284 In A minor (P. bk. 260). This is not an original composition, but is an arrangement by Bach of a Vivaldi Concerto for four Violins. Spitta (iii. 149) assigns it to the same period as the Concertos for three Claviers, c. 1733. See B.G. XLIII. (1) infra.
285 The pedal on the small German Organ had only the compass of an octave.
286 The Great Preludes and Fugues are, with one exception, in B.G. XV. The Prelude and Fugue in E flat was published by Bach in the third Part of the _Clavierübung._ Its Fugue is known as the “St. Anne’s.”
287 From the figures printed by Forkel the twelve can be identified as follows (the references in parentheses are to the Novello edition of Bach’s Organ works):
Prelude and Fugue in C minor, the “Great” (bk. vii. 64). Prelude and Fugue in A minor, (bk. vii. 42). Prelude and Fugue in G major, (bk. viii. 112). Prelude and Fugue in E minor, (bk. viii. 98). Prelude and Fugue in B minor, (vii. 52). Prelude and Fugue in C major, (bk. ix. 156). Prelude and Fugue in D minor, (bk. ix. 150). Prelude and Fugue in C major (bk iii. 70). Tocatta and Fugue in D minor (bk. x. 196). Tocatta and Fugue in F major (bk. ix. 176). Prelude and Fugue in G minor (bk. viii. 120). Prelude and Fugue in E minor (bk. ii. 44).
288 The Passacaglia in C minor (Novello bk. 10 p. 214) was written originally for the Clavicembalo and pedal. It belongs to the later Weimar period, i.e. circ. 1715. See Spitta, i. 588 and Schweitzer, i. 280.
289 They are all printed in Novello bk. 19, and are three in number, on the melodies “Christ, der du bist der helle Tag”, “O Gott, du frommer Gott,” and “Sei gegrüsset, Jesu gütig.” The pedal is only required in one movement of the first, in none of the second, and considerably in the third. Without question all three date from Bach’s earliest period, but whether they were written at Arnstadt or Lüneburg cannot be stated.
290 The fullest collection of these miscellaneous Organ Choral Preludes is in B.G. XL. Not counting variant readings they number fifty-two, besides two fragments and thirteen of doubtful authenticity, of which two are sets of Variations. The Novello edition contains fifty-two in bks. 18 and 19. To these must be added the “Eighteen” Preludes on Choral Melodies, which Forkel nowhere mentions, as well as the third Part of the _Clavierübung,_ the _Schübler Chorals,_ and the Variations on _Vom Himmel hoch,_ to which he has already made reference in the first section of this chapter. As he does not mention it specifically, it is to be inferred that Forkel was ignorant of the existence of the _Orgelbüchlein_; otherwise he could hardly have failed to introduce it in this section. All Bach’s Choral Preludes, miscellaneous and in collections made by himself, are in Novello’s edition, bks. 15-19. A useful key to their melodies is provided by bk. 20. For more detailed information see Terry, _Bach’s Chorals,_ Part III.