List of compositions by J.S. Bach printed during his lifetime
See List of compositions of Johann Sebastian Bach for the complete list of Bach compositions—the present list only lists those compositions by Bach which were printed during his lifetime. Since some of these editions have been scattered over the BWV catalogue, this list is only intended to provide information regarding how Bach went about the publication of his own works.
Note that in Bach's time, compositions could circulate in manuscript and be copied by hand, which sometimes amounted to publication, for example the Well-Tempered Clavier was considered "published" in this fashion years before it was printed the first time (all long before copyright even existed).
The scores of more extended vocal and orchestral works were less often published in print in Bach's time, at least as far as Bach's music is concerned. Such scores were generally intended for local use, and the expenses for printing all the parts were high. However, text-books of the special Easter and Christmas services, celebrated in the churches for which Bach composed music in Leipzig, were regularly printed (e.g., Music for Easter, 1731; Christmas Oratorio, 1734; etc.). As these publications only contain texts without music notation, they are not further considered in this article.
- Autumn 1726: Partita No. 1 in B flat major, BWV 825
- Easter 1727: Partita No. 2 in C minor, BWV 826
- Michaelmas 1727: Partita No. 3 in A minor, BWV 827
- 1728: Partita No. 4 in D major, BWV 828
- 1730: Partita No. 5 in G major, BWV 829
- 1730: Partita No. 6 in E minor, BWV 830
In 1731 these partitas were collectively published as Clavier-Übung ("Keyboard Exercise").
Published in 1735. Both works specified for performance on a two-manual harpsichord.
Bach contrasted a work in Italian style – a Concerto nach Italienischem Gusto (Concerto after the Italian taste, now known as the Italian Concerto), BWV 971, with a work in French style, a suite which he called Overture nach Französischer Art (Overture in the French style, now commonly referred to as the French Overture), BWV 831.
The French Overture had previously been written down in C minor; for the publication of 1735 Bach transposed it to B minor and made slight changes to the musical text, for example in the rhythms of the first movement. The reason for the transposition is not known: one speculation is that the aim was to increase the contrast between the two works. F major is a "flat" key and B minor is a "sharp" key, and the keynotes are related by a tritone, which is the most distant modulation. Another possible motivation is that out of the eight German note names A, B (B flat), C, D, E, F, G, H (B natural), six had already been used as keynotes in the Partitas, thus only F and H remained.
Geistliche Lieder und Arien aus Musicalisches Gesangbuch G.C. Schemelli
69 Sacred Songs and Arias for Georg Christian Schemelli's Musical Song Book, which contained in total 954 song-texts, for voice and an accompaniment written down as a figured bass. Not all 69 melodies were composed by Bach, but he provided (or "improved") a thorough bass accompaniment for all of them, BWV 439–507.
Schemellis Gesangbuch was published in 1736, and contains some of Bach's probably least known compositions.
For organ – published 1739:
- Prelude in E-flat major, BWV 552/i
- German Kyrie and Gloria settings, BWV 669–677
- Catechism chorales, BWV 678–689
- Four duets, BWV 802–805
- Fugue E-flat major, BWV 552/ii
Note: The Prelude and Fugue are often played as a unit with the nickname "St Anne"
In 1741 another Clavier-Übung was published, the ARIA with diverse variations for double manual harpsichord, later to be known as the Goldberg Variations, BWV 988. Not thus numbered in the print it was the fourth Clavier-Übung publication. Note that this publication also carries no reference to Johann Gottlieb Goldberg either: the music was published over half a century before the perhaps exaggerated anecdote involving Goldberg was printed in Forkel's biography of Bach.
Canonic Variations on "Vom Himmel hoch da komm' ich her"
For organ, published in 1747 upon Bach's entrance into the Mizler society, BWV 769
Kunst der Fuge
In preparation for print when the composer died (1750): The Art of Fugue, BWV 1080
It is uncertain whether Bach supervised the publication of his secular cantata Amore traditore, BWV 203, in a now lost volume containing Italian cantates by various composers. The publication date of that omnibus volume is equally unknown. Apart from Bach's cantatas for voice and harpsichord accompaniment, the volume is supposed to have contained works by Telemann, Heinichen, Conti, and others.