Baraboda by Lee Hak Jun

J.S. Bach Organ Works

2023.10.03

Ref. https://en.wikipedia.org/wiki/List_of_organ_compositions_by_Johann_Sebastian_Bach

1. Six Sonatas (BWV 525-530)

BWV 525 – Sonata No. 1 in E-flat major

BWV 526 – Sonata No. 2 in C minor

BWV 527 – Sonata No. 3 in D minor

BWV 528 – Sonata No. 4 in E minor

BWV 529 – Sonata No. 5 in C major

BWV 530 – Sonata No. 6 in G major

2. In the forms of a Prelude, Toccata, Fantasia, Passacaglia, middle movement and.or Fugue (BWV 531-582)

• BWV 531 – Prelude and Fugue in C major
• BWV 532 – Prelude and Fugue in D major
• BWV 532a – Fugue in D major (alternative version of the fugue of BWV 532)
• BWV 533 – Prelude and Fugue in E minor ("Cathedral")
• BWV 533a – Prelude and Fugue in E minor (alternative version of BWV 533 without pedals)
• BWV 534 – Prelude and Fugue in F minor (doubtful)[3][4]
• BWV 535 – Prelude and Fugue in G minor
• BWV 535a – Prelude and Fugue in G minor (alternative version of BWV 535)
• BWV 536 – Prelude and Fugue in A major
• BWV 536a – Prelude and Fugue in A major (alternative version of BWV 536, possibly based on the original manuscript)[5]
• BWV 537 – Fantasia and Fugue in C minor
• BWV 538 – Toccata and Fugue in D minor ("Dorian")
• BWV 539 – Prelude and Fugue in D minor ("Fiddle") (uncertain[6])
• BWV 539a – Fugue in D minor (see BWV 1000 for the lute arrangement, movement 2 of BWV 1001 for the violin arrangement)
• BWV 540 – Toccata and Fugue in F major
• BWV 541 – Prelude and Fugue in G major
• BWV 542 – Fantasia and Fugue in G minor ("Great")
• BWV 542a – Fugue in G minor (alternative version of the fugue from BWV 542)
• BWV 543 – Prelude and Fugue in A minor
• BWV 544 – Prelude and Fugue in B minor
• BWV 545 – Prelude and Fugue in C major
• BWV 545a – Prelude and Fugue in C major (alternative version of BWV 545)
• BWV 545b – Prelude, Trio and Fugue in B-flat major (alternative version of BWV 545; the Trio is an arrangement of the finale of BWV 1029; some parts possibly by Johann Tobias Krebs)
• BWV 546 – Prelude and Fugue in C minor
• BWV 547 – Prelude and Fugue in C major ("9/8")
• BWV 548 – Prelude and Fugue in E minor ("Wedge")
• BWV 549 – Prelude and Fugue in C minor (performed on the organ of the Johanneskirche in Gießenⓘ)
• BWV 550 – Prelude and Fugue in G major
• BWV 551 – Prelude and Fugue in A minor
• BWV 552 – Prelude and Fugue in E-flat major ("St. Anne") (part of Clavier-Übung III)
• BWV 553 – Eight Short Preludes and Fugues – Prelude and Fugue in C major (spurious, possibly by Johann Tobias Krebs)[7]
• BWV 554 – Eight Short Preludes and Fugues – Prelude and Fugue in D minor (spurious, possibly by Johann Tobias Krebs)[7]
• BWV 555 – Eight Short Preludes and Fugues – Prelude and Fugue in E minor (spurious, possibly by Johann Tobias Krebs)[7]
• BWV 556 – Eight Short Preludes and Fugues – Prelude and Fugue in F major (spurious, possibly by Johann Tobias Krebs)[7]
• BWV 557 – Eight Short Preludes and Fugues – Prelude and Fugue in G major (spurious, possibly by Johann Tobias Krebs)[7]
• BWV 558 – Eight Short Preludes and Fugues – Prelude and Fugue in G minor (spurious, possibly by Johann Tobias Krebs)[7]
• BWV 559 – Eight Short Preludes and Fugues – Prelude and Fugue in A minor (spurious, possibly by Johann Tobias Krebs)[7]
• BWV 560 – Eight Short Preludes and Fugues – Prelude and Fugue in B-flat major (spurious, possibly by Johann Tobias Krebs)[7]
• BWV 561 – Fantasia and Fugue in A minor (spurious, possibly by Johann Christian Kittel)[8]
• BWV 562 – Fantasia and Fugue in C minor (fugue unfinished)
• BWV 563 – Fantasia in B minor (Fantasia and Imitatio) (spurious)
• BWV 564 – Toccata, Adagio and Fugue in C major
• BWV 565 – Toccata and Fugue in D minor
• BWV 566 – Toccata and Fugue in E major (also published in C major)
• BWV 566a – Toccata in E major (earlier version of BWV 566)
• BWV 567 – Prelude in C major (possibly by Johann Ludwig Krebs)[9]
• BWV 568 – Prelude in G major (doubtful)[9]
• BWV 569 – Prelude in A minor
• BWV 570 – Fantasia in C major
• BWV 571 – Fantasia (Concerto) in G major (spurious)
• BWV 572 – Fantasia in G major (Pièce d'Orgue)
• BWV 573 – Fantasia in C major (incomplete, from the 1722 Notebook for Anna Magdalena Bach)
• BWV 574 – Fugue in C minor (on a theme of Legrenzi)
• BWV 574a – Fugue in C minor (alternative version of BWV 574)
• BWV 574b – Fugue in C minor (alternative version of BWV 574)
• BWV 575 – Fugue in C minor
• BWV 576 – Fugue in G major (doubtful)[10]
• BWV 577 – Fugue in G major à la Gigue (doubtful)[11]
• BWV 578 – Fugue in G minor ("Little")
• BWV 579 – Fugue in B minor (on a theme by Corelli, from Op. 3, No. 4)
• BWV 580 – Fugue in D major (doubtful)[12]
• BWV 581 – Fugue in G major (not by Bach, composed by Gottfried August Homilius)
• BWV 582 – Passacaglia and Fugue in C minor

