Prelude in C minor, BWV 999
![](https://upload.wikimedia.org/wikipedia/commons/thumb/c/c8/BWV999-0_%28title_page_of_Kellner_manuscript%29.png/410px-BWV999-0_%28title_page_of_Kellner_manuscript%29.png)
The Prelude in C Minor, BWV 999, is, according to its only extant 18th-century manuscript, a composition for lute by Johann Sebastian Bach. In the manuscript, conserved as Fascicle 19 of Mus.ms. Bach P 804 at the Berlin State Library, Johann Peter Kellner wrote the piece down in keyboard notation. The time of origin of the work is not known: possibly Bach composed it in his Köthen period, that is, between 1717 and 1723, or the early years of his ensuing Leipzig period. Kellner's copy was produced after 1727, but before Bach's death in 1750.
The Prelude can be performed as well on a lute as on a keyboard. In the 19th century, it was adopted as No. 3 in the keyboard collection Twelve Little Preludes. It was grouped with Bach's lute compositions in 20th-century scholarship such as the Bach-Jahrbuch of 1931, the Bach-Werke-Verzeichnis and the New Bach Edition. It has been recorded in performances on lute, on guitar, and on keyboard instruments such as piano or harpsichord. In the 21st century, digital facsimiles of Kellner's copy became available on-line, for instance at the Bach Digital website.
History
According to the Bach Digital website, the time of origin of Johann Sebastian Bach's Prelude in C minor, BWV 999, is unknown.[2] Based on Thomas Kohlhase , the 1998 edition of the Bach-Werke-Verzeichnis indicates that the piece likely originated in Bach's Köthen period, that is, between 1717 and 1723.[3] Christoph Wolff and Walter Emery estimated that the composition may have originated from Bach's Köthen period to the early years of his Leipzig period, which began in 1723, based on similarities with the Preludes and Fugues in The Well-Tempered Clavier.[4]
According to Kohlhase, Johann Peter Kellner's copy of the Prelude dates from around the middle of the 1720s.[5] A more comprehensive research into the time of origin of all 57 fascicles of the Berlin State Library's Mus.ms. Bach P 804 convolute, by Russell Stinson, showed that its 19th fascicle, Kellner's copy of the BWV 999 Prelude, originated after 1727.[6] All fascicles of the P 804 manuscript were written before Bach's death in 1750.[7] Kellner's manuscript is the only source for the composition.[8][9]
The title page of Kellner's copy of BWV 999, page 101 in the D-B Mus.ms. Bach P 804 convolute, reads:[1][8]
Prælude in C mol. |
Prelude in C minor. |
The composition is written on the next two pages, on systems of two staffs, with a soprano clef for the upper staff, and a bass clef for the lower staff. Although, in the first half of the 18th century, a tablature notation was common for lute compositions, Kellner thus wrote the Prelude down in a notation which at the time was customary for keyboard compositions.[10] The Prelude can be performed as well on a keyboard instrument as on a lute.[11][12][13] Kellner is known as organist and keyboard performer: his copy of BWV 999 is the only extant instance of him taking an interest in a composition for lute.[11]
A concluding section, which could follow after the Prelude as written down by Kellner, seems to be missing. The Prelude opens in C minor but instead of returning to that key (i.e., the tonic), it ends on the dominant, in fact the parallel key of the dominant, G major, while the closing chord contains a Picardy third. David Schulenberg compares this to the Prelude BWV 872a/1: after a section with arpeggios ending on the dominant, it continues with a fugato returning to the tonic. Also, the last bar of the piece only has the duration of a quarter note: it is uncommon for a piece in 3
4 to end on a bar with a different duration than three quarter notes. Whether Bach never composed such continuation of the piece, or whether Kellner didn't copy it, is not known.[11]
Music
BWV 999's brief, introductory nature (43 measures), improvisatory feel and reiteration of a defining motif fits squarely within the prelude genre of the 1710s and 1720s. Additionally, the shortness of the motif itself follows the conventions of early sixteenth-century prelude. It also served a teaching purpose characteristic of the genre, widely using arpeggiations and technical demands that served students well as an étude. Barbara Russano Hanning describes prelude features and goals: "The typical prelude assigns the player a specific task, so that the piece functions as an etude. In addition, the preludes illustrate different types of keyboard performance conventions and compositional practices."[14] Such pedagogical traits contribute to the work's longevity; it is still an oft-used educational tool.[citation needed]
Motif
The Prelude's central motif consists of intersecting rhythms between the upper and lower voice (what originally would have been the left and right hand). In the right hand, this is a sixteenth rest, followed by a seven-note sixteenth passage that typically arpeggiates an inversion of a triad (ascending and descending from and back to the root), and an alternating sixteenth rest–sixteenth note pattern in the third beat. The left participates by having a pedal tone quarter in the first beat, a rest, then two eighth notes.
