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J. S. Bach's 'Das Wohltemperierte Clavier II': A Critical Commentary. Vol. I:

Autograph Manuscripts
Book · January 1993
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J. S. Bach’s
‘Das Wohltemperierte Clavier II’
A Critical Commentary
BY
YO TOMITA

X Volume I W

AUTOGRAPH MANUSCRIPTS
Add. MS 35 021
The British Library, London
and
Mus. ms. Bach P 274
Staatsbibliothek Preußischer Kulturbesitz, Berlin
W
HOUSEHOLD WORLD PUBLISHER · LEEDS
1993
Household World Publisher,
14 St Michael’s Terrace, Headingley, Leeds LS6 3BQ
Published in England
by Household World Publisher, Leeds
© Household World Publisher 1993
All rights reserved. No part of this publication may be reproduced,

in any form or by any means, without permission from the publisher.
First published 1993
ISBN 0 9521516 0 X
Printed by the Print Service,
A division of University of Leeds
Media Services
Contents
Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iii
List of Reconstructions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iv
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
About Bach’s Autographs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Manuscript Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Critical Commentary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Terminology used for Listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Descriptive Abbreviations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Bibliographical and General Abbreviations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
BWV 870: Prelude 1 in C major . . . . . . . 17 Fugue 1 in C major . . . . . . . . 26

BWV 871: Prelude 2 in C minor . . . . . . . 30 Fugue 2 in C minor . . . . . . . . 32
BWV 872: Prelude 3 in C major . . . . . . 34 Fugue 3 in C major . . . . . . . 36
BWV 875: Prelude 6 in D minor . . . . . . . 41 Fugue 6 in D minor . . . . . . . 46
BWV 876: Prelude 7 in E! major . . . . . . 49 Fugue 7 in E! major . . . . . . . 55
BWV 877: Prelude 8 in D minor . . . . . . 57 Fugue 8 in D minor . . . . . . . 60
BWV 878: Prelude 9 in E major . . . . . . . 63 Fugue 9 in E major . . . . . . . . 66
BWV 879: Prelude 10 in E minor . . . . . . 69 Fugue 10 in E minor . . . . . . 71
BWV 880: Prelude 11 in F major . . . . . . 74 Fugue 11 in F major . . . . . . . 78
BWV 882: Prelude 13 in F major . . . . . 80 Fugue 13 in F major . . . . . . 82
BWV 883: Prelude 14 in F minor . . . . . 84 Fugue 14 in F minor . . . . . . 88
BWV 884: Prelude 15 in G major . . . . . 90 Fugue 15 in G major . . . . . . 92
BWV 885: Prelude 16 in G minor . . . . . 94 Fugue 16 in G minor . . . . . . 96
BWV 886: Prelude 17 in A! major . . . . . 99 Fugue 17 in A! major (L) 103
................................ (Bn) 107
BWV 887: Prelude 18 in G minor . . . 108 Fugue 18 in G minor . . . 111
BWV 888: Prelude 19 in A major . . . . 114 Fugue 19 in A major . . . . 116
BWV 889: Prelude 20 in A minor . . . 119 Fugue 20 in A minor . . . . 121
BWV 890: Prelude 21 in B! major . . . 123 Fugue 21 in B! major . . . . 126
BWV 891: Prelude 22 in B! minor . . . 128 Fugue 22 in B! minor . . . . 130
BWV 892: Prelude 23 in B major . . . . 134 Fugue 23 in B major . . . . 136
BWV 893: Prelude 24 in B minor . . . . 139 Fugue 24 in B minor . . . . 141
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
iii
List of Reconstructions
1: Pr.C, b.10 . . . . . . . . . . . . 19 35: Pr.E!, b.5 . . . . . . . . . . . 50 69: Pr.A!, b.63-64,1 . . . . 102

2: Pr.C, b.11 . . . . . . . . . . . . 19 36: Pr.E!, b.6 . . . . . . . . . . . 50 70: Pr.A!, b.69-70,1 . . . . 102
3: Pr.C, b.13 . . . . . . . . . . . . 20 37: Pr.E!, bb.7-8,1 . . . . . . 51 71: Fg.A!, b.6 . . . . . . . . . . 104
4: Pr.C, b.14, 4 - 15 . . . . . 20 38: Pr.E!, b.13 . . . . . . . . . . 51 72: Fg.A!, b.15 . . . . . . . . 105
5: Pr.C, b.17 . . . . . . . . . . . . 21 39: Pr.E!, b.14 . . . . . . . . . . 52 73: Fg.A!, b.27 . . . . . . . . 105
6: Pr.C, b.18. . . . . . . . . . . . 21 40: Pr.E!, bb.15-16 . . . . . . 52 74: Fg.A!, b.34 . . . . . . . . 106
7: Pr.C, b.19 . . . . . . . . . . . . 21 41: Pr.E!, b.34-35,1 . . . . 52 75: Fg.A!, bb.45-45,1 . . 106
8: Pr.C, b.22 . . . . . . . . . . . . 22 42: Pr.E!, bb.43-44 . . . . . . 53 76: Pr.g, b.6 . . . . . . . . . . . 109
9: Pr.C, b.28 . . . . . . . . . . . . 23 43: Pr.E!, bb.55-56 . . . . . . 54 77: Pr.g, b.17 . . . . . . . . . 109
10:Pr.C, b.29 . . . . . . . . . . . . 23 44: Pr.E!, bb.64-66,1 . . . . 54 78: Pr.g, b.37 . . . . . . . . . 110
11: Pr.C, b.32 . . . . . . . . . . . 24 45: Pr.d, b.1 . . . . . . . . . . . . 58 79: Fg.g, b.84 . . . . . . . . . 113
12: Pr.C, b.33 . . . . . . . . . . . 24 46: Pr.d, b.20 . . . . . . . . . . 59 80: Pr.A, b.21 . . . . . . . . . . 115
13: Fg.C, b.54 . . . . . . . . . . 27 47: Fg.d, b.19 . . . . . . . . . . 61 81: Pr.A, b.28 . . . . . . . . . . 115
14: Fg.C, b.67 . . . . . . . . . . 28 48: Fg.d, b.36 . . . . . . . . . . 62 82: Fg.A, b.8 . . . . . . . . . . . 117
15: Fg.C, bb.68 and 70 . . 28 49: Fg.d, b.45 . . . . . . . . . . 62 83: Fg.A, b.13 . . . . . . . . . 117
16: Fg.C, b.72 . . . . . . . . . . 28 50: Pr.E, b.50. . . . . . . . . . . 65 84: Fg.A, b.21,1-2 . . . . . 118
17: Fg.C, bb.76 and 78 . . 29 51: Fg.e, b.52 . . . . . . . . . . . 72 85: Fg.A, b.28 . . . . . . . . . 118
18: Fg.C, bb.80-82 . . . . . . 29 52: Fg.e, b.69 . . . . . . . . . . . 73 86: Pr.a, b.9. . . . . . . . . . . . 120
19: Fg.C, b.8 . . . . . . . . . . . 37 53: Pr.F, bb.2-3,1 . . . . . . . 75 87: Pr.a, b.25. . . . . . . . . . . 120
20: Fg.C, b.25 . . . . . . . . . . 38 54: Fg.F, b.74 . . . . . . . . . . . 79 88: Pr.a, b.31 . . . . . . . . . . 120
21: Fg.C, b.26 . . . . . . . . . . 39 55: Pr.F, b.1 . . . . . . . . . . . . 81 89: Fg.a, b.28,3-4 . . . . . . 122
22: Fg.C, b.27 . . . . . . . . . . 39 56: Fg.F, b.80 . . . . . . . . . . 83 90: Pr.B!, bb.34-35,1 . . . 124
23: Fg.C, b.28 . . . . . . . . . . 39 57: Pr.f, b.10 . . . . . . . . . . . 85 91: Pr.B!, b.62 . . . . . . . . . 125
24: Fg.C, b.29 . . . . . . . . . . 40 58: Pr.f, b.13 . . . . . . . . . . . 85 92: Pr.B!, bb.63-64 . . . . 125
25: Fg.C, b.30 . . . . . . . . . . 40 59: Pr.f, b.39 . . . . . . . . . . . 86 93: Fg.B!, b.78 . . . . . . . . 127
26: Fg.C, b.31 . . . . . . . . . . 40 60: Pr.f, bb.40-41 . . . . . . 87 94: Fg.B!, b.90 . . . . . . . . . 127
27: Pr.d, bb.10-11. . . . . . . 43 61: Pr.f, b.42,2-3 . . . . . . . 87 95: Pr.b!, b.16 . . . . . . . . . 129
28: Pr.d, bb.18-22 . . . . . . . 43 62: Fg.G, b.16: . . . . . . . . 93 96: Pr.b!, b.66 . . . . . . . . . 129
29: Pr.d, bb.22-25 . . . . . . . 44 63: Pr.g, b.11 . . . . . . . . . . . 95 97: Fg.b!, b.33 . . . . . . . . . 131
30: Pr.d, bb.39-40,1 . . . . . 44 64: Fg.g, b.62 . . . . . . . . . . . 97 98: Fg.b!, b.67 . . . . . . . . . 132
31: Pr.d, bb.43-45 . . . . . . . 45 65: Fg.g, bb.80-81 . . . . . . 98 99: Fg.b!, b.76 . . . . . . . . . 133
32: Pr.d, bb.46-47,49 . . . 45 66: Pr.A!, b.10. . . . . . . . . 100 100: Fg.b!, b.81 . . . . . . . . 133
33: Fg.d, b.8,1-2 . . . . . . . . 47 67: Pr.A!, b.16 . . . . . . . . . 100 101: Fg.B, b.42 . . . . . . . . 137
34: Fg.d, bb.13-14,1 . . . . 48 68: Pr.A!, b.57 . . . . . . . . . 101 102: Fg.B, b.59 . . . . . . . . 138
iv
Introduction
This Critical Commentary has been conceived as a supplement to the author’s
doctoral dissertation, “J. S. Bach’s Well-Tempered Clavier, Book II: A Study of its
Aim, Historical Significance and Compiling Process” (Leeds, 1990). In a series of
three volumes, it aims to list all the errors, variant readings and amendments in extant
manuscripts of WTC II, so that the information can be utilised by a wider circle of
scholars for further research.
Each volume is designed to cover a specific subject with its own aims:
Volume I: AUTOGRAPH MANUSCRIPTS: LISTING AND DESCRIPTION OF ALL THE

AMENDMENTS:
1. To reconstruct the sequence of revisions;
2. To reconstruct the layers of revisions;
3. To reconstruct some of the revised parts of Bach’s original text from his own
discarded revisions.
4. To distinguish authentic amendments by Bach from those of spurious origin
from a later date.
Volume II: ALL THE EXTANT MANUSCRIPTS: LISTING OF ALL THE VARIANT
READINGS:
1. To group manuscripts according to their shared variant readings;
2. To establish genealogical relations within a group according to the generation
of errors and amendments;
3. To identify later cross-linking of groups by examining subsequent collation of
distantly related sources.
4. To give data for reconstructing the missing set of autographs.
Volume III: NON-AUTOGRAPH MANUSCRIPTS: LISTING OF ISOLATED MINOR
ERRORS AND CORRECTIONS:
1. To supplement the amendments not listed in Volume II;
2. To produce a statistical account of the competence of individual copyists in
evaluating the authenticity of variant readings.
1
About Bach’s Autographs
The present volume updates the 1990 information as a result of more recent study of
the autograph manuscripts (22 leaves) in the British Library in London by the author
in September 1992 and the autograph manuscript (1 leaf) in the Staatsbibliothek
Preußischer Kulturbesitz in Berlin in August 1992.
It goes without saying that Bach’s autograph manuscripts are of particular

importance. They contain information that is not available from non-autograph
copies, such as the revised readings which were incorporated soon afterwards,
attesting to the composer’s process of thinking and the way the later readings were
conceived, based on his earlier revisions of the piece; or even the composer’s other
considerations such as how to make the copy tidy and practical for performing
purposes or to serve as the master copy. Thus a musicologist’s first task is to identify
the actual sequence of events from the vast array of information embedded in the
score.
It is, however, always a delicate matter to distinguish revisions accurately from the
initial reading with our conventional tools, such as calligraphy and the shade of ink,
for the revisions were mostly made by the composer himself in a relatively short
space of time. Discussing a single instance of an added accidental, for example,
requires careful scrutiny and sound judgement:
1. the accidental looks like being added but was in fact originally there, being
misplaced as a result of careless writing habits;
2. as above, due to the lack of space on the paper;
3. it was indeed added, as it was initially overlooked when Bach was writing out
the passage and was noticed later during proof-reading;
4. it was an added afterthought in his revision.
We might apply additional tools, such as comparing the autograph with the later
manuscripts that were derived from the autograph at different times. In this volume,
results yielded from such comparisons will be supplied as a supporting tool to help
judgement. A full-scale description will be given in Volume II of this Critical
Commentary.
The present volume is almost wholly concerned in the so-called “London Autograph”,
Add. MS 35 021, in which are many valuable pieces of information. These include:
– very late revisions appearing only in K1 circle as revisions;1

– the very late supplementary addition of cautionary accidentals;
– a copyist’s marks (especially the scribe of source F) where he put markers on
the autograph while he prepared a new system;
– the later addition of performance marks such as slurs or fingerings.
1
For copying traditions and sources, see pp. 4-8 below.
2
About Bach’s Autograph
My interpretation of all the amended readings is based on careful consideration of all

the aspects of manuscript study just mentioned. There is always the danger that wrong
conclusions drawn from ambiguities in the original score may lead to
misinterpretation. The colour of ink and the reconstruction of erased symbols are
prone to such mistakes, for they are not absolutely incontrovertible in appearance.
More sophisticated ink analysis will have to be carried out in the near future but, until
it becomes possible, I hope that this study may serve as a foundation for further
research on WTC II.
Acknowledgements
I should like to thank all the libraries and librarians for generously extending to me
their facilities for my research. For this volume in particular, I am grateful to the staff
of the British Library, London, and of the Staatsbibliothek Preußischer Kulturbesitz,
Berlin.
I am also much obliged to scholars in this field for invaluable opinion and
information, particularly to Dr. Stephen Daw, Dr. Alfred Dürr, Dr. Richard D. P.
Jones, Dr. David Ledbetter and Dr. G. Richard Rastall.
I am much indebted to Mr H. Jimmy S. Taylor and Mr David Arrandale for their

checking my English.
3
Manuscript Sources
It is necessary here to give a brief account of all the manuscript sources of WTC II,
although a fuller discussion will be found in Volume II.
LOCATION OF ALL THE KNOWN WTC II MANUSCRIPTS2
BEREA, Ohio: Riemenschneider Bach Institute (Baldwin Wallace College)

No.543
BERLIN: Staatsbibliothek Preußischer Kulturbesitz
Am.B.49, Am.B.55, Am.B.57, Am.B.79;
Mus. ms. Bach P 204, P 206, P 207, P 209, P 210, P 211, P 212, P 213, P 222,
P 226, P 228, P 237, P 274, P 298, P 304, P 401, P 402, P 414, P 416, P 430,
P 513, P 546, P 549, P 550, P 561, P 563, P 575, P 580, P 582, P 584, P 585,
P 586, P 587, P 588, P 589, P 590, P 591, P 592, P 593, P 594, P 595, P 597,
P 608, P 626, P 631, P 632, P 633, P 634, P 804, P 814, P 818, P 828, P 921,
P 944, P 1076, P 1078, P 1079, P 1089, P 1137, P 1146, P 1182;
Mus. ms. 30 196, 30 332, 30 386;
N. Mus. Ms. 10483, 10490;
H 908, Thulmeier M. 18
BERLIN: Hochschule der Künste
6 138 19
BOLOGNA: Civico Museo Bibliografico Musicale
DD 70
BRUSSELS: Bibliothèque du Conservatoire Royal de Musique
Litt. XY 27218, II.3917
CAMBRIDGE: Fitzwilliam Museum
MU MS 161
CHICAGO: Newberry Library
MS 6A 72
COPENHAGEN: Det Kongelige Bibliotek - Musikafdelingen
Weyse Samling
DRESDEN: Sächsische Landesbibliothek
Mus. 2405-T-7, T-31
GÖTTINGEN: Johann-Sebastian-Bach-Institut
Prov. Horn; Prov. Theodor Hahn
HAMBURG: Staats-und Univsersitätsbibliothek
M B/1974
HANNOVER: (private)
Poss. Sievers
2
Sources for string arrangement are excluded from this list. I am particularly indebted to Alfred Dürr and
Richard Jones for their information on manuscript sources.
4
Manuscript Sources
LEIPZIG: Bach-Archiv
Sammlung Manfred Gorke: Ms.19, 26, 312, 315, 316, 317
Prov. Konwitschny (the original MS is now missing)
LEIPZIG: Leipziger Stadtbibliothek
Sammlung Poelitz: Poel. Mus. Ms. 28, 33,2
Sammlung Rudorff: Ms. R. 13
Sammlung Scheibner: Ms. Nr.4
Sammlung Mempell-Preller: Ms. Nr.8
Ms. PM 5697
LONDON: The British Library
Add. MS 14 330, 35 021, 38 068
RM.21.a9
MAINZ/GRAZ: (private)
Poss. Prof. Dr. Hellmut Federhofer
MUNICH: Bayerische Staatsbibliothek
Mus. Ms. 6333
NEW HAVEN: Yale University, Music Library. Lowell-Mason Collection
LM 4837
OSLO: Universitetsbiblioteket, Norsk Musikksamling
Lindemann’s collection marked “Westphal, Hamburg 1780”
ST ANDREWS, Scotland: St. Andrews University Library
msM24B2
STOCKHOLM: Stiftelsen Musikkulturens Främjande
“Albrechtsberger manuscript” - or Nydahl collection
VIENNA: Sammlungen der Gesellschaft der Musikfreunde
VII 45 327 (SBQ 11 500), VII49736, Q 10728, Q 11731, Q 6397
VIENNA: Österreichische Nationalbibliothek, Musiksammlung
Mus. Hs. 18.523
WEIMAR: Stiftung Weimarer Klassik, Goethe- und Schiller - Archiv
GSA 32/430
WARSAW: Narodowa Biblioteka w Warszawie
R 1069
ZURICH: Zentralbibliothek, Handschriften Abteilung.
Ms. Car. Xv 241, Ms. Car Xv 244, Ms. Car. Xv 258.14
Manuscript no longer extant
“Fürstenau” and “Hering”
5
Manuscript Sources
GENEALOGICAL TREE OF WTC II MANUSCRIPTS

1720
P 804, P 1089 E A autograph manuscripts
P 595, P 226 non-autographic primary
1738 A
S A
sources
secondary sources
1739 Bach’s influence
L reliable transmission of
text by people other than
1741
Bach himself.
V unauthentic influence
K H F Bn 1742
S on the text and contami-
nation of text.
1744
Go.S.312 A1
1755
A2
H1
H2 1770
A3
P 206
P 204
Grasnick
Tradition B Tradition A
The diagram above attempts to depict a much generalised picture of the complex
WTC II genealogical system. The grey line in the middle separates two sets of
autograph manuscripts (L and S), from which each tradition of manuscripts derives.
Immediately to the right of this line is provided a rough yearly scale by which all the
sources are chronologically placed. The distance from the middle line in a horizontal
direction indicates the degree of authenticity of the source. The box around the source
indicates the time span of the source being revised and edited, which is attested by the
presence of layers of readings.
TRADITIONS
E Early model, originating in the pieces written in the 1720s. Ten pre-WTC II
pieces are known to have existed, namely PrFg.C, C, d, Fg.c, E!, G, A!.3
B Bach Tradition, stemming from the London Autograph (L).4
A Altnickol Tradition, stemming from another set of Bach’s autograph (S) which
is no longer extant, but is attested exclusively in Altnickol’s two surviving
manuscripts.5
K Kirnberger circle manuscripts, formed from assembled copies deriving from
various stages of L (not illustrated above).6
3
Breckoff, p. 17 ff. See also Brokaw 1985. For more recent work, see Tomita 1990, p. 6 ff. I have excluded
Fg.c from E, because I now believe that the fugue found in P 804, written in C minor, is not an early model
for Fg.c, but originates in the version of Fg.c stemming from the p.corr. of P 430, which was later
transposed from c to c by the Kellner’s circle.
4
Breckoff, p. 24 ff. See also Tomita 1990, p. 110 ff.
5
Breckoff, p. 55 ff. See also Tomita 1990, p. 175 ff, Jones Stages and Jones Obs.
6
Breckoff, p. 38 ff. See also Tomita 1990, 149 ff.
6
Manuscript Sources
ABBREVIATED SOURCES AND GROUPS

E Early models, P 804, P 1089, P 595, P 226, etc.: Copies from the source Bach
originally composed in ca. 1720-1738. Where applicable, they are divided into
several subgroups according to their textual chronology.
MSS \ PrFg. C c C c D d E! d E e F f F f G g A! g A a B! b! B b
P 804 pf f
P 1089 pf p f f
P 595 f f f f
P 226 p pf
L London Autograph, Add. MS 35 021: Compiled in ca. 1739-1742.7 PrFg.c, D

and f are missing from the collection.
V Vienna manuscripts of 24 Fugues only, Q 10728, Q 11731, STOCKHOLM and
BEREA: Their common model originates in ca. 1741. Its text is heavily corrupt
and thought to have gone through systematic revision in many layers. It may
also have a separate link to P 206.
H The model which became the basis for H1 = HAMBURG with its copy, P 206,
and H2 consisting of P 209 and DRESDEN (= Mus.2405-T-7), originated in ca.
1741. Apart from PrFg.C and A!, it is derived fairly faithfully from L. Except
P 209, they all have their origin in Dresden.8 In many instances, H2 gives an
earlier text, suggesting an independent path. Apart from P 209, each source
contains a complete set.
F Direct copy made from L in 1742, now consists of Fürstenau (lost), P 416,
Add. MS 38 068 and CHICAGO: They are referred to as F1 when they are
distinguished from their derivants. Their text is characterised by giving
reading newer than H but, at the same time, the scribe of careless nature often
interprets the amended symbols in a different way from what Bach intended.
From it stems a group F2 (Go.S.312 and P 210) which inherits an all the more
confused state of reading. Someone made later amendments to the text of F
based on A.
Fürstenau pf pf pf pf pf pf pf pf pf p f pf f f pf
P 416 pf pf pf pf pf pf f p pf p p p
Add.38 068 pf
CHICAGO f
Go.S.312 pf pf pf pf pf pf pf pf pf pf pf pf pf pf pf f f pf pf pf f f
P 210 pf pf pf pf pf pf pf pf pf pf pf pf
Bn Berlin Autograph, P 274: Made in ca. 1742.9 Fg.A! only.

S A complete autograph manuscript of WTC II, thought to have existed but now
lost. It first existed as a sketch on which Bach worked on up to 1739 and used
as an exemplar to make L. The other evidence in the copies of S also indicates
7
Kobayashi Chr, p. 45 f.
8
NBA KB V/6.1, p. 64.
9
This date is still controversial. While Jones Stages, p. 442, gives “early 1740s?”, NBA KB IX,2, p. 208 gives
“1743-1746”.
7
Manuscript Sources
that it was a collection of revision scores. When L was completed in 1742,

Bach came back to S to fill in the missing movements.
A1 Altnickol’s first copy, P 430 and the copies stemming from it, consisting of
ST ANDREWS, P 204, Konwischny, P 1076, P 207 and others: P 430 is made
under Bach’s instruction in 1744. Bach is thought to have made later
amendments directly onto this copy.10 There are other later amendments of
spurious origin by several hands. One of these is F. A. Grasnick (ca. 1800 -
1877) who compared A1 with K1, edited A1, and subsequently wrote P 1146,
in which he listed down the noteworthy variant readings he found in K1.
A2 Altnickol’s second copy, P 402, made in 1755: It contains some later as well
as earlier readings than A1. Altnickol did not use P 430 itself for A2, but used
a common source with his earlier copy.
A3 Poel.33,2 and PM 5697: A branch stemming from S independently of A1 or
A2. It contains valuable information that is not found in Altnickol’s sources.
The former is of particular interest, for it was copied in 1767 (?) by Johann
Christoph Georg Bach (1747-1814), Bach’s distant cousin in Ohrdruf.11 The
credibility of the information suffers much from careless copying practices,
however.
K1 Am.B.57, so-called “Kirnberger’s Handexemplar”,12 Weyse, Am.B.49 and
P 211: Main-stream manuscripts of Kirnberger, stemming from various stages
of L from the earliest to the latest.13 This group of MSS is thought to have
been compared with L in Berlin. The most probable date is 1774 or soon after
when W. F. Bach, in whose possession it was, moved to Berlin.
K2 P 814, P 1182, P 513 and CAMBRIDGE: Originated in the model for K1, partly
being attested by its more faithful nature to the original, and partly chara-
cterised by unique variant readings that are perhaps not derived from Bach.
K3 Ms. 30386, P 414: Stemming from the earliest branch of K, characterised by
containing fewer variants and errors than K1 but having its own unique ones.
P 814/1182 pf pf pf p f p p f pf p
P 513 f pf pf p f p p f pf p
CAMBRIDGE f f f f f f f f f f f
Ms.30386 p pf f f pf p p pf
P 414 p pf p p f
K4 P 237, RM.21.a9, LM 4837: Farthest group from K1, characterised by

corruptions of the text and by many unique variant readings, occasionally
shared with K3. While the first two MSS contain a complete set of WTC II,
the last, the text of which is severely corrupted, contains pieces from Pr.C to
Fg.f, and Pr.G to Fg.g (up to b.20).
10
I am indebted to Alfred Dürr for pointing out this in our private correspondence. See also Jones Obs, p. 609.
11
Numbered 83 in Bach’s Family Tree, he is the only son of the youngest son (Johann Andreas, No.44) of
Bach’s eldest brother, Johann Christoph, No.22. See The New Grove: Bach Family (1983), pp. 4-5.
12
BG XIV, p. xiv.
13
See Tomita 1990, pp. 150-153, and Jones Stages, p. 443.
8
Critical Commentary
The discussion of each movement is divided into the following sections where a
specific aspect of the manuscript is discussed:
TITLE
Title is given in full, with additional information where amendments have been made.
FORMAT
It describes the layout of the movement and marginal additions if any.
GENERAL FEATURES
The aim is to give an overall picture of each movement from many aspects, including
handwriting, maturity of stages in which the manuscript was made and later revisions.
This section is further divided into the following subsections, dealing with specific
information:
Clef: 1) clef usage of two staves, and 2) number and location of clef
change if occurs.
Key, k-s: 1) key, and 2) the number of sharps or flats in k-s. When
variation is found, the number of occurrences is indicated in «
»;
t-s, bars: 1) t-s, and 2) a total number of bars;
State of score: 1) handwriting, 2) purpose of the score, and 3) scribe;
Ink and Quill: description of type of ink and quill used. If more than one kind
are found, they are listed in the most likely chronological order
of usage;
Revisions: overview of revisions. When several layers of revision are
found, they are organised in hypothetical chronological order,
working from both the ink analysis and the source study. Each
layer is then distinguished by lower case roman letter (i, ii, ..).
SOURCE SITUATION
A very brief description of the genealogical relation of sources is given together with
a reduced form of the diagram given in p. 6 above. When the revision of L is
distinguished in multiple layers, the source L is subdivided by the layer, e.g., Li, Lii.
TEXT
Description of individual amendments is given in order as they occur in the piece.
9
Terminology used for Listing
This book lists almost anything that is added or amended in the manuscript, sorted
according to the musical chronology.14 Later additions or replacements of text that are
written in the space not used originally are listed after the last entry of the initial
reading, under the heading of “Later extension” or “Later replacement”. Except for
unauthentic non-musical amendments and non-amendments, all entries are serial
numbered within the movement.
SN
Keys / Bars / Ms Pos. / Description
SN - Serial numbers of the listing for quick cross-reference. They are referenced by
†sn (cross sign followed by the number).
Keys - Abbreviated analytical remarks for all entries of description. For the
abbreviation used in description, see “Descriptive Abbreviations” below, p. 12.
Bars - Reference to the bar number of the piece.
MS Pos. - Reference to the position in the facsimile of the manuscript. Abbreviated
symbols are arranged as follows:
1. column — Left, Right (or Top, Bottom, if margins are used). This reference
may have a prefix r or v (recto or verso) where the use of a sheet is extended to
the other side of the sheet;
2. system number;
3. the bar number on a system (counting from the left of the system regardless of
a split bar from the preceding system). Alternatively, if the bar is adjacent to
the margin, “beg” or “end” may be used.
Description - this section contains the following information:
1. location of the symbol(s) in the Bar: the order is as follows: voice, beat,
number of notes / rests, etc., followed by the symbols in question.15
S,3/4:
Voice: soprano
end of Voice field
Beat: 3rd Beat
end of Beat field
position within the Beat: 4th symbol
The symbols are graphically shown in their specific note values as well as in
their exact rhythmic notations, but the exact direction of stemming is not
specified. When pitch is specified, a standard pitch specification is shown in
italicised font. This field terminates with a colon “:”;
14
I have deliberately excluded from my description two sets of pencilled numbers that are written in the top
margin by the librarian.
15
When non-musical symbols are specified (e.g., lines, stains and marks), either Staff (abb. = LS for lower
system; US for upper system) or System (abb = SYS) is referred to instead of Voices. The individual line of a
staff is specified by abbreviation L, e.g., 4L (the 4th line).
10
Terminology used for Listing
2. amendment categories: the types of amendment are classified into nine

categories according to the manner of amendment:
i. Amended [symbol]: a symbol is amended by pen to the same type of
symbol;
ii. Overlaid [symbol] on [old symbol]: a new symbol is overlaid on the top
of an old symbol which is of a different type;
iii. Cancelled [symbol]: a symbol is cancelled (crossed out) by pen;
iv. Removed [symbol]: an entire symbol is removed by scraping the surface
of the paper;
v. Blotted [symbol]: an entire symbol is removed by blotting the ink;
vi. Trimmed [symbol]: part of a symbol is removed by scraping;
vii. Shifted [symbol]: part of a symbol is amended by pen to shift to another
location, then the other part of it is scraped off from the paper.
viii. Replaced [symbol]: the original symbol is removed by scraping from the
surface, and a new one, which is not necessarily the same type of symbol,
is written on top;
ix. Added [symbol] (location): Without erasure, a new symbol is added,
most often squeezed into insufficient space or written over the top.
The later revisions, using a different shade of ink, are marked in BOLD;16
3. process of amendment: an attempt is made to trace the original reading and
how the improvements are made. Two terms are specially used to distinguish
the nature of the revisions:
i. Corrected [aspect] from ante correcturam: when the mistake is obvious
in the grammar of music (such as consecutive octaves or poor
voice-leading), sketch material being worked out in a composing process,
or lapse of attention;
ii. Changed [aspect] from ante correcturam: when the change replaces the
grammatically equally correct reading, but an improvement is found in
artistic elements according to various theoretical or aesthetic criteria.
Wherever a doubt remains, “(?)” is inserted in the observation. An alternative

interpretation of a query may be given within the bracket;
4. the background of the revision and information associated with it are inserted
as a separate paragraph beginning with “observation:”;
5. a reconstruction of correcturam with commentary is inserted wherever it is
useful. It is intended that each reconstruction retains as much original
information as possible, which includes clef, the direction of stem and beam,
and notational convention (especially the way accidentals are used);
6. other scholars’ observations and divergent readings of other manuscripts are
given in footnotes.
16
Note that these differences in ink colour are not always apparent in the published facsimile.
11
Descriptive Abbreviations
UNRELATED TO THE REVISION PROCESS
al Alignment problem. Normally found in Anna Magdalena’s work.
err Invalid notation in the score.
hol Holes remain in manuscripts that are the result of scraped revision work.
mk Non-musical symbols (e.g., =, # and -), which are often found above the bar
line, are customarily added by copyists when they are making copies from it.
The majority of those found here can be attributed to Anon.Vr who made F.
Some markers remain in the text but others are erased. Furthermore # could be
a crossed out = mark (it invites speculation that the mark has been cancelled
because it was no longer needed by the copyist).
ra Correction of a rastrum drawing.
st Ink stain, which is an unintentional trace appearing on the manuscript, which
interferes with the interpretation of the manuscript. Besides ink-stains, there
are other types of external damage on the manuscript, such as glue or paint.
trm The sheet was trimmed after the music was copied, and some symbols are lost.
RELATED TO THE REVISION PROCESS
I: Reference by a particular classified activity
cm Composing process. It shows so many traces of the primary characteristics of
the compositional process that the entry cannot be classified into a specific
revision group.
cp General copying errors. Excluding the specific categories listed in other
entries, it includes amendments that do not contain musical significance .
hm Harmonic revision.
ml Melodic revision.
pm Addition of performance-related marks.
pr Proof-reading amendment, which is basically supplementing cautionary
accidentals.
rhy Rhythmic revision or rhythmically enhanced melodic revision.
vtx The enrichment of voice texture.
II: Reference by later repair work not done by Bach

rp Repair work which is likely to have been carried out by one of the successive
owners.
12
Bibliographical and General Abbreviations
A alto
a.corr. ante correcturam
acd, acds accidental, accidentals
AMB Anna Magdalena Bach
Am.B. Amalienbibliothek (collection of Princess Anna Amalia of

Prussia)
amb ambiguous
B bass; bottom margin
b., bb. bar, bars — graphically represented as |
BG Gesamtausgabe der Bachgesellschaft (Leipzig 1851 - 1899)
Bischoff Joh. Seb. Bach’s Klavierwerke. Sechster Band. Das wohltem-

perirte Klavier. Zweiter Teil (1744). Kritische Ausgabe mit
Fingersatz und Vortragsbezeichnungen vers. von Dr. Hans
Bischoff. (Leipzig: Steingräber Verlag, preface dated 1884)
Bl black shade (of ink)
Br brown shade (of ink)
Breckoff Werner Breckoff: Zur Entstehungsgeschichte des zweiten

Wohltemperierten Claviers. (PhD diss., Tübingen, 1965)
Brokaw 1985 James A. Brokaw II: “Recent Research on the Sources and
Genesis of Bach’s Well-Tempered Clavier, Book II”. Bach
XVI/3 (1985), 17-35
Brokaw 1986 James A. Brokaw II: Techniques of Expansion in The Preludes

and Fugues of J. S. Bach. (PhD diss., Univ. of Chicago, 1986)
Brokaw 1989 James A. Brokaw II: “The genesis of the Prelude in C Major,
BWV 870” in: Bach Studies (Cambridge, 1989), pp. 225-239
bt, bts beat, beats: e.g., “2 bt” should be read as “the second beat”
BWV Wolfgang Schmieder: Thematisch-systematisches Verzeichnis

der musikalischen Werke von Johann Sebastian Bach. Bach-
Werke-Verzeichnis (BWV). 2., überarbeitete und erweiterte
Ausgabe. (Wiesbaden: Breitkopf & Härtel, 1990)
13
CHG change of
col. column
corr. corrected, correcting, correction, correcturam
CPE Carl Philipp Emanuel Bach
DBl dark black shade (of ink)
DBr dark brown shade (of ink)
Dehnhard Walther Dehnhard: “Critical Notes”, in: Johann Sebastian

Bach. Das Wohltemperierte Klavier II. Nach dem Autograph
und Abschriften herausgegeben von Walter Dehnhard. (Wien;
Mainz: Schott / Universal Edition, 1983), pp. xx-xxxii
(English)
Emery Walter Emery: “The London Autograph of ‘The Forty-Eight’”.