3. Trios (BWV 583-586)

• BWV 583 – Trio in D minor (spurious, possibly a transcription of a chamber trio by another composer)[13]
• BWV 584 – Trio in G minor (spurious, a version of BWV 166/2 or another, lost, aria)
• BWV 585 – Trio in C minor (spurious, after Johann Friedrich Fasch)
• BWV 586 – Trio in G major (spurious, possibly after Georg Philipp Telemann)

4. Miscellaneous Pieces (BWV 587-591)

• BWV 587 – Aria in F major (spurious, after François Couperin)
• BWV 588 – Canzona in D minor
• BWV 589 – Allabreve in D major
• BWV 590 – Pastorella in F major (first movement probably incomplete)
• BWV 591 – Little Harmonic Labyrinth (Kleines harmonisches Labyrinth) (spurious, possibly by Johann David Heinichen)

5. Concertos (BWV 592-597)

• BWV 592 – Concerto in G major (after a concerto by Prince Johann Ernst of Saxe-Weimar)
• BWV 592a – Concerto in G major (an arrangement of BWV 592 for harpsichord)
• BWV 593 – Concerto in A minor (after Antonio Vivaldi's Concerto for two violins, Op. 3 No. 8, RV 522)
• BWV 594 – Concerto in C major (after Antonio Vivaldi's Grosso mogul violin concerto, RV 208)
• BWV 595 – Concerto in C major (after a concerto by Prince Johann Ernst of Saxe-Weimar)
• BWV 596 – Concerto in D minor (after Antonio Vivaldi's Concerto for two violins and cello, Op. 3 No. 11, RV 565)
• BWV 597 – Concerto in E-flat major (doubtful)

6. Pedal exercise (BWV 598)

BWV 598 – Pedal-Exercitium ("Pedal Exercise") in G minor (fragment, authorship uncertain, presumably by Carl Philipp Emanuel Bach)

7. Chorale Preludes (BWV 599-771)

Orgelbüchlein (Little Organ Book, BWV 599–644)[edit]

Main article: Orgelbüchlein

The Orgelbüchlein contains 46 chorale preludes, and a fragment (BWV Anh. 200).

• Advent

1. BWV 599 – Nun komm, der Heiden Heiland
2. BWV 600 – Gott durch deine Güte (or) Gottes Sohn ist kommen
3. BWV 601 – Herr Christ, der ein'ge Gottes Sohn (or) Herr Gott, nun sei gepreiset (also in the Neumeister Collection)
4. BWV 602 – Lob sei dem allmächtigen Gott

• Christmas

1. BWV 603 – Puer natus in Bethlehem
2. BWV 604 – Gelobet seist du, Jesu Christ
3. BWV 605 – Der Tag, der ist so freudenreich
4. BWV 606 – Vom Himmel hoch, da komm ich her
5. BWV 607 – Vom Himmel kam der Engel Schar
6. BWV 608 – In dulci jubilo
7. BWV 609 – Lobt Gott, ihr Christen, allzugleich
8. BWV 610 – Jesu, meine Freude
9. BWV 611 – Christum wir sollen loben schon
10. BWV 612 – Wir Christenleut'

• New Year

1. BWV 613 – Helft mir Gottes Güte preisen
2. BWV 614 – Das alte Jahr vergangen ist
3. BWV 615 – In dir ist Freude

• Epiphany

1. BWV 616 – Mit Fried und Freud ich fahr dahin
2. BWV 617 – Herr Gott, nun schleuß den Himmel auf

• Lent

1. BWV 618 – O Lamm Gottes, unschuldig
2. BWV 619 – Christe, du Lamm Gottes
3. BWV 620 – Christus, der uns selig machtBWV 620a – Christus, der uns selig macht (older version)
4. BWV 621 – Da Jesus an dem Kreuze stund
5. BWV 622 – O Mensch, bewein dein Sünde groß
6. BWV 623 – Wir danken dir, Herr Jesu Christ
7. BWV 624 – Hilf Gott, daß mir's gelinge

• Easter

1. BWV 625 – Christ lag in Todesbanden
2. BWV 626 – Jesus Christus, unser Heiland, der den Tod überwand
3. BWV 627 – Christ ist erstanden
4. BWV 628 – Erstanden ist der heil'ge Christ
5. BWV 629 – Erschienen ist der herrliche Tag
6. BWV 630 – Heut triumphieret Gottes Sohn

• Pentecost

1. BWV 631 – Komm, Gott Schöpfer, Heiliger GeistBWV 631a – Komm, Gott Schöpfer, Heiliger Geist (older version)
2. BWV 632 – Herr Jesu Christ, dich zu uns wend'
3. BWV 634 – Liebster Jesu, wir sind hier (earlier version of BWV 633)
4. BWV 633 – Liebster Jesu, wir sind hier

• Catechism hymns

1. BWV 635 – Dies sind die heil'gen zehn Gebot'
2. BWV 636 – Vater unser im Himmelreich
3. BWV 637 – Durch Adams Fall ist ganz verderbt
4. BWV 638 – Es ist das Heil uns kommen her

• Miscellaneous

1. BWV 639 – Ich ruf zu dir, Herr Jesu Christ (also in the Neumeister Collection)
2. BWV 640 – In dich hab ich gehoffet, Herr
3. BWV 641 – Wenn wir in höchsten Nöten sein
4. BWV 642 – Wer nur den lieben Gott läßt walten
5. BWV 643 – Alle Menschen müssen sterben
6. BWV 644 – Ach wie nichtig, ach wie flüchtig

Schübler Chorales (BWV 645–650)[edit]

See also: Schübler Chorales and List of compositions by Johann Sebastian Bach printed during his lifetime § Schübler Chorales

Most of the Schübler Chorales, which were published around 1748 as Sechs Chorale von verschiedener Art (Six Chorales of Various Kinds), are transcriptions of extant cantata movements:

1. BWV 645 – Wachet auf, ruft uns die Stimme
2. BWV 646 – Wo soll ich fliehen hin (or) Auf meinen lieben Gott
3. BWV 647 – Wer nur den lieben Gott läßt walten
4. BWV 648 – Meine Seele erhebt den Herren
5. BWV 649 – Ach, bleib bei uns, Herr Jesu Christ
6. BWV 650 – Kommst du nun, Jesu, vom Himmel herunter

Great Eighteen Chorale Preludes, a.k.a. Leipzig Chorales (BWV 651–668)[edit]

