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Mendelssohn and the Organ$

Wm. A. Little

Print publication date: 2010

Print ISBN-13: 9780195394382

Published to Oxford Scholarship Online: September 2010

DOI: 10.1093/acprof:oso/9780195394382.001.0001

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(p.393) Appendix B: Mendelssohn's Organ Library

(p.393) Appendix B: Mendelssohn's Organ Library

Source:
Mendelssohn and the Organ
Publisher:
Oxford University Press

Despite Mendelssohn's lifelong fascination with the organ, his library of music for the instrument was surprisingly small, particularly in comparison with his library of piano music. The bulk of his organ scores, whether in manuscript or print, centered overwhelmingly on the works of J. S. Bach. Among his holdings was an original edition of the Canonic Variations on “Vom Himmel hoch” (BWV 769), Nürnberg, 1748, and a copy of Clavierübung III in the 1804 edition. Perhaps understandably, the Schübler chorales are absent, but less understandable is the absence of the Trio Sonatas, which first appeared in print in their original format in 1827 and were widely available.1

Mendelssohn's interest in the organ works of Bach apparently did not extend in any significant way to Bach's contemporaries. However, in the early years of the century there was still an acute dearth of organ music in print, by either Bach's contemporaries or his pupils, not to mention a total absence of material by such north German masters as Buxtehude,2 Bruhns, Böhm, and Tunder. Music by these composers (or what little of it was known) continued to circulate in manuscript form until well into the second half of the nineteenth century.3 Consequently, Franz Commer's edition of organ works of the seventeenth and eighteenth centuries in Musica Sacra constituted a pioneering effort of major significance. (p.394) He presented a copy to Mendelssohn when it was published in 1839, but there is no indication that the composer ever familiarized himself with its contents.

Judging by the contents of his organ library, Mendelssohn had no interest at all in the organ works of his contemporaries—not even in the works of those composers with whom he was on cordial personal terms. It is doubtless understandable that A. W. Bach is not represented, but there is nothing, for example, by Johann Gottlob Schneider,4 whom he regarded so highly as a performer, or Carl Ferdinand Becker, organist of the Nikolai-Kirche in Leipzig, to whom he gave copies of his edition of Bach's chorale preludes. Indeed, of the very few organ works or collections composed or compiled by Mendelssohn's contemporaries, there is not a single volume in his library that was not a presentation copy, with the possible exception of the Prelude and Fugues by Hummel, whose provenance is unclear.

Mendelssohn's organ library has not until now been catalogued separately. An early inventory of Felix and Fanny's general musical holdings, prepared by Fanny, and possibly in part by Felix, has survived,5 although identification of specific works is often difficult or impossible, and many of the titles have long been lost. They are, however, included in this inventory. A detailed catalogue of Mendelssohn's extant music library was compiled by Margaret Crum and Peter Ward Jones. The manuscript holdings are included in volume II of the Catalogue of the Mendelssohn Papers in the Bodleian Library, Oxford (Crum and Ward Jones 1983), and the printed works appear in volume III (Ward Jones,1989). Multiple copies, particularly of the printed organ works by Mendelssohn, are not cited.

As part of their music library Felix and Fanny kept a portfolio of works containing only works by J. S. Bach—our “Sebastian Bach-Mappe”—as Felix called it. In December 1831 he asked his sister to have six organ works copied from the portfolio,6 three of which do not appear, either in the early inventory or in the catalogue prepared by Crum. Unquestionably, however, they were part of Mendelssohn's organ library and consequently they are included here.

The volume of Bach's organ works bearing the shelf mark MS. M. Deneke Mendelssohn c.55 belonged to Friedrich Schlemmer and was not part of Mendelssohn's organ library. Given the fact, however, that the manuscript is in the hand of Franz Xaver Gleichauf (one of Mendelssohn's preferred copyists) and the close friendship that existed between Mendelssohn and Schlemmer,7 it is (p.395) reasonable to speculate that the latter may have shared or lent the volume to the composer and that he may have been familiar with its contents, all of which were thought to have been by J. S. Bach. Since it was not part of Mendelssohn's own organ library, however, its contents are not included in the primary list but appear at the end as an addendum.

The large volumes of Mendelssohn's autograph scores that were part of his estate, MN (Mendelssohn Nachlass) and are now in the Staatsbibliothek, Berlin, are not listed here because the organ works they contain are identified in the main body of this book, where each work is listed with its specific MN shelf mark.

