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AUGENER'S EDITION. No. 9205 
 
 ANALYSIS 
 
 OF 
 
 J, S. BACH'S 
 Wohltemperirtes Clavier 
 
 (48 Preludes & Fugues) 
 
 BY 
 
 Dr. H. RIEMANN 
 
 TRANSLATED FROM THE GERMAN BY 
 
 J. S. SHEDLOCK, B.A. 
 
 PART I. 
 PRELUDES & FUGUES Nos. 1 to 24 
 
 FIFTH IMPRESSION 
 
 AUGENER Ltd. 
 
 LONDON 
 
 MUSIC LiBRAKs 
 
 ONIVERSITY OF OjHHliM^KH, 
 
 STORRS. CONNtCTIuUT 
 
TO 
 
 Prof. Dr. PHILIPP SPITTA 
 
 THE ENTHUSIASTIC BIOGRAPHER 
 
 OP 
 
 J, S. BACH 
 
 Printed in England 
 
 AUGENER Ltd., 
 287 Acton Lane, London, W. 4. 
 
CONTENTS. 
 
 (MKST PAKT.) 
 
 Page 
 
 Preface to German Edition , . . e * • . . I 
 
 Preface to English Edition . ... Ill 
 
 Tranblation of the same into German Xll 
 
 Analysis of all the Preludes and Fugues of «he Well-tempered 
 Clavier in the chromatic succession of keys; — 
 
 No. I in C-major . . . . . . , l 
 
 ,, 2 ,, C-minor . . 8 
 
 » 3 n Cjj-major 15 
 
 ^ 4 „ CJf-minor 23 
 
 „ 5 „ D-major 32 
 
 „ 6 „ D-minor 39 
 
 7 „ E|7-major 45 
 
 „ 8 „ Ei7-minor 54 
 
 „ 9 „ E- major 60 
 
 „ 10 „ E-minor 63 
 
 „ II „ F-major . 69 
 
 „ 12 „ F-minor 76 
 
 „ 13 „ Fft-major 82 
 
 „ 14 „ F^-minor 87 
 
 „ 15 „ G-major 94 
 
 „ 16 ,, G-minor 99 
 
 -, 17 „ AF-major 106 
 
 „ 18 „ Gjt-minor Ill 
 
 „ 19 ,1 A -major 120 
 
 „ 20 „ A-minor . 128 
 
 „ 21 „ b1?. major 133 
 
 „ 22 „ Bt^-miuor . 138 
 
 „ 23 „ B-major 147 
 
 „ 24 „ B-niinor 154 
 
PREFACE. 
 
 The present analysis of J. S. Bach's "Wohl- 
 temperirtes Clavier" may be regarded as a sequel to 
 the "Catechism of Composition", and specially as a 
 Guide to fugal composition by the help of the most 
 wonderful master-pieces in this branch of musical art; 
 for to students of composition good examples are far 
 more profitable than abstract rules and vague pre- 
 scripts. If a well-known teacher of counterpoint is 
 accustomed to tell his pupils that really not one of 
 the fugues in the "Wohl. Clavier" is according to rule, 
 surely one might turn the spit and maintain that rules 
 which do not agree with Bach's fugues are worthless. 
 
 The first result of the present analysis of fugues 
 is to establish in the clearest manner the perfect 
 agreement of Bach's fugal structure with the norm of 
 all other musical formation; tripartite division according 
 to the scheme A — B — A (foundation-laying section in 
 the principal key, modulating middle section, con- 
 cluding section in the principal key is everywhere 
 clearly exposed to view; and sound reasons, likewise, 
 may be given for the few apparent exceptions. The 
 free episodes are not merely connecting members 
 inserted between the principal sections of the fugue, 
 but they appear in the principal sections themselves, 
 are complementary to the theme entries, serving as 
 foils to them, or surpassing and crowning them. It 
 
U PREFACE. 
 
 is quite evident that such an exposition of the contra- 
 diction between the fugal composition of the greatest 
 master of fugue and pig-tail scholastic rules tends to 
 excite strong opposition to insipid artificiality and 
 formal workmanship, and opens up a path to youthful 
 students in the practice of strict polyphonic com- 
 position. 
 
 The analysis of the preludes must be regarded in the 
 light of a supplement to my work. As the preludes stand 
 in close spiritual relationship to the fugues, it seemed 
 to me that I had to consider them with regard to 
 their spiritual contents; the technical (harmonic-metrical) 
 analysis will not, however, I trust, be without its use. 
 The astonishing simplicity and strict logic of the 
 harmonic and modulatory structure causes these pre- 
 ludes to rank as truly classical models of development 
 from short motives; future generations may study them 
 again and again with profit. The harmonic schemes 
 here communicated may be turned to most useful 
 account if advanced readers try to work them out 
 from figured bass at the pianoforte, but with other 
 motives than those developed by Bach; the schemes 
 may also be transposed and worked out in a similar 
 manner, and the diversity of form which results, the 
 utmost simplicity notwithstanding, will afford just 
 cause for astonishment. 
 
 Sondershausen, June 15 1890. 
 
 Dr. Hugo Riemann, 
 
PREFACE. 
 
 In order that the present analyses may be of service 
 to those unacquainted with the other theoretical works of 
 the author, it will be necessary first to offer a brief ex- 
 planation of the harmony signs employed, as well as of the 
 method of marking periods by figures beneath the bar 
 strokes. 
 