Main article: Great Eighteen Chorale Preludes

1. BWV 651 – Fantasia super: Komm, Heiliger Geist, Herre GottBWV 651a – Fantasia (Präludium) super: Komm, Heiliger Geist, Herre Gott (ältere, Weimarer Fassung)
2. BWV 652 – Komm, Heiliger Geist, Herre GottBWV 652a – Komm, Heiliger Geist, Herre Gott (ältere, Weimarer Fassung)
3. BWV 653 – An Wasserflüssen BabylonBWV 653a – An Wasserflüssen Babylon alio modo a 4 (ältere, Weimarer Fassung)BWV 653b – An Wasserflüssen Babylon (Weimarer Urfassung)
4. BWV 654 – Schmücke dich, o liebe SeeleBWV 654a – Schmücke dich, o liebe Seele (ältere, Weimarer Fassung)
5. BWV 655 – Trio super: Herr Jesu Christ, dich zu uns wendBWV 655a – Trio super: Herr Jesu Christ, dich zu uns wend (ältere, Weimarer Fassung)BWV 655b – Herr Jesu Christ, dich zu uns wendBWV 655c – Herr Jesu Christ, dich zu uns wend
6. BWV 656 – O Lamm Gottes, unschuldigBWV 656a – O Lamm Gottes, unschuldig (ältere, Weimarer Fassung)
7. BWV 657 – Nun danket alle Gott (Leuthen Chorale) (ältere Weimarer und Leipziger Fassung)
8. BWV 658 – Von Gott will ich nicht lassenBWV 658a – Fantasia super: Von Gott will ich nicht lassen (ältere, Weimarer Fassung)
9. BWV 659 – Nun komm, der Heiden HeilandBWV 659a – Fantasia super: Nun komm, der Heiden Heiland (ältere, Weimarer Fassung)
10. BWV 660 – Trio super: Nun komm, der Heiden HeilandBWV 660a – Nun komm, der Heiden Heiland (ältere, Weimarer Fassung)BWV 660b – Nun komm, der Heiden Heiland
11. BWV 661 – Nun komm, der Heiden HeilandBWV 661a – Nun komm, der Heiden Heiland (ältere, Weimarer Fassung)
12. BWV 662 – Allein Gott in der Höh' sei Ehr'BWV 662a – Allein Gott in der Höh' sei Ehr' (ältere, Weimarer Fassung)
13. BWV 663 – Allein Gott in der Höh' sei Ehr'BWV 663a – Allein Gott in der Höh' sei Ehr' (ältere, Weimarer Fassung)
14. BWV 664 – Trio super: Allein Gott in der Höh' sei Ehr'BWV 664a/b – Trio super: Allein Gott in der Höh' sei Ehr' (ältere Weimarer Fassung/Entwurf)
15. BWV 665 – Jesus Christus, unser HeilandBWV 665a – Jesus Christus, unser Heiland (in organo pleno) (ältere, Weimarer Fassung)
16. BWV 666 – Jesus Christus, unser Heiland (alio modo)BWV 666a – Jesus Christus, unser Heiland (ältere, Weimarer Fassung)
17. BWV 667 – Komm, Gott Schöpfer, heiliger GeistBWV 667a/b – Komm, Gott Schöpfer, heiliger Geist (ältere, Weimarer Fassungen)
18. BWV 668 – Vor deinen Thron tret' ich (Fragment)BWV 668a – Wenn wir in höchsten Nöten sein (Diktatschrift: Fragment)

Chorale preludes in Clavier-Übung III (BWV 669–689)[edit]

Main article: Clavier-Übung III § Chorale preludes BWV 669–689

• Kyrie (three stanzas of "Kyrie, Gott Vater in Ewigkeit"):
• "Allein Gott in der Höh' sei Ehr'" (Gloria):
• "Dies sind die heilgen zehn Gebot" (Ten Commandments):
• "Wir glauben all an einen Gott" (Credo):
• "Vater unser im Himmelreich" (Lord's Prayer):
• "Christ unser Herr zum Jordan kam" (Baptism):
• "Aus tiefer Not schrei ich zu dir" (Penitence):
• "Jesus Christus, unser Heiland, der von uns den Zorn Gottes wandt" (Lord's Supper):

24 chorale preludes, formerly known as "from the Kirnberger collection" (BWV 690–713)[edit]

The 24 chorale preludes and five variants published as "from the Kirnberger Collection" ("in Kirnberger's Sammlung") in the 40th volume of the Bach-Gesellschaft Ausgabe (1893) were all retained in the 690–713a range of the Bach-Werke-Verzeichnis. Johann Kirnberger's involvement with this collection of chorale preludes, some of which are spurious or doubtful, is however uncertain: modern scholarship no longer refers to this set as "Kirnberger Collection" (unless with qualifiers such as "so-called" or "formerly").[20]

1. BWV 690 – Wer nur den lieben Gott läßt walten
2. BWV 691 – Wer nur den lieben Gott läßt walten (manuals only; No. 11 in the 1725 Notebook for Anna Magdalena Bach, No. 3 in the Klavierbüchlein für Wilhelm Friedemann Bach)BWV 691a – Wer nur den lieben Gott läßt walten (doubtful variant of BWV 691)[21]
3. BWV 692 – Ach, Gott und Herr (spurious: composed by Johann Gottfried Walther)[22]BWV 692a – Ach, Gott und Herr (spurious early version of BWV 692: composed by Johann Gottfried Walther)[23]
4. BWV 693 – Ach, Gott und Herr (spurious: composed by Johann Gottfried Walther)[24]
5. BWV 694 – Wo soll ich fliehen hin
6. BWV 695 – Fantasia super: Christ lag in Todesbanden (manuals only)BWV 695a – Christ lag in Todesbanden (doubtful variant of BWV 695)[25]
7. BWV 696 – Christum wir sollen loben schon (or) Was fürchtest du Feind, Herodes, sehr (fughetta; manuals only)
8. BWV 697 – Gelobet seist du, Jesu Christ (fughetta; manuals only)
9. BWV 698 – Herr Christ, der ein'ge Gottes-Sohn (fughetta; manuals only)
10. BWV 699 – Nun komm, der Heiden Heiland (fughetta; manuals only)
11. BWV 700 – Vom Himmel hoch, da komm' ich her
12. BWV 701 – Vom Himmel hoch, da komm' ich her (fughetta, manuals only)
13. BWV 702 – Das Jesulein soll doch mein Trost (fughetta)
14. BWV 703 – Gottes-Sohn ist kommen (fughetta, manuals only)
15. BWV 704 – Lob sei dem allmächtigen Gott (fughetta, manuals only)
16. BWV 705 – Durch Adams Fall ist ganz verderbt
17. BWV 706 – Liebster Jesu, wir sind hier
18. BWV 707 – Ich hab' mein' Sach' Gott heimgestellt
19. BWV 708 – Ich hab' mein' Sach' Gott heimgestelltBWV 708a – Ich hab' mein' Sach' Gott heimgestellt (variant of BWV 708)
20. BWV 709 – Herr Jesu Christ, dich zu uns wend'
21. BWV 710 – Wir Christenleut habn jetzund Freud
22. BWV 711 – Allein Gott in der Höh' sei Ehr'
23. BWV 712 – In dich hab' ich gehoffet, Herr (manuals only; performed on Roland C-330ⓘ)
24. BWV 713 – Jesu, meine Freude (manuals only)BWV 713a – Jesu, meine Freude (Fantasia, doubtful variant of BWV 713)[26]