In the inventory that follows, manuscript and printed works are blended into a single list, which is arranged by composer. Many works of the late eighteenth and early nineteenth century were intended for either keyboard or organ, and in those cases where there is serious doubt as to the intended instrument, they are included.

The following abbreviations are used throughout: ms. = manuscript; pr. = printed; inv. = Fanny's and Felix's inventory.

Bach, Carl Phillip Emanuel

Preludio e sei sonate per organo composte dal signor Carlo Filippo Emanuele Bach…. op. XCIII d. St. op V.d.A [Wotq. 265], Berlino: Rellstab [1790]. Deneke 179.

Bach, Johann Sebastian

The organ works of J. S. Bach are listed according to the BWV listing; citations referencing Schmieder's appendix (Anhang) refer to the second edition (1985). For manuscript works in the Bodleian Library, the shelf number prefix in all cases is MS. M. Deneke Mendelssohn (e.g., MS. M. Deneke Mendelssohn [followed by] c.70.4, fols.12–14v). There is no prefix for printed works; the shelf mark, Deneke, plus number appears in italics, for example, Deneke 184 (2). Mappe = Sebastian Bach-Mappe (Portfolio).

  • Free Organ Works

    John Sebastian Bach's Grand Studies for the Organ, London: Coventry and Hollier, 1835 ff., pr., parts 1–8. A gift from Charles Coventry: “Felix Mendelssohn Bartholdy Esqre. With Messrs. Coventry & Hollier's kindest regards. London, 20 Octr. 1836.” Deneke 183 (1–3), 184 (3–7).

  • Préludes p[our] l'orgue, inv. 1823, p. 89.

  • 6 Praeludien u. Fugen f. die Orgel. The edition by Riedl in Vienna, inv. 1823, p. 89. The Riedl edition contained the following works: (1) Prelude and Fugue in A Minor (BWV 543), (2) Prelude and Fugue in B Minor (BWV 544), (3) Prelude and Fugue in C Major (BWV (p.396) 545), (4) Prelude and Fugue in C Minor BWV 546, (5) Prelude and Fugue in C Major (BWV 547), (6) Prelude and Fugue in E Minor (BWV 548).

  • Fantasie für die Orgel, ms., inv. 1824. p. 90. Gift from Eduard Rietz.

  • 4 Orgelduetten, ms., inv. 1825, p. 90. In Friedrich Knuth's hand; his gift.

  • Präludium und Fuge in G Major, ms., inv. 1826, p. 90. BWV 541 or 550?

  • Fugue in C Minor, ms., inv. 1826, p. 90. BWV 574 or 575? [lost].

BWV 532/2

Fugue in D Major, ms., c.70. 68, fols. 120–25. Copied by E. Rietz.

BWV 533

Praeuludium in E Minor, ms. Staatsbibliothek, Berlin: Mus. ms. autogr. Mendelssohn Bartholdy 2. Copied by Mendelssohn, 9 December 1822. Prelude and Fugue in E Minor, ms., c.70.5, fols. 15–16. Copied by Fr. Knuth. Mappe?

BWV 536a/2

Fugue in A Major, ms., d.62, 1, fols. 1–3.

BWV 537

Fantasia and Fugue in C Minor, ms., e.10.1, fols. 1–8. A gift from Carl August Reichardt.

BWV 538

“Preludio e fuga di Giov. Seb. Bach,” (i.e., the Toccata and Fugue in D Minor [“Dorian”]), ms., c.70.67, fols. 108–18v. Copied by E. Rietz. Until ca. 1832 Mendelssohn knew this work as a Prelude and Fugue rather than as a Toccata and Fugue. See his letter of 11–14 December 1831, in which he identified it with an incipit of BWV 538. Mappe?

BWV 539

Prelude and Fugue in D Minor, ms., c.70.4, fols. 12–14. Copied by Fanny Hensel.

BWV 540

Toccata and Fugue in F Major. Mappe.

BWV 541

Prelude and Fugue in G Major, ms., c.70.1, fols. 2–6. Copied by Fanny Hensel. Mappe?

BWV 542/1

Fantasie in G Minor. Mappe.

BWV 550

Prelude and Fugue in G Major, ms., c.70.69, fols. 127–31. Copied by E. Rietz.

BWV 565

Toccata in D Minor. Mappe.

BWV 566

Toccata and Fugue in E/C Major, ms., c.70.3, fols. 9–11v. Copied by Fanny Hensel.