 The new system of figuring chords traces back all 
 harmony formations to the only two possible kinds of 
 consonant chords, the Major and the Minor Chord, which 
 are opposed the one to the other, and designated accord- 
 ing to the doctrines of the greatest theorists of the past 
 (Zarlino, Tartini, Moritz Hauptmann): — the Major Chord 
 as the union of a note with those notes directly related 
 to it above (prime, upper- third, upper-fifth), and the 
 Minor Chord as the union of a note with those notes 
 directly related to it below (prime, under-third, under-fifth). 
 The intervals, considered upwards, of the Major Chord 
 are indicated by Arabian, those, considered downwards, 
 of the Minor Chord, by Roman figw-es^ as, for example: — 
 
 i^Z= 5 (Upper 5th) E^nnrZZII I (Prime) 
 
 :te-|=: 3 (Upper V^) ^^d Efaz^im: m Under 3^^) 
 •^ ' ^ 1 (Prime) ^ '^-^ V (Under 5th) 
 
 The Major Chord is briefly expressed by the clang-letter 
 corresponding to its prime {c, d, a etc., or c^, ^{f, or f b. 
 dV) with addition of a small cross ^-, which latter, however, 
 when no misunderstanding is to be feared, can be 
 omitted; the Minor Chord, likewise, is expressed by the 
 clang-letter corresponding to its prime, with addition of 
 a nought (o) in place of a -h. The cross is really an ab- 
 breviation for 3, the ° for ni; both are therefore super- 
 
lY PREFACE. 
 
 fluous, when, for other reasons, figures become necessary 
 (for instance, when it has to be shown that the third is 
 in the bass, or when one of the three notes of the chord 
 requires chromatic alteration, or finally when other dis- 
 sonant notes are to be added to the chord); ^ , for instance 
 
 is the c Major Chord with the third as bass note; g^" ^ 
 c Minor Chord (a g under-clang, or in short ''under ^") 
 with lowered prime {gV). The two signs <■ {raising by a semi- 
 tone) and > {lowering by a semitone) constitute the remain- 
 ing signs of this system. The figures 2, 4, 6, 7, 8 and 9 
 (likewise II, IV, VI, VH, VIII and IX) are employed 
 quite after the manner of general -bass figuring for the 
 intervals of the second, fourth, sixth, seventh, octave, ninth, 
 but always thought of from the prime (indicated by a 
 clang-letter) of a Major or Minor Chord; therefore, always 
 indicating an interval of definite size, as namely: — 1 (I) 
 always the unchanged prime, 3 (III) the (major) third, 
 5 (V) the perfect fifth of the chord, and 
 
 2 (II) stands for the major second 
 4 (IV) „ „ „ perfect fourth 
 
 6 (VI) „ „ r, major sixth 
 
 7 (VII) „ „ „ minor (1) seventh 
 
 ( 8 (VIII) „ „ „ perfect octave = 1 (I)| 
 I 9 (IX) „ „ „ major ninth = 2 (11)- [ 
 1 10 (X) „ „ „ major tenth = 3 (III) J 
 
 In some cases figures occur in combination with (but in 
 contradiction to) the clang signs (+' °), and then the clang 
 signs of the chord and the figure have, with regard to the 
 note, opposite meanings, for example °^2> _ ^ Minor 
 Chord (minor chord under a, abbr. "under a") with sus- 
 pension of the minor uj>per second of the prime, i. e. 
 d f (a) bV (= chord of the Neapolitan 6*^); also the 
 
 e' ®e 
 union of two kinds of figures occurs, for instance y V ^^ 
 
 progression of the dominant chord with the seventh (e7 ) 
 to the tonic °e over the already anticipated fundamental 
 
 note of the tonic ( pfe— fe , .^" - |: the slur from the 
 
PREFACE. 
 
 one bass figure to the other is the convenient means adopted 
 
 in organ-point Jigtiring, for example g'^, f g^ c d^' g' c"*" 
 
 1^ 
 
 ^ 
 
 
 f 
 
 f 
 
 When a figure has a stroke through it, this indicates 
 the omission of the note represented by that figure: if 
 the prime is to be left out, the clang letter has a stroke 
 through it 
 
 fi = f a [c] d 
 ^' = [g] b d f 
 
 Two points (. .) indicate the repetition of the preced- 
 ing harmony. 
 
 All the signs employed may be shown in an example, 
 first written out with general-bass figuring 
 
 ^^isi^g^Si^S 
 
 
 5^ ', 
 
 1 8 
 4 3 
 Z 3 
 
 10 6 
 6 5 
 « 4 3 
 
 The indications introduced by Gottfried Weber (1824), 
 and adopted by F. Schneider, E. F. Richter and others, 
 in which triads, chords of the seventh etc. are taken on 
 the various degrees of the scale, can only with difficulty 
 express this example 
 
 ciit^ir 
 
 
 II07 Y + 7 
 
 ?I 
 
 Gt?V' 
 
 iftv 
 
 
 
 
 g-.V 
 
 V09 
 
 
 JfP'O II 
 
 d-.jjVII'O I 
 G: 
 
 V^ 
 
 jjIIlo» 
 
 VII07?I 
 
 Here is the new method of figuring, in which the 
 progression of the bass is also partly indicated: — 
 
 c dM gt? d' 
 
 f 3 6 
 
 cv" gL 
 III 
 
 . . c 
 V 1 
 
 ^^ ga 5 I c 
 
VI 
 
 PREFACE. 
 
 Each sigti cojitai?is a full explanatmt of the chord 
 For example %\< .. c represents here a chord of domi- 
 
 V 1 
 
 nant seventh (g') with augmented fifth (5^) passing over 
 the fundamental note of the tonic chord / . . \ to the same (c-""). 
 
 The Period of eight measures, as normal formation, 
 is the basis of formal analysis: the measure (or bar in 
 the restricted sense for such counting) is therefore the for- 
 mation consisting of two, Ukewise three beats or counts 
 of medium value (between 60 and 120 M. M.), compared 
 with which the composers' bar often appears too short 
 (for example in ^\ii measure with tempo J. = 80), often 
 too long (compound, for example in "Vl measure with 
 
 J = 90)- 
 
 This Period of eight measures, is formed by continued 
 
 symmetrical co?istructiofi, beginning with the opposition 
 
 of 2 time-units of which the second answers to the first ^ 
 
 and thus already a first small symmetry (the measure) is 
 
 marked off 
 
 1 2 
 
 This accented beat (the answering one) is somewhat 
 longer, and, as a rule, is given out with stronger pro- 
 duction of tone; and if it is extended to double its length, 
 triple measure ensues: — 
 
 ^ JIJ 
 
 In our mode of notation the second (answering, 
 accented) beat is distinguished by the bar-stroke; accord- 
 ing to the usual method of counting the beats of a 
 measure, the accented beat is unfortunately named the 
 first, and this, therefore, gives rise to a misunderstanding of 
 the relationship of the beats to each other; we must there- 
 fore here call attention to the fact that the second (un- 
 accented) beat is upbeat to the following accented beat 
 (the so-called "first") 
 
 I I ' 
 # I 
 
 2 1 
 
PREFACE. YI] 
 
 Again by opposing a second (answering) accented 
 Qicasure, arises the group of two measures 
 Kj - \j — 
 
 III III 
 
 .010.010. 
 
