Listed here are substantive errors that have come to my attention
in the first (and thus far only) edition of my book on Bach's
keyboard music. Not listed are revisions, which I hope to
publish in a later edition that will take note of new findings
since 1992.
Last updated 07/26/1997.
page 7/line 7. For The dates of the copies have not been
positively determined, but read Most of Walther's copies
apparently can be dated to the period around 1714-17;
Page 16/line 16. For 1984 read 1980
page 30/line 18. For "better order" (meilleur
ordre) read revised order
Page 37/Ex. 4.2, bar 6, top staff. For d' (quarter)
read g'-f' (8ths).
Page 47/small type for BWV 896. Following and a.
add 16, sop., 5th note, e''.
Page 50, heading: delete(after Erselius?); for
Earlier version read Earlier version (BWV 955a)
Pages 50-51. For While he had previously been a musician
at the Dresden court (Flade 1953, 128n.), these dates suggest
that Erselius read Erselius, born probably in 1703 (Heller
1990, 131), therefore
Page 51. For While it is clearly an early version of the
piece otherwise attributed to Bach, the differences between the
two are not very significant. In the later version read
It is rather an inauthentic arrangement of a fugue in B-flat by
Bach, which the latter subsequently revised:
Page 68/line 22. For 949-51 read 950-51
Page 84/line 41. For 949-51 read 950-51
Page 106/line 19. For B
Page 108/line 5. For 8.7b read 8.7c
Page 119/example 9.4. Under the chord c#/[e']/a'/e'' that
precedes the bar number 63, change I to V and
set V lower, on a line with iii/V and V/iv
Page 131/line 11. For D'Anglebert's table appears to have
served, directly or indirectly, as the basis for the tables in
the older manuscripts MM and ABB read Bach included a copy
of D'Anglebert's table in his manuscript of Grigny's First Organ
Book (F Mus. Hs. 1538; facsimile in Stauffer 1993, 92)
Page 134/line 9. For (Wolff 1983a, 241) read (Helm
1983, 241; Helm, following the 1962 Katalog zu den Sammlungen
des Händel-Haus in Halle, 2:9, attributes the portrait
to the non-existent "Wilhelm Weitsch"; an earlier catalog
(Deutsche Bildnisse 1500-1800 [Halle: Staatliche Gallerie
Moritzburg, 1961], 120) reported a signature reading "F. Weitsch
Fec," but this was not visible in 1995. Of several members of
the Weitsch family, Friedrich Georg was well-known as a portrait
painter; his subjects included King Frederick the Great (1780),
Meyerbeer, and the writer Eschenburg (whose portrait resembles in
style and in the sitter's elegance and lively expression the one
in Halle).
Page 142/last line. For Christian read Christoph
Page 143/lines 1-2. For of the same name read
Johann Christian Richter
Page 143/line 32. For NB read NG
145. In list of sources on this page, twice for 902a
read 902/1a.