Miscellaneous chorale preludes (BWV 714–765)[edit]

• BWV 714 – Ach Gott und Herr (also in the Neumeister Collection)
• BWV 715 – Allein Gott in der Höh sei Ehr
• BWV 716 – Fuga super Allein Gott in der Höh sei Ehr
• BWV 717 – Allein Gott in der Höh sei Ehr'
• BWV 718 – Christ lag in Todesbanden [scores] (chorale fantasia)[27]
• BWV 719 – Der Tag, der ist so freudenreich (also in the Neumeister Collection)
• BWV 720 – Ein feste Burg ist unser Gott
• BWV 721 – Erbarm dich mein, o Herre Gott
• BWV 722 – Gelobet seist du, Jesu Christ
• BWV 723 – Gelobet seist du, Jesu Christ (also in the Neumeister Collection; likely by Johann Michael Bach)
• BWV 724 – Gott, durch deine Güte (Gottes Sohn ist kommen)
• BWV 725 – Herr Gott, dich loben wir
• BWV 726 – Herr Jesu Christ, dich zu uns wend (audioⓘ)
• BWV 727 – Herzlich tut mich verlangen
• BWV 728 – Jesus, meine Zuversicht (from the 1722 Notebook for Anna Magdalena Bach)
• BWV 729 – In dulci jubilo
• BWV 730 – Liebster Jesu, wir sind hier
• BWV 731 – Liebster Jesu, wir sind hier
• BWV 732 – Lobt Gott, ihr Christen, allzugleich
• BWV 733 – Fuga sopra il Magnificat (Meine Seele erhebt den Herren, a.k.a. German Magnificat – possibly composed by Bach's pupil Johann Ludwig Krebs; performed on the Herbst organ of the Schlosskirche in Lahmⓘ)[28][29]
• BWV 734 – Nun freut euch, lieben Christen g'mein/Es ist gewisslich an der Zeit
• BWV 735 – Valet will ich dir geben
• BWV 736 – Valet will ich dir geben
• BWV 737 – Vater unser im Himmelreich (also in the Neumeister Collection)
• BWV 738 – Von Himmel hoch, da komm' ich her
• BWV 738a – Von Himmel hoch, da komm' ich her
• BWV 739 – Wie schön leuchtet der Morgenstern
• BWV 740 – Wir glauben all' an einen Gott, Vater (spurious, partly attributed to Johann Tobias Krebs)[30]
• BWV 741 – Ach Gott, von Himmel sieh' darein
• BWV 742 – Ach Herr, mich armen Sünder (also in the Neumeister Collection)
• BWV 743 – Ach, was ist doch unser Leben
• BWV 744 – Auf meinen lieben Gott (not by Bach, possibly by Johann Tobias Krebs)
• BWV 745 – Aus der Tiefe rufe ich (not by Bach, composed by Carl Philipp Emanuel Bach)
• BWV 746 – Christ ist erstanden (not by Bach, composed by Johann Caspar Ferdinand Fischer)
• BWV 747 – Christus, der uns selig macht
• BWV 748 – Gott der Vater wohn' uns bei (not by Bach, composed by Johann Gottfried Walther)
• BWV 748a – Gott der Vater wohn' uns bei
• BWV 749 – Herr Jesu Christ, dich zu uns wend' (attribution doubtful)[31]
• BWV 750 – Herr Jesu Christ, mein's Lebens Licht (attribution doubtful)[32]
• BWV 751 – In dulci jubilo (also in the Neumeister Collection; spurious: likely by Johann Michael Bach or possibly by Johann Gottfried Walther)
• BWV 752 – Jesu, der du meine Seele (attribution doubtful)[33]
• BWV 753 – Jesu, meine Freude (incomplete)
• BWV 754 – Liebster Jesu, wir sind hier (attribution doubtful)[34]
• BWV 755 – Nun freut euch, lieben Christen
• BWV 756 – Nun ruhen alle Wälder (attribution doubtful)[35]
• BWV 757 – O Herre Gott, dein göttlich's Wort
• BWV 758 – O Vater, allmächtiger Gott
• BWV 759 – Schmücke dich, o liebe Seele (not by Bach, composed by Gottfried August Homilius)[36]
• BWV 760 – Vater unser im Himmelreich (not by Bach, composed by Georg Böhm)[37]
• BWV 761 – Vater unser im Himmelreich (not by Bach, composed by Georg Böhm)[38]
• BWV 762 – Vater unser im Himmelreich (attribution doubtful)[39]
• BWV 763 – Wie schön leuchtet der Morgenstern
• BWV 764 – Wie schön leuchtet der Morgenstern (incomplete)
• BWV 765 – Wir glauben all' an einen Gott

Chorale partitas (BWV 766–768)[edit]

• BWV 766 – Chorale partita Christ, der du bist der helle Tag
• BWV 767 – Chorale partita O Gott, du frommer Gott
• BWV 768 – Chorale partita Sei gegrüsset, Jesu gütig