 (1) (2) 
 
 v-* — 
 
 And here no practice of an opposite kind stands in 
 the way if by 2 we now understand, in addition, an ans- 
 wering relationship to the i, a heavier accent, a cadential 
 moment; that is: f/ie second measure, as opposed to the 
 first, is accented. In hke manner the first group of two 
 measures is answered by a second, and the fourth mea- 
 sure, since it answers the second, has the heavier accent; 
 the moment with strongest cadential power of the 4-mea- 
 sure sectiofi is therefore the accented beat of the fourth 
 measure 
 
 >^ — \j — 
 
 JIJ..JIJ..JIJ..JIJ 
 
 (2) (*) 
 
 Lastly the after-section (Nachsatz) of 4 measures ans- 
 wers the fore-section (Vordersatz) of 4 measures: — 
 
 (2) (4) (8) 
 
 After-section 
 
 Fore-section 
 
 Pieces constructed in a strictly symmetrical manner 
 (for instance, very many dance movements, simple songs, 
 instrumental movements in song form) plainly follow this 
 scheme, in that periods of 8 measures follow one another 
 without any interruption of the symmetry. 
 
 Departures, however, from the same are very frequent, 
 and more varied than is commonly supposed to be the 
 case. The most important kinds of interferetice with 
 symmetrical construction, clearly shown by the figures 
 under the bar-stroke, are namely: 
 
 a) A marked tarryi?ig on the close of certain sym- 
 metries, as in the dwelling on the accented beat to double 
 
 its value (J | J): this is quite usual; and then, a conti- 
 
VIII PREFACE. 
 
 lined order of 3 measures is possible by spreading out 
 the accented measure to double its length 
 
 JIJ JIJIJ JIJ'JIJIJ 
 
 (2) (4) 
 
 .JIJ'JIJlJ"JIJ'JIJiJ 
 
 ro) (8) 
 
 Here, from each accented measure to the next accen- 
 ted one there are always three measures. This form is 
 however not to be found in Bach, at least not in the Well- 
 tempered Clavier. But, on the other hand, in Bach and 
 other composers, one frequently meets with 
 
 b) the repetition of accented (a?iswering) form-mem- 
 bers (close-confirmations) which are possible in the most 
 varied dimensions, and, anyhow, are easy of comprehension 
 
 aj in two measure group: 
 
 JIJ JIJ JIJ 
 (2) (2a) 
 
 also possible as 4 — 4a, 6 — 6a, 8— 8a. 
 fi) in the half-section: 
 
 ju'^i, 
 
 I I ! ' I I I I I I ' I I J 
 (2)' ' ' '(i)' ' ' '(4a) 
 
 (also possible as 8, 7a— 8a). 
 y) in the Period: 
 
 JIJ'JIJ"JIJ'JIJ JIJ 'JIJ "J 
 
 (2) (4) 
 
 a) repeats only the accented measure of the group 
 of 2 measures; ^) the accented group of the half-section; 
 y) the whole of the after-section. Beethoven is fond of 
 employing all three kinds (in the order y, /?, a) at the 
 
PREFACE. 
 
 IX 
 
 close of periods — first a repetition of the whole after- 
 section, then a repetition of the last group, finally a repe- 
 tition of the last measure (Bulovv's "System Verktirzung" 
 /. e. ''System of shortening"); see for example the Sonata 
 in D, Op. 28, first movement, the last lines before the repeat. 
 Joh. Brahms carries a) through the whole period (see the 
 pseudo '/i measure in the Trio Op. loi), and Bach makes free 
 use of all these possibilities. From Tschaikowsky we learn 
 that the repetition of the accented beat in the measure 
 is also possible 
 
 _JIJ J JIJ J 
 
 see the composer's Op. 37 No. i. 
 
 c) the omission (elision) of unacce?ited form-members 
 (thus: - ^ -) /. e. beginning greater form-members with, 
 relatively, an accented beat, also possible in various gra- 
 dations: 
 
 a) group of two measures beginning with the accented 
 beat of the first measure (i. e. without upbeat); this is of 
 usual occurrence, but mostly with the following develop- 
 ment of the upbeat in the answering form -member. 
 If carried right through, this form becomes a pseudo 
 •/4 measure: 
 
 ^7 
 
 (2) 
 
 J 
 
 I I I 
 « I • 
 
 (4) 
 
 etc.: 
 
 usually presented thus 
 
 IJ J : J I J J j J etc 
 (2) (4) 
 
 as in Beethoven's "Sehnsucht": 
 
 * 
 
 tri: 
 
 4— •■ 
 
 s 
 
 ' ' ^ 
 
 -m 1 1 — m — #- 
 
 etc., 
 
 m-- 
 
 H 
 
 
 -^—p~ 
 
 PE^a 
 
 a?=£^ 
 
 through the whole "Lied". 
 
PREFACE. 
 
 fi) beginning the half-sectio7t with the accented measure 
 of the first group of two measures thus: 
 
 JIJ JIJ'JIJ JIJ JIJ JIJ 
 (2) (4) (6) (8) 
 
 This is the most frequent form of three -measure 
 rhythm, also in Bach (see Well -tempered Clavier Pt. I. 
 fugues I, 8, 1 6, 19, 20, 24, etc.). 
 
 y) beginnifig the Period with the accetited group of 
 the fore-sectiofi (in which of course it is possible to have 
 also the forms c) a and /?, /. e. beginning with the cadential 
 value of the fore-section — the latter being the manner 
 in which this formation is most frequently presented): 
 
 [ TLTTTur ■j|j'j|j"j|j'jl7 
 
 (4) (8) 
 
 d) Changing the meaning of a measure from accented 
 to miaccented, happens, as a rule (for only thus is it easily 
 intelligible) when on the final note of a period another 
 one begins, which has previously been heard; or one with 
 strong contrast as regards dynamics and rhythm. Most 
 frequent is the change of meaning of the 8 th measure to 
 first (this is often to be met with in pieces otherwise 
 normal in form), indicated by 8 = i ; but also the meaning 
 of the 8^^ measure turned back to that of 5'^ is by no 
 means rare (8 = 5), /. e. repetition of the after-section, 
 not indeed after the 8^^ measure, but with negation of its 
 cadential power; and in like manner the 8^^ measure 
 turning back to the meaning of the 7'^ (repetition of the 
 closing group with negation of its cadential power). A 
 rare case of such intricacy is the changing of the caden- 
 tial value of a greater symmetry into the upbeat of a new 
 form-member, for example 
 
 JIJ JiJIJ 
 
 (8 = J I) 
 
 Here the accented beat with which the period con- 
 cludes is changed into an unaccented beat (upbeat — to 
 the first measure of a new period). 
 