146. Twice: for 902a read 902/1a
146/1 and 2 from bottom. For It seems unlikely that Bach
rejected these cantabile movements per se, but read The
cantabile movement remained in use as an aria for soprano and
strings--most likely its original form (in Cantatas 120a and
120)--but
150/8. For E minor read E
Page 170/line 44. For apparently beginning with Bach
himself read possibly beginning with Bach himself
Page 171/lines 5-6. For the "fundamental" note
read the finalis
Page 174/line 11. For one read ones
Page 175/line 40. For n.d. read 1992
Page 194/2d sentence after heading. For BWV 1030
read BWV 1030 (although lost early versions of both works
may have been in other keys)
Page 200/Table 12-1. In first section ("Early versions"), on
SPK P 1089, for 1729-34 read ca. 1729? For
Date from Schulze (1984a, 66-68). BWV 902 added later (Brokaw
1985, 28) read Dating from Schulze (1984, 66-68) and NBA
V/6.2, KB, 345-46; on SPK P 563, delete period and Sole
source (Brokaw 1985, 31)
202/Table 12-2/bottom line. In first column for 2
read 3
Page 202/table/column 4. For 20-28a read 20-28a
Page 203/line 3. For draft of a new version read
attempt at a revision
Page 206/lines 2-3. For four distinct read most
Page 207/Ex. 12.1b, last note. For d#'' read c#''
Page 226/line 5. For mostly read often seem to
Page 236/table. Under HAu for Includes read
Group included and under DSB P 803 for Copied
read No. 6 copied
Page 250/caption for example 13.9. For 15-16 read
15-17a and for analysis read analysis of bars 15-16
Page 273/line 19. For two read three
Page 296/Ex. 15.8b, bar 29, beat 2, top staff. Delete dot on
16th g''
Same, 3d staff. Delete dot on g'' and add dot on 8th f#''
302/4-5. For Although prepublication versions of both
pieces survive in manuscript, these do not differ greatly from
the published versions. read A manuscript copy of what
appears to be an early version of the first movement of the
concerto reveals important variants
Page 311/lines 6-7 from bottom. For survive; none of the
three qutographs is quite this late (according to Kobayashi 1988)
read survive, although one of the three known autographs
(that of BWV 998) has been dated 1739-41 (Wollny 1993, 42)
313/entry for BWV 1006a/line 3. For Cantata No. 29,
performed in 1731 read Cantata No. 120a, performed in 1729
320/7-8. For a sarabande on which Johann Christoph Bach
(1642-1703) had written a a set of twelve variations read
a sarabande with twelve variations attributed to Johann Christoph
Bach (usually presumed to be the Eisenach composer of that name).
pages 320-21, delete line at bottom of page 320 and add these
entries to Table 17-1:
Var. 18 canon 1 3 at the sixth [alla breve]
Var. 19 free 1 3
Var. 20 duet 2 2
Page 327/line 39-40. For Example 17b read Example
17.4b
Page 350/table 18-2. In subhead for column 2, for p
200 read P 200
page 352, line 3. For Maroney read Moroney
page 352, line 4. For Maroney read Moroney
Page 355/line 15. For Trias harmonicas read
Trias harmonica
page 356, line 18. For Maroney read Moroney
Page 357/line 44. For (third) read (fifth)
Page 357/line 45. For (fifth) read (third)
Page 370/line 15. For doubled read doubled
awkwardly
Page 370/line 17. For 236 and 237 read 237 and 238
page 372/example 18.10, bar 257. Tenor read c'-b (8ths), a
(half), f# (quarter)
page 385/line 4. For F. 25/2 seems to have been revised
twice; the first revision led to a read F. 25/2 itself
appears to be the revised version of an earlier
page 385, line 7. For forty-four-bar read
forty-two-bar
page 388, line 35-36. For bore an attribution to C. P. E.
Bach in a now-lost manuscript copy read bears an
attribution to C. P. E. Bach in another manuscript copy
388/38. For Some of the thematic material of another
march--No. 23 (BWV Anh. 127), one of the most extended and
impressive of the marches and dances--resembles read
Another march--No. 23 (BWV Anh. 127), one of the most extended
and impressive of the marches and dances--bears an attribution
elsewhere to C. P. E. Bach; its theme resembles
Page 390/example B.1, bar 3. The note c' should be a half,
not a quarter
Page 399n.1. For but the Toccata in D Major read
seven toccatas (BWV 916 in G under the title
Partita)
Page 403n.1. For but this, like everything else in Forkel,
should be read in light of a remark in Bernal (1987, 215): "While
exclusive professionalism was the distinctive form of
Göttingen scholarship, the chief unifying principle of its
content was ethnicity and racism." This may be an overstatement,
but Forkel did teach at Göttingen, and his Bach biography
contains read one of several instances in his Bach
biography of
Page 404n.32. For Dates for both autographs are from
Schulze (1984b) read Dates for both autographs are from
Schulze (1984b), but Hofmann (1991, 170-71n 10) places the
Bethlehem autograph in the same period as the one in Dresden.