Music and Letters XXXIV (1953), pp. 106-123
f., ff. folio, folios; and the following
Fg. Fugue
Franklin 1989 Don Franklin : “Reconstructing the Urpartitur for WTC II: a
study of the ‘London autograph’ (BL Add. MS 35 021)”, Bach
Studies (Cambridge, 1989), pp. 240-278
Franklin-Daw “Introduction” in: Johann Sebastian Bach. Das Wohltemperi-

erte Clavier II: Facsimile of the autograph manuscript in the
British Library Add. MS 35 021 with an introduction by Don
Franklin and Stephen Daw (London: The British Library,
1980), pp. v-vii
Go.S. Sammlung Manfred Gorke, Bach-Archiv, Leipzig
Gustafson Roger Gustafson: “Selected keyboard works of Bach pertaining

to the compilation of ‘The Well-tempered Clavier’, book II”,
Studies in Music V (1980), pp. 15-22.
Jones Stages Richard Jones: “Stages in the development of Bach’s ‘The

Well-Tempered Clavier II’” The Musical Times, CXXXII, no.
1783 (September, 1991), pp. 441-446
Jones Obs Richard Jones: “Further observations on the development of

‘The Well-Tempered Clavier II’” The Musical Times, CXXXII,
no. 1786 (December, 1991), pp. 607-609
JSB Johann Sebastian Bach
14
k-s key-signature
Kobayashi Chr Yoshitake Kobayashi: “Zur Chronologie der Spätwerke Johann

Sebastian Bachs: Kompositions- und Aufführungstätigkeit von
1736 bis 1750”. Bach Jahrbuch LXXIV (1988), pp. 7-72
L left
L.H. left hand = the lower staff of a piano system
LM Lowell Mason Collection, Music Library, Yale University,

New Haven
LS lower staff
mgn margin
Morgan J. S. Bach: Wohltemperirtes Clavier. The Forty-Eight Preludes

& Fugues. Phrased, fingered and annotated by Orlando Mor-
gan. Book II. (London: Edwin Ashdown Ltd, preface dated
1926)
MS, MSS manuscript, manuscripts
NBA KB Neue Bach Ausgabe: Johann Sebastian Bach. Neue Ausgabe

sämtlicher Werke. Herausgegeben vom Johann-Sebastian-
Bach-Institut Göttingen und vom Bach-Archiv Leipzig, 1954ff.
Kritischer Bericht
V/6.1 — Das Wohltemperierte Klavier I (1989) von Alfred

Dürr;
IX,2 — Die Notenschrift Johann Sebastian Bachs. Dokumenta-

tion ihrer Entwicklung (1989) von Yoshitake Kobayashi
NH note-head
NV note-value
orn, orns ornament, ornaments
p.corr. post correcturam
PG page — graphically represented as Ñ
poss. possession
Pr. Prelude
15
Prout Ebenezer Prout: “The Autograph of Bach’s ‘Wohltemperirtes

Clavier’”, Monthly Musical Record XXVI, No.303-304, pp.
49-52; 73-76
prov. provenance
R right
R.H. right hand = the upper staff of a piano system
RV rest-value
S soprano
s.i. same ink / similar shade (of ink to the ink used to write the
piece from the outset)
sqz squeezed (in), squeezing (in)
St staff, stave — graphically represented as ¹
Stauffer George Stauffer: “Bach as reviser of his own keyboard works”

in: Early Music XIII/2 (1985), pp. 185-197
SYS system — graphically represented as Ð
T tenor; top margin
t-s time-signature
TBr thin, brown shade (of ink)
TkBl thick, black shade (of ink)
TvDBr thin (watery), very dark brown shade (of ink)
Tomita 1990 Yo Tomita: J. S. Bach’s Well-Tempered Clavier, Book II: A

Study of its Aim, Historical Significance and Compiling Proc-
ess. (PhD diss., Leeds, 1990)
US upper staff
vDBl very dark black shade (of ink)
vDBr very dark brown shade (of ink)
WFB Wilhelm Friedemann Bach
WTC The Well-Tempered Clavier
16
BWV 870,1: Prelude 1 in C major
Prelude 1 in C major
TITLE
Prælude et Fugue i . par J. S. Bach

The title has been modified in three stages:17
1. JSB first wrote “Prælude di J. S. Bach” in TDBr ink.
2. With a slightly thinner quill and in s.i., “et Fugue” is inserted later.
3. With a thick quill “/i” is added, “par” is written over “di”, and “J” is
amended. The ink is of slightly darker Br shade.
FORMAT
The whole piece is accommodated within f.1r, the space expected to be used.
f. Space SYS Contents Comments
1r L col. 1-7 bb.1-19 The lower 2 systems are abandoned by
crossing-out during a revision on a later occasion.
R col. 1-5 bb.20-34 After the cadence, “V S: volti” is written.
6-7 bb.14,4-19 Initially these SYS were unused.
GENERAL FEATURES
Clefs: R.H. — ; L.H. — ; no change of clef .18
Key, k-s: C major: no k-s.
t-s, bars: : 34 bars. (E was written in ).
State of score: Rough revision score by JSB. The degree of roughness is
clearly distinguished in sections as follows:19
a) revision based on E: bb.1-14;
b) composing and 1st revision: bb.15-19;
c) transposing of (a): bb.20-27;
d) composing: bb.28-35;
e) 2nd revised version of (b) in R6-R7.
Ink and Quill: Eight groups and their variants are distinguished:
a) TDBr: used for drawing staves;
b) TBr (1): used for amending staves;
c) Bl (1): used for notes and part of the title;
d) Bl (2), DBl and TDBl: proof reading I — †17, 55;
e) TBr (2) with thin quill: proof-reading II — †36;
f) DBr with thin quill: proof-reading III — †37, 54;
17
See a different reconstruction by Franklin 1989, p. 271.
18
The treble clef on R.H. is used for ff.1, 13 and 14 only. F and DD 70 retain this feature, while other copies of
L, such as K, use L1. There are many pitch errors in A1, being the evidence of S being written in . See
Jones Obs, p. 607.
19
Breckoff, p. 66, and Brokaw 1989 take a similar view.
17
g) TvDBr with thick quill: proof-reading — †2, 38;

h) Bl family (Bl, Bl/vDBr, DBl, TkDBl): used for later
supplement of acds, outlining vague notation — †5, 11, 13, 32,
41, 53, 58, 60 ff.
Revisions: Corrections can be grouped into the following categories:
a) caused by the notation in the exemplar —†1, 4, 12-13;
b) caused by composing process —†6, 19-31, 42-51, 55-57;
c) caused by revision —†8-9, 14-15, 34-36, 39;
d) to clarify the text — †2-3, 52, 54;
e) to supplement with cautionary acds = ink (h).
Later revisions are distinguished by the calligraphy and the
shade of ink in many layers, as follows:
i ink (a-c): first layer of the score;
ii ink (d): revision of bb.15-19 and proof-reading;
iii ink (e-f): proof-reading;
iv ink (g-h): proof-reading by an unknown hand.
SOURCE SITUATION
Three versions are known at least to have stemmed from JSB:
E E ( , 17 bars) — BWV 870a,1: used as model for writing L;

L ( , 34 bars) — BWV 870b,1;
Liii F: it contains many pitch errors, missing ties and mixed up
F, K voice-texture;
?
S K: it has two clear groups, K1 and K3, K4;
DD70
A DD70 (by WFB) is derived from an independent branch, which
may stem from JSB’s authentic score.20 It contains many
H
Liv variant readings that are not found in the line of L - S;
S ( , 34 bars) — BWV870,1: the re-worked, latest version.
TEXT
Keys Bars MS Pos. Description
1
cp 3 L1,b.3 A,2 . c’: Amended NH. Corrected NV from NH.21
mk 3 L1,b.3 below B,4/1 A =: Added mark in Br ink, which is blotted.
2
pr 6 L2,b.3 S,3- c’: Amended tie. Corrected length with thick quill,
in TvDBr ink.
3
cp 7- L3,b.1- A,4/3- a: Replaced tie. Corrected length. There remains a
hole.
st 8 L3,b.2 above B,4 A: Removed stain.
4
hm 10 L4,b.2 A,1/1 . b: Amended NH in s.i. Changed NV from NH.22
Observation: This revision must have taken place before the reading of the alto, 3 bt was finalised.
20
Jones Stages, p. 442, demonstrates that DD 70 was a copy stemming from JSB’s fair copy of the
semi-finalised stage of L, which was later used to revise L itself.
21
It is highly likely that the exemplar gave notation. E and A (except A3) also notates in this way.
22
E gives a.corr. reading as a variant reading. See Brokaw 1989, p. 230, Example 1.
18

5
pr 10 L4,b.2 S,2/1 g ’: Added acd in Bl ink.23
6
cp 10 L4,b.2 T,3-4 g: Replaced tie in s.i. Changed facing from .24
a) b) c)
Reconstruction 1: The reading of E (a), L a.corr. (b), p.corr. (c) at b.10: The revision of A,1 is most likely to
have been considered at the same time as the completion of 3 bt. In (c), the added on
S,2/1 is not considered as an authentic amendment by JSB.
7
pr 11 L4,b.3 A,2/3 c ”: Added acd above/beside NH, in s.i., probably by
JSB.25
8
hm 11 L4,b.3 S,3/3 e ”: Added acds sqz above NH, in s.i.26 —†9, 39
9
hm 11 L4,b.3 S,4/1 e ”: Added acds sqz above NH, in s.i.27 —†8
a) b) c)
Reconstruction 2: The reading of E (a), L a.corr. (b) and p.corr. (c) at b.11: All the added acds are considered
here as authentic.
10
hm 12 L5,b.1 T,2 f f : Amended (?) figure. Changed from f.
Observation: From the evidence of the calligraphy and ink, it is hardly possible to identify such revision. But
the possibility increases if we consider the facts that (1) E gives f and (2) the motivically
related passage of b.26, 4 bt looks as if it was revised from the hypothetical a.corr. reading — †
40.
11
pr 12 L5,b.1 A,4/2 g ’: Added acd (tilted) in Bl ink.28
12
rhy 13 L5,b.2 S,3-4 . f” f”: Amended figure. Changed from f”.29
13
rhy 13 L5,b.2 A,3 . a’ a’: Amended figure. Changed from f’.30 The NH
of the added note A,3/2 was later amended (?) in Bl ink.
14
rhy 13 L5,b.2 T,4 a g a: Replaced beam. Changed from rhythm.
15
rhy 13 L5,b.2 B,4 B A: Replaced figure. Changed from B A.31
23
This acd is present in two MSS only, P 237 (added?) and P 206 (added later).
24
This tie is missing from F. Two MSS of K4 (RM.21.a9 and LM 4837) give corrupted text here.
25
This is found in all the copies stemming from L; missing from E + A (but added to H1 later).
26
E only gives a.corr. reading.
27
This is missing from F and K4, which might be omitted deliberately as a superfluous one.
28
This acd is only present in newer MSS, such as P 237, DD70, P 207 and Konwischny, and is added in P 206.
29
E gives a.corr. reading. F gives the NH while giving 4 bt in p.corr. of L. It is probably the case that one of
the scribes of this branch F considered the large NH as an unsuccessfully written rather than amended from
NH. See also footnote 36 and 42.
30
E gives a.corr. reading.
31
A, K3 and K4 use more smart notation — . here.
19
a) b) c)
Reconstruction 3: The reading of E (a), L a.corr. (b), and p.corr. in s.i. (c) at b.13: It is noteworthy that the
motivically related text of S/A of 3-4 bt, namely b.28, 1-2 bt, is not revised. This testifies
that the revision was carried out on a later occasion. On the other hand, the reading of T/B
must have been revised before JSB reached b.28, for it uses neater notation . / . .
without hesitation.

16
pr? 14 L5,end S,2/4 g ”: Added acd sqz beside NH, in s.i.
17
ml 14 L5,end A,3/2 c ”: Added acd above NH, in DBl ink.32
18
cp? 14 L5,end A,3/4 e”: Amended NH. Corrected either pitch d” or
note-alignment.33
mk L5,end end LS, triangle jump mark : Added mark in TvDBl/Bl ink by JSB (?).
mk L5,end end LS: A hand icon is added in DBr ink, thin quill. This is an unauthentic
addition by an unknown hand.
cm 14-19 L6-L7 SYS : Cancelled in light Br ink. The shade is similar to the staves.
19
cm 14 L6,b.1 A,4 f” c ” (?) d” f”: Cancelled notes. a’ was
probably written as the new reading.
20
cm 15 L6,b.2 S,1 a” f ” g” a”: Cancelled tie and notes. d” was
probably written as the new reading.
21
cm 15 L6,b.2 B,1 b : Amended NH in s.i. Corrected NV from NH.
Observation: It may be either a slip of the pen or the trace of drafting harmonic structure.
22
cm 15 L6,b.2 A (?),1 f’: Crossed (?) NH. it is thus likely that sqz notes
a’ f ’ g’ a’ [without beam] are the replacement.
23
cm 15 L6,b.2 A,3 g’: Replaced NH. Changed pitch from b ’. This a.corr.
reading was most likely written before S or B.
a) b)
Reconstruction 4: The reading of L a.corr. / sketch (a) and p.corr. (b) at b.14, 4 bt - 15: It looks as if JSB
tried to write this passage with ascending figure, an idea which is abandoned later.34
32
No MS fails to give this acd.
33
Only F2 gives a.corr. It is possible, however, that F1 (inextant) reproduced this misplacement.
34
The reconstruction of a.corr. of the alto at b.14, 4 bt is given only on a tentative basis. Brokaw 1989 does not
give this part in his reconstruction, p. 235. Stauffer, p. 191, reconstructs the events in three layers.
20

24
cm 17 L7,b.1 B,1 f f e d: Amended beam (outer). Changed possibly
from f e.
25
cm 17 L7,b.1 T,2 g: Replaced NH and beam. Changed most likely from
26
cm 17 L7,b.1 B,2 e: Amended NH. Corrected note-alignment (?).
ra L7,b.2-3 US,2L : Amended line in free-hand in TBr ink.
a) b)
Reconstruction 5: The reading of L a.corr. / sketch (a) and p.corr. (b) at b.17: Note that together with
“incorrectly formed down-stem”, the mis-alignment of B,2/1 could be the first line that
JSB entered here tentatively. The revision criterion was perhaps the motivic consistency
that he employed in the previous bar, and that probably for this reason, the notation in the
bass of the following bar was “correctly formed”.35
27
rhy 18 L7,b.2 S,2/3 d”: Amended NH. Changed pitch (?) from c”.
Observation: This beat might have been e” c” initially, then the section was melodically improved by
inserting two passing notes to make smooth running semiquavers.
28
cm 18 L7,b.2 S,4 . d” d”: The last written part in the text, in s.i.
a) b)
Reconstruction 6: The reading of L a.corr. / sketch (a) and p.corr. (b) at b.18.
29
ml 19 L7,b.3 B,1 A: Replaced NH. Changed pitch (and also possibly
NV ) from an 8ve above. There remains a hole.
30
ml 19 L7,b.3 B,3 G: Replaced NH. Changed pitch (and also possibly
NV ) from an 8ve above.
a) b)
Reconstruction 7: The reading of L a.corr. (a) and p.corr. (b) at b.19, L7,b.3: Eight quavers in the bass were
originally beamed in couples, but later modified into a group of 4 notes.
35
For the discussion of correctly formed down-stem, see Emery, p. 118 f. The same observation can be made
on the bass line of bb. 32-34. See Tomita 1990, p. 216.
21

31
rhy 20 R1,b.1 A,1-2 . c’: Amended NH in s.i. Changed NV from c’.
Observation: The following f’ must have been an afterthought, which prepares for the following
dissonance.36 —†4
cp 20 R1,b.1 SYS,2-3 | : Trimmed system. Removing wrongly drawn bar line.

32
pr 20 R1,b.1 B,3/1 B: Added acd in Br (?) ink, in revised area.37
cp 20-21 R1,b.1-2 SYS,4-|1 | : Added bar line with thin quill.
33
cp 21 R1,b.2 S,2/3 c”: Amended NH. Corrected pitch from d”.
cp 21-22 R1,b.1-2 SYS,4-|1 | : Added bar line.
34
hm 22 R1,b.3 S,3/1 . b’: Removed acd from the note.38
35
hm 22 R1,b.3 T,4/2 b: Removed acd from the note.
36
rhy 22 R1,b.3 B,3/2-4 : Added rests in TBr ink — see b.8, B,1-2.39
a) b)
Reconstruction 8: The reading of L a.corr. (a) and p.corr. (b) at b.22: Added rests are shown in smaller
symbols in (b).
37
pr 24 R2,b.2 S,1/1 c ”: Amended acd in DBr ink.
38
pr 24 R2,b.2 S,4/1 c ”: Added acd in TvDBr (?) ink.40
39
hm 26 R3,b.2 S,1/3 a ”: Added acd sqz above NH. The symbol is
blurred, probably because it was added fairly soon after the
beam for the beat was written.41
Observation: The same manner of revision in a motivically related earlier passage, b.11, S,3/3 (†8), indicates
that JSB had not carried out this revision before he wrote the NH of b.26, S,1/3. At any rate, it is
likely that these two places were revised chain-reactively.
40
ml 26 R3,b.2 T,4/1 b : Overlaid acd on in s.i. Thus it is likely that the
original figure of this beat was b —†10.
36
F2 gives . See also footnote 29 and 42.
37
This acd is not found in any of the other extant MSS examined.
38
According to Brokaw 1989, p. 232, Franklin observes that the erased symbol here is a double-bar, and that
JSB had at first intended to copy the 17 bar version.
39
These rests are present in F but B,4 is missing from majority of MSS of K. In Weyse, this was added later.
40
This cautionary acd is also added in H1 in DBr ink. It is also found in P 206 and P 207.
41
This acd is missing from F and K4.
22

41
pr 26 R3,b.2 A,4/3 c ”: Amended acd in DBl ink.
42
cm 28 R4,b.1 S,3-4 . a” a” a ”: Amended figuration in s.i. Changed
from a”.42 —†44, 51.
43
cm 28 R4,b.1 T,4 d’: Replaced notes. Changed possibly from d’
f’ (or d’) a c’ figuration.
a) b)
Reconstruction 9: The reading of L a.corr. (a) and p.corr. (b) at b.28: Note the presence of a slur in the
soprano (planned as a tie?) at the end of R3.
44
rhy 29 R4,b.2 S,1-2 . g” g”: Amended figuration. Changed from g”
— † 42, 51.
45
cm 29 R4,b.2 A,1 f” f” e” d”: Added (?) part, or amended from
f” of which tie is erased.
46
cm 29 R4,b.2 T,1 g a b: Replaced stems and beams. Changed from
down-stemmed notation, most likely b d’ g b.
47
cm 29 R4,b.2 A,2 c”: Replaced figuration. Changed from down-stemmed
figure, possibly f” d’ e” c”.
48
cm 29 R4,b.2 B,2/1 : Replaced rest. Changed from e.
49
rhy 29 R4,b.2 S,3-4 f ” e” f ”: Amended figuration. Changed from
f”. Two acds (S,3/1 and S,4/3) were added after the
revision of S,1-2. The acd of S,3/1 was originally written
above the NH which was later replaced.
50
hm 29 R4,b.2 A,3/2 e ”: Added acd sqz above NH, in s.i.
a) b)
Reconstruction 10: The reading of L a.corr. (a) and p.corr. (b) at b.29: This sort of textural revision in the bass
is carried on even when JSB revised the version of L in S (see bb. 8 and 20).
42
F and K1 give a possible alternative form of a.corr. reading . here, which is clearly an error. Weyse corrects
it later. See also footnote 29 and 36.
23

51
rhy 30 R4,b.3 A,3-4 . a’ a’: Amended NH in s.i. Changed from
notation. —†42, 44.
52
cp 30 R4,b.3 T,4/2 d’: Trimmed stem. Corrected shape.
53
pr 31 R4,end S,1/2 b ’: Added acd sqz beside NH, in TkDBl ink.43
54
pr 31 R4,end S,3- c”: Added tie in DBr ink, thin quill (by JSB?).
55
cm 32 R5,b.2 T,3-4 g f e d e f: Amended figuration. Changed most
likely from g f. The stem of T,4/1 (a.corr.) looks as if it
has been trimmed. This place is in DBl shade, especially
T,3/2-3 and the NH of T,4/1, suggesting further intermediate
reading as g d e f.
a) b)
Reconstruction 11: The reading of L a.corr. (a) and p.corr. (b) at b.32: At the arrival on the tonic, the moving
part is reduced to one part in b.32. The revision was perhaps to stir up the musical activity
by using gentle scalic passage.
56
cm 33 R5,b.3 A2,1(-2) ( ) g (f g): Amended NH. Changed from g.
57
cm 33 R5,b.3 T,2 e: Replaced stem. Changed from up-stem.44 It was
necessitated by the revision of b.33, A2,1-2 — † 56.
58
pr 33 R5,b.3 S,4/2 b ’: Added acd in Bl/vDBr ink.45
a) b)
Reconstruction 12: The reading of L a.corr. (a) and p.corr. (b) at b.33: Note that the added acd on S,4/2 is
excluded from the above reconstruction, for it is shaped differently from JSB’s.
TEXT OF LATER REPLACEMENT IN R6-7

Observation: There are many amended acds in R6-R7. There seems to be a reason that the ink used for writing
music in these systems is of different quality from the one JSB used earlier, and that the
amendments to the accidentals were required in order to clarify the shape of them.
Observation: When compared with the equivalent text in L6-7, it is possible to see that many accidentals in
R6-7, which are somewhat misplaced, can either be an afterthought by JSB or he worked out this
section without referring to a separate draft containing all the details of the new reading.
43
This cautionary acd is not found in other extant MSS.
44
Although this note is missing from Am.B.49, WEIMAR and P 237, it is most unlikely that it stemmed from L.
45
This acd is not found in the copies stemming from L.
24

R6,beg Triangle jump mark : Added in TDBl ink.
ra R6,b.1-2 US,2L : Amended line in free-hand in DBr ink. The drawing of staff was
suspended after 5 cm.
59
pr 15 R6,b.2 A,1/2 f ’: Amended acd in DBl ink
60
pr 15 R6,b.2 T,1/4 f ’: Amended acd in DBl ink.
61
pr 15 R6,b.2 T,2/2 f ’: Amended acd in DBl ink.
62
ml 15 R6,b.2 A,3 : Replaced rest in s.i. Changed from g’(?). 46
63
pr 16 R6,b.3 S,2/3 e ”: Added acd sqz beside NH, in Bl ink.47
cp R6,end S (direct) b’: Direct is wrong, giving a 3rd above. It has been suggested that
JSB had L1 clef in mind.48
64
pr 17 R7,b.1 A,3/2 c ”: Amended acd in DBl ink.
65
pr 18 R7,b.2 A,1/1 . g ’: Amended acd in DBl ink.
66
pr 18 R7,b.2 T,1/1 b : Added acd beside NH, in DBl ink.49
67
ml 18 R7,b.2 S,2/4 c ”: Added (?) acd below NH, in s.i.
68
pr 18 R7,b.2 A,4/1 b : Added (?) acd in s.i.50
69
pr 19 R7,end S,1/1 c ”: Amended acd in DBl ink.
70
pr 19 R7,end T,1/2 b ’: Amended NH and beam in DBl ink.
71
pr 19 R7,end S,3/1 b ’: Amended acd in DBl ink.
72
cp 19 R7,end A,4/4 d ’: Added acd sqz between NHs. Since the flat in
A,2/4 is not sqz, this amendment may have been caused by a
lapse of attention.
46
This rest is missing from F.
47
This cautionary acd is also added in P 206.
48
Franklin-Daw, p. vi., claims that JSB was thinking in terms of soprano clef. Stauffer, p. 192, suggests further
that JSB may be copying from a sketch which used a soprano clef.
49
This cautionary acd is also added in P 206.
50
This acd is not found in the derivants from L, such as F and K.
25
BWV 870,2: Fugue 1 in C major
Fugue 1 in C major
TITLE
Fuga à3
FORMAT
The whole piece is accommodated within f.1v, the space intended to be used.
1v L col. 1-7 bb.1-42
R col. 1-7 bb.43-83 The last SYS leaves ca. 40% of the space unused,
where “Fine” is written.
GENERAL FEATURES
Clefs: R.H— ; L.H.— ; clef change occurs once:
a) L.H.: b.22 (L4,b.3) → L3. Return of clef is not indicated
as it should have been at L4,end.
Key, k-s: C major: no k-s.
t-s, Bars: : 83 bars.
State of Score: Calligraphic in places, but largely in the rough handwriting of
JSB, caused by extension decided as an afterthought:
a) tightly written fair copy (esp. L3) with revision in mind,
based on E: bb.1-67;
b) composing score: bb.68-83. This section contains at least
two layers of readings.
Ink: Five shades are distinguished, but (c) may simply be caused by
the amount of ink:
a) DBr (1): used for drawing staves;
b) Bl: used for notes;
c) DBr (2): used for adding (?) acds — †7,13;
d) DBl/s.i.: used for proof-reading revision —†3;
e) pencil: used for adding fingering (M. Clementi).
Revisions: Many amendments are discarded revisions (†2, 6-7, 9, 11ff) and
clarifying the text (†1, 3, 10). Four layers of revision can be
reconstructed by ink and nature of revisions:
i ink (a-b): initial copying, composing and 1st layer of
revision in R5, plus minor proof-reading amendments;
ii ink (c): harmonic revision of added acds;
iii ink (d): 2nd proof-reading, making pre-F revision (1742);
iv ink (e): addition of pencil fingering by M. Clementi (ca.
1810).51
51
Franklin-Daw, p. vi.
26
SOURCE SITUATION
Three versions are known to have stemmed from JSB:
E E( , 34 bars (= 68 in )) — BWV 870a,2;

Liii L( , 83 bars) — BWV 870b,2,52 using E as an exemplar;
F: Fürstenau was later revised according to the text of A1;53
F, K S K: basically derived from L, but containing the variants shared
A in E—S line, as the result of Kirnberger’s eclectic editing;
F1 S ( , 83 bars) — BWV870,2: the latest version, possibly
K1 H,V
revised on the score containing the version of E.
TEXT
hol 1 L1,b.1 above A,2 g’: a hole caused by revision of f.1r, R1, b.3. — Pr.C, †34.
mk? 5 L1,b.5 above S,1 *: Ink Stain from recto.
ra L3,b.3-7 LS,2&3L : Amended lines in free-hand, in s.i.
1
pr 29 L5,b.4 S,1-2 c” e” d” e” c”: Added beam between two beats.
Changed from notation.54 — †3,10.
ra L7,end US,2L : Amended line in free-hand in s.i.
st 50 R2,b.2 LS : Erased staff by unusual stain after the music was written. It may be
accidental damage.
ra R2,b.4-7 LS,2L : Amended line in free-hand in s.i.
2
ml 54 R2,b.6 B,1/2 a: Replaced NH. Changed pitch from e’, a 5th
above.
3
pr 54 R2,b.6 B,1-2 c’ a d’ d: Added beam in DBl/s.i. Changed
notation from — †1,10
a) b)
Reconstruction 13: The reading of L a.corr. (a) and p.corr. (b) at b.54: Because the stem of A/2 touches the
erased NH of B/2, it must be the case that the revision must have been carried out before
the alto was filled in. It is worth noting that E gives g f in the alto. Thus it is very
likely that JSB was revising the section as he copied the piece.
ra R2,b.7 LS,3L : Amended line in free-hand, in s.i.

4
ml 67 R4,end B,2/2 g : Replaced NH. Changed pitch from G.55
5
ml 67 R4,end B (direct) A: Replaced direct. Changed pitch from c.56
52
This version of Fg.C is not distinguished by the original BWV, p. 646.
53
Bischoff, p. 8.
54
E and A give a.corr. reading.
55
56
27
a) b)
Reconstruction 14: The reading of L a.corr. (a) [= E] and p.corr. (b) at b.67 (R4,end): The initial reading of
b.67 indicates that JSB planned no further extension at this stage.57

6
ml 68 R5,b.1 S c” e’ d’ e’ g’ b ’ e’: Replaced notes. Original
reading can be tentatively read as c” b’ a’ g’ f’(?)
g’(?) e’ g’(?). The flat on S,2/3 appears darker, which might
have been added later.
7
ml 70 R5,b.3 S,2/2-3 f’ a ’: Replaced NHs. Changed pitch from e’ f’.
The added flat on S,2/3 is in distinctive DBr shade.
a) b)
Reconstruction 15: The reading of L a.corr. (a) and p.corr. (b) of R.H. at bb.68 and 70: It is possible that there
was further intermediate reading, without flats.58
8
ml 72 R5,b.5 S,1 c’: Amended NH. Corrected NV from NH.
9
ml 72 R5,b.5 A,1/2-2 g f g c: Replaced NHs and removed acds.
Changed pitch from b a b g.
a) b)
Reconstruction 16: The reading of L a.corr. (a) and p.corr. (b) at b.72: It is particularly interesting to find that
the same harmony of (a) is also found in both b.68 and b.76, and that in the later version
represented in A, this harmony is removed from b.68.
10
pr 76 R6,b.3 S;A,1/3 / b ’/g’: Amended beams. Changing length from
to join between two beats. — †1,3
11
ml 76 R6,b.3 B,2/3 g: Replaced NH. Changed pitch from e.59
12
ml 78 R6,b.5 B,2/3 f: Replaced NH. Changed pitch from d.
57
Brokaw 1986, p. 188, takes the same view.
58
Brokaw 1986, p. 203, attempts a different reconstruction, which I do not accept.
59
P 210 and P 237 give a.corr. reading, while Go.S.312, RM.21.a9 and LM 4837 give p.corr. reading.
28
a) b)
Reconstruction 17: The reading of L a.corr. (a) and p.corr. (b) at bb.76 and 78: They are almost certainly
chain-reactive revisions.

ra R6,end LS,2L : Amended line in free-hand, in s.i.
hol 80 R7,b.1 There is a hole above treble clef. Removed direct in f.1r: L6,end (?).
13
hm 80 R7,b.1 S,1/2 a ’: Added (?) acd in DBr/s.i., with thin quill.
14
vtx 80-81 R7,b.1-2 T,1/2- | b e’ a ’ | g’ d’ e’: Added (?) extra voice in s.i.
It was sqz in as an afterthought, leaving the task of clarifying
voice leading.
15
ml 80 R7,b.1 B,1/3 d: Replaced NH. Changed pitch from f. Below the
NH is added pitch indication “d”.
16
ml 80 R7,b.1 B,3/1 e: Replaced NH. Changed pitch from C.
17
ml 81 R7,b.2 B,1/1 g: Replaced NH. Changed pitch from C.
18
ml 81 R7,b.2 B,3/1 g: Replaced NH. Changed pitch from C.
19
ml 81 R7,b.2 B,1/3 a : Replaced NH. Changed pitch from f.
20
ml 81 R7,b.2 B,2/3 B: Replaced NH. Changed pitch from g.
hol 81 R7,b.2 below B,2/4 c: A hole and ink stain, caused by revision in recto, L7,b.3.
—Pr.C, †29.
21
ml 82 R7,b.3 T,1 a: Replaced NH. Changed pitch from f.
a) b)
Reconstruction 18: The reading of L a.corr. (a) and p.corr. (b) at bb.80-82: The a.corr. (a) reading in à 3
texture is reconstructed on the grounds of calligraphy and the compressed notation.
29
BWV 871,1: Prelude 2 in C minor
Prelude 2 in C major
TITLE
Præludium 2. di J. S. Bach
FORMAT
The piece is accommodated within f.2r, the space intended for it.
r
2 L col. 1-7 bb.1-18
R col. 1-5 bb.19-28 The 5th system leaves 70% of the space unused.
6-7 Unused
GENERAL FEATURES
Clefs: R.H. — L1; L.H. — : the first clef is by JSB, the rest by
AMB;60 no clef change.
Key, k-s: C minor: R.H. —4 s «8», 5 s «2», 6 s «2»; L.H. — 5 s.
Though the piece is now written under the k-s of 3 flats, many
naturals required for a are missing (b.3, S,2/4; b.13, S,1/3, 2/3,
3/3, 4/3), suggesting that the piece was originally composed in
modal k-s of two flats.
t-s, bars: : 28 (56 with repetition) bars.
State of score: Fair copy by AMB. Apart from many corrected errors, the orns
of bb. 14 and 16 remain in the wrong place.61
Ink and Quill: Two shades are distinguished:
a) DBl: used for staves and notes;
b) vDBr with a sharp quill: added acds —†5.
Revisions: All the amendments are the correction of errors, entered before
1742.
SOURCE SITUATION
Basically only one version exists:
S S was possibly a composing score, containing minor variants. S

became an exemplar for L;
L H and F stemmed from p.corr. of L. F (Fürstenau) is no longer
H,F A extant but can be represented by F2;
K K originated in an edited MS. K1 is later revised according to
L;
A1 contains a few unique variants and revisions.
60
Emery, p. 117.
61
H + K give these orns on correct NHs (1st NH of each beat), while F gives them on wrong NHs (2nd NH).
30
BWV 871,1: Prelude 2 in C minor
TEXT
st 4 L2,b.2 below B,3/2 *: Ink stain appearing as a round mark °.
1
cp 6 L3,b.1 S,2/1 c”: Shifted (?) NH. Corrected pitch from a 2nd or
3rd below.
2
cp 8 L3,b.3 S,3/4-4/1 e ” d”: Shifted (?) NHs. Corrected pitch from a
2nd below. There remains a hole, just below NHs of S,3/4.
Observation: Judging from these copying errors (†1, 2 and 8), it is quite possible to conclude that AMB’s
exemplar used for R.H. JSB’s L1 clef at L1 may therefore be significant evidence for
interpreting that he instructed AMB to write the score on this clef.
3
pr 12 L5,b.1 T,1 e ’: Amended tie. Corrected length.
4
cp 13 L5,b.2 S,1/2 b ’: Replaced NH. Corrected either pitch from c”, a
2nd above, or from , as a result of note-alignment error.
5
pr 13 L5,b.2 S,1/3; 2/3 a ’: Added acds sqz between NHs, in vDBr ink
by JSB (?).62
mk? 14-15 L6,b.1-2 above US, | ?: Removed mark (?).
6
cp 18 L7,end B,4/1 e : Overlaid acd on (or an unsuccessfully written
?).63
mk? 20-21 R1,b.2-3 above US, | # (?): Removed mark (?).
7
pr 21 R1,end B,4/3 e : Added acd sqz between NHs by JSB (?).64
8
cp 23 R2,b.2 S,2/3 c’: Replaced NH. Changed pitch from a (?). A letter
“c” was added later above SYS.
st 24 R3,b.1 LS,3-4 *: Ink stain on d.
9
cp 26 R3,b.3 A,2/2-4 b ’ a ’ g’: Replaced NHs. Corrected pitch from
d” c” b ’, a 3rd above.
10
cp 28 R4,end A1,2/1 c”: Amended NH. Corrected pitch from a 2nd
above.65
st R4,end middle SYS, *: It was likely to be a mark made in the paper manufacturing
process. It is brownish, and the same feature can be observed from the verso.
62
Poel.33,2 does not give to a’ in this bar, while A1 gives only to the a’ of S,1/3.
63
This acd was interpreted in F as a.corr.
64
This acd is missing from Poel.33,2.
65
F gives a.corr. reading.
31
BWV 871,2: Fugue 2 in C minor
Fugue 2 in C major
TITLE
Fuga 2
FORMAT
The whole piece is accommodated within f.2v, the space expected to be used.
2v L col. 1-7 bb.1-19
R col. 1-4 bb.20-28 The last system leaves 50% of the space unused.
5-7 Unused.
GENERAL FEATURES
Clefs: R.H. — L1; L.H. — ; no clef change.
Key, k-s: C minor: R.H. — 4 s; L.H. — 5 s.
t-s, bars: : 28 bars.
State of score: Fair copy (or so it was intended) by AMB and proof-read by
JSB. There remain many uncorrected note-alignment problems.
Ink and Quill: Five types can be distinguished:
a) Bl (1): used for both staves and notes by AMB;
b) Bl (2): used for proof-reading by JSB— †1, 3, 7, 9;
c) TBr with thick quill: correction — †6;
d) pencil: correction not by JSB (?) — †9;
e) TDBr: amendment by an unknown hand — †2.
Revisions: AMB made many errors which were mostly corrected by JSB.
The score contains no marked later improvement. The later
amendments can be classified into the following layers:
i ink (b) = JSB’s early proof-reading;
ii ink (c) = post-V proof-reading;
iii ink (d-e) = amendment not by JSB.
SOURCE SITUATION
JSB wrote two versions, E and S. The latter served as basis for all the others:
E E: its existence is attested in P 595. It was written in , 28

