Johann Sebastian Bach

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Lore & Background

Some of the early biographies of Johann Sebastian Bach contain lists of his compositions. For instance, his obituary contains a list of the instrumental compositions printed during the composer's lifetime, followed by an approximate list of his unpublished work. The first separately published biography of the composer, by Johann Nikolaus Forkel, follows the same approach: its ninth chapter first lists printed works (adding four-part chorales which had been published in the second half of the 18th century), followed by a rough overview of the unpublished ones. In the first half of the 19th century more works were published, so the next biographies (Schauer and Hilgenfeldt in 1850) had more elaborate appendices listing printed works, referring to these works by publisher, and the number or page number given to the works in these publications. So, for example, the Prelude and Fugue in E-flat major can be indicated as "C. F. Peters Vol. III No. 1", or any of the variants ("Griepenkerl and Roitzsch Vol. 3 p. 2", "Peters Book 242 p. 2", "P. S. V., Cah. 3 (242), No. 1", etc.)

Reader's Guide

In 1950 the Bach-Werke-Verzeichnis (BWV) was published, allocating a unique number to every known composition by Bach. Wolfgang Schmieder, the editor of that catalogue, grouped the compositions by genre (not chronologically), largely following BG for the collation (e.g., BG cantata number = BWV number of the cantata). For instance, the Prelude and Fugue in E-flat major now became BWV 552, situated in the range of the works for organ. In contrast to other catalogues, such as the Köchel catalogue for Mozart's compositions, no attempt is made at chronological organization in the BWV numbering; for instance, although BWV 992 has a relatively high number, it happens to be an early composition by Bach. The Anhang (Anh.), i.e. Appendix, of the BWV listed works that were not suitable for the main catalogue, in three sections: I – lost works, or works of which only a tiny fraction had survived (Anh. 1–23); II – works of dubious authenticity (Anh. 24–155); III – works that were once attributed to Bach, but for which it had been established they were not composed by him (Anh. 156–189).

Did You Know?

• The Bach-Werke-Verzeichnis (BWV) was published in 1950, grouping compositions by genre rather than chronologically.
• The Prelude and Fugue in E-flat major is BWV 552, placed among organ works in the BWV catalogue.
• BWV 992, despite its high number, is an early composition by Bach.
• The Anhang (Appendix) of the BWV has three sections: lost works, works of dubious authenticity, and works once attributed to Bach but now known to be by other composers.
• The 1740s version of O Jesu Christ, meins Lebens Licht was published in NBG XVII1 in 1916, while the 1730s version had appeared in BG 24.

The Vastness of the Output

Bach's surviving body of work exceeds one thousand compositions, a staggering number that spans virtually every major musical form of his era. On the vocal side, his output encompasses cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, as well as individual songs and arias. The instrumental realm is equally expansive: concertos, suites, sonatas, and fugues written for a wide array of instruments and ensembles, including organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber groups, and full orchestra. This sheer diversity means that no single instrument or genre can claim to represent Bach's art. The catalogue that organizes this output—the Bach-Werke-Verzeichnis, or BWV—groups works by genre rather than by date, reflecting the practical reality that scholars needed a reliable way to identify each piece across the enormous and varied corpus. Whether one is discussing a four-part chorale or a full orchestral overture, the BWV number serves as the universal reference point that ties this vast collection together.

The Long Road to a Unified Catalogue

For nearly two centuries after Bach's death, identifying a specific composition was far from straightforward. His obituary listed the instrumental works printed during his lifetime alongside a rough inventory of unpublished pieces, and Johann Nikolaus Forkel's first standalone biography followed a similar pattern, separating printed from unprinted works. As more compositions entered print in the early nineteenth century, biographers like Schauer and Hilgenfeldt in 1850 expanded their appendices, referencing works by publisher and page number. A single piece such as the Prelude and Fugue in E-flat major could be cited in multiple ways—through C. F. Peters, Griepenkerl and Roitzsch, or other imprints. The Bach-Gesellschaft's landmark project of publishing the entire known output across roughly fifty volumes finally offered a unified identification system, yet confusion persisted. Authors continued to rely on Novello, Augener, or Schirmer editions, forcing readers to consult conversion tables at the back of organ and keyboard books well into the twentieth century.

The BWV System and Its Logic

When Wolfgang Schmieder published the Bach-Werke-Verzeichnis in 1950, he assigned a unique number to every known composition, organizing them by genre rather than chronology. Cantatas occupy BWV 1 through 224, followed by motets, masses, Passions and oratorios, four-part chorales, songs and arias, then works for organ, keyboard, lute, chamber music, orchestra, canons, and finally the Musical Offering and Art of Fugue. This genre-based approach meant that a piece like the Prelude and Fugue in E-flat major, now BWV 552, sits among organ works regardless of when Bach actually wrote it. Unlike the Köchel catalogue for Mozart, no chronological ordering is attempted; BWV 992, despite its high number, is in fact an early composition. The catalogue also includes an Anhang, or appendix, divided into three sections: lost or fragmentary works, compositions of dubious authenticity, and pieces once attributed to Bach but now known to be by other hands. Schmieder's 1990 second edition refined authenticity judgments and added new entries, sometimes repositioning works—such as moving BWV 11 from the cantata range into the oratorio chapter—using arrow notations rather than renumbering.

The Bach Societies and Ongoing Discovery

The Bach-Gesellschaft accomplished its primary mission by 1900, when it published its final volume and dissolved. Its successor, the Neue Bachgesellschaft, shifted focus toward sustaining Bach's cultural presence through a yearbook, festivals, and a dedicated museum. Yet the NBG did not entirely abandon publication: it occasionally issued newly discovered works or previously unprinted variants. A notable example is the 1740s version of the chorale O Jesu Christ, meins Lebens Licht, which appeared in NBG volume XVII1 in 1916. This differed from the 1730s version of the same piece, which had a distinct orchestration and had been published earlier in the Bach-Gesellschaft's volume 24. The existence of such variants underscores that Bach's output was not a fixed, closed set. Even after the great societies completed their publishing drives, the musical landscape continued to yield new versions and attributions, reminding scholars that the boundary between what is known and what remains to be found is always provisional.

Common Misconceptions (Editorial)

Some people assume that the numbering in the Bach-Werke-Verzeichnis (BWV) reflects the chronological order of Bach's compositions, but the BWV was published in 1950 and groups works by genre, not by date. For example, BWV 992, despite its high number, is actually an early composition by Bach. Another common misconception is that the BWV catalogue includes only verified works by Bach, but its Anhang (Appendix) contains three sections, including works of dubious authenticity and works once attributed to Bach but now known to be by other composers.

Why It Matters (Editorial)

Bach endures because his vast and varied output—over 1,000 known compositions spanning vocal and instrumental genres—represents a summit of Western musical achievement. The meticulous cataloging efforts, from early biographical lists to the standardized BWV system, reflect a centuries-long drive to preserve and understand his genius, ensuring that his music remains a foundational reference for performers, scholars, and listeners alike.

Notable Quotes (Wikiquote)

"Dem höchsten Gott allein zu Ehren,Dem Nächsten draus sich zu belehren." — Johann Sebastian Bach "To the glory of the most high God alone, and that my neighbour may be educated thereby." — Johann Sebastian Bach "Like all music, the figured bass should have no other end and aim than the glory of God and the recreation of the soul; where this is not kept in mind there is no true music, but only an infernal clamour and ranting." — Johann Sebastian Bach "Bei einer andächtigen Musik ist allezeit Gott mit seiner Gnaden Gegenwart." — Johann Sebastian Bach