Canonic Variations[edit]

Main article: Canonic Variations on "Vom Himmel hoch da komm' ich her"

• BWV 769 – Canonic Variations on "Vom Himmel hoch da komm' ich her"
• BWV 769a – Canonic Variations on "Vom Himmel hoch da komm' ich her" (alternative version of BWV 769)

Chorale variations BWV 770-771[edit]

• BWV 770 – Chorale variations "Ach, was soll ich Sünder machen"
• BWV 771 – Chorale variations "Allein Gott in der Höh' sei Ehr'" (not by Bach, possibly by Andreas Nicolaus Vetter)[40]

Also known in a version for keyboard (BWV 957)[edit]

See also: List of keyboard and lute compositions by Johann Sebastian Bach § Fugues and fughettas (944–962), and Neumeister Collection

• BWV 957 – Machs mit mir, Gott, nach deiner Güt (chorale prelude for organ in the Neumeister Collection, previously listed as Fugue in G major)

A. Early Quartets (age 27~30)
 
Opus 18

• No. 1 in F major
• No. 2 in G major
• No. 3 in D major - lighter than the others
• No. 4 in C minor
• No. 5 in A major
• No. 6 in B♭ major - the 4th movement [melancholy] 

 
 
B. Middle Quartets (age 35~40)
 
Opus 59 (Rasumovsky)

• No. 7 in F major
• No. 8 in E minor
• No. 9 in C major

 
Razumovskys ; the Russian ambassador in Vienna, Count (later Prince) Razumovsky, himself an accomplished musician who played second violin in his own quartet. For his benefit Beethoven includes Russian themes in the first two of the set.
 
Other Middle Period Quartets

• No. 10 in E♭ major, Op. 74 (Harp) - the plucked strings in the first movement…the lighter of the two, but no less characteristic of Beethoven for that. Its final movement is a theme and variations, a form much loved by Beethoven and one he usually reserved for the piano
• No. 11 in F minor, Op. 95 (Serioso) - a masterpiece in compression from the first bar onwards, and certainly a foretaste of what is to come in the final set of Quartets.

 
 
C. Late Quartets (age 54~56)

• No. 12 in E♭ major, Op. 127
• No. 13 in B♭ major, Op. 130 - the Cavatina…Even more remarkable, in my view, is the slow movement of Op.130, the Cavatina. It is utterly beautiful, even if you have no idea what is happening in Beethoven’s life. Over a gently pulsating rhythm from the three lower strings, the first violin sobs. In the fragmented notes there is anguish and despair…The original final movement of op.130 was the Grosse Fuge, a massive movement that is clearly too massive and unwieldy to sit at the end of the preceding five.
• No. 14 in C♯ minor, Op. 131 - It is said that upon listening to a performance of this quartet Schubert remarked, "After this, what is left for us to write?"[2] Schumann said that this quartet and Op. 127 had a "grandeur ... which no words can express. They seem to me to stand ... on the extreme boundary of all that has hitherto been attained by human art and imagination."
• No. 15 in A minor, Op. 132 Große Fuge, Op. 133 - Sacred Song of Thanksgiving from a Convalescent to the Deity, in the Lydian Mode…Beethoven recovered, but knew he had come close to death. That is what lies behind this extraordinary movement of op.132.
• No. 16 in F major, Op. 135 - ..listen to the slow movement of the final String Quartet, op.135. Simply beautiful. Beautifully simple..

 
 
 
 
 
Ref.
1. https://en.wikipedia.org/wiki/Category:String_quartets_by_Ludwig_van_Beethoven
2. https://www.classicfm.com/composers/beethoven/guides/beethovens-music-string-quartets/

3. https://en.m.wikipedia.org/wiki/String_Quartet_No._14_(Beethoven)

Reinhard Goebel (German: [ˈɡøːbəl]; born 31 July 1952 in Siegen, West Germany) is a German conductor and violinist specialising in early music on authentic instruments and professor for historical performance at the Mozarteum in Salzburg. Goebel received his first violin lessons at the age of twelve. He studied the violin with Franzjosef Maier [de; fr], the leader of the Collegium Aureum, Saschko Gawriloff, an expert in difficult modern scores, and baroque violinists Marie Leonhardt [de; fr] in The Hague and Eduard Melkus in Vienna.

In 1973 Goebel founded his early music ensemble Musica Antiqua Köln that he led until its dissolution in 2007. He has been an important figure in early music and, for example, was instrumental in rediscovering the music of composers such as Marc-Antoine Charpentier and the Dresden court composers Johann David Heinichen and Jan Dismas Zelenka.

(from wikipedia)

(from https://www.bach-cantatas.com/)

BornOriginGenresOccupation(s)InstrumentsYears activeLabelsAssociated actsWebsite

Jan Garbarek (born 4 March 1947)[1] is a Norwegian jazz saxophonist, who is also active in classical music and world music.

Garbarek was born in Mysen, Norway, the only child of a former Polish prisoner of war, Czesław Garbarek, and a Norwegian farmer's daughter. He grew up in Oslo, stateless until the age of seven, as there was no automatic grant of citizenship in Norway at the time. When he was 21, he married Vigdis. He is the father of musician and composer Anja Garbarek.[2]

Biography[edit]

Garbarek's sound is one of the hallmarks of the ECM Records label, which has released virtually all of his recordings. His style incorporates a sharp-edged tone, long, keening, sustained notes, and generous use of silence.[3] He began his recording career in the late 1960s, notably featuring on recordings by the American jazz composer George Russell (such as Electronic Sonata for Souls Loved by Nature). By 1973 he had turned his back on the harsh dissonances of avant-garde jazz, retaining only his tone from his previous approach. Garbarek gained wider recognition through his work with pianist Keith Jarrett's European Quartet which released the albums Belonging (1974), My Song (1977) and the live recordings Personal Mountains (1979), and Nude Ants (1979).[2] He was also a featured soloist on Jarrett's orchestral works Luminessence (1974) and Arbour Zena (1975).[4]

Garbarek live in 2007.

Garbarek with Eberhard Weber and Nana Vasconcelos in Vancouver, British Columbia, Canada 1987.

