Below you will find an article entitled Bach Without Fear by conductor Nicholas McGegan, one of the world’s leading authorities on Baroque and Classical repertoire. It was kindly sent to me by Yolanda Carden, Publicist, FSB Associates.
More than 250 years after Johann Sebastian Bach’s death, amid all the belated tributes and the new discoveries, the great master can still arouse a controversy or two. For this we can all be profoundly grateful, since it gives us cause to stop and think about his music and the manner in which we perform it.
The use of original instruments, or something approaching them, has been around for a good deal of the last century. Wanda Landowska and Arnold Dolmetsch played Bach on the harpsichord and clavichord at the dawn of the 20th century; and gradually over the decades more and more period instruments came to be used. By the 1970s, original-instrument St. Matthew Passions became possible, both on recordings and in the concert hall. This trend went hand-in-hand with a more general interest in the music of the past, including the Renaissance and medieval repertoire.
Along the way, the growing trend toward historically-informed performance encountered a fair amount of criticism, even ridicule, of the supposed gray musicologists and scruffy viola da gambists who were thought to have led this movement. But it must be remembered that many of the early pioneers were composers who drew inspiration from their researches into the past. It was Brahms who edited François Couperin, Webern who studied Heinrich Isaac, and Hindemith who founded the Collegium Musicum at Yale.
In the last 30 years, period-instrument orchestras have become ubiquitous, first in Europe and then in North America and Australia. Before these orchestras came on the scene, as I can personally testify, Baroque music was often not very well played. Many conductors never gave much thought to stylistic matters: Style, for them, was much the same for music of all periods, rather as with cheap gloves where one size supposedly fit all. If something on the page appeared too peculiar, the normal answer was to adapt the music’s performance to a more modern taste. One can see the same process at work in movies of fifty years ago: Gene Kelly seems a very modern musketeer as he “swashbuckles” his way though 17th-century France unable to pronounce Richelieu!
This non-historical approach provoked a strong reaction among the original-instrument brigade. As a result, they became almost obsessed with style, obsessed with the quest for the Holy Grail of Correctness that would purify Bach performance from the sins of the negligent. Some of their writings seem rather priggish today, and most of us who work with period instruments have long ago stopped tilting at these windmills because now there are so many more interesting and important things to do. Period-instrument players have become much more concerned with giving emotional performances of great technical excellence. Gone, I trust, are the days when a recording carried a Cordon Bleu across its cover saying “played on original instruments” like some kind of USDA stamp of musical wholesomeness, i.e., “This Performance Will be Good for You and Contains Only Marginal Traces of Romanticism.”
Happily, too, modern orchestras and conductors have been influenced by the “Baroque-niks.” Today’s string players use a subtler vibrato for Bach or Mozart than they might for Elgar. (I was astonished a few years ago to have to ask the City of Birmingham Symphony Orchestra to use more vibrato in a Beethoven Symphony; apparently their then-music director, Sir Simon Rattle, preferred to have his Viennese classics virtually vibrato-free.) Modern orchestras are also beginning to experiment with historical seating arrangements, and are finding that a classical symphony takes on a whole new flavor when the first and second violins sit in stereo. Such period-instrument effects as bow-vibrato are no longer routinely erased and replaced with something more “convenient.” Not all these experiments are equally successful with all orchestras, but it is a fine thing to re-think constantly how one performs, and not to be smugly satisfied with routine.
Unfortunately, there are still a few unrepentant purists around who would seem to prefer that music not be performed at all, unless on the original instruments—just the right number of them, mind you, at exactly the original pitch in use in that region at that time, etc. To me this is like searching for the end of the rainbow. Can we really only do justice to a Handel opera by having it sung by castrati? Are any of the Puritans willing to volunteer themselves or their children to be made into “authentic” instruments for the purpose?
On the other side, there are a few curmudgeons who think that the period-instrument movement has contributed nothing to musical performance, except of course to make them foam at the mouth. These neo-Luddites, unlike the purists starving in their garrets, are sometimes internationally famous in the profession and therefore have greater opportunities to make themselves heard. Here it is important to distinguish between reasoned argument and plain distaste. To me, calling period performance “disgusting” and “complete rubbish”, as Pinchas Zukerman did in an interview in Toronto’s Globe and Mail, falls into the latter category. We are only human, and we are perhaps bound to dislike certain things: Personally, I detest the songs of Bob Dylan, and klezmer music makes me dive for the radio’s “off” switch almost as fast as the immortal songs of ABBA. However, I would not try to ennoble my prejudice by calling it an argument. Lets leave that to the televangelists!
On a totally different plane are the doubts and serious questions about period performance raised by the ever-inspiring Charles Rosen in a chapter of his book, Critical Entertainments.* While too lengthy to summarize here, his ruminations seem to enhance and elevate the whole nature of the debate.
For the rest, let them try to convince us by their playing. About twenty years ago, music critic Harold Schonberg reviewed a performance of the Bach concerto for four harpsichords played on four Steinway pianos. Acknowledging that Bach had written the piece for quite different instruments, and that it had originally been played in a completely different style, Schonberg admitted that the passion and commitment of the performance held him in delightful thrall from the first bar to the last. His review was a paean of praise for the eloquence of live performances, and the ability of compelling performances to transcend scholarly concerns.
This last point is, for me, much more important that whether a work is played on period instruments or not. I am lucky enough to live in the San Francisco Bay area where we have several symphony orchestras, modern chamber orchestras and a couple of period-instrument ensembles. In the 1980s, the San Francisco Symphony used to have a Bach Festival, but that withered. Now, Bach is mostly the preserve of the period-instrument groups. This is a pity, especially because Philharmonia Baroque Orchestra happily plays Beethoven and Mendelssohn. In most cities, such creative competition is not an option: perhaps the local symphony orchestra has been inhibited by the purists, and so no longer plays Bach or Corelli, but there is no period-instrument group to plug the repertoire gap. The sad result is that the music that is most often heard on the radio on the way to work is precisely that which is least performed in the concert hall.
There is a logistical problem here, too. Most concert halls today are designed for music on a grander scale than one generally finds in the Baroque repertoire. I can well remember feeling a bit silly conducting a performance of the Brandenburg Concerto No. 6, which requires eight players, in a hall that held more than 2,500 people. Thank heavens it was played on modern instruments so that the public could at least hear something! Nevertheless, modern vs. period instruments was not the real issue. What was amiss was that the hall, which was perfect for Mahler, could not do much for chamber music.
This, to me, is a key concern: So much of the early repertoire is really for chamber forces and needs to be played in a space that bears some resemblance to a chamber. Some Baroque pieces, such as Handel’s Music for the Royal Fireworks, sound splendid in a big hall, but they are the exception. I strongly advocate that a symphony orchestra look for a smaller alternative space to play the glorious music of Bach and his contemporaries. Symphony musicians love performing it, and audiences deserve to hear it live, not just on their car radios. Of course, there may be some mutterings from a Puritan or two, but no one is stopping them from mounting their own period-instrument concert series. As for the curmudgeons, let them be invited as guest artists, let them give the pre-concert talk and let the public hear them perform afterwards.
