Bach Family Organ Music, Student Compositions Misattributed
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Bach Family Organ Music, Student Compositions Misattributed

William L. Hoffman wrote (February 2, 2019):
The previous generation of the Bach family (https://en.wikipedia.org/wiki/Bach_family) had a significant impact on the development of Sebastian in the field of organ music as a composer, teacher, and builder of the "King of Instruments." While he pursued the North German school of organ composition and performing, at the same time his early experiences in Eisenach, Ohrdruf, and Arnstadt with members of the Erfurt dynasty showed the culmination of a half-century of the Thuringian musical family's growing interest in the organ. It was part of an organ tradition flourishing throughout Germany (https://en.wikipedia.org/wiki/German_organ_schools), both in the quality of new organs and the compositions of the two major forms often based on preludes and fugues: non liturgical, instrumentally-based free works involving the trio and toccata and vocally-based liturgical, chorale-driven works culminating in the development of chorale variations and fantasias as liturgical settings in the Lutheran service. Doubtful works previously attributed to Bach and given mostly BWV Anh. (Anhang) designations are now ascribed to early students who had early connections to Sebastian or other members of the Bach Family.

The first two Bachs to have the major impact on Sebastian's apprenticeship were his father, Johann Ambrosius (1645-95, https://en.wikipedia.org/wiki/Johann_Ambrosius_Bach), court and community music director in Eisenach (the heart of Luther country), who taught him the rudiments, and his brother, Johann Christoph (1671-1721, https://en.wikipedia.org/wiki/Johann_Christoph_Bach_(organist_at_Ohrdruf)) organist at St. Michael's church in Ohrdruf and former student of the prominent organist and well-traveled Johann Pachelbel (1653-1706, https://en.wikipedia.org/wiki/Johann_Pachelbel). Ohrdruf is where the young Sebastian lived from 1695 to 1700. Christoph the younger "assembled two of the most important collections of his brother's early keyboard music," says Dorothea Schröder in her new Bach biography,¹ the Andreas Bach Book and the Möller manuscript. Sebastian was part of a new, flourishing generation of the Bach Family that had doubled from eight to 16 the number of professional musicians by 1705, growing with its reputation in the thriving province of Thuringa. This was due to "the high standards of music teaching in central Germany, and of a family network that operated with guild-like efficiency," says Schröder (Ibid.: 18).

In Ohrdruf Bach "acquired much of his specialist knowledge of organs," says Schröder (Ibid.: 24), as he observed the building of a new organ at St. Michael's. The builder, Georg Christoph Stezing proceeded to build the largest organ in Thuringia at St. George's Church in Eisenach and Bach probably was involved in its making at the behest of the organist and his great-uncle Johann Christoph Bach (1643-1703, https://en.wikipedia.org/wiki/Johann_Christoph_Bach). The elder Christoph, who introduced Sebastian to "the rudiments of composition" and to the organ, was the son of Heinrich Bach (1615-1692, https://en.wikipedia.org/wiki/Heinrich_Bach) organist at St. Mary's Church in Arnstadt, and brother of Johann Michel Bach (16480-1694, https://en.wikipedia.org/wiki/Johann_Michael_Bach), organist at Gehren. All three were the most prominent earlier Bach Family members involved in the development of organ compositions in the 17th century. Sebastian would serve as organist at the New Church in Arnstadt from 1703 to 1707, where a new organ was being completed and where Heinrich had served from 1665 until his death in 1692.

Between 1700 and 1702, Bach resided in Lüneberg and recent research has confirmed that he was a student of Georg Böhm (1661-1733, http://www.bach-cantatas.com/Lib/Bohm-Georg.htm) and in 1700 at Böhm's home copied in tablature Johann Adam Reincken's famous chorale fantasia, "An Wassrflüssen Babylon" (https://www.youtube.com/watch?v=dw2lfN_Knn4). Two Böhm chorale partitas on "Vater Unser Im Himmelreich" were originally attributed to Sebastian, BWV 760, and 761 (https://www.youtube.com/watch?v=zMB30cNaov4).