Harmony
Contrary to its title and key signature, less than a third of BWV 999 is actually written in C minor. In measure 11, a Secondary leading-tone chord is employed (namely, a diminished F♯ seventh chord) to modulate and lead the ear to G minor, the dominant of the original key. Aside from a turn to G major (mm. 34–38 and 42–43), and the reemergence of C minor (mm. 39–41), G minor tonality dominates the piece. Early on, the upper voice is repeated over several measures, with the left hand providing the only shifting harmonic background. For example, measures 8–10 are exactly the same in the right hand, but descending tones in the left hand create an expansion of tonic harmony.
Reception
In 1843, Friedrich Konrad Griepenkerl edited the Prelude as No. 3 of the "XII petits Préludes ou Exercises pour les Commençants" (lit. '12 little preludes or exercises for beginners'), which was included in the 9th volume of Bach's complete keyboard works published by C. F. Peters.[15][16] The next year, the publisher issued the Twelve Little Preludes set separately.[17] Philipp Spitta described BWV 999 thus:
Vorzüglich ist ein kleines C moll-Praeludium, das harfenartig lispelnd von einer Harmonie zur andern träumt und die wundersame Romantik des Bachschen Geistes ahnungsvoll emporsteigen läßt |
Very admirable is a little prelude in C minor, which runs whispering on in harp-like tones from one set of harmonies to another, and yet lets the mystical romanticism of Bach's genius pierce through it all. |
—Philipp Spitta (1873)[18] | —Bell/Fuller Maitland translation[19] |
Spitta, assuming that nearly none of Bach's compositions for lute survived, mentioned the third of the Twelve Little Preludes as composed for lute or keyboard.[20][21] The Bach Gesellschaft retained the Twelve Little Preludes set for keyboard in the 36th volume, published in 1890, of their complete edition of Bach's works.[3][15][22]
Hans Neemann , writing in the Bach-Jahrbuch of 1931, had no doubt that Bach composed the Prelude for lute:[13]
Auch diese Komposition liegt der Laute in alter Stimmung sehr günstig und ist ausgezeichnet spielbar. Die vorzüchliche Einrichtung erweist den Komponisten als mit der Lautentechnik sehr bewandert. |
Also this composition suits the lute tuned in the old fashion very well, and is very playable. The proficient setting shows that the composer was very versed in lute technique. |
—Hans Neemann[23] | —translation |
Neemann identified five more compositions by Bach as intended for lute.[24] In the Bach-Werke-Verzeichnis, first published in 1950, these compositions were grouped in the BWV 995–1000 range, in a section for lute works.[25] The same six compositions were published in Series V, Vol. 10, of the New Bach Edition, in 1976.[26]
The Prelude has been adapted for various instruments, including lute, piano and guitar. It is a pedagogical work much in the spirit of The Well-Tempered Clavier, with which it shares musical characteristics.[citation needed] In the second decade of the 21st century, digital facsimiles of Kellner's manuscript became available on the Berlin State Library and Bach Digital websites.[1][5]
Recordings
Some guitarists perform the Prelude BWV 999 in D minor instead of in its original key of C minor.[27][28][29][30][31][32][33][34][35]
Recorded | Instrument | Performed by | Time |
---|---|---|---|
1928–1930 | guitar | Andrés Segovia | 1:23[36] |
25–26 September 1936 | harpsichord | Wanda Landowska | 0:57[37][38] |
1942–1950 | piano | Walter Gieseking | 0:59[39] |
≤1954 | guitar | Alexandre Lagoya | 1:16[27][40] |
1954 | guitar | Andrés Segovia | 1:14[41] |
1956 | lute | Julian Bream | 1:42[42] |
1965 | guitar | Julian Bream | 1:34[29] |
1965 | guitar | Celedonio Romero | 1:28[28] |
1964–1971 | guitar | René Bartoli | 1:37[43][44][45] |
1965–1973 | harpsichord | Zuzana Růžičková | 1:56[46] |
1970 | lute | Konrad Ragossnig | 1:38[47] |
