Dates or copyists' names are included in the listings of sources only where these are firmly established in the existing literature.For certain pieces whose texts are defective in recent editions, I offer lists of emendations at the ends of the individual commentaries.Where citations are lacking, information about musical texts and sources usually comes from one of several standard sources: a critical edition (usually one of those named for a given work), the Schmieder thematic catalog (BWV), or the newly revised catalog of the Berlin Bach manuscripts (Kast 2003).

These lists are not meant to serve as detailed accounts of variant readings, nor is space available to explain the philological or analytical reasoning underlying each suggestion.

In general, the readings listed are those of the sources, as opposed to Preface • vii those in available editions; readings in brackets or followed by question marks are my own conjectures.

Each chapter (after the first three) opens with a general introduction to the group of works covered, followed by discussions of individual compositions.

Some individual commentaries open with lists of sources and editions; these are intended to be representative, not comprehensive.

Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Music analysis may be no less subjective than the type of writing that describes a listener's personal responses by attaching adjectives to themes or asserting their extra-musical significance.

IBach Second Edition David Schulenberg Routledge Taylor f* Francis Croup New York London Routledge is an imprint of the Taylor & Francis Group, an informa business Routledge Taylor & Francis Group 270 Madison Avenue New York, NY 10016 Routledge Taylor & Francis Group 2 Park Square Milton Park, Abingdon Oxon OX14 4RN © 2006 by Taylor & Francis Group, LLC Routledge is an imprint of Taylor & Francis Group, an Informa business Printed in the United States of America on acid-free paper 10 987654321 International Standard Book Number- 10: 0-415-97400-3 (Softcover) 0-415-97399-6 (Hardcover) International Standard Book Number-13: 978-0-415-97400-4 (Softcover) 978-0-415-97399-1 (Hardcover) No part of this book may be reprinted, reproduced, transmitted, or utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information storage or retrieval system, without written permission from the publishers. I also have avoided criticism of a fashionably subjective nature, preferring to couch my interpretive views in the form of analytic comments.I gratefully acknowledge the constant spur provided by the challenging writings of Peter Williams, by whom any author and particularly any Bach scholar is con- stantly reminded that questions are more useful than answers.The late Howard Schott offered sound and helpful advice and encouragement, as well as a model of scholarly generosity and modesty to which any writer might aspire. In carrying out these changes I have tried to maintain the focus of the first edition, which was to provide a musically literate reader with useful informa- tion about the background, origins, and musical text of individual works, much of which is buried in scholarly literature that is all but inaccessible except to specialists. A few pieces have been shifted from one part of the book to another as their chronology or even authorship has been clarified, and several peripheral compositions discussed in the first edition have been deleted. In discussing individual works, I have resisted the tendency, particularly prevalent in writings about Bach, to express subjective observations about the music in the form of assertions about the composer's intentions or compositional procedures.