Johann Sebastian Bach was better known as a virtuoso
organist than as a composer in his day. His sacred
music, organ and choral works, and other instrumental
music had an enthusiasm and seeming freedom that
concealed immense rigor. Bach's use of counterpoint was
brilliant and innovative, and the immense complexities
of his compositional style -- which often included
religious and numerological symbols that seem to fit
perfectly together in a profound puzzle of special
codes -- still amaze musici...(+)
Johann Sebastian Bach was better known as a virtuoso
organist than as a composer in his day. His sacred
music, organ and choral works, and other instrumental
music had an enthusiasm and seeming freedom that
concealed immense rigor. Bach's use of counterpoint was
brilliant and innovative, and the immense complexities
of his compositional style -- which often included
religious and numerological symbols that seem to fit
perfectly together in a profound puzzle of special
codes -- still amaze musicians today. Many consider him
the greatest composer of all time.
This fugue was probably written during Bach's years in
Arnstadt, where he served as organist at the Neue
Kirche. He had always shown interest in the works of
the Italian masters and wrote a number of compositions
based on their themes, including Fugue for organ in B
minor (on a Theme of Corelli) (BWV 579), Fugue for
keyboard in B minor (on a theme of Albinoni) (BWV 951),
and this C minor effort for organ based on a theme by
Giovanni Legrenzi (1626 - 1690). The work opens with
Legrenzi's theme, a stately creation that Bach
brilliantly developed during the course of the fugue.
It begins with a sort of five-note motto that rises
high on the keyboard, almost serving as a repeating
fanfare on each of its appearances. Not surprisingly,
Bach's contrapuntal writing is brilliant throughout and
at the core of the work's success, inner voices emerge
with crucial detail or blend deftly with the main line
to forge some new thematic aspect. Near the end is a
cadenza-like episode of great drama that leads to a
brilliant, powerful close. This work typically has a
duration of six or seven minutes.
Although originally composed for Organ, I created this
arrangement for Woodwind Quartet (Flute, Oboe, Bb
Clarinet and Bassoon).
PARTITION