1974–1975 | guitar | John Williams | 1:33[48] |
1980 | lute | Gergely Sárközy | 2:04[49][50] |
1981 | lute | Hopkinson Smith | 1:50[51] |
1981 | guitar | Alexander Frauchi | 1:19[52] |
1983 | lute | Franz Just | 2:05[53][54] |
1984 | guitar | Jürgen Rost | 1:56[55] |
1984 | harpsichord | Kenneth Gilbert | 1:47[56] |
1984 | guitar | Göran Söllscher | 1:51[57] |
1985 | baroque lute | Nigel North | 1:47[58] |
1986 | lute | Jakob Lindberg | 1:50[59] |
October 1986 | harpsichord | Dominique Ferran | 1:35[60] |
1986–1987 | organ | Klaas Jan Mulder | 1:23[61] |
October 1987 | guitar | Eduardo Fernández | 1:35[30][62] |
September 1987 | theorbo | Lutz Kirchhof | 1:59[63] |
June 1988 | piano | Hui-Ying Liu | 1:22[64] |
23–25 July 1988 | guitar (eight-string) | Andrew Schulman | 1:59[32] |
1988–1989 | lute | Konrad Junghänel | 1:39[65] |
1989 | guitar | Lubomír Brabec | 1:28[31] |
December 1989 | baroque lute | Yasunori Imamura | 1:44[66] |
≤1990 | guitar | Dominique Starck | 1:57[34] |
1990 | guitar | Rudolf Wangler | 1:30[67] |
1990 | harp | Éva Maros | 2:00[68] |
June 1990 | guitar | Christian de Chabot | 1:49[33] |
19–21 June 1990 | piano | Maria Tipo | 1:09[69] |
21–22 June 1991 | piano | János Sebestyén | 1:11[70] |
1992 | lute | Jakob Lindberg | 1:58[71] |
1992 | marimba | Peter Sadlo | 1:01[72] |
18 February 1994 | guitar | Franco Trentin | 1:33[73] |
≤1995 | piano | Walter Vleminckx | 1:18[74] |
1995 | harpsichord | Richard Egarr | 1:25[75] |
28–30 August 1995 | piano | Angela Hewitt | 1:26[76] |
1996 | piano | Georges Pludermacher | 1:32[77] |
1992–2000 | guitar | Ansgar Krause | 1:36[78] |
April–May 1996 | lute | Ronn McFarlane | 1:21[79] |
1997 | harpsichord | Élisabeth Joyé | 1:46[80] |
1997 | harpsichord | Pierre Hantaï | 1:42[81] |
June–September 1997 | guitar | Lubomír Brabec | 1:32[35] |
1998 | lute-harpsichord | Robert Hill | 1:40[82] |
August–September 1998 | piano | Gersende Vandenhove | 1:10[83] |
≤1999 | lute | Luca Pianca | 1:34[84][85] |
1999 | baroque lute | Paul Beier | 1:40[86] |
1999 | harpsichord | Bob van Asperen | 2:03[87] |
1999–2000 | guitar | Frédéric Zigante | 1:53[88] |
1999–2000 | guitar | Han Jonkers | 1:37[89] |
July 1999 | piano | Ivo Janssen | 1:13[90] |
November 1999 | harpsichord | Pieter-Jan Belder | 1:34[91] |
December 1999 | piano | Nariné Simonian | 1:13[92] |
2000 | lute | Eduardo Egüez | 1:27[93] |
2000 | guitar (ten-string) | Stephan Schmidt | 1:54[94] |
2000 | harpsichord | Luc Beauséjour | 1:39[95] |
2002 | guitar | Sharon Isbin | 2:10[96] |
2003 | guitar | Frank Bungarten | 1:24[97] |
2003 | harp | Joanna Kozielska | 2:27[98] |
2003 | marimba | Filippo Lattanzi | 1:29[99] |
2004 | theorbo | Andreas Martin | 1:41[100] |
2005 | guitar | Filomena Moretti | 1:24[101] |
≤2007 | guitar | Steve Hackett | 1:13[102] |
August 2007 | lute-harpsichord | Elizabeth Farr | 1:31[103] |
2008 | clavichord | Cristiano Holtz | 1:31[104] |
March 2008 | piano | Andrea Bacchetti | 1:24[105] |
≤15 November 2008 | theorbo | Peter Croton | 2:04[106] |
1999–2017 | guitar | Luigi Attademo | 1:43[107] |
2009–2010 | guitar | Georg Gulyás | 1:43[108] |
2010 | harpsichord | Violaine Cochard | 1:54[109] |
February 2010 | baroque lute | Rafael Bonavita | 1:23[110] |
2010–2012 | guitar | Stefano Grondona | 1:25[111] |
2011 | guitar guitar (ten-string) |
Hannu Annala Mari Mäntylä |
1:32[112] |
January–April 2012 | baroque lute | Mario D'Agosto | 1:38[113] |
2013 | lute-harpsichord | Olivier Baumont | 1:30[114] |
2013 | fortepiano | Luca Guglielmi | 1:19[115] |
2015 | harpsichord | Rinaldo Alessandrini | 1:24[116] |
January 2015 | piano | Tristan Pfaff | 1:02[117] |
13–17 July 2015 | baroque lute | Yasunori Imamura | 1:55[118] |
2017 | clavichord | Sigrun Stephan | 1:21[119] |
2017 | marimba | Tobias Messerschmidt | 1:33[120] |
2020 | baroque lute | Jadran Duncumb | 1:40[121] |
References
- ^ a b c d Mus.ms. Bach P 804 (19) at Berlin State Library website. 1 April 2014.