S bars, the same length, but contained many variants;
Li S: JSB’s revision score based on E. A and K are thought to
V have stemmed from it. K is further edited by Kirnberger;
Lii
H,F A,K
Liii
32
BWV 871,2: Fugue 2 in C minor
V: an early copy of L with many corruptions, containing

systematic revisions in several layers, introducing further
notable variants in bb.7-8 and 17-18;
F (Fürstenau) is no longer extant but can be represented by
F2.
TEXT
1
pr 2 L1,b.2 A,4 a: Amended orn. The part after the vertical line is in
distinctive Bl shade.66
2
rhy 3 L1,b.3 S,2 a ’: Added quaver flag in TDBr ink. Creating error
from NV.67
3
pr 4 L1,end B,1/2 Added (or amended?) beam in Bl ink. Corrected NV
(or clarity?) from 68
4
al 4 L1,end A,3 (direct) b: Removed acd and direct.
Observation: The amendment was made only to remove confusion with a view to note-alignment.
5
al 5 L2,b.2 A,3 d’ f ’ g’: Replaced notes. Correcting note-alignment
(?). This correction results in a hole being left in the MS.
See also recto, R2,b.2.
6
pr 9 L3,b.3 T,1/2 f: Cancelled NH a with thick quill, in TBr ink.
Letter “f” was added later above the NH.69
mk 10 L4,b.1 middle SYS = (?): Removed mark (?).
st 15 L6,b.1 T,4 g a b : Ink fell off from the beam.
! 17 L6,end S,end (direct) d”: Removed (?) direct.
7
pr? 19 L7,b.3 B,1 : Added (?) rest by JSB.70
8
pr? 24 R2,end A,3/3 e ’: Amended acd. Corrected from (?).
hol 25 R3,beg. US, R.H. of t-s: Damage on MS. A small hole remains in MS. Caused by a repair
on recto sometime after the completion of the copy.
9
pr 27 R4,b.1 B,3/3 e ’: Cancelled NH in pencil. A letter “c” is added
with thin quill, in Bl ink.
ra R4,end US,2L : Line undrawn.
ra R7,end US,2L : Line undrawn.
66
This orn is missing from E and V, P 210, WEIMAR and P 585.
67
P 210 (one of F2) only gives p.corr. reading, which may also be amended.
68
No MSS stemming from L give a.corr. reading.
69
The a.corr. reading is given in F and H only. H1 has the same corr. later.
70
This rest is originally missing from F (later added to Go.S.312), H2ii (DRESDEN and 6318 19) and Poel.33,2.
33
Prelude 3 in C Major
TITLE
.
Prelude 3 . di J: S. Bach
FORMAT
r
3 L col. 1-7 bb.1-19
After the cadence, “Volti” is marked.
7 Unused.
GENERAL FEATURES
Clefs: R.H. — L1; L.H.— ; no clef change.
Key, k-s: C major: R.H. — 10 s; L.H. — 11 s.
t-s, bars: (bb. 1-25); allegro (bb. 25-50).
State of score: Non-calligraphic fair copy by JSB, containing a few corrections
only. Swift, but thoughtful copying strategy.71
Ink and Quill: Two layers are distinguished by the shade of ink:
a) Bl: used for staves and notes;
b) vDBr: added mark in L5.
Revisions: There are two types of revisions:
i pre-H revision: correction of errors and proof-reading;
ii post-H revision: adding orns—†4, 5;
iii later revision of spurious authenticity—†6.
SOURCE SITUATION
Three clearly distinctive versions E, L and S are known:
E E: its presence as a model is attested in P 226, which is written

in C major with different, simple texture (BWV 872a,1);
Li
H L: possibly written directly from E while transposing the
Lii piece;
F,K S H, F, K: stemming independently from L. F contains a.corr.
Liii reading, most likely caused by misinterpretation.
A
S: reworked score based on E and L.72
71
Tomita 1990, p. 223.
72
The reverse order of L and S cannot be ruled out.
34
TEXT
1
cp? 9 L4,b.1 B,3 g : Amended (?) NH. Corrected pitch from f (?).73
mk 14 L5,end between SYS, 2 =: Added mark in vDBr ink.
err 16 L6,end B,1 amb e /d : Amb pitch.74
2
pr 16 L6,end A,4/4 b : Added acd sqz.75
ra L7,b.2-3 US,4L : Amended line in free-hand.
3
cp? 20 R1,b.1 T,2/2 B : Amended NH in s.i. Changed (?) pitch from c .
mk 20 R1,b.1 above S,3 = or #: Removed mark (CHG PG in F1).
st 21 R1,b.2 T,2: Stain of white coloured paint or glue on the MS.
ra 25- R3 LS,4L : Amended line in free-hand.
4 76
pm 29 R3,b.5 A,2 d ’ (amb d ’/c ’): Added (?) orn
5 77
pm 30 R3,b.6 S e ’: Added (?) orn
st 35 R4,b.3 beside S/last e ”: Ink stain.
6
rhy 49 R6,b.4 T/end f : Trimmed flag. Changing from , making invalid
notation. Its authenticity is spurious.78
ra R7 LS,2&4L : Amended lines in free-hand.
73
Only F gives a.corr. reading, of which P 416 and Go.S.312 were corrected later.
74
Dehnhard, p. xxiv, claims that the pitch should be d , and that the error stemmed from E as attested in P 226.
75
A gives a.corr. reading.
76
This orn is missing from H2, K4, and Poel.33,2.
77
This orn is missing from H and A.
78
All MSS stemming from L give a.corr. reading.
35
Fugue 3 in C Major
TITLE
Fuga
FORMAT
v
3 L col. 1-7 bb.1-22,3
R col. 1-6 bb.22,4-35 The last system leaves 60% of the space unused.
After the cadence, “Fine” is written.
7 Unused.
GENERAL FEATURES
Clefs: R.H.— L1; L.H. — ; no clef change.
Key, k-s: C major: R.H. — 10 s; L.H. — 11 s.
State of score: Non-calligraphic revision score by JSB, containing a section
for composing:
a) revision based on E2: bb. 1-24;
b) composing: bb. 25-29;
c) revision based on E2: bb. 30-35.
Ink and Quill: There are an unusually large number of revisions that are
marked in different shades of ink. They can be classified into
the following groups:
a) DBl: used for notes and staves;
b) TvDBr/Bl...vDBr (varying shades, some are thinner, and on
page 2 appears in a browner shade, possibly affected by
moisture): later revision — †3-7, 12-13, 16-18, 27-30;
c) DBr: proof-reading — †33, 36;
d) Br: proof-reading —†37.
Revisions: Many layers of revision had already been carried out before
copies were made. There were a few more later revisions,
reflected in the copies of L:
i pre-V revisions: all the proof-reading amendments and
addition of demisemiquavers = ink (b);
ii pre-H revision — †19;
iii pre-F revision — †11;
iv post-F revision — †35.
36
SOURCE SITUATION
Two pre-WTC II versions in C major (E1 and E2) and two WTC II versions in C
major (L and S) are known:
E1 E1 (P 563) — 19 bars, C major: BWV 872a,2;
E2 E2 (P 595) — 30 bars, C major: BWV 872b,2;79
Li L: a revision score, based on E2 while transposing (?) the
V
Lii piece from C major;
H,K
Liii V: stemming from a semi-finalised stage of L;
F
H, K, F: all independently stemming from a similar state of L. F
Liv S can be dated slightly later than H + K judging from †11;
K1 A S is the latest version.
TEXT
mk 3-4 L1,b.3-4 above US, | =: Removed mark (CHG SYS in F1, at b.4, 1-2 bt).
1
cp 6 L2,b.3 S,3/1 f ”: Overlaid acd on (?).80
2
rhy 6 L2,b.3 S,4/2 g ”: Added note between g ” f ”. No ledger line
is provided for the note.81
3
ml 8 L3,b.2 B,2/4 f : Added note between g e , in TvDBr/Bl ink.
Its new beam appears in s.i., however.
4
ml 8 L3,b.2 A,4/4 f ’: Added note between g ’ e ’, in vDBr ink.
a) b)
Reconstruction 19: The reading of L a.corr. (a) and p.corr. (b) at b. 8: These added in bb. 8-29 are the result
of systematic later revision, first revised in b.30, B,2 (†31-32) at copying stage.
5
ml 9 L3,b.3 S,2/4 d ”: Added note between e ” c ”, in vDBr/Bl
ink.82
6
ml 10 L3,end B,2/4 d : Added note between e c , in vDBr/Bl ink.
7
ml 10 L4,b.1 A,4/4 c ’: Added note between b d ’, in vDBr ink.
ra L4,b.2-4 LS,4L : Amended line in free-hand.
mk 12-13 L4,b.3-4 above US, | =: Removed mark (CHG SYS in F1, at b.13, 2-3 bt).
8
cp 13 L4,end B,3/1 G : Overlaid acd on .83
79
This version is not in BWV catalogue, p. 646.
80
F1 adds , while F2 missing. The most probable explanation is that the scribe of F1 thought this revised acd
was cancelled.
81
E2 gives a variant reading of rhythm here. Thus the amendment of L was probably caused by instant
revision.
82
This added NH is so close to the existing that the model of K1 and K4 misinterpreted the pitch as d ”
83
F1 + Go.S.312 show the identical correction process, while P 210 gives a.corr.
37

9
pr 13 L5,b.1 A,3-4 . c ’: Added (?) slur in Br ink, or blotted symbol,
possibly mistaken for a required tie.
10
cm 15 L5,b.3 B,4/4 d : Replaced note. Corrected either pitch from e , or
the whole beat from d .84
11
ml 16 L5,b.4 B,3/2 b : Overlaid acd on (?). The symbol is still amb.85
12
ml 17 L6,b.1 S,4/4 c ”: Added note between b ’ d ”, in Bl ink.
13
ml 18 L6,b.2 S,2/4 e ”: Added note between f ” d ”, in vDBr/s.i.
14
cp 18 L6,b.2 S,3 c ” b ’ a ’ g ’: Replaced NHs (or stain?). Changed
pitch from a 3rd above.
15
rhy 20 L7,b.1 B,1; B,3 f; B : Amended notation. Changed from
shape.86
16
ml 24 R1,b.3 S,2/4 e ”: Added note between f ” d ”, in TvDBr ink.
17
ml 24 R1,b.3 S,4/4 b ’: Amended note in TvDBr ink. Changed pitch
and NV from c ”.
18
ml 24 R1,b.3 S,4/5 c ”: Added note in vDBr ink.
Observation: This is an extension to make the prevailing figure, instead of sqz as seen in L3,b.2 ff.
19 87
ml 25 R2,b.1 A,2 c ’: Replaced stem. Changed notation from
a) b)
Reconstruction 20: The reading of L a.corr. (a) and p.corr. (b) at b.25: Because the augmentation in the alto,
| c ’ e ’ c ’ f ’, would be incomplete if there is in A,2, it is likely that JSB did not
plan the figure here initially. Note that e ’ c ’ of A,3-4 appear in s.i.
20
cm 26 R2,b.2 A,1-2 f ’: Replaced notes in s.i. Changed from
21
cm? 26 R2,b.2 A,2/2 f ’: Amended NH in s.i.
22
cm 26 R2,b.2 S,3 g ’: Amended NH. Corrected NV from NH.
Assuming from the removed stem of 2nd NH in A, S could
have been planned initially as rhythmic flow.88
84
E2 gives p.corr.
85
Jones Stages, p. 444, “Stage A2”. The reading of p.corr. is given in F and A, while the a.corr. is preserved in
H and K.
86
No MS I have examined gives a.corr. reading. See Franklin 1989, p. 253.
87
F1 overlooks the crotchet stem. V gives a.corr.
88
The reading of the soprano was somehow mis-interpreted in F as , but was properly read in H and K. A uses
more advanced notation as . .
38

23
pr 26 R2,b.2 B,4 C E : Amended beam.
a) b)
Reconstruction 21: The reading of L a.corr. (a) and p.corr. (b) at b.26: The incomplete notation in S,3 suggests
JSB’s sudden change of mind to use these notes for the alto.
24
cm 27 R2,b.3 A,2 d ’: Amended rest in s.i. Changed RV from
25
cm 27 R2,b.3 A,4 f f ’: Replaced notes. Changed notation from f ’.
a) b)
Reconstruction 22: The reading of L a.corr. (a) and p.corr. (b) at b.27: This part appears to have been revised
in several layers. Because the NH of A,4/2 appears to have been amended from a 2nd
above, it is also possible to speculate that JSB was half-way completing the texture found
in b.29. The revised part here appears in a slightly different shade of colour, DBr.
26
hm 28 R2,end A,1/4 e ’: Added acd sqz beside NH, in s.i.89
27
ml 28 R3,b.1 A,2/4 c ’: Added note between b d ’, in TvDBr ink.
28
ml 28 R3,b.1 A,4/4 b : Added note between a c ’, in TvDBr ink.
a) b)
Reconstruction 23: The reading of L a.corr. (a) and p.corr. (b) at b.28.
29
ml 29 R3,b.2 S,2/4 d ”: Overlaid note on of the following note, and
added acd sqz for the next NH, in TvDBr ink.
30
ml 29 R3,b.2 S,4/2 d ”: Added note and acd between c ” e ” in
TvDBr ink.
Observation: This is the only instance that JSB inserted in this position to make shape.90
89
This acd is missing from H2 only.
90
While F reproduced the p.corr. of L, H and K1 (a.corr.) rectified the possible error by JSB. The later reading
represented in A conforms with this interpretation. The p.corr. reading of K1 (=L) was probably decided when
the reviser reaffirmed the unique reading in an authentic MS, most plausibly L itself.
39
a) b)
Reconstruction 24: The reading of L a.corr. (a) and p.corr (b) at b.29: Note the shape of the second half of the
8-note figure at S,4 in (a), which is already different from that used in the piece.

31
ml 30 R3,end B,2/4 d : Amended NH. Changed pitch and NV from e ,
a 2nd above.
32
ml 30 R3,end B,2/5 e : Added note in s.i. [sic!]
Observation: This is the same procedure as in R1,b.3, S,4, but this case is NOT marked in the distinctive shade
of ink used in other places, suggesting that it was revised soon afterwards.
33
pr 30 R4,b.1 A,3-4 c ” e ” a ’ d ”: Amended beam in s.i. Changed
from shape. The beam of 4 bt was amended again in
DBr ink, while the joined part was not.91
a) b)
Reconstruction 25: The reading of L a.corr. (a) and p.corr (b) at b.30. Note that the shape of B,4 is original.
34
hm 31 R4,b.2 A,2/2 c ”: Removed acd , and amended NH. Changed
from b ’.92
35
pr 31 R4,b.2 A,4/1 : Added (?) rest in s.i. Calligraphy is different.93
a) b)
36
hm 33 R5,b.2 A,1/3 f : Added (or amended?) acd in DBr (?) ink.94
37
pr 34 R5,end B,3- : Added tie (first half only) in Br ink.
91
A only gives a.corr. reading.
92
E2 gives c ” (c” in C major). Thus it can be seen as an unsuccessful attempt at harmonic revision.
93
This rest is missing from V, H (added later to H1?) and F.
94
Since this acd is present in E2, it may well have already been present in the exemplar. The omission is
perhaps eradicated in later proof-reading. This is missing from F2 (added in F1?).
40
BWV 875,1: Prelude 6 in D minor
Prelude 6 in D Minor
TITLE
Præludium 6 . di J. S. Bach.
The bold number 6 was originally written as 5, which was first amended with a sharp
quill to “6”. It was later amended again with a thick quill.
FORMAT
r
4 L col. 1-7 bb.1-26 50% of the 3rd system (2 bars) is crossed out.
B mgn 1 bb.10-11; This reduced-size system was prepared neatly with
37-38 a rastrum at Lii revision.
GENERAL FEATURES
Clefs: R.H. — L1; L.H.— ; JSB wrote at least four clefs: L1,beg:
US, L1; L4,end: LS, L3;95 L5,beg: LS, L3; L6,beg: US, L1;
clef change occurs once:
a) L.H.: b.22 (L4,end) → L3, restored at b.26 (R6,b.2).
Key, k-s: D minor: R.H.— 1 ; L.H.— 1 «7», 2 s «7».
t-s, bars: : 53 bars (before revision); 61 bars (after revision).
State of score: Fair copy by AMB under JSB’s supervision. It was revised
heavily by JSB on separate occasions.
Ink and Quill: The following groups are classified by ink analysis, which
generally coincides with the result of my source study. Note
that the difference between ink (c) and (d) is not always
apparent, which resulted in somewhat inconsistent grouping
here.
a) DBl: used for notes and staves; also proof-reading —†2, 13;
b) TBr: used for drawing an additional system;
c) DBl/s.i: used for melodic revisions I — †4, 8, 15-24, 27;
d) vDBl (shiny reflection): used for melodic revision II — †5-7,
9-10, 12;
e) DBr, vDBr, TDBr: used for final revision — †1, 3, 8, 10, 25, 27;
f) Bl: used for amending mordents (spurious hand) — †1.
Revisions: Later revisions are mostly distinguished by the shade of ink in
several layers. Most of the revisions were entered between
1742 and 1744:
95
Emery, pp.117-118.
41
i ink (a) = pre-H & F revision: proof-reading;

ii ink (b-c) = pre-A revision: extensions (bb. 10-17, 37-38)
and textual change in bb.43 ff. in the bass;
iii ink (d) = post-A revision I: textual change to bb.18-25, 40;96
iv ink (e) = post-A revision II: addition of slurs in bb. 22, 24
and textural change at the final cadence;
v ink (f): spurious amendment to mordant .
SOURCE SITUATION
A very complex picture is projected as a result of revision and transfer of readings
between the two MSS L and S:
E1 E1: the earliest known version, BWV 875a (43 bars), attested in
Si P 1089;
Li E2 Si: the revision score made by 1738; from it E2 (P 226) and Li
Hi,F
Lii were copied by AMB (53 bars). From the latter Hi (a.corr.)
Sii and F were made;
Liii Sii: transferred the revision made in Lii. During this process,
A JSB revised it and new readings were given to Sii;97
K Liv,v K stems from Liii, but also is distinguished by revised reading
Hii its own, possibly by Kirnberger;
Liv reading is shared with K (p.corr.) and A2;
Hii: H1 was later revised according to the reading of A1.
TEXT
1
pr 1-28 L1-L6 All : Amended orn in Bl ink, with thick quill. Correcting
shape (original in DBr shade, which is also added?) by
overlaying ^ shape. In that of L6, b.4 (b.28) was amended
the vertical stroke as well.98
2
cp 7 L2,b.4 S,3 d”: Amended (?) NH in DBl (?) ink. Corrected pitch
from c” (or ink smudge?).
3
pr 9 L3,b.1 B,3/3 b (?): Overlaid acd in vDBr ink. Changed from
(or vaguely written ) of DBl shade.99
cm 10-11 L3,b.2 SYS: Cancelled SYS for two bars in DBr ink. A jump mark leads to the
newly extended replacement in the bottom margin.
96
The similarity of ink shade between the revision of Lii and Liii does not guarantee this interpretation. Thus
there is room to consider the possibility that the last two layers of revision were carried out together, and that
the transfer of text from Lii to Sii was not thoroughly done. See Jones Stages, p. 444, “Stage A3”.
97
Dehnhard, p. xxv.
98
Apart from of b.1, all the mordents are missing from E1, E2 and A (incl. A1 a.corr., corr. by Grasnick).
From this evidence perhaps, Stauffer, p. 189, considers that these orns were added at the same time as the
revision of bb. 18-25.
99
This acd is missing from F, A2 and A3. It was perhaps JSB who wrote into P 430; in H1 it was added by
someone at a later date. No MSS examined so far give .
42
Reconstruction 27: Crossed-out text of bb.10-11.100

4
ml 18 L3,end S,1/4 b : Replaced NH + stem and added acd in DBl/s.i.
Changed pitch from a’.
5
ml 19 L4,b.2 S,1/4 b : Replaced NH + stem and added acd in vDBl
ink. Changed pitch from a’.
6
ml 20 L4,b.3 S,1/4 c ’: Replaced NH + stem and added acd in vDBl
ink. Changed pitch from a’.
7
ml 21 L4,b.4 S,1/4 d’: Replaced NH + stem in vDBl ink. Changed
pitch from a’.
Reconstruction 28: The reading of L a.corr. (a) and p.corr. (b) of R.H., bb. 18-22 in Liii.101
8
ml 22 L5,b.1 S,1/1-4 f’ a’ b ’ c ”: Replaced NHs, acd + stems in
DBl ink. Changed from f’ a’. Slur is also added but in
DBr ink, presumably on a later occasion.102
9
ml 23 L5,b.2 S,1/4 e’: Replaced NH + stem in vDBl ink. Changed pitch
from d”.
10
ml 24 L5,b.3 S,1/2&4 & a’ & c”: Added notes and amended acd in
vDBl ink. Slur is added in DBr ink.—†8
11
pr 25 L5,end S,1/3 g ’: Added (?) acd.103
12
ml 25 L5,end S,1/4 f ’: Replaced NH + stem, and added acd in vDBl
ink. Changed pitch from d”.
100
The same reconstruction is given by Prout, p. 73; Morgan, p. 39; and Jones Stages, p. 444.
101
Morgan, p. 40, observes the same.
102
This slur and that of b.24 are missing from K + P 209 but found in P 590.
103
This is missing from F, H and A, but found in K1. Thus it is likely that it was added in Liii revision.
43
Reconstruction 29: The reading of L a.corr. (a) and p.corr. (b) of R.H., bb. 22-25 in Liii: Note that the slurs to
bb.22 and 24 are classified in Liv, and not reproduced in this reconstruction.

al 29 L7,b.1 \ \ \ \: Added aligning indicators in s.i., but two of these (1st and 3rd) were
amended later in DBl ink.
13
cp 29 L7,b.1 B,2/3 amb g / a: Amended NH in DBl ink. Corrected
from g to a (or other way around?). There is a misplaced
acd (s.i.) above the NH.
Observation: It seems that this note was revised twice: once by placing acd above the NH, and later outlined
the NH in DBl ink, though this would be an error, violating the consistency of harmonic
rhythm.104
14
cp 30 L7,b.2 S,3/1 a’: Replaced NH. Corrected from d” (?).105
mk 33-34 R1,b.1-2 above US, | ?| Removed mark (CHG PG in F1).
mk 36-37 R2,b.1-2 above US/LS, | : Added jump mark in Bl ink on the bar line indicating the
insertion of a newly composed part written in the bottom margin.
15
ml 39 R2,b.2 B,1/1 e: Replaced NH + stem in DBl/s.i. Changed pitch
from e’, an 8ve above.106
16
ml 40 R2,b.3 B,1/1 d: Replaced NH + stem in DBl/s.i. Changed pitch
from d’, an 8ve above.107
a) b)
Reconstruction 30: The reading of L a.corr. (a) and p.corr. (b) at bb. 39-40, 1 bt: Because b.40, B,1/1 is not
reflected in Sii, this may be a Liii revision. See also footnote 95.
17
ml 43 R3,b.2 B,1/4 G: Replaced NH + stem in DBl/s.i. Changed pitch
from g, an 8ve above. Slur is also added in s.i.
18
from f, a 7th above. Slur is also added in s.i.
104
P 226 (AMB’s other copy), H1 and P 204 show corr. from a to g , while F gives a with above the NH. E1,
H, K and A give g . Go.S.19 gives a.
105
The suggested a.corr. reading is possibly originated in E1. P 226 gives p.corr. reading, however.
106
E and F give a.corr. reading. All the MSS of H, K and A give p.corr. reading, except H1, which shows the
same revision.
107
Morgan, p. 41. Only P 209 and K give p.corr. reading.
44

19
from e, a 6th above. Slur is also added in s.i.
Reconstruction 31: The reading of L a.corr. (a) and p.corr. (b) of L.H. at bb. 43-45 in Lii.108
20
ml 46 R3,b.5 B,1/3 f: Replaced NH + stem in DBl/s.i. Changed pitch
from A.
21
ml 46 R3,b.5 B,2/3-4 f a: Replaced NHs + stems in DBl/s.i. Changed
pitch from A d.
22
ml 46 R4,b.1 B,3/3-4 g b : Replaced NHs + stems in DBl/s.i. Changed
pitch from G e.
23
ml 47 R4,b.2 B/1 g & B/4 G: Replaced NHs + stems in DBl/s.i.
Changed pitch from G and g respectively.
24
ml 49 R4,b.4 B/2-4 E G C : Replaced NHs + stems in DBl/s.i.
Changed pitch from e g b .
a)
b)
Reconstruction 32: The reading of L a.corr. (a) and p.corr. (b) at bb. 46-47 and 49 in Lii.
st 57 R6,b.4 S,1/3 e’ (?): Ink smudge, coming from the verso, L6,b.1-2.
25
vtx 61 R7,end A,T,B . / . / . f a d: Replaced NHs + stems in DBr ink,
thick quill. Corrected voice-leading from a f d.109
TEXT IN THE BOTTOM MARGIN: ADDITION IN LAYER II

26
ml 10 B.b.1 S,1/4 b ’: Overlaid (?) acd on , or amended thin to thick .
27
pr? 11 B,b.2 S,1/3 b ’: Amended acd in TDBr ink. Changed from .110
28
ml 15 B.b.6 S,1/2 g”: Overlaid stem on NH e” (or a slip of the pen?).
29
cp 16 B.b.7 B,1 f d’ f e: Overlaid beam on NHs (or stain?) B c d c.
108
The same reconstruction is given by Morgan, p. 42.
109
P 226, F, H, A1 = a.corr.; Am.B.57 = same correction; Weyse, Am.B.49, P 1182, A2 = p.corr.
110
A gives , while K gives .
45
BWV 875,2: Fugue 6 in D minor
Fugue 6 in D minor
TITLE
Fuga. 6 .
Number 6 was modified from 5 in at least three stages, as shown in the Prelude.
FORMAT
4v L col. 1-7 bb.1-17
R col. 1-6 bb.18-27 The last SYS leaves 85% of the space unused.
7 Unused.
GENERAL FEATURES
Key, k-s: D minor: R.H./L.H. — 1 ; L.H.— nil «1», 1 «6», 2 s «6».
State of score Fair copy by AMB, proof-read, and revised later by JSB.
Ink and Quill: Six types of ink can be classified by shade. The shade of (a)
includes two chronologically different categories of readings.
Type (c) includes slight variation, including variation in the
degree of thickness of the quill. Note that among a fairly
limited number of amendments there is a variety of shades
which have subtle resemblances:
a) Bl: used for both initial notation and revised section —†9,10;
b) TDBr: staff repair and mark;
c) DBl-Bl/s.i.: JSB’s proof-reading I —†2-5, 13-14, 18;
d) DBr: proof-reading II — †8;
e) Br: proof-reading III —†19;
f) Br: copyist’s mark — see R1,b.2
Revisions: Corrections of errors are generally restricted to AMB’s
note-alignment errors (†1, 6, 11, 17) and oversight (†2, 3, 5, 13-14).
Later revisions are clearly reflected in the copies of L:
i pre-V revision: correction of errors and proof-reading;
ii pre-H revision: addition of a rest —†13;
iii pre-F revision —†2, 19 (?);
iv post-F revision: significant melodic revision — †9-10, 18.
46
SOURCE SITUATION
A complex picture is projected as a result of revision and transfer of readings between
two MSS L and S:
E1 E1 (P 595) is the earliest known version, containing many
Si variant readings, especially in bb. 15 ff.;
Li E2 Si was made by ca. 1738 and AMB made both E2 (P 226) and
V Li;
Lii
H V, H, F: They all stem independently from slightly different
Liii
F stages of L (i - iii);
Liv Sii: Transferring the revision made in Liv to S; E2 was also
K Sii
revised according to the Liv revision, possibly carried out
A by CPE’s circle;
K: K1 contains some later revisions that are not found in L.
TEXT
al 3 L2,b.1 US,4: Removed aligning indicators placed between S and A.
1
al 5 L2,b.3 A,3/2 c ’: Replaced NH, stem and acd in s.i. Correction
of note-alignment.
2
cp 6 L3,b.1 A,4 e’: Added (?) note with thick quill.111
3
pr 8 L3,end A,1 f ’ g’: Added (or amended?) beam in Bl ink.
4
pr? 8 L3,end B,1/3 e ’: Amended acd (or/and overlaid acd on up-stem)
in Bl ink.
a) b) c)
Reconstruction 33: The reading of P 226 and A (a), L a.corr. (b) and p.corr (c) at b.8, 1-2 bt: By examining the
process of revision, it emerges that the variant reading presented in Tradition B can be
traced back to AMB’s copying error, which was perhaps caused by placing of B,1/3 too
close to d’ (see (b)). This error was only noticed by JSB when he proof-read the score.
5
pr 8 L4,b.1 B,2/2 e ’: Added (?) acd by JSB (?) in Bl/s.i.
al? 8 L4,b.1 above A,2/2 a’: Removed (replaced?) symbol. US, 4-5L is hand-filled.
6
al 9 L4,b.2 S,3/3 e”: Replaced NH + stem in DBl ink (not too
distinctive shade). Correction of note-alignment.
al 9 L4,b.2 A,3-4: Removed aligning indicators placed between A and B from US.
7
pr 10 L4,end A,2 d’: Amended tie in s.i. (?) Corrected length.112
8
pr 11 L5,b.2 B,1 d: Amended tie in drier DBr ink. Corrected length.
111
This note is missing from V, H, F2 and others. In H1, is written instead, which is most likely a conjecture.
112
This tie is missing from E2 and A3.
47

9
ml 13 L6,b.1 S,3-4 a” b ” a” g” b ” a” g”: Replaced notes in
s.i. Changed pitch from an 8ve lower.
10
ml 14 L6,b.2 (cont.) S,1 f” e” d” c ” d” e”: Replaced notes in s.i.
Changed from f’.113
a) b)
Reconstruction 34: The reading of L a.corr. (a) and p.corr. (b) of bb.13-14,1
mk 13 L6,beg. above US t-s —: Added mark in TDBr shade.

11
al 14 L6,b.2 B,1/2 : Replaced rest. Corrected note-alignment.
12
ml 15 L6,end B,2/2 g : Added (?) acd sqz above NH.114
al 16 L7,b.2 SYS: Removed aligning indicators / / / \.
13
pr 17 L7,b.3 S,3 : Added (?) rest in s.i. by JSB (?).115
14
pr? 17 R1,b.1 A,4/2 b : Overlaid acd on (or thinly written ?) in Bl/s.i.
mk 18 R1,b.2 US,above,3 =: Added mark in Br ink (CHG PG in F1).
ra R2 US,4L : Amended line in free-hand, in TDBr ink.
15
pr 18 R1,b.2 B,1/1 E : Amended (?) acd.
16
cp 19 R2,b.1 S,4/3 d”: Replaced NH. Corrected from of A,4/1 (?).
17
al 21 R3,b.1 S,2-3/1-3 c ” d” e” f” e” d” e” f” g”: Replaced
notes in s.i. Nine notes were written in the space where six
notes were deleted. Caused by AMB’s misaligned copying.
18
ml 21 R3,b.1 B,3/5 c : Added (?) acd below NH,116 probably in different
ink, DBl with less light reflection, compared with the
preceding (s.i.).
mk 26 R5,b.2 above S,4/1 a’?: Removed (?) mark (?).
19
pr 28 R6,b.1 above and below SYS, || / : Added fermatas by JSB, in
Br ink.117
113
Morgan, p. 44; Dehnhard, p. xxv; Jones Stages, p. 444, “Stage A3”. E, F and H give a.corr. reading; P 590, K
and A give p.corr. reading.
114
This acd is missing from E1 and also appears to have been added in E2.
115
V gives a variant reading here ( a), possibly conjecture from a.corr. reading.
116
This acd is missing from F, H (added later to H1) and K4, as well as remote sources such as P 207 and P 212.
117
F1 only gives p.corr. reading.
48
BWV 876,1: Prelude 7 in E! major
Prelude 7 in E! Major
TITLE
Præludium 7 . di Joh. Seb: Bach.
FORMAT
The whole piece is accommodated within f.5r, the space expected to be used, but JSB
had to use the bottom margin where he extemporaneously drew a system in free-hand.
r
5 L col. 1-7 bb.1-32
R col. 1-7 bb.33-67,1
B mgn 1 bb.67,2-71
GENERAL FEATURES
Key, k-s: E! major: R.H. — 4 !s; L.H. — 5 !s.
t-s, Bars: »: 71 bars.
State of score: JSB’s possible first record of the piece being worked out from a
short draft,118 containing many layers of revisions. Many ink
stains come from the notation in the verso, in the shape of spots
(NHs) caused by the ink acid. Moisture caused damage to the
centre fold.
Ink: The following four shades are distinguished:
a) DBl (good light reflection): used for staves and notes. Bar
lines and clefs appear to be browner than stems;
b) DBl/s.i.: similar to ink (a), but used for revision —†22-24;
c) Bl (less light reflection): used for revision on a later
occasion. Unfortunately the shade is not sufficiently
different from that of ink (a-b) so that it is not safe to use
this visible evidence alone to make evaluation 119 —†1-8, 32,
34;
d) DBr: used for proof-reading —†25, 36.
Revisions: Numerous revisions in many layers:
i pre-H revision: amendments related to composing, such as
the joints of sections (†9-10, 19-21, 32-34); chain-reactive
motivic revisions (†22-24, 26-29); early proof-reading (†25, 31);
and addition of pedal part (†1-8, 11-18, 35-36);
ii post-H revision: proof-reading —†11.
118
Jones Stages, p. 442-443, takes the same view.
119
For this reason, I have changed my earlier description of amendments, Tomita 1990, Supplement A, pp.
21-24.
49
SOURCE SITUATION
Two versions of the autographs became the basis of two traditions. Groups within L
are introduced by JSB’s revision in several stages:
Si Si is a draft of 6 bars, which is reproduced accidentally in P
P416
Li 416;
H H, F, K stemmed from L at different stages. F often gives
Lii
F Sii a.corr. readings of the revised amb readings. K omits many
rests, probably overlooked by its intermediate source;
K A
Sii is probably written as a revision copy of L. JSB entered
further later readings in A1.120
TEXT
ra L1 US,2L ¹: Amended line in free-hand, in Bl/s.i.
st 4 L1,b.4 US,1: Stain. A large chemical stain on the paper.
st 4 L1,b.4 SYS,3: Ink stains on both staves, caused by the revision on the verso (Fg.E!).
1
vtx 5 L2,b.1 B,3 ¢ E! E!: Added extra voice in Bl ink.
a) b)
Reconstruction 35: The reading of L a.corr. (a) and p.corr. (b) at b.5: Tonic pedal is an afterthought.
2
vtx 6 L2,b.2 A,1/1 c: Replaced stem in Bl ink. Changed from
down-stem, necessitated by the addition of pedal.—†5
3
vtx 6 L2,b.2 B,1 ¾ E!: Added note + rest in Bl ink.
st 6 L2,b.2 below S,2/3 d!’ NH *: Ink stain. The NH looks as if it was amended, but it is
caused by the ink coming from the verso.
4
rhy 6 L2,b.2 B,2-3 ¾ ¾ ¢ ¢ E! E! E!: Overlaid notes in Bl ink. Changed
from . ¾ ¾ ¢ E! (which was also probably added in Bl ink).–†2
a) b) c)
Reconstruction 36: The reading of L a.corr. (a), intermediate state (b) and p.corr. (c) at b. 6: Note that the (c)
reading has identical shape as the p.corr. readings of b. 5 (Reconstruction 35, (b)) and b.
13 (Reconstruction 38, (c)).
5
vtx 7 L2,b.3 A/1 f: Replaced stem in Bl (?) ink. Changed from
down-stem. —†2
120
Jones Obs, p. 609.
50
Observation: It became necessary when an extra voice in the bass was inserted.

6
vtx 7-8 L2,b.3-4 B ¾ . ¾ ¾ ¢ | e! E! | E!: Added extra voice in Bl ink.
7
vtx 7 L2,b.3 A,3 ¢ d: Added note in Bl ink.
st 7 L2,b.3 below S,2/3 a!’ NH *: Ink stain from verso.
8
vtx 8 L2,b.4 T,1 B!: Added note in Bl ink.
a) b)
Reconstruction 37: The reading of L a.corr. (a) and p.corr. (b) at bb.7-8, 1 bt.
st 8-9 L2,b.4-5 S,3- *|* b!’ | c”: Ink stains from verso, R2,b.2, S b!’ a!’
9
ml 9 L2,end B,3 È e! d c d e!: Overlaid (?) notes sqz in s.i. Changed
from ¢ e! c’ (?).
10
ml 10 L3,b.1 B,1 ´ F: Replaced NH in s.i. (?).121 Changed pitch from f, an
8ve above.
11
vtx 13 L3,b.4 B . ¾ ¾ ¢ ¢ E! E! E!: Added extra voice in s.i. (?). B,3 had an
earlier reading: 3/1 was a , which was replaced with a ;
3/2 was ¾, which was erased.122
a) b) c)
Reconstruction 38: The reading of L a.corr. (a), intermediate state (b) and p.corr. (c) at b.13: The reading (b) is
related to the p.corr. reading of b.14. Thus it is likely that the (c) reading was completed
on a much later occasion, such time as when JSB compared the consistency of reading
with the corresponding part-writing at b.6.
12
vtx 14 L3,end B,1 ¾ B!: Added extra voice in s.i. (?).
13
vtx 14 L3,end B,2 ¾ ¾ ¢ B!: Overlaid rests and added note in s.i. (?).
Changed from . notation, which was also added.
14
vtx 14 L4,b.1 B,3 ¢ ¾ ¢ B! b! : Added extra voice in s.i. (?). The first note
was overlaid on ¾, which was also added.
121
I noted in my earlier examination (see Tomita 1990, Supplement A, pp. 23-24) that the added part of bb.
10-15 were marked in a clearly different shade of ink. My examination of 1992, using a fibre optic lighting
source, gave no such distinction.
122
F gives ¢, which is perhaps a misreading but a possible semi-final layer of the reading. H gives the reading
(b), indicating this revision in L being a late one.
51
a) b) c)
Reconstruction 39: The reading of L a.corr. (a), intermediate state (b) and p.corr. (c) at b.14.