They had better be as captivating as the four Steinway pianists, though.
Article © 2005 by Nicholas McGegan. Adapted from an article that first appeared in the September/October 2000 issue of SYMPHONY, the magazine of the American Symphony Orchestra League.
Conductor Nicholas McGegan is one of the world’s leading authorities on Baroque and Classical repertoire. A champion of such Baroque masters as Handel, Rameau, Bach and Vivaldi, his repertoire also encompasses Mozart and Haydn, the complete symphonies of Beethoven, and extends to Stravinsky, Britten, Tippett, and Glass.
Mr. McGegan’s itinerary includes appearances on many of the world’s most illustrious podiums. In the United States these include regular visits to Atlanta, Chicago, Los Angeles,, New York, Philadelphia, and Saint Louis. And in Europe no season goes by without visits to London, Glasgow, and Amsterdam.
He appears regularly at the Hollywood Bowl and at the Aspen, Ravinia, and New York’s Mostly Mozart festivals. A recent Ravinia highlight was “Los Sazones”, Vivaldi’s Four Seasons adapted for orchestra and salsa band by Jimmy Bosch. He frequently collaborates with Mark Morris and this year will conduct Handel’s L’Allegro with the Mark Morris Dance Group at both Mostly Mozart and Ravinia Festival.
Mr. McGegan, known to nearly everyone who meets him as “Nic”, has a long association with the San Francisco-based Philharmonia Baroque Orchestra (PBO), with whom he celebrates twenty years as music director in 2005. Since 1990, Nic has also been Artistic Director of Germany’s International Handel-Festival in Göttingen – the world’s oldest Festival celebrating Handel and his music.
Below is a list of works for Johann Sebastian Bach. Click the title of a composition to see more details.
| Suite |
|---|
| BWV 1025 | Suite | A maj | ?? |
| BWV 821 | Suite | B♭ maj | ?? |
| BWV 822 | Suite | G min | ?? |
| BWV 823 | Suite | F min | ?? |
| BWV 824 | Suite | A maj | ?? |
| BWV 996 | Suite | E min | 1708 |
| BWV 806 | English Suite | A maj | 1715 |
| BWV 807 | English Suite | A min | 1715 |
| BWV 808 | English Suite | G min | 1715 |
| BWV 809 | English Suite | F maj | 1715 |
| BWV 810 | English Suite | E min | 1715 |
| BWV 811 | English Suite | D min | 1715 |
| BWV 1066 | Orchestral Suite No. 1 | C maj | 1717 |
| BWV 1067 | Orchestral Suite No. 2 | B min | 1717 |
| BWV 1068 | Orchestral Suite No. 3 | D maj | 1717 |
| BWV 1069 | Orchestral Suite No. 4 | D maj | 1717 |
| BWV 1007 | Suite | G maj | 1720 |
| BWV 1008 | Suite | D min | 1721 |
| BWV 1009 | Suite | C maj | 1722 |
| BWV 812 | French Suite | D min | 1722 |
| BWV 813 | French Suite | C min | 1722 |
| BWV 814 | French Suite | B min | 1722 |
| BWV 815 | French Suite | E♭ maj | 1722 |
| BWV 816 | French Suite | G maj | 1722 |
| BWV 817 | French Suite | E maj | 1722 |
| BWV 818 | Suite | A min | 1722 |
| BWV 819 | Suite | E♭ maj | 1722 |
| BWV 1010 | Suite | E♭ maj | 1723 |
| BWV 1011 | Suite | C min | 1724 |
| BWV 1012 | Suite | D maj | 1725 |
| BWV 995 | Suite | G min | 1727 |
| Concerto |
|---|
| BWV 1045 | Concerto movement in D | D maj | ?? |
| BWV 909 | Concerto and fugue | C min | ?? |
| BWV 1046 | Brandenburg Concerto No. 1 | F maj | 1713 |
| BWV 1047 | Brandenburg Concerto No. 2 | F maj | 1713 |
| BWV 1048 | Brandenburg Concerto No. 3 | G maj | 1713 |
| BWV 1049 | Brandenburg Concerto No. 4 | G maj | 1713 |
| BWV 1050 | Brandenburg Concerto No. 5 | D maj | 1713 |
| BWV 1051 | Brandenburg Concerto No. 6 | B♭ maj | 1713 |
| BWV 592 | Concerto arrangement of Prince Johann Ernst | G maj | 1713 |
| BWV 593 | Concerto arrangement of Vivaldi RV522 | A min | 1713 |
| BWV 594 | Concerto arrangement of Vivaldi RV208 | C maj | 1713 |
| BWV 595 | Concerto arrangement of Prince Johann Ernst | C maj | 1713 |
| BWV 596 | Concerto arrangement of Vivaldi RV565 | D min | 1713 |
| BWV 597 | Concerto arrangement of ? | E♭ maj | 1713 |
| BWV 972 | Arrangement of concerto | D maj | 1713 |
| BWV 973 | Arrangement of concerto | G maj | 1713 |
| BWV 974 | Arrangement of concerto | D min | 1713 |
| BWV 975 | Arrangement of concerto | G min | 1713 |
| BWV 976 | Arrangement of concerto | C maj | 1713 |
| BWV 977 | Arrangement of concerto | C maj | 1713 |
| BWV 978 | Arrangement of concerto | F maj | 1713 |
| BWV 979 | Arrangement of concerto | B min | 1713 |
| BWV 980 | Arrangement of concerto | G maj | 1713 |
| BWV 981 | Arrangement of concerto | C min | 1713 |
| BWV 982 | Arrangement of concerto | B♭ maj | 1713 |
| BWV 983 | Arrangement of concerto | G min | 1713 |
| BWV 984 | Arrangement of concerto | C maj | 1713 |
| BWV 985 | Arrangement of concerto | G min | 1713 |
| BWV 986 | Arrangement of concerto | G maj | 1713 |
| BWV 987 | Arrangement of concerto | D min | 1713 |
| BWV 1041 | Violin Concerto | A min | 1717 |
| BWV 1042 | Violin Concerto | E maj | 1717 |
| BWV 1043 | Concerto for 2 violins | D min | 1717 |
