Compared to Bach's more famous prelude and fugue
efforts, this is rather clumsy in its counterpoint
(cautiously limiting itself to two or sometimes three
voices), and so it's thought to be extremely early
Bach, perhaps even his very first organ piece. However
unsure the counterpoint may be, the piece as a whole
displays an interesting sense of architecture, which
Bach would develop later in his career, and shows a
certain flair in the use of pedal notes. Bach seems to
have patterned this piece o...(+)
Compared to Bach's more famous prelude and fugue
efforts, this is rather clumsy in its counterpoint
(cautiously limiting itself to two or sometimes three
voices), and so it's thought to be extremely early
Bach, perhaps even his very first organ piece. However
unsure the counterpoint may be, the piece as a whole
displays an interesting sense of architecture, which
Bach would develop later in his career, and shows a
certain flair in the use of pedal notes. Bach seems to
have patterned this piece on the five-section fugues of
Buxtehude. The prelude breaks into three parts: a
preliminary section in sixteenth-note runs, a
cheerfully florid fugato of 17 measures, and a short
interlude. The fugue proper, a double fugue, borrows
its main theme from a Fantasia by Sweelinck; the
counter subject, which becomes increasingly important
through the course of this work, is a grown-up version
of the little fugato from the prelude. One arresting
harmonic event, which can be considered either another
bit of clumsiness or an act of daring, is an abrupt
modulation to C minor, from which the fugue gradually
works its way back to the tonic A minor. The fifth
section is a brief epilogue, a toccata bringing the
piece to term on a note of confidence.
Although originally composed for Organ, I created this
modern interpretation for Woodwind Quartet (Flute,
Oboe, Bb Clarinet & Bassoon).Prelude & Fugue in A Minor
(BWV 551) for Woodwind Quintet
PARTITION