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Type | List | Title [further info] | Series | Vol | No | Year | Pages | Status |
---|---|---|---|---|---|---|---|---|
1. | To the editor of the 'Musical World'. | MWorld | 40 | 30 | 473-474 | |||
2. | Amsterdam. Orgelconcert, gegeven door den heer Van Eyken in de Nieuwe Kerk, op vrijdag den 21. mei 1847, 's avonds te 6 ure. | Caecilia | 4 | 13 | 142-143 | |||
3. | Desâtye Bahovskie èteniâ v Sankt-Peterburge. | Musicus(Russia) | 4:13 | 66-67 | ||||
4. | A French overture revisited: another look at the two versions of BWV 831. | EarlyM | 25 | 1 | 47-58, 60-61 | |||
5. | Bach's tempo practices: tempo changes. | [p]BICB_Manchester | ||||||
6. | Bach's tempo practices, the tempo theories of his time -- and ours. | OrbisMusicae | 13 | 81-90 | ||||
7. | J.S. Bach's wedding quodlibet, BWV 524. | MinAd | 13 | 51-61 | ||||
8. | On Bach's Rhythm and Tempo. | BochumArbMw | 4 | 232p | ||||
9. | Studies of Rhythm and Tempo in the Music of J. S. Bach. | diss. | xv, 318p | |||||
10. | The Baroque upbeat: outline of its typology and evolution. | IrishMStud | 8 | 17-28 | ||||
11. | Nekotorye voprosy tematizma i formy skripichnyh koncertov I. S. Baha. | VoprosyTM | 3 | 237-271 | ||||
12. | Einmaliger Orgelfund in Breslau: Orgel des Bach Zeitgenössen--Adamo Orazio Casparini mit barocker Doppel-Stimmung entdeckt. | Organ(Mainz) | 3 | 1 | 46-48 | |||
13. | Handel and Bach: | MStandard | 13 | 312 | 28 | |||
14. | Middelburg. Orgel-concert ten behoeve der Diakonie-armen, gegeven door den heer Labrant. | Caecilia | 5 | 7 | 63 | |||
15. | 'Seimei' no Ongaku. | BachZenshu | 11 | 110-117 | ||||
16. | Johann Sebastian Bachs vierstimmige Choralgesänge. Erster Theil. Leipzig bey Breitkopf. 1784. gr. 4. 54 Seiten. | AllgDBib | 64 | 2 | 458-459 | |||
17. | 'Kak horoso, cto Bah opjat' stal zloboj dnja' | Fortepiano | 1 | 16-17 | ||||
18. | Bach: An environment for computer-aided composition in Max. | [cr]ICMC2012 | 373-378 | |||||
19. | Real-time computer-aided composition with bach. | ContempMReview | 32 | 1 | 41-48 | |||
20. | Anleitung zur Singkunst. | xvi, 239p | ||||||
21. | Anleitung zur Singkunst [1757]. | xvi, 239p | ||||||
22. | Anleitung zur Singkunst [1757]. | xxix, 283p | ||||||
23. | Anleitung zur Singkunst (1757, Faksimile-Nachdruck). | xxxviii, xvi, 239, 44p | ||||||
24. | [Bachs Forderungen für die Anlage der Klaviatur] | [ce]MMechOrganoedi | 2 | 23-24 | ||||
25. | [Bachs Urteil über die Orgel der Hamburger Katharinenkirche] | [ce]MMechOrganoedi | 1 | 66, 187, 288 | ||||
26. | [Bachs Urteil über die Orgel der Leipziger Johanniskirche] | [ce]MMechOrganoedi | 1 | 251 | ||||
27. | [Bachs Urteil über Silbermanns Pianoforte] | [ce]MMechOrganoedi | 2 | 116-117 | ||||
28. | Barokku no Seigakugiho. Tozui no Kashoho yori [1757] | 170p | ||||||
29. | [Bauart von Bachs Lautenklavier] | [ce]MMechOrganoedi | 2 | 139 | ||||
30. | Introduction to the Art of Singing. | ix, 298p | ||||||
31. | [Johann Ludwig Krebs als Schüler Bachs] | [ce]MMechOrganoedi | 1 | 287 | ||||
32. | Johann Sebastian Bachs vierstimmige Choralgesänge / Zweyter Theil. [No.101-200] | Choralgesänge(1) | 2 | 53-104 | ||||
33. | Kashogeijutsu no Tebiki [1757] | xvi, 376p | ||||||
34. | Musikalisches Magazin in Sonaten, Sinfonien, Trios und andern Stücken für das Clavier bestehend. Erster und zweyter Theil. Leipzig bey Breitkopf. | AllgDBib | 2 | 1 | 267-270 | |||
35. | Phillis und Thirsis, eine Cantate in Musik gesezt von C. P. E. Bach. Berlin bey Winter 2 B. Folio. / Erfindungsreich, fremd; aber, zumal für ein so kurzes Stük, an einigen Stellen nicht sliessend genug für die Singstimme. / Georg Simon Löhleins Clavier-Schule, oder kurze und gründliche Anweisung zur Melodie und Harmonie, durchgehends mit praktischen Beyspielen erkläret, Leipzig und Züllichau auf Kosten der Waisenhaus- und Fronmannischen Buchhandlung. 1765. 1 Alph. 2 Bog. in Querquart. | AllgDBib | 10 | 1 | 241-243 | |||
36. | Sammlung einiger Nachrichten von berühmten Orgelwerken in Teutschland mit vieler Mühe aufgesetzt von einem Liebhaber der Musik. Breslau, verlegts Carl Gottfried Meyer. 1757. 14 Bogen in 4t. | HistKritBeytrAufnahmeM | 3 | 6 | 486-518 | |||
37. | Variirte Choräle, für die Orgel, von Johann Christoph Oley. Quedlinburg, bey Christoph August Reußner. 1773. 6 Bogen in lang Folio. | AllgDBib | 22 | 2 | 531 | |||
