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Within this small group of works it is easy to see the extent to which Bach assimulated, enriched, and synthesised the formal antecedents and national styles which fell under his gaze. North German methods were culled early, from his friendship with Böhm at Lüneburg and from Reincken in Hamburg (1700-2), and Buxtehude (1705/6), while the proximity of Celle to Lüneburg introduced him to the French music in favour there, an interest sustained by Bach into his Weimar years where he copied de Grigny’s organ works, and the Applicatio, BWV994, reproduces ornaments after d’Anglebert. In youth Bach had copied extensively the South German repertory of Froberger, Kerll, and Pachelbel, while, apart from the copy of Frescobaldi’s Fiori Musicali (1635) which he had signed in 1714, the cultivation of the Italian concerto at the Weimar court was especially catalytic.
p. 230 “Edward Catich, The Origin of the Serif , Davenport [sic] Iowa, St. Ambrose University, 1968”: “St. Ambrose University” should be “St. Ambrose College”.
p. 230 “K. G. Saner” should be “. Sauer”.
p. 230 “Michael Twyan” should be “Michael Twyman”.
p. 230 “S. Harvard” should be “Stephen Harvard”.
p. 231 “Ruth Crib” should be “Ruth Cribb” and “Joe Crib” should be “Joe Cribb”.
p. 231 “. Wiggins, The Shapes of Roman Letters , New York, The Typoﬁles, 1947”: “W. A. D. Wiggins” should be “. Dwiggins”; “Typoﬁles” should be “Typophiles”.