BWV 578

Fugue in G Minor, ms., c.70.2, fols. 7–8. Copied by Fanny Hensel.

BWV 582

Passacaglia C Minor, ms., inv. 1825 [lost]. Passacaglia, pr. Frankfurt/M.: Dunst (1831), Deneke 184 (2). Corrections in FMB's hand.

BWV 590/1

Pastorella, inv.1825, p. 90.

BWV 590/2

Pastorella in F Major (second movement), ms., d.62.2, fols. 3–4. Bars 146–269.

(p.397)
  • Chorale-based Organ Works

    John Sebastian Bach's Organ Compositions on Corales [sic] (Psalm Tunes). Edited from the original manuscripts by Felix Mendelssohn Bartholdy, London: Coventry and Hollier [1845]. Deneke 284* (1).

  • 44 kleine Choralvorspiele für die Orgel von Johann Sebastian Bach. [Ed. FMB,] Leipzig: Breitkopf und Härtel [1845]. Deneke 287.

  • [Orgelbüchlein]: BWV 599–644, except BWV 631 and 634, ms., c.70.22–65, fols. 65–95v. Copied by Friedrich Knuth, corrections by FMB.

  • 15 Grosse Choral-Vorspiele: BWV 651–64, 667, ms., c.70.6–20, paginated 1–87; fols. 17–60. Corrections and emendations in FMB's hand. An earlier copy, “Vorspiele über die Melodieen verschiedener Choral-Gesänge für die Orgel von Herrn Johann Sebastian Bach,” ms., c.71. Contents same as c.70.6–20.

  • Exercices pour le clavecin par J. S. Bach. Œuvre III [Clavierübung III], Vienna: Hofmeister, 1804], BWV 669–89. Deneke 184 (1).

The “Great Eighteen Chorales” (formerly)

BWV 665

Jesus Christus unser Heiland, d.62.3, fols. 4v–6.

BWV 666

Jesus Christus unser Heiland, d.62.3, fols. 6–7.

BWV 668

Vor deinen Thron [Wenn wir in höchsten Nöthen sind], d.62.4, fols. 7v–8v.

  • Miscellaneous Chorales BWV 714–65

    BWV 733 Fugue on the Magnificat, ms., d.63. Four leaves.

Chorale Variations (Partitas) BWV 766–71

BWV 766

Partite diverse supre Christ der du bist der helle Tag, ms., c.70.21, fols. 61–64v. Copied by F. Hauser, Vienna, 22 December 1830.

BWV 768

Sei gegrüsset Jesu gütig, ms., c.70.66, fols. 96–106. Copied by Fr. Knuth. XI Variationen für die Orgel über den Choral: Sey gegrüsset Jesu gütig. Leipzig: Breitkopf und Härtel [1846]. [Ed. FMB.] Deneke 181(2).

BWV 769

Einige canonische Veränderungen über das Weynacht-Lied: Vom Himmel hoch da komm ich her, vor die Orgel mit 2 Clavieren und dem Pedal, von Johann Sebastian Bach. Nürnberg: Schmids [1748]. Deneke 37.

(p.398)
  • Bach, Wilhelm [Ernst] jun. Fantasie und Fuge, inv., p. 91. Gift of the composer.

  • Becker, Carl Ferdinand, ed., Caecilia: Tonstücke für die Orgel zum Studium, Conzertvortrag und zum Gebrauche beim öffentlichen Gottesdienst, vol. 1. Leipzig: Friedlein und Hirsch [1845]. Presentation copy from Becker, 30 January [18]46. Deneke 186.

  • Commer, Franz, ed., Musica Sacra: Sammlung der besten Meisterwerke des 17t. und 18t. Jahrhunderts für die Orgel zum Gebrauch beim Gottesdienst und zum Studium. Berlin: Bote und Bock [1839], 177pp. A landmark publication containing works by J. S. Bach, N. Bruhns, D. Buxtehude, Dobenecker, J. E. Eberlin, G. Frescobaldi, J. J. Froberger, Cl. Merulo, G. T. Muffat, J. Pachelbel, J. G. Walther, and F. W. Zachau. Many, if not all, of the works included in this collection had not appeared before in print. Presentation copy from Commer, 17 April 1840. Deneke 154.

