Nur Versuch:
Compositions by G.Ph. Telemann published in lifetime
Based on: Martin Ruhnke, Georg Philipp Telemann: Thematisch-Systematisches Verzeichnis seiner Werke (TWV)
Publications at own expense until 1740
published in Frankfurt/Main
| (1) |
1715 |
Six Sonates à Violon seul |
Vl, Bc |
several reeditions, cf. Ruhnke I p. 149
|
| (2) |
1716 |
Kleine Cammer-Music |
Ob or other instr, Bc; or Cemb |
2d edition Hamburg 1728
|
| (3) |
1718 |
Six Trio |
|
|
| (4) |
1718 |
Sei Suonatine |
Vl, Bc |
cf. (18)
|
published in Hamburg
| (5) |
1725-26 |
Harmonischer Gottes-Dienst |
Voice, Instr, Bc |
Collection of Cantatas; cf. (23)
|
| (6) |
1726 |
Sonates sans basse |
2 Fl or 2 Vl |
"op. 2"; cf. (59)
|
| (7) |
1726-27 |
Auszug derjenigen ... Arien |
|
[published by Kißner, Hamburg]
|
| (8) |
1727 or 1728 |
Lustige Arien aus ... Adelheid |
|
2d edition 1733
|
| (9) |
1728 |
Pimpinone |
|
|
| (10) |
1728 |
Sonate metodiche ... Opera XIII |
Vl or Fl, Bc |
cf. (24)
|
| (11) |
1728 |
Sept fois sept et un Menuet |
Instr, Bc; or Cemb |
cf. (15)
|
| (12) |
1728 |
Musique héroique |
|
|
| (13) |
1728-29 |
Der getreue Music-Meister |
various |
Journal with 25 numbers
|
| (14) |
1730 |
Fast allgemeines ... Lieder-Buch |
|
|
| (15) |
1730 |
Zweytes Sieben mal Sieben |
|
cf. (11)
|
| (16) |
1730 |
Ouvertüre und Suite |
|
|
| (17) |
1730 |
Quadri |
Fl, Vl, VaGb or Vc, Bc |
cf. (43), (60)
|
| (18) |
1730 or 1731 |
Neue Sonatinen |
|
cf. (4)
|
| (19) |
1731 |
Zwo geistliche Cantaten |
|
|
| (20) |
1731 |
Sechs Cantaten |
|
|
| (21) |
1731 |
XX Kleine Fugen |
|
|
| (22) |
1731 |
III Trietti methodici |
|
|
| (23) |
1731-32 |
Fortsetzung des Harm. Gottes-Dienstes |
|
cf. (5)
|
| (24) |
1732 |
Continuation des Sonates methodiques |
Fl or Vl, Bc |
cf. (10)
|
| (25) |
1732 or 1733 |
12 Fantaisies à Travers. sans Basse |
Fl |
|
| (26) |
1732-33 |
Fantaisies pour le clavessin, 3 Douzaines |
Cemb |
|
| (27) |
1733 |
Musique de table |
various |
|
| (28) |
1733 |
Six Quatuors ou Trios |
|
|
| (29) |
1733-34 |
Singe-, Spiel- und General-Bass-Übungen |
Voice, realized Bc |
48 songs with theoretical explanations about continuo realization
|
| (30) |
1734 |
XII Solos |
Vl or Fl, Bc |
|
| (31) |
1734 |
Six Concerts et six Suites |
|
|
| (32) |
1734 |
Scherzi melodichi |
|
|
| (33) |
1734 or 1735 |
Lustiger Mischmasch |
|
|
| (34) |
1735 |
Fugirende und verändernde Choräle |
|
|
| (35) |
1735 |
Fantasie per il Violino |
Vl |
|
| (36) |
1735 |
Sonates Corellisantes |
|
|
| (37) |
1735 or 1736 |
12 Fantasies à Basse de Viole |
VaGb |
lost
|
| (38) |
1735 or 1736 |
VI moralische Cantaten |
|
|
| (39) |
1735 or 1736 |
Canones à 2, 3, 4 |
|
|
| (40) |
1735 or 1736 |
Duos à Travers. et Violoncello |
|
|
| (41) |
1736 |
Six Ouvertures |
|
|
| (42) |
1736 or 1737 |
6 moralische Kantaten |
|
|
| (43) |
1738 |
Nouveaux Quatuors |
|
published in Paris; cf. (17)
|
| (44) |
1738 |
XIIX Canons Mélodieux |
2 Fl or 2 Vl |
= 6 sonatas in 3 movements; "op. 5"; published in Paris
|
| (45) |
1738 or 1739 |
Fugues légères |
|
|
| (46) |
1738 or 1739 |
6 Symphonies |
|
|
| (47) |