15
vtx 15 L4,b.2 B ¾ . ¾ ¾ ¢ b! B!: Added extra voice in s.i. (?).
16
ml 15 L4,b.2 A,3/2-3 b! a: Replaced notes in s.i. Changed from a f.
17
vtx 15 L4,b.2 T,3 ¢ f: Replaced note (added stem + flag). Changed from
f, which once belonged to A,3/3. See also †16.
a) b)
Reconstruction 40: The reading of L a.corr. (a), intermediate state (b) and p.corr. (c) at bb.15-16.123
18
vtx 16 L4,b.3 T/B ¢ ¾ ¾ . . /¢ ¾ ¾ f / B!: Added extra voices in s.i. (?).
st 17 L4,b.4 A,2 * b!: Ink spot comes from the verso, R4,b.2 c’
st L5,beg Left margin: Ink blot.
19
hm 19 L5,b.1 A/T,last ¢ /¢ a!’/f’: Amended NH in s.i. Changed pitch from
a single voice g’ and later divided into two voices.
20
hm 20 L5,b.2 A,1 . a!’ (amb): Amended NH in s.i. Changed pitch from g’.
Letters “h as” were added in s.i. (?).124
21
ml 34-35 R1,b.2-3 B ¾ ¾ ¢ ¢ ¢ |¢ f G e! F d | E!: Replaced NHs. Changed pitch
from f g e! f d | e!. In Bl ink are amended NHs G, F, E! (of
the next bar) and of its quaver flag.
Observation: Note that the appearance of NH of a.corr of B,2/1 is affected by an ink blot from vL1,b.6.
22
ml 34 R1,b.2 S,3/2 c!’: Added acd beside NH, in DBl/s.i., with thick
quill. Chain-reactive revision of b.41, S,3/2. —†23,24.
a) b)
Reconstruction 41: The reading of L a.corr. (a) and p.corr. (b) at b.34-35, 1 bt.125
123
I have given a different reconstruction in Tomita 1990 (p. 244, Fig. 46), which I now think is incorrect.
124
Only F gives a.corr. reading.
125
The same reconstruction is given by Prout, p. 73; BG. XLV,1, p. 426; Jones Stages, p. 443, Ex.2.
52
Observation: This is a later revision, for it replaces the complete a.corr. reading. On the other hand, when we
look at the motivically related passage of b. 37, which is already in the shape of p.corr., it is at
least possible to say that the revision was carried out before JSB started writing b. 37.

st 35 R1,b.3 B,2-3: Ink stain from the verso side which appears here as NHs on e!.
23
ml 37 R2,b.1 S,3/2 f!’: Added acd beside NH, in DBl/s.i., with thick
quill. Chain-reactive revision of b.41, S,3/2.126 —†22, 24.
24
ml 39 R2,b.3 S,3/2 g!’: Added acd sqz above NH, in DBl/s.i., with thick
quill. Chain-reactive revision of b.41, S,3/2. —†22, 23.
st 39 R2,b.3 LS: Ink stains appear here as NHs on B!.
25
ml 43 R3,b.2 S,1/2 ¢ b”: Added acd beside the NH, in DBr ink.
26
ml 43 R3,b.2 B,3/2 d’: Amended NH in s.i. Changed pitch from e!’.
—†28.
27
ml 43 R3,b.2 S,3/2-3 ´ f” g”: Replaced notes in s.i. Changed from ¾ ¢ g”.
28
ml 44 R3,b.3 B,2/2 b: Amended NH. Changed pitch from c’.—†26.
29
ml 44 R3,b.3 S,3/2-3 ´ c” d”: Replaced notation. Changed from ¾ ¢ d”.
further amended in Bl ink was NH c”. —†27.
a) b)
Reconstruction 42: The reading of L a.corr. (a) and p.corr. (b) at bb. 43-44.
30
ml 45 R3,b.4 S,1 ´ b!” g” d”: Overlaid beam on c”.
Observation: The original reading was probably intended as ¢ c” d”, but revised instantly before the flag of
the second note was put down.127
31
cp 47 R4,b.1 S,2/2 a: Added acd sqz between NHs, in s.i.
Observation: JSB perhaps had k-s of 2!s in mind.
st 49 R4,b.3 above S,end: Paper stain

32
ml 55 R5,b.5 B ´ ´ ´ a! e! d! c B! A! G c B!: Replaced notes.
Changed probably from . ¢ a! c d e! A. Later amended
in Bl ink were the 3rd d!, 5th, 6th B! A! with the beam,
the NH of the 9th and the 1st ´ of the next bar.
33
ml 55 R5,b.5 S,3/1-2 @´ f’ e!’: Amended NHs and added tie in s.i.
Changed pitch from ´ e!’ f’.
126
Only F gives a.corr. reading.
127
In F, the readings of a.corr. and p.corr. were mysteriously juxtaposed.
53

34
ml 56 R5,end B,1 ´ Ç A B! A G A: Overlaid notes. Changed probably
from ¢ ¾ ¾ B!. In s.i., letters “BAGA” are written above it. In
Bl ink was amended later the NH of ´ A. — †32
35
vtx 56 R6,b.1 A,2 .: Added rest (?) in DBr (?) ink.128
36
vtx 56 R6,b.1 B,2-3 ¢ ¾ ¾ . B!: Added extra voice in DBr ink.
a) b)
Reconstruction 43: The reading of L a.corr. (a) and p.corr. (b) at bb.55-56: The model of the bass line in b.55
is b.9. The shape of stems of b.9, 2-3 bt resembles this section very closely. The
incomplete writing of 3 bt in (a) may be related to the fact that on the previous occasion,
b.9, 3 bt, JSB failed to write it clearly.
mk 63-64 R7,b.2-3 above SYS, | =: Added mark in DBr ink.

mk 64-65 R7,b.3-4 above SYS, | =: Added mark in DBr ink which was blotted.
37
cm 64 R7,b.3 B ¢ ¢ ¢ E! f e! d! c A!: Replaced notes. Changed
possibly from 9 ¾ ¾ ¢ ´ e! e! g f e!.
38
cm 65 R7,b.4 B ¢ ¢ ¢ D e! d c B! g: Replaced notes. Changed possibly
from 9 ¾ ¾ ¢ ´ d d f e! d.
39
cm 66 R7,b.5 B ¢ ¢ ¢ C d c B! A! G: Replaced notes. Changed most
likely from ¾ ¢ ´ c A! G A! G A!.
a)
b)
Reconstruction 44: The reading of L a.corr./sketch (a) and p.corr. (b) at bb. 64-66, 1bt.129
128
The rests ./. found in the following bar are in the same calligraphic shape, but the shade of ink for these is
s.i. It is possible that the different shade for these symbols may be affected by moisture.
129
Another possible reconstruction is found in Tomita 1990, p. 243.
54
BWV 876,2: Fugue 7 in E! major
Fugue 7 in E! Major
TITLE
Fuga 7
FORMAT
5v L col. 1-7 bb.1-49,1
R col. 1-4 bb.49,2-70 The last SYS leaves 40% of the space unused.
5-7 Unused.
GENERAL FEATURES
Key, k-s: E! major: R.H. — 4 !s; L.H. — 5 !s.
t-s, Bars: : 70 bars.130
State of score: Uninspired fair copy by JSB, containing many simple copying
errors.
Ink and Quill: Apart from one instance of ink (b), all amendments are entered
in s.i., almost immediately.
a) Bl: used for both notes and staves;
b) DBr with thin quill: used for later proof-reading —†2;
c) TDBr: copyist’s mark.
Revisions: All the amendments are corrections of copying errors, mainly
correcting NHs. There is no later revision to the text.
SOURCE SITUATION
Apart from E, two autographs give a very similar reading:
E E: its presence is attested in P 595, written in D major, which

S uses stricter thematic writing in bb.30 and 45-54;
L S: possibly a revision score based on E;
L: a copy of S with minor improvements in bb. 58-59;
V,H,F,K A V, H, F and K: stemming from the same state of L. F is
represented here by P 210 only.
130
E (a.corr.) and A (except A3) use .
55
BWV 876,2: Fugue 7 in E! major
TEXT
st 5- L1,b.5-8 All ink stains are from the recto of the sheet caused by replaced symbols.
1
cp 16 L2,end T,1 e!’: Amended NH.
st 19-21 L3,b.3-5 All ink stains are from the recto.
ra L3,b.4-7 US,2L ¹: Amended line in free-hand.
2
pr 23- L3,end T,2- @ g: Added tie with thin quill, in DBr ink.
Observation: This tie was located at CHG SYS, where two ties are required - one at the end of SYS, and the
other at the beginning of the next SYS. This supplement is the former, and the latter was
originally written.
3
cp 28 L4,b.5 B,1 . e!: Amended NH.
mk 35-36 L5,b.6-7 above SYS | =: Added mark in TDBr ink.
4
cp 49 L7,end S,1 f”: Amended NH. Corrected NV from NH.
5
cp 51 R1,b.3 S/2 f”: Amended NH.
6
cp 52 R1,b.4 A,1 a!’: Amended NH. Changed (or corrected?) pitch and
NV from g’.131
st 56-57 R2,b.2-3 S: All ink stains are from the recto.
7
cp 59 R2,b.5 B,1 e!: Amended NH. Corrected pitch from D (?)
st 60 R2,last B/end: Ink spots.
st 64 R3,b.4 S/last f”: Paper stain.
8
cp 64 R3,b.4 B/3 a!: Amended NH. Corrected pitch from g (?).
Observation: The way NHs, especially †3, 6, 7 and 8, were corrected suggests that JSB was transposing the
piece from D major as he copied.
131
E gives p.corr. reading.
56
Prelude 8 in D Minor
TITLE
.
Prelude 8 di J. S. Bach
FORMAT
The whole piece is accommodated within f.6r. The final bar was not accommodated
within the space prepared beforehand.
6r L col. 1-7 bb.1-18,3
R col. 1-7 bb.18,4-36,2
B mgn 1 b.36,3-4 bt Extemporaneously prepared system. After the
cadence, “Volti” is written.
GENERAL FEATURES
Key, k-s: D minor: R.H./L.H. — 9 s (6 plus 3 octave duplicates).
t-s, bars: : 36 bars (72 with repetition).
State of score: Neatly written fair copy by JSB of near calligraphic quality.
Ink and Quill: Seven types are distinguished, as follows:
a) TBr (dilute): used for drawing staves;
b) Bl with thick quill: used for copying out music;
c) vDBr (smooth, less reflection): used for line repair in LS,
R1,b.3. This shade may simply be caused by the scraped
surface of paper;
d) DBl (good light reflection): used for later revision — †9;
e) s.i./DBr with bad quill: used for later revision I —†11;
f) DBr with thick quill: used for later revision II —†4;
g) pencil: proof-reading III —†8.
Revisions: There are at least three layers that JSB’s revision is reflected in
later copies:
i pre-H revision: correction of errors and major revision —
†9,10;
ii pre-F revision: proof-reading revision — †5;
iii post-F revision: minor improvement — †11.
57
SOURCE SITUATION
JSB’s two scores became the origin of two traditions:
S S: it was most likely a composing score on which JSB worked,

Li revised in several layers. It may include later revisions not
H found in L;
Lii L: it was copied from S as a fair copy;
F H, F and K: they all independently stemmed from L, reflecting
Liii A
the stages of revisions in L. H2 (P 209) omits further
K symbols, suggesting the possible existence of a further early
layer; F omits many symbols and contains errors, some
shared with K.
TEXT
1
ml 1 L1,b.1 S,3/3-4 c ” b ’: Added acds above NHs, in s.i.
a) b)
Reconstruction 45: The reading of L a.corr. (a) and p.corr. (b) at b.1: Comparing with b.2, B, it would appear
as a chain-reactive revision. The note-alignment of b.2, 3 bt indicates that the soprano was
written prior to the bass. Thus if this revision was indeed introduced in L for the first time,
the idea must have emerged from non-thematic part-writing. The revision of †5 may also
be considered of the same kind. In general, chromatic alteration seems to be the most
important aspect of JSB’s revision for this piece.
2
cp? 5 L2,b.3 S,4/3 f ’: Amended NH in size (?). — †3.
3
cp 8 L3,b.3 S,2/3 c ’: Amended NH (?) in s.i. — †2.
4
pr 12 L4,end B,1/3 B : Added acd sqz between NHs, in s.i./DBr.132
5
ml 12 L5,b.1 B,3/4 f : Added (?) acd sqz beside NH, in s.i.133
6
cp? 14 L5,b.3 S,1/2 c ”: Replaced NH. Corrected pitch from a 3rd above.
The NH was later amended again.
7
pr 14 L5,b.3 B,1/4 B : Added acd below NH, in s.i.134
8
pr 16 L6,end B,1/1 C : Added ledger line in pencil.135
132
This acd is missing from Poel.33,2. P 209 gives .
133
This acd is missing from H and Poel.33,2.
134
This acd is missing from F only.
135
F gives D here.
58

9
hm 20 R1,b.3 S,4/4 f ”: Added acd sqz beside NH, in DBl ink.136
10
hm 20 R1,b.3 B,4/2 a & B,4/4 a : Removed s from beside NHs. The
erased lines were re-drawn in vDBr ink.
a) b)
Reconstruction 46: The reading of L a.corr. (a) and p.corr. (b) at b.20: It is particularly noteworthy that A
gives a variant reading showing the early shape in S,2-3 in the form of a ’ e” e”
d ” c ” f ” f ” e”. Slurs and ties are also added to this shape in various ways and places that
are not consistently given in the copies of A.
11
pr 23 R2,b.3 S,3/4 c ’: Added acd below NH, in DBr ink. Its shade is
very similar to of S,3/2, however.137
12
pr 24 R2,end S,2/4 f ”: Overlaid acd on .138
st R3,end S,2: Stain. Chemical substance.
13
pr 27 R4,b.1 S,4/3 c ’: Overlaid acd on .139
ra R5,b.2 SYS,4: Ink stain of 5 parallel lines. It suggests a rastrum was dropped on this
spot by mistake. DBr ink.
14
pr 32 R5,end B,1/2 c : Overlaid acd on .140
ra R7,b.1 SYS: Ink stain of 5 parallel lines. As R5,b.2.
136
Though this acd is also added in A1, it is found in all the the MSS of A.
137
This acd is missing from both H and F, but found in K.
138
F does not give any acd here, while H gives p.corr. symbol.
139
H1 shows the same revision process. All the other MSS of F and H give p.corr. reading.
140
H2 only gives a.corr. reading, of which P 209 shows the same revision process.
59
Fugue 8 in D Minor
TITLE
Fuga. a 4
FORMAT
The whole piece is perfectly accommodated within f.6v, leaving no extra space.
v
6 L col. 1-7 bb.1-23,2
R col. 1-7 bb.23,3-46
GENERAL FEATURES
Clefs: R.H.— L1; L.H.— ; no clef change.
Key, k-s; D minor: R.H./L.H.—9 s (6 plus 3 octave duplicates).
State of score: Near calligraphic fair copy by JSB, later revised in details.141
Ink: Two shades only are distinguished. The revision †14 appears in
slightly different shade, but this point is a scraped place, and
this may be the reason for its distinctive shade:
a) TBr: used for drawing staves;
b) DBl: used for notes.
Revision: Corrections are basically restricted to the notation of acds (†2, 4,
8). It however contains a large number of revisions, all of which
were carried out before copies were made.
SOURCE SITUATION
Two known versions stem from JSB, which are, unusually, distinguished clearly by
notational matter also:
S S: it became the basis of A, giving the earliest text. Some of its

variants can be considered as revised readings in S after L
L was made;
L: it was copied from S. On it JSB made some detailed
V,H,F,K harmonic and melodic revisions, in addition to notational
A
change from . to shape.142
V, H, F, K: they all give a similar text. V contains many
variants.
141
Franklin 1989, p. 253, points out that JSB may have also been transposing as he copied.
142
This change is found in the following places: b.4, T,2-3; b.9, A,3-4; b.16, S,1-2; b.18, S,2-3; b.22, S,2-3;
b.29, B,2-3; b.31, A,2-3 and b.38, T,1-2.
60
TEXT
st L1 All spots are ink stains penetrating through the recto.
st L2,b.3-4 As above.
st L3,b.2 As above.
st L3,end As above.
st L4,b.2 As above.
1
pr? 12 L4,b.2 A,2 : Added (?) rest. Neat handwriting.143
2
pr 14 L4,end T/3 c ’: Overlaid acd on .
3
pr 15 L5,b.1 T/3 c ( )’: Added (?) acd beside NH in s.i., but different
quill and calligraphy.144
4
pr 15 L5,b.1 B,3 F : Overlaid acd on .145
mk 18-19 L6,b.2-3 above US | =: Removed mark.
5
ml 19 L6,b.3 A,2/2 f ’: Added acd below NH, in s.i.146
6
hm 19 L6,b.3 B,2/3 e : Added acd sqz between NHs, in s.i.147
7
ml 19 L6,b.3 A,3/2 f ’: Added acd sqz beside NH, in s.i.148
a) b)
Reconstruction 47: The reading of L a.corr. (a) and p.corr. (b) at b. 19.
8
pr 21 L7,b.2 S,3/1 c ”: Overlaid acd on .149
ra R2 US,4L : Amended line in free-hand, in DBl ink (= notes).
9
ml? 29 R2,b.3 A/2 a ’: Replaced acd. Changed from either or .150
10
pr? 29 R2,b.3 A/3 b’: Trimmed NH (?). Corrected pitch from a 2nd (?)
above.
11
pr? 29 R2,b.3 T,3/2 d ’: Added acd sqz in s.i.151
143
This is missing from H2 and K4. V gives a a variant reading, most likely an attempted reconstruction.
144
This is present in F, H, K1 and A2, but absent from A1 and K4. From Poel.33,2, T/3 (acd, note, and tie) was
originally missing.
145
F and Poel.33,2 only give a.corr. reading.
146
In F and LM 4837 this acd was interpreted as the property of T,2/2 c ’. Poel.33,2 lacks this acd entirely.
147
Among all the MSS of B, this slim was omitted from F only. Only later someone added to Go.S.312,
which also appears in P 210 for the following NH. It is missing from A. In A1 someone (JSB?) added it at a
later date. P 204 stems from p.corr. reading of A1.
148
No MS fails to give this acd. While Poel.33,2 gives , Q 10728 corrects it from to .
149
Poel.33,2 only gives instead of .
150
No clue is found from the source study except that V gives a variant notation for A,1-2 as
151
This cautionary acd is found in the MSS of B, but missing from those of A.
61

12
cp 30 R2,end T,1 a’: Replaced NH. Changed pitch from g ’ (or
f ’?).152—†16
13
cp 35 R4,b.2 T,2 b : Replaced acd. Corrected from (?). Immediate
correction by blotting.
14
vtx 36 R4,b.3 A/1-2 . d ’ c ’: Replaced notes. Changed figuration from
d ’ e ’ d ’ c ’.153
a) b)
Reconstruction 48: The reading of L a.corr. (a) and p.corr. (b) at b.36: This is one of the rare examples that
JSB revised from richer texture to simpler.
15
tie 39-40 R5,b.2-3 A,4- g ’: Amended tie in length, in s.i.
16
hm? 40 R5,b.3 A,1/1 g ’: Amended NH in pitch. Changed from f ’.
Observation: Is it creating a suspension? Or is it a simple copying error? —†12.
mk 40 R6,b.1 above S,4 ?: Blotted = (?) mark.

st 42 R6,b.3 S,4: Ink smudge.
17
pr? 44 R7,b.1 A,2/3- b’: Added (?) tie of shape (or orn for A,3/1?).154
18
vtx 45 R7,b.2 A1,4 b ’: Replaced rest. Changed from a ’. The beam
of the following b ’ was then replaced with a flag. This acd
was added after the beam was removed.155
19
vtx 45 R7,b.2 A2,4 f ’ e ’ f ’: Replaced notes in s.i. Changed from
f ’ to f ’ f ’, and later e ’ was added between them.156
a) b)
Reconstruction 49: The reading of L a.corr. (a) and p.corr. (b) at b.45: This revision took place where JSB
thickened the texture from à 4 to à 5.
152
Poel.33,2 gives to this tied note, suggesting that its exemplar had CHG SYS/PG. Thus it is also possible to
think that JSB’s error was caused by the lapse of attention at this point.
153
A keeps a.corr. reading, while all the MSS of B give p.corr. reading. Dehnhard, p. xxvi, incorrectly states
with reference to the readings in F and H (his sources C and B) that this is a late revision.
154
F and A1 (a.corr.) omit this tie. The orn was added later in K1 (Weyse and Am.B.49) and P 430.
155
This not a required acd under the k-s, and because A1, K4 and V interpret it as , it is possible that this acd
was originally written here as . From H2 this acd is missing, however.
156
The reading of A is an intermediate reading, and all the MSS of B give p.corr.
62
BWV 878,1: Prelude 9 in E major
Prelude 9 in E Major
TITLE
.
Præludium 9. di J. S. Bach
FORMAT
This piece is not formatted well for a binary piece, especially if it is to be used for
performance purposes. The scribe (AMB) however made every effort to write
everything within the space prepared for it.
r
22 L col. 1-7 bb.1-25
R col. 1-7 bb.26-53,1
B mgn 1 bb.53,2-54 JSB prepared an extra short system in free-hand.
GENERAL FEATURES
Key, k-s: E major: R.H./L.H.—4 s.
T-s, bars: : 54 bars (108 bars with repetition).
State of score: Fair copy by AMB, except for the last two bars by JSB,157 and
revised at different times in several layers.
Ink and Quill: Although three shades only are distinguished, among Bl ink at
least three different types can be classified by quill:
a) Bl (1: thick): used for staves and notes (AMB);
b) Bl (2) with thin quill: used for proof-reading I —†1, 3, 11, 14;
c) Bl (3) with thick quill: used for proof-reading II —†2, 4, 13;
d) DBr: used for revision —†15;
e) Br: added mark in b.36.
Revisions: Four layers of later revisions can be distinguished from the
study of later MSS:
i pre-K4 = ink (b): early correction of errors;
ii pre-H & F = ink (c): early revision —†7;
iv isolated reading in L as a result of late revision I —†9;
iii related to corr. K1: very late revision II —†15.
157
Emery, p. 120.
63
SOURCE SITUATION
A quite complex picture is projected as a result of revisions not only in L but also in
many other sources:
Si Si: the possible first draft of this piece by JSB;158

Li Sii: JSB entered later revisions (also to A1);
K K: copied from an early stage of L, which was later edited by
Lii
Sii Kirnberger in several layers. K1 contains a very late
H,F
Liii revision, possibly entered at the same time as L;
Liv A H, F: they both stem from a similar, intermediate stage of
K1 revision in L.
TEXT
1
cp 7 L2,b.4 B,2/3; 3/1; 3/4 a; a; a : Added (?) acds sqz above
NHs, in s.i, thin quill.
2
vtx? 12 L4,b.2 A,3 g’: Added (?) note. The stem is thicker.159
3
pr 13 L4,b.3 A/2,3 and 4 (?) : Added rests by JSB (?).160
st 14 L4,b.4 A,1: Removed or stain “/” (or ?).
4
pr 15 L5,b.1 A,3 e ’: Added (or amended?) acd with broader quill.161
5
cp 16 L5,b.2 A,3/1 e: Removed acd (?) from beside NH.
Observation: It could be copied from the exemplar at its CHG SYS. No evidence is found from the MSS of A,
however.
al 17 L5,b.3 A,3/last a : Misplaced acd. It is placed above the NH f in B., 5 mm away from
its intended NH.
6
cp 19 L6,b.2 B/3 B: Amended NH. Corrected pitch from a 2nd above.
7 162
? 21 L6,end above B,1/2 a : Removed orn
8
cp 21 L6,end B,3/2 g : Amended NH. Corrected pitch from a.
9
pr 22 L7,b.1 T,3/1 : Added rest by JSB (?).163
10
al? 24 L7,b.3 A,2/3 a : Replaced notes to correct note-alignment.
11
pr 32 R2,end S,2 : Added rest by JSB with thin quill.
st 34 R3,b.2 B,3/1 d’: Ink stain on the stem. Not caused by revision.
mk 36 R4,b.1 above SYS t-s =: Added mark in Br ink.
hol 37-38 R4,b.2-3 below A,3- : There is a hole as a result of scraped revision on the verso.
158
Dehnhard, p. xxvi, suggests that the original version was written in D major.
159
This note, together with the preceding is missing from K4 and Poel.33,2.
160
The entire alto voice is missing from K4 and Poel.33,2. From P 430 and P 402, A,3 was missing. To the
former, the rest was supplied by JSB (?).
161
This acd is missing from K4 only, of which P 237 was later amended.
162
The orn is present in K1, K2 and A, but missing from F, H and K4.
163
This rest is not found in the other sources examined so far.
64

12
al 40 R5,b.2 A,1/2 . b: Replaced note. Corrected note-alignment. Shifted
to 4 mm left.
13
pr 40 R5,b.2 A,1/3 b: Amended tie with broad quill. Corrected facing
from shape.
14
pr 40 R5,b.2 T,3 : Added rest by JSB (?), with thin quill.164
al? 42 R5,end S; A,3/1st half / a’ / d ’ e’: Removed stains (?).
mk? 45 R6,b.3 S,3 e”: Removed mark (?) from below NH.
st 45 R6,b.3 below A,3/2 a’ *: Ink stain (?).
mk? 47 R6,end beside B,2/2 e: Paper stain.
15
ml 50 R7,b.3 B,1 g f e: Replaced NH in DBr ink. Changed pitch
from b a g , a 3rd above.165
a) b)
Reconstruction 50: The reading of L a.corr. (a) and p. corr. (b) at b.50: There are altogether four known
variant readings of this revised section. H2 and K gives . This has a
close identity with the motive appearing in bb. 1-2 that it can be considered as the most
correct reading, but at the same time, the first reading that a composer would write. If we
consider this as an earlier reading, then the reading (a) of L can be considered as an
advanced form based on K, because the motive is altered for a particular purpose, i.e., to
establish the dominant chord firmly for the last time in the piece. The reading of A is still
different — . This has the same purpose as the reading (a), but has
even stronger character for the same function to perform. The reading (b) has a quite
different character. Starting with g , it ties closely to the preceding note a in b.49, B,3/1,
while retaining certain degree of impact on the dominant chord at b.50, 1 bt. Thus it is
significant that this revision attempts further to clarify the voice-texture. Unfortunately,
this reading has consecutive 8ves between S and B — a’ g ’ and a g over the bar line.
164
This rest, together with the preceding note b, is missing from F, K4 and Poel.33,2. The last one belongs to
Tradition A, which normally gives b for A,2-3, which is in my view an older reading.
165
Morgan, p.64; Jones Stages, p. 444, “Stage A3”; Dehnhard, p. xxvi, who expresses his doubt on the
authenticity of the emendation. The original reading here is retained in F and H1. Weyse and Am.B.49 were
later revised according to the p.corr. of L (the process may be vice versa). In P 430 it was perhaps JSB that
T,3 was revised to a.
65
BWV 878,2: Fugue 9 in E major
Fugue 9 in E Major
TITLE
Fuga 9.
FORMAT
This piece is almost perfectly accommodated within the space prepared for it in f.22v.
22v L col. 1-7 bb.1-21
R col. 1-7 bb.22-42
B mgn 1 b.43 Extra system prepared in free-hand by AMB.
GENERAL FEATURES
Key, k-s: E major: R.H.— 4 s «12», 6 s «2»; L.H.— 4 s «12», 6 s «2».
t-s, Bars: (= ): 43 bars.166
State of score: Poorly made fair copy by AMB, resulting in the later addition
of alignment indicators.
Ink and Quill: Five types are distinguished, as follows:
a) Bl (thick): used for stave and notes;
b) Bl ink with thick quill: used for correcting acds —†20-24;
c) Bl ink thin quill: used for proof-reading —†2, 15;
d) DBr ink (1) with thin quill: used for adding aligning
indicators and half bar markers, possibly for instruction
purpose during the lesson;
e) DBr ink (2): copyist’s mark at R3,b.1-2.
Revisions: There are many corrections of errors. Revisions can be
classified by the reading of later sources reflecting layers:
i pre-V revision: correction of various copying copying
errors and proof-reading = ink (b);
ii pre-H revision —†15;
iii pre-F revision —†8;
iv post-F revision (1): late proof-reading —†2, 11;
v post-F revision (2): related to late K1 —†18.
166
It is worth noting that the piece was probably conceived in metre, for A1 gives it. Later branch from A1
gives , but not attributed to JSB. In K, the same t-s as L is given but barred in half (= ), a total of 86 bars.
The way that many MSS of A show the trace of this metre also indicates that this piece was conceived in this
metre. See Jones Stages, p. 442.
66
SOURCE SITUATION
There is no positive evidence suggesting the presence of an earlier version by JSB.167
S S: JSB’s earlier copy which AMB referred to;

Li V: stemming from the possible earliest branch from L, but
V Lii extensively revised and edited;
H, F: showing a possible intermediate stage of revision. The
H Liii
separation of H and F may be unsafe —†8. F omits many
F Liv acds that were revised in L, regarding them as abandoned
A
K Lv symbols —†20-24;
K1 K: giving a slightly later stage of revision than H or F. K1
contains the same late revision as L.
TEXT
Beat = 4
1
cp 5 L2,b.2 beside S,3-4 b’: Removed acd .
2
vtx 5 L2,b.2 T,3 e’: Added stem with thin quill. The NH is to be shared
between A/T.168
3
al 7 L3,b.1 A/6-7 d ’ e’: Replaced notes. Correction of note-
alignment.
4
cp 8 L3,b.2 T,3/2 f : Replaced note. Changed pitch from a 3rd below.
5
cp 9 L3,end T,1 b: Replaced stem by blotting. Changed from up-stem to
down-stem to clarify the voice-crossing.—†10, 18.
6
cp 11 L4,b.2 S,1-2 e’: Trimmed NH. Corrected NV from (?). A hole
remains. In Bl ink was added a letter “e” above SYS .
st 12 L4,b.3 A,3: A large, brown stain (ink? or some chemical substance?).
al 13 L5,b.1 A;T,3 between / : Added aligning indicator with thin quill, in DBr ink.
7
cp 15 L5,end T,4 d : Amended NH (and added stem?). Corrected pitch
(?) from e.169
8
pm 15 L5,end T,4 : Added (?) orn.170
al 18 L6,b.3 between A/T,2 \: Added aligning indicator with thin quill, in DBr ink.
9
cp 18 L6,b.3 B,2 e: Replaced NH. Corrected pitch from d , a 2nd raised.
10
? 19 L7,b.1 A,3 a : Replaced stem. Corrected from down-stem.—†5, 18.
167
It is normally believed that JSB’s ultimate source is Fuga VIII from J. C. F. Fischer’s Ariadne Musica (1702).
See Dehnhard, p. xxvi; Tomita 1990, p. 88; Jones Stages, p. 442.
168
This stem is missing from V, H and F. Though it is found in most MSS of K and A, it is significant that four of
them, namely P 513, LM 4837, P 207 and P 212, omit this stem. This demonstrates that double-stem notation
was often avoided or considered as an error under some notational convention. In P 546, it gives , a
conjecture or revision.
169
The only variant / error is found in Q 11731 which gives d .
170
F, K2 and K4 give , while K1 gives . From H and A this orn is missing.
67

11
pr 19 L7,b.1 S,3/3 e ’: Added (?) acd below/left NH.171
Observation: This is very small and vague, for ink is not placed on (or fell off from) the half of the symbol.
12
cp 23 R1,b.2 | : Removed bar line at 3-4 bt. Possible CHG SYS / PG in
the exemplar (S).
13
tie 23-24 R1,b.2-3 US, on | (?) : Replaced (?) tie. Re-notated above SYS.
st 24-25 R1,b.3-4 LS: Damaged. The possible interpretation is either of removed stains (align
indicators?) or chemical damage. Further study is required.
mk 25-26 R2,b.1-2 between SYS, 4 / : Added voice-leading indicator with thin quill, in DBr ink.
14
al 27 R2,b.3 B,3-4 E C F : Replaced notes. Correction of
note-alignment.
mk 28-29 R3,b.1-2 above SYS,4 | =: Added mark in DBr ink.
15
pr 29 R3,b.2 T,1/2 d ’: Added acd by JSB (?).
16
pr 30 R3,b.3 B,1 b: Added (?) down-stem by JSB, with thin quill.172
Observation: The length of this added stem is correct.
cp 31 R4,b.1 SYS,2-3: Removed bar line, which was drawn in the wrong place.
17
cp 31 R4,b.1 T,2/1 e: Amended NH. Corrected from f , a 2nd above.
18
vtx 31 R4,b.1 A,4 f ’: Replaced stem in s.i. Changed from up-stem.173
19
al 32 R4,b.2 A,4/1 c ”: Replaced note. Correction of note-alignment,
shifting it 4 mm to left.
20
cp 33 R4,b.3 A,1/2 f ’: Overlaid acd on with thick quill, in s.i.174
21
pr 33 R4,b.3 B,2/2 f : Overlaid acd on with thick quill, in s.i.175
22
cp 33 R4,b.3 B/last f : Overlaid acd on with thick quill, in s.i.176
23
pr 34 R5,b.1 A,2 c ’: Overlaid acd on with thick quill, in s.i.
24
pr 34 R5,b.1 S/end f ’: Overlaid acd on with thick quill, in s.i.177
25
mk 37 R6,b.1 SYS,1-2 | : Added half bar markers with thin quill, in DBr
ink.
26
mk 40-41 R7,b.1-2 SYS,1-2 | : Added half bar markers in various places, with
thin quill, in DBr ink.
al 41 R7,b.2 A; T,1 Between /: Added aligning indicator with thin quill, in DBr ink.
ra R7,b.2-3 US,2L : Amended line in free-hand, in vDBr ink (= stave).
171
Dehnhard, p. xxv. This is missing from V, H and F, but present in K and A.
172
This stem is missing from V only.
173
Weyse shows the same revision process. P 209 gives p.corr. reading.
174
F gives no acd here (Go.S.312 adds this acd later).
175
V and F gives no acd (Go.S.312 adds this acd later).
176
F gives no acd here (Go.S.312 adds this acd later).
177
F gives no acd.
68
BWV 879,1: Prelude 10 in E minor
Prelude 10 in E minor
TITLE
Præludium io di J. S. Bach
The colour of this title is darker than many other parts of the score.
FORMAT
The piece is well-formatted for a binary piece. Each repeat section is accommodated
in one column despite their inequality in length.
7r L col. 1-7 bb.1-48
R col. 1-7 bb.49-107
B mgn 1 b.108 Extemporaneously prepared system in free-hand.
GENERAL FEATURES
Key, k-s: E minor: R.H.— 1 ; L.H.—2 s with the exception of R7 (1 ).
t-s, bars: : 108 bars (216 bars with repetition).
State of score: Calligraphic fair copy by JSB.
Ink: Fairly uniform Bl shade among staves, notes and revised
sections. Many ornaments, however, appear in slightly darker
shade.178
Revisions: The majority of the amendments are correction of errors:
i correction of errors and addition of ornaments;
ii late addition of slur —†4.
SOURCE SITUATION
JSB’s two scores became the origin of two traditions:179
S S is the earlier copy. On A1, JSB seems to have entered some

Li later revisions (namely the common figure first found in b.3
H,F — g’ e’ e”→ g’ f ’ e’ e”). They are also found in K;
Lii
H and F, show a similar text, while K stems from the late state
K A
of L.
178
In my earlier examination, many corrections and added ornaments appeared to have been added in this ink,
See Tomita 1990, Supplement A, pp. 33-35. My recent study of 1992 gave no such distinction of ink shade.
This has to be re-examined more clearly in a future study.
179
Though there is no positive evidence for the presence of its earlier version, BWV 938 and 941 could be
possible models.
69
BWV 879,1: Prelude 10 in E minor
TEXT
1
ml 4 L1,b.4 B/6 a: Replaced NH. Corrected pitch from f .
Observation: Although the motivically related earlier passage in the soprano (b.2) was not entered in this
a.corr. shape, it is worth considering the possibility that the a.corr. reading originated in an early
form of the piece.
ra L3 US,4&5L : Amended lines in free-hand. The staff drawing was begun

unsuccessfully, then re-started from the point where it was suspended.
2
pr 29 L4,end S/4 c ”: Added (?) acd sqz above/between NHs.180
st 34 L5,b.6 SYS: Ink stains from verso.
st 36 L6,b.1 US: Ink stains from verso, as above.
3
ml 45 L7,b.3 S/3 c ”: Added acd above NH in s.i.
ra 47 L7,b.5 LS,5L : Amended line in free-hand, in Bl ink.
4
pm 51 R1,b.3 above S,1-2 f ” e” ^: Added (?) slur in s.i.181
5
pr 67 R3,b.2 S/3 f ’: Added acd below/between NHs, in s.i.
6
pr 71 R3,b.6 B/2 d : Added acd sqz between NHs, in s.i.
7
pr 74 R3,end S/6 c ”: Added acd sqz between NHs, in s.i.182
8
pr 77 R4,b.3 S/4 d ”: Added acd above/between NHs, in s.i.183
9
cp 84 R5,b.2 S/2 g’: Amended NH in s.i. Corrected pitch (?) from a 2nd
lower.
cp? 91 R6,b.1 B/6 f : Ink smudge (or amended NH in size ?).
st 102 R7,b.4 above B,1 c: Paper stain.
180
This acd is missing from P 209 only. In F, this note is misread as d ”.
181
This slur is missing from F and H, but it is present in K and A.
182
This acd was removed from P 430, possibly directed by JSB, for its copies give its p.corr. reading. This acd
was, however, added to P 204 sometime later later.
183
This acd is missing from P 206, P 209 and most MSS of K. This does not prove, however, that L a.corr.
reading was taken faithfully into their text. It is possible that the omission of acd here could be deliberate, for
it is redundant in newer notational convention.
70
BWV 879,2: Fugue 10 in E minor
Fugue 10 in E minor
TITLE
.
Fuga 10
FORMAT
The whole piece is just accommodated within f.7v by using an extemporaneously
prepared narrow system at the bottom margin.
7v L col. 1-7 bb.1-33,1 Calculated fair copy making appears to have been
abandoned from L3 where JSB suddenly increased
note spacing.
R col. 1-7 bb.33,2-62,2 At the end of R7 is marked “NB.”, indicating the
use of the bottom margin.
B mgn 1 bb.62,3-71 Introduced by “NB.”
GENERAL FEATURES
Key, k-s: E minor: R.H.—1 ; L.H.— 2 s «10», 1 «4».
t-s, bars: : 71 bars.184
State of score: Uninspired rough fair copy. Containing fairly detailed
performance marks.
Ink: Two shades are distinguished:
a) Bl: used for staves and notes, the same ink as that used in
recto. Title and triplet marks “3” appear in slightly darker
shade, which are possibly added on a later occasion;
b) DBr: used for later addition of orn —†2.
Revisions: Early revisions (†5, 9, 10) suggest JSB’s revision process at the
same time as he copied the piece. Later revisions are restricted
to the addition of performance-related marks, entered in several
layers:
i pre-V revision: correction of errors;
ii pre-H revision: many later additions of staccati, triplet
marks, and ornaments at different times;
iii post-H revision = ink (b): addition of one orn —†2.
184
Some MSS of A give the t-s , which most likely originated in the earlier version of the piece.
71
SOURCE SITUATION
JSB’s two copies directly became the origin of traditions:
Si S: Si could have been a composing score, which became the

Li model for L. Having written L somewhat unsuccessfully,
JSB came back to S to enter a revision, including the
V Lii
extension to the piece (Sii). A1 also contains some
H
Liii authentic addition of ornaments that can be attributed to
JSB;
K F, Sii V: it contains few performance marks but many variant
readings. Its model was probably heavily corrupted, which
A
K resulted in reconstruction by conjecture;
H, F, K: they are basically the same version, yet containing
evidence for slightly different stages of revision in L. K is
influenced by A, as in the Prelude.
TEXT
Beat = 4

ra 17-20 L4,b.2-5 LS,2L : Amended line in free-hand.
ra 19 L4,b.4 LS,5L : Amended line in free-hand.
1
cp 24 L6,b.1 B,3-4 a: Amended NH. Corrected from f.
st 25 L6,b.2 S,3 g’: Ink smudge on staccato.
2
pr 25 L6,b.2 S,4 : Added orn in DBr ink.185 —†3
st 31 L7,b.4 above B,1 f : Paper stain.
mk? 35 R1,b.3 below S,3 f ”, on 4L, #: Removed mark # (?).186
3
pr 43 R3,b.3 B,4 : Added (?) orn.187 —†2
4
cp? 44 R3,b.4 S,2/2 g ’: Added (?) acd sqz beside NH.188
Observation: Because the bass was the subject entry, it is likely that JSB wrote it in first, then came back to fill
in the soprano part later, resulting in the appearance of the text here.
5
ml 52 R5,b.4 S,1/3 e’: Replaced NH. Changed pitch from g’.
a) b)
Reconstruction 51: The reading of L a.corr. (a) and p.corr. (b) at b.52: The revision is concerned with the
melodic shape of the most contrapuntally free voice in the texture that is most responsible
for characterising the section. It seems significant that the corresponding sections of
surrounding area, namely b.44, S,1 b’ c ” b’ and b.62, B,1 g a b are shaped in (a)
and (b) of this reconstruction respectively.
185
This is found in F and Am.B.49 only. CAMBRIDGE gives here.
186
This # mark could be the one which introduced a variant reading of A,3/1 d ’ (L = d’) to K.
187
This orn is missing from V and A (added to A1 at a very late stage, probably by Grasnick).
188
This orn is missing from F (F2) only.
72

