Part I. Magnificat, Cantata and Passion: 1. On the origin of Bach's
Magnificat: a Lutheran composer's challenge Robert L. Marshall; 2.
Expressivity in the accompanied recitatives of Bach's cantatas George J.
Buelow; 3. Aria forms in the Cantatas from Bach's first Leipzig Jahrgang
Stephen A. Criss; 4. The regulative and generative roles of verse in Bach's
'thematic' invention Paul Brainard; 5. The St John Passion: theology and
musical stricture Eric T Chafe; Part II. Parody and genre: 6. Bach's parody
technique and its frontiers Alfred Mann; 7. Three organ-trio transcriptions
from the Bach circle: keys to a lost Bach chamber work Russell Stinson; 8.
'This fantasia... never had its like': on the enigma and chronology of
Bach's Chromatic Fantasia and Fugue in D Minor, BWV 903 George B. Stauffer;
9. French overture conventions in the hands of the young Bach and Handel
Peter Williams; Part III. The Well-Tempered Clavier I and II: 10. The four
conceptual stages of the Fugue in C Minor, WTC I Brick Siegele; 11. The
genesis of the Prelude in C Major, BWV 870 James A. Brokaw II; 12.
Reconstructing the Urpartitur for WTC II: a study of the "London autograph"
(BL Add. MS 35021) Don O. Franklin; Part IV. Transmission and reception:
Bach in the eighteenth century Ludwig Finscher; 13. Tradition as authority
and provocation: Anton Weburn's confrontation with Johann Sebastian Bach
Martin Zenck; 14. The human side of the American Bach sources Gerhard Herz.
