The Andreas Bach Book is an important collection of 18th century European organ and harpsichord music compiled around 1708, named after Andreas Bach, who was one of the owners of the collection, as well as the nephew of Johann Sebastian Bach. The main scribe of the anthology was Johann Christoph Bach, Johann Sebastian's elder brother and father of Andreas. Along with the Möller Manuscript, the Andreas Bach Book represents the earliest major source of the works of J.S. Bach, [1] housing the earliest known copies of the famous Passacaglia and Fugue in C minor, BWV 582 and Fugue in G minor, BWV 578.
The copyists of the book include Johann Christoph Bach, Johann Sebastian Bach, Johann Lorenz Bach, Carl Ferdinand Becker, and various unknown scribes. Styles present in the manuscript range from Sonatas, Overtures, Capriccios, Ballets, Partitas, Arias, and Suites, to free Toccatas, Preludes, and Fantasias, to imitative Fugues, Chaconnes, and Passacaglias. Between the 64 keyboard compositions, the various composers included in the manuscript are J.S. Bach, Georg Böhm, Johann Pachelbel, Dietrich Buxtehude, Johann Kuhnau, Georg Philipp Telemann, Carlo Francesco Pollarolo, Gottfried Ernst Pestel, Johann Adam Reincken, Christian Friedrich Witt, Christian Ritter, Marin Marais, Louis Marchand, Johann Heinrich Buttstett, Johann Caspar Ferdinand Fischer, Johann Georg Küchenthal, and anonymous composers. [2]
1. Johann Sebastian Bach - Fugue in A major, BWV 949
2. Johann Sebastian Bach - Fugue in A major, BWV 949 (later fair copy)
3. Georg Böhm - Suite No. 11 in A minor
4. Johann Sebastian Bach - Toccata in F-sharp minor, BWV 910
5. Johann Pachelbel - Toccata in C major, P.455
6. Johann Pachelbel - Toccata in C major, P.456
7. Dietrich Buxtehude - Prelude in G minor, BuxWV 150
8. Johann Kuhnau - Musicalische Vorstellung einiger biblischer Historien, Sonata I in C major (Fragment)
9. Johann Kuhnau - Musicalische Vorstellung einiger biblischer Historien, Sonata II in G dorian mode
10. Johann Kuhnau - Musicalische Vorstellung einiger biblischer Historien, Sonata III in G major
11. Johann Kuhnau - Musicalische Vorstellung einiger biblischer Historien, Sonata V in F major
12. Johann Kuhnau - Musicalische Vorstellung einiger biblischer Historien, Sonata VI in E♭ major
13. Georg Böhm - Prelude, Fugue, and Postlude in G minor
14. Georg Philipp Telemann - Ouverture in E♭ major, TWV 32:A1
15. Georg Böhm - Suite No. 2 in D major
16. Dietrich Buxtehude - Chaconne in C minor, BuxWV 159
17. Carlo Francesco Pollarolo - Capriccio in D major
18. Gottfried Ernst Pestel - Suite in D major
19. Johann Sebastian Bach - Overture in F major, BWV 820
20. Johann Adam Reincken - Ballet in E minor
21. Johann Adam Reincken - Toccata in G major
22. Georg Böhm - Suite in E♭ major
23. Georg Böhm - Suite No. 1 in C minor
24. Johann Sebastian Bach - Passacaglia and Fugue in C minor, BWV 582
25. Johann Sebastian Bach - Toccata in C minor, BWV 911
26. Dietrich Buxtehude - Fugue in C major, BuxWV 174
27. Johann Sebastian Bach - Toccata in G major, BWV 916
28. Johann Sebastian Bach - Fugue in G minor, BWV 578
29. Johann Pachelbel - Chaconne in D minor, T.204
30. Johann Sebastian Bach - Gott, durch deine Güte, BWV 724
31. Johann Pachelbel - Toccata and Fugue in D minor, T.239
32. Johann Sebastian Bach - Prelude in C minor, BWV 921
33. Johann Sebastian Bach - Fantasia in C minor, BWV 1121
34. Christian Friedrich Witt - Capriccio in E minor
35. Christian Ritter - Sonatina in D minor
36. Johann Sebastian Bach - Aria Variata in A minor, BWV 989
37. Anonymous - Marques et demonstration des agrements
38. Marin Marais - Overture in G major
39. Louis Marchand - Pièces de clavecin, Book 1
40. Johann Heinrich Buttstett - Fugue in E minor
41. Anonymous - Auf meinen lieben Gott
42. Dietrich Buxtehude - Chaconne in E minor, BuxWV 160
43. Christian Ritter - Suite in F# minor
44. Carlo Francesco Pollarolo - Capriccio in C major
45. Johann Sebastian Bach - Fantasia in C major, BWV 570
46. Johann Adam Reincken - Partite diverse sopra l'Aria 'Schweiget mir von Weiber nehmen'
47. Johann Caspar Ferdinand Fischer - Prelude and Chaconne in G major
48. Anonymous - Fugue in G major
49. Anonymous - Fugue in G major (sketches)
50. Johann Georg Küchenthal - Chant berceau in C major
51. Johann Sebastian Bach - Fugue on a Theme by Giovanni Legrenzi, BWV 574b
52. Dietrich Buxtehude - Passacaglia in D minor, BuxWV 161
53. Johann Sebastian Bach - Fantasia and Imitation in B minor, BWV 563
54. Dietrich Buxtehude - O lux beata Trinitas, BuxWV 216
55. Johann Heinrich Buttstett - Prelude in G major
56. Dietrich Buxtehude - Prelude in C major, BuxWV 137
57. Johann Sebastian Bach - Fantasia and Fugue in A minor, BWV 944
58. Anonymous - Fugue in A minor (sketches)
59. Johann Sebastian Bach - Fugue in E minor, BWV 960
60. Anonymous - Sketches in C major (fragment)
61. Anonymous - Fugue in A minor (sketches)
62. Anonymous - Sketches in C major (fragment)
63. Anonymous - Sketches in C major
64. Anonymous - Chorale arrangement (sketch) [2]
Johann Pachelbel was a German composer, organist, and teacher who brought the south German organ schools to their peak. He composed a large body of sacred and secular music, and his contributions to the development of the chorale prelude and fugue have earned him a place among the most important composers of the middle Baroque era.
