h overture.

3. The 6 "French" and 6 "English" suites.

The other clavier works fill two _Jahrgaenge_ of the _B.-G._

Bach's collections of organ music are (besides that included in the third
part of the _Klavier-Uebung_):--(1) 6 sonatas. (2) 4 groups of 6 organ
preludes and fugues. (3) _Das Orgelbuechlein_, a collection of short
choral-preludes carefully planned--all the blank pages of the autograph
being headed with the titles of the chorales intended for them--but not
half executed. (The projected whole would have been a larger volume than
the _Wohltemperirtes Klavier_). (4) 18 larger chorale-preludes, including
Bach's last composition. (5) The 6 "Schuebler" chorales, all arranged from
movements of cantatas.

Besides these there are the three great independent toccatas and the
Passacaglia. The remaining choral-preludes fill one _Jahrgang_, and the
other organ works two more.

D. _Unclassified_

Two important instrumental works cannot be classified, viz. _Das
musikalische Opfer_, the volume of compositions (two great fugues, various
puzzle-canons, and a splendid trio for flute, violin and figured bass) on
the theme given to Bach by Frederick the Great; and _Die Kunst der Fuge_, a
progressive series of fugues on one and the same subject, written in open
score as if entirely abstract studies, but all (except the extreme
contrapuntal _tours de force_) in admirable clavier style and of great
musical value.

IV.--LOST WORKS

A. _Choral_

J. N. Forkel's statement that Bach wrote 5 _Jahrgange_ of church cantatas
(_i.e._ enough to provide one for each Sunday and holy day for five years)
would indicate that some 80 are lost, but there is reason to believe that
this is a great exaggeration. Not more than six or seven cantatas are known
to be lost, by the evidence of fragments, text-books, &c.

Forkel also says that Bach wrote five Passions. Besides the great Matthew
and John Passions there is in an indisputable Bach autograph one according
to St Luke; but it is so worthless that the best plea for its authenticity
offered by responsible critics is that only a personal interest could have
induced Bach to make a copy of it.

[v.03 p.0130] The lost Passion according to St Mark must, judging by the
movements preserved in the _Trauer-Ode_, have been larger than that
according to St John.

Was there a _genuine_ Lucas-Passion? If so, Forkel's report of five
Passions would be explained. Several lost secular works are part