488 The D major (No. 3) and G minor (No. 7) Concertos are identical with the Violin Concertos in E major and A minor. See B.G. XXI. (1). No. 6 (F. major) is the fourth Brandenburg Concerto (in G.). See B.G. XIX. no. 4.
489 In a shortened form this work appears also as a Sinfonia in F major. See B.G. XXXI. (1) no. 5, and N.B.G. X. (2).
490 Identical with the G minor Clavier Concerto. See B.G. XVII. no. 7, and also B.G. XLV. (1), Appendix, p. 233.
491 Identical with the D major Clavier Concerto. See B.G. XVII. no. 3, and N.B.G. VIII. (1)
492 Identical with the Concerto for two Claviers in C minor. See B.G. XXI. (2) no. 3.
493 The movement is described as being from “einer unbekannten Kirchencantate” for four voices and Orchestra. The Autograph is incomplete. The movement is not published elsewhere than in the B.G. edition.
494 Identical with the Concerto for 2 Violins, in D minor. See B.G. XXI. (1) no. 3. Also pp. 131, 158, 160, supra.
496 For an exposition of Bach’s design in the “Orgelbüchlein,” see the present writer’s articles in “The Musical Times” for January_March 1917, and “Bach’s Chorals,” Part III. See N.B.G. II. (1) for an arrangement of the Preludes for two pianofortes.
497 See B.G. XLII. for a Clavier version.
498 See B.G. XLII. for a Clavier version.
499 Boosey and Co. also publish an English edition.
500 This is a shortened form of the first Brandenberg Concerto (see B.G. XIX. no. 1). It consists of the Allegro, Adagio, Minuet, Trio I. and Trio II. of the latter, and omits its second Allegro and Polacca.
501 The Appendix contains Joh. Philipp Kernberger’s solutions of the Canons and his expansion of the figured bass of the Clavier part of the Sonata.
502 See publications of the N.B.G. XIV. (2) no. 2.
503 See publications of the N.B.G. XIV. (2) no. 2.
504 Text and music are identical with the version in B.G. XX. (2).
505 Another Allemande to the Suite is in B.G. XXXVI. 217 (also in P.).
506 The subject of the Fughetta is the same as that of Fugue No. 17 in the second part of the “Well-tempered Clavier.”
507 The Prelude is No. 11 in Peters (B.G. xxxvi. 220). The Fughetta is his No. 10. It is the same subject an that of Fugue 16 in the second part of the “Well-tempered Clavier.” An alternative Prelude (P. 214 p. 78) is in the Appendix (p. 220).