6
cp 53 R6,b.1 S,3/1 g: Amended (?) NH. Corrected pitch from a, a 2nd
above.
7
ml? 54 R6,b.2 B,1 d : Amended NH. Corrected NV (?) from NH.
st 56 R6,b.4 S,4 g” f ” e”: Stain on upper SYS. Moisture problem (?).
8
cp 60 R7,b.4 B,3-4 B: Amended NH. Changed NV from NH.
cp 61-62 R7,b.5-6 LS | : Added tilted bar line to correct the overflowing notation in the bass.189
9
ml 69 B,b.8 B,1/3 d : Added acd above between NHs, in s.i.
10
ml 69 B,b.8 S,4/2 d ”: Added acd above NH, in s.i.
a) b)
Reconstruction 52: The reading of L a.corr. (a) and p.corr. (b) at b.69: Because these two acds in the bass and
the soprano are motivically closely related, and the fact that the first one in the bass does
not have to be d as it is in the scale of B minor, it is very likely that the s to d were
originally absent from the exemplar.
189
This tilted bar line touches the of b.62, B,1/1. In K, this acd was interpreted as .
73
BWV 880,1: Prelude 11 in F major
Prelude 11 in F Major
TITLE
Præludium ii. di J. S. Bach

FORMAT
The piece is not accommodated within f.8r: it goes to the recto, occupying one
complete extra column, making the score unsuitable for performance purposes.
8r L col. 1-7 bb.1-19,2 Copied by AMB, in spacious writing.
R col. 1-7 bb.19,3-44,1 Copied by JSB, in tighter writing.
v
8 L col. 1-7 bb.44,2-71 Even tighter writing than 8r R col.
B mgn 1 b.72 Reduced-size system prepared in free-hand.
GENERAL FEATURES
Key, k-s: F major: R.H.— 1 ; L.H — 1 «2», 2 s «10».
State of score: Fair copy (?) started by AMB and roughly finished by JSB. The
first page is supplemented with performance marks.
Ink and Quill: Two types are distinguished:
a) Bl ink: used for notes and staves;
b) DBr ink with thin quill: used for addition of slurs and ties,
some of which are in a wobbly hand —†1-5, 8-11, 14, 16, 20-24,
26-28, 31-32.
Revisions: The layers of revision are distinguished by the reading of H:
i proof-reading: correction of errors in s.i.;
ii post-H revision = ink (b).
SOURCE SITUATION
Two traditions give similar text, but due to multiple layers of revisions on both, and
the fact that the piece is difficult to copy out accurately, each group becomes
distinctive:
S S: JSB’s earlier copy which AMB used to make L. A1 was

later revised in many layers including one by JSB;
Li
H: stemming from a.corr. of L;
H F, K: stemming from a similar state of L; F contains a large
Lii
F,K A number of errors. K1 has many layers of revision in both
Am.B.57 and Weyse.
74
TEXT
The summary of added performance marks are given in p. 77, below.190

1
pm 1 L1,b.1 S,1/2-4 e” f” g”: Added slur in DBr ink, thin quill.
2
pm 1 L1,b.1 S,2 f” e” d” c”: Added slur in DBr ink, thin quill.
3
pm 1 L1,b.1 S,3 d” c” b ’ a’: Added slur in DBr ink, thin quill.
4
pm 2 L1,b.2 S2,1/2-4 a’ g’ f’: Added slur in DBr ink, thin quill.
5
pm 2 L1,b.2 A,2/2-4 f’ e’ d’: Added slur in DBr ink, thin quill
6
pr 2 L1,b.2 S1/S2/A,3-: Amended ties in s.i. Corrected length.
7
cp 3 L1,b.3 B,1 f: Replaced (?) NH + stem. Corrected pitch from g.191
a) b)
Reconstruction 53: The reading of L a.corr. (a) and a possible initial reading in S by JSB (b) at bb.2-3, 1 bt:
This reconstruction (b) is based on my observation that: 1) à 6 texture at b.3, B,1 is better
justified if there is in b.2, 3 bt, and that 2) the figure should be the first choice for
JSB to write at b.2, 3 bt at composing stage, since that figure (with its supporting minims
below) has already occurred twice in that bar. On the other hand, it is also possible that the
bass of b.2 was f g, judging from AMB’s error at b.2, B/1 [sic!]. Still further, it is also
possible to explain that there was CHG SYS between 2-3 bts of b.2 which caused JSB to
write a g in b.3, 1 bt.192
8
pm 3 L2,b.1 B,2/2-4 g f e: Added slur in DBr ink, thin quill.
9
pm 3 L2,b.1 B,3/2-4 d c B : Added slur in DBr ink, thin quill.
10
pm 4 L2,b.2 A,2/2-4 f’ e’ d’: Added slur in DBr ink, thin quill.
11
pm 5 L2,b.3 A,1/2-4 c’ d’ e ’ : Added slur in DBr ink, thin quill.
12
pr 5 L2,b.3 S2,2/1 : Amended rest in size, in s.i., by JSB (?).
13
ml? 5 L2,b.3 S2,2/2-3 e ’ f ’ g’: Added (?) acds in s.i.
14
pm 5 L2,b.3 S2,2/2-4 e’ f ’ g’ : Added slur in DBr ink, thin quill.
15
cp 6 L2,end T,1 d: Amended NH. Corrected NV from NH.
Observation: This is a simple copying mistake at a bar-split caused by CHG SYS.
16
pr 8 L3,b.3 T. c’: Added tie in DBr ink, thin quill.193
17
pr 9 L4,b.1 T,2/1 : Added rest by JSB (?) in s.i.194
190
Jones Stages, p. 444, “Stage A2”.
191
It is particularly noteworthy that Poel.33,2 gives both a.corr. and p.corr. readings juxtaposed.
192
Poel.33,2 originally wrote a bar line in LS, b.2 bt 2-3 by mistake. This suggests that there was CHG SYS in
S, which would have caused a lapse of attention at the composing stage.
193
This tie is missing from F, H and K, except P 209 and K4.
194
This is missing from K4 and A as well as P 206. In P 430, this was added later by Grasnick.
75

18
cp 9 L4,b.1 T,2/2 . d’: Amended NH. Changed NV from NH.
195
Observation: There is a possibility that AMB was responsible here for converting notation from pattern.
19
pr 10 L4,b.2 A. c”: Amended tie in s.i. Corrected length.
20
pm 10 L4,b.2 B,1/2-2/4 b …G: Added slur in DBr ink, thin
quill.
21
pm 10 L4,b.2 B,3/1-3 a g f: Added slur in DBr ink, thin quill.
22
pm 11 L4,b.3 S,1/2-2/4 e”…c”: Added slur in DBr ink, thin
quill.
23
pr 11 L4,b.3 T,1/2- . a: Added tie in DBr ink, thin quill.196
24
pm 11 L4,b.3 S,3 c” b ’ a’: Added slur in DBr ink, thin quill.
25
pr 12 L5,b.1 B,3 e: Amended tie in s.i. Corrected length.
26
pr 13 L5,b.2 T,2 a: Amended tie in DBr, thin quill. Corrected
length (?).
Observation: Or this could be a slur over B,2/2-3/3 .
27
pm 15 L6,b.2 A,1/2-4 e’ f’ g’: Added slur in DBr ink, thin quill.
28
pm 15 L6,b.2 A,2/2-4 g’ f’ e’: Added slur in DBr ink, thin quill.
29
pr 15 L6,b.2 S2,3/1 : Amended rest by JSB (?).
30
pr 16 L6,b.3 S. . c”: Amended tie in length, in s.i.
31
pm 16 L6,b.3 A,2/2-4 f’ e’ d’: Added slur in DBr ink, thin quill.
32
pm 16 L6,b.3 T,3/2-4 . d’ c’ b : Added slur in DBr ink, thin quill.
33
pr 16 L6,b.3 S2;A,3- / g’/e’: Added ties in DBr (?) ink, thin quill.197
Observation: Though these ties imply sustained notes, the implied note in the 2nd soprano is missing in the
following bar, as the texture is now reduced to à 4.
mk 17 L7,b.1 SYS,2 =: Added mark in DBr ink, thin quill.

34
pr 18 L7,b.2 T,1/1-2 d e: Amended stems.
35
cp 18 L7,b.2 B,1 . c: Removed stem. Changed from a down-stemmed .
36
pr 18 L7,b.2 S1/S2/A,3-: Amended ties in DBr ink. Corrected length.
Observation: The shade of ink here may simply be caused by the thinness of ink alone.
195
Notational features of A1 and A3 do not suggest the variant notation in S caused by CHG SYS.
196
This tie is missing from P 209. Two far-off branches of L, namely K4 and F2, do not use dotted minim
notation.
197
Because of this tie in S2, K (plausibly by conjecture) gives g’ in b.17, S2,1. P 206 also has this note by later
addition.
76

mk 23-24 R2,b.1-2 above SYS, | ?: Removed mark (?).
37
pr 24-25 R2,b.2-3 S,3 e’: Removed tie from above bar line.198
Observation: This tie looks superfluous, for the existing one looks very likely to be the one for the soprano. If
we look at the alto, it is not impossible to see it for the alto, and that the deleted one above the
bar line was deleted by mistake.
38
cp 27 R3,b.2 S,2 d”: Amended NH. Corrected NV from NH.
Observation: Probably caused by this amendment, the texture is left somehow ambiguous. JSB did not notice
that the required rest in the alto is missing — .199
39
pr 35 R5,b.3 T,2- a: Added (?) tie in DBr ink.200
v
mk 48 L2,b.1 US,1 =: Added mark in DBr ink, thick quill.
v
ra L6,b.4- US,2L : Amended line in free-hand, in s.i.
40 v
pr 61 L5,b.2 A,2-3 d’: Added (?) tie and note.201
Observation: The shape of these symbols clearly indicates that they are written after the other parts.
41 v
pr 70 L7,b.4 T,2 c: Added tie in DBr ink, thin quill.202
PERFORMANCE MARKS REFLECTED IN OTHER SOURCES

The following is the summary of performance marks added in L and their appearance
in other sources:
bar † s/n L F H1 K1 K4 A1 P 204

Go.S.312 P 237 P 430
1 1,2,3 add DBr

2 4,5 add DBl
3 8,9 add DBl
4 10
5 11,14 add DBl
10 20,21 add TBr add DBl
11 22,24 add TBr add DBl
15 27,28 add DBl
16 31,32
198
This tie is found in all the MSS stemming from L, but that in the alto is missing from H2.
199
This error is retained in F. In H and K1, A,2/1 is interpreted (by conjecture) as d”, while in A and K4, the
correct reading is given.
200
This tie is missing from H (in P 206 it was added later). In Am.B.57, this tie seems to have been added as
well.
201
From H both symbols are missing, while from K (a.corr.) and F, the tie only is missing.
202
This tie is missing from F (P 210), H1, but present in H2, K and A.
77
BWV 880,2: Fugue 11 in F major
Fugue 11 in F Major
TITLE
Fuga
ii
FORMAT
The layout of the fugue is affected by the severe space constraint as a result of
copying the Prelude. JSB drew three reduced-size systems in unused marginal spaces
in free-hand.

8v T mgn 1 bb.1-10 Title is written on SYS.
R col. 1-7 bb.11-79
B mgn 1 bb.80-89 Marked “Volti” indicating the use of the space on
the other side of the sheet.
8r B mgn 1 bb.90-99 Introduced by “Final zur folgend Fuga”.
GENERAL FEATURES
Clefs: R.H.— L1; L.H.— ; clef change occurs once:
a) L.H.: b.12 (R1, b.2) L1 → , restored at b.19 (R1,end).203
Key, k-s: F major: R.H.— 1 ; L.H.—1 «4», 2 s «6».
State of score: Neatly copied fair copy in tight writing.
Ink: Three shades are distinguished:
a) Bl: used for notes and staves;
b) Br: used for revised rest—†5;
c) Bl/Br: copyist’s mark at b.59.
Revisions: Very few amendments. Two layers of revision may be
distinguished by the reading of H:
i pre-H revision: Correction of errors and proof-reading;
ii post-H revision—†2.
203
MSS of A, H2 and K4 do not use this CHG Clef.
78
SOURCE SITUATION
Two traditions give a very similar text. L contains some newer readings which are
worked out by JSB’s instant revision at the copying stage:
S S: a possible composing score. A1 contains some authentic

Li revision by JSB;
H H: distinguished by a single, obscure reading of L;
Lii
V, F, K: all stemming from a similar state of L. V and F contain
V,F,K A
many missing symbols and variants.
TEXT
1
ml 6- T,b.6 S,2/1 g’: Replaced (?) NH. Corrected from b ’ (?).
pr R1,end Added (?) formal type of Soprano Clef indicating the change of clef at the
beginning of next SYS.
mk 59 R6,b.1 above US t-s =: Added mark in slightly brownish shade of ink.
ra 66 R6,b.8 LS: Some undrawn places are filled in free-hand.
ra R6,b.12- LS,2L : Amended line in free-hand in, Bl ink (= notes)
2
ml 74 R7,b.5 S,2 e ’: Overlaid acd on . The shape is still amb.204
a) b)
Reconstruction 54: The reading of L a.corr. (a) and p.corr. (b) at b.74: The amendment in question is amb not
only in appearance but also in significance. In this tonic-minor (F minor) section, JSB used
many cautionary acds on e, such as b.72, but because he did not assign it to B/1 of the bar
in question, one would easily assume that the strangely formed acd on S,2/2 should be a
flat.
3
cp 79 R7,end S. (direct) c”: Cancelled direct. Corrected pitch from a 3rd
below.
4
vtx 85 B,b.6 A1,2 c’ b : Added (?) extra voice sqz in s.i.
5
rhy 86 B,b.7 B,1/2 : Amended rest in Br ink. Corrected from value.205
r
ra B SYS : Extended staves for 2 bars.
204
Jones Stages, p. 444, “Stage A2”. H1 and H2 only give a.corr. reading.
205
All the MSS stemming from L give p.corr. reading.
79
Prelude 13 in F Major
TITLE
Prelude i3 di J. S. Bach
FORMAT
This piece is accommodated within f.9r. The final two bars unfortunately failed to be
written within the prepared staves. One reduced-size system is created in free-hand at
the right of the bottom margin.

9r L col. 1-7 bb.1-36
R col. 1-7 bb.37-73 At the end of R7, “nächst” (?) is added.
B mgn 1 bb.74-75 “Volti” is marked after the final cadence.
GENERAL FEATURES
k-s: F major: R.H./L.H.— 9 s (6 plus 3 octave duplicates).
t-s: : 75 bars.
State of score: Calligraphic fair copy by JSB in very tight writing. There are
an unusually large number of copyist’s marks which were
subsequently removed.
Ink Two shades are distinguished:
b) TBr: added word “nächst” (?) at the end of R7, with a thin
quill.206
Revisions: Very few revisions. All the changes to the text were made
before copies were made.
206
This word is extremely difficult to read. If it is “nächst”, it must be the instruction that one should go to the
next line. On the other hand, it could be referring to the rhythmic figure of b.73, S.3 . , which is the
most complex rhythm used in this piece, and a variant reading is given in A. Thus this word could be either
“nichtig” [invalid notation, which it is not] or “richtig” [correct notation, which is what it is].
80
SOURCE SITUATION
Two traditions of MSS are projected in distinguishable sub-groups caused by
revisions. The tree is further complicated by some of the notational matter; b. 66, S,3
especially becomes problematic, which invites various conjectured readings.
S S: a possible composing or revision score. After making L,

L JSB still goes back to it to add some revisions as well as to
A1.
H,F H, F: they stemmed from a similar stage of L;
A
K K: it stemmed from a similar stage to H and F, but contains
some of the revisions that JSB entered into A1.
TEXT
1
ml 1 L1,b.1 B/2-3 . g a : Replaced NHs in s.i. Changed from e f .
a) b)
Reconstruction 55: The reading of L a.corr. (a) and p.corr. (b) at b.1: This was a later revision judging from
the length of the stems on the revised NHs.
2
hm 9 L2,b.4 S,3/3 b ’: Added acd sqz between NHs, in s.i.
3
pr 12 L3,b.2 S,2- f ”: Amended tie in s.i. Corrected length.207
mk 23 L5,b.3 above S,3/1 b ’ = : Removed mark.
4
cp 25 L5,b.5 S,1/1-2 b’ d ”: Replaced NHs. Changed from g ’ b’, a 3rd
below.
Observation: It would be quite normal to write the p.corr. reading even if JSB were writing this section for the
first time, for this part is directly related to the passage of b.6, S,1. Thus I would consider this as
the correction of a copying error.
mk 26 L6,b.1 above S,2/3 c ” # (?): Removed mark (?).

mk 34 L7,b.4 above B,2/1 . a =: Removed mark.
mk 44-45 R2,b.3-4 above SYS | = (?): Removed mark (?).
5
cp? 61 R5,b.5 S,1/4 c ”: Amended NH. Corrected pitch from d ”.
ra R6 LS,2L : Amended line in free-hand in Bl ink.
mk 66 R6,b.4 above B,2/2 f =: Removed mark.
ra R6,b.5-7 LS,4L : Amended line in free-hand.
207
This amended tie was interpreted differently in K as an ornament: In Am.B.57, Am.B.49, P 1182 and P 513 it
was interpreted as , while in P 211 and P 237 as . In H1 this unique shape of tie was reproduced.
81
Fugue 13 in F Major
TITLE
Fuga à 3 . r3.
r3 (13) is added in darker ink by WFB.
FORMAT
This piece is neatly accommodated within the space prepared for it.
9v L col. 1-7 bb.1-42
R col. 1-7 bb.43-84 “Fine” is marked after the final cadence.
GENERAL FEATURES
Key, k-s: F major: R.H./L.H.— 9 s (6 plus 3 octave duplicates).
t-s, Bars: : 84 bars.208
State of score: Non-calligraphic, but neat fair copy by JSB.
Ink: Many symbols on the 2nd system of both columns, close to the
centre fold of the MS, appear in different shades of ink,
probably caused by moisture damage:
b) Pencil: addition of acd —†3.
Revisions: In addition to the correction of quite a number of careless
errors, there are a few notable revisions reflected in later
copies:
i proof-reading I and early revision —†1, 8-9, 11-12;
ii proof-reading II —†10;
iii revision in pencil —†3.
SOURCE SITUATION
S S: an earlier score, possibly a composing score. A1 contains

Li later revisions not found in L;
V,K V and K stem from an early stage of L. V was substantially
Lii edited and transformed later as Mozart’s KV 404a, while K
H,F A went though its own revisions;
Liii H and F independently stem from L. F omits many symbols.
208
K4 and A1 bear a variant t-s — .
82
TEXT
1
ml 14 L3,b.1 B,2/2 c : Added (?) acd sqz beside NH.209
2
cp 25 L4,b.6 S,2/2 g ’: Amended NH. Corrected pitch (?) from a 2nd
higher.
st L5,b.2-3 above SYS: Ink smudge. It is a stem of through recto.
3
ml 29 L5,b.4 S,2/1 f ”: Added acd beside NH, in pencil.210
st L6 Ink stains from the recto. None of these are identified as revisions.
4
cp 37 L7,b.1 A,2/1 c ’: Replaced symbol. Corrected from (?).
5
cp 41 L7,b.5 A,1/2 f ’: Overlaid acd on , in s.i.
6
cp 45 R1,b.3 A/2 c ’: Amended NH in s.i. Corrected NV (?) from NH.
7
ml 48 R1,end B/1 e : Amended NH. Corrected pitch from d .
8
pr 51 R2,b.3 A,2/3 e ”: Added acd sqz between NHs, in s.i.211
9
pr 52 R2,b.5 S,2/3 e ”: Added acd sqz between NHs, in s.i.212
10
pr 52-53 R2,b.4-5 above US | : Cancelled tie in s.i.213
mk? 55 R3,b.1 above k-s of US # (?): Removed mark (?). It is also possible that the removed
mark was , which is to be attached to S,1 e” but placed perhaps too high.214
11
pr? 70 R5,b.5 S,1/1 e ’: Added (?) acd sqz above NH.215
ra R7 LS,4L : Amended line in free-hand, in Bl ink.
12
hm 80 R7,b.3 B/8 e: Removed acd .216
a) b)
Reconstruction 56: The reading of L a.corr. (a) and p.corr. (b) at b.80: On musical grounds, this section is the
place where the change of texture is desired, in order to establish a satisfactory cadence.
But the a.corr. reading is directly taken from b.68, A, which would lead into a reduced
texture. The revision was to remove such undesired effect.
209
This acd is not found in the MSS of A1.
210
Jones Stages, p. 444, “Stage A2”. This is missing from H1 and CAMBRIDGE, but present in V, K1, K4 and A. In
F (Go.S.312), this acd seems to have been added later. Because this error is apparent in the harmonic texture,
it is highly probable that this error could have been rectified by the copyists.
211
This acd is present in most of the MSS of B (except P 206 and P 237). It is missing from A (to A1 was added
the acd at a much later date).
212
All the MSS of B contain this acd, while it is missing from A but was added at a later date to A1.
213
Jones Stages, p. 444, “Stage A2”. This tie is present in the MSS of V and K, and to H1 and A1 it was added at
a later date.
214
MSS of V, K4 and A only give to this note, which is the correct reading.
215
This acd is missing from A, which was later added in P 430.
216
Jones Obs, p. 609. All the MSS give p.corr. reading. The reading of A1 is later changed to c most likely by
JSB, for this is a superior reading with the view to achieving the objectives of the corr. in L.
83
BWV 883,1: Prelude 14 in F minor
Prelude 14 in F minor
TITLE
.
Præludium 14 di J. S. Bach
FORMAT
This piece is accommodated spaciously within the space allocated for it.
10r L col. 1-7 bb.1-25,2
R col. 1-6 bb.25,3-43 The last one leaves 60% of the space unused.
7 Unused.
GENERAL FEATURES
Key, k-s: F minor: R.H.— 3 s «9», 4 s «4»; L.H.— 3 s «1», 5 s «12».
State of score: Unsuccessful fair copy by JSB, being written down straight
from his head more often than from the exemplar if it was used.
Ink: Two shades are clearly distinguished:
a) Bl: used for notes and staves. Triplet indicators appear in
darker shade (possibly added later?);
b) vDBl: used for adding cautionary acds—†11-12, 14, 16, 21.
Revisions: Two layers of revision are distinguished by the shade of ink
(b):
i pre-ink (b) revision: mainly correction of copying errors as
a result of a process similar to composing, such as working
out from a thematic idea (†4, 6, 22) and working out
voice-texture (†3, 5);
ii ink (b) revision: very late revision, which is not reflected in
the copies of L. Its authenticity can be doubtful.
SOURCE SITUATION
S S possibly existed as a first draft and was completed or revised

Li once L was made. A1 contains JSB’s further revisions;
H2 H2: many symbols are missing. Stemming from an early stage
H1,F,K of L? It may be categorised at the same level as H1,
Lii A however;
H1, F and K all stem independently from the same late stage of
L, but contain their own errors and missing symbols.
84
TEXT
1
pr 1f 3: Added all triplet indicators - “3” in DBl (?) ink.
st 4 L2,b.1 above k-s, LS *: Ink stain.
st 6 L2,b.3 right to B,3 B *: Ink stain.
2
rhy 10 L3,end B,1 . c B: Added dot + semiquaver beam in s.i. Changed
from notation.
a) b)
Reconstruction 57: The reading of L a.corr. (a) and p.corr. (b) at b.10: Note that this kind of revision, leaving
mis-alignment on the score, is very rare in L.
err 12 L4,b.2 A,2-3 . c ’ b : Error in notation, which should have been without the dot.
3
rhy 13 L4,b.3 B,1 c : Amended NH. Changed NV from NH. —†5.
4
rhy 13 L4,b.3 A,1 c ’ g : Amended beam. Changed from of the
theme’s canonic shape. —†6, 22.
a) b)
Reconstruction 58: The reading of L a.corr. (a) and p.corr. (b) at b.13: It is possible to think that the
modification was done as soon as the text of 2 bt was finalised. The way the notation was
modified suggests that JSB was not copying from a well-written exemplar but writing
possibly straight from his head.
5
rhy 15 L5,b.2 B,1 . B: Amended NH. Changed NV from NH.217 —†3.
6
rhy 16 L5,b.3 S,1/4 d’: Amended stem + flag. Changed from stem.
Observation: This also seems to be attesting that JSB had initially planned to write as a variation of the
initial figure, of b.1, and that he did not plan 2 bt clearly before he set down this idea. —†4,
22.
7
vtx 20 L6,b.4 S;A,3 / c ” b’ / c ” e’ b’ d’: Added notes in the alto.
Observation: Judging from the formation (position and thickness in particular) of stems, the soprano was
written together with the bass before the alto part.218
217
A uses different notation here for the tenor and the bass, of which the bass is written as
218
It is thus significant to find that the soprano part is not found in H2 and A.
85

8
ml 20 L6,b.4 T,3 b (a) g : Replaced NHs (or trimmed beam?).
Observation: If it is the former, it was changed from g (a) b (or d’). Immediate amendment, before beaming.
This is one of many other places suggesting that JSB struggled to fill in the the last voice.
st 23 L7,b.3 B,2/2 B: Ink smudge (?). Unlikely that the NH is amended.

mk 27 R1,b.3 above S,1-2 c ” = (?).: Removed mark.
st 27 R1,b.3 S,2/3 c ”: Ink smudge on the stem.
9
rhy 30 R2,b.1 B,1/1 F : Replaced flag. Changed notation from shape.
Observation: Since this passage is directly related to b.1, it is the case that JSB wrote in that way first. But the
revision was mainly to make the notation clearer by matching it to that of the soprano. It appears
to be an immediate repair judging from the intact 2 bt.219
10
ml 33 R2,end S,3/2 a ”: Added acd sqz between NHs, in s.i.220
hol 34 R3,b.2 below S,1 g ”: There is a hole on the 3rd space of US.
11
pr 35 R3,b.3 S,2/4 d ”: Added acd sqz between NHs, in vDBl ink.221
12
pr 37 R4,b.1 S,1/1 d ”: Amended acd and note in vDBl ink.
13
al 37 R4,b.1 A,2/2-; B/2- / g a b / e d : Replaced notes in s.i.
Correction of note-alignment.
Observation: It is certain that JSB wrote the bass first, before writing the other voices in b.37. But in b.38, JSB
wrote the soprano first. Thus JSB was completing bar by bar.
14
pr 38 R4,b.2 S,3/5 d ”: Added acd sqz beside NH, in vDBl ink.222
15
ml 39 R4,b.3 S,1 c ” d ” e ” f ” e ” d ”: Added acds sqz between
NHs of S,1/2, 1/3 and 1/5, in s.i.
16
pr 39 R4,b.3 S,1/6 d ”: Added acd in vDBl ink.223
a) b)
Reconstruction 59: The reading of L a.corr. (a) and p.corr. (b) at b.39: Note that the late addition of acd in
vDBl ink is not included in (b). A further evidence of my reconstruction emerges when we
refer to motivically related earlier passages, namely b.35 and b.37, where the first three
notes of the running semiquaver triplets are all organised in intervals of a semitone plus
tone. Thus it is very likely to be a melodic revision, changing the shade of minor scale
from the natural to the melodic.
219
While F and H give post correcturam, H1 and A1 show the same revision process. The reading of A (ante corr.
of A1 and the reading of A3) gives . for 1-2 bt in the bass. A1 is further revised to .
220
This acd is found in the MSS of B only at first. It was probably JSB’s instruction to add this acd to P 430. All
the copies stemming from P 430 also have this acd.
221
This acd is found among newer MSS only, such as K4, P 207 and P 212, for it is required accidental under
their notational convention to cancel the effect of the sharp placed at S,1/6.
222
This acd is found in P 206 only.
223
This acd is found in P 206, K4, P 207 and P 212, only.
86

ra 40-41 R5,b.2-3 LS,3L : Amended line in free-hand.
17
pr 40 R5,b.2 S,1- f ’: Amended tie. Corrected length.
18
pr 40 R5,b.2 A,1/2 e’: Added acd sqz in s.i.224
19
ml 40 R5,b.2 A,3/1 b: Replaced NH (or removed stain?). Corrected
pitch from d’.
Observation: No further trace of revision is found, e.g., stemming. It must have been an immediate judgement
to discard this reading.
20
vtx 40-41 R5,b.2-3 T: Added (?) extra voice in s.i.
a) b)
Reconstruction 60: The reading of L p.corr. (a) and a possible first reading (b) at bb.40-41: This is an unusual
place to thicken the texture. It is probably necessitated by the lack of a 3rd note in the
dominant chord.
21
pr 41 R5,b.3 S,2/2 b ’: Added acd sqz between NHs, in vDBl ink.225
22
cm 42 R6,b.1 S. c ’ f ’: Amended beam. Changed rhythmic notation
from thematic pattern. —†4, 6.
a) b)
Reconstruction 61: The reading of L a.corr. (a) and p.corr. (b) at b.42, 2-3 bt: Yet again, the thematic pattern
appears on the agenda for revision.
224
This acd is found in all the MSS of B. It was added in P 430 and found in all the MSS of A1, while missing
from both A2 and A3.
225
This acd is also added in P 206.
87
BWV 883,2: Fugue 14 in F minor
Fugue 14 in F Minor
TITLE
Fuga i4
FORMAT
This piece is accommodated within f.10v, but utilises extra space to complete the
movement.

v
10 L col. 1-7 bb.1-33
R col. 1-7 bb.34-62,1 At R7,end, “NB” marks the use of the bottom
margin.
B mgn 1 bb.62,2-70 Introduced by the instruction “NB”.
GENERAL FEATURES
Key, k-s: F minor: R.H.— 3 s «12», 4 s «3»; L.H.— 3 s «4», 5 s «11».
State of score: Non-calligraphic but neatly written fair copy by JSB.
Ink: Bl ink is used for notes and staves. No variation in the shade of
ink. Title appears in slightly darker shade.
Revisions: Very few amendments. No significant revision is found.
SOURCE SITUATION
S S: a possible composing score. It may include later revisions

not found in L. A1 was also revised by JSB
L
independently;226
V, H, F and K all stemmed independently from a similar state of
V,H,F,K A L, each containing unique errors. From V and F, in
particular, very many symbols are missing.
226
Jones Obs, p. 608.
88
BWV 883,2: Fugue 14 in F minor
TEXT
mk 6 L2,b.1 above S,3 d ’ #: Blotted out mark.
st 10 L3,b.1 S,3/1 e ’: Splashed ink around NH.
mk 11 L3,b.2 above A,2 g #: Removed mark.
ra L4 US,2L : Amended line in free-hand, in Bl ink.
mk 15 L4,beg above US, t-s —: Added mark in s.i.
1
cp? 17 L4,b.3 A,3 a’: Replaced NH. Corrected pitch from f ’, a 3rd
below.227
2
cp 21 L5,b.2 B,2 f : Amended NH. Changed NV from NH.
Observation: Because MSS of A uniformly give here, it is highly likely that JSB was referring to S, the
exemplar (possibly at CHG SYS), and changed the notational pattern at copying stage.
st 23 L5,b.4 B,3: Paper stains.

ra 29 L7,b.1 US,5L: Amended line in free-hand.
3
pr 30 L7,b.2 S,4 : Added (?) rest. Different calligraphy.228
4
pr 33 L7,b.5 B,1/1: E : Added (?) acd sqz beside NH.229
5
pr 35 R1,b.2 A,3/2 b ’: Added acd sqz between NHs.230
mk 36 R1,b.3 above US,3: Removed # mark.
st 41 R2,b.4 LS,3: Ink stains.
st 42 R3,b.1 Stain around soprano voice from the recto.
mk 45 R3,b.4 above S,2 b’: Removed # mark.
mk 48-49 R4,b.3-4 above | : Removed # mark.
st 51 R5,b.2 beside B,2: Stain.
6
cp 54 R6,b.1 B/11;12 g f : Amended NHs. Corrected pitch from a 2nd
below.
7
cp? 57 R6,b.4 B,4/4 d : Added acd sqz below NH.231
8
pr 58 R6,end B,1/4 d : Added acd sqz above NH.232
ra R7,b.2-5 US,2L : Amended line in free-hand, in s.i.
mk? 60 R7,b.3 above S,3 g ’ #: Removed mark (?).
st 66 btm,b.5 below B,2-3 . . : Ink stain.
227
F gives juxtaposed reading of ante corr. and post corr.
228
It is missing from H2 and possibly added later to H1. V here gives variant (reconstructed) reading as f ’.
229
This acd is missing from Poel.33,2 and F but basically found in all MSS. In H1, this acd appears to have been
added, however.
230
This acd touches the dot of the note at S,3/1 giving the dot the appearance of . It was so interpreted in H and
K. It is likely that S did not have this acd, for many MSS of A do not give it. It was later added to P 430.
231
This acd is missing from Poel.33,2 only.
232
This acd is missing from the MSS of A in general and H2 only.
89
BWV 884,1: Prelude 15 in G major
Prelude 15 in G Major
TITLE
Præludium i5 . di J. S. Bach
FORMAT
The piece is copied well within the available space.
11r L col. 1-7 bb.1-25
R col. 1-7 bb.26-48 The last one leaves 35% of the space unused.
GENERAL FEATURES
Clefs: R.H.— L1; L.H.— ; clef change occurs once:
a) L.H.: b.9 (L3,b.2) → L3, restored at b.13 (L4,b.3). L4
started with by mistake, corrected immediately by L3.
Key, k-s: G major: R.H.— 1 ; L.H.— 1 «8», 2 s «6».
State of score: Fair copy by AMB, proof-read by JSB.
Ink: Bl (vDBr shade in places) is used for staves and notes. Many
orns appear in slightly darker shade, which were possibly
added later at JSB’s proof-reading (see p. 91, below).
Revisions: Three layers can be distinguished on a tentative basis:
i pre-H revision: proof-reading I, including addition of many
orns —†4, 11;
ii post-H revision: proof-reading II —†1,7.
SOURCE SITUATION
There is no positive evidence suggesting the presence of an earlier version by JSB.233
Si S: a rough but legible revision score, possibly working out

Go.S.19 Sii from a draft. Many orns are either different or missing from
this version. Go.S.19 contains many variant readings which
Li
could be considered as earlier readings, stemming from Si;
H Lii H: stemming from an early state of L;
F,K A F and K: stemming from a late state of L.
233
Though there are two preludes that are attached to the early version of Fg.G (BWV 902,2) — i.e., BWV
902/1a & 902,1 — there is no conclusive evidence that JSB worked out the Pr.G (BWV 884,1) from these
early preludes. Gustafson, p. 17 f, suggests BWV 896,1 (written in A major, however) as one of the possible
drafts of Pr.G.
90
BWV 884,1: Prelude 15 in G major
TEXT
st 1 L1,b.1 A/6 on e’: Ink smudge on beam.
1
pr 3- L1,b.3-4 S,3/4- d”: Added (?) tie in s.i., thin quill.234
2
cp 4 L1,b.4 S,1 d”: Amended NH. Corrected NV from NH.235
Observation: Copying mistake triggered by CHG SYS splitting a bar.
3
cp 4 L2,b.1 S,2 d”: Replaced NH. Corrected NV from NH.
4
cp 5 L2,b.2 B,1/3 e: Replaced NH (or removed stain?). Corrected pitch
from g.236
al 6 L2,b.3 A-B,1 //: Added aligning indicators in s.i./DBr.
5
cp? 8 L3,b.1 S,3/1 b’: Removed down-stem (?).
6
cp 13 L4,b.3 S,3/1 above SYS ?: Removed orn . It must be the misplaced
one for the coming NH.
st 16-17 L5,b.2-3 above :||: ?: Paper stain.
mk 17 L5,b.3 above / below SYS % / %: Added (?) mark in s.i. or slightly darker ink.237
7
pm 20 L6,b.3 S,1/2 : Added (?) orn in s.i.238
8
cp 28 R1,b.3 S,3/2 g’: Replaced NH. Corrected pitch from f ’.
9
cp 30 R2,b.2 S,3/2 c”: Amended NH in s.i. Corrected pitch from d”.
mk 30-31 R2,b.2-3 above SYS, | =: Added mark in vDBr (CHG PG in F1).
ra R3,b.2-4 LS,2L : Amended line in free-hand, in DBr |
10
al 36 R3,b.4 B/2-4 f d a: Replaced notes. Correction of alignment.
11
pr 45 R6,b.3 above S,1/3 : Added orn in lighter DBr ink.239
ra R7,b.2- US,3L : Amended line in free-hand, in DBr.
ORNAMENTS APPEARING IN DARKER SHADE IN L + OTHER MSS

b. v,bt/sym L Go.S.19 H F K K4 A1 P 204
b.26, S/4
b.32, S/1
b.34, S/2
b.40, S,3
b.45, S/end rev: →
234
This tie is missing from H and Poel.33,2.
235
F gives the ante corr. reading . The scribe assumed that the first NH was mistakenly inked in. Go.S.19
gives more confused reading as . , then for the following bar.
236
Go.S.19 only gives the pitch, g, a possible ante corr. reading.
237
This mark is found in F and some of K only.
238
This orn is missing from H, A3, and some of A1.
239
This orn is missing from Go.S.19, DRESDEN, K4 and A.
91
BWV 884,2: Fugue 15 in G major
Fugue 15 in G Major
TITLE
Fuga. i5
FORMAT
The piece is accommodated within the space allocated.
11v L col. 1-7 bb.1-46
6-7 Unused.
GENERAL FEATURES
Key, k-s: G major: R.H.— 1 ; L.H.— 2 s.
State of score: Fair copy by AMB.
a) Bl: used for notes and staves. A slightly darker shade is
found in orns and title, possibly added at different times;
b) vDBr: used for adding aligning indicators.
Revisions: Amendments are mainly corrections, which were possibly
caused by the amb form of notation in the exemplar:
i pre-V revision: correction of errors;
ii post-V revision: proof-reading, including addition of many
orns (not listed below, for lack of evidence) —†6.
SOURCE SITUATION
JSB wrote E and S which became the origin of two traditions. AMB’s errors and
corrections in L caused conjectural readings in the branches of L:
E E: BWV 902,2 (60 bars) found in P 1089, P 804 and others;

S S: a rough but legible revision score, possibly written on the
Li top of a version of E;
V Lii V: stemming from an intermediate state of L;
H, F and K: stemming from a similar late state of L.
H,F,K A
92
BWV 884,2: Fugue 15 in G major
TEXT
al 15 L3,b.1 A-B,2 //: Removed aligning indicators.
1
cp 16 L3,b.2 A,1 d”: Replaced (?) extra up-stem.
2
cp 16 L3,b.2 A,3 d”: Removed extra up-stem + flag.240
a) b)
Reconstruction 62: The reading of L a.corr. (a) and p.corr. (b) at b.16: The up-stemmed notation of the alto in
b.16 is possibly taken from the draft material remaining in the exemplar. It is important to
add that the voice texture of this section is substantially refined from the version presented
in E.
3
al 21 L3,end S,2 d”: Replaced note. Corrected note-alignment.
4
? 26 L4,b.5 A,3 f ’: Replaced NH (or mark?). Changed pitch from a
(?).
5
cp? 32 L5,b.5 S,1 : Replaced rest. Original reading is not certain.
mk 33-34 L5,b.6-7 mid SYS: Removed # ~.
al 38 L6,b.4 S-A-B \ / \: Added aligning indicators in s.i./vDBr.
6
cp 44 L7,b.4 A,1 c ’: Removed quaver flag.241
mk 48 R1,b.2 mid SYS: Removed = mark.
7
cp 49 R1,b.3 S;A,3 / c”/a’: Removed quaver flags. Corrected notational
consistency. The beams are extended from the preceding
notes.
Observation: The reading in this bar was thus rather than compressed in the present reading. The
most probable situation is CHG SYS in the exemplar.
mk 50-51 R1,b.4-5 above LS’s | : Removed # mark (CHG SYS in F1).

st 51 R1,b.5 above B,2 = d (?): Ink stain from the recto.
al 58 R2,b.5 LS,2-3: Added aligning indicators in vDBr ink.
al 69 R4,b.5 S-A,1-2 \ \: Added aligning indicators in s.i.
8
pr 72 R5,end above/below || / : Added fermatas by JSB.
240
This extra set of stem and beam is retained in F.
241
V gives ante corr. reading, plus to follow, which must be a conjecture.
93
BWV 885,1: Prelude 16 in G minor
Prelude 16 in G Minor
TITLE
Præludium i6. di J. S. Bach

FORMAT
This prelude is the only instance of one which was started from R col. The
accompanying Fugue was written prior to the Prelude.
12r R col. 1-7 bb.1-18 The instruction “NB” introduces the use of a
remote place.
L col. 7 bb.19-21 Introduced by “NB”.
GENERAL FEATURES
Key, k-s: G minor: R.H./L.H. — 3 s.
t-s, bars: Largo: 21 bars.
State of score: Rough fair copy by JSB.
Ink: Two shades are distinguished, but this may simply be caused
by the smaller amount of ink used:
b) DBr: found in the last bar —†7-9.
Revisions: It is possible that as he copied along, JSB revised the piece in
significant details on this score. Two layers of revisions may be
categorised by the shade of ink as:
a) corrections of minor errors at the copying stage, mainly
caused by the change of system —†1, 2, 4;
b) possible later additions at b.21 in ink (b) —†7-9.
SOURCE SITUATION
S S: most likely a composing score on which JSB worked,
L revising in several layers. Judging from P 430’s notation,
the initial figure was consistently notated as . rather
than . , the rhythmic notation found in L. As well as A1,
H,F
K A it may include later revisions (namely b.13) not found in
H L;242
H, F and K: all independently stemming from L. H was possibly
amended later by comparing with A.
242
Jones Obs, p. 609.
94
TEXT
NB. Voice specification is given at local harmonic texture of à 4.