- ^ Prelude, c BWV 999 at Bach Digital.
- ^ a b Dürr & Kobayashi 1998, p. 409.
- ^ Wolff & Emery 2001, 17. Music for harpsichord, lute etc..
- ^ a b D-B Mus.ms. Bach P 804, Fascicle 19 at Bach Digital.
- ^ Stinson 1992, pp. 47, 53–54.
- ^ Stinson 1992, pp. 47.
- ^ a b RISM 467300279
- ^ Stinson 1992, pp. 47, 63.
- ^ Neemann 1931.
- ^ a b c Schulenberg 2006, p. 176.
- ^ Henning 1987, p. 466.
- ^ a b Neemann 1931, pp. 83–84.
- ^ Hanning, Barbara Russano (2014). Concise History of Western Music. New York: W.W. Norton & Company. p. 278. ISBN 978-0-393-92066-6.
- ^ a b Neemann 1931, p. 83.
- ^ Griepenkerl 1843.
- ^ Griepenkerl 1844.
- ^ Spitta 1873, p. 663.
- ^ Spitta 1899, II, p. 52.
- ^ Spitta 1880, p. 646 (footnote 83).
- ^ Spitta 1899, III, p. 166 (footnote 303).
- ^ Naumann 1890, pp. LX, 119–120.
- ^ Neemann 1931, p. 84.
- ^ Neemann 1931, pp. 78–85, 87.
- ^ Dürr & Kobayashi 1998.
- ^ Eichberg & Kohlhase 1976.
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- ^ a b Guitar Festival at Muziekweb website.
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- ^ a b Lubomír Brabec: At Prague Spring festival '89 at Muziekweb website.
- ^ a b The Baroque Style (Transcriptions for 8-string guitar) at Muziekweb website.
- ^ a b Guitare at Muziekweb website.
- ^ a b Chalice at Muziekweb website.
- ^ a b Lubomír Brabec plays Bach in Antarctica at Muziekweb website.
- ^ Andrés Segovia: Recordings 1927–1939 at Muziekweb website; The Legendary Segovia at Muziekweb website; Andres Segovia and his Contemporaries, Vol.6: Segovia, Llobet & Anido at Muziekweb website.
- ^ Landowska Plays Bach at Muziekweb website.
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- ^ Complete Bach Recordings on Deutsche Grammophon at Muziekweb website.
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- ^ Julian Bream plays Dowland and Bach at Muziekweb website.
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- ^ OCLC 126853391.
- ^ Récital de guitare; René Bartoli at Bibliothèque nationale de France website.
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- ^ OCLC 63612624.
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- ^ J.S. Bach: Works for Lute Vol. 2 at Muziekweb website.
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- ^ Baroque Music for Lute & Guitar at Muziekweb website.
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- ^ OCLC 220795509.
- ^ J.S. Bach: The works for lute in original keys and tunings at Muziekweb website.
- ^ Miniature Masterpieces for Piano at Muziekweb website.
- ^ J. S. Bach: Complete Lute Works at Muziekweb website.
- ^ J. S. Bach: Lute Works, Vol. 1 at Muziekweb website; Johann Sebastian Bach: Lute Music at Muziekweb website.
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- ^ Bach at Muziekweb website.