38. | Der Nekrolog auf Johann Sebastian Bach [1754]. | [36p] | ||||||
39. | Musica Instrumentalis Deutsch. | 295p | ||||||
40. | Illustrirte Ausgabe erlesener musicalischer Meisterwerke. Bach, Händel, Gluck, Haydn, Mozart, Beethoven. Sehr elegant und billig, durch Bild und Wort illustrirt. Die Noten in Metall gestochen, nicht Typendruck. Verlag von A. Gumprecht in Leipzig. ... | NiederrheinMz | 6 | 41 | 328 | |||
41. | Bach und die Rhetorik. | OMzs | 9 | 11 | 342-345 | |||
42. | Zur Aufführungspraxis der Bachschen Cembalowerke. | OMzs | 9 | 3 | 71-77 | |||
43. | St. Matthew Passion [Bach Choir's Eastertide performance] | MTimes | 94 | 1323 | 228-229 | |||
44. | The Bach Choir. | MTimes | 64 | 962 | 274 | |||
45. | BCJ to Kobe Water. | BCJ | 43 | 40-41 | ||||
46. | BCJ Creators. Dai-14-Kai: Hana Blažíková (soprano). | BCJ | 82 | 32-37 | ||||
47. | BCJ Creators. Dai-15-Kai: Rachel Nicholls (soprano). | BCJ | 83 | 30-35 | ||||
48. | J. S. Bach no France-fu Courante to Buto no kakawari ni tsuite. | BigakuBijutsushiRonshu | 20 | 37-66 | ||||
49. | Johann Sebastian Bach Sakkyoku 'Matai Junankyoku'. | FerrisStud | 1 | 18-41 | ||||
50. | Johann Sebastian Bach Sakkyoku 'Yohane Junankyoku'. | FerrisStud | 1 | 2-17 | ||||
51. | J. S. Bach 7-Ban Shobu. Bach vs. Scarlatti. | [ce]Daremoiwanakatta | 166-179 | |||||
52. | Bach: Kantata 147 Ban (BWV 147) | FerrisStud | 1 | 50-53 | ||||
53. | Bach Zuiso. | 273p | ||||||
54. | Bach, Seb. Grandes Suites, dites Suites Anglaises p. Clav. No.II in D min. 16 Gr. | AllgMlZ | 14 | Intel 11 | [49-50] | |||
55. | Kongress-Bericht. Gesellschaft für Musikforschung, Lüneburg 1950. | [cr]Lüneburg1950 | 248p | |||||
56. | Ricardo Gallén y las suites para laúd de Bach. | Ritmo | 85 | 874 | 48-49 | |||
57. | Nekotorye osobennosti tematizma passakalii barokko. | [ce]SemantikaStarinnogoUrteksta | 54-70 | |||||
58. | Basso-ostinato i ego rol' v tekstovoj organizacii instrumental'noj muzyki Zapadnoevropejskogo barokko. | |||||||
59. | Hrn. d' Alembert, ..., Systematische Einleitung in die musicalische Setzkunst, nach den Lehrsätzen des Herrn Rameau. | 136p | ||||||
60. | Rameau shi no Genri ni motozuku Ongaku Riron to Jissen no Kiso. | 272p | ||||||
61. | Élémens De Musique, Theorique Et Pratique, Suivant Les Principes De M. Rameau. | xvi, 171p | ||||||
62. | Villa-Lobos: Des sources de l'oeuvre aux échos contemporains. | [ce]Villa-Lobos | 274p | |||||
63. | Miscellaneorum de Musica Concentus. Karl Heller zum 65. Geburtstag am 10. Dezember 2000 | [fs]Heller65 | viii, 281p | |||||
64. | Prismas: Bach y el cine. | Scherzo(Spain) | 211 | |||||
65. | Osobennosti fug v sonatah I.-S. Baha: Vzaimodejstvie polifonièeskih i gomofonièeskih principov formoobrazovanija. | diss. | 23p | |||||
66. | Convention in Eighteenth- and Nineteenth-Century Music: Essays in honor of Leonard G. Ratner. | FestschriftSer | 10 | xxi, 548p | ||||
67. | Carlos Seixas. The Development of the Keyboard Sonata in Eighteenth-Century Portugal. A Lecture Recital together with three Recitals of selected Works of Johann Sebastian Bach... | diss. | 24p | |||||
68. | Desenvolvimento de uma ferramenta computacional para análise harmônica em alto nível de corais de J. S. Bach. | Opus | 21 | 3 | 209-230 | |||
69. | Das Glasperlenspiel: Música, matemática e cultura entrelaçados na visão de Hermann Hesse. | MContexto | 7 | 1 | 124-143 | |||
70. | Um modelo de realização de baxo contínuo: 2º movimento da sonata em Si menor BWV 1030 para flauta e cravo obbligato de J.S. Bach. | MusicaHodie | 6 | 1 | 23-34 | |||
71. | Corpos em tensão: feminino, masculino e barroco no espetáculo Bach. | RevistaEstudosFeministas | 11 | 1 | ||||
72. | 12-tone Bach. | MTimes | 150 | 1908 | 5 | |||
73. | John Sebastian Bach (From Grove's 'Dictionary of Music and Musicians'). | DwightJM | 37 | 24 | 187-188 | |||
74. | John Sebastian Bach (From Grove's 'Dictionary of Music and Musicians'. Concluded from page 188). Bach-Gesellschaft. | DwightJM | 37 | 25 | 193-195 | |||
75. | Orgel oder Instrument Tabulaturbuch. | 7, 213, 2p | ||||||
76. | Music and Artificial Intelligence, Second International Conference, ICMAI 2002, Edinburgh, Scotland, UK, September 12-14, 2002, Proceedings. | [cr]ICMAI 2002 | viii, 206p | |||||
77. | The influence of expectancy on harmonic perception. | PsychoMcol | 11 | 1 | 3-14 | |||
