Page:A Dictionary of Music and Musicians vol 4.djvu/500

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484

WOHLTEMPERIRTE KLAVIER.

the demisemiquaver passing notes are omitted; as is also the semiquaver passing note, bar 28.

IV. Is missing.

V. Is missing.

VI. Prelude:—at bar 10, two bars are erased and eight bars are substituted at the foot of the page, the eight bars accord with text; bar 18, and the seven bars that follow, accord with marginal reading; at bar 22, the under stave is in the alto clef till bar 26; after bar 37 two bars are inserted at the foot, the two bars accord with text. Fugue:—throughout like text.

VII. Prelude:—bar 30, like text; bar 49, the C in the upper stave is an octave lower; bar 66, no flat to D in bass. Fugue:—throughout like text.

VIII. Prelude:—nine sharps in the signature, on the same principle as signature of No. 3. Fugue:—signature like Prelude; bar 14, the second B is omitted; bar 18, like marginal reading.

IX. Prelude:—bar 9, second quaver in bass B not A; bar 21, no turn on A♯; bar 50, bass like neither text nor margin, but (e), this is substituted in the place of an erasure, apparently like text;

${ \key e \major \clef bass \mark \markup \small "(e)" \override Score.TimeSignature #'stencil = ##f r16 gis fis e \bar "||" }$

bar 54, no chord in the upper stave, simply E. Fugue:—bar 15, trill on tenor D; bar 18, no natural to second E in alto.

X. Prelude:—throughout like text. Fugue:—in bar 18 and similar ones, the quaver of the compound time is written exactly under (or over, as the case may be) the semiquaver of the simple time. This throws a light on like instances in Bach's works, notably so on, the way the Prelude in D (No. 5 of the Second Part) should be played; bars 70, 71, (f), so the Fugue ends.

${ << \new Staff \relative e' { \override Score.TimeSignature #'stencil = ##f \clef Soprano \key e \minor \mark \markup \small "(f)" e4. dis16 cis dis dis4. e8 | e2.\fermata \bar "||" } \new Staff << \new Voice \relative g { \clef bass \key e \minor \stemUp g4. fis16 e fis fis4. a8 | gis2. } \new Voice { \stemDown b,2 b, | \shiftOff e,2._\fermata } >> >> }$

XI. Prelude:—throughout like text. Fugue:—bar 12 and the seven bars that follow, in G clef; from bar 89 to the end is written at the bottom of the Prelude, with 'Final zur folgend Fuga.'

XII. Is missing.

XIII. Prelude:—nine sharps in the signature of both Prelude and Fugue, on the same principle as Nos. 3 and 8.

XIV. Prelude:—end of bar 18 (g);

${ \relative a { \override Score.TimeSignature #'stencil = ##f \clef bass \key fis \minor << { \hideNotes a8 ^~ \unHideNotes a16[ a8 dis,16] \bar "||" } \\ { s8 d[ b] } >> } }$

bar 27, the third E in upper stave is marked ♯. Fugue:—bars 3, 6, 11, there is a trill on the final minim of subject; bar 15, the last quaver of middle part is C only; bar 16, a trill on G in middle part; bar 53, the last C in upper stave is not ♯.

XV. Prelude:—bar 24, no ♮ to last D; bar 45, trill on first B. Fugue:—no ♮ to last C in upper stave, bar 64.

XVI. Prelude:—bar 9, like margin; bar 21, bass like text. Fugue:—bar 9, no ♮ to first E; bars 12, 13, 16, and 22, like text; bar 82, no ♮ to last A.

XVII. Prelude:—six flats in the signature, on the same principle as the extra sharps are marked in Nos. 3, 8, 13; bar 6, the demisemiquaver is G not F; bar 42, no ♭ to second A; from the end of bar 53 to the beginning of bar 56, is as at (h); bar 75, no appoggiaturas.

${ \relative g'' { \override Score.TimeSignature #'stencil = ##f \time 3/4 \partial 4 \key aes \major \mark \markup \small "(h)" \mergeDifferentlyDottedOn ges16[ c, des ees] | << { f,8*1/2 c'32 d ees8 ^~ ees16 d ees8 ^~ ees16 d ees8 } \\ { f,4 _~ <f c'>8 <a c> _~ q[ q] } \\ { \stemDown \shiftOff s16 c8. _~ \hideNotes c8 \unHideNotes } >> | r16 ees des c des f bes, c des g, aes bes | << { c,8*1/2 g'32 aes bes8 ^~ \hideNotes bes } \\ { c,4 _~ \hideNotes c8 } \\ { \stemDown s16 g'8. _~ \hideNotes g8 } >> \bar "||" } }$

Fugue:—signature like Prelude; from bar 6 the under stave is in the alto clef for two bars and three quarters; the latter half of bar 14 is as at (i); bar 32, the upper part enters at the commencement with a B minim.

${ \relative g' { \override Score.TimeSignature #'stencil = ##f \key aes \major \mark \markup \small "(i)" \hideNotes ges4 _~ \unHideNotes ges!16 f g aes f ees f aes \bar "||" } }$

XVIII. Prelude:—bars 12, 14, 15, 40, like margin. Fugue:—throughout like text.

XIX. Prelude:—throughout like text. Fugue:—bar 16, like margin.

XX. Prelude:—bar 19, no ♮ to last G; bar 24, like upper margin; bar 30, bass like margin. Fugue:—bars 6 and 15 like margin; bar 28, ♯ to last C only; ♯ to C in last chord; but, no E in the upper stave and no upper A in the lower stave.

XXI. Prelude:—bar 36, third semiquaver in bass, A not C; bar 63, like margin; bar 67, no ♮ to B. Fugue:—bars 5 and 6 like margin; bar 89 as at (k).

${ \relative d'' { \clef soprano \key bes \major \override Score.TimeSignature #'stencil = ##f \override Score.Rest #'style = #'classical \mark \markup \small "(k)" << { d2 r4 } \\ { r8 a[ bes c d f] } >> \bar "||" } }$

XXII. Prelude:—seven flats in the signature, on the same principle as Nos. 3, 8, and 13; bar 16, ♭ to G in bass; bar 81, crotchet F in upper stave, no semiquavers E, D. Fugue:—signature like Prelude; no staccato marks in the subject; bar 22, B not C♭ in tenor; bar 33 like margin; bar 77, F not D in tenor.

XXIII. Prelude:—seven sharps in the signature, on the same principle as Nos. 3, 8, 13, 22; bar 45 like text. Fugue:—signature like Prelude; bar 70, no 𝄪 to C. This manuscript is in a much worse state of preservation than are the others.

XXIV. Prelude:—throughout (not like Kroll's but) like Chrysander's text. Fugue:—bar 16