| BWV 1044 | Concerto for flute, violin and harpsichord | A min | 1730 |
| BWV 1060 | Concerto for Two Harpsichords | C min | 1735 |
| BWV 1061 | Concerto for Two Harpsichords | C maj | 1735 |
| BWV 1062 | Concerto for Two Harpsichords | C min | 1735 |
| BWV 1063 | Concerto for Three Harpsichords | D min | 1735 |
| BWV 1064 | Concerto for Three Harpsichords | C maj | 1735 |
| BWV 1065 | Concerto for Four Harpsichords | A min | 1735 |
| BWV 971 | Italian Concerto (Concerto nach italiänischen Gusto) | F maj | 1735 |
| BWV 1052 | Harpsichord Concerto | D min | 1738 |
| BWV 1053 | Harpsichord Concerto | E maj | 1739 |
| BWV 1054 | Harpsichord Concerto | D maj | 1740 |
| BWV 1055 | Harpsichord Concerto | A maj | 1741 |
| BWV 1056 | Harpsichord Concerto | F min | 1742 |
| BWV 1057 | Harpsichord Concerto | D maj | 1743 |
| BWV 1058 | Harpsichord Concerto | G min | 1744 |
| BWV 1059 | Harpsichord Concerto | D min | 1745 |
| Oratorium |
|---|
| BWV 11 | Himmelfahrts-Oratorium – Ascension Oratorio (see 'Church Cantatas') | | ?? |
| Cantata |
|---|
| BWV 11 | Himmelfahrts-Oratorium – Ascension Oratorio (see 'Church Cantatas') | | ?? |
| BWV 141 | Das ist je gewißlich wahr | | ?? |
| BWV 142 | Uns ist ein Kind geboren | | ?? |
| BWV 15 | Denn du wirst meine Seele (by J.L. Bach) | | ?? |
| BWV 160 | Ich weiss, dass mein Erlöser lebt | | ?? |
| BWV 189 | Meine Seele ruhmt und preist | | ?? |
| BWV 203 | Amore traditore | | ?? |
| BWV 209 | Non sa che sia dolore | | ?? |
| BWV 50 | Nun ist das Heil und die Kraft | | ?? |
| BWV 53 | Schlage doch, gewunschte Stunde | | ?? |
| BWV 131 | Aus der Tiefen rufe ich, Herr, zu dir | | 1707 |
| BWV 4 | Christ lag in Todes Banden | | 1707 |
| BWV 143 | Lobe den Herrn, meine Seele | | 1708 |
| BWV 150 | Nach dir, Herr, verlanget mich | | 1708 |
| BWV 196 | Der Herr denket an uns (Psalm 115) | | 1708 |
| BWV 71 | Gott ist mein König | | 1708 |
| BWV 208 | Was mir behagt ist nur die muntre Jagel | | 1713 |
| BWV 63 | Christen, ätzet diesen Tag | | 1713 |
| BWV 12 | Weinen, Klagen, Sorgen, Zagen | | 1714 |
| BWV 152 | Tritt auf die Glaubensbahn | | 1714 |
| BWV 172 | Erschallet, ihr Lieder | | 1714 |
| BWV 18 | Gleichwie der Regen und Schnee vom Himmel fällt | | 1714 |
| BWV 182 | Himmelskönig, sei wilkommen | | 1714 |
| BWV 199 | Mein Herze schwimmt im Blut | | 1714 |
| BWV 21 | Ich hatte viel Bekümmernis | | 1714 |
| BWV 54 | Widerstehe doch der Sünde | | 1714 |
| BWV 61 | Nun komm, der Heiden Heiland | | 1714 |
| BWV 132 | Bereitet die Wege, bereitet | | 1715 |
| BWV 163 | Nur jedem das Seine | | 1715 |
| BWV 165 | O heilges Geist- und Wasserbad | | 1715 |
| BWV 185 | Barmherziges Herze der ewigen Liebe | | 1715 |
| BWV 31 | Der Himmel lacht! die Erde jubilieret | | 1715 |
| BWV 155 | Mein Gott, wie lang, ach lange | | 1716 |
| BWV 161 | Komm, du süße Todesstunde | | 1716 |
| BWV 162 | Ach! ich sehe, jetzt. da ich zur Hochzeit gehe | | 1716 |
| BWV 202 | Weichet nur, betrübte Schatten | | 1718 |
| BWV 119 | Preise Jerusalem, den Herrn | | 1723 |
| BWV 136 | Erforsche mich, Gott, und erfahre mein Herz | | 1723 |
| BWV 138 | Warum betrübst du dich, mein Herz? | | 1723 |
| BWV 147 | Herz und Mund und Tat und Leben | | 1723 |
| BWV 148 | Bringet dem Herrn Ehre seines Namens | | 1723 |
| BWV 158 | Der Friede sei mit dir | | 1723 |
| BWV 167 | Ihr Menschen, rühmet Gottes Liebe | | 1723 |
| BWV 179 | Siehe zu, dass deine Gottesfurcht | | 1723 |
| BWV 186 | Ärgre dich, o Seele, nich | | 1723 |
| BWV 194 | Höchsterwunschtes Freudenfest | | 1723 |
| BWV 22 | Jesus nahm zu sich die Zwölfe | | 1723 |
| BWV 23 | Du wahrer Gott und Davids Sohn | | 1723 |
| BWV 24 | Ein ungefärbt Gemute | | 1723 |
| BWV 25 | Es ist nichts Gesundes an meinem Leibe | | 1723 |
| BWV 40 | Darz ist erschienen der Sohn Gottes | | 1723 |
| BWV 46 | Schauet doch und sehet | | 1723 |
| BWV 48 | Ich elender mensch, wer wirdmich | | 1723 |
| BWV 59 | Wer mich liebet, der wird mein Worthalten | | 1723 |
| BWV 60 | O Ewigkeit, du Donnerwort | | 1723 |
| BWV 64 | Sehet, welch eine Liebe | | 1723 |
| BWV 70 | Wachet! betet! betet! wachet! | | 1723 |
| BWV 75 | Die Elenden sollen essen | | 1723 |
| BWV 76 | Die Himmel erzählen die Ehre Gottes | | 1723 |
| BWV 77 | Du sollt Gott, deinen Herren, lieben | | 1723 |
| BWV 89 | Was soll ich aus dir machen, Ephraim? | | 1723 |
| BWV 90 | Es reißet euch ein schrecklich Ende | | 1723 |
| BWV 95 | Christus, der ist mein Leben | | 1723 |
| BWV 10 | Meine Seel erhebt den Herren | | 1724 |
| BWV 113 | Herr Jesu Christ, du höchstes Gut | | 1724 |
| BWV 114 | Ach, lieben Christen, seid getrost | | 1724 |
| BWV 115 | Mache dich, mein Geist, bereit | | 1724 |
| BWV 116 | Du Friedefürst, Herr Jesu Christ | | 1724 |
| BWV 121 | Christum wir sollen loben schon | | 1724 |
| BWV 122 | Das neugeborne Kindelein | | 1724 |
| BWV 130 | Herr Gott, dich loben alle wir | | 1724 |
| BWV 133 | Ich freue mich in dir | | 1724 |
