J. S. Bach

Preface
Abbreviations and Terms

Introduction: The World of Bach's Organ Music
Central German Music Culture ~ Grandest Machine of All ~ Transmission of Bach's Organ Works

Part I - Learning the Craft: Eisenach, Ohrdruf, Lueneburg, and Weimar (1685-1703)

1 - The Young Bach
Eisenach ~ Ohrdruf ~ Lueneburg ~ Weimar
2 - Study and Models
Ohrdruf: Johann Christoph Bach and Thuringian Circles ~ Lueneburg: Georg Boehm and North German Circles
3 - Initial Efforts
Neumeister Chorales ~ Free Works

Part II - The "First Fruits": Arnstadt and Muehlhausen (1703-1708)

4 - Bach in Arnstadt and Muehlhausen
Organist at the New Church ~ Luebeck Pilgrimage ~ Organist at St. Blasius's Church
5 - Chorale-based Works
Chorale Settings ~ Chorale Partitas
6 - Free Works
Multi-sectional Praeludia ~ Prelude-Fugue Pairs ~ Independent Fugues ~ Unica

Part III - "The Golden Years": Weimar (1708-1717)

7 - Bach in Weimar
Organist and Chamber Musician at the Weimar Court ~ Chapel Organ and Other Instruments ~ New Connections, New Influences ~ Eclectic Blends and Hybrid Forms
8 - The Orgel-Buechlein
Compositional History ~ Function in Weimar ~ Musical Style: Melody Chorales, Canonic Chorales, Florid-Melody Chorales, Unique Settings
9 - Concerto Transcriptions
Incomparable Things ~ Challenges of Transcription Process ~ The Music: Vivaldi Transcriptions, Johann Ernst Transcriptions ~ Bach versus Vivaldi
10 - Large Chorale Settings
Fore-Imitation Settings ~ Florid-Melody Settings ~ Chorale Trios ~ Cantus Firmus Settings ~ Eclectic Blends ~ Sei gegruesset, Jesu guetig
11 - Small Chorale Settings
Miscellaneous Manual Works ~ Chorale Fughettas ~ Congregational Accompaniment: Figured-Bass and Interlude Settings
12 - Free Works: Prelude-Fugue Pairs
Prelude and Fugue Ideal ~ Modification of North German and French Idioms ~ Adoption of Italian Concerto Principles
13 - Free Works: Independent Fugues and Singular Pieces
Independent Fugues ~ Experimental Forms ~ The Great Passacaglia

Part IV - The Organist as Capellmeister: Coethen (1717-1723)

14 - Bach in Coethen
Capellmeister at the Coethen Court ~ Repertory ~ New Stylistic Developments ~ Organ Inspections and Performances
15 - Organ Teacher, Consultant, and Recitalist
Didactic Works ~ Organ Pedagogue ~ Organ Examiner and Consultant ~ Organ Recitalist
16 - Bach's Art of Registration
The German Tradition ~ Full Organ ~ All the Remaining Diverse Variations ~ Hymn Accompaniment ~ Particular Stops and Combinations

Part V - The Grand Synthesis: Leipzig (1723-1750)

17 - Bach in Leipzig
St. Thomas Cantor and Director of Music ~ Fusion of Styles ~ New Role of Revision and Recycling ~ Central German Organ
18 - Cantata and Passion Movements with Obbligato Organ and Miscellaneous Trios
Obbligato Organ Repertory ~ Performance Considerations ~ Musical Style ~ Trio Transcriptions and Compositions ~ Function of the Pieces ~ Stylistic Aspects
19 - Six Sonatas
The Genesis of the Collection ~ Pedagogical Use ~ Musical Style ~ Performance Issues ~ Postscript
20 - Free Works: Prelude and Fugues
An Unorthodox Transcription ~ Four Monumental Works
21 - Free Works: Singular Pieces
Singular Pieces ~ Prelude and Fugues: Final Directions
22 - Clavier-UEbung III
The Clavier-UEbung Series ~ Genesis of the Original Print ~ The Music ~ Structure of the Collection ~ Duets ~ Reception of the Music
23 - Canonic Variations on "Vom Himmel hoch, da komm ich her"
The Canonic Variations Project ~ The Music ~ Organizational Schemes
24 - The Schuebler Chorales
The Problematic Original Print ~ Hand-Corrected Copies ~ The Music ~ Structure of the Collection ~ Significance of the Settings
25 - Nineteen Large Chorales of Various Kinds
The Leipzig Chorale Portfolio ~ Why These Settings? ~ The Revisions ~ Unanswered Questions ~ Search for Perfection

Appendix: Three Central German Organs, specifications

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