517 The fugal subject is taken from the Allabreve. 518 Bach’s instrumental accompaniments are in the Appendix (p. 143). 519 C. P. E. Bach’s collection of his father’s Choral settings was published by Immanuel Breitkopf in four volumes between the years 1784-87. They are all inoluded in Breitkopf and Haertel’s edition (1898) of Bach s “Choralgesänge”; the numerals in brackets in the above list indicate the position of each Choral in that collection. The latter includes also the simple four-part Chorals from the Oratorios and Cantatas; hence the numeration of that volume and B.G. XXXIX. is not uniform. 520 The bracket states the title by which the tune is better known. 521 The Chorals are taken from two sources, Anna Magdalena Bach’s “Notenbuch” (1726; see B.G. XLIII. (2)), and Schemelli’s “Musicalisches Gesang-Buch” (1736), of which Bach was the musical editor. The latter contains sixty-nine melodies (with figured bass), the former seven: one melody (No. 14) is in both collections. The Schemelli tunes are indicated by an S within a bracket after the numeral. One melody (No. 71) is indubitably by Bach himself. It, and others, which may be attributed to him on good evidence, are marked by an asterisk. The seventy-five settings are published in practicable form by the N.B.G. I. (1) and I. (2). 522 Nos. 22 and 23 are the same tune. 523 For a discussion of Bach’s original hymn-tunes see the present writer’s “Bach’s Chorals,” Part II. Introduction, pp. 67 ff. Six more of Bach’s original hymn-tunes are printed there. 524 The first three Arias are published by Novello, and also by the N.B.G. I. (1). 525 In the Royal Library, Berlin. Kirnberger was a pupil of Bach. See section on Variants infra. 526 Novello omits the concluding four-part Choral. 527 The Prelude is also attributed to J. L. Krebs, a pupil of Bach. 528 See section on Variants infra.: 529 Variant, P. bk. 245 p. 106. 530 Ernst Naumann remarks, “Das Stück kann recht gut von Seb. Baoh herrühren.” The text is complete, and the omission of the Prelude from the Novello edition is to be regretted. 531 A transcription of the second Sonata for Solo Violin, in A minor, See B.G. XXVII. (1). 532 A transcription of the third Partita, in E major, for Solo Violin. See ibid. 533 From the third Sonata for Solo Violin, in C major. See ibid. 534 Both Sonatas are arrangements of instrumental Sonatas in J. A. Reinken’s “Hortus Musicus.” See Spitta, i. 430. 535 Both Sonatas are arrangements of instrumental Sonatas in J. A. Reinken’s “Hortus Musicus.” See Spitta, i. 430. 536 After a Sonata movement by J. A. Reinken. 537 After a Fugue by J. C. Erselius. The original is given in Anhang II. of the volume.