- ^ J. S. Bach: Piano Works at Muziekweb website.
- ^ J.S. Bach: Lute Music at Muziekweb website.
- ^ Marimbissimo at Muziekweb website.
- ^ De Bach à Bolling at Muziekweb website.
- ^ Piano Miniatures by Great Composers at Muziekweb website.
- ^ J.S. Bach: Harpsichord Works at Muziekweb website.
- ^ Prelude in C minor, BWV999 (Angela Hewitt) at Hyperion website.
- ^ L'atelier des pianistes, Vol. II at Muziekweb website.
- ^ J.S. Bach: Die Lautenwerke at Muziekweb website.
- ^ A distant shore: music of Bach, Weiss and Kellner at Pennsylvania State University website.
- ^ Johann Sebastian Bach: Petits Préludes, Fantaisies & Fugues at Muziekweb website.
- ^ J.S. Bach: Pièces pour clavecin at Muziekweb website; Bach: Works for Harpsichord at Muziekweb website.
- ^ Bach: Works for Lute-Harpsichord at Muziekweb website.
- ^ Anna-Magdalena Jean-Sébastien Bach at Muziekweb website.
- ^ Bach: The Chamber Music, Vol. 11/2 – Works for Lute BWV 998–1000, 1006a at Muziekweb website.
- ^ OCLC 44731942.
- ^ Johann Sebastian Bach: Works for Lute, Vol. 2 at Muziekweb website.
- ^ Lessons with Bach at Muziekweb website.
- ^ Bach: Complete lute music at Muziekweb website; Bach: Complete lute music (Echo series) at Muziekweb website.
- ^ Music from the Royal Courts of Germany at Muziekweb website.
- ^ J S Bach: Inventions – Preludes – Symphonies at Muziekweb website.
- ^ Bach Edition: Suites, Fantasias, Preludes & Fugues at Muziekweb website.
- ^ J. S. Bach: Petits Préludes et Fugues at Muziekweb website.
- ^ The Lute Music of Johann Sebastian Bach, Vol. 2 at Muziekweb website.
- ^ Bach: Lute works at Muziekweb website.
- ^ Famous Works for Harpsichord at Muziekweb website.
- ^ Baroque Favorites for Guitar at Muziekweb website.
- ^ Canción y Danza at Muziekweb website.
- ^ Méditation at Muziekweb website.
- ^ Johann Sebastian Bach: The Well-Tempered Marimba at Muziekweb website.
- ^ Bach: Obras para laúd at Muziekweb website.
- ^ J-S. Bach, Vol. II at Muziekweb website.
- ^ Tribute at Muziekweb website.
- ^ J. S. Bach: Music for Lute-Harpsichord at Muziekweb website.
- ^ Inventions & Sinfonies at Muziekweb website.
- ^ Two-Part Inventions & Sinfonias at Muziekweb website.
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Sources
- "D-B Mus.ms. Bach P 804, Fascicle 19". Bach Digital. Leipzig: Bach Archive; et al. 14 January 2020.
- "Prelude, c BWV 999". Bach Digital. Leipzig: Bach Archive; et al. 9 April 2020.
- Dürr, Alfred; Kobayashi, Yoshitake, eds. (1998). "9. Werke für Laute". Bach Werke Verzeichnis: Kleine Ausgabe – Nach der von Wolfgang Schmieder vorgelegten 2. Ausgabe [Bach Works Catalogue: Small Edition – After Wolfgang Schmieder's 2nd edition] (in German). Kirsten Beißwenger (collaborator). (BWV2a ed.). Wiesbaden: Breitkopf & Härtel. pp. 407–410. ISBN 978-3-7651-0249-3. Preface in English and German.
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: CS1 maint: postscript (link) - Eichberg, Hartwig; Kohlhase, Thomas, eds. (1976). Einzeln überlieferte Klavierwerke II / Kompositionen für Lauteninstrumente [Single handed down Piano Works II – Compositions for Lute Instruments]. New Bach Edition (in German). Vol. Series V (Keyboard and Lute Works), Vol. 10 (Urtext ed.). Bärenreiter. pp. VI–VII ("Zur Edition"), 81ff. ISMN 9790006462575. BA 5044-01.