Erfurt Bach Family Organists

Little is known of the numerous works of the patriarchal Erfurt family's Heinrich but his influence on sons Christoph and Michael were formative and significant, says Philipp Spitta in his monumental Bach biography.² Heinrich "was certainly one of the most distinguished organists of his time," says Spitta (Ibid.: 35f). Surviving are only a few of the many settings of his chorales, preludes and fugues, as referred to in Heinrich's burial sermon by Johann Christoph Olearius (1646-1699, https://translate.google.com/translate?hl=en&sl=de&u=https://de.wikipedia.org/wiki/Johann_Christian_Olearius&prev=search\), says Karl Geiringer.³ One of Heinrich's favorite works, a church concerto with a setting of Psalm 71, verse 8, Repleatur os meum laude tua (Let my mouth be filed with thy praise, KJV) was sung at his grave, says Olearius. "No trace can now be found of (this) setting for a large ensemble" "or of the [Pentecost] cantata “Als der Tag der Pfingsten erfüllet war,” "which was among the music left in 1695 on the death of the Lüneburg cantor Friedrich Emanuel Praetorius, says Ulrich Konrad.⁴

The vocal concerto, "Ich Danke dir Gott," for the 17th Sunday after Trinity, is extant, found in the Alt-Bachisches Archiv collection of Sebastian containing primarily vocal concertos and motets beginning in 1735 (https://en.wikipedia.org/wiki/Altbachisches_Archiv#Ich_danke_dir,_Gott,_ABA_II,_1, https://www.carusmedia.com/images-intern/medien/30/3040200/3040200n.gif). A chorale setting of "Erbarm dich mein, o Herre Got" (https://www.youtube.com/watch?v=yVPkWfvPJg4 attributed to Heinrich, is found in the recording "Bach Family: Organ Music" (https://www.prestomusic.com/classical/products/8028295--bach-family-organ-music). It and the hymn "Christ lag in Todesbanden" also attributed to Michael Bach, may be the work of Johann Heinrich Buttstett (1666-1727, https://en.wikipedia.org/wiki/Johann_Heinrich_Buttstett), says Geiringer (Ibid.: 28). This setting is found in the Walther collection of chorales in the Berlin Royal Library under Buttstett 's name, says Spitta (Ibid.: 36). Heinrich Bach's ensemble "Sonata à 5 in F major" (https://www.youtube.com/watch?v=oboW06zqYSw: 5:28, https://www.carusmedia.com/images-intern/medien/30/3041100/3041100x.pdf), shows the stile concertato of contrasts favored by Heinrich and his Thuringian colleagues. Buttstett was a student of Pachelbel and teacher of J. G. Walther. The setting of "In dulci Jubilo," BWV 751, is attributed to Johann Michael Bach or Johann Gottfried Wather (https://www.bach-digital.de/receive/BachDigitalWork_work_00000880?lang=en), and chorale setting, "Gelobet seist du, Jesu Christ," BWV 723, is possibly by Johann Michael (https://www.bach-digital.de/receive/BachDigitalWork_work_00000846?lang=en).⁵

"The biggest omission from the Alt-Bachisches Archiv is keyboard music," observes Stephen Rose in his essay on the collection.⁶ "Many organ chorales survive by members of the Bach Family," including 26 pieces attributed to Johann Michael Bach of Gehren found in the Neumeister Collection (https://en.wikipedia.org/wiki/Neumeister_Collection), as well as three of Christoph the elder, and another collection of 44 pieces of Christoph the elder of Eisenach (https://imslp.org/wiki/44_Choräle_zum_Präambulieren_(Bach%2C_Johann_Christoph) although the latter collection of simple fughettas also is attributed to Christoph the younger of Ohrdruf. The Neumeister collection "was probably copied from a manuscript originally within the Bach family circle," says Rose, although there "is no sign the mature Bach made his 'Neumeister' chorales — his youthful foray into this Thuringian style . . . — available to his pupils." Still, these chorales from Thuringian composers, "show the strongest influence of his ancestors" and "show an intriguing variety of stylistic and formal strategies," says Rose (Ibid.: 227). While the Bach family manuscripts of keyboard chorales are the main evidence of their involvement, by the time Sebastian began compiling the family archive in the late 1730s, his interest was in vocal music, explains Rose (Ibid.: 223) and most of the recordings of the Bach Family emphasize the vocal concertos and motets.

