The Prelude and Fugue in C major (BWV 545) exists in an
earlier version possibly written when Bach was in
Weimar, 1708--1717, but the present version is a
revision Bach made while in Leipzig. The two sections
complement each other perfectly, the Prelude having a
rapid, flashy character while the Fugue opens with a
majestic, rising subject. The two are ideal choices for
both recitals and service music.
The opening of the Prelude spans almost the entire
range of the organ, from high 'C' i...(+)
The Prelude and Fugue in C major (BWV 545) exists in an
earlier version possibly written when Bach was in
Weimar, 1708--1717, but the present version is a
revision Bach made while in Leipzig. The two sections
complement each other perfectly, the Prelude having a
rapid, flashy character while the Fugue opens with a
majestic, rising subject. The two are ideal choices for
both recitals and service music.
The opening of the Prelude spans almost the entire
range of the organ, from high 'C' in the great to low
'C' in the pedal. The descending semiquaver figure
sounded back and forth between the bass and tenor forms
the backbone of the piece. As this motive is developed,
the pedal begins a sequential motive on the upbeat,
carrying the piece forward. After a short pedal solo,
the falling figure returns in the pedal and the tenor
to recall the beginning, and a wonderful
diminished-seventh chord sounds over a tonic pedal
right before the end of this section.
The optional Largo (from Bach's Trio Sonata No. 5 --
BWV 529) is as florid a movement as is to be found in
the organ sonatas; the two highly ornamented upper
voices weave in and around one another atop a steady
bass line.
The 'alla breve' Fugue has a very stately sound to it,
employing a slow, rising tetrachord for the subject.
Syncopation between the voices is one of the prime
elements of this fugue, as motive development often
begins on the upbeat. No consistent countersubject
occurs, and the theme is weaved with various textures,
oftentimes unnoticeably. The last entry of the theme
occurs in the soprano and fills out the thicker,
chordal texture pulling the piece to its close.
PARTITION