78. | Il giovane Mendelssohn: Atti del Convegno internazionale di studi (Perugia, Conservatorio 'F. Morlacchi', 4-5 dicembre 2009). | [cr]Perugia2009 | 248p | |||||
79. | Misa - Reihaishiki ni tsuite. | BachAkadJapan | 90-94 | |||||
80. | Bach. | MTimes | 103 | 1430 | 242 | |||
81. | Germans as the 'people of music': Genealogy of an identity. | [ce]MGermanNatIdentity | 1-35 | |||||
82. | Music and German national identity. | [ce]MGermanNatIdentity | x, 319p | |||||
83. | Additional accompaniments to Bach's and Haendel's scores. | DwightJM | 38 | 12, 13 | 297-298; 306-307 | |||
84. | Additional accompaniments to Bach's and Haendel's scores [Robert Franz] ('Atlantic Monthly' for September). | DwightJM | 38 | 11 | 291-292 | |||
85. | Bach-biting. | DwightJM | 39 | 988 | 36-37 | |||
86. | Musicians and music-lovers, and other essays. | 346p | ||||||
87. | The history of music. Mr. William F. Apthorp's lectures before the Lowell Institute (IV) From Bach and Handel to Beethoven. | DwightJM | 41 | 1043 | 56-57 | |||
88. | Concerto kara Kyokai Kantata e no Michi: Dresden Kyutei ni okeru 2ri no Italia-jin Gakucho ni tsuite. | [fs]Sumikura70 | 125-135 | |||||
89. | Doitsu ni okeru 17-Seiki Zenhan no Tsuso Teion Soho ni kansuru Shiron: Luther-ha no Shukyoteki Seigaku Sakuhin no Baai. | OngakuGaku | 44 | 1 | 1-15 | |||
90. | Johann Sebastian Bach Sakkyoku Kantata Dai-123-Ban 'Aisuru Imanuel, Shinko atsuki Mono no Shogun yo' ni tsuite. | FerrisStud | 1 | 42-45 | ||||
91. | J.P. Kirnberger no Ongaku Riron -- 'Die Kunst des reinen Satzes in der Musik' o Chushin ni. | OngakuGaku | 19 | 1 | 1-12 | |||
92. | Seiji, Keizai, Shukyo, Geijutsu -- Dresden to Leipzig no Baai. | BCJ | 36 | 10-14 | ||||
93. | From J.C. Bach to Hip Hop: Musical Borrowing, Copyright and Cultural Context. | NorthCarolinaLawReview | 84 | 2 | 547-645 | |||
94. | Bach no Klavierkyoku Kaishakujo no Shomondai (1). | DoshishaJDGK | 23 | 3 | 610-630 | |||
95. | Bach no Klavierkyoku Kaishakujo no Shomondai (2): tempo. | DoshishaJDGK | 24 | 3 | 384-392 | |||
96. | Bach no Klavierkyoku Kaishakujo no Shomondai (3): Soshokuon. | DoshishaJDGK | 25 | 3 | 435-462 | |||
97. | Bach no Klavierkyoku Kaishakujo no Shomondai (4): rhythm | DoshishaJDGK | 26 | 3 | 284-310 | |||
98. | Bach no Ongaku ni okeru Shochosei. | DoshishaJDGK | 27 | 3 | 219-247 | |||
99. | Friedemann Bach no tame no Clavier Shokyokushu. | DoshishaJDGK | 19 | 151-196 | ||||
100. | J. S. Bach France jokyoku ni kansuru ichikosatsu. | DoshishaJDGK | 18 | 314-329 | ||||
101. | Mattheson no Chosei Byosha, Bach no Clavier Sakuhin to no Kanren. | DoshishaJDGK | 20 | 19-42 | ||||
102. | Nanki Ongaku Bunko. | |||||||
103. | Der leidende Jesus oder Hundert fürtreffliche Anmerckungen, uber die Geschichte von dem Leiden und Tode unsers Seeligmachers: Aus dem Lateinischen Henrici Müllers. | [ce]GeistreichePaßions-Schule | [Main] | [rev] | 551p | |||
104. | Der leidende Jesus / Oder Hundert fürtreffliche Anmerckungen / Uber die Historie von dem Leiden und Tode unsers Seeligmachers. | [ce]GeistreichePaßions-Schule | [Main] | 530p | ||||
105. | Mittsu no 'Denkumäler' ni miru Doitsu Ongakushi. | Ongakugaku | 53 | 2 | 93-107 | |||
106. | Ridel Gasshodan no 'Rekishi Ensokai' ni okeru 'Shin-Doitsu-ha'. | OkinawaKenritsuGeijutsuDaigakuKiyo | 18 | 147-162 | ||||
107. | Schweitzer on Bach. | MLetters | 26 | 2 | 102-112 | |||
108. | The Pianist's Book of Bach Chorals. 100 Chorals harmonized by J. S. Bach, chosen from Charles Sanford Terry's Complete Collection | 57p | ||||||
109. | FIFTY SHORT PEDAL EXERCISES, and Studies on some Fugues by Bach, for the Organ, | 7p | ||||||
110. | The neurosciences and music. II: From perception to performance. Annals of the New York Academy of Sciences. | AnnNYAcadSci | 1060 | xii, 490p | ||||
111. | Ongaku Yawa. | 226p | ||||||
112. | Atarashii Bach Kenkyu to Erdmann Shokan. | Philharmony | 39 | 11 | 18-24 | |||
113. | Bach Enso ni okeru Tokushitsu. | RekodoGeijutsu | 16 | 13 | 248-251 | |||
114. | Die Suiten für Violoncello von Johann Sebastian Bach: Einige Gedanken zu ihrer Ausführung mit dem Rundbogen. | Orchester(Mainz) | 45 | 7-8 | 16-20 | |||
115. | Bachov nekrolog. | CerkveniGlasbenik | 93 | 1-3 | 2-8 | |||
116. | 'Nekrolog' di Johann Sebastian Bach e cantata funebre. | [ce]MusicaPoetica | 227-240 | |||||