Christoph Bach, Thuringian Style

The only Bach Family free organ work extant is the "Prelude and Fugue in E-flat," BWV Anh. 177 (BG Vol. 36, NBA V/12; https://www.youtube.com/watch?v=wqlClAoGfPU, http://www.free-scores.com/download-sheet-music.php?pdf=31428), of Johann Christoph the elder, previously attributed to Sebastian. It is "incomparable more ambitious" than Christoph's chorale preludes, with its "irregular passagework, divided two hands, stylistically reminiscent of Johann Froberger . . . with its richly chromatic writing and bold harmonies," says Reinmar Emans.⁷

Christoph's chorale settings⁸ are typical of Thuringian style in motet-like, four-part polyphony with dissonances, while Michael Bach's settings have initial, imitative treatment and end-line "echo effect," also found in Neumeister chorale prelude, "Ich hab' mein Sach Gott heimgestellt," BWV 1113 (https://www.youtube.com/watch?v=ujDDbX_HQeo, https://www.bach-digital.de/receive/BachDigitalWork_work_00001299?lang=en) as well as in the 1708 Town Council Cantata 71, "Gott ist mein König" ( God is my King, https://www.youtube.com/watch?v=B93E0DYIMEU). The internal fugue construction "is as intricate as that of the chorale preludes is loose," says Geiringer (Ibid.: 60), with four real parts, strong rhythmic motion, "an interesting chromatic theme (is) effectively harmonized, and the modulations are logically planned. It is not surprising that the powerful composition was long considered as a work of then young Johann Sebastian."

Christoph the elder is considered the finest Bach Family composer before Sebastian. "He was in many respects a forerunner," having similar traits, observes Geiringer (Ibid.: 37). The works have a profundity and creative originality while the man possessed a "fighting spirit stubbornness, and a lack of diplomacy in his dealings with his superiors." There "was one tragic difference." Sebastian "had the driving power to start a new life" "beneficial to his development and career" while an era before Christoph was bound by the stricter "conceptions of his family and his generation." He stayed in Eisenach for 38 years "where his art found little recognition and even his performances suffered from an inadequate instrument." His compositions and those of brother Michael "are to each other as promise and fulfillment," says Geiringer (Ibid.: 39). Except for Michael's chorale preludes, Christoph "was the more successful."

Central German Organ School

This generation of the Bach Family living in Thuringia was part of the lesser-known central German organ school, eclipsed by the extensive north German school in which they are often classified, and the smaller south German school (https://en.wikipedia.org/wiki/German_organ_schools). The celebrated and more highly influential northern group from which Bach directly learned in composition and performance after his initial experience with his family, was characterized by both Italian compositional devices and a long history originating with the Dutch school, while later also absorbing French styles and perfecting the prelude form and the extended development of fantasia/variations with the stylus fantasticus (https://en.wikipedia.org/wiki/Stylus_fantasticus), the extensive music greatly enhanced by large and diverse instruments. The South German Organ School was the early gateway in which the Italian influences of the toccata and motet flowed north, reversing the flow that had begun in the Middle Ages when the Burgundian composers moved south to France and then Italy. The southern school was characterized by melody, harmonic clarity and sound, with the genre emphasis on ostinato variation forms: chaconnes and passacaglias.