PREFACE. XI 
 
 Such changes of meaning can be prospective as well 
 as retrospective^ i. e. they can arise as well through the 
 compression of the beats or bars of a section, as through 
 the repetition of the form-members; the former occurs fre- 
 quently in Bach, when he makes the voices follow one 
 another, without waiting for the last note of the fugue 
 theme, for instance: 
 
 JIJ'JIJ'JIJ'JIJ'JIJ 
 
 (2=3) (4=5) (6=7) (8) 
 
 I. e. an 8-measure period compressed really to four mea- 
 sures. 
 
 Other signs employed need no explanation-, the slurs 
 are occasionally used to show more closely the con- 
 struction of the periods, and the small guide j > j 
 
 indicates a division into small articulations. 
 
 Then again, the ^^ over a note (agogic accent) 
 characterises the same as the accented one of a feminine 
 ending (with suspension). 
 
 The J, J^, J' J.' J. ^^^' ^iiclosed in brackets at 
 the beginning of a movement show the value of the real 
 time-units in the above mentioned sense. 
 
 These few explanatory remarks may suffice to help the 
 reader over the special difficulties of the author's mode 
 of indicating harmonies, groupings of measures etc. It 
 would indeed be umeasonable to expect the exposition 
 of the laws by which a composer's imagination is guided 
 to be simple, and easy of comprehension. 
 
EINLEITUNG. 
 
 Um die Ergebnisse der vorliegenden Analysen auch fur die- 
 jenigen nutzbar zu gestalten, welche mit den andern theoretischen 
 Schriften des Verfassers nicht vertraut sind, ist es notig, cine kurze 
 Erlauterung der zur Anwendung gekommenen neuen Harmonie- 
 bezeichnung, sowie auch der den Periodenbau aufdeckenden , den 
 Taktstrichen untergeschriebenen Zahlen vorauszuschicken. 
 
 Die neue Akkordbezifferung fiihrt alle Harmoniebildungen 
 zuriick auf die beiden einzigen moglichen Arten konsonanter Akkorde, 
 den Dur- und Mollakkord, welche beiden im Anschluss an die Auf- 
 stellungen der grossten Theoretiker der Vergangenheit (Zarlino, 
 Tartini, Moritz Hauptmann) als einander gegensatzlich vorgestellt 
 und bezeichnet werden, der Durakkord als die Verbindung eines 
 Tones mit seinen direkten Verwandten nach oben (Prime, Oberterz, 
 Oberquinte), der Mollakkord als Verbindung eines Tones mit seinen 
 direkten Verwandten nach unten (Prime, Unterterz, Unterquinte). 
 
 Die nach oben gedachten Intervalle des Durakkords werden 
 durch arabische, die nach unten gedachten des Mollakkords durcfa 
 romische Zahlen bezeichnet z. B.: 
 
 'rime) 
 (Unterterz) 
 
 ' / . 5 (Oberquinte) F /T " I (P 
 
 h!S=ri= 3 (Oberterz) und E&zXl^lgzr: III (Ui 
 •^ ' -^ I (Prime) «^ T ^ y (Unterquinte) 
 
 Der Durakkord wird abgekiirzt bezeichnet durch den seiner 
 Prime entsprechenden Klangbuchs tab en (c, d, e etc. oder cis, dis 
 oder ces, des) mit einem kleinen Kreuz H-, das aber, wo Missverstand- 
 nisse nicht zu fiirchten sind, auch weggelassen werden kann; der 
 Mollakkord wird ebenso durch den seiner Prime entsprechenden 
 Klangbuchstaben aber mit einer Null (o) anstatt des ^- bezeichnet. 
 
 5 
 Das 4- ist also eigentlich Abkiirzung fur 3 , die o Abkiirzung fiir 
 
 I 
 
 III, beide sind daher iiberfliissig, wo Zahlen aus andern Griinden 
 
 doch notwendig werden (z. B. wenn angezeigt werden soil, dass die 
 Terz im Bass liegt, oder wenn einer der drei Tone des Akkords 
 chromatisch verandert werden soil, oier endlich, wenn zum Akkord 
 
EINLEITUNG. XIII 
 
 noch weitere, dissonante Tone verlangt werden); es ist daher z. B. 
 ^ ein c-Durakkord mit der Terz als Basston, g I*" ein c-Mollakkord 
 (g Unterklang kurz: „Unter g") mit erniedrigter Prime. Die beiden 
 Zeichen < (erhohend um einen halben Ton) und *- (eruiedrigend 
 uni. einen halben Ton) bilden die nachste Erganzung dieser Bezifferung. 
 Die Zahlen 2, 4, 6, 7, 8 und 9 (bezw.fll, IV, VI, VII, VIII und 
 IX) kommen ganz in der Weise der Generalbassbezifferung fiir die 
 Intervalle Sekunde, Quarte, Sext, Septime, Oktave, None zur An- 
 wendung, aber stets gedacht von der Prime eines dutch Klang- 
 buchstaben eriangten Dur- bezw. MoUakkordes aus, daher stets mit 
 einer von der Vorzeichnung unabhangigen Grossenbedeutung ; wie 
 namlich 1 (I) stets die unveranderte Prime, 3 (III) die (grosse) Terz, 
 5 (V) die reine Quinte des Akkordes ist, so bedeutet: 
 