Dieterich Buxtehude was a Danish organist and composer of the Baroque period, whose works for the organ represent a central part of the standard organ repertoire usually performed at recitals and church services. As a composer who worked in various vocal and instrumental idioms, Buxtehude's style greatly influenced other composers, such as his student Johann Sebastian Bach. Historically, Buxtehude is among the important composers of the mid-Baroque period in Germany.
The Toccata and Fugue in D minor, BWV 565, is a piece of organ music written, according to its oldest extant sources, by Johann Sebastian Bach (1685–1750). The piece opens with a toccata section, followed by a fugue that ends in a coda. Scholars differ as to when it was composed. It could have been as early as c. 1704. Alternatively, a date as late as the 1750s has been suggested. To a large extent, the piece conforms to the characteristics deemed typical of the north German organ school of the Baroque era with divergent stylistic influences, such as south German characteristics.
Johann Adam Reincken was a Dutch/German organist and composer. He was one of the most important composers of the 17th century, a friend of Dieterich Buxtehude and a major influence on Johann Sebastian Bach; however, very few of his works survive to this day.
Johann Kuhnau was a German polymath, known primarily as a composer today. He was also active as a novelist, translator, lawyer, and music theorist, and was able to combine these activities with his duties in his official post as Thomaskantor in Leipzig, which he occupied for 21 years. Much of his music, including operas, masses, and other large-scale vocal works, is lost. His reputation today rests on his Biblical Sonatas, a set of programmatic keyboard sonatas published in 1700, in which each sonata depicted in detail a particular story from the Bible. After his death, Kuhnau was succeeded as Thomaskantor by Johann Sebastian Bach.
The year 1705 in music involved some significant events.
The year 1700 in music involved some significant events.
Passacaglia and Fugue in C minor is an organ piece by Johann Sebastian Bach. Presumably composed early in Bach's career, it is one of his most important and well-known works, and an important influence on 19th and 20th century passacaglias: Robert Schumann described the variations of the passacaglia as "intertwined so ingeniously that one can never cease to be amazed."
Vincent Lübeck was a German composer and organist. He was born in Padingbüttel and worked as organist and composer at Stade's St. Cosmae et Damiani (1675–1702) and Hamburg's famous St. Nikolai (1702–1740), where he played one of the largest contemporary organs. He enjoyed a remarkably high reputation in his lifetime, and had numerous pupils, among which were two of his sons.
The Eight Short Preludes and Fugues, BWV 553–560, are a collection of works for keyboard and pedal formerly attributed to Johann Sebastian Bach. They are now believed to have been composed by one of Bach's pupils, possibly Johann Tobias Krebs or his son Johann Ludwig Krebs, or by the Bohemian composer Johann Caspar Ferdinand Fischer.
Wolfgang Friedrich Rübsam is a German-American organist, pianist, composer and pedagogue.
The 17th century organ composers of Germany can be divided into two primary schools: the north German school and the south German school. The stylistic differences were dictated not only by teacher-pupil traditions and international influences, but also by separate organ building traditions: northern organs tend to have a tower layout with emphasis on the pedal division, while southern and Austrian instruments are typically divided around a window and emphasize manual divisions.
Harald Vogel (1941) is a German organist, organologist, and author. He is a leading expert on Renaissance and Baroque keyboard music. He has been professor of organ at the University of the Arts Bremen since 1994.
Simone Stella is an Italian harpsichordist, organist, composer and producer.
"Vater unser im Himmelreich" is a Lutheran hymn in German by Martin Luther. He wrote the paraphrase of the Lord's Prayer in 1538, corresponding to his explanation of the prayer in his Kleiner Katechismus. He dedicated one stanza to each of the seven petitions and framed it with an opening and a closing stanza, each stanza in six lines. Luther revised the text several times, as extant manuscript show, concerned to clarify and improve it. He chose and possibly adapted an older anonymous melody, which was possibly associated with secular text, after he had first selected a different one. Other hymn versions of the Lord's Prayer from the 16th and 20th-century have adopted the same tune, known as "Vater unser" and "Old 112th".
"An Wasserflüssen Babylon" is a Lutheran hymn by Wolfgang Dachstein, which was first published in Strasbourg in 1525. The text of the hymn is a paraphrase of Psalm 137. Its singing tune, which is the best known part of the hymn and Dachstein's best known melody, was popularised as chorale tune of Paul Gerhardt's 17th-century Passion hymn "Ein Lämmlein geht und trägt die Schuld". With this hymn text, Dachstein's tune is included in the Protestant hymnal Evangelisches Gesangbuch.