117. | Denkmal dreyer verstorbenen Mitglieder der Societät der musikalischen Wissenschaften, oder die Leben Georg Heinr. Bümlers, Brandenburg-Anspachischen Capell-meisters, Gottfr. Heinr. Stölzels, Sächsisch-Gothaischen Capell-meisters und Johann Sebastian Bachs, Musikdirektors zu Leipzig. | MlBib | 4 | 1 | 129-176 | |||
118. | [Nekrolog auf Johann Sebastian Bach.] Der dritte und letzte ist der im Orgelspielen Weltberühmte HochEdle Herr Johann Sebastian Bach, Königlich-Pohlnischer und Churfürstlich Sächsischer Hofcompositeur, und Musikdirector in Leipzig. | MlBib | 4 | 1 | 158-173 | |||
119. | Nekrolog or Obituary Notice of Johann Sebastian Bach. | xx, 231p | ||||||
120. | In Search of Bach's Cantabile: The Role and Aspects of Oratory and Singing in Keyboard Interpretation. | 104p | ||||||
121. | Aspects of Performance Practice. | [ce]18cKeyboardM | 33-67 | |||||
122. | C.P.E. Bach und der Hammerflügel. | CPEBachKonzepteSR | 2 | 392-405 | ||||
123. | Did J. S. Bach Compose 'Pianoforte Concertos'? | Bach | 31 | 1 | 1-16 | |||
124. | Die 'Clavier'-Musik in Wien zwischen 1750 und 1770. | StMw(BeihDTÖ) | 35 | 65-88 | ||||
125. | Kielflugel und Hammerflugel bei Bach und Mozart. | JbBachWoche_Dillenburg | 143-152 | |||||
126. | Komponierte J. S. Bach 'Hammerklavier-Konzerte'? | BachJb | 77 | 159-171 | ||||
127. | Nouvelle compréhension de l'histoire du piano de Domenico Scarlatti à Franz Schubert. | [fs]Kastner | 127-139 | |||||
128. | Vom Pedalcembalo zum Fortepiano pedale. | CöthenerBachH | 8 | 73-82 | ||||
129. | Über nötige und unnötige Auszierungen in Mozarts Klavierkonzerten. | DokGewandhausGes | 9 | 47-49 | ||||
130. | Bach auf dem Klavier? Hat Bach im Jahr 1733 erstmals ein Hammerklavier vorgestellt und darauf sein Concerto à Cembalo concertato d-Moll BWV 1052 vorgetragen? | Orchester(Mainz) | 48 | 7-8 | 10-13 | |||
131. | Bach-Interpretation: Die Klavierwerke Johann Sebastian Bachs. | 528p | ||||||
132. | Bah za klavirom? | [ce]KakIspolnjatBaha | 19-23 | |||||
133. | El preludio en Mi bemol menor y la fuga en Re sostenido menor, del I Libro del Clave bien temperado, BWV 853: Un análisis para su interpretación. | Quodlibet | 42 | 50-85 | ||||
134. | En busca del tempo correcto en Bach. | Quodlibet | 36 | 112-133 | ||||
135. | Interpreting Bach at the Keyboard. | xvi, 573p | ||||||
136. | I vnov' o probleme: 'Klavesin ili roâl''. | [ce]KakIspolnjatBaha | 23-30 | |||||
137. | L'art de jouer Bach au clavier. | 638p | ||||||
138. | Prelûdiâ es-moll: Predvaritel'nyj analiz. | [ce]KakIspolnjatBaha | 173-187 | |||||
139. | In the footsteps of the young Johann Sebastian Bach. | Diapason | 92 | 7:1100 | 14-17 | |||
140. | Understanding music with AI: Perspectives on music cognition. | [ce]UnderstandingMwithAI | xxxviii, 512p | |||||
141. | Barocnaja preljudija v istorii evoljucii žanra. | MusitschneMisteztwo | 3 | 140-148 | ||||
142. | J. S. Bachs Kantaten als Schriftauslegung. Ein Beitrag zur Wertung der Bachschen Kantatentexte. | MGottesd | 19 | 4 | 86-94 | |||
143. | Doing without thinking? Aspects of musical decision-making revisited. | [cr]Vienna2013 | 201 | |||||
144. | Performing solo Bach: a case study of musical decision-making. | MScientiae | 18 | 1 | 35-52 | |||
145. | Affective practices in mid-18th-century German music-making: reflections on C. P. E. Bach's advice to performers. | EarlyM | 48 | 2 | 193-203 | |||
146. | Donato musicologica. | [ce]DonatoMusicologica | 145p | |||||
147. | Kompozitorskaâ tehnika kak znak: Sbornik statej k 90-letiû so dnâ roždeniâ Ûzefa Gejmanovièa Kona—Materialy Ûbilejnoj nauènoj konferencii. | [fs]Kon90 | 403p | |||||
148. | Iskusstvo fugi J. S. Bacha v ispolnenii organista S. Dižira. | MuzykalnajaZizn | 4 | 5 | ||||
149. | Starinnaja muzyka v kontekste sovremennoj kultury: Problemy interpretacii i istocnikovedenija. | [ce]StarinnajaMuzyka | 573p | |||||
150. | Bach Society, The. | GroveDictionary(2) | 1 | 159-160 | ||||
151. | Johann Sebastian Bach életének kronikája. | NaprolNapra | 11 | 230p | ||||
152. | Arcangelo Corelli fra mito e realtà storica: nuove prospettive d'indagine musicologica e interdisciplinare nel 350o anniversario della nascita | HistMCultores | 111 | xxiv, 707p | ||||
153. | Kyokai Kantata no Seiritsu to Tenkai -- Barokku Ongaku no Shoso. | 404p | ||||||
154. | Proceedings of the 9th International Conference on Music Perception and Cognition (ICMPC). | [cr]ICMPC2006 | ||||||