1739 or 1740 |
Essercizii musici |
Rec/Fl/Ob/Vl/VlGb/Cemb, Bc |
12 Sonatas for 1 Instr, Bc + 12 Sonatas for 2 Instr, Bc
|
Publications in Germany after 1740
| (48) |
1741 |
Vier und zwanzig theils ernsthafte, theils scherzende Oden |
Hamburg, Christian Herold |
|
| (49) |
1744 |
Musicalisches Lob Gottes |
Nürnberg, Balthasar Schmid |
|
| (50) |
between 1745 and 1749 |
Music vom Leiden und Sterben des Welterlösers [Johannespassion 1745] |
Nürnberg, Balthasar Schmid |
|
| (51) |
before 1750 |
VI Ouverturen nebst zween Folgesätzen |
Nürnberg, Balthasar Schmid |
Cemb
|
| (52) |
1748 |
[several Cantatas] |
Hermsdorff, Chr. Heinrich Lau |
|
| (53) |
1757 |
De danske, norske og tydske undersaatters glaede |
Hamburg, Schönemann |
|
| (54) |
? |
Musicalisch-Choreographisches Hochzeit-Divertissement |
? |
|
| (55) |
1765 |
Symphonie zur Serenate auf die erste 100jährige Jubelfeier |
Hamburg, Bock |
|
Publications outside of Germany
| (56) |
about 1725 |
Solos for a violin with a thorough bass, opera seconda |
London, Walsh & Hare |
Vl, Bc |
|
| (57) |
between 1731 and 1733 |
Six sonates en trio dans le goût italien |
Paris, Boivin |
|
|
| (58) |
between 1738 and 1742 |
Sonates en trio |
Paris, Vater |
|
|
| (59) |
1752 |
Second livre de Duo |
Paris, Blavet |
2 Fl or 2 Vl |
cf. (6)
|
| (60) |
after 1752 |
Quatrième livre de Quatuors |
Paris, Le Clerc |
Fl, Vl, VaGb, Bc |
cf. (17)
|
TWV-Numbers
Instrumental Compositions
Group 40: Chamber Music without Basso continuo
| 40 : 1 |
Sonata |
VlGb solo |
»Lektion 15-16« from »Der getreue Music-Meister« (1728-1729) |
|
| 40 : 2-13 |
12 Fantasias |
Fl solo |
(1732/1733) A, a, b, B-flat, C, d, D, e, E, f-sharp, G, g |
only Nos. 2, 10, 11 in IMSLP
|
| 40 : 101-106 |
6 Sonatas |
2 Fl or Vl |
D, ... |
in IMSLP only No. 1, transposed to F for 2 Rec
|
| 40 : 107 |
Sonata |
B-flat for 2 Rec / G for 2 Fl or Vl / A for 2 VlGb |
»Lektion 3-5« from »Der getreue Music-Meister« (1728-1729) |
|
| 40 : 111 |
Sonata |
B-flat for Rec, Vl / G Fl, Vl (Vla pomp) / A for 2 VlGb |
»Lektion 1-2« from »Der getreue Music-Meister« (1728-1729) |
|
| 40 : 118-123 |
6 Canon-Sonatas |
2 Fl or Vl |
(1738) G, g, D, d, A, a |
|
Group 41: Works for Solo-Instrument and Basso continuo
| 41 : C 2 |
Sonata |
Rec, Bc |
»Lektion 19-20« from »Der getreue Music-Meister« (1728-1729) |
|
| 41 : c 1 |
Suite |
Ob (Fl, Vl, Cemb obbl), Bc |
No. III from »Kleine Cammer-Music« (1716/1728) |
|
| 41 : Es 1 |
Suite |
Ob (Fl, Vl, Cemb obbl), Bc |
No. VI from »Kleine Cammer-Music« (1716/1728) |
|
| 41 : e |
Suite |
Ob (Fl, Vl, Cemb obbl), Bc |
No. V from »Kleine Cammer-Music« (1716/1728) |
|
| 41 : F 2 |
Sonata |
Rec, Bc |
»Lektion 1-2« from »Der getreue Music-Meister« (1728-1729) |
|
| 41 : F 4 |
Sonata |
Vl, Bc |
Solo I from »Essercizii Musici« (1739/40) |
|
| 41 : f 1 |
Sonata |
Bsn (Rec), Bc |
»Lektion 11-14« from »Der getreue Music-Meister« (1728-1729) |
|
| 41 : G 2 |
Suite |
Ob (Fl, Vl, Cemb obbl), Bc |
No. II from »Kleine Cammer-Music« (1716/1728) |
|
| 41 : G 6 |
Sonata |
VlGb, Bc |
»Lektion 24-25« from »Der getreue Music-Meister« (1728-1729) |
