By clicking Accept or X, you hereby accept and agree to the updated privacy policy.The object of the present analysis is to place in the hands of students a detailed and exhaustive scheme of every Prelude and Fugue.
Bach Prelude And Fugue Analysis Full And CopiouslyIn the Preludes the mode of procedure has been: 1) To give the figure upon which each Prelude is built; 2) To give the Prelude itself in full and copiously marked, or in a reduced form showing the structure; 3) a Summary of the piece; and lastly, general remarks upon the structure and treatment of the materials.For the Fugues a Tabulated Analysis bar by bar is first given, then a summary and remarks as before.
For both of these chorale preludes from the Orgelbchlein, however, it is the systematic use of motifs that establish a particular musical mood. The copyist associated with C. P. E. Bach has only been identified as Anonymous 303; the manuscript is now housed in the Berlin State Library. Bach Prelude And Fugue Analysis Professional Copyist WhoAlthough less prolific than copyists like Johann Friedrich Agricola, from the many hand-copies circulated for purchase by Anon 303, including those from the Sing-Akademie zu Berlin recovered from Kiev in 2001, commentators agree that the professional copyist who must have enjoyed a close relationship with C. P. E. Bach. The other secondary source for BWV 543 came through the copyist Johann Gottfried Siebe and Kirnberger. The manuscript became part of the Amalienbibliothek, the music library of Princess Anna Amalia of Prussia; it is now in the Berlin State Library. The sources for BWV 543a, which is presumed to be an earlier version of BWV 543 differing markedly from the prelude but identical to the fugue, originate in Leipzig. The main source was an unidentified copyist associated with Bachs pupil Johann Ludwig Krebs; the manuscript is now in the Berlin State Library. A secondary source is from the copyist Johann Peter Kellner, written around 1725 and also now in the Berlin State Library. An additional source is the score made by the copyist Michael Gotthardt Fischer; it is now stored in the Irving S. The versions of the fugue are identical, whereas the two versions of the prelude are distinct, the first version BWV 5431a is shorter and presumed to be the earlier. The differences between the two versions of the prelude are discussed in Williams (2003): the earlier version is 43 bars long, while the later version is 53 bars long. The main differences occur in bars 16 of BWV 543a1 and bars 19 of 5431 where the descending semiquaver broken-chord figures are altered and truncated. The same applies for the corresponding passages for bars 1718 in BWV 543a1 and bars 2628 in BWV 5431. In addition the triplet semiquavers in the later prelude are notated as demisemiquavers. As Beechey (1973) observes, The more serious question concerning the opening passage of the prelude in its early and later versions is the fact that Bach changed his demisemiquavers to semiquavers. In the later version Bach was thinking on a larger scale and was considering the fugue and companion movement on a similarly large scale. The simplest way of extending the early prelude was to double the note values of the passages cited and thus make its flow more even. Williams also cites similarities between the subjects outline and that of the A minor Fugue BWV 559, or between the pedal figures in both Preludes closing stages and in the Preludes opening right hand figure, in a Corrente in Vivaldis Op. No. 1, of 1709, and in a Fugue in E minor by Pachelbel. Bach Prelude And Fugue Analysis Series Of ExpositionsAside from Williams observations about the fugue subject, the fugues BWV 543 and 944 differ in their larger outlines: their harmonic structure and the series of expositions and episodes are not parallel. These include solo passages at the start; semiquaver passages with hidden two- or three-part counterpoint in both the manuals and pedals; virtuosic demisemiquaver passages with trills leading to a cadence; and running semiquaver and demisemiquaver figures throughout, including at the start and in the coda. The traditional aspects are the semiquaver arpeggiated passage work with its latent counterpoint which incorporates a descending chromatic bass line. The highly embellished cadence that followsfull of manual runs over sustained pedal notesleads into a contrapuntal exploration of the opening material in sequence; this is followed by a very free peroration. Features which distinguish Bachs writing from seventeenth-century compositions include its regular tempo throughout; the careful planning of climaxes; the well-judged changes from semiquavers, to semiquaver triplets and then demisemiquavers.
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