The central German organ school lacked a strong tradition while, being in Luther country, its organists pursued the unique genre of the chorale prelude (https://en.wikipedia.org/wiki/Chorale_prelude), introducing the congregational hymns while showing less interest in the developing, free-form compositions. There were no great beacons in middle Germany as there were north and south, with the exception of Johann Pachelbel, who perfected a style and popularity in central and south Germany (see https://en.wikipedia.org/wiki/Johann_Pachelbel), influenced by southern German, Catholic composers. He preferred a lucid, uncomplicated contrapuntal style that emphasized melodic and harmonic clarity, while exploring many variation forms. "Pachelbel's influence was mostly limited to his pupils, most notably Johann Christoph Bach, Johann Heinrich Buttstett, Andreas Nicolaus Vetter, and two of Pachelbel's sons, Wilhelm Hieronymus and Charles Theodore.," says Wikipedia.

Johann Gottfried Walther, Bernhard Bach

Another prominent figure in central Germany was Johann Gottfried Walther (1684-1748, http://www.bach-cantatas.com/Lib/Walther-Johann-Gottfried.htm), a distant member of the Bach Family and student of Buttstett and Johann Bernhard Bach. Working with Sebastian in 1713-14, Walther produced transcriptions of violin concertos for organ, including those of Weimar Prince Johann Ernst, who was a student. He composed 290 chorale preludes, including chorale variations, partitas, and chaconnes, and some keyboard music. Walther works originally attributed to Bach are the following chorale preludes: "Ach Gott und Herr," BWV 692, and "Ach Gott und Herr, BWV 693" (https://www.youtube.com/watch?v=WKALByC-W7Y); "Gott der Vater wohn uns bei, BWV 748" (https://www.youtube.com/watch?v=4yrSHSIKyNw); and "Nun lob, mein Seel, den Herren," BWV Anh 60 (Emans 144, https://www.youtube.com/watch?v=ApcWTN9GMdU). "According to Walther, Bach presented him with no less than 200 compositions, partly his own, and partly Böhm's and Buxtehude's," says Geiringer (Ibid.: 149). Buxtehude's chorale fantasia, "Nun freut euch lieben Christen gmein, BuxWV 210 (https://www.youtube.com/watch?v=CQG4UVRgs6s), exists in "a copy prepared by the Weimar town organist Johann Gottfried Walther around 1711," say Peter Wollny and Michael Maul,⁹ who discovered in 2005 in the Anna Amalia Library in Weimar a c1700 Bach autograph tablature of organ works that includes chorale settings of Pachelbel and Johann Adam Reincken, the latter ("An Wassrflüssen Babylon"), was copied by Bach (https://www.prestomusic.com/sheet-music/products/7164839--bach-js-weimar-organ-tablature-j-s-bachs-earliest-music-manuscripts-and-copies-by-his-pupil-johann). "On the basis of this discovery we may assume that the large number of organ works by north German composers, such as Reincken, Buxtehude, Bruhns and Böhm, that turned up one nor two decades later in anthologies compiled by Bach's alder brother Johann Christoph and by his cousin Johann Gottfried Walther derive ultimately from his own earlier activities as a collector," says Peter Wollny.¹⁰

Walther also copied chorale preludes of his teacher, Bernhard Bach (1676-1749, http://www.bach-cantatas.com/Lib/Bach-Johann-Bernhard.htm, http://partitura.org/index.php/bach-johann-bernhard/), says Geiringer (Ibid.: 99). Bernhard composed chorale preludes in various formats, including the chorale partita on "Du Friedefürst, Herr Jesu Christ," as well as skilled variation studies such as the 20-variation "Chaconne in B-Flat" (https://www.youtube.com/watch?v=oboW06zqYSw) with instrumental ensemble. Bernhard had studied with Bach from 1715 to17219 had a close, long-time relationship and the former's early partitas show the influence of the latter's style, most notably in the chorale bicinium, "Jesus, Jesus, nichts als Jesus" (https://www.youtube.com/watch?v=Hp_s0zu88QM), from Sebastian's partita, "Sei gegrüsset Jesu, gütig," BWV 768 (https://www.youtube.com/watch?v=zMwzNHVpdUU).