  • Fischer, Michael Gotthardt, Choral-Melodieen der evangelischen Kirchen-Gemeinden, vier-stimmig aussgesetzt mit Vor- und Zwischen-Spielen, 14. Werk und 6tes für die Orgel, Gotha/Erfurt: Perthes, 1820–1821. Deneke 189.

  • “Nachspiel” [i.e., Prelude and Fugue] in C Major (fragment). The manuscript, mistakenly attributed to Mendelssohn, came from the library of Germaine Montabert and was sold by Perke-Bernet (New York), auction catalogue sale no. 210 (10 April 1962). It had been given to a collector by the composer's brother, Paul Mendelssohn, after the composer's death. Parke-Bernet's cataloguer could not read German script and listed the fragment as “Nachtszene.” The manuscript is now in the Staatsbibliothek, Berlin.

  • Herzog, Joh. Georg, ed., Der praktische Organist: Neue vollständige Sammlung von Orgelstücken aller Art. Ein Hand- und Hilfsbuch zur allseitigen Ausbildung und zum kirchlichen Gebrauche, vol. 2. Mainz: Schott [1845]. Deneke 203 (III.229).

  • Hummel, Joh. Nep. Prélude et deux fugues pour l'orgue composées par J. N. Hummel. Œuvres posthumes no. 7. Leipzig: Breitkopf und Härtel [1839], Deneke 166 (10). A gift from the composer?

  • Mendelssohn Bartholdy, Felix, Three Preludes & Fugues. Composed for the Organ [op. 37]. London: Novello, 1837. Three fascicles. Deneke: Mus. Instr. I.7(1); second copy: Mus. 137 c.411 (20–22).

  • Präludien und Fugen für die Orgel componirt [Op. 37]. Leipzig: Breitkopf und Härtel, [1837/1838]. Mus. Instr. 92 (6).

  • (p.399)
  • Sechs Sonaten für die Orgel componirt [op. 65]. Leipzig: Breitkopf und Härtel [1845]. Dual pagination, each Sonata paginated separately. Mus. 137 c.390.

  • Six Grand Sonatas for the Organ [op. 65]. London: Coventry and Hollier [1845]. Mus. Instr. III.259 (14). Another copy. Mus. 137 b.1.

  • Sechs Sonaten für die Orgel, componirt. Arrangement für das Pianoforte zu vier Händen, op. 65… no. 1. Leipzig: Breitkopf und Härtel [1846]. Mus. 122 c.131.

  • Six Movements from Dr. Mendelssohn Bartholdy's Celebrated Organ Sonatas, op. 65, Adapted to Words… by Edwin Flood, no. 2: Have mercy upon me [from Sonata] no. 3; Solo… London: Coventry and Hollier [1847]. Mus. Voc. III, 36.

  • Six Movements from Dr. Mendelssohn Bartholdy's Celebrated Organ Sonatas, op. 65 [Sonata no. 4, second movement]. Adapted to Words by… Edwin Flood, no. 3: Alleluiah [sic], praise our God; quartet. Mus. Voc. III. 36.

  • Six Movements from Dr. Mendelssohn Bartholdy's Celebrated Organ Sonatas, op. 65 [Sonata no. 4, third movement]. Adapted to Words by… Edwin Flood, no. 4: Ho! Everyone that thirsteth, [from] Sonata 4: Duo. Mus. Voc. III. 36.

  • Rinck, Johann Christian Heinrich, Praktische Orgelstücke [recte: Orgelschule] (op. 55), inv., s.d., p. 100. [lost].

Addendum

Friedrich Schlemmer's Volume of Manuscript Organ Music: Mus. c.55. Copied by F. X. Gleichauf

Johann Sebastian Bach

Free Organ Works

BWV 531

Prelude and Fugue in C Major, c.55.118, pp. 209–14

BWV 534

Prelude and Fugue in F Minor, c.55.130, pp. 276–85

BWV 536/1

Praeludium in A Major, c.55.116, pp. 204–205

BWV 537

Fantasie and Fugue in C Minor, c.55. 127, pp. 253–62

BWV 541

Prelude and Fugue in G Major, c.55.126, pp. 243–50 (corrected by FMB?)

