. 84, mm. 58–61: graphic audio
Example 5.7. Erzittert und fallet, F. 83, recitative “Das Grab ist leer,” mm. 15–20: graphic audio
Example 5.8. Hasse, Cleofide, Act 3, scenes 10–11, recitative: graphic audio
Example 5.9. Erzittert und fallet, F. 83, recitative “Das Grab ist leer,” mm. 1–6: graphic audio
Example 5.10. Homilius, Uns ist ein Kind geboren, recitative “O höchst erwünschtes Wort,” mm. 9–14: graphic audio
Example 5.11. Erzittert und fallet, F. 83, aria “Rauscht, ihr Fluten,” (a) mm. 18–23, (b) mm. 97–101: graphic audio
Example 5.12. Telemann, Du bist verflucht, TWV 1:385, aria “Du bist verflucht,” (a) mm. 1–6, (b) mm. 15–18: graphic audio
Example 5.13. Wo geht die Lebensreise hin, F. 91, aria “Der Himmel neiget sich zur Erde,” mm. 20–23: graphic audio
Example 5.14. Erzittert und fallet, F. 83, duet “Komm, mein Hirte,” mm. 19–26: graphic audio
Example 5.15. Der Höchste erhöret, F. 86, aria “Das Herze klopft,” mm. 38–46: graphic audio
Example 5.16. J. S. Bach, Komm du süße Todesstunde BWV 161, recitative “Der Schluss ist schon gemacht,” mm. 23–28: graphic audio
Example 5.17. Ehre sey Gott in der Höhe, F. 250, aria “Unschätzbare Weynachtsgaben,” mm. 53–60; the instrumental parts are virtually identical to those in mm. 7–14 of the opening ritornello: graphic audio
Example 5.18. Erzittert und fallet, F. 83, aria “Was für reizend sanfte Blikke,” mm. 39–44; the tenor part parallels that of the second flute in mm. 13–16: graphic audio
Example 5.19. Dies ist der Tag, F. 85, aria “Süßer Hauch von Gottes Throne,” (a) mm. 85–87, (b) mm. 103–7; the instrumental parts of the two passages parallel those of mm. 21–22 and 23–26, respectively, of the opening ritornello: graphic audio
Example 5.20. (a) Alleluia in F, F. 99/2, m. 91–93; (b) corresponding passage in Wir sind Gottes Werke, F. 74 (string doublings of voices omitted): graphic audio
Example 5.21a. Wir sind Gottes Werke, F. 74, opening of fugue (string doublings of voices omitted): graphic audio
Example 5.21b. Wir sind Gottes Werke, F. 74, final phrase of fugue (beginning; string doublings of voices omitted): graphic audio
Example 5.22. Dienet dem Herrn, F. 84, mm. 52–61: graphic (p. 1) graphic (p. 2) audio
Example 5.23. Wohl dem, der den Herren fürchtet, F. 76, (a) mm. 1–3 (violin 1 only), (b) mm. 31–33 (alto only); brackets mark the common motive: graphic audio
Example 5.24. Est ist eine Stimme, F. 89, chorus “Es ist eine Stimme,” (a) mm. 23–25, (b) mm. 53–55 (soprano only): graphic audio
Example 5.25. Est ist eine Stimme, F. 89, chorus “Es ist eine Stimme,” mm. 73–76 (viola doubling tenor omitted): graphic audio
Example 5.26. Est ist eine Stimme, F. 89, chorus “Es ist eine Stimme,” mm. 124–29: graphic audio
Example 5.27a. Wer mich liebet, F. 72, chorus “Wer mich liebet,” mm. 33–44: graphic audio
Example 5.27b. Gott fähret auf, F. 75, chorus “Lobsinget unserm Könige,” mm. 1–5: graphic audio
Example 5.27c. J. S. Bach, B-Minor Mass, BWV 232, Osanna, mm. 1–4: graphic audio
Example 5.28. Ach, daß du den Himmel zerrissest, F. 93, chorus “Ach, daß du den Himmel zerrissest,” (a) mm. 21–22, (b) mm. 36–38: graphic audio
Example 5.29. J. S. Bach, Ein’ feste Burg, BWV 80, arranged by W. F. Bach: chorus “Ein’ feste Burg” (“Gaudete omnes populi”), (a) mm. 1–2, 37–38, 59–61, and (b) mm. 158–63 (doubling strings omitted): graphic audio
Example 5.30. J. S. Bach, Ein’ feste Burg, BWV 80, arranged by W. F. Bach: chorale “Und wenn die Welt voll Teufel wär’” (“Manebit verbum Domini”), mm. 1–3, 9–11 (timpani, ob. 2, and taille omitted):graphic audio
Example 5.31. J. S. Bach, Ein’ feste Burg, BWV 80, arranged by W. F. Bach: chorus “Ein’ feste Burg” (“Gaudete omnes populi”), mm. 120–27 (doubling strings omitted): graphic audio
Example 5.32. Mass in G minor, F. 100, Kyrie, mm. 16–21: graphic audio