Besides Walther, Buttstett, and Pachelbel, the members of the nominal Central German Organ School, having resided there in central Germany, included the following (with profile and music), listed in the North group: Bach Family, Johann Ludwig Krebs (1730-1780, http://www.bach-cantatas.com/Lib/Krebs-Johann-Ludwig.htm, http://partitura.org/index.php/krebs-johann-ludwig/) and Johann Tobias Krebs (1690-1762, http://www.bach-cantatas.com/Lib/Krebs-Johann-Tobias.htm, http://partitura.org/index.php/krebs-johann-tobias/), Adam Krieger (1634-1666, http://www.bach-cantatas.com/Lib/Krieger.htm), Nicolaus Adam Strungk (1640-1700, http://www.bach-cantatas.com/Lib/Strungk-Nicolaus-Adam.htm), Andreas Nicholas Vetter (1666-1734, https://en.wikipedia.org/wiki/Nicolaus_Vetter) and Friedrich Wilhelm Zachow (1663-1712, http://www.bach-cantatas.com/Lib/Zachow-Friedrich-Wilhelm.htm). The South German Organ School group includes: Johann Philipp Krieger (1651-1735, http://www.bach-cantatas.com/Lib/Krieger-Johann.htm) and Christian Michael (c1593-1637, https://en.wikipedia.org/wiki/Christian_Michael).

Bach Students, Misattributions

Johann Ludwig Krebs, who studied with Sebastian in Leipzig, composed works previously attributed to Sebastian: "Prelude for organ in C major," BWV 567" (Krebs -WV 401, https://www.youtube.com/watch?v=eE5ceWOzBbs; "Chorale Prelude for organ, 'Wir glauben all' an einen Gott, Vater (IV)'," BWV 740 (Krebs-WV 554c, https://www.youtube.com/watch?v=I3TxHJyv8z0); "Sanctus in F," BWV Anh 27 (https://translate.google.com/translate?hl=en&sl=de&u=https://www.bach-digital.de/receive/BachDigitalWork_work_00001335&prev=search); "Fugue for keyboard in F sharp major," BWV Anh 97 (https://www.sheetmusicplus.com/title/fugue-bwv-anh-97-arrangement-for-4-recorders-digital-sheet-music/20228842?ac=1); "Chorale Prelude for organ, 'Herr Jesu Christ, dich zu uns wend,' BWV Anh 172>Emans 97 ; and "Fugue for keyboard in A minor," BWV Anh 181.

Johann Tobias Krebs, who studied in Weimar with Walther and Bach, has been suggested as the composers "Eight Short Preludes and Fugues," BWV 553-560 (https://en.wikipedia.org/wiki/Eight_Short_Preludes_and_Fugues, https://www.youtube.com/watch?v=6ruABbCt2Mk). More recent research of George Stauffer suggests that this pedagogical music has many stylistic shortcomings not found in Sebastian after 1708 while displaying features dating later such as galant style, da capo aria form, stylistic diversity, and "smooth" "classical tunefulness," "qualities pointing to an experienced, if contrapuntally casual, composer, writing after 1720 or so."¹¹ Stauffer outlines qualities that are the mark of a skilled composer but not a Bach student who would have been taught strict counterpoint but suggests a "nearby Central German colleague" such as Gottfried Heinrich Stölzel (1690-1749, http://www.bach-cantatas.com/Lib/Stolzel-Gottfried-Heinrich.htm) or Christian Petzoldt (1677-1733, http://www.bach-cantatas.com/Lib/Petzold-Christian.htm). Stölzel "seems to have worked closely with Bach in Leipzig, almost in the fashion" of J. G. Walther in Weimar, says Stauffer. Further, Bach in the late 1740s could have copied the music into a clavier-book for his youngest sons, Johan Christoph Friedrich or Johann Christian, without attribution, as was done in the earlier Friedemann and Anna Magdalena notebooks, a suggestion from Christoph Wolff, Leupold consulting editor, to Stauffer, general editor. Two of Petzoldt's Keyboard Menuets, in G Major and G minor, were previously attributed to Sebastian, BWV Anh. 114 and 115 — both popular pieces in the Anna Magdalena Little Notebook (https://www.youtube.com/watch?v=69nsQAZ2DnQ, https://www.youtube.com/watch?v=iqS2_KsFuSs).