155. | La clavecinista Laura Dearmas...y su amor por el instrumento para el que escribió Juan Sebastián Bach. | Sinfonica | 6 | 66 | 24-25 | |||
156. | A adaptação da obra alaudística de Johann Sebastian Bach para alto guitar: Um modelo híbrido. | diss. | ||||||
157. | Bah--Šënberg: Dve horal'nye prelûdii I.S. Baha v orkestrovoj obrabotke A. Šënberga | NaucnyeTrudy | 60 | 167-197 | ||||
158. | Gustav Maler: Sûita iz orkestrovyh proizvedenij I. S. Baha. | NaucnyeTrudy | 44 | 213-230 | ||||
159. | Orkestr bez granic: Materialy nauènoj konferencii pamâti Û.A. Fortunatova. | [fs]Forunatov | 272p | |||||
160. | Bemerkungen zur Stilisierung der Volksmusik, besonders der polonaisen, bei Bach. | [fs]DBFeierLeipzig | 41-43 | |||||
161. | Bemerkungen zur Stilisierung der Volksmusik, besonders der Polonäsen, bei Bach. | [cr]Leipzig1950 | 416-419 | |||||
162. | Bence Szabolcsi: septuagenario. | StudMcolAcadSciHungaricae | 11 | 1-4 | 513p | |||
163. | Johann Sebastian Bach. | 272p | ||||||
164. | Két Bach-Elemzés. Szemelvények a zenetörténet kézikönyvei sorozat most készülö 3. kötetéböl. | Enekszo | 17 | 94 | 135-165 | |||
165. | J. S. Bach's Fantasy and Fugue in G Minor, BWV 542: A Source Study for Organists. | Bach | 39 | 2 | 1-89 | |||
166. | Dietari d'un crític en excedència. Bach segons Portabella. | RevistaMCatalana | 25 | 283 | 10-11 | |||
167. | Johann Sebastian Bach. | Kunstwart | 13 | 20 | 277-281 | |||
168. | Johann Sebastian Bachs Notenbüchlein für Anna Magdalena Bach (1725) / Johann Sebastian Bach. | 124p | ||||||
169. | J. S. Bach. | 119p | ||||||
170. | Glenn Gould: The Performer in the Work: A Study in Performance Practice. | xxi, 297p | ||||||
171. | Listening to Glenn Gould: Johann Sebastian Bach. | GlennGould | 6 | 1 | 9-16 | |||
172. | The great Mr. Handel. | MReview | 39 | 1 | 22-30 | |||
173. | The Voice of Luther's Church: Instrumental Cantus Firmus Chorales in Selected Cantatas by Johann Sebastian Bach. | diss. | v, 97p | |||||
174. | Brahms' motet: Es ist das Heil uns kommen her and the 'innermost essence of music'. | BrahmsStud | 2 | 31-62 | ||||
175. | Evolving Meanings of the 'Bach Chorale' in the Sacred Music of Johannes Brahms. | [p]ABS_California | ||||||
176. | Musical Homage vs. Cultural Criticism: Brahms's Motet Warum ist das Licht gegeben?, op. 74, no.1, and Bach's Cantata Gottes Zeit ist die allerbeste Zeit, BWV 106. | [p]AMS_Southeast | ||||||
177. | The Great Warum? Job, Christ, and Bach in a Brahms Motet. | 19cM | 19 | 3 | 231-251 | |||
178. | 'Aufs LautenWerk'. Bachs Lautenwerke auf der Gitarre. | FonoForum | 35 | 12 | 62-65 | |||
179. | DAS WOHLTEMPERIRTE CLAVIER. 48 PRELUDES AND FUGUES, COMPOSED BY JOHN SEBASTIAN BACH. No. [10] VOL [1] | WTC(Bennett) | 1 | 10 | 5p | |||
180. | DAS WOHLTEMPERIRTE CLAVIER. 48 PRELUDES AND FUGUES, COMPOSED BY JOHN SEBASTIAN BACH. No. [11] VOL [1] | WTC(Bennett) | 1 | 11 | 5p | |||
181. | DAS WOHLTEMPERIRTE CLAVIER. 48 PRELUDES AND FUGUES, COMPOSED BY JOHN SEBASTIAN BACH. No. [12] VOL [1] | WTC(Bennett) | 1 | 12 | 8p | |||
182. | DAS WOHLTEMPERIRTE CLAVIER. 48 PRELUDES AND FUGUES, COMPOSED BY JOHN SEBASTIAN BACH. No. [13] VOL [1] | WTC(Bennett) | 1 | 13 | 5p | |||
183. | DAS WOHLTEMPERIRTE CLAVIER. 48 PRELUDES AND FUGUES, COMPOSED BY JOHN SEBASTIAN BACH. No. [14] VOL [1] | WTC(Bennett) | 1 | 14 | 6p | |||
184. | DAS WOHLTEMPERIRTE CLAVIER. 48 PRELUDES AND FUGUES, COMPOSED BY JOHN SEBASTIAN BACH. No. [15] VOL [1] | WTC(Bennett) | 1 | 15 | 8p | |||
185. | DAS WOHLTEMPERIRTE CLAVIER. 48 PRELUDES AND FUGUES, COMPOSED BY JOHN SEBASTIAN BACH. No. [16] VOL [1] | WTC(Bennett) | 1 | 16 | 5p | |||
186. | DAS WOHLTEMPERIRTE CLAVIER. 48 PRELUDES AND FUGUES, COMPOSED BY JOHN SEBASTIAN BACH. No. [17] VOL [1] | WTC(Bennett) | 1 | 17 | 6p | |||
187. | DAS WOHLTEMPERIRTE CLAVIER. 48 PRELUDES AND FUGUES, COMPOSED BY JOHN SEBASTIAN BACH. No. [18] VOL [1] | WTC(Bennett) | 1 | 18 | 6p | |||
188. | DAS WOHLTEMPERIRTE CLAVIER. 48 PRELUDES AND FUGUES, COMPOSED BY JOHN SEBASTIAN BACH. No. [19] VOL [1] | WTC(Bennett) | 1 | 19 | 7p | |||
189. | DAS WOHLTEMPERIRTE CLAVIER. 48 PRELUDES AND FUGUES, COMPOSED BY JOHN SEBASTIAN BACH. No. [1] VOL [1]. | WTC(Bennett) | 1 | 1 | 7p | |||
190. | DAS WOHLTEMPERIRTE CLAVIER. 48 PRELUDES AND FUGUES, COMPOSED BY JOHN SEBASTIAN BACH. No. [20] VOL [1] | WTC(Bennett) | 1 | 20 | 9p | |||
