• Ricercare c-Moll (1925/29)
  • Chaconne a-minor (1927)
  • 2 Hymnen (1928)
  • Passamezzo and joint g-minor (1928)
  • Toccata and fugue f-minor (1928)
  • Fantasia super "L'homme arme" (1929)
  • Preamble and Fugue d-Moll (1930)
  • 2 little Preludes and Fugues a-minor and G major (1931)
  • 2 Fantasies and Fugues e-minor and C-major (1935)
  • Ricercare in a (1937)
  • "Ich stürbe gern aus Minne". Minnesongs for sopran and organ (1942)
  • Partita about "Innsbruck, ich muß dich lassen" (1953/55)
  • Little Chaconne about "Nun komm, der Heiden Heiland" (1959)
  • Chaconne and Fuga (1962)
  • Toccata and joint (1962)
  • Partita over B-A-C-H (1964)
  • 12 organ fugues through all tone types, op. 66 (1967/68)
  • Partita (1970)
  • Hoelderlin, op. 70 (1970)
  • Franz von Assisi (1972)
  • Thomas von Aquin (1972)
  • Sonate for violin and organ, op. 75 (1975)
  • Sonate for violincello and organ (1975)

Choral work for organ:

  • Choral preludes, partitas, Toccatas, Fantasies, Passacaglies among other things (1932-69). 21 booklets

Johann Nepomuk David's works for the organ covers 20 choral-free and 50 choral pieces of different form and length; among them Choral prefaces of two minutes, large choral partitas of more than 20 minutes and large cycles like the "12 organ fugues" from 90 minutes of performance duration. David's organ work presents itself first in traditional forms. The stylistic development takes its output with a sound-joyful, virtuos late-romantic style of the choral-free works, against which the Choralwerk in examination stands out; cantus firmus the record layout determines equivalent from the beginning. In the process of the development becomes this more strictly, monothematically and more encoded. David pushes over an expansive extension of the printout of the single line over a chromatics to "series" in the type of the 12-tone-princip. Its "extended tonality" remains in a voltage reference to a basic tone, which represents the tone type. David's counterpointed style priority of the horizontal line before the vertical chord happening means. The latter is not the result of the counter-pointed record, dependent on this and thus secondarily, however under any circumstances arbitrarily or hearing-moderately irrelevant, although the even late works are still comprehensible in their vertical density hardly. Typical style features are: Canon structures, Polymetrik, Polytonality, mono topic, printout counterpoint, combinatorial mathematics of several topics, topic desks metamorphosis, series joint.
Wolfgang Dallmann (Translation: Dirk Heinze)