Daniel Vetter (1657/8-1721), orat the Leipzig Nicholas Church from 1679 until his death (http://www.bach-cantatas.com/Lib/Vetter-Daniel.htm) and author of the chorale "Liebster Gott, wenn werd ich sterben" (http://www.bach-cantatas.com/CM/Liebster-Gott.htm), set by Bach as chorale Cantata BWV 8 (https://www.youtube.com/watch?v=Hfkq-S7Vis8) and Schemelli Gesang, BWV 483. Vetter also composed chorales originally attributed to Sebastian but doubtful, BWV Anh. 201-204 (BWV2, NBA III/2.2): " Du Friedefuerst, Herr Jesu Christ," "Gott hat das Evangelium," "Ich hebe meine Augen auf, " and "O Traurigkeit, o Herzeleid," which first appeared in Birnstiel's 1765 Bach four-part chorale collection, with commentary from Friedrich Smend on Bach's oldest chorale collection in the Bach Jahrbuch 1966: 5ff.

Two Bach students in Weimar who became organists after Bach there are Johann Martin Schubart (1690-1721, http://www.bach-cantatas.com/Lib/Schubart-Johann-Martin.htm) and Johann Kaspar Vogler (1696-1763, http://www.bach-cantatas.com/Lib/Vogler-Johann-Caspar.htm). Vogler's chorale prelude, "Jesu Leiden, Pein und Tod," BWV Anh. 57 (https://www.youtube.com/watch?v=dfEqlNmqqZE, https://imslp.org/wiki/Jesu_Leiden,_Pein_und_Tod,_BWV_Anh.57_(Bach,_Johann_Sebastian), https://www.bach-digital.de/receive/BachDigitalWork_work_00001365) is modeled on "O Mensch, bewein dein Sünde groß," BWV 622, in Bach's Orgelbüchlein, https://www.youtube.com/watch?v=JrxvukGJ46Q). The music of BWV Anh. 57 is described as a "breathtakingly beautiful and caressingly ornate chorale prelude," by Kevin Bowyer (http://www.bach-cantatas.com/NVP/Bowyer.htm: R-16).

Sebastian also trained in Weimar two young kinsman: Johann Lorenz (1695-1773, https://en.wikipedia.org/wiki/Johann_Lorenz_Bach) and Johann Bernard (41, 1700-1743, https://books.google.com/books?id=ywcAtmEreWQC&pg=PA9&lpg=PA9&dq=Johann+Bernhard+Bach+41&source=bl&ots=Adna5SjL1m&sig=ACfU3U3FtFh6Lzd8AdO8AhyV1_-_QtRBrA&hl=en&sa=X&ved=2ahUKEwjdh5HqhZngAhWQn4MKHX2bCmAQ6AEwFHoECAsQAQ#v=onepage&q=Johann%20Bernhard%20Bach%2041&f=false), son of Johann Christoph the younger.

Ernst Ludwig Gerber (1746-1819, https://en.wikipedia.org/wiki/Ernst_Ludwig_Gerber), a scholarly writer like J. G. Walther and son of Bach student Heinrich Nicolas Gerber (1702–1775, http://www.bach-cantatas.com/Lib/Gerber-Heinrich-Nicolaus.htm), owned a manuscript (now lost) from a Bach family member with more than 200 chorale melodies, including 72 by Johann Michael, eight by Johann Christoph, and settings of Sebastian, Johann Ludwig and Thuringians such as Buttstett, says Rose (Ibid.: 223)