Page 405n.5. For from which Bach copied several suites
(see Schulze 1984a, 18) read which Bach copied (see
Schulze 1984a, 18
Page 405n.15. For derived from read related to
Page 406n.33. For from one of the two suites copied by
Bach read copied by Bach This is an essential
correction
Page 409n.29. For The alteration is visible in the copy
in P 401 read A corresponding alteration is visible in the
copy in P 401
Page 409n.30. Add: Similar markings occur in the P 401
copies of the D-minor and B-minor preludes. Deppert (1987) and
Lester (1992), 86-87, cite errors that cast in doubt Bach's own
involvement in the annotations. The failure of the annotator to
recognize a copying mistake in the D-minor prelude is
particularly telling.
Page 409n.42. The second sentence should read (this change is
essential): The indication c.e. in bar 11 evidently
means chorda elegantior (Walther 1732, 160), a reference
to the chromatic alteration of one note (eb'').
page 414n.5. For Mortier's read Roger's and
for what was called on the title-page a meilleur ordre
read the familiar one with the gigue coming last
Page 414.n7. For it is unclear whether or not Bach was
aware of this when he made his copies of two of the suites
read Bach's copy of the suites includes a note to this
effect
page 415/note 15. This note should read: I am grateful to
Peter Watchorn for the information that Walther's copy in DSB P
801 includes the gigue in A (without title). It also includes
Dieupart's A-major suite, according to Zietz (1969), who states
that both are in Walther's hand.
423/note 14. For concerto of sonata read concerto
or sonata
page 426n.35. For Maroney read Moroney
(twice!)
page 428n.16. Add: Wollny (1993, 86-87) shows that the
forty-four-bar version of F. 25/2 copied by C. P. E. Bach around
1734 is probably the earliest; the latest, the forty-eight-bar
version properly known as BWV 970, is possibly spurious.
Page 434/entry for Benstock. For N.d read 1992
and delete Forthcoming
434. Delete Bernal 1987.
Page 436/entry for Daverio. For N.d read 1992
and for n.d. read 1992
page 437, entry for Dreyfus 1985a. Give full title: "J. S.
Bach's Concerto Ritornellos and the Question of Invention."
page 443, entry for Maroney. For Maroney read
Moroney and move entry to page 444 after Morana
Page 446/entry for Schulenberg. For N.d read 1992
and for n.d. read 1992
458/BWV 992. For del fratello read de il
fratro
459/BWV 1038. Delete (doubtful)
Page 460/entry for Anh. 183. For 418n.9 read
416n.9
Add to bibliography:
Deppert, Heinrich. 1987. "Anmerkungen zu Alfred Dürr, Ein
Dokument aus dem Unterricht Bachs?." A response to Dürr
(1986). Musiktheorie 2:107-8.
Heller, Karl. 1995. "Die Klavierfuge BWV 955: Zur Frage ihres
Autors und ihrer verschiedenen Fassungen." In Heller and Schulze
(1995, 130-40).
Heller, Karl, and Hans-Joachim Schulze, eds. 1995. Das
Fr&uumhwerk Johann Sebastian Bachs: Kolloquium veranstaltet vom
Institut f&uumr Musikwissenschaft der Universit&aumt Rostock
11.-13. September 1990. Cologne: Studio.
Hofmann, Klaus. 1991. "Zu Bachs zweiteiligen
Klavierpräludien." In Szeskus (1991, 162-71).
Lester, Joel. 1992. Compositional Theory in the Eighteenth
Century. Cambridge, MA: Harvard University Press.
George Stauffer. 1993. "Boyvin, Grigny, D'Anglebert, and Bach's
Assimilation of French Classical Organ Music." EM
21:83-96.
Wollny, Peter. 1993. Studies in the Music of Wilhelm
Friedemann Bach: Sources and Style. Diss., Harvard
University.