As a composer, Garbarek tends to draw heavily from Scandinavian folk melodies, a legacy of his Ayler influence. He is also a pioneer of ambient jazz composition, most notably on his 1976 album Dis a collaboration with guitarist Ralph Towner,[3] that featured the distinctive sound of a wind harp on several tracks. This textural approach, which rejects traditional notions of thematic improvisation (best exemplified by Sonny Rollins) in favour of a style described by critics Richard Cook and Brian Morton as "sculptural in its impact", has been critically divisive. Garbarek's more meandering recordings are often labeled as new-age music, or spiritual ancestors thereof. Other experiments have included setting a collection of poems of Olav H. Hauge to music, with a single saxophone complementing a full mixed choir; this has led to notable performances with Grex Vocalis. In the 1980s, Garbarek's music began to incorporate synthesizers and elements of world music. He has collaborated with Indian and Pakistani musicians such as Trilok Gurtu, Zakir Hussain, Hariprasad Chaurasia, and Bade Fateh Ali Khan.[3] Garbarek is credited for composing original music for the 2000 film Kippur.

In 1994, during heightened popularity of Gregorian chant, his album Officium, a collaboration with early music vocal performers the Hilliard Ensemble, became one of ECM's biggest-selling albums of all time, reaching the pop charts in several European countries and was followed by a sequel, Mnemosyne, in 1999. Officium Novum, another sequel album, was released in September 2010. In 2005, his album In Praise of Dreams was nominated for a Grammy Award. Garbarek's first live album Dresden was released in 2009.

from https://en.wikipedia.org/wiki/Jan_Garbarek

http://everynoise.com/engenremap.html

재밌는 사이트

제목처럼 세상의 모든 음악 장르에 대한 도식화를 시도하고 있고 무려 각 장르별 샘플 곡들도 모두 링크 되어 있다. ^^

2018.2.

From http://www.davestruestory.com/music/lyrics.html

Dave's True Story was an American jazz-pop group consisting of Kelly Flint on vocals, David Cantor on guitar, and Jeff Eyrich on bass. They were known for Cantor's witty, risqué lyrics contrasted with Flint's warm, delicate voice.

Cantor, from Long Island, and Flint, from Indiana, met in the early 1990s in Greenwich Village. Cantor drew inspiration from Donald Fagen for cynical lyrics and jazz chord changes, while Flint was a fan of Joni Mitchell.[1] Bassist Jeff Eyrich joined the group and became their manager.[2]

After their debut album in 1994, they signed with audiophile label Chesky Records and released Sex Without Bodies. Dave's True Story received favorable press and a loyal following in New York City night clubs. They won the Kerrville Music Award and appeared on Christmas compilations for Hear Music and Pottery Barn.[3] They also won an award for the song "Everlasting No" at the Independent Music Awards.[4]

In 2001 two Dave's True Story songs, "Crazy Eyes" and "Sequined Mermaid Dress", appeared in the movie Kissing Jessica Stein. Their songs also appeared on the TV shows Satisfaction and Breaking Bad. Flint made a solo album, Drive All Night, in a folk music style. Dave's True Story broke up in 2007.[2]

LYRICS from the album 'Nature'

BLUE NILE

Blue Nile…watching the blue water

Blue Nile…watching the day break

Blue Nile…so much like blue water

Blue Nile…so much like heartache

So much like heartache

All along the river where the tall birds sway

And the women crowd the shore

You can watch the river and the birds of prey

I don't do that anymore

Blue Nile…floating on blue diamonds

Blue Nile…floating on blue lake

Blue Nile…filling with blue water

Blue Nile…making my heart break

Making my heart break

By the muddy river where the tall birds sway

And the women crowd the shore

Get too near the river you get in their way

I won't do that anymore

Blue Nile…nothing like blue water

Blue Nile…nothing like daybreak

Blue Nile…nothing but blue water

Blue Nile…what can the heart take

How much can the heart take

Kelly Flint: Vocals

David Cantor: Guitar

Jeff Eyrich: Bass

Jon Dryden: Piano

Richard Crooks: Drums

Fred Walcott: Percussion

Bernhard Ullrich: Soprano Sax

CHASING THE WHITE LINE DOWN

Three days from Culver

Had nothing left to show there

Chasing the white line down

Chasing the white line down

Gun metal sunrise

Sweet sight for these shunned eyes

Chasing the white line down

Taking it town by town

Chasing the white line down…

Soft yielding shoulder

Cold was never colder

Chasing the white line down…

Naked ambition

The underage edition

Chasing the white line down

Trampling the sacred ground

Chasing the white line down…

Shedding a tear for the blessed

Saying a prayer for the rest

Saying goodbye to the best, in me

Desert town of Dover

There's someone that I know there

Spreading the blame around

Chasing the white line down…

Kelly Flint: Vocal

David Cantor: Guitar

Jeff Eyrich: Bass, Background Vocal

Jon Dryden: Piano

Bob Malone: Electric Piano

Rich Zukor: Drums

Fred Walcott: Percussion

Steve Gluzband: Flugel Horn

Tom Beckham: Vibes

CINDER

There's a girl in a window

Twisting braids in her hair

There's a girl in a window

But there's no window there

She is weaving her fingers

Through each tangle and turn

It's a moment to linger

It's a moment to burn

CHORUS:

The world's a cinder

Yo soy muy linda

Sit back and watch me...

