ly
preserved in those portions of the Christmas oratorio of which the sources
are not definitely known, but which, like the other duplicated numbers, are
fair copies in the autograph.

B. _Instrumental_

Three violin concertos and one for two violins; known only from the
wonderful clavier versions.

Most of the first movement of the A major sonata for clavier and flute
which was written in the spare staves at the bottom of a larger score. Some
of these have been cut off.

V.--ARRANGEMENTS OF WORKS BY OTHER COMPOSERS

Arrangements for harpsichord alone of 16 concertos, generally described as
by Vivaldi, but including several by other composers.

4 Vivaldi concertos arranged for organ.

Many of these arrangements contain much original matter, such as entirely
new slow movements, large cadenzas, &c.

Concerto in A minor for 4 claviers and orchestra, from Vivaldi's B minor
concerto for 4 violins. This, though the most faithful to its original, is
the richest and most Bach-like of all these arrangements, and is well worth
performing in public.

2 sonatas from the _Hortus Musicus_ of Reinken, arranged for clavier. (The
ends of the slow movements are Bach.)

Finishing touches to cantatas by his uncle Johann Ludwig Bach. Also a very
characteristic complete "Christe eleison" inserted in Kyrie of Johann
Ludwig's.

VI.--DOUBTFUL AND SPURIOUS WORKS

Bach's autographs give the name of the composer on the outside sheet only.
He was constantly making copies of all that interested him; and where the
outside sheet is lost, only the music itself can tell us whether it is his
or not. The above-mentioned _Passion according to St Luke_ is the chief
case in point. The little music-books he and his second wife wrote for
their children are full of pieces in the most various styles, and the
editors of the _Bach-Gesellschaft_ have not completely identified them,
even Couperin's well-known "Les Bergeries" escaping their scrutiny. A
sonata for two claviers by Bach's eldest son, Wilhelm Friedermann, was
detected by the editors after its inclusion in _Jahrgang_ xliv. The second
of the 3 sonatas for clavier and flute is extremely suggestive of Bach's
sons, but Philipp Emanuel ascribes it to his father. However, he might
easily have docketed it wrongly while arranging copies of his father's
works. It has a twin brother (_B.-G._ ix. Anhang ii.) for which he has not
vouched.

Four absurd church cantatas are printed for conscience' sake