Page:A Dictionary of Music and Musicians vol 4.djvu/500

484 the demisemiquaver passing notes are omitted; as is also the semiquaver passing note, bar 28.

IV. Is missing.

V. Is missing.

VI. Prelude:—at bar 10, two bars are erased and eight bars are substituted at the foot of the page, the eight bars accord with text; bar 18, and the seven bars that follow, accord with marginal reading; at bar 22, the under stave is in the alto clef till bar 26; after bar 37 two bars are inserted at the foot, the two bars accord with text. Fugue:—throughout like text.

VII. Prelude:—bar 30, like text; bar 49, the C in the upper stave is an octave lower; bar 66, no flat to D in bass. Fugue:—throughout like text.

VIII. Prelude:—nine sharps in the signature, on the same principle as signature of No. 3. Fugue:—signature like Prelude; bar 14, the second B is omitted; bar 18, like marginal reading.

IX. Prelude:—bar 9, second quaver in bass B not A; bar 21, no turn on A♯; bar 50, bass like neither text nor margin, but (e), this is substituted in the place of an erasure, apparently like text;

bar 54, no chord in the upper stave, simply E. Fugue:—bar 15, trill on tenor D; bar 18, no natural to second E in alto.

X. Prelude:—throughout like text. Fugue:—in bar 18 and similar ones, the quaver of the compound time is written exactly under (or over, as the case may be) the semiquaver of the simple time. This throws a light on like instances in Bach's works, notably so on, the way the Prelude in D (No. 5 of the Second Part) should be played; bars 70, 71, (f), so the Fugue ends.

XI. Prelude:—throughout like text. Fugue:—bar 12 and the seven bars that follow, in G clef; from bar 89 to the end is written at the bottom of the Prelude, with 'Final zur folgend Fuga.'

XII. Is missing.

XIII. Prelude:—nine sharps in the signature of both Prelude and Fugue, on the same principle as Nos. 3 and 8.

XIV. Prelude:—end of bar 18 (g);

bar 27, the third E in upper stave is marked ♯. Fugue:—bars 3, 6, 11, there is a trill on the final minim of subject; bar 15, the last quaver of middle part is C only; bar 16, a trill on G in middle part; bar 53, the last C in upper stave is not ♯.

XV. Prelude:—bar 24, no ♮ to last D; bar 45, trill on first B. Fugue:—no ♮ to last C in upper stave, bar 64.

XVI. Prelude:—bar 9, like margin; bar 21, bass like text. Fugue:—bar 9, no ♮ to first E; bars 12, 13, 16, and 22, like text; bar 82, no ♮ to last A.

XVII. Prelude:—six flats in the signature, on the same principle as the extra sharps are marked in Nos. 3, 8, 13; bar 6, the demisemiquaver is G not F; bar 42, no ♭ to second A; from the end of bar 53 to the beginning of bar 56, is as at (h); bar 75, no appoggiaturas. Fugue:—signature like Prelude; from bar 6 the under stave is in the alto clef for two bars and three quarters; the latter half of bar 14 is as at (i); bar 32, the upper part enters at the commencement with a B minim.

XVIII. Prelude:—bars 12, 14, 15, 40, like margin. Fugue:—throughout like text.

XIX. Prelude:—throughout like text. Fugue:—bar 16, like margin.

XX. Prelude:—bar 19, no ♮ to last G; bar 24, like upper margin; bar 30, bass like margin. Fugue:—bars 6 and 15 like margin; bar 28, ♯ to last C only; ♯ to C in last chord; but, no E in the upper stave and no upper A in the lower stave.

XXI. Prelude:—bar 36, third semiquaver in bass, A not C; bar 63, like margin; bar 67, no ♮ to B. Fugue:—bars 5 and 6 like margin; bar 89 as at (k).

XXII. Prelude:—seven flats in the signature, on the same principle as Nos. 3, 8, and 13; bar 16, ♭ to G in bass; bar 81, crotchet F in upper stave, no semiquavers E, D. Fugue:—signature like Prelude; no staccato marks in the subject; bar 22, B not C♭ in tenor; bar 33 like margin; bar 77, F not D in tenor.

XXIII. Prelude:—seven sharps in the signature, on the same principle as Nos. 3, 8, 13, 22; bar 45 like text. Fugue:—signature like Prelude; bar 70, no 𝄪 to C. This manuscript is in a much worse state of preservation than are the others.

XXIV. Prelude:—throughout (not like Kroll's but) like Chrysander's text. Fugue:—bar 16