There's a bird in the cupboard

There's a bird at the gate

There's a bird on my headboard

And a bird on my plate

There's a cloudburst of starlings

Pouring down on the square

And a girl in a window

Twisting braids in her hair

CHORUS

I've been talking a blue streak

But it's all so absurd

With this small noisy creature

Tearing holes in my words

There’s a glass on the nightstand

And a bed still unmade

And a girl in a window

With her hair in a braid

CHORUS 2x

Kelly Flint: Vocal

David Cantor: Guitar

Jeff Eyrich: Bass

Rich Zukor: Drums, Djembe

Roger Bruno: Accordion, Shakers

Steve Gluzband: Flugel Horn

DOG’S LIFE

The sun's intervention is creeping 'cross the floor

I turn with a heart heavy sigh

The bone of contention is hanging from the door

It's one more day in a dog's life

The bells of the churchyard are ringing soft and sweet

The day of redemption is nigh

So what sort of fresh hell can I expect to meet

When I'm already stuck in a dog's life

It's a dog's life I'm sorry to say

It's a dog's life but I make my own way

And each good intention

Is never quite that pure

This dog's life is hard to endure

In my estimation it's tough to stake your claim

In a world full of torments and lies

You can't pull your reputation from the flames

And you can't squeeze love from a dog's life

It's a dog's life that's easy to say

It's a dog's life but I make my own way

And each good intention

Goes right into the sewer

This dog's life is hard to endure

I woke up this morning and found my TV on

I was wrapped in its glorious light

I woke up this morning and found my lover gone

And I took my place in the dog's life

It's a dog's life I'm sorry to say

It's a dog's life but I make my own way

And each good intention

Is never quite that pure

This dog's life is hard to endure

It's a dog's life it pains me to say

It's a dog's life and I make my own way

No ounce of prevention

Will kill you like the cure

This dog's life is hard to endure

Kelly Flint: Vocal

David Cantor: Guitar, Ukulele

Jeff Eyrich: Bass

Jon Dryden: Piano

Rich Zukor: Drums

J. Walter Hawkes: Trombone

EVERLASTING NO

Charley stands on the block

In a shoe and one grey sock

I try to care

But that never gets you anywhere

So I sit in this booth

Drinking slow, divining truth

And the long, long way to go

To the everlasting no

From her fire escape seat

Miranda guards the street

While on her bed,

A newborn baby lays its head

It's a boy it's a girl

It's one more chump against the world

With a long, long way to go

All for that everlasting no

I had breakfast with my father

In a downtown luncheonette

And we sat and eyed each other

With suspicion and regret

Then I walked down to the river

Where the boats would pitch and woo

And the river said "Forgive her”

I could swear it said "Forgive her”

But it wouldn't tell me who

Had no fear, had no doubt

Had this racket all scammed out

A real hard case

Then I chanced to look upon your face

It's a gift, it's a curse

Either way, it 's getting worse

But so hard to let it go

To your everlasting no

Kelly Flint: Vocals

David Cantor: Guitar

Jeff Eyrich: Bass

Jon Dryden: Electric Piano

Rich Zukor: Drums, Percussion

HOW DO YOU BREAK A HEART?

A half-used jar of some strange lotion

A dimestore ring without its stone

A turn of the latch and then it's open 

A turn of a phrase and then it's gone

Inside these walls no word is spoken

Inside these words a one-note song

I push at the skin but it's been broken

I push at the skin a bit too long

CHORUS:

But how do you break a heart?

How do you break a heart?

How do you break a heart?

We stuff ourselves with cool and cunning

We're quick to hide our reckless grace

A glimpse of your eyes

The work is stunning

A glimpse of your past is all the rage

CHORUS

I push at the words as if I'm joking

I push at the words as if they're wrong

CHORUS 2x

Kelly Flint: Vocal

David Cantor: Guitar

Jeff Eyrich: Bass

Jon Dryden: Piano

Richard Crooks: Drums

Fred Walcott: Percussion

Tom Beckham: Vibes

Randy Reinhart: Trumpet

I LOST MY NATURE

CHORUS

I lost my nature and my loved one left me

I lost my nature and my loved one left me

I lost my nature and my loved one left me

Don't lose your nature

I read the testimony 'bout the holy man

Went to the heart of Queens to find this holy man

My health and essence were restored by his holy hands

Saved by the holy man

CHORUS

Don't be a slave to pain

Its loss will be your gain

Take car or bus or train...

I lost my nature and my loved one left me

A poison in the blood had come upon me

They gave me weeks to live and pills to calm me

But then the holy man with just his palm he

Brought back my nature

CHORUS

No need to bear such pain

Its loss will clear your brain

Take car or bus or train...

I lost my nature and my loved one left me

I was a drunkard with a hatred for the world

I just kept drinking till the barroom spun and swirled

I'd lost my nature and I could not love this world

Now I love the world

CHORUS 2x

Kelly Flint: Vocal

David Cantor: Guitar

Jeff Eyrich: Bass, Background Vocal

Jon Dryden: Organ

Rich Zukor: Drums

Fred Walcott: Bongos

Larry Siegel: Maracas

Bernhard Ullrich: Tenor Sax

Tom Beckham: Vibes

KISS ME QUICK

I've had kisses from the best

And all the rest, except from you

No time for tricks, just kiss me quick

Let's see what you can do

I've had kisses hot and cold

Shy and bold, they did not do

So kiss me quick and make it stick

And I will stick with you

I'm done messing

With every pair of lips in town

And I'm guessing

You kiss me right, I'll come around

I've had kisses make me blue

Give me flu, taste like glue

So kiss me quick...etc.

You've been moping

Because I seem to get around

Well stop your moping

Just kiss me right, I'll settle down

And though I've learned 

A trick or two

Your lips should teach me something new

So kiss me quick...etc.

Kelly Flint: Vocal

David Cantor: Guitar

Jeff Eyrich: Bass

Jon Dryden: Piano

Rich Zukor: Drums, Percussion

Bernhard Ullrich: Saxes, Clarinet

SANDMAN

I've been waiting for the Sandman

I've been tossing all night

I've been waiting for the Sandman

But he's nowhere in sight

He's sprinkled his dream-dust all over the town

And everybody else is sleeping cozy and sound

I've been waiting for the Sandman

But he won't come around

Don't know why I think about you

It's too hard to explain

Wish I didn't think about you

Guess you're stuck in my brain

I can picture you sleeping all snuggled and tight

But what are these dreams that keep you smiling all night

I've been waiting for the Sandman

But he hasn't arrived

Close my eyes

And I could wear a million different faces

I could be a bird in flight

I could be the boy whose wings have melted

I keep waiting for the Sandman

He continues to hide

I keep waiting for the Sandman

Seems he's taken your side

Sleep is a place he doesn't want me to go

'Cause sleep would bring a peace he doesn't want me to know

I've been waiting for the Sandman

But the Sandman won't show...