 2 (II) die grosse Sekunde 
 
 4 (IV) die reine Quarte 
 
 6 (VI) die grosse Sexte 
 
 7 (VII) die kleine (1) Septime 
 
 8 (VIII) die reine Oktave = I (I) \ 
 
 9 (IX) die grosse None = 2 (II) i 
 [O (X) die grosse Dezime = 3 (III) J 
 
 In wenigen Ausnahmefallen kommen Zahlen vor in Verbindung 
 mit dem gegenteiligen Klangzeichen (+, o) vor; dann bestimmt 
 das Klangzeichen den Akkord und die Zahl einen in gegen- 
 teiligem Sinne vorgestellten Ton, z. B. oa^*" = d Mollakkord (Moll- 
 akkord unter a, kurz: „Unter a") mit Vorhalt der kleinen Ober- 
 sekunde vor der Prime , also d f [a] b (= Akkord der neapolitanischen 
 Sexte) ; auch die Verbindung von zweierlei Zahlen kommt vor z. B. 
 e7 Oe 
 V V = Fortschreitung des Dominantseptimenakkords e "^ zur Tonika 
 
 *e iiber bereits anticipiertem Grundtone der Tonika; der Bogen von 
 einem Basstone zum andern ist das bequeme Mittel der Orgel- 
 
 punktbezifferung z. B. g* f g^ c d-^ g*^ c"*". Durchstreichen 
 1 1 
 
 einer Zahl bedeutet die Auslassung des Tones; soil die Prime 
 
 ausgelassen werden, so wird der Klangbuchstabe durchstrichen z. B 
 
 f g = f a [c] d, f^ = [g] h d f. 
 
 Zwei Punkte (• •) zeigen die Wiederholung der vorausgehenden 
 Harmonic an. 
 
 Ein Beispiel zeige alle angewandten Mittel nebeneinander; es 
 sci diese mit Generalbassbezifferung verlangte Harmoniefolge : 
 
XIV 
 
 EINLEITUNG. 
 
 Die von Gottfried Weber (1824) angebahnte, von Fr. Schneider, 
 E. Fr. Richter u, a. angenommene Bezeichnung der Harmonien als 
 Dreiklange, Septimenakkorde etc. der Stufen der Skala kann mit 
 diesem Beispiele schwer zurecht kommen: 
 
 c:i>ir 
 
 Ges:V' 
 
 I#V' 
 
 n®'v 
 
 Y07 
 
 ?I 
 
 JJI070 
 
 d:j(vn 
 
 070 I 
 
 G: 
 
 #IIF' 
 
 Vn07 ?J7 
 
 In der neuen BezifFenmg sieht es, unter teilweiser Mitandeutung 
 der Bassfuhrung so aus: 
 
 C+ des I ges d' I cVII g^, 
 7 8 B |ni 
 
 . . c 
 V » 
 
 65 
 
 Jede Chiffre enthalt eine vollstandige Erklarung 
 des Akkordes z. B. g^^ . . c bedeutet: der Dominantseptimen- 
 V 1 
 
 akkord (g') mit iibermassiger Quinte (5"^) schreitet iiber dem anti- 
 cipierten Grundtone der Tonika / . • \ zu dieser selbst / c \ fort. 
 
 (v) 
 
 Die Grundlage der fonnalen Analyse bildet die Annahme der 
 achttaktigen Periode als eigentlicher Normalgestaltung ; als 
 Takt (im engeren fiir solche Zahlung massgebendem Sinne) ist da- 
 bei die aus zwei bezw. drei Zahlzeiten mittleren Wertes (zvvischen 
 60 und 120 M. M.) bestehende Bildung angenommen, der gegeniiber 
 die vom Komponisten notierten Takte oft zu kurz (z. B. bei 
 8/. Takt mit dem Tempo | = 80), oft zu lang (zusammengesetzt, 
 
 z. B. bei */4 Takt mit | = 90) erscheinen. 
 
 Diese achttaktige Periode entsteht durch fortgesetzten synime- 
 trischen Aufbau, beginnend mit der Gegeniiberstellung zweier Zahl- 
 zeiten, von denen die zweite der ersten antwortet und so eine erste 
 kleine Synimetrie (den Takt) abschliesst: 
 
 1 2 
 
 Diese schwere Zeit (die antwortende) ist etwas langer und wird 
 auch in der Kegel mit verstarkter Tongebung hervorgehoben ; wird 
 sie auf die doppelte Dauer ausgedehnt, so entsteht der dreiteilige Takt: 
 
 f JU 
 
EINLEITUNG. XV 
 
 Unsere Notierungsweise zeichnet die zweite (antwortende schwere) 
 Zeit durch den Taktstrich aus; unsere iibliche Art des Zahlens der 
 Taktzeiten nennt leider die schwere Zeit die erste und giebt somit 
 Anlass zu einem Missverstehen des Verhaltnisses der Zeiten zu ein- 
 ander; wir miissen daher jetzt sagen die zweite (leichte) Zeit ist 
 Auftakt zur folgenden schweren (ersten): 
 
 Durch Gegeniiberstellung eines zweiten (antwortenden) schweren 
 Taktes entsteht nun zunachst die Zweitaktgruppe: 
 
 JIJ. JIJ 
 
 (1) (2) 
 
 \J — 
 
 Hier steht kein gegenteiliger Usus hindernd im Wege, dass 
 wir mit dem Begriffe der 2 die Bedeutung des Antwortverhaltnisses, 
 der grosseren Schwere, der Schlusskraft verbinden, also: der zweite 
 Takt ist schwer gegeniiber dem ersten. Ebenso antwortet 
 der ersten Zweitaktgruppe eine zweite, und der vierte 
 Takt istdaher,als dem zweiten antwortend, schwererals 
 dieser, die schlusskraftigste Zeit des viertaktigen Halbsatzes ist 
 daher die schwere Zeit des vierten Taktes: 
 
 u — u — *-» — \J — 
 
 (2) (4) 
 
 Endlich antwortet dem viertaktigen Vordersatze der viertaktige 
 
 Nachsatz : 
 
 MM .JIJ'JIJ"'JIJ'J|J"JIJ'JIJ 
 
 (2) (4) Nachsatz (g) 
 
 Vordersatz 
 
 Streng symmetrisch aufgebaute Tonstucke (z. B. sehr viele 
 Tanze, einfache Lieder, gesangsmassige Instrumentalsatze) verlaufen 
 ganz schlicht nach diesem Schema, indem sie eine achttaktige Pe- 
 riode der anderen ohne Storung der Symmetric folgen lassen. 
 