| BWV 134 | Ein Herz, das seinen Jesum lebend | | 1724 |
| BWV 135 | Ach Herr, mich armen Sünder | | 1724 |
| BWV 139 | Wohl dem, der sich auf seinen Gott | | 1724 |
| BWV 144 | Nimm was dein ist, und gehe hin | | 1724 |
| BWV 153 | Schau, lieber Gott, wie meine Feind | | 1724 |
| BWV 154 | Mein liebster Jesus ist verloren | | 1724 |
| BWV 166 | Wo gehest du hin? | | 1724 |
| BWV 173 | Erhöhtes Fleisch und Blut | | 1724 |
| BWV 178 | Wo Gott, der Herr, nicht bei uns hält | | 1724 |
| BWV 180 | Schmücke dich, o liebe Seele | | 1724 |
| BWV 181 | Leichtgesinnte Flattergeister | | 1724 |
| BWV 184 | Erwünschtes Freudenlicht | | 1724 |
| BWV 190 | Singet dem Herrn ein neues Lied! | | 1724 |
| BWV 2 | Ach Gott, vom Himmel sieh darein | | 1724 |
| BWV 20 | O Ewigkeit, du Donnerwort | | 1724 |
| BWV 26 | Ach wie flüchtig, ach wie nichtig | | 1724 |
| BWV 33 | Allein zu dir, Herr Jesu Christ | | 1724 |
| BWV 37 | Wer da gläubet und getauft wird | | 1724 |
| BWV 38 | Aus tiefer Not schrei' ich zu dir | | 1724 |
| BWV 44 | Sie werden euch in die Bann tun | | 1724 |
| BWV 5 | Wo soll ich fliehen hin | | 1724 |
| BWV 62 | Nun komm, der Heiden Heiland | | 1724 |
| BWV 65 | Sie werden aus Saba alle kommen | | 1724 |
| BWV 66 | Erfreut euch, ihr Herzen | | 1724 |
| BWV 67 | Halt im Gedächtnis Jesum Christ | | 1724 |
| BWV 7 | Christ unser Herr zum Jordan kam | | 1724 |
| BWV 73 | Herr, wie du willt, so schicks mit mir | | 1724 |
| BWV 78 | Jesu, der du meine Seele | | 1724 |
| BWV 8 | Liebster Gott, wenn werd ich sterben? | | 1724 |
| BWV 81 | Jesus schläft, was soll ich hoffen? | | 1724 |
| BWV 83 | Erfreute Zeit im neuen Bunde | | 1724 |
| BWV 86 | Wahrlich, wahrlich, ich sage euch | | 1724 |
| BWV 91 | Gelobet seist du, Jesus Christ | | 1724 |
| BWV 93 | Wer nur den lieben Gott lässt walten | | 1724 |
| BWV 94 | Was frag ich nach der Welt | | 1724 |
| BWV 96 | Herr Christ, der ein'ge Gottessohn | | 1724 |
| BWV 99 | Was Gott tut, das ist wohlgetan | | 1724 |
| BWV 1 | Wie schön leuchtet der Morgenstern | | 1725 |
| BWV 110 | Unser Mund sei voll Lachens | | 1725 |
| BWV 111 | Was mein Gott will, das g'scheh' allzeit | | 1725 |
| BWV 123 | Liebster Immanuel, Herzog der Frommen | | 1725 |
| BWV 124 | Meinem Jesum laß ich nicht | | 1725 |
| BWV 125 | Mit Fried und Freud ich fahr dahin | | 1725 |
| BWV 126 | Erhalt uns, Herr, bei deinem Wort | | 1725 |
| BWV 127 | Herr Jesu Christ, wahr' Mensch und Gott | | 1725 |
| BWV 128 | Auf Christi Himmelfahrt allein | | 1725 |
| BWV 137 | Lobe den Herren, den mächtigen | | 1725 |
| BWV 151 | Süßer Trost, mein Jesus kömmt | | 1725 |
| BWV 164 | Ihr, die ihr euch von Christo nennet | | 1725 |
| BWV 168 | Tue Rechnung! Donnerwort | | 1725 |
| BWV 175 | Er rufet seinen Schafen mit Namen | | 1725 |
| BWV 176 | Es ist ein trotzig und verzagt Ding | | 1725 |
| BWV 177 | Ich ruf zu dir, Herr Jesu Christ | | 1725 |
| BWV 183 | Sie werden euch in den Bann tun | | 1725 |
| BWV 205 | Zerreisset, zerspringet | | 1725 |
| BWV 28 | Gottlob! nun geht das Jahr zu Ende | | 1725 |
| BWV 3 | Ach Gott, wie manches Herzeleid | | 1725 |
| BWV 41 | Jesu, nun sei gepreiset | | 1725 |
| BWV 42 | Am Abend aber desselbigen Sabbats | | 1725 |
| BWV 57 | Selig ist der Mann | | 1725 |
| BWV 6 | Bleib bei uns, denn es will Abend | | 1725 |
| BWV 68 | Also hat Gott die Welt geliebt | | 1725 |
| BWV 74 | Wer mich liebet, der wird mein Wort halten | | 1725 |
| BWV 79 | Gott der Herr ist Sohn und Schild | | 1725 |
| BWV 85 | Ich bin ein guter Hirt | | 1725 |
| BWV 87 | Bisher habt ihr nichts gebeten | | 1725 |
| BWV 92 | Ich hab in Gottes Herz und Sinn | | 1725 |
| BWV 129 | Gelobet sei der Herr, mein Gott | | 1726 |
| BWV 13 | Meine Seufzer, meine Tränen | | 1726 |
| BWV 146 | Wir müßen durch viel Trübsal | | 1726 |
| BWV 16 | Herr Gott, dich loben wir (Lehms) | | 1726 |
| BWV 169 | Gott soll allein mein Herze haben | | 1726 |
| BWV 17 | Wer Dank opfert, der preiset mich | | 1726 |
| BWV 170 | Vergnügte Ruh, beliebte Seelenlust | | 1726 |
| BWV 187 | Es wartet alles auf dich | | 1726 |
| BWV 19 | Es erhub sich ein Streit | | 1726 |
| BWV 204 | Ich bin in mir vergnügt | | 1726 |
| BWV 207 | Vereinigte Zwietracht der wechselnden Saiten | | 1726 |
| BWV 27 | Wer weiss, wie nahe mir mein Ende! | | 1726 |
| BWV 32 | Liebster Jesu, mein Verlangen | | 1726 |
| BWV 34a | O ewiges Feuer, O Ursprung der Liebe | | 1726 |
| BWV 35 | Geist und Seele wird verwirret | | 1726 |
| BWV 39 | Brich dem Hungrigen dein Brot | | 1726 |
| BWV 43 | Gott fähret auf mit Jauchzen | | 1726 |
| BWV 45 | Es ist dir gesagt, Mensch, was gut ist | | 1726 |
| BWV 47 | Wer sich selbst erhöhet | | 1726 |
| BWV 49 | Ich geh und suche mit Verlangen erlösen | | 1726 |
| BWV 52 | Falsche Welt, dir trau ich nicht | | 1726 |
| BWV 55 | Ich armer mensch, ich Sündenknecht | | 1726 |
| BWV 56 | Ich will den Kreuzstab gerne tragen | | 1726 |