1
cp? 3 R2,b.1 B,3 d: Amended NH. Corrected NV from NH.
Observation: Copying mistake at CHG SYS within a bar.243
err 5 R,2,end S,3: Rest is missing from the texture.244

cp? 5 R2,end- B- c: Slur (?), or mistakenly entered tie.245
st R2,end SYS,end LS: Ink blot (or cancelled direct for B?).
2
cp 7 R3,b.2 A,1 b ’: Amended NH. Corrected NV from NH.246
3
cp? 11 R5,b.1 B,1/1 G: Amended beam.. Corrected possibly from
without beam.
4
cp 11 R5,b.1 S,3- a ’: Amended tie. Corrected length.
Reconstruction 63: The reading of Poel.33,2, L.H. (a), a hypothetical earlier reading in S, L.H. (b) and L
p.corr. (c) at b.11: Quite vague notation of T/B,1 reproduced in Poel.33,2 suggests that
JSB revised the voice texture where it is temporarily reduced from à 4 to à 3 in this bar.
5
hm 13 R5,end T,2/2 g: Amended NH (?). Changed pitch (?) from a .
6
pr 21 L7,end A,2/2- c”: Added (?) tie.247
7
pr 21 L7,end S2,3-4 d”: Added (?) tie in DBr ink.248
8
hm 21 L7,end A,4 b’: Added (?) acd in DBr ink.
9
pr? 21 L7,end S2,4 : Added (?) fermata in DBr ink.
Observation: Due to the fact that no more room is available on the sheet, many symbols in this bar are
unusually compressed, appearing as somewhat vague symbols. Thus it is inevitable that the
chance of making copying mistakes increases.
243
F gives ante corr. reading, probably as a result of a wrong conjecture of the amendment.
244
In A1 and A2, S,3 starts from a fresh SYS, suggesting the format of S. The missing rest is supplied in
Am.B.49, P 237 (corr.), ST ANDREWS, P 204 and PM 5697.
245
Because Poel.33,2 gives this line c c and A1 as c, it is possible that S had CHG SYS at 3 bt.
It may be worth noting that F originally gave an 8ve lower for the first two notes of b.6, bass.
246
A gives the reading here. Thus it is most likely that JSB made a slip of the pen when he changed the
notation of the exemplar at the copying stage of L.
247
It is missing from F, H, K4 and Am.B.49, but present in Am.B.57 and K3 MSS.
248
It is missing from both F and H, but present in K and A.
95
BWV 885,2: Fugue 16 in G minor
Fugue 16 in G Minor
TITLE
Fuga i6
FORMAT
This piece is not accommodated within the single side of a bifolium. It even goes to
the other side of the sheet without giving instructions (such as “volti” or “NB”).
v
12 L col. 1-7 bb.1-31,1
R col. 1-7 bb.31,2-58
12r L col. 1-6 bb.59-84 The last SYS leaves 20% of the space unused.
GENERAL FEATURES
Clefs: R.H.— L1; L.H.— ; no clef change. There is, however, a
confusion of clef at CHG PG, f.12v, R1,b.1 (b.31,2 bt). —†6-7.
Key, k-s: G minor: R.H./L.H.— 3 s.
State of score: Rough fair copy by JSB with involved revision process.
Ink: Bl ink throughout. Br shade of †6 is probably caused by
blotting.
Revisions: There are two layers of revisions which can be separated by V:
i pre-V revision: correction of copying errors;
ii post-V revision: proof-reading —†9.
SOURCE SITUATION
Very similar picture to that of the Prelude. Two traditions and groups are clearly
defined:
Si Si: a possible earliest draft of the piece;

Li Sii: a revision score, possibly worked out on Si directly;
V: stemming from the earliest stage of L. It also contains many
V Lii unique variants originating in conjectural reconstruction;
Sii H and F: stemming from the same stage of L; H is possibly
H,F,K
A
amended later by comparing with A;
K: containing many unique readings, most likely originating in
H
Kirnberger’s own revision. K1 was later changed back to
the original reading of L.
96
TEXT
1
cp 14 L3,b.3 A,2 e ’: Amended (?) acd.
2
cp 14 L3,b.3 S,2/2-3 g’ a’: Amended NHs. Corrected from f’ g’.
3
pr 19 L4,end S,2/4 f ”: Amended (or added?) acd with broader quill.
Observation: This is not a required acd under our notational convention, but highly desired one in JSB’s.249
4
ml 19 L4,end B,3/3 f : Added (?) acd sqz in s.i.250
Observation: It is also possible that compromised notation was necessary here at the end of SYS where not
much space was left for this beat.
5
cp 27 L6,b.4 A,1/2 g’: Amended NH. Changed pitch from a’.
Observation: Immediate amendment. This beat may have been planned initially as running parallel in
3rds with the soprano. On the other hand, as this section is constructed in clear-cut dialogue
texture, this is more likely to be a copying mistake.
6
cp 31 R1,b.1 US clef: Overlaid L1 on (Br shade).
Observation: Clef error at the beginning of a new page. This suggests that the exemplar used clef.
7
cp 31 R1,b.1 S,2 e ” d” e ” d”: Replaced notes in s.i. Corrected
pitch from a 3rd above. Caused by clef error.
8
cp? 41 R3,b.2 A,3/3 b ’: Overlaid (?) acd on , or ink smudge.
9
pr 47 R4,end T,3/1 : Amended (or added?) rest.251
10 r
cp 62 L1,b.4 S;T,1 / g” b ” / c’ c’: Amended beams in s.i.
11 r
cp 62 L1,b.4 A,2 c” b ’ c” b ’: Added 2nd + 4th semiquavers (?).
The 3rd NH c” appears to have been amended in pitch,
raised in 2nd. The original reading could have been c” b ’.
a) b)
Reconstruction 64: The reading of L a.corr. (a) and p.corr. (b) at b.62: It is most likely that S had CHG SYS at
this point in (a), which caused a lapse of attention on the part of JSB,252 which resulted in
his writing unexpected text at A,2. Basically JSB kept using the continuous beaming for
the repeating quaver motive so far (except b.48 for a particular reason), but it was broken
at this point for the first time.
12 r
cp? 69 L3,b.3 B,2/3 f : Added (?) acd sqz above NH, in s.i.
249
This acd is missing from A2 and most likely added (by JSB?) to A1 that was perhaps missing from S.
250
This acd is missing from Am.B.49 only, most likely overlooked by the copyist.
251
This rest is missing from V only.
252
Poel.33,2 used a.corr. notation for the soprano and tenor.
97

13 r
cm 72 L4,b.1 A,2/1 a’: Abandoned down-stem when up-stem is written.
Observation: The order of notation of b.72 is very much of the compositional character in which JSB wrote the
outer thematic voices first, then filled in the inner voices. At 2 bt, the alto was written first.
14 r
cm 72 L4,b.1 T,2/1 e ’: Amended NH. Changed pitch from c’ (first in
LS, then US?).
r
ra L4,b.5 LS,2L : Amended line in free-hand in s.i.
r
st L5 k-s: Ink blot (or amended k-s?).
15 r
pr 77 L5,b.1 A,2/3 b ’: Added acd sqz in s.i.253
16 r
cp 80 L5,b.4 S,3: Cancelled NH in s.i. The on 1 bt is changed to .
shape.254
17 r
cp 80 L5,b.4 S.- . g’: Amended tie in length.
r
18
cp 81 L5,b.5 S,1 g’: Amended NH in s.i. Corrected from NH.255
Reconstruction 65: The format and reading of S (a), the reading of L a.corr (b) and p.corr. (c) at bb.80-81:
These amendments in bb. 80-81 were probably caused by CHG SYS of its exemplar.
r
st 81 L6,b.1 above SYS,2 : Ink stain.
253
Because the flat was placed slightly lower than where it should be, H and K interpret this note as a ’ instead
of b ’.
254
Poel.33,2 gives a without a dot in the soprano.
255
Poel.33,2 gives . g’ g’ in the soprano, while P 430 gives g’ only. Thus it is very likely that S was in very
untidy, even to the extent that JSB himself made error when he was copying from it.
98
BWV 886,1: Prelude 17 in A major
Prelude 17 in A Major
TITLE
Prelude i7 è Fugue par J. S. Bach

It is possible that “è Fugue” was a later addition, as in Pr.C (see page 17 above).
“par” is possibly written on “di”. It appears to have been written in s.i.
FORMAT
This piece occupies the whole bifolium, one side of which is pasted together with the
accompanying bifolium (f.14).256
13r L col. 1-7 bb.1-29
R col. 1-7 bb.30-57,2 No page-turn instruction.
v
13 L col. 1-6 bb.57,3,-77 The last one leaves 60% of the space unused.
7 Unused
R col. 1-7 Unused, but this side is pasted to f.14.
GENERAL FEATURES
Clefs: R.H.— ; L.H.— ; no clef change.
Key, k-s: A major: R.H./L.H.— 6 s.
State of score: Draft revision score by JSB, possibly composing partly on this
score. f.13v was gauzed in April 1985, due to severe damage
caused by ink acid.
Ink: The following four shades are distinguished in the first two
pages, bb.1-57,2. It was not possible to examine the last page
by the method I have chosen:
b) Bl: used for copying notes;
c) vDBr (smooth type): used for proof-reading —†2, 3, 10, 13;
d) DBl (less light reflection): used for revision —†1.
Revisions: There are two stages divided clearly by the reading of K1:
i many early corrections as a result of compositional activity
(†4, 13, 15, 18-20), concept of k-s with regard to acds on d and
g = ink (c);
ii post-K revisions —†1, 19.
256
Franklin 1989, p. 250, suggests that the pasting took place in the late 19th century.
99
SOURCE SITUATION
Si S: it possibly existed as a short draft (Si). It was later

Li completed or revised once stage Lii was complete (Sii);
F,K A: though P 430 uses L1 clef for R.H., it appears that
Lii Sii
Altnickol changed the notation (possibly on JSB’s
A instruction) from clef;257
H: it stemmed from A as in PrFg.C. P 1076, H2 and Poel.33,2
H omit many symbols in common, suggesting their common
origin;
F and K: they stemmed independently (?) from the same first
stage of L. K is divided into K1 and K4 (less authentic and
perhaps of early origin). F is only represented by inextant
Fürstenau, which contains revisions related to A.258
TEXT
st 4 L1 end S,3: Ink is blurred caused by moisture. No trace of amending.
1
vtx 10 L3,b.2 T,3 d’: Added tie + note in Bl ink. Written in different
calligraphy from JSB’s.259
a) b)
2
pr 14 L4,b.2 S,3/3 d ”: Added acd sqz between NHs, in vDBr ink.
Observation: Proof-reading is carried out with this shade of ink as there are many s added on d. It is likely
that the piece was originally conceived in the k-s of three flats (modal key).
3
pr 15 L4,b.3 B,2/4 d ’: Added acd sqz between NHs, in vDBr ink.
4
ml 16 L4,b.4 B,1/2 e : Overlaid beam on NH e ’.
a) b)
Reconstruction 67: The reading of L a.corr. (a) and p.corr. (b) at b.16: Because the beam of B,1/2 is not
modified, this revision must be an immediate one. Judging from well-aligned notation, I
would read that the soprano was written prior to the bass. Note that the figure used in this
bar, esp. S,1, appears for the first time in the piece.
257
Jones Obs, p. 607.
258
Limited amount of information is available only from Bischoff, pp. 80-83.
259
They are missing from K1, but present in all the other MSS.
100

5
pr 17 L4,end A/1 : Amended rest.
6
pr 23 L6,b.3 S,3/2 d ”: Amended acd . Corrected size (?).
7
pr 27 L7,b.3 B,2/5 d : Added acd below NH.
8
pr 27 L7,b.3 B,3/4-5 d e : Added acds sqz between NHs, in s.i. (?).260
mk 29 L7,b.5 above S,2 f” # (?): Removed mark (?).
9
ml? 32 R1,b.3 B,2/4 d : Added acd sqz beside NH, in s.i. (?).
10
cp 35 R2,b.3 S,1/last e ’: Replaced NH. Changed pitch from c’ (?). A
letter “e” was written above SYS in DBr ink.
11
pr 35 R2,b.3 S,3/4 e ’: Added acd below NH, in s.i. (?).
12
ml? 46 R5,b.2 B,1/4 g : Added acd above NH, in s.i. (?).261
13
pr 52 R6,b.4 A,1 b ’: Cancelled quaver flag in vDBr ink (but thinner
than the one used in L4).
14
ml 55 R7,b.3 S,1/2 e ”: Amended NH. Corrected pitch from d ”.
mk R7,b.4 above SYS,2 #: Removed mark.
15
ml 57 R7,end B,1-2 . (F) A B c d c: Cancelled NHs in s.i.
Changed from (F) c d e f e . The following bass direct is
also re-notated.
a) b)
Reconstruction 68: The reading of L a.corr. (a) and p.corr. (b) at b. 57: It is interesting to find that 3 bt, which
was written in the next page, was not amended. Thus there must be a pause, allowing ink
to dry, which gave JSB an opportunity to revise this section.
16 v
pr 59 L1,b.3 S,1/end g ”: Added tie with thin quill (?).
Observation: Two ties in S (thin) and A (fat) are not aligned. It is likely that the one in S was added later.262
17 v
ml 63 L2,b.3 B,3/4 g: Overlaid stem on NH d .
18 v
ml 64 L2,b.4 B,1 A : Cancelled NHs. Changed pitch from cs, a 3rd
above.
260
Though these acds are missing from K4, the fact cannot be taken as evidence for their chronological origin,
for their notational convention does not require these acds.
261
In K1, this acd seems to have been added also.
262
From K1 and A1, the tie for e ” is missing. This fact cannot prove the interpretation of a tie in L, for the pitch
indication of a tie is often amb.
101
a) b)
Reconstruction 69: The reading of L a.corr. (a) and p.corr. (b) at b.63-64,1: In A, this place is given in a
further variant reading.

19 v
vtx 70 L4,b.2 S2(?)A1/A2 / / e ” / c” / a ’: Added ties + notes +
rest. Marked with reduced-size notation.263 The presence of
notes in S2 is unclear.264
a) b)
Reconstruction 70: The reading of L a.corr. (a) and p.corr. (b) at b.69-70,1.
20 v
ml 74 L5,b.2 S,1/3 b&’: Replaced NH. The original reading is not
certain.
263
They are absent from K. Later MSS (A1 and H1) give full-sized without the following rests. Thinking that K
stems from L, this revision must have been carried out at a later date.
264
Morgan, p. 130, gives the p.corr. reading of L in slightly different way: 1) without S2; 2) A1 and A2 in ; and
3) omitting from it.
102
BWV 886,2: Fugue 17 in A major (L)
Fugue 17 in A Major (L)

TITLE
Fuga. ex As dur. r.7. di J. S. Bach

There are 3 distinctive stages in the history of the title:
1. The title “Fuga” was written when the piece was first copied out, judging
from the use of the same quill and ink as for the rest of the notation;
2. Adding “ex gis dur. di J. S. Bach” in s.i. (Br?), with a very thin quill;
3. WFB correcting “gis” to “As” then adding “r.7” in very thin ink, light brown
in colour. The quill has much wider tip.
FORMAT
This piece also occupies the whole bifolium, one side of which (f.14r, L col.) is pasted
together with the accompanying bifolium. This is the only example in L that large
space is left blank (f.14v, R col.).
14r L col. none Pasted with f.13. Staves are not drawn.
R col. 1-7 bb.1-22,2
v
14 L col. 1-7 bb.22,3-43
R col. 1-3 bb.44-50 The last SYS uses only 20% of the space.
GENERAL FEATURES
Clefs: R.H.— ; L.H.— ; clef change occurs once:
a) L.H.: b.6 (R2,b.2) → L3, restored at b.8, 4 bt (R3,b.1).
Key, k-s: A major: R.H./L.H.— 6 s (4 plus 2 octave duplicates).
State of score: Calligraphic revision score by JSB, intended as a fair copy.
There are several layers of minor revisions.
Ink and Quill: Two shades only are distinguished, with a further layer by
quill:
b) vDBr/Bl: used for notes, which is slightly thicker than
staves, but of the same type;
c) a sharp quill —†12.
Revisions: Three stages of revision can be distinguished, although they are
separated clearly by the reading of the later MSS:
i early corrections: many traces of revisions from the early
readings of EM, transposition —†4, 5, 9;
ii post-Bn revision —†12;
103
iii post-F revisions—†1, 11, 23.

SOURCE SITUATION
There are two surviving autographs. In addition, JSB wrote two scores E and S, each
of which became the origin of a tradition:
E E: a short, 25 bar Fuga in F major composed in the 1720s or

Li possibly earlier (BWV 901,2);
Bn Bn: another autograph in Berlin, P 274;
Lii
DD70 F: it stemmed from an intermediate stage of revision of L (Lii);
F Liii
S: judging from its descendant A, it inherits most of the last
K S stage of L (Liii) and does not contain many new readings. It
A is therefore possible that it could have been the revision
score linking E and L, which JSB later picked up again for
H,V
further revision. As in the case of the Prelude, the R.H. clef
was , which Altnickol changed to L1 when he copied;
H: it stemmed from A as in Pr.A and PrFg.C;
K: it stemmed from a edited MS combining early and very late
stages of L. K is divided into K1 and K4 (less authentic and
perhaps of early origin).
TEXT
1
ml 6 R2,b.2 S,1/2 e ”: Added note in s.i./DBr (?).265
a) b)
2
cp 8 R3,beg LS Clef: JSB noticed that he was writing a wrong clef just
before completing a . He wrote a L3 without delay, then
wrote t-s.
3
cp 11 R4,b.1 B,3/1-3 a g a : Replaced NHs. Corrected from a 3rd
above. Caused by CHG SYS. A hole remains on the third
NH c’ of the old reading.
st 12 R4,b.2 above B,3/4 d ’ *: Ink stain. Light brown in colour.
st 13 R4,b.3 below S,3/4 g’ *: Ink stain, as above.
265
Jones Stages, p. 444, “Stage A3”. This revision was carried out after F stemmed. K and A give p.corr. Bn
gives a.corr. reading.
104

4
ml 14 R4,b.4 B,1/3 d : Added acd sqz beside NH, in DBr ink (darker
than the acd in the middle voice in the same bar).266
5
ml 15 R5,b.2 T,2/2 b : Added note + beam in s.i.267
a) b)
Reconstruction 72: The reading of L a.corr. (a) and p.corr. (b) at b.15. Note the reconstruction of the alto.
6
cp 16 R5,b.3 T,3/1 a : Replaced NH. Changed pitch from f, a 3rd below,
either to avoid consecutive 8ves with B,3 or transposition
error.
7
ml 20 R7,b.1 B,2 d : Amended NH. Corrected pitch from either e or c.
Observation: This is JSB’s slip of the pen caused by CHG SYS.
8
cp 21 R7,b.2 A/last d ’: Replaced acd. Changed from .
9 v
ml 23 L1,b.2 T,2/2 c ’: Added acd sqz above NH in s.i. (?).268
10 v
pr 27 L2,b.3 B,1/1 d: Added (?) acd .269
11 v
ml 27 L2,b.3 S,3/4 d ”: Added acd sqz below NH, in s.i., but in a
different hand.270
a) b)
Reconstruction 73: The reading of L a.corr. (a) and p.corr. (b) at b.27: It is quite likely that JSB had modal k-s
of 3 flats in mind when he was writing this passage.
12 v
cp 31 L3,end S,1/2 g ”: Added (?) acd beside NH with sharp quill.271
13 v
cp? 31 L4,b.1 A,4/1 d ”: Overlaid acd on .
14 v
pr 32 L4,b.2 S,4/2 g ’: Added acd sqz above NH.
15 v
pr 33 L4,b.3 S,2/3 g ’: Added acd sqz above NH.
16 v
ml 34 L4,end S,1/2 d ”: Overlaid acd on (or amended ?).272
266
This is not found in P 1089 and V, but is present in N.Mus.ms.10490.
267
268
This is missing from N.Mus.ms.10490; the text of P 1089 is corrupted around this point.
269
This acd is missing from DD70. In V, this acd is given as , but BEREA corrects it.
270
This is missing from F, K4, H (except P 209) and V, but present in K, Bn and A (except P 1076).
271
This is also added to F, while missing from Bn.Within the branch of Bn, however, VII 45 327 added the acd
at a later date and passed on its reading to P 304.
272
This acd is given in V as ,
105

17 v
ml 34 L5,b.1 B,3/3 a : Overlaid acd on (or amended ?).273
a) b)
v
mk 34 L5,b.1 above B,4 g =: Added mark between SYS in TDBr ink. (CHG SYS in F1)
18 v
pr 35 L5,b.2 T,3/2 g ’: Added acd sqz above NH.274
19 v
al 38 L6,b.1 B,2 d e f: Mis-aligned notation, as if it had been
initially planned as d e f before beaming.
v
ra L7 US,2L : Amended line in free-hand.
20 v
cp 44 R1,b.1 T,1/2-2/1 e ’ f ’: Amended NHs. Corrected pitch from f’
e ’.
21 v
cp? 45 R1,b.2 T,1 f ’: Amended NH. Corrected pitch from g’.
22 v
cp? 45 R1,b.2 B,1 d d ’ c ’ d ’: Replaced 2nd NH and stem d ’ and
3rd NH c ’. The 1st NH was amended in pitch; corrected
from e .
a) b)
Reconstruction 75: The reading of L p.corr. (a) and a possible text in the exemplar used at bb.45-45, 1 bt: In
such remote keys as D minor and B& major [!], JSB could have worked out the section in
simpler enharmonic keys that I have suggested as (b). It is possible therefore that all the
errors he made here can simply be attributed to the task of enharmonic change required at
the copying stage.275
23 v
hm 46 R1,b.3 A,1 f ”: Added (?) acd sqz.276 —Bn, †5.
24 v
ml? 47 R2,b.1 B,4/1 e : Replaced NH. Changed pitch from c (?).
st? 48 vR2,b.2 A,2 b d ’: Moisture damage (?).
25 v
ml? 49 R2,b.3 A,1 b ’: Replaced note. Changed pitch from g’.
v
ra R3 LS,2L : Line undrawn.
26 v
cp 50 R3,b.1 A,1 e ’: Amended NH in NV. Corrected from NH.
273
Morgan, p. 135, observes that the was originally in L, but it was afterwards altered into a large . K1 gives
a.corr. and from K4 this acd is missing, perhaps deliberately omitted. While all the others give p.corr., F1 was
later changed back to the a.corr. reading.
274
This acd is missing from F2 only.
275
JSB’s use of enharmonic notation is sometimes attested in S. See, for example, Pr.b , b.19 in P 430, a.corr.
276
This is missing from F, but present in K, etc. In Bn, this acd appears to have been added also.
106
BWV 886,2: Fugue 17 in A major (Bn)
Fugue 17 in A Major (Bn)

TITLE
Fuga ex Gis dur di J. S. Bach.

1. “Fuga” was written with the same quill, in s.i., as the music.
2. “ex Gis dur di J. S. Bach” was later added in Br ink with a different quill of
thin tip.
FORMAT
This piece is written on a single sheet (33.5-33 cm x 20.5 cm), which is now bound in
a miscellaneous collection as pages 29-30.
page SYS Contents Comments
29 1-8 bb.1-27
30 1-8 bb.28-50 The last system leaves 60% of the space unused,
where “Fine” is written.
GENERAL FEATURES
Clefs: R.H.— ; L.H.— ; no clef change, contrary to the change
found in L at b.6.
Key, k-s: A major: R.H./L.H.— 6 s.
State of score: Calligraphic fair copy by JSB, based on L. The voice-leading
and texture are much changed from the main line of tradition.
Revisions: Several minor corrections only.
TEXT
Keys Bars Ms Position Description
1
cp 18 R5, b.4 B,3/2-4 c d e : Amended NH in pitch, 2nd raised.
Corrected from B c d .
2
pr 29 L1,b.2 B,3-4 b d ’ g c’: Amended beam. Changed from
shape.
3
al 41 L5,b.1 T,3 b c’ d’: Mis-aligned notation. —L, †19.
4
cp 44 L6,b.1 B,2 f g a b&: Amended (or replaced) NHs. Corrected
pitch, raising a 2nd from e f g a .
Observation: This error at b.44 is also caused by the same process of transcribing the section written in
enharmonic key. See my Reconstruction 75, p. 106.
5
pr? 46 L6,b.3 A,1 f ”: Added (?) acd sqz. —L, †23.
107
Prelude 18 in G Minor
TITLE
Prelude i8. dï J. S. Bach
FORMAT
This piece uses an 8 system format, specially (?) prepared for this long movement.
The double bar was not located exactly at CHG PG, which would make the score
difficult to use for performance purposes. This could have been achieved, but JSB’s
more important consideration was to conserve space on paper to copy out the piece
together with the accompanying fugue within a single bifolium.277
15r L col. 1-8 bb.1-24,2
R col. 1-7 bb.24,3-50 The last SYS leaves 30% of unused space, where
JSB wrote the title of the following movement—
“Fuga”.
GENERAL FEATURES
Clefs: R.H.— L1; L.H.— ; clef change occurs twice:278
a) L.H.: b.35,3 (R3,b.3) → L3, restored at b.37,2 (R3,end);
b) L.H.: b.45,2 (R6,b.2) → L3, restored at b.47,2 (R6,b.4).
Key, k-s: G minor: R.H.— 7 s; L.H.— 8 s.
State of score: Tightly written non-calligraphic fair copy by JSB with some
revisions. Many acds are sqz and are difficult to interpret
whether they are added as an afterthought or written in
compromised fashion.
Ink and Quill: Two types are distinguished:
b) Br (with worn out quill): used for proof-reading —†13
Revisions: Two stages can be distinguished by the reading of H:
i pre-H revision: proof-reading, including addition of acds
that were missing from its exemplar —†6, 8, 11, 15;
ii post-H revisions —†1, 13;
iii very late revision —†2.
277
See Tomita 1990, p. 274.
278
These CHG Clef are not placed in A.
108
SOURCE SITUATION
S S: it could have been a composing score: it had a simpler line

Li and texture in some places and was notationally very
H incomplete;
Lii H: it lacks several added acds in L making it likely to have
F,K A stemmed from an early stage of L;
Liii F and K: they stemmed from p.corr. of L;
A: it can be divided into 3 sub-groups. A1 contains many
layers of revisions, one of which is possibly by JSB.
TEXT
ra L1 LS,1S : The staff drawing is unsuccessful to begin with.
1
pr 2 L1,b.2 B,2/3 f : Overlaid acd on (which was also added?).279
2
hm 6 L2,b.3 B,2/1 e : Trimmed acd. Changed from .280
a) b)
Reconstruction 76: The reading of L a.corr. (a) and p.corr. (b) at b.6: Since the revised symbol, is not a
required symbol under the k-s, it could be interpreted by copyists as either a superfluous
symbol or .
mk 7 L2,end above S,2 = (?): Removed mark (?).

3
hm? 17 L6,b.2 B,4/2 g : Amended (?) NH. Corrected (?) pitch from a .281
a) b)
Reconstruction 77: The reading of L a.corr. (a) and p.corr. (b) at b.17: It is worth noting that the particular
pattern revised here appears in the shape of a.corr. in bb. 20-22, 4 bt. On the other hand,
the p.corr. shape is used in b.18, just a bar later, which cannot be shaped in the same way
as a.corr. reading of b.17 (for F f F e in b.18, B,4 gives very harsh dissonant). It seems
that although the a.corr. reading here is musically inspiring, JSB perhaps considered the
importance of maintaining consistency in part-writing.
279
This acd is missing from H, K4 and A, but present in F and K1. It was later added to P 430.
280
Prout, p. 75, believes that it was added later by JSB. See also BG XLV,1, p. 248 and Morgan, p. 137. No
extant MSS I have examined so far gives p.corr. Am.B.57 gives mark here, possibly added when it was
compared with the reading of L p.corr.
281
H2 gives a.corr. reading together with a variant for B,4/4 as a . This H2 reading is also found in Konwischny
and P 204, though the latter was later changed to the p.corr. reading.
109

ra L7 US,2L : Amended line in free-hand, in s.i.
4
pr 20 L7,b.2 A,4/3 e ’: Added acd sqz above/between NHs.
5
cp? 22 L7,end B,2/2 g : Overlaid stem on NH (?) e .
mk 22-23 L8,b.1-2 above SYS, | =: Removed mark (CHG PG in F1).
ra? 23 L8,b.2 LS,5L : Amended line in free-hand, in s.i.
6
cp? 23 L8,b.2 S,4/1 c ”: Added (?) acd in s.i.282
7
cp 23 L8,b.2 B,3/2 e : Added (?) acd below NH, in s.i.
8
pr 23 L8,b.2 B,3/3&4 G e : Added acds below NHs ,in s.i.283
9
cp 24 L8,b.3 A,2 c ”: Overlaid acd on (?).
10
pr 36 R3,b.4 B,3/3 b : Added acd below NH, in s.i.
11
pr 36 R3,b.4 B,4/2 b : Added acd below NH, in s.i.284
12
ml? 37 R3,b.5 S,1/3 b ’: Added acd below NH, in s.i.285
13
ml? 37 R3,b.5 S,1/4 c ” ( ): Added acds below NH, in Br ink, with
worn-out quill.286
14
pr 37 R3,b.5 B,3/2 f : Overlaid acd on .287
a) b)
Reconstruction 78: The reading of L a.corr. (a) and p.corr. (b) at b.37: Note that the on S,1/4 is intended to
be a .
15
ml 39 R4,b.3 B,4/4 f : Added (or amended?) acd sqz between NHs.288
16
pr 40 R4,end B,2/2 B : Added (?) acd sqz beside NH.
ra R5 LS,2L : Amended line in free-hand, in s.i.
282
This acd is missing from A. It was later added to some of the copies of its branch, viz., Konwischny and
P 204, however.
283
These acds are missing from A1 and A2.
284
This acd is commonly missing from the MSS of A.
285
The acd is added in F1 and present in all the MSS.
286
The acd is missing from H, but added later in F (as ). It is present as in K1, and as in K4 and A.
287
Poel.33,2 only gives a.corr. reading.
288
This acd is found in all MSS of B, whereas it is missing from A. In P 430 it was added later, possibly by
Grasnick.
110
Fugue 18 in G Minor
TITLE
Fuga
It is written twice: once, at the end of the Prelude right after the double bar as an
instruction, secondly, on the top of the beginning of the next system as a movement
header. Both are written by JSB with the same quill with which he copied the piece.
FORMAT
This is the only Fugue in the collection which does not start on a fresh page. It starts
with the left space by the Prelude. Staves are not firmly written. In many places lines
are redrawn in free-hand.

r
15 R col. 8 bb.1-7,1 Starting from the space left by the Prelude.
v
15 L col. 1-8 bb.7,2-63
R col. 1-8 bb.64-122,1 Instruction “NB”, directing to the bottom margin.
B mgn 1 bb.122,2-143 Starting with the instruction “NB”. The piece ends
with “Fine”.
GENERAL FEATURES
Clefs: R.H.— L1; L.H.— ; clef change occurs once:289
a) L.H.: b.84/4 (R3,b.6) → L3, restored at b.87 (R4,b.1).
Key, k-s: G minor: R.H.— 5 s «2», 7 s «16»; L.H.— 8 s.
State of score: Tightly written fair copy by JSB who knew from the outset
how much space he would need for this movement.
Ink and Quill: Three types are distinguished:
b) DBr: used for adding (or blotting?) an erroneous symbol
—†5;
c) DBl with a sharp quill: used for adding rest —†3.
Revisions: Quite a few revisions only, which can be put into three groups
by the reading of H:
i pre-H amendments: correction of copying errors —†1-2, 7;
ii post-H revisions —†4, 8, (10);
iii ink (c) = very late revision —†3.
289
These CHG Clef are not placed in A.
111
SOURCE SITUATION
S S: it could have been a well revised score, but with slightly

Li less cautionary acds. Basically it is the same version as L;
V,H V: it lacks numerous ties and acds, in addition to ornaments.
Lii Some of them are shared with H;
F,K A H, F, K: these three branches of L give almost identical texts. H
Liii
lacks several ties and acds that possibly indicate its earlier
origin than the other two.
TEXT
ra L1,b.3 LS,2L : Amended line in free-hand.
ra L2,b.5-6 US,2&4L : Amended lines in free-hand.
ra L2,b.2 US,2L : Amended line in free-hand.
ra L2,b.4 LS,2&5L : Amended lines in free-hand.
ra L2,b.5 LS,2&4&5L : Amended lines in free-hand.
1
cp? 45 L6,b.4 A,2/1 c ’: Overlaid acd on .
mk 47 L6,b.6 S,2/1 beside f ” #: Removed mark.
2
pr 50 L7,b.2 A,1/2 b’: Added (?) acd sqz between NHs.
3
pr 58 L8,b.3 A,2/2 : Added rest in DBl ink, thin quill.290
mk R1,b.4 Mid SYS: Removed # mark.
4
orn 69 R1,b.6 A,2 : Added (?) orn.291
ra 73 R2,b.2 US,1-2: Unidentified damage running diagonally. This could have caused by the
uneven surface of the table when the staves were drawn.
5
pr 81 R3,b.3 US,2: Added (or blotted?) slur in DBr ink, thin quill.
6
cp 82 R3,b.4 A,2/end f : Added (?) acd sqz above NH.292
Observation: Because this alto voice is the least thematic idea, it is very likely that JSB drew the bar line
before completing this voice. If this is the case, then the notational anomaly here is caused by the
lack of room only.
290
This rest is missing from F and H1 (added later to it), but present in H2 and A. In K, the NV was interpreted
instead as ., probably to make up the incomplete notation.
291
This orn is found only in F1, K1 (Am.B.57 only). It was also added later to P 430.
292
This acd is missing from F and A3.
112

7
cp 84 R3,b.6 B,2/2 a ’: Replaced NH (?). Corrected pitch from e ’ in
US, a 4th below.
a) b)
Reconstruction 79: The reading of A (a) and L p.corr. (b) at b. 84: It appears that JSB did not plan to use CHG
Clef here, as attested by the position of the erased B,2/2 stem. Thus he was writing the
pattern similar to (a), the shape possibly in the exemplar (S). He suddenly changed his
mind to write (b). There are two possible reasons: 1) before completing the bass line at 2
bt, JSB noticed that the of A,2/2 occupied the space for the NH of B,2/2; or 2) he could
see in his exemplar that from here until the beginning of b.86, all the three voices would
be crowded in US, which had to be avoided at all cost in a fair copy.
trm 86 R3,end S,2/3 : Trimmed-off notation from the paper.

ra 87 R4,b.1 LS,2L : Amended line in free-hand.
mk 92 R4,b.6 above S,2/1 d ” #: Removed mark. There remains a small hole.
8
cp 102 R6,b.2 B,2/4 c ’: Added (?) acd sqz beside NH.293
Observation: Because this acd is written so close to the NH, it is highly possible that copyists failed to notice
the presence of this acd.
ra R7 LS,2L : Amended line in free-hand.