 Allein die Abweichungen vom Schema sind doch viel haufiger 
 und viel mannigfaltiger als man gemeinhin annimmt. Die wichtigsten 
 Arten der Storung des symmetrischen Aufbaues, welche die Zahlen 
 unterm Taktstrich jederzeit klarlegen, sind namlich: 
 
XVI EINLEITUNG. 
 
 a) Langeres Verweilen bei den AbschlUssen einzelnei 
 Symmetric n. Wie die Dehnung der schweren Zeit aufs doppelte 
 Mass (I \\ etwas ganz gewohnliches ist, so ist zunachst auch 
 
 eine fortgesetzte dreitaktige Ordnung moglich durch Ausdehnung 
 des schweren Taktes auf die doppelte Dauer: 
 
 JIJ JIJIJ JIJ'JIJ IJ 
 
 (2) (4) 
 
 JIJ'JIJIJ"JIJ'JIJ IJ 
 
 (6) (8) 
 
 Hier sind von jedem schweren Takte zum nachsten schweren 
 jedesmal drei Takte Abstand. Diese Form ist indes gerade bei Bach 
 wohl nicht zu finden, wenigstens nicht im Wohltemperiertem 
 Klavier. Haufig ist dagegen bei Bach wie bei alien Komponisten: 
 
 b) die Wiederholung schwerer (antwortender) Form- 
 glieder (Schlussbestatigung), welche in den verschiedensten 
 Dimensionen moglich und jederzeit leichtverstandlich ist: 
 
 a) in der Zweitaktgruppe: 
 
 JIJ J, 
 
 I III 
 
 • \ 
 
 (2a) 
 
 (ebenso moglich als 4 — 4a, 6 — 6a und 8— 8a), 
 ^ im Halbsatz: 
 
 JIJ'JIJ J J'JIJ JIJ JJJ 
 
 (2) (4) (ia) 
 
 (ebenso moglich als 8, 7a — 8a), 
 
 y) in der Periode: 
 
 JlJ'JiJ-JIJ'JI; JIJ'JIJ"J 
 
 J 'J,! 
 
 I I I I I I ' J I J " J I J ' J I J 
 
 '(8)' ' * (8a) 
 
 a) wiederholt nur den schweren Takte der Zweitaktgruppe, /^) die 
 schwere Gruppe des Halbsatzes, y) den ganzen Nachsatz. 
 
EINLEITUNG, 
 
 XVII 
 
 Beethoven liebt die Anwendung aller drei Arten in der Folge 
 y, /9, a am Schluss der Periode (zuerst Wiederholung des ganzen 
 Nachsatzes, dann Wiederholung der letzten Gruppe, endlich ein- 
 oder mehrmalige Wiederholung des letzten Taktes (Biilows „System 
 Verkiirzung") , z. B. in Op. 28 vor der Reprise im ersten Satz; 
 Brahms fiihrt gern a durch die ganze Periode durch (vgl. den Pseudo 
 '/4 Takt in dem Trio Op. 10 1); Bach schaltet frei mit alien diesen 
 Moglichkeiten. Dass auch die Wiederholung der schweren Zeit im 
 Takt moglich ist: 
 
 JIJ J JU J 
 
 kann man bei Tschaikowsky lernen (Op. 37 No. l). 
 
 c) Die Auslassung (Elision) leichter Formglieder* 
 (System: Schwer — Leicht — Schwer), d.h.der Beginn grosserer Form- 
 glieder mit einer sehon verhaltnismassig schweren Zeit; auch hier 
 sind mehrere Abstufungen moglich: 
 
 a) Anfang der Zweitaktgruppe mit der schweren Zeit 
 des ersten Taktes (also ohne Auftakt); dieser ist etwas ganz 
 gewohnliches, aber meist mit folgender Entwickelung des Auftaktes 
 fiir die antwortenden Formglieder. Fortgesetzt durchgefiihrt ergieb t 
 diese Form einen Pseudo - ^/^ - Takt : 
 
 Jj 
 
 i-l I 
 
 (2) 
 
 JIJ 
 
 !IJ 
 
 (4) 
 
 etc. gewohnlich notiert ais 
 
 (2) 
 
 Jl 
 
 etc. 
 
 (4) 
 
 Vgl. Beethovens Lied „Sehnsucht": 
 
 
 etc., 
 
 i ^i^^^ ^m 
 
 §) Anfang des Halbsatzes mit dem schweren Takte 
 der ersten Zweitaktgruppe: 
 
 (2) 
 
 ''• W '(1/ ^'' 'i/ 
 
XVIIl EINLEITUNG. 
 
 Diese ist die haufigste Form der Dreitaktigkeit, besonders auch 
 bei Bach, (Wohlt. Kl. Fuge I. i, 8, i6, 19, 20, 24 etc.). 
 
 y) Beginn der Periode niit der schweren Gruppe des 
 Vordersatzes (wozu natiirlich noch die Moglichkeiten der Mit- 
 anwendung von c) a und /? kommen), d. h. schliesslich der Anfang 
 mit dem Schlusswert des Vordersatzes — letzteres vielleicht die 
 am haufigsten vorkommende Art dieser Bildungen: 
 
 (4) (8) 
 
 d) Umdeutungen schwerer Zeitwerte zu leichteren, 
 in der Regel nur vorkommend (weil nur dann leicht verstandlich), 
 wenn mit dem Abschluss eines Gedankens zugleich ein bereits 
 dagewesener oder aber ein durch Dynamik, Rhythmik etc. 
 hinlanglich kontrastierender einsetzt. Die haufigste Form 
 ist die Umdeutung des achten Taktes zum ersten (diese kommt so- 
 gar in sonst ganz regelmassig sich abspielenden Stiicken haufig vor), 
 angezeigt durch (8 = i); aber auch die Zuriickdeutung des 8. Taktes 
 zum 5. ist nicht selten (8=5, d. h. Wiederholung des Nachsatzes, 
 aber nicht nach Vortrag des achten Taktes, sondern mit Vernichtung 
 von dessen Schlusskraft), desgleichen die Riickdeutung des 8. Taktes 
 zum 7. (Wiederholung der Schlussgruppe mit Vernichtung von deren 
 Schlusskraft). Eine seltenere SpeziaUtat solcher Verschrankungen 
 ist die Umdeutung des Schlusswertes einer grosseren Symmetric 
 zum Auftakt eines neuen Formgliedes, z. B.: 
 
 JIJ 
 
 '(8=JI)' 
 
 Hier wird das Viertel, welches die Periode abschliessen 
 musste, umgedeutet zur leichten Zeit (Auftakt) des ersten Taktes 
 einer neuen Periode. 
 