BWV 549

Prelude and Fugue in C Minor, c.55.129, pp. 270–75

BWV 562/1

Fantasie in C Minor, c.55.115, pp. 201–203

BWV 564

Toccata, Adagio, and Fugue in C Major, c.55.119, pp. 214–23

BWV 566

Toccata and Fugue in E/C Major. Fragment in C Major, c.55.117, pp. 207–209

BWV 568

Prelude in G Major, c.55.114, pp. 199–200

BWV 946

Fugue in C Major, c.55.120, pp. 223–24

(p.400)

Chorale-based works

[Orgelbüchlein]

BWV 599

Nun komm der Heiden Heiland, c.55.112, p. 195

BWV 600

Gottes Sohn ist kommen, c.55.111, pp. 194–95

BWV 601

Herr Christ der ein'ge Gottes Sohn, c.55.58, p. 108–109

BWV 603

Puer natus in Bethlehem, c.55.60, p. 110. Vom Himmel hoch [Puer natus est], c.55.36, pp. 80–81

BWV 604

Gelobet seist du, Jesu Christ, c.55.61, pp. 110–11

BWV 605

Der Tag [der] ist so freudenreich, c.55.56, pp. 106–107

BWV 606

Vom Himmel hoch da komm ich her, c.55.59, p. 109

BWV 607

Vom Himmel kommt der Engel Schaar, c.55.33, pp. 75–76

BWV 608

In dulci Jubilo, c.55.63, pp. 112–13

BWV 609

Lobt Gott ihr Christen, c.55. 62, pp. 111

BWV 610

Jesu meine Freude, c.55.78, p. 140

BWV 611

Christum wir sollen loben, c.55.55, p. 105

BWV 612

Wir Christen Leut, c.55.87, pp. 148–49

BWV 613

Helft mir Gottes Güte preisen, c.55.57, pp. 107–108

BWV 615

In dir ist Freude, c.55.44, pp. 94–95

BWV 616

Mit Fried und Freud, c.55.79, pp. 140–41

BWV 617

Herr Gott nun schleuss den Himmel auf, c.55.45, pp. 96–97

BWV 618

O Lamm Gottes unschuldig, c.55.47, pp. 98–99

BWV 619

Christe du Lamm Gottes, c.55.46, p. 97

BWV 620a

Christus der uns selig macht, c.55.27, pp. 60–61

BWV 621

Da Jesus an dem Kreuze stand [sic], c.55.40, pp. 88–89

BWV 623

Wir danken dir Herr Jesu Christ, c.55.41, pp. 89–90

BWV 624

Hilf Gott dass mir's gelinge, c.55.113, pp. 196–97

BWV 625

Christ lag in Todesbanden, c.55.94, pp. 156–57

BWV 626

Jesus Christus unser Heiland, c.55.39, p. 88

BWV 627

Christ ist erstanden, c.55.43, pp. 91–94

BWV 628

Erstanden ist der Hl. Christ, c.55.42, p. 90

BWV 629

Erschienen ist der Tag, c.55.28, pp. 61–62

BWV 630

Heut triumphiret Gottes Sohn, c.55.49, p. 100

BWV 635

Dies sind die hl. 10 Gebot, c.55.50, p. 101

BWV 636

Vater unser im Himmelreich, c.55.48, p. 99

BWV 637

Durch Adams Fall, c.55.51, p. 102

BWV 638

Es ist das Heil, c.55.52, pp. 102–103

BWV 639

Ich ruf zu dir, c.55.22, p. 48

BWV 640

In dich hab' ich gehoffet, c.55.54, p. 104

BWV 641

Wenn wir in höchsten Nöthen, c.55.84, pp. 146–47

BWV 642

Wer nur den lieben Gott lässt walten, c.55.85, p. 147

BWV 643

Alle Menschen müssen sterben, c.55.86, pp. 147–48

BWV 644

Ach wie nichtig ach wie flüchtig, c.55.83, p. 146

(p.401)

The (formerly) “Great Eighteen” Chorale Preludes, BWV 651–68

BWV 651

Komm heiliger Geist, c.55.32, pp. 70–75

BWV 652

Komm heiliger Geist, c.55.38, pp. 83–88

BWV 653

An Wasserflüssen Babylon, c.55.1, pp. 1–3

BWV 655b

Herr Jesu Christ dich zu uns wend, c.55.74, pp. 134–35

BWV 656

O Lamm Gottes unschuldig, c.55.4, pp. 9–13

BWV 657

Nun danket alle Gott, c.55.29, pp. 62–65

BWV 658

Von Gott will nicht lassen, c.55.30, pp. 65–67

BWV 659

Nun komm der Heiden Heiland, c.55.23, pp. 49–51

BWV 660

Nun komm, c.55.25, pp. 54–56

BWV 661

Nun komm, c.55.24, pp. 51–54

BWV 662

Allein Gott in der Höh, c.55.35, pp. 78–80

BWV 663

Allein Gott, c.55.2, pp. 3–7

BWV 665a

Jesus Christus unser Heiland, c.55.81, pp. 142–44

BWV 666

Jesus Christus unser Heiland, c.55.82, pp. 144–46

BWV 667

Komm Gott Schöpfer, c.55.3, pp. 8–9

BWV 668

Wenn wir in höchsten Nöthen sind, c.55.97, pp. 161–62

(p.402)