191. | DAS WOHLTEMPERIRTE CLAVIER. 48 PRELUDES AND FUGUES, COMPOSED BY JOHN SEBASTIAN BACH. No. [21] VOL [1] | WTC(Bennett) | 1 | 21 | 6p | |||
192. | DAS WOHLTEMPERIRTE CLAVIER. 48 PRELUDES AND FUGUES, COMPOSED BY JOHN SEBASTIAN BACH. No. [22] VOL [1] | WTC(Bennett) | 1 | 22 | 5p | |||
193. | DAS WOHLTEMPERIRTE CLAVIER. 48 PRELUDES AND FUGUES, COMPOSED BY JOHN SEBASTIAN BACH. No. [23] VOL [1] | WTC(Bennett) | 1 | 23 | 6p | |||
194. | DAS WOHLTEMPERIRTE CLAVIER. 48 PRELUDES AND FUGUES, COMPOSED BY JOHN SEBASTIAN BACH. No. [24] VOL [1] | WTC(Bennett) | 1 | 24 | 8p | |||
195. | DAS WOHLTEMPERIRTE CLAVIER. 48 PRELUDES AND FUGUES, COMPOSED BY JOHN SEBASTIAN BACH. No. 25. (Vol.2) | WTC(Bennett) | 2 | 1 | 5p | |||
196. | DAS WOHLTEMPERIRTE CLAVIER. 48 PRELUDES AND FUGUES, COMPOSED BY JOHN SEBASTIAN BACH. No. [26]. VOL [2] | WTC(Bennett) | 2 | 2 | 5p | |||
197. | DAS WOHLTEMPERIRTE CLAVIER. 48 PRELUDES AND FUGUES, COMPOSED BY JOHN SEBASTIAN BACH. No. 27. (Vol.2) | WTC(Bennett) | 2 | 3 | 5p | |||
198. | DAS WOHLTEMPERIRTE CLAVIER. 48 PRELUDES AND FUGUES, COMPOSED BY JOHN SEBASTIAN BACH. No. 28. (Vol.2) | WTC(Bennett) | 2 | 4 | 9p | |||
199. | DAS WOHLTEMPERIRTE CLAVIER. 48 PRELUDES AND FUGUES, COMPOSED BY JOHN SEBASTIAN BACH. No. [2] VOL [1] | WTC(Bennett) | 1 | 2 | 5p | |||
200. | DAS WOHLTEMPERIRTE CLAVIER. 48 PRELUDES AND FUGUES, COMPOSED BY JOHN SEBASTIAN BACH. No. [31] VOL [2]. | WTC(Bennett) | 2 | 7 | 5p | |||
201. | DAS WOHLTEMPERIRTE CLAVIER. 48 PRELUDES AND FUGUES, COMPOSED BY JOHN SEBASTIAN BACH. No. [33] VOL [2]. | WTC(Bennett) | 2 | 9 | 5p | |||
202. | DAS WOHLTEMPERIRTE CLAVIER. 48 PRELUDES AND FUGUES, COMPOSED BY JOHN SEBASTIAN BACH. No. [36] VOL [2] | WTC(Bennett) | 2 | 12 | 7p | |||
203. | DAS WOHLTEMPERIRTE CLAVIER. 48 PRELUDES AND FUGUES, COMPOSED BY JOHN SEBASTIAN BACH. No. [39] VOL [2] | WTC(Bennett) | 2 | 15 | 5p | |||
204. | DAS WOHLTEMPERIRTE CLAVIER. 48 PRELUDES AND FUGUES, COMPOSED BY JOHN SEBASTIAN BACH. No. [3] VOL [1] | WTC(Bennett) | 1 | 3 | 9p | |||
205. | DAS WOHLTEMPERIRTE CLAVIER. 48 PRELUDES AND FUGUES, COMPOSED BY JOHN SEBASTIAN BACH. No. [41] VOL [2] | WTC(Bennett) | 2 | 17 | 9p | |||
206. | DAS WOHLTEMPERIRTE CLAVIER. 48 PRELUDES AND FUGUES, COMPOSED BY JOHN SEBASTIAN BACH. No. [48] VOL [2]. | WTC(Bennett) | 2 | 24 | 6p | |||
207. | DAS WOHLTEMPERIRTE CLAVIER. 48 PRELUDES AND FUGUES, COMPOSED BY JOHN SEBASTIAN BACH. No. [4] VOL [1] | WTC(Bennett) | 1 | 4 | 7p | |||
208. | DAS WOHLTEMPERIRTE CLAVIER. 48 PRELUDES AND FUGUES, COMPOSED BY JOHN SEBASTIAN BACH. No. [5] VOL [1] | WTC(Bennett) | 1 | 5 | 5p | |||
209. | DAS WOHLTEMPERIRTE CLAVIER. 48 PRELUDES AND FUGUES, COMPOSED BY JOHN SEBASTIAN BACH. No. [6] VOL [1] | WTC(Bennett) | 1 | 6 | 5p | |||
210. | DAS WOHLTEMPERIRTE CLAVIER. 48 PRELUDES AND FUGUES, COMPOSED BY JOHN SEBASTIAN BACH. No. [7] VOL [1] | WTC(Bennett) | 1 | 7 | 7p | |||
211. | DAS WOHLTEMPERIRTE CLAVIER. 48 PRELUDES AND FUGUES, COMPOSED BY JOHN SEBASTIAN BACH. No. [8] VOL [1] | WTC(Bennett) | 1 | 8 | 7p | |||
212. | DAS WOHLTEMPERIRTE CLAVIER. 48 PRELUDES AND FUGUES, COMPOSED BY JOHN SEBASTIAN BACH. No. [9] VOL [1] | WTC(Bennett) | 1 | 9 | 5p | |||
213. | DAS WOHLTEMPERIRTE CLAVIER. Forty Eight PRELUDES and FUGUES, Composed by John Sebastian Bach. Part I. | WTC(Bennett) | 1 | 136p | ||||
214. | Grosse Passions-Musik, (according to the Gospel of St. Matthew) / composed by John Sebastian Bach. | 159p | ||||||
215. | The passion of our Lord (according to S. Matthew) set to music by John Sebastian Bach | xv, viii, 187p | ||||||
216. | The chorale book for England: a complete hymn-book for public and private worship, in accordance with the services and festivals of the Church of England. The hymns from the Lyra Germanica and other sources, translated by Catherine Winkworth ; The tunes from the sacred music of the Lutheran, Latin, and other churches, for four voices, with historical notes, etc., etc. | 497p | ||||||
217. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 1. | WTC(Bennett-Westlake) | 1 | 7p | ||||
218. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 10. | WTC(Bennett-Westlake) | 10 | 5p | ||||
219. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 11. | WTC(Bennett-Westlake) | 11 | 5p | ||||
220. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 12. | WTC(Bennett-Westlake) | 12 | 7p | ||||
221. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 13. | WTC(Bennett-Westlake) | 13 | 5p | ||||
222. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 14. | WTC(Bennett-Westlake) | 14 | 6p | ||||
223. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 15. | WTC(Bennett-Westlake) | 15 | 8p | ||||
224. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 16. | WTC(Bennett-Westlake) | 16 | 5p | ||||
225. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 17. | WTC(Bennett-Westlake) | 17 | 6p | ||||
226. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 18. | WTC(Bennett-Westlake) | 18 | 6p | ||||
227. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 19. | WTC(Bennett-Westlake) | 19 | 7p | ||||
228. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 2. | WTC(Bennett-Westlake) | 2 | 5p | ||||
229. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 20. | WTC(Bennett-Westlake) | 20 | 9p | ||||
230. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 21. | WTC(Bennett-Westlake) | 21 | 5p | ||||
231. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 22. | WTC(Bennett-Westlake) | 22 | 5p | ||||
232. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 23. | WTC(Bennett-Westlake) | 23 | 6p | ||||
233. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 24. | WTC(Bennett-Westlake) | 24 | 9p | ||||
234. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 25. | WTC(Bennett-Westlake) | 25 | 5p | ||||
235. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 26. | WTC(Bennett-Westlake) | 26 | 5p | ||||
236. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 27. | WTC(Bennett-Westlake) | 27 | 5p | ||||
237. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 28. | WTC(Bennett-Westlake) | 28 | 9p | ||||
238. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 29. | WTC(Bennett-Westlake) | 29 | 7p | ||||
239. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 3. | WTC(Bennett-Westlake) | 3 | 9p | ||||
240. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 30. | WTC(Bennett-Westlake) | 30 | 5p | ||||
241. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 31. | WTC(Bennett-Westlake) | 31 | 5p | ||||
242. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 32. | WTC(Bennett-Westlake) | 32 | 7p | ||||
243. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 33. | WTC(Bennett-Westlake) | 33 | 5p | ||||
244. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 34. | WTC(Bennett-Westlake) | 34 | 9p | ||||
245. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 35. | WTC(Bennett-Westlake) | 35 | 9p | ||||
246. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 36. | WTC(Bennett-Westlake) | 36 | 7p | ||||
247. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 37. | WTC(Bennett-Westlake) | 37 | 9p | ||||
248. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 38. | WTC(Bennett-Westlake) | 38 | 7p | ||||
249. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 39. | WTC(Bennett-Westlake) | 39 | 5p | ||||
250. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 4. | WTC(Bennett-Westlake) | 4 | 7p | ||||
251. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 40. | WTC(Bennett-Westlake) | 40 | 7p | ||||
252. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 41. | WTC(Bennett-Westlake) | 41 | 9p | ||||
253. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 42. | WTC(Bennett-Westlake) | 42 | 7p | ||||
254. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 43. | WTC(Bennett-Westlake) | 43 | 5p | ||||
255. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 44. | WTC(Bennett-Westlake) | 44 | 7p | ||||
256. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 45. | WTC(Bennett-Westlake) | 45 | 9p | ||||
257. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 46. | WTC(Bennett-Westlake) | 46 | 7p | ||||
258. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 47. | WTC(Bennett-Westlake) | 47 | 9p | ||||
259. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 48. | WTC(Bennett-Westlake) | 48 | 7p | ||||
260. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 5. | WTC(Bennett-Westlake) | 5 | 5p | ||||
261. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 6. | WTC(Bennett-Westlake) | 6 | 5p | ||||
262. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 7. | WTC(Bennett-Westlake) | 7 | 7p | ||||
263. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 8. | WTC(Bennett-Westlake) | 8 | 7p | ||||
264. | BACH'S FORTY-EIGHT PRELUDES AND FUGUES (Das Wohltemperirte Clavier.) ; No. 9. | WTC(Bennett-Westlake) | 9 | 5p | ||||
265. | Schenker and Bach's French suite in E major. | MAnalysis | 34 | 2 | 155-174 | |||
266. | 'That Bright New Light': Schenker, Universal Edition, and the Origins of the Erläuterung Series, 1901-1910. | JAMSoc | 58 | 1 | 69-138 | |||
267. | Bahovskij festival' v Lejpcige. | MuzykalnajaAkad | 4 | 210-213 | ||||
268. | B. L. Âborskij o 'Horošo temperirovannom klavire' I. S. Baha. | NaucnyeTrudy | 56 | 81-90 | ||||
269. | Boleslav Javorskij o Horoso temperirovannom klavire. | MuzykalnajaAkad | 2 | 117-124 | ||||
270. | Naši sovremenniki Bah i Gendel'. | MuzykalnajaAkad | 4 | 202-205 | ||||
271. | Gomiletièeskie tradicii duhovnyh kantat I.S. Baha. | diss. | 212p | |||||
272. | Etièeskoe muzykoznanie: Teatr bez kulis. | [fs]Levasev60 | ||||||
273. | V poiskah utraèennogo smysla: Boleslav Âvorskij o 'Horošo temperirovannom klavire' | 372p | ||||||
274. | Keldyševskie èteniâ--2005: Množestvennost' nauènyh koncepcij v muzykoznanii--K 60-letiû E.M. Levaševa. | [fs]Levasev60 | 454p | |||||
275. | 50 short choral-preludes. | OrgWorks(Best) | 17 | 963-1049 | ||||
276. | 6 Preludes and fugue. | OrgWorks(Best) | 3 | 157-253 | ||||
277. | 6 Preludes and fugues. | OrgWorks(Best) | 1 | 1-68 | ||||
278. | 6 Preludes and fugues. | OrgWorks(Best) | 2 | 69-156 | ||||
279. | Adagio and Grand Fugue. C major. From the 5th Sonata for the Violin alone. / BACH. | ArrangementsOrg(Best) | 3 | 58 | 754-767 | |||
280. | Adagio. From a Sonata for the Violin and Pianoforte, in G minor. / J. S. Bach. | ArrangementsOrg(Best) | 3 | 50 | 660-661 | |||
281. | Air. From the Overture in D-Major. / J. S. Bach. | 5 | ||||||
282. | Alla breve: pro organo pleno [in D major]. | OrgWorks(Best) | S-3 | 30 | 435-440 | |||
283. | Allegro from the Third Sonata for the Pianoforte and Violin. / J. S. Bach. | ArrangementsOrg(Best) | 3 | 43 | 564-568 | |||
284. | Bourrée. From the 2nd Sonata for the Violin, alone. / BACH. | ArrangementsOrg(Best) | 3 | 52 | 681-687 | |||
285. | Bourrée. From the Third Violoncello Sonata. / BACH. | ArrangementsOrg(Best) | 5 | 92 | 1207-1210 | |||
286. | Canzona in D minor. | OrgWorks(Best) | S-3 | 31 | 441-447 | |||
287. | Chaconne: air with variations. From the Fourth Sonata for Violin alone, in D minor. / J. S. BACH. | ArrangementsOrg(Best) | 2 | 26 | 329-341 (13p) | |||
288. | Chorale. 'O God, thou holy Lord.' From the Church Cantata for the Fourth Sunday after Trinity. / J. S. BACH. | ArrangementsOrg(Best) | 3 | 55 | 724-725 | |||
289. | Choral Fugue 'Dona nobis pacem.' From the Mass in B minor. / J. S. Bach. | ArrangementsOrg(Best) | 3 | 41 | 534-536 (7-9) | |||
290. | Choral Fugue 'Kyrie Eleison.' From the Mass in G Major. / J. S. Bach. | ArrangementsOrg(Best) | 3 | 41 | 543-546 (10-13) | |||
291. | Choral Fugue. 'Sicut locutus est.' From the Magnificat in D major. / J. S. Bach. | ArrangementsOrg(Best) | 3 | 42 | 558-559 | |||
292. | [Chorus 'Enter not into judgment' / J.S. Bach] | OrgMiscellany | 1 | 25 | ||||
293. | Chorus 'Fallt mit Danken, fallt mit Loben.' From the Christmas oratorio. / J.S. Bach. | ArrangementsOrg(Best) | 2 | 40 | 521-526 (1-6) | |||
294. | Chorus 'Freue dich, erlöste Schaar.' (Be joyful, ye redeemed.) From a Sacred Cantata for the Festival of St John the Baptist. / BACH. | ArrangementsOrg(Best) | 3 | 50 | 655-659 | |||
295. | CHORUS 'Gloria in excelsis Deo!' / J. S. Bach. | ArrangementsOrg(Best) | 2 | 21 | 272 | |||
296. | Chorus 'God is my King.' / BACH. | ArrangementsOrg(Best) | 5 | 91 | 1202-1203 | |||
297. | [Chorus 'Look down a Lord' from a Church Cantata for Christmas Day / J.S. Bach] | OrgMiscellany | 1 | 21 | ||||
298. | CHORUS. 'So let us go in Peace and Joy.' From a church cantata for Palm Sunday / BACH. | ArrangementsOrg(Best) | 3 | 60 | 791-795 | |||
299. | [Chromatic Fantasia and Fugue (Dm.) f. Pfte, f. Org.] | OrgMiscellany | 2 | 48 | ||||
300. | Concerto for the organ [in A minor] by W. F. Bach. | Cecilia(Best) | 63 | |||||
301. | Counterpoint on the chorale 'Aus tiefer Noth' / J.S. Bach - Allegretto: op: 22 / Niels W. Gade - Andante / F. J. Pachaly. | CollOrgComp(Best) | 5 |
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