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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. For instance the 1740s version of O Jesu Christ, meins Lebens Licht was published in NBG XVII In 1950 the Bach-Werke-Verzeichnis was published, allocating a unique number to every known composition by Bach.So, for example, the Prelude and Fugue in E-flat major can be indicated as "C. Wolfgang Schmieder, the editor of that catalogue, grouped the compositions by genre, largely following BG for the collation (e.g.
These revised editions, aligning with the NBA editions (format, layout), but outside that group of publications, were published under the name Johann Sebastian Bach: New Edition of the Complete Works – Revised Edition (Johann Sebastian Bach: Neue Ausgabe sämtlicher Werke – Revidierte Edition), in short: New Bach Edition – Revised (Neue Bach-Ausgabe – Revidierte Edition), abbreviated as NBArev.
Canon triplex a 6: first printed in 1747 (below), it appears on both versions of the portrait Haussmann made of Bach (1746, 1748 – above). 1", etc.) This offered a unique identification of all of Bach's known works, a system that was quickly adopted, for instance by the biographers: Philipp Spitta used it complementarily to the Peters edition numbering for the BG volumes that had appeared when he was writing his Bach-biography in the second half of the 19th century (e.g. But there was still a lot of confusion: some authors preferred to list Bach's works according to Novello's editions, or Augener's, or Schirmer's,...
In the 19th-century Bach Gesellschaft edition the canon was published in Volume 45) mentions Haussmann's paintings as original sources for the work (p. giving rise to various conversion tables at the end of books on Bach's compositions (e.g.
The work has been performed on a wide variety of instruments, including the piano, and by string quartets, chamber orchestras, and saxophone ensembles.
reveals Bach’s preoccupation with counterpoint and the canon.