The Kirnberger Collection (formerly), BWV 690–713

BWV 690

Wer nur den lieben Gott, c.55.67, pp. 119–20

BWV 691a

Wer nur den lieben Gott, c.55.72, p. 132

BWV 694

Wo soll ich fliehen hin, c.55.69, pp. 121–23

BWV 695a

Christ lag in Todesbanden,c.55.106, pp. 173–75

BWV 696

Christum wir sollen loben, c.55.91, p. 153

BWV 702

Das Jesulein soll doch mein Trost, c.55.68, pp. 120–21

BWV 703

Gottes Sohn ist kommen, c.55.64, p. 113

BWV 712

In dich hab' ich gehoffet, c.55.95, pp. 157–58

BWV 713a

Jesu meine Freude, c.55.96, pp. 158–61

Miscellaneous Chorales, BWV 714–765

BWV 734a

Es ist gewisslich an der Zeit (Nun freut euch, lieben Christen), c.55.90, pp. 152–53

BWV 735

Fantasie super Valet' will ich dir sagen [sic], c.55.65, pp. 114–17

BWV 740

Wir glauben all an einen Gott, c.55.34, pp. 76–77

BWV 741

Ach Gott vom Himmel sieh darein, c.55.31, pp. 67–69

BWV 745

Aus der Tiefen ruf ich, c.55.73, pp. 133–34

BWV 749

Herr Jesu Christ dich zu uns wend, c.55.21, p. 47

BWV 760

Vater unser im Himmelreich, c.55.70, p. 124

BWV 761

Vater unser im Himmelreich, c.55.89, pp. 150–51

Choral variations (Partitas), BWV 766–71

BWV 766

Partite diverse supra “Christ der du bist der helle Tag,” c.55.71, pp. 125–31

BWV 768

Sei gegrüsset Jesu gütig, c.55.110, pp. 179–93

Appendix ii (Anhang II), bwv

  1. 48 Allein Gott in der Höh, c.55.26, pp. 56–60. Verse 5 by J. G. Walther in 3/4. Denkmäler deutscher Tonkunst 26.8

  2. 52 Freu' dich sehr, o meine Seele, c.55.92, pp. 154–55

  3. 53 Freu' dich sehr, o meine Seele, c.55.93, pp. 155–56

  4. 54 Helft mir Gottes Güte preisen, c.55.98, pp. 163–64

  5. (p.403)
  6. 56 Herr Jesu Christ dich zu uns wend, c.55.103, p. 169 (by G. P. Telemann)

  7. 59 Jesu meine Freude, c.55.37, pp. 60–61

  8. 60. Nun lobe mein Seel den Herrn, c.55.75, pp. 135–37

  9. 62a Sei Lob und Ehr, c.55.100, pp. 165–66

  10. 62b Sei Lob und Ehr, c.55.101, pp. 166–67

  11. 64 Vom Himmel hoch da komm ich, c.55.77, pp. 139–40

  12. 66 Wachet auf ruft uns die Stimme, c.55.105, pp. 171–73

  13. 67 Was Gott thut das ist wohl gethan, c.55.76, pp. 137–38

  14. 68 Wer nur den lieben Gott lässt walten, c.55. 99, pp. 164–65

  15. 72 Canon, c.55.109, p. 177

  • 108, 110, 107 “3 Fugen über den Namen Bach,” c.55.121, pp. 225–30

  • [Kauffmann, G. F.], Ach Gott vom Himmel sieh darein, c.55.53, pp. 103–104

  • [Kirnberger, Joh. Ph.], Herzlich thut mich verlangen, c.55.88, p. 149

  • [Krebs, Joh. Ludwig], Ach Gott vom Himmel sieh darein, c.55.80, pp. 141–42

    • O Ewigkeit du Donnerwort, c.55.102, pp. 167–69

    • Christ lag in Todes Banden, c.55.104, p. 170

    • Freu dich sehr, o meine Seele, c.55.107, p. 175

    • Ich ruf zu dir, c.55.108, pp. 176–77

    • Zeuch ein zu deinen Thoren, c.55.66, pp. 117–19

  • [Walther, Joh. Gottfried], Ach Gott und Herr (Vers. 3 = BWV 693; 4 = 692a), c.55.5, pp. 13–21. Denkmäler deutscher Tonkunst 26, repr. 1958 (DDT:26)