9
pr 112 R7,b.5 B,1/1 a : Amended acd with thick quill.
mk R8,b.3 A,1: A hole is found but there is no trace of revision from the notational features.
10
pr 122 R8,end S,1/3 c ”: Added acd sqz between NHs.294
mk 133 B,b.12 A,2: Paper stain.
293
This acd is found in F and A only.
294
This acd is missing from F, H2 and Poel.33,2.
113
Prelude 19 in A Major
TITLE
Præludium i9 . di J. S. Bach
FORMAT
This piece is accommodated within the space intended to be used.

16r L col. 1-7 bb.1-22
5-7 Unused.
GENERAL FEATURES
Clefs: R.H.— L1; L.H.— ; clef change occurs once:295
a) L.H.: b.7,2 (L2,end) → L3, restored at b.9,2 (L3,b.3).
Key, k-s: A major: R.H.- 3 s; L.H.— 3 s «7», 5 s «4».
State of score: Calligraphic fair copy by JSB, in spacious writing. Made
almost directly from his exemplar.
Ink: Two shades of minimal difference can be distinguished. They
are, however, used by different quills.
a) Bl (1): used for notes and staves;
b) Bl (2) with a sharp quill: used for later revision —†3.
Revisions: There are three amendments only. They can be separated by the
reading of H:
i pre-H revision: proof-reading and early revision —†1, 2;
ii post-H revision: later revision —†3
SOURCE SITUATION
S S: it possibly existed as a composing score;

Li H: it stemmed from semi-final stage of L;
H F and K: they stemmed independently from the same late stage
Lii as L, but containing their own errors and missing symbols.
F,K A
295
This CHG Clef is not found in A and K4.
114
TEXT
ra L5,b.2-3 US,5L : Amended line in free-hand in s.i.
1
cp? 21 L7,b.2 S,2/2 a’: Replaced stem + flag. Originally it was a
down-stemmed symbol.
a) b)
Reconstruction 80: The reading of L a.corr. (a) and p.corr. (b) at b.21: The revision was caused by JSB’s
hesitation, as it may be that no rests were given in the alto. Thus the PM 5697’s text
, and that of P 430’s (these rests
in the alto may well be of the later addition) give significant credibility. In short, JSB was
a bit tentative when he started to write 2 bt of this bar as the property of the alto, instead of
the soprano.
2
pr 27 R2,b.2 B,1/3 g : Added acd above NH, in Bl (less reflective) ink.
It has a distinguishable calligraphic shape from the rest of
the sharps.296
3
ml 28 R2,b.3 B,2/3 a : Added acd above NH, in Bl ink, sharp quill.297
a) b)
Reconstruction 81: The reading of L a.corr. (a) and p.corr. (b) at b.28: This passage is directly related to b.7,
where we find no chromatic alteration in the same position, a leading note of the minor
chord. The later section is to have this alteration for a structural reason, which is a good
cause for revision.
4
vtx 33 R4,b.2 S2,1 f ”: Added (?) stem.298
Observation: Because the notation of A,1 d” was slighted indented, it is quite unlikely that it was added as an
afterthought.
296
This acd is missing from A (except P 207) and K4, but present in F, H, K1 and K2.
297
Jones Stages, p. 444, “Stage A2”. This acd is missing only from H.
298
This double stem is missing from many MSS, including F, H (but present in P 206 and possibly added to
P 593), K4 and some of A.
115
BWV 888,2: Fugue 19 in A major
Fugue 19 in A Major
TITLE
Fuga i9
FORMAT
v
16 L col. 1-7 bb.1-20
5-7 Unused.
GENERAL FEATURES
Key, k-s: A major: R.H.— 3 s; L.H.— 3 s «14», 5 s «7».
State of score: Fair copy by JSB, made fairly directly from his exemplar.
Although JSB uses . notation in b.1, A,3-4, he did not use
this type of notation much in L, which is, on the other hand,
widely used in A. Also, considering the fact that there are many
acds different from A or added later into L, JSB was not totally
committed to writing a final version of the score here.
Ink and Quill: Bl: used for notes and staves. A variant can be detected by quill
(†6) and calligraphy (†2).
Revisions: Most of the amendments were made before copies were made
from L. From the way JSB wrote some acds and the fact that
some of them are not found in A, it is highly likely that JSB
added them to L at the copying or proof-reading stage.
SOURCE SITUATION
S S: it possibly existed as a composing score. JSB revised it

several times, which is reflected in the MSS of A;299
L
V V: it can be separated by a minor omission of acd—†2;
H, F and K: they stemmed independently from p.corr. reading
H,F,K of L, but containing their own errors and missing symbols.
A
299
In all probability, the readings of A at b.8, B,4/4 and b.9, B,1/3 are such.
116
TEXT
1
cp 5 L2,b.2 S,4/3 d”: Amended NH. Corrected note-alignment (?).
2
pr 6 L2,end B/end d ’: Added (?) acd. Slightly different calligraphy.300
3
ml 8 L3,b.2 S,1/2 c ”: Replaced NH. Changed pitch from e”, a 3rd
above.
a) b)
Reconstruction 82: The reading of L a.corr. (a) and p.corr. (b) at b.8: Though the reading a.corr. may simply
be introduced by JSB’s slip of the pen, it is also a harmonically valid, inspired reading.
One way of interpreting this revision is that when JSB was copying this passage, he
revised this note in question instinctively to e”, then later came back to restore it, as the
original reading can be better with a view to textural consistency. See also Reconstruction
13, page 27.
4
pr 9 L3,b.3 B,2/3 & 3/3-4 e & d e : Added (?) acds above NHs in
s.i.301
Observation: Because the subject is placed on the soprano here, it is likely that JSB wrote the bass here later,
resulting in the squashed notation.
5
cp 9 L3,b.3 S,3/2 e : Added (?) acd beside NH. Though it is in s.i., its
size is relatively small, and somewhat misplaced.
st L4,b.3 Ink stains on the staves from recto.
6
pr 13 L5,b.2 S,1/2 : Added (?) rest with thick quill.
a) b)
Reconstruction 83: The reading of L p.corr. (a) and a possible reading of S, reconstructed from Poel.33,2 at
b.13: Although the figure in the bass (b.13, 1-2 bt) appears for the first time in the piece,
the texture of the upper voices can be referred back to b.8, where, if one finds a
continuation of shape (b) in the soprano (viz., . . | . in bb.7 3bt - b.8, 1 bt). Thus (b)
would be the first choice for a composer in writing the passage. The main cause for the
revision seems to be the poor texture where in à 3 texture we find the 5th note of the
dominant chord doubled with the 7th. Thus the revision in L was a result of JSB’s thinking
out a possible solution to an artistic crisis.302
300
This acd is missing from V (but added later to STOCKHOLM) and Poel.33,2.
301
The acd of B,3/3 is missing from P 206, H2ii (DRESDEN), K4 and Poel.33,2. That of B,3/4 is missing from H2ii
and K4 only.
302
Dehnhard, p. xxx, believes that the reading of L is the older reading, however. A2 gives a small tie between
S,1/2-2/1 d ”. This might well be a conjecture but also possible to think that Altnickol misinterpreted a
direct placed at the end of the system. PM 5697 gives similar reading to A2, but an error, as c ” d ”.
117

err 14 L5,b.3 A,3 a : Notation incomplete. Rests are missing.303
pr? 20 L7,end S,4/3 g ”: Added acd sqz between NHs, in s.i.
7
ml 21 R1,b.1 S,1/4 g ”: Overlaid acd on , in s.i. (which is also
304
added?).
a) b) c)
Reconstruction 84: The reading of L a.corr. (a), intermediate corr. (b) and p.corr. (c) at b.21, 1-2 bt: This is
very poorly modified, and almost indecipherable. The motivically related earlier passage
is b.17, which already incorporates these chromatic alteration to the subject (which is also
present in A). This gives rise to a hypothesis that S, which did not include these revisions,
was a very incomplete and inconsistent score.305
st 22 R1,b.2 B,4/2-3 c d : Stain (?), causing damage on LS.

8
ml 28 R3,b.3 S,3/4 d ” & 4/4 d ”: Added acds below NHs in s.i.306
a) b)
Reconstruction 85: The reading of L a.corr (a) and p.corr (b) at b.28: Note that the motive for the revision is
identical with that of b.21.
303
These rests are found in K4 and A, and partly present in V. To H they were added later.
304
Morgan, p. 151, observes the same. A1 gives no acd; A2 gives ; H and K give p.corr. reading. F, in this case,
omits the acd: the scribe probably thought that the symbol was crossed out.
305
Poel.33,2, which contains many crossed out sections that were possibly caused by untidy notation in the
exemplar, shows extensive corrections in bb.16-17. These errors were note-alignment errors, which could
have originated in the appearance of S. Thus it is at least possible to say that the same revision which we see
in L is carried out in S.
306
These acds are missing from A, but present in B, except that the latter is not given in V.
118
BWV 889,1: Prelude 20 in A minor
Prelude 20 in A Minor
TITLE
.
FORMAT

r
17 L col. 1-7 bb.1-18
7 Unused.
GENERAL FEATURES
Key, k-s: A minor: no k-s.
State of score: Calligraphic fair copy in appearance but a possible composing
score, which was possibly prepared neatly from a short draft.
a) Bl: used for both staves and notes;
b) DBr: used for proof-reading (?) —†2.
Revisions: It contains an interesting chain-reactive proof-reading revisions
in the theme from the half-way through the piece (†1, 7, 9-11).
All the amendments were carried out before copies were made.
Only one added acd appears in a different shade.
SOURCE SITUATION
α α: it possibly existed as a short draft. S was possibly written

L directly on it;
S: written as an improved version of L. A1 contains further
S
H,F,K authentic revision, which can be ascribed to JSB;307
A H, F, K: stemming from p.corr. of L.
307
Jones Obs, p. 609.
119
BWV 889,1: Prelude 20 in A minor
TEXT
ra L3,b.2-3 US,2L : Amended line in free-hand, in s.i.
1
ml 9 L4,b.1 S,2/1 a ’: Replaced NH + acd. Corrected pitch from c ”, a
3rd above.
a) b)
2
pr 18 L7,end S/last g ”: Added acd in DBr ink.308
st 19 R1,b.1 below B,1/2 d’ *: Stain.
3
hm? 19 R1,b.1 S,1/6 b ’: Added acd sqz in s.i.
4
hm? 22 R2,b.2 S,1/5 c ”: Added acd (in reduced size) above NH, in s.i.
5
hm 23 R2,b.3 B,3/5 b : Added acd sqz beside NH, in s.i.
st 24 R2,end below S,2/4 e’ *: Stain.
6
pr? 24 R3,b.1 B,4/3 f : Added acd above NH, in s.i
7
cp 25 R3,b.2 S,1/6 g’: Replaced NH. Changed pitch from e’, a 3rd below.
a) b)
8
al 26 R3,b.3 S,1/2 e”: Replaced note. Corrected note-alignment (?).
9
cp 31 R5,b.3 S,1/6 c ”: Replaced NH. Corrected pitch from a’.
10
pr 31 R5,b.3 S,1/6 c ”: Added acd sqz beside NH. This took place after
the NH was amended.
11
cp 31 R5,b.3 S,3/1 a’: Replaced NH. Corrected pitch from c”.
a) b)
Reconstruction 88: The reading of L a.corr. (a) and p.corr. (b) at b.31: Note that two corrections here are
related to that of b.25 and b.9 respectively. They are all late revisions, only noticed at later
proof-reading.
308
This acd is found in all the MSS examined.
120
BWV 889,2: Fugue 20 in A minor
Fugue 20 in A Minor
TITLE
.
Fuga 20
FORMAT
v
17 L col. 1-7 bb.1-19
5-7 Unused.
GENERAL FEATURES
Clefs: R.H.— L1; L.H.— ; no clef change.309
Key, k-s: A minor: no k-s.
State of score: Slightly rough but calligraphic fair copy in JSB with some
revision in mind, most likely based on the early version
represented in S.
Ink: Bl ink for notes and staves. Though no variety of ink shade is
found, there are many rests appearing in different calligraphy,
suggesting JSB’s proof-reading at different times.310
Revisions: Most of the amendments were carried out before copies were
made. Many ornaments and some rests were possibly added
later at proof-reading.
SOURCE SITUATION
S S: it is the oldest record of the piece in existence. It bears the

title Fugetta a 3, as attested in A1. It was revised in many
L
V
layers. A1 contains further authentic revisions, which can
H,F
be ascribed to JSB;
A V: it lacks many rests and ties, some of which appear to have
K been added later in L, suggesting its earliest origin in L;311
H, F: stemming from p.corr. of L;
K: stemming from p.corr. of L, but integrating performance
marks and variants commonly shared in MSS of A1.
309
A3 shows the change of Clef in L.H., b.24: B,1/2-3/1 from to L3.
310
Their shape can also be influenced by the room available, or the mood of the composer. For these reasons, I
do not list them from this evidence alone. See Volume II for full listing.
311
See footnote 310 and 326.
121
BWV 889,2: Fugue 20 in A minor
TEXT
1
pr 4 L1,end B,4/3 d : Added small acd sqz beside / below NH.312
err L3,end B (direct) g: Wrong pitch is given for the next note e.
2
ml? 11 L4,b.2 A,4/1 a: Trimmed beam to make the reading clear. A letter
“a” was added to clarify the reading.
3
pr 11 L4,b.2 B,4/3 f : Added acd above/beside NH, in s.i.313
4
pr 12 L4,end S,4/3 g ’: Added (?) acd sqz below NH.
ra L5,b.1 LS,5L : Amended line in free-hand, in s.i.
ra L5,b.2 LS,2L : Amended line in free-hand, in s.i.
mk 19 L7,b.3 SYS,2 # (?): Removed mark (or ?).
5
cp? 21 R1,b.2 S,3 f”: Amended and trimmed NH. Corrected from e”.
6
pr 26 R3,end S,3 : Added (?) rests.314
7
hm 28 R4,b.3 A,3 c ’: Added (?) acd with different quill (?).
Reconstruction 89: The reading of L a.corr. (a), p.corr. (b), A a.corr. (c) and p.corr (d) at b.28, 3-4 bt: The
chronology of reading is — (c) pre-1738 (?), (a) and (b) 1739, and (d) post 1744. This
should not mean that the reading of L is abandoned, but was probably kept as an
alternative. Note that the à 5 cadence in the A major chord, appearing in P 204, is most
likely a revised reading by its scribe, Schwencke.
312
This acd is missing from K, H2 (DRESDEN) and A (except P 204, P 212 and PM 5697).
313
This acd is missing from H and A (except P 204 and PM 5697). At a later date, someone wrote this acd into
P 430.
314
These rests are missing from V. In A, this beat is notated as rhythm.
122
BWV 890,1: Prelude 21 in B major
Prelude 21 in B Major
TITLE
Prelude 2i . di J. S. Bach
FORMAT
The piece is not accommodated within one side of a bifolium: it goes to the recto
occupying a complete extra column (see also f.8r).
r
18 L col. 1-7 bb.1-29,2
R col. 1-7 bb.29,3-58 No page turn instruction.
18v L col. 1-7 bb.59-87 The last SYS leaves 30% of unused space, where
we find the title of the next movement “Fuga”.
GENERAL FEATURES
Clefs: R.H.— L1; L.H.— ; many clef changes occur:
a) R.H.: b.13,2 (L4,b.1) L1 → L3;315
b) L.H.: b.13,2 (L4,b.1) → L3, restored 2 bts later;316
c) L.H.: b.14,2 (L4,b.2) → L3, restored 2 bts later;317
d) R.H.: b.15,4 (L4,b.3) L3 → ;
e) R.H.: b.16,2 (L4,b.4) → L3;318
f) R.H.: b.16,4 (L4,b.4) L3 → , restored 2 bts later;
g) L.H.: b.17/2 (L4,end) → L3, restored at b.18 (L5,b.2);
h) L.H.: b.37,2 (R2,end) → , restored 2 bts later;
i) L.H.: b.38,2 (R3,b.1) → , restored 2 bts later;
j) L.H.: b.39,2 (R3,b.2) → L3, restored at b.46 (R4,b.5);
k) R.H.: b.39,4 (R3,b.2) L1 → , restored 2 bts later;
l) R.H.: b.40,4 (R3,b.3) L1 → , restored 2 bts later;
m) L.H.: b.70/2 (vL3,b.4) → L3, restored at b.71,3 (vL3,end);
n) L.H.: b.86,3 (vL7,b.2) → L3, restored at b.87,3 (vL7,b.3).319
Key, k-s: B major: R.H./L.H.— 3 s.
State of score: Calligraphic revision score.
Ink and Quill: Four types are distinguished:
a) TBr: used for drawing staves;
b) Bl (with thick quill): used for notes;
c) Bl with thin quill: used for proof-reading —†9;
d) vDBl (good light reflection): used for later revision —†2.
Revisions: Several notable revisions are clearly reflected in later copies:
i pre-H revision: proof-reading I;
315
A does not use Clef CHG.
316
A changes clef from to L1. This is an interesting difference between two traditions.
317
as above.
318
as above.
319
A does not use Clef CHG.
123
ii post-H revision: proof-reading II (perhaps including the

addition of orns not listed below) and major revision—†9,
12f
iii very late revision = ink (d): minor notational change—†2.
SOURCE SITUATION
S S: an earlier version. it became the model for L, and later

Li revised. A1 contains further minor revision by JSB (?);
H H: it stemmed from the intermediate stage of L;
Lii F, K: they stemmed from p.corr. of L. F contains many errors,
F,K A most of which were corrected later. Later K1 contains the
K Liii same revision as L (Liii).
TEXT
1
ml 6 L2,b.2 B,2/3 f : Added acd above NH, in s.i. (?).
2
rhy 7 L2,b.3 S,4 b ’ a’ b ’: Added beam in vDBl ink. Changed
from rhythmic notation.320
3
hm? 14 L4,b.2 S,2/1 g: Amended NH in pitch. Changed from a.
mk 20 L5,b.4 beside S,3 . f” =: Removed mark.
4
cp 24 L6,b.4 B,3/2 a: Replaced NH. Changed pitch from g (or b ?).
Trimmed NH on both ends of NH.
mk 26 L7,b.2 above B,2 . b : Removed # mark (or a part of orn?).
mk 27-28 L7,b.3-4 above US | #: Removed mark (CHG PG in F1).
ra 28-29 L7,b.4-5 LS,2L : Amended line in free-hand, in s.i.
mk 29 L7,end above S,2 Ê: Added mark in pencil, indicating the next system to follow.
5
vtx 34 R2,b.2 R.H.,3-4 (see the reconstruction below): Added notes.
a) b) c)
Reconstruction 90: The reading of L a.corr./intermediate (a), p.corr. (b) and P 430 (c) at bb.34-35/1: As can be
seen in notational features, the revision was planned after writing up-stem A,4 . d’ in the
texture. Thus the reading of (c) can be seen as the earlier reading, for the reading (a) is an
improved reading of it.
6
cp? 36 R2,b.4 B,1/2 b : Amended in s.i. Corrected shape and size.
7
hm? 38 R3,b.1 S,3/2 & 4/3 & d ”: Added acd sqz between NHs, in s.i.
Observation: Harmony is changed from Gm to E 7.
320
This incorrect notation of a.corr. reading caused the introduction of variant interpretations among K3, K4 and
P 204 (corr.) as . Weyse shows the same corr., from which Am.B.49 stems. F, H and Am.B.57 give
a.corr. reading, while Poel.33,2 and ST.ANDREWS (corr.) give p.corr.
124

mk? 39 R3,b.2 S,2-3 = (?).: Removed mark (or removed misplaced NH?). (CHG SYS in F1)
8
cp? 40 R3,b.3 R.H.,4 . e : Amended acd. Corrected from .
9
pr 43 R4,b.2 A,3- . d’: Added tie in Bl ink, thin quill.321
10
pr 45 R4,b.4 A,2 : Added (?) sqz rest in s.i.322
st 49 R5,b.4 SYS,2 —: Ink stain (8 mm).
mk? 55 R7,b.1 above S,2/1 # (?): Removed mark. (CHG PG in F1)
v
st L1,b.1 above US, t-s *: Stain. Two ink stains put a tie between.
11 v
ml 60 L1,b.2 B,3/3 A : Added acd below NH, in s.i. (?).323
12 v
cp 61 L1,b.3 A,3 . c”: Amended NH. Corrected pitch from b’.
13 v
hm 62 L1,b.4 B,4/3 g: Removed acd from beside NH.324
14 v
hm 62 L1,b.4 B,4/3 g: Amended NH. Corrected size and position.
a) b)
15 v
ml 63 L2,b.1 B,1-2 A F G A B c: Overlaid notes on . . A B in s.i.
16 v
hm 63 L2,b.1 A,2/2 g ’: Added acd above/beside NH, in Bl/s.i.
17 v
hm 63 L2,b.1 B,3/1 d : Added acd sqz beside NH in s.i.
18 v
rhy 64 L2,b.2 A,3-4 . f’: Amended notation from . NV.325
a) b)
Reconstruction 92: The reading of L a.corr. (a) and p.corr. (b) at bb.63-64: JSB first wrote the bass, then the
alto. When he was writing the soprano, 3 bt, the idea came to him to flatten d to make the
chord B m. The half-drawn flat to b.63, B,3/4 is chain-reactive to the flat of b.62, B,3/4.
v
mk 68 L3,b.2 beside S,1 . c” # (?): Removed mark.
v
mk 82-3 L6,b.3-4 above SYS, | #: Removed mark.
v
ra L7 LS,2L : Amended line in free-hand in Bl/DBr ink.
321
This tie is missing from H1, H2ii (DRESDEN), P 237 and Poel.33,2.
322
This is found in H2i (P 209 and 613819) and K3 + K4 (using , but partly corrupted) only.
323
This acd is missing from H (but added to P 206 later), K4 and A (except P 204 and P 207). It is present in F
(amended later) and K1.
324
Jones Stages, p. 444, “Stage A2”. This acd is retained in H only.
325
MSS of A give a.corr. reading. From H2 and K4, the tie to the reading is missing.
125
BWV 890,2: Fugue 21 in B major
Fugue 21 in B Major
TITLE
Fuga. 2r.
2r is written in DBl, by WFB.
FORMAT
The format of this piece is affected by the severe space constraint. JSB solves the
problem by using the bottom margins of both sides of the sheet. On this occasion, he
used a narrow rastrum to draw staves.
18v R col. 1-7 bb.1-62,1 Jump mark “#” indicating to section to follow.
B mgn 1 bb.62,2-82 Introduced by “#”. At the end of the system, the
instruction “Volti” orders page turn.
18r B mgn 1 bb.83-93 Introduced by “Appendix Fuga”. It leaves 30% of
the space unused, where “Fine” is written.
GENERAL FEATURES
Key, k-s: B major: R.H./L.H.— 3 s.
State of score: Uninspired fair copy, with some revision in mind while
copying.
a) TDBr: used for staves;
b) Bl: used for notes;
c) DBl: used on the title by WFB.
Revisions: Two layers of revisions can be distinguished:
i proof-reading revision —†1-7, 9-11;
ii one important later revision —†8.
SOURCE SITUATION
Si Si: from the way A uses less sophisticated notation in details
Li and from the fact that the revision of L at b.90 is based on
V,H,F,K its reading, it is highly likely that JSB wrote S (Si) first;
Lii V: it contains many extra slurs but lacks many rests and ties;326
Sii
H, F, K: they stemmed independently from p.corr. of L;
A
326
Because of the lack of evidence that they were added here in L, most of them are not listed here. See Volume
II for full listing. See also footnote 310.
126
Sii: It was revised later after L was made. A1 contains further

revisions that can be seriously considered as JSB’s revision.
TEXT
1
pr 3-4 R1,b.3-4 A,2-3 : Added slurs in Bl ink (a different type?).327
2
pr 24 R3,b.6 S,3- e ”: Added (?) tie with thin quill.
3
cp 47 R6,b.3 B/6 d: Amended NH. Changed pitch from e (or c?).
mk 54-5 R7,b.1-2 above SYS |: Removed = mark (?).
4
cp 57 R7,b.4 B,2/2 e : Removed acd (?) or .
5
cp 59 R7,b.6 B,1/2 f: Amended NH. Corrected pitch from g.
6
pr 65 B,b.4 A,2/1 a: Added (?) acd sqz between NHs.
7
cp 67 B,b.6 S,1 e ’: Amended NH in s.i. Corrected from NV.
8
ml 78 B,b.17 S/6 c”: Amended NH. Changed pitch from b ’.328
a) b)
Reconstruction 93: The reading of L a.corr. (a) and p.corr. (b) at b.78: Also noteworthy is JSB’s idea about the
tonal answer with particular regard to this fugue subject, for this is the second time (see
†3) that this very important note is revised.
trm B,end “Volti” - Chopped off from the paper.

9 r
pr 86 B,b.4 B/4 f : Added (?) acd above NH.
r
rhy 88 B,b.6 A : Incomplete notation on 1 bt.
10 r
vtx 90 B,b.8 S/1 b ”: Replaced note. Changed from (or ?).329
a) b)
Reconstruction 94: The reading of L a.corr. (a) and p.corr. (b) at b.90: Two points are of JSB’s agenda for
revision: 1) voice-leading of two upper voices was to be sorted out;330 2) there was no
room for b ” to stem-up.
11 r
pr? 92 B,b.10 B,2 E : Removed acd from beside NH.
327
These slurs are added in A1 and missing from A2 and A3.
328
Prout, p. 75, and BG XLV,1, p. 249 make the same observation. Except V, only A gives p.corr. reading. The
revised NH is so large and ambiguous that it is dangerous to assume that the reading reflected in the copies of
L reflects the correct chronology.
329
A gives , the possible a.corr. reading. It can be more evidence for the chronology of revision from Si to L.
330
This point was sorted out in S by modifying voice texture at b.88.
127
BWV 891,1: Prelude 22 in B minor
Prelude 22 in B Minor
TITLE
.
Prelude 22 di J. S. Bach.
FORMAT
This piece is accommodated within the space allocated to it. The space in the bottom
margin as well as part of the last SYS was used by the accompanying fugue.

r
19 L col. 1-7 bb.1-43
R col. 1-7 bb.44-83 The last one uses 50% of the system; the rest is
used by the Fugue.
GENERAL FEATURES
Key, k-s: B minor: R.H. — 7 s; L.H. — 8 s.
State of score: Uninspired calligraphic fair copy with some revision in mind
while copying.
b) vDBr: used for proof-reading —†4;
c) DBr: used for adding half bar line (?) in b. 11.
Revisions: There are several revisions, which are reflected in later copies:
i pre-H revision: proof-reading —†2-7;
ii post-H revision: melodic revision —†1.
SOURCE SITUATION
Two scores JSB wrote became the origin of two traditions:
Si Si: possibly a composing score on which the flat to g was not
Li originally given (modal k-s). After L was made, JSB came
back to it to revise minor details to make (Sii);331
H Lii
H: distinguished from the rest of the groups of L by †1;
F,K Sii F, K: stemming from p.corr. of L.
A
331
Jones Obs, p. 608.
128
BWV 891,1: Prelude 22 in B minor
TEXT
mk 11 L2,b.5 A.: Added half bar line in DBr ink.
1
hm 16 L3,b.4 B,2/2 g : Replaced acd. Changed from .332
a) b)
2
pr 22 L4,b.4 B,1/4 A : Added acd below NH, in s.i.333
3
cp? 23 L4,b.5 S,2/2 g ”: Amended NH. Changed pitch (?) from f”.
ra L4,end LS,4L : Amended line in free-hand, in s.i.
4
pr 37 L6,end B,2/3 g : Added acd above NH, in vDBr ink.334
mk 41-42 L7,b.4-5 above SYS, | #: Removed mark. (CHG PG in F1)
5
ml 66 R4,b.6 B,2 B A G B : Replaced NHs. Changed from B c d
B.
a) b)
Reconstruction 96: The reading of L a.corr. (a) and p.corr. (b) at b.66: It was immediate revision, amended
after all NHs + stem were set, but before beaming. At composing level, the most closely
related passage which the composer used as a reference would be b.12, which gives p.
corr. shape. Thus the origin of a.corr. reading is unlikely to have been in the exemplar.
6
cp 77 R6,b.4 S/3 d ”: Added acd sqz between NHs.335
7
cp 78 R6,b.5 B/7 d ’: Amended NH. Corrected pitch (or ink smudge?)
from c’.
332
Dehnhard, p. xxxi, Jones Stages, p. 444, and Morgan, p. 167, make the same observation. Morgan doubts its
authenticity, however. The reading of a.corr. is given in A and H, while that of p.corr. is given in F and K.
333
This acd is missing from P 206 and K4, possibly deliberately omitted.
334
This acd is missing from K only.
335
F misinterprets this somewhat misplaced acd as if it is for A,1/3. From A3 this acd is missing.
129
BWV 891,2: Fugue 22 in B minor
Fugue 22 in B Minor
TITLE
Fuga à 4. 22.
22 is written in DBr ink by WFB.
FORMAT
This long piece uses an 8 system format, while 7 systems in the Prelude. Nonetheless,
it goes on to the other side of the sheet to make use of the extra space to complete the
long movement. One reduced-size system was prepared with a ruler line by line.
19v L col. 1-8 bb.1-44,1
R col. 1-8 bb.44,2-83,2 The instruction “Volti” orders the page turn
r
19 R col. 8 bb.83,3-85 Introduced by the instruction “Appendix Fuga”.
“NB” was probably written at the end of SYS,
which is now trimmed off.
B mgn 1 bb.86-101 Introduced by “NB”.
GENERAL FEATURES
Clefs: R.H. — L1; L.H. — ; clef change occurs once:
a) L.H.: b.28,3 (L6,b.1) → L3, restored at b.33,2 (L6,end).
Key, k-s: B minor: R.H. — 7 s; L.H. — 8 s.
State of score: Not carefully, yet tightly written revision score. It is highly
likely that JSB decided to use a different metre (originally )
and changed the form of notation at the copying stage.
Ink and Quill: Six types are distinguished:
a) Bl: used for both notes and staves
b) DBl (less light reflection): used for early proof-reading
I—†9;
c) DBl (reflective): used for proof-reading II —†14;
d) Bl with worn out quill: used for late revision —†26;
e) TDBr: used for proof-reading (not by JSB?) —†27;
f) DBr with a thick quill: WFB’s amendment to the title.
Revisions: There are many corrections of errors as a result of changing
metre (†4-5, 9, 12, 15, 20-23, 28-29, 31) and the use of modal k-s (†1-2,
8, 19, 24, 27-28). Three layers of later revisions can be
distinguished from the evidence of the reading of H and F:
i pre-H revision: early corrections & proof-reading;
ii pre-F revision: (ca.1741) —†14-15, 19, 26, 30;
iii post-F revision: Part II (not by JSB? after 1744) —†27.
130
SOURCE SITUATION
Two scores JSB wrote became the origin of two traditions:
Si S: it was written in and the flat to g was not originally in
Li the t-s (modal key-signature). After L was made, JSB came
V,H Lii back to revise minor details on it (Sii). While A1 and A2
are both transcribed by Altnickol from notation to , A3
F,K Sii preserves the original notation;
Liii
V, H: they stemmed from a similar early state of L;
A
F, K: they stemmed from a similar late stage of L.
TEXT
1
pr 6 L1,end2 S/end g ’: Added (?) acd sqz between NHs.336
2
pr 7 L1,end S/3 g ’: Added acd sqz between NHs.
3
pr 8 L2,b.2 S,3/2 a ’: Amended (or added?) acd. Corrected from (or
ink smudge?).
4
cp 14 L3,b.3 A,3 : Replaced rest. Changed from (or b ’ NH only ?).
mk 19-20 L4,b.3 beside S,3 # (?).: Removed mark (?).
5
cp 25 L5,b.4 A,1 f’ g ’: Replaced notation. Corrected NV from .A
hole remains on 1L of A,1/2.
6
ml? 25 L5,b.4 A,3/last f’: Added (?) note in s.i. If so, the original notation
was g ’. —†7
7
ml? 26 L5,b.5 A,3/last e ’: Added (?) note in s.i. Considered to be
chain-reactive from †6.
8
pr 32 L6,end2 A/end g ’: Added acd sqz above NH.
9
pr 33 L6,end T,1/2-3 c’ b : Added notes in DBl ink (less light
reflective), or overlaid on either or b ’.337
10
cp 33 L7,b.1 B,3 d : Amended NH. Corrected pitch from c.
a) b)
Reconstruction 97: The reading of L a.corr. (a) and p.corr. (b) at b.33: It is likely that as was in the exemplar
(written in ), JSB wrote it as it is (a), which is an error. This directly resulted in his
revising this part by adding these two quavers.
mk 34-35 L7,b.2-3 above SYS, | #: Removed mark.
336
This acd is missing from MSS of A (except P 430 to which most likely Grasnick added it, and P 207).
337
Dehnhard, p. xxxi, considers that here JSB initially wrote d ’ as given in A1. H, F and K give p.corr. reading
of L.
131

st 35 L7,b.3 S,1/4 f”: Ink smudge (or amended NH?).
11
cp 36 L7,b.4 T,2/2 e ’: Amended NH. Corrected pitch from d ’.
12
cp 39 L7,end B,1 c ’: Amended NH. Corrected NV (?) from to
13
al 41 L8,b.3 A,1 f’ g ’ a ’: Note-alignment problem. Judging from
the size of NH, it could have been improved from f’
338
a ’.
14
vtx 46 R1,b.3 S,2-3 : Added rests in DBl ink (reflective type).339
Observation: Because S,1 ’s stem is in s.i, no revision is basically made, but for the sake of notational clarity
these rests were fill in later
15
cp 49 R1,end T/1-2 b b : Blotted beam. Corrected from shape, half
NV notation of the exemplar.340
mk 51-2 R2,b.3-4 above LS, | #: Removed # mark.341
16
cp 59 R4,b.1 B,1 B : Amended NH. Corrected pitch from A or G . It
must be a copying mistake at CHG SYS.
17
vtx 61 R4,b.3 US,3L,3: Blotted rest . At the same time presumably, a new
was created in T.342
18
cp 64 R5,b.2 S . b ’: Amended tie in s.i. Corrected length.
19
hm 64 R5,b.2 A,2/2 g ’: Blotted acd (which was added sqz).343
mk 66 R5,b.4 above B,1/2 #: Removed mark.
20
cp 67 R5,b.5 S,2-3 g ” f”: Replaced notes. Corrected from —†28
a) b)
Reconstruction 98: The reading of L a.corr. (a) and p.corr. (b) at b.67: It is quite astonishing to find that as
important figure as the stretto was not copied out accurately.
21
cp 68 R6,b.1 B,2 b : Amended NH. Changed NV from NH.
ra R6,b.5 US,1L : Amended line in free-hand, in Bl ink.
mk R6,end US,1L: Removed # mark.
22
cp 73 R7,b.1 A,2 b ’: Amended NH. Changed NV from NH.
338
A gives variant reading f’ g ’ a ’
339
H (except P 206 which was later revised) gives a.corr. reading. V, K (except late revision in K1), ST ANDREWS
and Poel.33,2 do not even give S,1.
340
H only gives a.corr. reading.
341
F2 only has a slur in T, which could be related to this erased symbol.
342
This rest is basically missing from all of the MSS, except K4, A2, A3 and P 207.
343
Dehnhard, p. xxxi, also observes that this acd was deleted. See also Jones Stages, p. 444, “Stage A2”. This
acd is present in H and missing from V, K and A.
132

23
cp 73 R7,b.1 S,2/2-3,1 & g ”: Amended NHs. Corrected NV (former)
and pitch (latter) from g ” f”. The tie is in Br shade.
24
pr 73 R7,b.1 T,3/2 g : Added (?) acd sqz between NHs.344
mk? 74 R7,b.2 US,1L,2 ?: Removed mark (or NH / rest?).
25
pr? 74 R7,b.2 S/end e ”: Amended (?) acd. Corrected from (or ink
smudge?).
26
ml 76 R7,b.4 S,1/2 b ’: Added note with worn-out quill. The symbol is
blurred.345
a) b)
mk 77 R7,end above T,1/1 f: Removed # mark.