 Derartige Umdeutungen konnen ebensogut vorgreifen wie zuruck- 
 greifen, d. h. sie konnen ebensogut durch Zusammendrangung der 
 Zeiten eines Satzes entstehen, wie durch Wiederholung von Formgliedern ; 
 ersteres ist bei Bach haufig, wenn er die Stimmen einander folgen 
 lasst, ehe jede einzelne das Thema beendet hat, z. B. 
 
 J I J ' J IJ ' J I J ' J IJ ' J I J 
 
 (2=8) (4=5) (6=7) (8) 
 
 (eine achttaktige Periode auf vier wirkliche Takte zusammengedrangt.) 
 
EINLEITUNG. XIX 
 
 Die soust zur Anwendung gekommenen Hulfszeichen becliirfen 
 ke'iner Erklarung; die Bogen sind gelegentlich zur genaueren an- 
 schaulichen Abgrenzung der Phrasen benutzt und die kleinen 
 
 Lesezeichen f \ \ deuten die Gliederung im Kleinen an. 
 
 m) 
 
 Das '^ fiber einer Note charakterisiert dieselbe als Schwerpunkt 
 einer weiblichen Endung (mit Vorhalt). Die in Klammern gegebenen 
 
 J, J > J> J.I J. *^tc. zeigen an, welche Werte als Zahlzeiten 
 lu empfinden sind, 
 
 Diese wenigen orientierenden Bemerkungen werden genugen, 
 fiber die speziellen Schwierigkeiten der Darstellungsweise des Ver- 
 fassers hinwegzuhelfen ; es ware freilich unbillig, zu verlangen, ('ass 
 Darlegungen der Gesetze der kunstlerischen Schopferthati >;ke-t 
 iiuiaer und uberall wirklich einfach und leichtverstandlich stiuu. 
 
1. I. 
 
 PRELUDE AND FUGUE IN C-MAJOR. 
 
 A prelude of truly Olympian-like repose and serenity 
 forms the portal to Bach's majestic wonder-work of poly- 
 phonic art: the harmonies are translucent, the argument 
 is of the simplest, the rhythm normal, while complications 
 of any kind are almost non-existent. The motive formed 
 by the broken chord 
 
 ^^ 
 
 s 
 
 is carried through with iron persistency, and only in one 
 measure is a melodic passing-note introduced: 
 
 ^1 
 
 ^m- 
 
 The whole piece, concerning the allabreve-nature of 
 which there can be no doubt (/. e, the J are counts or 
 beats), consists of three periods, the first and last of which, 
 however, are extended. If we mark the melodic summits, 
 the first (modulating to the dominant) appears thus: — 
 
 n 
 
 
 ^ 
 
 
 
 ^- 
 
 -&■ 
 
 ■^ 
 
 ^^ 
 
 V - f^ 
 
 r^ ~ 
 
 1 1 
 
 ^ 
 
 ■ - rj ■ 
 
 1 1 
 
 
 Au 
 
 
 .- \ 
 
 
 
 
 G 
 
 fm 
 
 
 
 
 
 
 
 vsw 1 
 
 
 
 
 
 
 1 
 
 Riemann. 
 
 A 
 
 c 
 
 nalys 
 
 2) f« 
 
 is of Bach's ' 
 
 g' (^ 
 Wohltcm 
 
 pertrtes 
 
 6 
 Clavier". 
 
 (6 
 
 ) d' 
 
FIRST PART. 
 
 i 
 
 _d2_42-_. 
 
 t=t 
 
 -^-=?2: 
 
 22: 
 
 ¥ 
 
 (8^6) c'-^ 
 
 (6a) fi 
 
 d' (8) 
 
 i. e. the cadential effect of the eighth measure is frustrated, 
 since the under- dominant of the new key (with major 
 seventh) enters: it therefore becomes a 6*^ measure (this, 
 indeed, is a typical case), but before the period comes to 
 an end, this 6"^^ measure is repeated with emphasis, and 
 with removal of the major seventh in favour of the more 
 characteristic sixth. The second period tends back through 
 D minor to the principal key, and dies away without 
 disturbances of any kind. 
 
 %f 
 
 I 
 
 l^ZOSt 
 
 ■^tJ^ 
 
 (2) Oa ^' 
 
 (4) c+ f' 
 
 g'(8)c^ 
 
 The third period is nothing more nor less than a 
 coda, i. e. the piece is at an end, only the close is con- 
 firmed during 16 measures. In this closing period, there- 
 fore, we meet with all the characteristics of a coda: twice 
 the key of the under- dominant is touched upon (at the 
 beginning, and in the fourth measure from the end), and 
 then there is the organ-point (pause), first on the fifth {g) 
 and then on the fundamental • note {/) of the key. It 
 would be radically wrong (because there are 16 measures) 
 to wish to divide the period into two; it were better to 
 consider the fore-section repeated three times, the second 
 and third time over g- and then, after a fall to ^, comes 
 the after-section (5*^ measure) during which a complete 
 cadence is spun out. 
 