- Griepenkerl, Friedrich Konrad, ed. (1843). "16. XII petits Préludes ou Exercises pour les Commençants" [16. Twelve little preludes or exercises for beginners]. Compositions pour le Piano-Forte sans et avec accompagnement Par Jean Sebastien Bach [Piano compositions, without and with accompaniment, by Johann Sebastian Bach]. Oeuvres complèts de Jean Sebastien Bach (in French and German). Vol. 9. Leipzig: C. F. Peters. pp. 73–83. OCLC 706038903. Plate number: 2838.
- Griepenkerl, Friedrich Konrad, ed. (1844). 12 petits préludes ou exercises pour le commençans [12 little preludes or exercises for beginners]. Pièces détachées de la 9me livraison des compositions pour le pianoforte par Jean sebastien Bach (in French and German). Vol. 16. Leipzig: C. F. Peters. Plate number: 2838.
- Henning, Uta (1987). "Zur Frage des Lautenklaviers bei Johann Sebastian Bach: Mögliche Zuweisung der Bachschen Lautenkompositionen an das Lautenklavier – Beschreibung des Instruments und Rekonstruktionsversuche im 20. Jahrhundert". In Berke, Dietrich; Hanemann, Dorothee (eds.). Alte Musik als ästhetische Gegenwart: Bach, Händel, Schütz. Bericht über den internationalen musikwissenschaftlichen Kongreß Stuttgart 1985 (in German). Vol. 2. Bärenreiter. pp. 465–469. ISBN 3-7618-0767-8 – via Qucosa .
- Naumann, Ernst, ed. (1890). "XIX. Zwölf kleine Praeludien" [19. Twelve Little Preludes]. Joh. Seb. Bach's Clavierwerke: Vierter Band [Joh. Seb. Bach's keyboard compositions: Vol. IV]. Bach-Gesellschaft Ausgabe (in German). Vol. 36. Bach Gesellschaft. Leipzig: Breitkopf & Härtel. pp. LX–LXI ("Vorwort"), 118–127.
- Neemann, Hans (1931). "J. S. Bachs Lautenkompositionen" [J. S. Bach's lute compositions]. In Schering, Arnold (ed.). Bach-Jahrbuch 1931 [Bach-Yearbook 1931]. Bach-Jahrbuch (in German). Vol. 28. Leipzig: Breitkopf & Härtel. pp. 72–87. doi:10.13141/bjb.v1931 – via Qucosa .
- Schulenberg, David (2006). "Little Preludes". The Keyboard Music of J.S. Bach (2nd ed.). Taylor & Francis. pp. 169–176. ISBN 978-0-415-97400-4.
- Spitta, Philipp (1873). Johann Sebastian Bach (in German). Vol. I. Leipzig: Breitkopf & Härtel.
- Spitta, Philipp (1880). Johann Sebastian Bach (in German). Vol. II. Leipzig: Breitkopf & Härtel.
- Spitta, Philipp (1899). Johann Sebastian Bach: His Work and Influence on the Music of Germany, 1685–1750. Vol. I – II – III. Translated by Bell, Clara; Fuller Maitland, John Alexander. Novello & Co.
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- Stinson, Russell (1992). "'Ein Sammelband aus Johann Peter Kellners Besitz': Neue Forschungen zur Berliner Bach-Handschrift P 804". In Dürr, Alfred; Neumann, Werner (eds.). Bach-Jahrbuch 1992 [Bach-Yearbook 1992]. Bach-Jahrbuch (in German). Vol. 78. Neue Bachgesellschaft. Leipzig: Evangelische Verlagsanstalt. pp. 45–64. doi:10.13141/bjb.v1992. ISSN 0084-7682 – via Qucosa .
- Wolff, Christoph; Emery, Walter (20 January 2001). "Bach, Johann Sebastian". Grove Music Online (8th ed.). Oxford University Press. ISBN 978-1-56159-263-0.
Further reading
- Hoppstock, Tilman (2013). "Prelude BWV 999". Bach's Lute Works: from the Guitarist's Perspective. Vol. Vol. 2: BWV 998/999/1000. Translated by Chalmers-Gerbracht, Lindsay. Introduction by Smith, Hopkinson. Prim Musikverlag. pp. 143–161. ISBN 978-3-941734-08-1. PRIM 1750-EE2.
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External links
- Prelude in C minor, BWV 999: at the International Music Score Library Project
- Prelude in C minor BWV999 – recordings at Primephonic website.
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- CS1 French-language sources (fr)
- CS1 errors: external links
- Works with IMSLP links
- Articles with International Music Score Library Project links
- Preludes by Johann Sebastian Bach
- Articles containing video clips