Kelly Flint: Vocal

David Cantor: Guitar

Jeff Eyrich: Bass

Rich Zukor: Drums, Bongos, Shakers

Bernhard Ullrich: Tenor Sax

J. Walter Hawkes: Trombone

Lalo: Vibes

SEX WTIHOUT BODIES 

I was watching this movie

On my VCR

The things they were doing

Just a little bizarre

The expression of passion

Amid sweat and chlorine

They were five of the happiest people

That I've ever seen

Sex without bodies

Sex without pain

Sex of such passion

No mere words could explain

It's the incoming fashion

It's an oncoming train

I may never go back to the reall thing again

I called up this number

This girl Angela spoke

She started to whimper

I started to choke

Before it was over

I called out her name

And you may not believe this

But she did the same

Sex without bodies

Sex without blame

Sex on the wire 

Between shadow and shame

It's the fear of desire 

It's the fire without flame

I may never go back to the reall thing again

I met this guy Carlos

He took me upstairs

He sat me in one one one

Of two comfortable chairs

He sat in the other

So cool and contained

And the rest of the evening

This is how we remained

Having sex without bodies

Sex without hate

Sex in this city

Has become a garrison state

I don't care if she's pretty

I don't care if he ain't

I may never go back to the reall thing again

I may never go back to the reall thing again

We may never go back to the reall thing again

(c) David Cantor

SMALL BLACK HEART

We've done our time

There's nothing left to mend

It's no big crime

It's just the way things end

So despite the mauling 

It won't be falling apart

It's such a small black heart

It's not assault 

It's not like Rome was burned 

It's not your fault 

No need to be concerned 

Forget the soft shoe dance 

'Cause there was no real chance from the start 

For such a small black heart

Yet I must assert It wasn't always so 

But with each new hurt

The smaller it would grow

Till, black from blue

It turned into this scarred and tiny ball

That hangs on just for spite

And, barely then

And barely then...

So save your breath

It's not as if you lied

It's not quite death 

It’s just a thing that's died 

Now every wound you nurse 

Inflicts a pain far worse than the smart 

From such a small black heart...

Kelly Flint: Vocal

David Cantor: Guitar

Jeff Eyrich: Bass

Jon Dryden: Piano

Rich Zukor: Drums

Bernhard Ullrich: Tenor Sax

STILL SHE KNOWS

There's a tune by Bach

Running through her head

There's a half moon clock

Frozen by the bed

It just needs a spring or two

There's a knot in time

That she can't undo

Still she knows she hasn't lost you

There's a telephone

From the Hotel Pontchartrain

There's a piece of bone

On a fourteen carat chain

From a boy that she once knew

And her mother's eyes

Which she wears like new

Still she knows that she hasn't lost you

Still she knows…

Still she knows…

Still she knows…

Like a work of art

That she did not plan

Like the human heart

Beating in her hand

Such a dazzling shade of blue

There's a life she's lived

That she can't undo

Still she knows that she hasn't lost you

Still she knows that she hasn't lost you

Kelly Flint: Vocal

David Cantor: Guitar

Jeff Eyrich: Bass

Jon Dryden: Electric Piano

Roger Bruno: Accordion

Rich Zukor: Drums

THE WORLD IN WHICH WE LIVE

It's getting smaller so they say

The world in which we live today

It's getting small in every way

The world in which we live today

When the wind blows through Nepal

Strange but I don't feel it sting

When it burns in the Transvaal

Strange but I feel nothing

CHORUS

Strike the bells of Notre Dame

Strange but I don't hear them ring

Come the rains of Vietnam

Strange but I feel nothing

Like a pearl

Lost in the interstellar dark

Spins the world

Aglow with an inner spark

Boy and girl

Grateful they get to play a part

Seize the world

And then gently crush it to their hearts

CHORUS

Like a pearl

Lost in the interstellar night

Spins the world

Aglow with an inner light

Boy and girl

Grateful we get to play a part

Seize the world

And then gently crush it to our hearts

CHORUS 2x

Kelly Flint: Vocal

David Cantor: Guitar

Jeff Eyrich: Bass, Background Vocal

Jon Dryden: Piano

Richard Crooks: Drums

Fred Walcott: Percussion

Bernhard Ullrich: Tenor Sax

WHO WOULD GUESS

While shadows dance like lovers on the wall

Our fingers seek

We barely speak

The strangeness of it all

And if a million other girls

Have done the things we do

CHORUS:

Who would guess

Who would guess

It's our time

May seem a bit ridiculous to say

But with each breath

A little death

That takes my breath away

And if a million other girls

Have done these same things too

CHORUS

A day or two

And we'd have never met

How lucky can you get

Won't try to pass this off as deeper truth

Can't chalk this up to destiny

Or wild and reckless youth

And if a million other girls

Have said these same words too

CHORUS 2x

Kelly Flint: Vocal

David Cantor: Guitar

Jeff Eyrich: Bass

Jon Dryden: Electric Piano

Roger Bruno: Accordion, Shakers

Lalo: Vibes

Rich Zukor: Drums, Bongos

Bernhard Ullrich: Tenor Sax

ハンバート ハンバート 

おもいで

作詞：佐野遊穂

作曲：佐藤良成

遠い遠い物語 / 멀고 먼 이야기

昔聴いた古い歌 / 옛날 들었던 오래된 노래

戻らぬ日々を思い / 되돌아오지 않는 날들에 대한 추억은

ただ涙にくれるばかり / 단지 눈물로 올 뿐

夕闇の窓辺に立ち / 땅거미 지는 창가에 서서

寄り添い雲を眺めた / 바짝 붙은 구름을 바라보았다

そして星が灯ると / 그리고 별들이 반짝이면

あの人はギターを弾いて / 그 사람은 기타를 키며

二人で恋の歌をささやきあった / 둘이서 사랑의 노래를 속삭였다

夜明けまで /해뜰때까지

時は流れ花は散り /시간은 흘러 꽃은 흩어지고

恋人は去ってしまった /연인은 가 버렸다

戻らぬ日々を思い /되돌아오지 않는 날들에 대한 추억은

ただ涙にくれるばかり /단지 눈물로 올 뿐

哀しみが私の胸 / 슬픔은 나의 가슴에

冷たい雨で濡らす/ 차가운 비로 적신다

昔聴いた古い歌 / 옛날 들었던 오래된 노래

煙草の煙に浮かんで / 담배 연기로 뜨 오르고

夢のように儚く / 꿈처럼 허무하게

かき消された物語 / 감쪽같이 사라진 이야기