| BWV 72 | Alles nur nach Gottes Willen | | 1726 |
| BWV 88 | Siehe, ich will viel Fischer aussenden | | 1726 |
| BWV 98 | Was Gott tut, das ist wohlgetan | | 1726 |
| BWV 157 | Ich lasse dich nicht, du segnest mich denn | | 1727 |
| BWV 193 | Ihr Tore zu Zion | | 1727 |
| BWV 198 | Laß, Furstin, laß noch [Trauer-Ode] | | 1727 |
| BWV 58 | Ach Gott, wie manches Herzeleid | | 1727 |
| BWV 80 | Ein feste Burg ist unser Gott | | 1727 |
| BWV 82 | Ich habe genung | | 1727 |
| BWV 84 | Ich bin vergnügt mit meinem Glücke | | 1727 |
| BWV 117 | Sei Lob und Ehr dem höchsten Gut | | 1728 |
| BWV 120 | Gott, man lobet dich in der Stille | | 1728 |
| BWV 149 | Man singet mit Freuden vom Sieg | | 1728 |
| BWV 188 | Ich habe meine Zuversicht | | 1728 |
| BWV 145 | Ich liebe, mein Herze, zu deinem Ergötzen | | 1729 |
| BWV 156 | Ich steh' mit einem Fuß im Grabe | | 1729 |
| BWV 159 | Sehet, wir gehn hinauf gen Jerusalem | | 1729 |
| BWV 171 | Gott, wie dein Name, so ist auch dein Ruhm | | 1729 |
| BWV 174 | Ich liebe den Höchsten | | 1729 |
| BWV 201 | Geschwinde, ihr wirbeldnen Winde [Der Streit zwischen Phoebus und Pan] | | 1729 |
| BWV 192 | Nun danket alle Gott | | 1730 |
| BWV 51 | Jauchzet Gott in allen Landen! | | 1730 |
| BWV 112 | Der Herr ist mein getreuer Hirt | | 1731 |
| BWV 140 | Wachet auf, ruft uns die Stimme | | 1731 |
| BWV 29 | Wir danken dir, Gott, wir dankendir | | 1731 |
| BWV 36 | Schwingt freudig euch empor | | 1731 |
| BWV 9 | Es ist das Heil uns kommen her | | 1732 |
| BWV 213 | Laßt uns sorgen, laßt uns wachen [Hercules auf dem Scheidewege] | | 1733 |
| BWV 214 | Tönet, ihr Pauken! Erschallet Trompeten! | | 1733 |
| BWV 211 | Schweigt stille, plaudert nicht [Coffee Cantata] | | 1734 |
| BWV 97 | In allen meinen Taten | | 1734 |
| BWV 11 | Lobet Gott in seinen Reichen (Ascension Oratorio) | | 1735 |
| BWV 14 | War Gott nicht mit uns diese Zeit | | 1735 |
| BWV 197 | Gott ist uns're Zuversicht | | 1736 |
| BWV 206 | Schleicht, spielende Wellen | | 1736 |
| BWV 30 | Freu dich, erlöste Schar | | 1738 |
| BWV 191 | Gloria in excelsis Deo | | 1739 |
| BWV 210 | O holder Tag, erwunschte Zeit | | 1741 |
| BWV 195 | Dem Gerechten muss das Licht | | 1742 |
| BWV 212 | Mer hahn en neue Oberkeet [Peasant Cantata] | | 1742 |
| BWV 34 | O ewiges Feuer, O Ursprung der Liebe | | 1742 |
| BWV 69 | Lobe den Herrn, meine Seele | | 1743 |
| Mass |
|---|
| BWV 232 | Mass in B minor | B min | 1724 |
| BWV 233 | Missa in F | F maj | 1735 |
| BWV 234 | Missa in A | A maj | 1735 |
| BWV 235 | Missa in g | G min | 1735 |
| BWV 236 | Missa in G | G maj | 1735 |
| Motet |
|---|
| BWV 227 | Jesu, meine Freude | | ?? |
| BWV 228 | Fürchte dich nicht | | ?? |
| BWV 230 | Motet: Lobet den Herrn alle Heiden (Psalm 117) | | ?? |
| BWV 231 | Nun lob mein Seel' den Herren | | ?? |
| BWV 225 | Singet dem Herrn ein neues Lied | | 1726 |
| BWV 226 | Der Geist hilft unser Schwachheit auf | | 1729 |
| BWV 229 | Motet: Komm, Jesu, komm! | | 1730 |
| BWV 118 | O Jesu Christ, mein Lebens Licht | | 1736 |
| Trio sonata |
|---|
| BWV 1039 | Trio Sonata | G maj | 1720 |
| BWV 525 | Trio sonata | E♭ maj | 1727 |
| BWV 526 | Trio sonata | C min | 1728 |
| BWV 527 | Trio sonata | D min | 1729 |
| BWV 528 | Trio sonata | E min | 1730 |
| BWV 529 | Trio sonata | C maj | 1731 |
| BWV 530 | Trio sonata | G maj | 1732 |
| Prelude |
|---|
| BWV 567 | Prelude | C maj | ?? |
| BWV 921 | Prelude | C min | ?? |
| BWV 923 | Prelude | B min | ?? |
| BWV 924a | Prelude | C maj | ?? |
| BWV 925 | Prelude | D maj | ?? |
| BWV 926 | Prelude | D min | ?? |
| BWV 928 | Prelude | F maj | ?? |
| BWV 931 | Prelude | A min | ?? |
| BWV 932 | Prelude | E min | ?? |
| BWV 568 | Prelude | B min | 1708 |
| BWV 569 | Prelude | A min | 1708 |
| BWV 939 | Prelude | C maj | 1717 |
| BWV 940 | Prelude | D min | 1717 |
| BWV 941 | Prelude | E min | 1717 |
| BWV 942 | Prelude | A min | 1717 |
| BWV 943 | Prelude | C maj | 1717 |
| BWV 999 | Prelude | C min | 1720 |
| Fugue |
|---|
| BWV 1026 | Fugue | G min | ?? |
| BWV 131a | Fugue [8 short pieces and fugues] | | ?? |
| BWV 576 | Fugue | G maj | ?? |
| BWV 577 | Fugue | G maj | ?? |
| BWV 580 | Fugue | D maj | ?? |
| BWV 581 | Fugue | G maj | ?? |
| BWV 945 | Fugue | E min | ?? |
| BWV 947 | Fugue | A min | ?? |
| BWV 948 | Fugue | D min | ?? |
| BWV 949 | Fugue | A maj | ?? |
| BWV 953 | Fugue | C maj | ?? |
| BWV 954 | Fugue | B♭ maj | ?? |
| BWV 955 | Fugue | B♭ maj | ?? |
| BWV 956 | Fugue | E min | ?? |
| BWV 957 | Fugue | G maj | ?? |
| BWV 958 | Fugue | A min | ?? |
| BWV 959 | Fugue | A min | ?? |
| BWV 960 | Fugue | E min | ?? |
| BWV 961 | Fughetta | C min | ?? |
| BWV 962 | Fughetta | E min | ?? |
| BWV 578 | Fugue | G min | 1707 |
| BWV 574 | Fugue on theme by Legrenzi | C min | 1708 |
| BWV 575 | Fugue | C min | 1708 |
| BWV 579 | Fugue on theme by Corelli | B min | 1708 |
| BWV 944 | Fugue | A min | 1708 |
