Analysis of Bach Fugue in D Minor
Bach, Well Tempered Clavier
Historical Background of the Fugue and how it fits into the greater context of Bach’s careers.
Introduction
The fugue can be defined by Schulenberg as ‘A contrapuntal composition (or section or movement of a larger work) in which a theme, called a subject, is introduced in one voice and then imitated repeatedly at different pitch levels or in different keys by all of the parts’. The fugue originates from the Renaissance motet, an instrumental piece from the 16th and 17th centuries usually with a title such as ‘fantasy’. Contrapuntal style during this time was used within the constraints of the modal system, but the majority of contrapuntal features and devices of fugue style were still available to these earlier composers such as Corelli and Vivaldi. The earliest use of the word fugue in the 16th century actually meant canon strictly applied. This then developed into the fugue as known today. This is evident in the works of Josquin and Buxtehude, imitative contrapuntal ideas evolved in some of their works. At the time of The Well-tempered Clavier certain fugal features are defined. In the exposition a second voice or countersubject almost always follows the subject the countersubject is frequently at the pitch of the dominant. Regular countersubjects pre-dominate in order that the unity of the fugue may be emphasised. A third voice may enter with the subject generally after a slight delay. There many also be an inverted countersubject. Episodes are generally included in fugues, these are connecting passages between two expositions and their function is to prepare for the next entry. Although the fugue is typically known as a baroque era style of music, composers such as Mozart, Beethoven and Braham’s have extended the style of the fugue. A prominent feature in their fugues is the episode. The episode is generally used and developed more, it normally occurs straight after the exposition. J.S. Bach is well known as the
Historical Background of the Fugue and how it fits into the greater context of Bach’s careers.
Introduction
The fugue can be defined by Schulenberg as ‘A contrapuntal composition (or section or movement of a larger work) in which a theme, called a subject, is introduced in one voice and then imitated repeatedly at different pitch levels or in different keys by all of the parts’. The fugue originates from the Renaissance motet, an instrumental piece from the 16th and 17th centuries usually with a title such as ‘fantasy’. Contrapuntal style during this time was used within the constraints of the modal system, but the majority of contrapuntal features and devices of fugue style were still available to these earlier composers such as Corelli and Vivaldi. The earliest use of the word fugue in the 16th century actually meant canon strictly applied. This then developed into the fugue as known today. This is evident in the works of Josquin and Buxtehude, imitative contrapuntal ideas evolved in some of their works. At the time of The Well-tempered Clavier certain fugal features are defined. In the exposition a second voice or countersubject almost always follows the subject the countersubject is frequently at the pitch of the dominant. Regular countersubjects pre-dominate in order that the unity of the fugue may be emphasised. A third voice may enter with the subject generally after a slight delay. There many also be an inverted countersubject. Episodes are generally included in fugues, these are connecting passages between two expositions and their function is to prepare for the next entry. Although the fugue is typically known as a baroque era style of music, composers such as Mozart, Beethoven and Braham’s have extended the style of the fugue. A prominent feature in their fugues is the episode. The episode is generally used and developed more, it normally occurs straight after the exposition. J.S. Bach is well known as the
Bibliography: Malcolm Boyd, Oxford Composer Companions: J.S. Bach (Oxford university Press 1999) Joseph Groocock, Fugal Composition, A Guide to the Study of Bach’s ‘48’ (Dorone Groocock 2003) Hermann Keller, The well-tempered clavier by Johann Sebastian Bach (Allen & Unwin 1976) Ralph Kirkpatrick, Interpreting Bach’s Well-Tempered Clavier (Yale University Press 1984) David Schulenberg, Music of the baroque (Oxford University Press 2008) -------------------------------------------- [ 1 ]. Malcolm Boyd, Oxford Composer Companions: J.S. Bach (Oxford university Press 1999) p.181 [ 2 ] [ 3 ]. Boyd, Oxford Composer Companions: J.S. Bach (Oxford university Press 1999) pp.181-182 [ 4 ] [ 8 ]. Ralph Kirkpatrick, Interpreting Bach’s Well-Tempered Clavier (Yale University Press 1984) p.6 [ 9 ] [ 12 ]. Hermann Keller, The well-tempered clavier by Johann Sebastian Bach (Allen & Unwin 1976) p.67 [ 13 ] [ 14 ]. Joseph Groocock, Fugal Composition, A Guide to the Study of Bach’s ‘48’ (Dorone Groocock 2003) p. 63 [ 15 ] [ 16 ]. Hermann Keller, The well-tempered clavier by Johann Sebastian Bach (Allen & Unwin 1976) p.69 [ 17 ]