Perhaps before composing the bulk of The Well-Tempered Clavier, Bach had been challenging himself to create a fugue with real technical daring. This fugue, in a minor BWV 865, represents some of the composer’s most ambitious fugal writing. Have a look at an outline of the subjects alone—you might even follow this image while listening to the episode— this might give you some idea of the task Bach undertook:
From the beginning of the piece to the end, the combinations of themes become more complex, from entries one by one, to a three-voice stretto and finally all four voices simultaneously.
The prelude, meanwhile, is much simpler. Between the earliest version and the revisions found in P.415, we see Bach lacquering in his workshop. Notice the right hand:
Bach finds more movement in revision:
The detail I miss from the earliest version is the beautiful B-flat in the left hand:
Although I do like Bach’s longer pedal point in the revision:
Enjoying your contrapuntal journey? Here’s how you can help:
We encourage our listeners to
become a paid subscriber at
wtfbach.substack.com
Free subscriptions (yes, you can subscribe for free!) are also beneficial for our numbers.
You can make a one-time donation here.
https://www.paypal.me/wtfbach
https://venmo.com/wtfbach
Supporting this show ensures its longevity.
Thank you for your support!
Concepts Covered:
We study J.S. Bach Well Tempered Clavier, the history, lessons and analysis. Performance practice and contrapuntal structure, especially the complicated stretto fugue in a minor BWV 865 with its inverted stretti, its triple strettos and finally a four-voice stretto half inverted.