| BWV 946 | Fugue on theme from Albinoni's Suonate a tre, Op 1, Nos. 12, 3 and 8 | C maj | 1710 |
| BWV 950 | Fugue on theme from Albinoni's Suonate a tre, Op 1, Nos. 12, 3 and 9 | A maj | 1711 |
| BWV 951 | Fugue on theme from Albinoni's Suonate a tre, Op 1, Nos. 12, 3 and 10 | B min | 1712 |
| BWV 952 | Fugue | C maj | 1720 |
| BWV 1000 | Fugue | G min | 1725 |
| Prelude and fugue |
|---|
| BWV 553 | Spurious: Short Prelude and Fugue | | ?? |
| BWV 554 | Spurious: Short Prelude and Fugue | | ?? |
| BWV 555 | Spurious: Short Prelude and Fugue | | ?? |
| BWV 556 | Spurious: Short Prelude and Fugue | | ?? |
| BWV 557 | Spurious: Short Prelude and Fugue | | ?? |
| BWV 558 | Spurious: Short Prelude and Fugue | | ?? |
| BWV 559 | Spurious: Short Prelude and Fugue | | ?? |
| BWV 560 | Spurious: Short Prelude and Fugue | | ?? |
| BWV 895 | Prelude and Fugue | A min | ?? |
| BWV 897 | Prelude and Fugue | A min | ?? |
| BWV 898 | Prelude and Fugue | B♭ maj | ?? |
| BWV 531 | Prelude and Fugue | C maj | 1707 |
| BWV 532 | Prelude and Fugue | D maj | 1708 |
| BWV 533 | Prelude and Fugue | E min | 1708 |
| BWV 534 | Prelude and Fugue | F min | 1708 |
| BWV 535 | Prelude and Fugue | G min | 1708 |
| BWV 536 | Prelude and Fugue | A maj | 1708 |
| BWV 537 | Prelude and Fugue | C min | 1708 |
| BWV 540 | Prelude and Fugue | F maj | 1708 |
| BWV 541 | Prelude and Fugue | G maj | 1708 |
| BWV 542 | Prelude and Fugue | G min | 1708 |
| BWV 543 | Prelude and Fugue | A min | 1708 |
| BWV 545 | Prelude and Fugue | C maj | 1708 |
| BWV 549 | Prelude and Fugue | C min | 1708 |
| BWV 550 | Prelude and Fugue | G maj | 1708 |
| BWV 551 | Prelude and Fugue | A min | 1708 |
| BWV 566 | Prelude and Fugue | E maj | 1708 |
| BWV 894 | Prelude and Fugue | A min | 1708 |
| BWV 896 | Prelude and Fugue | A maj | 1709 |
| BWV 539 | Prelude and Fugue | D min | 1720 |
| BWV 899 | Prelude and fughetta | D min | 1720 |
| BWV 900 | Prelude and fughetta | E min | 1720 |
| BWV 901 | Prelude and fughetta | F maj | 1720 |
| BWV 902 | Prelude and fughetta | G maj | 1720 |
| BWV 546 | Prelude and Fugue | C min | 1722 |
| BWV 846 | Well-Tempered Clavier (24 preludes and fugues) | C min | 1722 |
| BWV 847 | Well-Tempered Clavier (24 preludes and fugues) | C min | 1722 |
| BWV 848 | Well-Tempered Clavier (24 preludes and fugues) | C♯ maj | 1722 |
| BWV 849 | Well-Tempered Clavier (24 preludes and fugues) | C♯ min | 1722 |
| BWV 850 | Well-Tempered Clavier (24 preludes and fugues) | D maj | 1722 |
| BWV 851 | Well-Tempered Clavier (24 preludes and fugues) | D min | 1722 |
| BWV 852 | Well-Tempered Clavier (24 preludes and fugues) | E♭ maj | 1722 |
| BWV 853 | Well-Tempered Clavier (24 preludes and fugues) | E♭/D♯ min | 1722 |
| BWV 854 | Well-Tempered Clavier (24 preludes and fugues) | E maj | 1722 |
| BWV 855 | Well-Tempered Clavier (24 preludes and fugues) | E min | 1722 |
| BWV 856 | Well-Tempered Clavier (24 preludes and fugues) | F maj | 1722 |
| BWV 857 | Well-Tempered Clavier (24 preludes and fugues) | F min | 1722 |
| BWV 858 | Well-Tempered Clavier (24 preludes and fugues) | F♯ maj | 1722 |
| BWV 859 | Well-Tempered Clavier (24 preludes and fugues) | F♯ min | 1722 |
| BWV 860 | Well-Tempered Clavier (24 preludes and fugues) | G maj | 1722 |
| BWV 861 | Well-Tempered Clavier (24 preludes and fugues) | G min | 1722 |
| BWV 862 | Well-Tempered Clavier (24 preludes and fugues) | A♭ maj | 1722 |
| BWV 863 | Well-Tempered Clavier (24 preludes and fugues) | G♯ min | 1722 |
| BWV 864 | Well-Tempered Clavier (24 preludes and fugues) | A maj | 1722 |
| BWV 865 | Well-Tempered Clavier (24 preludes and fugues) | A min | 1722 |
| BWV 866 | Well-Tempered Clavier (24 preludes and fugues) | B♭ maj | 1722 |
| BWV 867 | Well-Tempered Clavier (24 preludes and fugues) | B♭ min | 1722 |
| BWV 868 | Well-Tempered Clavier (24 preludes and fugues) | B maj | 1722 |
| BWV 869 | Well-Tempered Clavier (24 preludes and fugues) | B min | 1722 |
| BWV 547 | Prelude and Fugue | C maj | 1723 |
| BWV 544 | Prelude and Fugue | B min | 1727 |
| BWV 548 | Prelude and Fugue | E min | 1727 |
| BWV 870 | 24 Preludes and Fugues ('Well-Tempered Clavier',ii) | C maj | 1738 |
| BWV 871 | 24 Preludes and Fugues ('Well-Tempered Clavier',ii) | C min | 1738 |
| BWV 872 | 24 Preludes and Fugues ('Well-Tempered Clavier',ii) | C♯ maj | 1738 |
| BWV 873 | 24 Preludes and Fugues ('Well-Tempered Clavier',ii) | C♯ min | 1738 |
| BWV 874 | 24 Preludes and Fugues ('Well-Tempered Clavier',ii) | D maj | 1738 |
| BWV 875 | 24 Preludes and Fugues ('Well-Tempered Clavier',ii) | D min | 1738 |
| BWV 876 | 24 Preludes and Fugues ('Well-Tempered Clavier',ii) | E♭ maj | 1738 |
| BWV 877 | 24 Preludes and Fugues ('Well-Tempered Clavier',ii) | E♭ min | 1738 |
| BWV 878 | 24 Preludes and Fugues ('Well-Tempered Clavier',ii) | E maj | 1738 |
| BWV 879 | 24 Preludes and Fugues ('Well-Tempered Clavier',ii) | E min | 1738 |