    • Ach Herr, mich armen Sünder (Vers. 7), c.55.6, p. 21 (DDT: 100)

    • Aus der Tiefen, c.55.7, pp. 22–27 (DDT:11)

    • Ach was soll ich Sünder machen, c.55.8, pp. 27–30 (DDT: 7)

    • Ach Gott thu dich erbarmen, c.55.9, p. 31 (DDT: 2)

    • Allein zu dir, Herr Jesu (Vers. 4), c.55.10, pp. 32–33 (DDT: 9)

    • Allein Gott in der Höh (Vers. 5, 1, 7), c.55.11, pp. 34–37 (DDT: 8)

    • Dies sind die heil'gen 10 Gebot, c.55.12, p. 37 (DDT: 21)

    • (p.404)
    • Danket dem Herrn, c.55.13, pp. 38–39 (DDT: 18)

    • Gott des Himmels, c.55.14, pp. 39–40 (DDT: 36)

    • Mitten wir im Leben sind, c.55.15, pp. 40–41 (DDT: 70)

    • Mache dich mein Geist bereit, c.55.16, pp. 42–43 (DDT: 66a)

    • Herr Gott, dich loben wir (Vers.2), c.55.17, p. 43 (DDT: 42)

    • O grosser Gott, c.55.18, p. 44 (DDT: 77)

    • In dich hab ich gehoffet, c.55.19, pp. 45–46 (DDT: 51)

    • Was mein Gott will, c.55.20, pp. 46–47 (DDT: 92)

Addendum

Several volumes of music transferred from the Music Faculty Library to the Bodleian Library at Oxford have recently been catalogued. Among them is a volume of manuscript organ music by J. S. Bach that had originally been part of Mendelssohn's organ library. The works contained in the volume are: Toccata in D Minor (BWV 565) in Ritz's hand; Passacaglia in C Minor (BWV 582) in Fanny's Hensel's hand; Fantasia in G Minor (BWV 542/1) in Ritz's hand; Fugue in G Minor (BWV 542/2) in Ritz's hand; Pièce d'orgue (BWV 572) in Johann August Patzig's hand; Toccata in F Major (BWV 540/1—with caption title “Preludio“) in Fanny Hensel's hand. The shelf mark of this volume is MS. M. Deneke Mendelssohn c. 103. I am grateful to Peter Ward Jones, whose letter of 7 August 2009 informed me of this important addition to the Mendelssohn Papers in the Bodleian.

Notes:

(1.) Johann Sebastian Bach, Practische Orgelschule enthaltend sechs Sontaen für zwey Manuale und durchaus obligates Pedal (Zurich: Nageli [1827]). An earlier edition by Carl Friedrich Horn (1762–1830), organist of St. George's Chapel, Windsor, and Samuel Wesley (1766–1837), which was “adapted for three players upon the Pianoforte” had appeared in London (1809–1810).

(2.) Apparently, an edition of Buxtehude's complete organ works was begun in the 1850s, of which at least one volume was published by Körner in Erfurt. See Hofmeister (1860, 290).

(3.) The first major edition of the organ works of Johann Ludwig Krebs, very likely inspired by the Peters edition of Bach (1844 ff.), was edited by Carl Geissler and appeared between 1847 and 1849. Unlike Griepenkerl, however, Geissler provided no critical commentary.

(4.) Schneider's Fantasie und Fuge in C Minor (Op.. 1) had appeared ca. 1824, and his Fantasie und Fuge in D Minor (Op. 3) appeared ca. 1830.

(5.) Elvers and Ward Jones (1993, 85–93).

(6.) Letter of 11–14 Dec. 1831. NYPL no. 142. Cited incompletely and with errors in Grossmann-Vendrey (1969, 48).

(7.) Mendelssohn dedicated his Organ Sonatas (Op. 65) to Schlemmer in 1845.