27
pr 79 R8,b.2 A,1/3 g ’: Added acd sqz between NHs in TDBr ink.346
28
cp 81 R8,b.4 T,3 g : Amended NH. Corrected NV from and the
following is removed.
a) b)
Reconstruction 100: The reading of L a.corr. (a) and p.corr. (b) of b.81: This is another example of JSB’s
careless copying of part of the subject in stretto. —†20
29 r
ml 89 B,b.4 S,3 . b ’: Amended NH. Changed either from NV or pitch
a’.
30 r
cp? 91 B,b.6 S,2: Removed extra NH b ’.347
r
mk 94-95 B,b.9-10 above |: Removed # mark.
31 r
cp 100 B,end2 S,2 b ’: Amended NH. Corrected NV from NV.
344
This acd is basically missing from V and K only.
345
Dehnhard, p. xxxi, and Jones Stages, p. 444, “Stage A2”, observe the same. This note is absent from H and K
(but added later to Weyse, Am.B.49 and P 237), while present in F and A.
346
ibid. This acd is only present in V and P 207, and missing from H, K and A. Someone added the acd in P 204
and F2 at a later date.
347
This NH is present only in V and H. In Weyse and Am.B.49, a dot is placed instead.
133
Prelude 23 in B Major
TITLE
.
Prelude 23 . di J. S. Bach.
The wave mark on the top of number 23 is hidden under the paper mounting.
FORMAT
This piece is accommodated within the planned space very neatly. Some aspect of the
format can even be seen as strategic, especially the second half.348
r
20 L col. 1-7 bb.1-23,2
R col. 1-7 bb.23,3-46 The last one leaves 20% of the space where the
instruction “Volti Seg | la Fuga” is written.
GENERAL FEATURES
Key, k-s: B major: R.H.— 7 s; L.H.— 8 s.
State of score: Untidy fair copy, marked by a hasty writing style. The paper
shows extensive damage along the centre fold.
a) TBr: used for staves;
b) TkBl (some vDBr shade): used for notes;
c) vDBl: used for # marks, added by the scribe of F1.
Revisions: There is no significant later revision. The reading of the copies
of L distinguishes two layers:
i correction of errors—†1, 2, 4, 5;
ii later addition of rests—†3, 6.
SOURCE SITUATION
S S: it possibly existed before L as a composing score. A1

contains many revisions, partly by JSB (?). It suggests that
Li
the early version lacked many rests to clarify voice texture
H,F,K and hand crossing;
Lii A
H, F, K: they stemmed independently from a similar state of L.
348
See Tomita 1990, p. 286.
134
TEXT
rp L1,end It is possible that NHs were repaired after the paper damage some time later.
st L2,b.1-3 Ink stain in various places. No trace of revision.
rp L2,end as L1,end.
1
cp 11 L3,end B,2/1 d : Amended NH. Corrected pitch from c . Letters
“dis” are also added.
st L4,b.1-3 Ink stain in various places. No trace of revision.
2
cp 16 L5,b.3 S,4/4 f ’: Amended (?) acd. Corrected possibly from .349
st L5 Ink stain, as L4,b.1-3.
3
pr 17 L6,b.1 B,4 : Added (?) rest.350 Neater handwriting.
mk L7,b.2 above S,4 e’ # (?).: Added mark in vDBl ink (CHG PG in F1).
st R1,b.2 Ink stain in various places. No trace of revision.
4
cp? 25 R1,b.3 S,1 a ”: Amended NH (or ink smudge ?) Corrected pitch
(or NV?) from g ” (?).
ra R1,b.4-5 US,2L : Amended line in free-hand.
5
? 27 R1,end S,4 e ”: Amended (?) NH. There remains a hole.
6
pr 30 R2,end B,2 : Added (?) rest.351 Neater handwriting.
Observation: This rest is much more neatly written than the ones found elsewhere in this movement.
mk R6,b.2-3 above SYS, #: Added mark in vDBl ink (CHG PG in F1).

ra R7 LS,4L : Amended line in free-hand.
349
H2 (P 209) shows the same revision process. Poel.33,2 gives .
350
This rest is basically missing from all the copies of L. It was added later to P 206, and K1 (Weyse and
Am.B.49).
351
This rest is missing from K and A in general.
135
Fugue 23 in B Major
TITLE
Fuga à 4. 23.
23 is written by WFB.
FORMAT
This long movement is just accommodated within one side of a bifolium by making
use of the bottom margin where a reduced-size system is prepared in free-hand.

20v L col. 1-7 bb.1-45
R col. 1-7 bb.46-86,1 Instruction “NB” indicates the section to follow.
B mgn 1 bb.86,2-103 The final bar (b.104) is trimmed off. Due to the
damage to both sides of the sheet, the presence of
instructions cannot be confirmed.
GENERAL FEATURES
Key, k-s: B major: R.H.— 7 s; L.H.— 8 s.
t-s, bars: : 104 bars.352
State of score: Carefully written revision score for making a fair copy,
showing totally different calligraphy from the Prelude.
a) TBr: used for drawing staves, with a thick quill;
b) Bl/vDBl: used for copying music;
c) vDBl (good light reflection): used for adding markers by the
scribe of F1.
Revisions: There are several notable revisions, which are clearly reflected
in later copies stemming from L:
i pre-V revision: correction of errors and proof-reading;
ii pre-H revision: later revision I—†5;
iii pre-F revision: later revision II—†6-7, 11.
352
A + K4 are written on .
136
SOURCE SITUATION
Two traditions stem from JSB and the sub groups are caused by his revisions and
instructions to his copyists:
S S: it was written in and served as exemplar for L. It must

Li have been corrected together with L at some stage (post
V Lii?);
Lii
V: it stemmed from an early stage of L (Li);
H Liii A H: it stemmed from an intermediate stage of L (Lii);
F,K F, K: they stemmed from a similar late stage of L (Liii). By the
time the scribe of F copied L in ca. 1742, the last bar was
already lost.
TEXT
ra L2,end LS,2L : Amended line in free-hand.
1
cp? 19 L3,b.4 S,1/3 a ’: Amended (or added?) acd in s.i.
ra L3,end US,2L : Amended line in free-hand.
st? 22 L4,b.1 above S,2 g ’: Added mark (or ink stain?) in Bl shade.
2
cp? 24 L4,b.3 A,2/1 e ’: Amended acd.
3
cp? 25 L4,b.4 A/1 right to NH of g ’: Removed (?) dot from NH.353
4
cp 37 L6,b.4 B,1 A B c A : Amended NHs. Corrected pitch from B
c d B, a 2nd above.
mk L7,b.2-3 above SYS, #: Removed mark (CHG PG in F1).
5
ml 42 L7,b.3 B,1/2-4 B A G : Replaced NH. Changed from G A
B.354
a) b)
Reconstruction 101: The reading of L a.corr (a) and p.corr (b) at b.42: This is a late revision, amended after the
beam had been written. Note that after b.38, the bass line was used in a.corr. shape.
mk R1,end below LS,1 =: Ink stain in greyish colour in vDBl ink (CHG SYS in F1)
6
pr 51-52 R1,end S,2/2- b’: Removed tie (or mark of CHG SYS in F1?)355
7
pr 52-53 R2,b.1- S,2/2- a ’: Removed tie.356
353
V gives variant reading in A,3 as , which is the possible a.corr. reading of L.
354
Only V shows the reading of a.corr.
355
Jones Stages, p. 444, “Stage A2”. This tie is retained in V, H and A1 (except Konwischny and Q 6397), but
not kept in F, K and A2.
356
ibid. This tie is retained in V, H and A (except Q 6397 and Poel.33,2), but not kept in F and K.
137

ra R2 US,2&4L : Amended lines in free-hand.
8
pr 55 R2,b.4 B,2/3 B : Added acd below/between NHs.
9
ml 57 R2,end S/2-3 f ” e”: Amended (or smudge?) notes. The original
reading is unclear.
st 58 R3,b.1 Ink stains appearing from recto.
10
pr 58 R3,b.1 A,1/3 a ’: Added acd sqz below NH.
11
ml 59 R3,b.2 S,1/2 a ’: Replaced NH and added acd in Bl ink.
Changed pitch from g ’.357
12
cp? 59 R3,b.2 T,1 b: Amended NH. Corrected NV from NH.
a) b)
13
cp 60 R3,b.3 A/3 e”: Replaced stem. Corrected from up-stem.
st R3,b.5 Stain. Two large ink blots. Marked in vDBl ink.
ra R4,b.4-6 LS,2L : Amended line in free-hand.
14
cp? 78 R6,b.5 A,1- b’: Added (?) tie.358
15
cp? 81 R7,b.2 S,2 f ”: Amended (?) NH. Corrected NV (?) from (or
simply an ink smudge?).
16
pr 102 btm, end2 T,1 : Amended NV and added rest (?). Changed from
notation.359
trm btm,end Notation cut off from the paper.
357
Prout, p. 76, and BG XLV,1, p. 250, say it is an improvement. Jones Stages, p. 444, “Stage A2”. V, H and A
give the reading of a.corr., while F and K1 give the p.corr. reading. K4 gives a’ without a natural, which must
be a simple oversight.
358
This tie is missing from both V and H.
359
While V gives no tenor line, F interprets it as . by mistake.
138
BWV 893, 1: Prelude 24 in B minor
Prelude 24 in B Minor
TITLE
.
The numeral 24 appears to have been added later, judging by the calligraphy and the
different thickness of the quill.
FORMAT
This piece is very well formatted to accommodate itself within the space allocated to
it. Particularly noteworthy is that each of the two pages contains exactly the same
number of bars.

21r L col. 1-7 bb.1-33
R col. 1-7 bb.34-66
GENERAL FEATURES
Key, k-s: B minor: R.H. — 2 s; L.H.— 2 s «1», 3 s «13».
t-s, bars: allegro: 66 bars.
State of score: Calligraphic fair copy, which was prepared neatly from its
exemplar written in half-NV notation. It contains many
performance marks (dots, slurs and orns) and tempo mark.
Ink and Quill: The following four types are distinguished:
a) Bl: used throughout for staves and notes;
b) DBl: slightly different, darker shade of ink than ink (a). It is
found in the title and tempo mark. These were added at
proof-reading at different times;
c) DBr: used for amending staves;
d) Bl ink with thick quill: used for revision —†4.
Revisions: There are some copying errors that originated in the exemplar
(†2-3, 5). There is only one revision, which is reflected in its
later copies:
i pre-H revision: correction of errors and proof-reading;
ii post H revision = ink (d).
139
BWV 893, 1: Prelude 24 in B minor
SOURCE SITUATION
S S: it was either a composing or revision score written in ,

Li which used half-NV, making a total of 33 bars. While
H Altnickol produced this version in A2, he was probably
Lii directed by JSB to convert the notation in A1 in the style of
F,K A L. A1 contains further revision by JSB;360
H: it is distinguished from the rest by one missing tie (†4);
F, K: they stemmed from p.corr. of L.
TEXT
ra L2,b.4 US,5L,2: A lump on the paper causes 4th line of a staff undrawn with the
rastrum.
1
cp 15 L4,b.2 B/3 f : Amended NH. Corrected pitch from e.
ra L5,b.3-5 US,2L : Amended line in free-hand, in DBr ink.
2
cp 28 L6,b.5 S,1 e” d ”: Amended beam in s.i. Corrected from
shape.
mk L7,b.3-4 above SYS, | #: Added mark in s.i.
3
cp 34 R1,b.1 S. a’ g ’ ...c ”: Amended beam in s.i. Corrected
beam from shape.
4
pr 56-57 R5,b.4-5 A,2/2 e’: Added (?) tie in s.i., thick quill.361
5
cp 57 R5,b.5 A,1 e’: Amended NH in s.i.. Corrected NV from NH.
mk 60-61 R6,b.4-5 above US, | # (?): Removed mark (?).
ra R7,b.1-3 LS,2L : Amended line in free-hand, in DBr ink.
ra R7,b.4 LS,2&4&5L : Amended lines in free-hand.
360
Jones Obs, p. 609.
361
This tie is missing from H and P 513, as well as Konwischny and Poel.33,2.
140
BWV 893,2: Fugue 24 in B Minor
Fugue 24 in B Minor
TITLE
.
Fuga 24
FORMAT
This piece is accommodated within the space prepared for it.

21v L col. 1-7 bb.1-53
R col. 1-7 bb.54-100 The last SYS leaves 80% of the space unused,
where the instruction “Fine” takes a large portion
to mark the end of WTC II.
GENERAL FEATURES
Key, k-s: B minor: R.H.— 2 s; L.H.— 2 s «2», 3 s «12».
t-s, bars: : 100 bar.
State of score: Calligraphic fair copy. It is possible that JSB also revised the
minor detail at the copying stage. Because of the change of
pen-speed, calligraphic detail may be used as an important tool
for analysis of instant revisions.
Ink: Bl ink is used throughout.
Revisions: All the revisions were most likely carried out before copies
were made.
SOURCE SITUATION
JSB’s two copies became the origin of two traditions:
S S: it is the earlier version, possibly a composing score. JSB

L later revised A1;362
V, H, F, K: they stem from a similar state of L, each containing
V,H,F,K unique errors. V contains a large number of variant readings
A in bb. 61-82, which do not originate from JSB; H also has
K minor variant reading in b.80. A possibility that V and H
stemmed from an early, incomplete stage of L cannot be
ruled out.
362
Jones Obs, p. 609.
141
BWV 893,2: Fugue 24 in B Minor
TEXT
1
pr 11 L2,b.2 A/4-5 d e : Added (?) acds.363
Observation: This is the first series of . notation against running semiquavers and the lack of insight into
the note-alignment problem at the copying stage became apparent. This is reflected in the
non-vertical stem of B,4 d , and that JSB could not find room for the acds at this stage.
mk 14-15 L2,b.5-6 above SYS, | # (?).: Removed mark (?).

2
vtx? 16 L2,end2 A/1 b: Amended stem. Corrected from NV (?).
Observation: A comparison between the reading of A and L reveals
that JSB was perhaps involved in revision at this point. One important feature of the reading of A
is that its alto line is of an early character, which corresponds to many other parts, viz., b.27
(retrograde), b.36, b.82, b.97, on the one hand; its soprano line is only by way of a filling voice.
On the notational aspect, JSB’s writing in L, especially the alto voice, is exceptionally carefully
written, compared with the surrounding area.
3
rhy 21 L3,b.4 A,1 b: Amended stem. Corrected from NV.
Observation: From calligraphic features, S,1 f ’ also appears in the amended shape. Thus again it is worth
quoting two variant readings — A and L . On compositional
grounds, A is clearly the early reading of the two.
4
pr? 24 L3,end B/5 e : Added acd (?) above/beside NH, in s.i. See †1.364
5
cp? 40 L6,b.1 B/1 e: Amended flag. Corrected from NV.
Observation: JSB’s hesitation, desire to revise this bass line?
st 46 L6,b.7 US: Moisture damage. Notation blurred. It happened after the music had been
written.
mk 48-49 L7,b.2-3 above SYS, #: Added mark in vDBr ink.
6
cp 56 R1,b.3 A/2-3 g ’ a ’: Replaced notes in s.i. Corrected from
misplaced of S/2-3.
7
cp? 75 R3,end A . f ’: Added (?) stem with thin quill (?).
mk 85 R5,b.2-3 above SYS, | #: Added mark in s.i.
8
cp 93 R6,b.3 A/3 a’: Replaced NH. Corrected in pitch from f ’(?).
Observation: The corresponding early part, viz., b.51, gives p.corr. shape.
363
The second acd is missing (or deliberately omitted) from V.
364
These acds are missing from V and K4.
142
Index
The Register of Names BWV (excluding WTC II)
Anon. Vr (12) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 870a,1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Altnickol, Johann Christoph . . . 8, 100, 117, 131 870b,1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Bach, Anna Magdalena . . . . 12-13, 30, 32, 41-42, 870a,2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
46-48, 63, 66-67, 74, 90, 92 870b,2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Bach, Carl Philipp Emanuel . . . . . . . . . . . . . . 14, 47 872a,1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Bach, Johann Andreas . . . . . . . . . . . . . . . . . . . . . . . . . 8 872a,2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Bach, Johann Christoph . . . . . . . . . . . . . . . . . . . . . . . 8 872b,2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Bach, Johann Christoph Georg . . . . . . . . . . . . . . . . . 8 875a . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Bach, Johann Sebastian . . . . . . . . . . . (not indexed) 896,1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Bach, Wilhelm Friedemann . . . 8, 16, 18, 82, 103, 901,2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
126, 130 902,1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Bischoff, Hans . . . . . . . . . . . . . . . . . . . . . . 13, 27, 100 902/1a . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Breckoff, Werner . . . . . . . . . . . . . . . . . . . . . 6, 13, 17 902,2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90, 92
Brokaw, James A. II . . . . . . . 13-14, 18, 20, 22, 28 938 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Clementi, Muzio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 941 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Daw, Stephen . . . . . . . . . . . . . . . . . . . . . . . . 14, 25, 26
Dehnhard, Walter . . . . . 14, 35, 42, 48, 62, 64-65,
67-68, 117, 129, 131-133 MSS Traditions - Groups
Dürr, Alfred . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Genealogical tree of MSS (general) . . . . . . . . . . . . 6
Emery, Walter . . . . . . . . . . . . . . . . 14, 21, 30, 41, 63 Location of MSS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Fischer, Johann Caspar Ferdinand . . . . . . . . . . . 67 Traditions, definition of . . . . . . . . . . . . . . . . . . . . . . . 6
Franklin, Don O. . . 14, 17, 22, 25, 26, 38, 60, 99
Grasnick, Friedrich August . . 8, 42, 72, 76, 110, B, general characteristics of . . 6, 47, 83, 87, 110,
131 118
Gustafson, Roger . . . . . . . . . . . . . . . . . . . . . . . . . 14,90
Jones, Richard D. P. . . . 8, 14, 17-18, 38, 42-43, E, definition of . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-7
48-50, 52, 65-67, 75, 79, 83, 88, 94, 100, causing error in L . . . . . . . . . . . . . . . . . . . . 35, 37
104, 115, 119, 125, 128-129, 132-133, variant readings . . . . . . . . . . . . . . . . . . . . . . 18, 47
137-138, 140-141 E1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Kellner, Johann Peter . . . . . . . . . . . . . . . . . . . . . . . . . . 6 E2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7, 36, 47
Kirnberger, Johann Philipp . 8, 27, 32, 42, 64, 96 = L a.corr. . . . . . . . . . . . . . . 19, 27-28, 48, 105
Kobayashi, Yoshitake . . . . . . . . . . . . . . . . . . . . . . . 15 = L p.corr. . . . . . . . . . . . . . . . . . . . . . . . . 38, 40, 44
Morgan, Orlando15, 43-44, 48, 65, 102, 106, 109, + A: = L a.corr. . . . . . . . . . . . . . . . . . . . . . . . 19, 27
118, 129 + V: = L a.corr. . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Mozart, Wolfgang Amadeus . . . . . . . . . . . . . . . . . 82 + F (+ H): = L a.corr. . . . . . . . . . . . . . . . . . . 44, 48
Prout, Ebenezer . . . . . . . 16, 43, 52, 109, 127, 138
Schmieder, Wolfgang . . . . . . . . . . . . . . . . . . . . 13, 37 L, definition of . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-7
Schwencke, Christian Friedrich Gottlieb . . . . 122 composing . . . . . . . . . . . . . . . . . . . . . . . . . . . 17, 36
Stauffer, George . . . . . . . . . . . . . . . . . . 16, 20, 25, 42 transposing from E? . . . . . . . . . . . . . . 34, 37, 56
Tomita, Yo . 6, 16, 21, 34, 49, 51-52, 54, 67, 69,
108, 134 Bn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6, 7, 103-107
V, definition of . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-7
conjecture / edited reading from L a.corr. 33,
60, 61, 83, 89, 93
143
Index
= L a.corr . . . . . . 33, 38, 72, 97, 105, 117,137 K(1), definition of . . . . . . . . . . . . . . . . . . . . . . . . . . 6, 8

= L p.corr.; H: = L a.corr. . . . . . . . . . . . 83, 127 attesting unique L / F mark . . . . . . . . . . . . . . 91
+ H: = L a.corr. . . . . . . . . . . . . . . . . . . 133, 137-8 changes made by Kirnberger? 17, 30, 32, 76
+ H + A: = L a.corr. . . . . . . . . . . . . . . . . . . . . 137-8 late corr. = L p.corr. 22,23, 42, 43, 45, 62, 65,
+ H + F: = L a.corr. . . . . . . . . . . . . 40, 47, 67, 68 101
+ K: = L a.corr . . . . . . . . . . . . . . . . . . . . . . . . . . 133 misinterpreting corr. of L . . . . 37, 73, 81, 112
omitting many rests . . . . . . . . . . . . . . . . . . . . . 50
F, definition of . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-7 reverting its unique reading . . . . . . . . . . . . . 39
F(1), unique characteristics of: = L a.corr. . . . . . . . . . 25, 66, 70, 102, 106, 129
attesting unique characteristics / errors of L = L p.corr. (late, but not final) . . . . . . . . . . . 43
17, 30, 39, 44, 51, 53, 77, 91 = F . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
causing error in F2? . . . . . . . . . . . . . . . . . . 40, 72 = A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69, 72
CHG PG/SYS marks by the scribe of F . . 35, + A: = L a.corr. . . . . . . . . . . . . . . . . 64, 101, 135
37, 44, 48, 91, 93, 106, 110, 124-5, + A: = L p.corr.44, 48, 67, 68, 70, 83, 95, 104,
129 105
ignoring corrected acds 59, 61, 68, 113, 118 K1 early; K4 later . . . . . . . . . . . . . . . . . . . . . . . 100
misreading JSB’s revisions . 22, 31, 38, 70, K2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8,67
89, 91, 93, 95, 129, 138 K3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8,18, 95, 124-5
revising against A1 . . . . . . . . . . . . . . . . . . . . . . 27 K4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8,18,67
revising against L corr. . . . . . . . . . . . . . 37, 110 corruption, missing text . . . . . 19, 64, 76, 132
F, comparison of readings: edited text . . . 20, 75, 77, 83, 86, 110, 124-5
F only: = L p.corr . . . . . . . . . . . . . . . . . . . . . . . . 22 omitting acds . . . . . . . . . . . . . . 19, 61, 101, 106
= L a.corr. . . . . . . . . . . . . . . 25, 33, 42, 104, 106 shared error with K1 . . . . . . . . . . . . . . . . . . . . . 37
= L a.corr. by error? . . 19, 20, 22, 35, 52, 53 = L a.corr. / older reading . . . . . . . . 22, 35, 91
+ H: = L a.corr. 33, 40, 45, 59, 65, 70, 77, 95,
105, 112, 115 S, definition of . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6, 8
+ H: = L p.corr. . . . . . . . . . . . . . . . . . . . . . . . . . . 64 CHG SYS . . . . . . . . . . . . . . . . . . . . . . . 75, 76, 95
+ H + K: = L a.corr. . . . . . . . . . . . . . . . . . . . 75, 95 its notation causing error in L . . . . . . . . . . . . 95
+ H + K: = L p.corr. . . . . . . . . . . . . . . . . 115, 131 transferring readings between L - S . . 42, 47
+ K: = L p.corr. . . . 109, 110, 112, 129, 137-8
+ K4 corruption / missing notes . . . . . . . . . . 65 A, definition of . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6, 8
= L p.corr; H: = L a.corr 38, 48, 51, 58, 72, 77, advanced reading . . . . . . . . . . . . . . . . . . . . 20, 38
79, 91, 132, 140 attesting the shape of S 18, 66, 71, 78, 94, 95,
+ A: = L p.corr; H: = L a.corr. . . . . . . 113, 133 97, 111, 123
correct reading . . . . . . . . . . . . . . . . . . . . . . . . . . 83
H, definition of . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-7 variant reading . . . . . . . . . . . . . . . . . . 85, 85, 132
attempting to correct errors in L . . . . . . 30, 47 = L a.corr. . . . 35, 45, 62, 64, 67, 83, 89, 110
= L a.corr . . . . . . . . . . . . . . . 35, 58, 67, 83, 125 = L p.corr . . . . . . . . . . . . . . . . . . . . . . . . . . 40, 125
(excl. F): = L a.corr . . . . . . . 38, 112, 132, 133 = K4: fully filled in rests . . . . . . . . . . . . . . . . 118
+ K: conjecture reading . . . . . . . . . . . . . . . 89, 98 = K4: missing notes . . . . . . . . . . . . . . . . 76, 115
+ K: corrected error of L . . . . . . . . . . . . . . . . . 44 = K4: variant t-s / CHG Clef . . . 82, 114, 136
+ K: rectifies L’s possible error . . . 30, 39, 77
+ K4: = L a.corr. . . . . . . . . . . . . . . . . . . . . . . . . 109 A1, definition of . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6,8
+ A: = L a.corr. . . . . . . . . . . . . . . . . . . . . 122, 129 corr. by Grasnick . . . . . . . . . . . . . . . . . . . . . . 131
incomplete acd notation . . . . . . . . . . . . . . . . . 31
H1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-7 JSB’s corr. 30, 42, 50, 64, 65, 69, 74, 87, 97,
later corr. 19, 22, 33, 44, 59, 86, 89, 112, 118 127
reproducing notational feature of L corr. . 81 JSB’s instruction to Altnickol . . . . . . 17, 100
H2, definition of . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-7 = L same corr. . . . . . . . . . . . . . . . . . . . . 59, 61, 62
same corr. as L . . . . . . . . . . . . . . . . . . . . . . . . . 135 = L a.corr. . . . . . . . . . . . . . . . . . . . . . 91, 110, 127
= L a.corr. 33, 35, 39, 59, 77, 84, 89, 89, 100,
109, 113 A2 . . . . . . . 6,8, 42, 87, 95, 97, 110, 117, 127, 132
= L p.corr. (as a result of editing?) . . 85, 125
= A p.corr. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112 A3 . . . . . . . . . . . . 6, 8, 18, 47, 87, 91, 112, 127, 132
+ K4: = L a.corr . . . . . . . . . 35, 61, 91, 117, 125
+ K4: notational variants . . . . . . . . . . . . . . . . 78
144
Index
P 586: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Manuscripts P 587: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
P 588: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
BEREA, Ohio: Riemenschneider Bach Institute P 589: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
P 590: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4, 43,48
No.543: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4, 7, 105
P 591: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
BERLIN: Staatsbibliothek Preußischer Kulturbesitz P 592: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
P 593: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4, 115
Am.B. P 594: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Am.B.49: (see also K1) 4, 24, 45, 62, 65, 72, 81, P 595: (see also E) . . . . . . . . . 4, 6-7, 32, 37, 47, 55
95, 97, 124, 133, 135 P 597: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Am.B.55: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 P 608: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Am.B.57: (see also K1) . 4-5, 74, 77, 81, 95, 109, P 626: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
112, 124 P 631: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Am.B.79: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 P 632: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
P 633: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Mus. ms. Bach P
P 634: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
P 204: 4 , 6, 18, 44, 61, 70, 77, 91, 109-110, 122, P 804: (see also E) . . . . . . . . . . . . . . . . . . . . 4, 6-7, 92
124 P 814: (see also K2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
P 206: (see also H1) 4, 6, 7, 19, 22, 25, 70, 76, 77, P 818: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
83, 86-87, 115, 117, 124, 129, 132, 133, P 828: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
135 P 921: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
P 207: . . 4, 8, 19, 22, 48, 67, 86, 115, 124, 131, P 944: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
132, 133 P 1076: . . . . . . . . . . . . . . . . . . . . . . . . . . 4, 8, 100, 105
P 209: (see also H2) . . 4, 7, 43-44, 58-59, 68, 70, P 1078: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
75-76, 105, 124, 135 P 1079: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
P 210: (see also F2) . 4, 7, 28, 33, 37, 55, 61, 77 P 1089: (see also E) . . . . . 4, 6-7, 42, 92, 105, 105
P 211: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4, 81 P 1137: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
P 212: . . . . . . . . . . . . . . . . . . . . . . . 4, 48, 67, 86, 122 P 1146: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4, 8
P 213: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 P 1182: (See K2) . . . . . . . . . . . . . . . . . . . . . . 4, 45, 81
P 222: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Mus. ms.
P 226: (see also E) . . 4, 6-7, 34-35, 42, 44-45, 47
P 228: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 30 196: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
P 237: (see also K4) . . 4, 64, 77, 81, 83, 95, 124, 30 332: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
133 30 386: (see also K3) . . . . . . . . . . . . . . . . . . . . . . . . 4, 8
P 274: (see also Bn) . . . . . . . . . . . . . . . . . . 4, 103-107 N. Mus. ms.
P 298: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 10483: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
P 304: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4, 105 10490: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4, 105
P 401: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
P 402: (see also A2) . . . . . . . . . . . . . . . . . . . . . . . 4, 64 Other call number groups
P 414: (see also K3) . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 H 908: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
P 416: (see also F1) . . . . . . . . . . . . . . . . . 4, 7, 35, 50 Thulmeier M. 18: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
P 430: (see also A1)4, 8, 62, 64-65, 70, 76, 77, 83,
86-87, 89, 94, 98, 106, 109, 110, 112, BERLIN: Hochschule der Künste
122, 131 6 138 19: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4, 33, 124
P 513: (see also K2) . . . . . . . . . . . . . . 4, 67, 81, 140
P 546: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4, 67 BOLOGNA: Civico Museo Bibliografico Musicale
P 549: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 DD 70: . . . . . . . . . . . . . . . . . . . . . . . . . . . 4, 17-19, 105
P 550: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
P 561: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 BRUSSELS: Bibliothèque du Conservatoire Royal de
P 563: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4, 37 Musique
P 575: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Litt. XY 27218: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
P 580: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 II.3917: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
P 582: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
P 584: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 CAMBRIDGE: Fitzwilliam Museum
P 585: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
MU MS 161 (see also K2) . . . . . . . . . . . . . . . . . 4, 72
145
Index
CHICAGO: Newberry Library 35 021: (see also L) . . . . . . . . . . . . . . . . . . . . . . . . . 5, 7
MS 6A 72: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4, 7 38 068: (see also F1) . . . . . . . . . . . . . . . . . . . . . . . . 5, 7
RM.21.a9: (see also K4) . . . . . . . . . . . . . 5, 8, 19, 28
COPENHAGEN: Det kongelige Bibliotek
MAINZ/GRAZ: (private)
Weyse Samling: (see also K1) 4, 8, 22-23, 45, 62,
65, 68, 74, 124, 133, 135 Poss. Prof. Dr. Hellmut Federhofer: . . . . . . . . . . . 5
DRESDEN: Sächsische Landesbibliothek MUNICH: Bayerische Staatsbibliothek

Mus. Ms. 6333: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Mus.
2405-T-7: (see also H2) 4, 7, 33, 91, 117, 122, 124 NEW HAVEN: Yale University Music Library
2405-T-31: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 LM 4837: . . . . . . . . . . . . . . . . . . . 5, 8, 19, 28, 61, 67
GÖTTINGEN: J.-S.-Bach-Institut OSLO: Universitetsbiblioteket Norsk Musikksamling
Prov. Horn: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Lindemann’s collection: ...................... 5
Prov. Th. Hahn: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
ST ANDREWS: St. Andrews University Library
HAMBURG: Staats-und Univsersitätsbibliothek
msM24B2: . . . . . . . . . . . . . . . . . . . . . . 5, 95, 124, 132
M B/1974: (see also H1) . . . . . . . . . . . . . . . . . . . 4, 7
STOCKHOLM: Stiftelsen Musikkulturens Främjande
HANNOVER: (private)
Nydahl collection: (see also V) . . . . . . . . . 5, 7, 117
Poss. Sievers: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
VIENNA: Sammlungen der Gesellschaft der
LEIPZIG: Bach-Archiv Musikfreunde
Sammlung Manfred Gorke VII 45 327: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5, 105
19: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5, 44, 91 VII49736: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
26: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Q 10728: (see also V) . . . . . . . . . . . . . . . . . . . 5, 7, 61
312: (see also F2) . 5-7, 28, 33, 35, 61, 68, 77, 83 Q 11731: (see also V) . . . . . . . . . . . . . . . . . . . 5, 7, 67
315: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Q 6397: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5, 137
316: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
VIENNA: Österreichische Nationalbibliothek,
317: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Musiksammlung
Prov. Konwitschny: . 5, 8, 19, 109-110, 137, 140
Mus. Hs. 18.523: ............................. 5
LEIPZIG: Leipziger Stadtbibliothek
WEIMAR: Stiftung Weimarer Klassik
Sammlung Poelitz Mus. ms. GSA 32/430: . . . . . . . . . . . . . . . . . . . . . . . . . . 5, 24, 33
28: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
33,2: (see also A3) . . . 5, 8, 31, 33-34, 58, 61-62, WARSAW: Narodowa Biblioteka w Warszawie
64-65, 75, 89, 91, 95, 97-98, 100, 110, R 1069: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
113, 117, 124, 132, 135, 137, 140
Sammlung Rudorff ZURICH: Zentralbibliothek
Ms. R. 13: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Ms. Car. XV 241: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Ms. Car XV 244: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Sammlung Scheibner Ms. Car. XV 258.14: . . . . . . . . . . . . . . . . . . . . . . . . . . 5
MS. Nr.4: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Manuscript no longer extant
Sammlung Mempell-Preller
MS. Nr.8: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Fürstenau: (see also F) . . . . . . 5, 7, 27, 30, 33, 100
Hering: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
MS. PM 5697: (see also A3) . . 5, 8, 95, 117, 122
LONDON: The British Library
Additional MS
14 330: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
146
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J. S. Bach's 'Das Wohltemperierte Clavier II': A Critical Commentary. Vol. I:

Book · January 1993

The Cambridge Bach Encyclopedia View project

Writer identification View project

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© Household World Publisher 1993

All rights reserved. No part of this publication may be reproduced,

First published 1993

Printed by the Print Service,

A division of University of Leeds

About Bach’s Autographs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Terminology used for Listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

BWV 870: Prelude 1 in C major . . . . . . . 17 Fugue 1 in C major . . . . . . . . 26

1: Pr.C, b.10 . . . . . . . . . . . . 19 35: Pr.E!, b.5 . . . . . . . . . . . 50 69: Pr.A!, b.63-64,1 . . . . 102

Volume I: AUTOGRAPH MANUSCRIPTS: LISTING AND DESCRIPTION OF ALL THE

It goes without saying that Bach’s autograph manuscripts are of particular

– very late revisions appearing only in K1 circle as revisions;1

My interpretation of all the amended readings is based on careful consideration of all

I am much indebted to Mr H. Jimmy S. Taylor and Mr David Arrandale for their

LOCATION OF ALL THE KNOWN WTC II MANUSCRIPTS2

BEREA, Ohio: Riemenschneider Bach Institute (Baldwin Wallace College)

GENEALOGICAL TREE OF WTC II MANUSCRIPTS

ABBREVIATED SOURCES AND GROUPS

L London Autograph, Add. MS 35 021: Compiled in ca. 1739-1742.7 PrFg.c, D

Bn Berlin Autograph, P 274: Made in ca. 1742.9 Fg.A! only.

that it was a collection of revision scores. When L was completed in 1742,

K4 P 237, RM.21.a9, LM 4837: Farthest group from K1, characterised by

2. amendment categories: the types of amendment are classified into nine

Wherever a doubt remains, “(?)” is inserted in the observation. An alternative

II: Reference by later repair work not done by Bach

a.corr. ante correcturam

acd, acds accidental, accidentals

AMB Anna Magdalena Bach

Am.B. Amalienbibliothek (collection of Princess Anna Amalia of

B bass; bottom margin

b., bb. bar, bars — graphically represented as |

BG Gesamtausgabe der Bachgesellschaft (Leipzig 1851 - 1899)

Bischoff Joh. Seb. Bach’s Klavierwerke. Sechster Band. Das wohltem-

Bl black shade (of ink)

Br brown shade (of ink)

Breckoff Werner Breckoff: Zur Entstehungsgeschichte des zweiten

Brokaw 1986 James A. Brokaw II: Techniques of Expansion in The Preludes

BWV Wolfgang Schmieder: Thematisch-systematisches Verzeichnis

corr. corrected, correcting, correction, correcturam

CPE Carl Philipp Emanuel Bach

DBl dark black shade (of ink)

DBr dark brown shade (of ink)

Dehnhard Walther Dehnhard: “Critical Notes”, in: Johann Sebastian

Emery Walter Emery: “The London Autograph of ‘The Forty-Eight’”.

f., ff. folio, folios; and the following

Franklin-Daw “Introduction” in: Johann Sebastian Bach. Das Wohltemperi-

Go.S. Sammlung Manfred Gorke, Bach-Archiv, Leipzig

Gustafson Roger Gustafson: “Selected keyboard works of Bach pertaining

Jones Stages Richard Jones: “Stages in the development of Bach’s ‘The

Jones Obs Richard Jones: “Further observations on the development of

JSB Johann Sebastian Bach

Kobayashi Chr Yoshitake Kobayashi: “Zur Chronologie der Spätwerke Johann

L.H. left hand = the lower staff of a piano system

LM Lowell Mason Collection, Music Library, Yale University,

Morgan J. S. Bach: Wohltemperirtes Clavier. The Forty-Eight Preludes

MS, MSS manuscript, manuscripts

NBA KB Neue Bach Ausgabe: Johann Sebastian Bach. Neue Ausgabe