| BWV 880 | 24 Preludes and Fugues ('Well-Tempered Clavier',ii) | F maj | 1738 |
| BWV 881 | 24 Preludes and Fugues ('Well-Tempered Clavier',ii) | F min | 1738 |
| BWV 882 | 24 Preludes and Fugues ('Well-Tempered Clavier',ii) | F♯ maj | 1738 |
| BWV 883 | 24 Preludes and Fugues ('Well-Tempered Clavier',ii) | F♯ min | 1738 |
| BWV 884 | 24 Preludes and Fugues ('Well-Tempered Clavier',ii) | G maj | 1738 |
| BWV 885 | 24 Preludes and Fugues ('Well-Tempered Clavier',ii) | G min | 1738 |
| BWV 886 | 24 Preludes and Fugues ('Well-Tempered Clavier',ii) | A♭ maj | 1738 |
| BWV 887 | 24 Preludes and Fugues ('Well-Tempered Clavier',ii) | G♯ min | 1738 |
| BWV 888 | 24 Preludes and Fugues ('Well-Tempered Clavier',ii) | A maj | 1738 |
| BWV 889 | 24 Preludes and Fugues ('Well-Tempered Clavier',ii) | A min | 1738 |
| BWV 890 | 24 Preludes and Fugues ('Well-Tempered Clavier',ii) | B♭ maj | 1738 |
| BWV 891 | 24 Preludes and Fugues ('Well-Tempered Clavier',ii) | B♭ min | 1738 |
| BWV 892 | 24 Preludes and Fugues ('Well-Tempered Clavier',ii) | B maj | 1738 |
| BWV 893 | 24 Preludes and Fugues ('Well-Tempered Clavier',ii) | B min | 1738 |
| BWV 552 | Prelude and Fugue | E♭ maj | 1739 |
| Menuet |
|---|
| BWV 841 | Minuet | G maj | ?? |
| BWV 842 | Minuet | G min | ?? |
| BWV 843 | Minuet | G maj | ?? |
| Sonata |
|---|
| BWV 1020 | Sonata | G min | ?? |
| BWV 1022 | Sonata | F maj | ?? |
| BWV 1036 | Sonata | D min | ?? |
| BWV 1037 | Sonata | C min | ?? |
| BWV 1038 | Sonata | G maj | ?? |
| BWV 964 | Sonata | D min | ?? |
| BWV 965 | Sonata | A min | ?? |
| BWV 966 | Sonata | C maj | ?? |
| BWV 967 | Sonata | A min | ?? |
| BWV 963 | Sonata | D maj | 1704 |
| BWV 1023 | Sonata | E min | 1714 |
| BWV 1024 | Sonata | C min | 1714 |
| BWV 1014 | Sonata | B min | 1717 |
| BWV 1015 | Sonata | A maj | 1717 |
| BWV 1016 | Sonata | E maj | 1717 |
| BWV 1017 | Sonata | C min | 1717 |
| BWV 1018 | Sonata | F min | 1717 |
| BWV 1019 | Sonata | G maj | 1717 |
| BWV 1030 | Sonata | B min | 1717 |
| BWV 1032 | Sonata | A maj | 1717 |
| BWV 1034 | Sonata | E min | 1717 |
| BWV 1033 | Sonata | C maj | 1718 |
| BWV 1001 | Sonata | G min | 1720 |
| BWV 1002 | Sonata | A min | 1720 |
| BWV 1003 | Sonata | C maj | 1720 |
| BWV 1021 | Sonata | G maj | 1720 |
| BWV 1027 | Sonata | G maj | 1720 |
| BWV 1028 | Sonata | D maj | 1721 |
| BWV 1029 | Sonata | G min | 1722 |
| BWV 1031 | Sonata | E♭ maj | 1730 |
| BWV 1035 | Sonata | E maj | 1741 |
| Not (yet) classified |
|---|
| BWV 1006a | Partita | E maj | ?? |
| BWV 1027a | Trio | G maj | ?? |
| BWV 1070 | Overture | G min | ?? |
| BWV 1071 | Sinfonia | | ?? |
| BWV 1086 | Canon concordia discors | | ?? |
| BWV 1087 | [14] Verschiedene Canones | | ?? |
| BWV 120b | Gott, man lobet dich in der Stille | | ?? |
| BWV 200 | Bekennen will ich seinen Namen | | ?? |
| BWV 205a | Blast Lärmen, ihr Feinde! | | ?? |
| BWV 208a | Was mir behägt, ist nur die muntre Jagd! | | ?? |
| BWV 210a | O angenehme Melodei! | | ?? |
| BWV 216a | Erwählte Pleissenstadt | | ?? |
| BWV 217 | Gedenke, Herr, wie es uns gehet | | ?? |
| BWV 218 | Gott der Hoffnung erfülle euch | | ?? |
| BWV 219 | Siehe, es hat überwunden der Löwe | | ?? |
| BWV 220 | Lobt ihn mit Herz und Munde | | ?? |
| BWV 221 | Wer sucht die Pracht, wer wünscht den Glanz | | ?? |
| BWV 222 | Mein Odem ist schwach | | ?? |
| BWV 239 | Sanctus in D | D maj | ?? |
| BWV 240 | Sanctus in G | | ?? |
| BWV 241 | Sanctus in D | D maj | ?? |
| BWV 242 | Christe eleison | G min | ?? |
| BWV 246 | Lukas-Passion – Saint Luke Passion | | ?? |
| BWV 247 | Markus-Passion – Saint Mark Passion – Passio secundum Marcum | | ?? |
| BWV 249b | Die Feier des Genius: Verjaget. Dramma per musica | | ?? |
| BWV 250 | Was Gott tut das ist wohlgetan | | ?? |
| BWV 251 | Sei Lob und Ehr' Dem höchsten Gut | | ?? |
| BWV 252 | Nun danket alle Gott | | ?? |
| BWV 508 | Bist du bei mir | | ?? |
| BWV 519 | Hier lieg' ich nun | | ?? |
| BWV 520 | Das walt' mein Gott | | ?? |
| BWV 521 | Gott mein Herz dir Dank | | ?? |
| BWV 522 | Meine Seele, laß es gehen | | ?? |
| BWV 523 | Ich gnüge mich an meinem Stande | | ?? |
| BWV 561 | Fantasia and fugue | A min | ?? |
| BWV 571 | Fantasia | G maj | ?? |
| BWV 582 | Passacaglia and Fugue | C min | ?? |
| BWV 583 | Trio | D min | ?? |
| BWV 585 | Trio | C min | ?? |
| BWV 586 | Trio | G maj | ?? |
| BWV 587 | Aria | F maj | ?? |
| BWV 591 | Kleines harmonisches Labyrinth | | ?? |
| BWV 598 | Pedal-Exercitium | | ?? |
| BWV 645 | Schübler chorales | | ?? |
| BWV 651 | Leipzig chorales | | ?? |
| BWV 669 | Clavier-Uebung III | | ?? |
| BWV 66a | Der Himmel dacht auf Anhalts Ruhm und Glück, serenata | | ?? |
| BWV 690 | Miscellaneus Chorales (ca. 1708-1717) | | ?? |
| BWV 691a | Wer nur den lieben Gott läßt walten | | ?? |
| BWV 692 | Ach Gott und Herr | | ?? |
| BWV 692 | Spurious | | ?? |
| BWV 693 | Ach Gott und Herr | | ?? |
| BWV 693 | Spurious | | ?? |