Example 5.33. Mass in D minor, F. 98, Gloria (“Und auf Erden Friede”), (a) mm. 1–5, (b) mm. 20–27: graphic audio
Example 5.34a. Mass in D minor, F. 98, Tu solus altissimus (“Du bist allein der Höchste”), mm. 1–7: graphic audio
Example 5.34b. Mass in D minor, F. 98, Tu solus altissimus (“Du bist allein der Höchste”), mm. 110–17: graphic audio
Example 5.35. Wer mich liebet, F. 72, aria “O herrliche Wohnung” (a) mm. 1–4, (b) mm. 17–19, (c) mm. 69–73: graphic audio
Example 5.36. J. S. Bach, (a) Gott soll allein mein Herze haben, BWV 169, aria “Stirb in mir, Welt,” mm. 1–3; (b) Vergnüte Ruh’, BWV 170, aria “Vergnüte Ruh’,” mm. 1–2 (continuo figures omitted):graphic audio
Example 5.37. Lasset uns ablegen die Werke der Finsternis, F. 80, aria “Höre, Vater, mit Erbarmen,” (a) mm. 1–4, (b) mm. 23–26: graphic audio
Example 5.38. J. S. Bach, Saint Matthew Passion, aria “Erbarme dich,” mm. 9–10: graphic audio
Example 5.39. Lasset uns ablegen die Werke der Finsternis, F. 80, opening chorus, mm. 72–82 (voices only; trumpets, timpani, and strings omitted): graphic audio
Example 5.40. Lasset uns ablegen die Werke der Finsternis, F. 80, aria “Ich ziehe Jesum an in Glauben,” mm. 21–26: graphic audio
Example 5.41a. Erzittert und fallet, F. 83, opening chorus, mm. 1–3: graphic audio
Example 5.41b. Erzittert und fallet, F. 83, opening chorus, mm. 59–66 (trumpets and timpani omitted): graphic audio
Example 5.42. Erzittert und fallet, F. 83, duet “Komm, mein Hirte,” mm. 55–57, 101–3: graphic audio
Example 5.43. Est ist eine Stimme, F. 89, chorus “Es ist eine Stimme,” mm. 119–123. The instrumental parts in m. 120 recapitulate m. 1 of the opening ritornello (see Example 5.26 for the continuation of the passage): graphic audio
Example 5.44. Ach, daß du den Himmel zerrissest, F. 93, aria “Willkommen, Erlöser der Erden,” mm. 73–77: graphic audio
Example 5.45. Ach, daß du den Himmel zerrissest, F. 93, aria “Rüstet euch,” (a) mm. 9–10, 17–20; (b) mm. 105–6, 113–14: graphic audio
Example 5.46a. O Himmel, schone, F. 90, opening recitative, mm. 1–3: graphic audio
Example 5.46b. C. P. E. Bach, Concerto per il cembalo solo, W. 112/1, mvt. 1, mm. 1–2: graphic audio
Example 5.47a. O Himmel, schone, F. 90, aria “Öffnet, Metalle,” mm. 19–21, 55–60: graphic audio
Example 5.47b. Corresponding measures in Gott fähret auf, F. 75, aria “Erschallet, ihr Klüfte” (trumpets and timpani omitted; these are identical to the horns and timpani in Example 5.47a): graphic audio
Example 5.48. O Himmel, schone, F. 90, second recitative, mm. 5–7: graphic audio
Example 5.49. O Himmel, schone, F. 90, end of second recitative and beginning of second aria: graphic audio
Example 5.50a. O Himmel, schone, F. 90, concluding chorus, mm. 1–4: graphic audio
Example 5.50b. J. G. (?) Graun, Trio sonata in B minor for flute, violin, and continuo, GraunWV Cv:XV:136, mvt. 3, mm. 5–6: graphic audio
Example 5.50c. Flute Concerto, mvt. 2, mm. 13–16: graphic audio
Example 5.50d. J. S. Bach, Christmas Oratorio, BWV 248, part 1, aria “Grosser Herr,” mm. 15–18 (strings omitted): graphic audio
Example 5.51. O Himmel, schone, F. 90, concluding chorus, mm. 67–76 (voices only; trumpet and strings omitted): graphic audio
Appendix 1
Example A.1. Ach, daß du den Himmel zerrissest, F. 93, recitative “Da alles sich erfreut,” mm. 7–9 (from the autograph “Continuo” part in St 169): graphic audio
Example A.2. Es ist eine Stimme, F. 89, aria “Holdseligster Engel,” mm. 34–39, with hypothetical added bass line: graphic audio
Example A.3. Sonata in E-flat, F. 5, mvt. 3, (a) mm. 28–29, (b) mm. 14–15, with suggested fingerings: graphic audio
Example A.4. March in E-flat, (a) mm. 1–4, (b) mm. 37–40, with suggested fingerings: graphic audio
Example A.5. Fugue in C minor, F. 32, (a) mm. 1–6, (b) mm. 102–5: graphic audio