|
| 41 : g 2 |
Suite |
Ob (Fl, Vl, Cemb obbl), Bc |
No. IV from »Kleine Cammer-Music« (1716/1728) |
|
| 41 : A 6 |
Sonata |
Vl, Bc |
Solo VII from »Essercizii Musici« (1739/40) |
|
| 41 : a 3 |
Sonata |
Ob, Bc |
»Lektion 17-18« from »Der getreue Music-Meister« (1728-1729) |
only transcription for Ob, Guit in IMSLP
|
| 41 : B 1 |
Suite |
Ob (Fl, Vl, Cemb obbl), Bc |
No. I from »Kleine Cammer-Music« (1716/1728) |
|
Group 42: Works for 2 Solo-Instruments and Basso continuo
| 42 : D 9 |
Sonata |
Vl, VaGb, Bc |
Trio X from »Essercizii Musici« (1739/40)
|
| 42 : Es 3 |
Sonata |
Ob, Cemb obbl, Bc |
Trio XII from »Essercizii Musici« (1739/40)
|
| 42 : A 6 |
Sonata |
Fl, Cemb obbl, Bc |
Trio IV from »Essercizii Musici« (1739/40)
|
| 42 : B 4 |
Sonata |
Rec, Cemb obbl, Bc |
Trio VIII from »Essercizii Musici« (1739/40)
|
Group 43: Works for 3 Solo-Instruments and Basso continuo
List of Hand-written Changes in Bach's Personal Copy
Bach's personal copy of the Goldberg Variations has been discovered in 1975. It contains some hand-written corrections in Bach's own hand and, on the last page (p. 32 of our scan), the manuscript of 14 canons about the first eight bass notes of the Goldberg Aria ("Verschiedene Canones über die ersteren acht fundamental=Noten vorheriger Arie. von J.S.Bach"). Sadly our scan, apart from missing the first page, doesn't allow to decipher anything of these additions. The following list may help to identify Bach's corrections of the Goldberg Variations. It is based on the list of "the most important entrys" given by the G. Henle Verlag (revised edition 1979 of Goldberg Variations (and more), p.115).
u = upper staff, l = lower staff, b = between staves
Incomplete bars at beginning of system are counted.
| Variation |
Page of Print |
System/Bar |
Staff |
Addition
|
| Aria |
missing |
bar 19 of Aria |
|
»slur above 32nd-notes in treble« (Henle)
|
| 5 |
6 |
1/3 |
u |
slurs from 1st to 2nd and from 3d to 4th note
|
| 7 |
7 |
3/1 |
under l |
tempo indication »al tempo di Giga.«
|
| 8 |
8 |
5/3 |
l |
sharp before last note c
|
| 9 |
9 |
4/3 |
u |
grace note before 1st note
|
| 9 |
9 |
4/4 |
b |
grace note before 1st note; shake on b
|
| 10 |
9 |
6/1 |
l |
mordent on half note
|
| 10 |
9 |
6/5 |
b |
mordent on half note
|
| 13 |
13 |
1/3 |
u |
turn above last note g
|
| 14 |
14 |
2/5-3/3 |
both |
staccato marks
|
| 14 |
14 |
4/3-5/2 |
both |
staccato marks
|
| 14 |
14 |
7/3 - p. 15 1/3 |
both |
staccato marks
|
| 14 |
15 |
3/1-2 |
both |
staccato marks
|
| 25 |
25 |
3/2 |
b |
tempo indication »adagio«
|
| 25 |
25 |
3/2 and 3 |
u |
grace notes before 8th notes b flat and a flat
|
| 25 |
25 |
4/3 and 4 |
u |
grace notes before 8th notes d and e flat
|
| 25 |
25 |
7/2 |
u |
grace note before 8th note b flat
|
| 26 |
26 |
6/2 |
l |
grace note
|
| 26 |
26 |
7/1 and 3 |
l |
grace notes before quarter notes f sharp and b
|
| 26 |
27 |
1/3 |
u |
mordent under quarter note f sharp
|
| 26 |
27 |
2/1 |
u |
mordent under quarter note e
|
| 26 |
27 |
2/2 – 5/3 |
both |
grace notes
|
| 26 |
27 |
6/1-3 |
u |
grace notes
|