FOOTNOTES
¹ Dorothea Schröder, "1695-1702, Apprenticeship in Ohrdruf and Lüneburg," in Bach: The Life (Bach 333, Berlin, Deutsche Grammophon, 2018: 23f).
² Philipp Spitta, Book I, Bach's Ancestors, Chapter III, "Heinrich Bach and his sons," in Johann Sebastian Bach; trans. Clara Bell, J. A. Fuller-Maitland (London: Novello, 1889: I: 27ff)
³ Karl Geiringer, The Bach Family: Seven Generations of Creative Genius (New York: Oxford University Press, 1954: 28)
⁴ Ulrich Konrad, "Heinrich Bach the composer," Eng. trans. John Coombs, Heinrich Bach "Zwei Sonaten à 5" (Sttutgart: Carus, 1996: 5 (https://www.carusmedia.com/images-intern/medien/30/3041100/3041100x.pdf). While Heinrich's setting of “Da Jesus an dem Kreuze stund” is accepted there "is some doubt concerning Heinrich Bach’s authorship of the lamento “Ach dass ich Wassers g’nug hätte“ and the aria “Nun ist alles überwunden,” says Konrad.
⁵ See Michael Bach organ chorales, Carus https://www.carus-verlag.com/en/choir/choral-music-by-liturgical-year/bach-j-m-the-complete-organ-chorales.html; and his chorale settings in the Neumeister collection, https://www.google.com/search?q=Neumeister+Michael+Bach+chorales+YouTube&client=safari&rls=en&ei=64hPXOS3K4S80wKYhqXQAg&start=0&sa=N&ved=0ahUKEwik2frXyZHgAhUE3lQKHRhDCSo4ChDy0wMIXA&biw=1440&bih=709.
⁶ Stephen Rose, Part III, Musical Influences, "The Alt-Bachisches Archiv," in The Routledge Research Companion to Johann Sebastian Bach, ed. Robin A. Leaver (London & New York: Routledge, 2017: 222; https://books.google.com/books?id=SCklDwAAQBAJ&pg=PA223&lpg=PA223&dq=ernst+ludwig+gerber+1791+list+of+Bach+works&source=bl&ots=Qajh8ne-Mz&sig=ACfU3U30Sx3WoMfBcF4kATtnVCzno0ckGA&hl=en&sa=X&ved=2ahUKEwiNs72Uj5LgAhUL6YMKHTuTCogQ6AEwB3oECAIQAQ#v=onepage&q=ernst%20ludwig%20gerber%201791%20list%20of%20Bach%20works&f=false. Scores of the music of the German Organ School are available at Partitura Organum, http://partitura.org/index.php/composers/
⁷ Reinmar Emans, "The Bach Family Organ Works," trans. Stewart Spencer, liner notes, http://www.arkivmusic.com/classical/album.jsp?album_id=23322: No. 7 (p.7).
⁸ Johann Christoph Bach chorale recordings, https://www.google.com/search?client=safari&rls=en&ei=LPxQXLmXMqHWjgT85q_oDQ&q=Johann+Christoph+Bach+chorales+YouTube&oq=Johann+Christoph+Bach+chorales+YouTube&gs_l=psy-ab.12..33i299.9823.13568..16612...0.0..0.212.1119.0j7j1......0....1..gws-wiz.kiLHKHuHmLM.
⁹ Peter Wollny, Michael Maul, "Bach as a Child Prodigy," from "In the Footsteps of the Young Bach," in Bach 333, J. S. Bach, the New Complete Edition: Bach Life, Essays (Leipzig Bach Archive), Berlin: Deutsche Grammophon, 2018: 107 ( https://www.prestomusic.com/classical/products/8469462--bach-333-the-new-complete-edition).
¹⁰ Peter Wollny, "Bach the European," in Bach: The Life (Bach 333, Berlin, Deutsche Grammophon, 2018: 111).
¹¹ George Stauffer, Introduction, The Complete Organ Works, Volume 1A, Pedagogical Works (Colfax NC: Wayne Leupold Editions: 2012: xiv; http://www.wayneleupold.com/the-complete-organ-works-volume-1a-standard.html, see "More Views").