| BWV 695a | Fantasia super Christ lag in Todes Banden | | ?? |
| BWV 713a | Fantasia super Jesu, meine Freude | | ?? |
| BWV 740 | Wir glauben all' an einen Gott, Vater | | ?? |
| BWV 743 | Ach, was ist doch unser Leben | | ?? |
| BWV 744 | Auf meinen lieben Gott | | ?? |
| BWV 745 | Aus der Tiefe rufe ich | | ?? |
| BWV 746 | Christ ist erstanden | | ?? |
| BWV 747 | Christus, der uns selig macht | | ?? |
| BWV 748 | Gott der Vater wohn' uns bei | | ?? |
| BWV 749 | Herr Jesu Christ, dich zu uns wend' | | ?? |
| BWV 750 | Herr Jesu Christ, mein's Lebens Licht | | ?? |
| BWV 751 | In dulci jubilo | | ?? |
| BWV 752 | Jesu, der du meine Seele | | ?? |
| BWV 753 | Jesu, meine Freude | | ?? |
| BWV 754 | Liebster Jesu, wir sind hier | | ?? |
| BWV 755 | Nun freut euch, lieben Christen | | ?? |
| BWV 756 | Nun ruhen alle Wälder | | ?? |
| BWV 757 | O herre Gott, din göttlich's Wort | | ?? |
| BWV 758 | O vater, allmächtiger Gott | | ?? |
| BWV 759 | Schmücke dich, o liebe Seele | | ?? |
| BWV 760 | Vater unser im Himmelreich | | ?? |
| BWV 761 | Vater unser im Himmelreich | | ?? |
| BWV 762 | Vater unser im Himmelreich | | ?? |
| BWV 763 | Wie schön leuchtet der Morgenstern | | ?? |
| BWV 765 | Wur glauben all' an einen Gott | | ?? |
| BWV 769 | Canonic Variations | | ?? |
| BWV 770 | Ach, was soll ich Sünder machen | | ?? |
| BWV 771 | Allein Gott in der Hoh sei Ehr | | ?? |
| BWV 802 | Duet | E min | ?? |
| BWV 803 | Duet | F maj | ?? |
| BWV 804 | Duet | G maj | ?? |
| BWV 805 | Duet | A min | ?? |
| BWV 80b | Ein Feste Burg ist unser Gott | | ?? |
| BWV 820 | Overture | F maj | ?? |
| BWV 832 | Partita | A maj | ?? |
| BWV 834 | Allemande | C min | ?? |
| BWV 835 | Allemande | A min | ?? |
| BWV 836 | Allemande | G min | ?? |
| BWV 837 | Allemande | G min | ?? |
| BWV 838 | Allemande and courante | A maj | ?? |
| BWV 839 | Sarabande | G min | ?? |
| BWV 840 | Courante | G maj | ?? |
| BWV 844 | Scherzo | D min | ?? |
| BWV 844 | Scherzo | D min | ?? |
| BWV 845 | Gigue | F min | ?? |
| BWV 905 | Fantasia and fugue | D min | ?? |
| BWV 907 | Fantasia and fughetta | B♭ maj | ?? |
| BWV 908 | Fantasia and fughetta | D maj | ?? |
| BWV 917 | Fantasia | G min | ?? |
| BWV 918 | Fantasia | C min | ?? |
| BWV 919 | Fantasia | C min | ?? |
| BWV 920 | Fantasia | G min | ?? |
| BWV 922 | Prelude (Fantasia) | A min | ?? |
| BWV 924 | Praeambulum | C maj | ?? |
| BWV 927 | Praeambulum | F maj | ?? |
| BWV 929 | Trio | G min | ?? |
| BWV 930 | Praeambulum | G min | ?? |
| BWV 968 | Adagio | G maj | ?? |
| BWV 969 | Andante | G min | ?? |
| BWV 970 | Presto | D min | ?? |
| BWV 990 | Sarabande con partite | C min | ?? |
| BWV 991 | Air with variations | C min | ?? |
| BWV 994 | Applicatio | C maj | ?? |
| BWV 766 | Christ, der du bist der helle Tag | | 1700 |
| BWV 767 | O Gott, du frommer Gott | | 1700 |
| BWV 768 | Sei gegrüßet, Jesu gütig | | 1700 |
| BWV 715 | Allein Gott in der Hoh sei Ehr | | 1703 |
| BWV 718 | Christ lag in Todes banden | | 1703 |
| BWV 721 | Erbarm dich mein, o Herre Gott | | 1703 |
| BWV 722 | Gelobet seist du, Jesu Christ | | 1703 |
| BWV 732 | Lobt Gott, ihr Christen, allzugleich | | 1703 |
| BWV 735 | Fantasia super Valet will ich dir geben | | 1703 |
| BWV 737 | Vater unser im Himmelreich | | 1703 |
| BWV 992 | Capriccio sopra la lontananza del suo fratello dilettissimo | | 1703 |
| BWV 741 | Ach Gott, von Himmel sieh' darein | | 1705 |
| BWV 993 | Capriccio | E maj | 1705 |
| BWV 912 | Toccata | D maj | 1706 |
| BWV 913 | Toccata | D min | 1706 |
| BWV 914 | Toccata | E min | 1706 |
| BWV 915 | Toccata | G min | 1706 |
| BWV 916 | Toccata | G maj | 1706 |
| BWV 524 | Quodlibet, SATB | | 1707 |
| BWV 563 | Fantasia | B min | 1707 |
| BWV 570 | Fantasia | C maj | 1707 |
| BWV 106 | Gottes Zeit ist die allerbeste Zeit | | 1708 |
| BWV 1090 | Untitled chorale | | 1708 |
| BWV 1091 | Untitled chorale | | 1708 |
| BWV 1092 | Untitled chorale | | 1708 |
| BWV 1093 | Untitled chorale | | 1708 |
| BWV 1094 | Untitled chorale | | 1708 |
| BWV 1095 | Untitled chorale | | 1708 |
| BWV 1096 | Untitled chorale | | 1708 |
| BWV 1097 | Untitled chorale | | 1708 |
| BWV 1098 | Untitled chorale | | 1708 |
| BWV 1099 | Untitled chorale | | 1708 |
| BWV 1100 | Untitled chorale | | 1708 |
| BWV 1101 | Untitled chorale | | 1708 |
| BWV 1102 | Untitled chorale | | 1708 |
| BWV 1103 | Untitled chorale | | 1708 |
| BWV 1104 | Untitled chorale | | 1708 |
| BWV 1105 | Untitled chorale | | 1708 |
| BWV 1106 | Untitled chorale | | 1708 |
| BWV 1107 | Untitled chorale | | 1708 |
| BWV 1108 | Untitled chorale | | 1708 |
| BWV 1109 | Untitled chorale | | 1708 |
| BWV 1110 | Untitled chorale | | 1708 |
| BWV 1111 | Untitled chorale | | 1708 |
| BWV 1112 | Untitled chorale | | 1708 |
| BWV 1113 | Untitled chorale | | 1708 |
| BWV 1114 | Untitled chorale | | 1708 |
| BWV 1115 | Untitled chorale | | 1708 |
| BWV 1116 | Untitled chorale | |