 * 
 
 7^ 
 
 t=ti 
 
 1^ Z^ 
 
 ^9> .. (4)^«" 
 
x 
 
 t. PRELUDE AND FUGUE IN C-MAJOR, 
 
 At the last measure but two, the chord -arpeggio 
 abandons its small form, and widens out into arches filling 
 whole bars: 
 
 ^ 
 
 t 
 
 a^l 
 
 ^Ptl 
 
 8va 
 
 The Fugue (^ 4) is probably, of all the 48, the one 
 richest in strettos, and in this respect, is a show piece of 
 contrapuntal art. It violates scholastic rules, in as much 
 as it does not contain a single interlude; but Debrois van 
 Bruyck's depreciation of the esthetic value of this com- 
 position must be contravened: he finds in it, scholastic 
 pedantry and monotony ("schulmeisterlicher Pedantismus 
 und Monotonie") and calls the theme dry. First as regards 
 the absence of episodes, the fact must not be overlooked 
 that this piece, nevertheless, has its principal and secondary 
 intermediate parts *). Bach, like many a later master in the 
 department of lyrical, and less polyphonic, music (Beethoven 
 in the Bagatelles^ Schubert, Schumann, Kirchner), but also 
 like many an old one (Couperin, Handel and Bach him- 
 self) in polyphonic dance movements, worked out with a 
 short theme a whole — though not actually long — piece. 
 The theme of the fugue, provided its tempo be not mis- 
 taken, is not in any way dry, but of a certain self-sufficient, 
 contemplative character, and the fact that it forms a com- 
 plete cadence may be the harmonic cause thereof; as it 
 does not, however, return to the fundamental note, but in 
 
 *) See note next page 
 
. FIRST PAR 7. 
 
 its first half sinks from the fourth, in the second from the 
 fifthl.only to the third, the inner necessity of continuity is 
 thus felt, and consequently a splitting up into too sharply 
 defined members prevented. With regard to its rhyth- 
 mical character it must be noticed that it begins with the 
 accented (2°^) measure (but with three graceful up-beat 
 quavers and a feminine ending of the first motive), and has 
 a masculine ending at the fourth measure. The contrast 
 between the wide-interval progression in the middle of 
 the theme and the strict diatonic steps at the beginning 
 and end also deserves notice: 
 
 In the real, principal developments of this fugue Bach 
 adheres throughout to three-measure rhythm — u — (cf. Cate- 
 chism "Kompositionslehre I p. 84 and 175), /. e. the other 
 voices follow, skipping over the unaccented measure, and 
 enter likewise on the accented one. Departure from this 
 order becomes therefore a peculiar means of distinguishing 
 between the intermediate, and the real, principal develop- 
 ments; an 8-measure period, to which only the first, but 
 not the fifth measure, is wanting, stands out specially as epi- 
 sode: it occurs after the first full development. The stretto 
 first appearing in modest form (between soprano and tenor) 
 in this episode, as well as the cessation of the alto part, 
 facilitates such comprehension; but after the suitability of 
 the theme for stretto has become manifest, this special 
 contrapuntal stimulant cannot afterwards be abandoned 
 (for which reason in other fugues, stretto is reserved as a 
 closing effect), and Bach now further intensifies his artifices. 
 The fugue has not a real countersubject (principal counter- 
 point) appearing repeatedly in company with the theme 
 and thereby attaining importance; the continuation of the 
 opening alto voice when the answer is given out by the 
 soprano : 
 
 *) Throughout these fugues, the "first development" in nearly 
 all cases, coincides with the Exposition. 
 
i. PRELUDE AND FUGUE IN C- MAJOR. 
 
 Comes. 
 
 i^ 
 
 '^E^^^^ -yfm. x^ 
 
 -^ — * 
 
 
 is truly characteristic, and, with the exception of the ope- 
 ning motive formed by imitation from the end of the 
 theme, of sufficient independence to play such a role. 
 But from the first episode onwards, owing to the continued 
 strettos the possibility of turning it to such account va- 
 nishes; and even in the first development, to which, this 
 reason does not apply, Bach is content, when the theme 
 occurs in the tenor, to allot the opening semi -quaver 
 passage in inversion to the soprano, and to apportion the 
 syncopated "turn" motive to the alto: 
 
 ^ 
 
 :J=J* 
 
 ^r-^ 
 
 ■^^ 
 
 He indulges in a similar (still freer) method when the 
 theme occurs in the bass. Also, in the further course of 
 the fugue, passages of a similar kind are to be met with, 
 but the countersubject never appears in integral form. 
 The theme itself, only on other degrees, plays the role 
 of real countersubject. The principal and most intensified 
 form of stretto is that of the under-fourth, likewise upper- 
 fifth, at the distance of a crotchet: 
 
 a) I 
 
 IV 
 
 ^^ 
 
 ^3^ 
 
 $ 
 
 feJl^ 
 
 
 "ftr rYr„£fi"t_BT 
 
 8va bassa. 
 
 and 
 
FIRST PART. 
 
 b) I 
 
 
 
 n 
 
 IV. bass 
 
 ^. 
 
 
 e f etc. 
 
 Stretto also appears in the octave (at the distance of 
 4 or 6 quavers: see a II — III and III — IV), a seventh below 
 (see b II— III) and a fifth below (see b III — IV); and 
 finally it appears in the upper fourth at a distance of 4 
 quavers : 
 
 As, not only in every fugue, but in any piece of 
 music constructed on an intelligent system, so in this 
 fugue, three principal sections are to be distinguished: a 
 first one establishing the principal key; a second, modula- 
 ting; and a third emphasizing once again the principal 
 key. The first section includes the 4 successive theme 
 entries in the order: alto, soprano, tenor, bass, within the 
 compass of two periods of the elliptical form indicated 
 above (with elision of the i*^ and 5'^ measures). As the 
 theme begins and ends with tonic harmony, and does 
 neither exceed the compass of the hexachord c — a, nor 
 contain the step from tonic to dominant (c — g), so the 
 answer is a faithful transposition in the fifth. Again as the 
 seventh does not occur, the theme can be harmonised, both 
 in the dominant and in the principal key (in dominant, 
 Mixolydian harmony), and thus Bach is able to introduce 
 the Comes successively in the soprano and tenor: the 
 soprano in the key of the dominant, and the tenor in the 
 I\Iixolydian key — so that without transition, the Dux 
 can again be brought in in the bass, and the complete 
 exposition concluded in the key of C-major. 
 
1. PRELUDE AND FUGUE IN C- MAJOR. tj 
 
 The little episodical period of 8 measures which joins on 
 (stretto between soprano [Dux] and tenor [Comes] with sub- 
 sequent alto entry of the Comes) modulates to the key of the 
 dominant ; it is immediately followed by a stretto comple- 
 ting, as it were, the former one, between bass (Dux in G) 
 and alto (Comes on the dominant of G) with subsequent 
 tenor entry of the Comes on the dominant of A-minor, in 
 which key this fourth period ends with a close-confirmation 
 of one measure. The next stretto (see. above a) enters 
 suddenly in the principal key: (alto Dux, tenor, bass and 
 soprano Comes) and proceeds, by means of a deceptive 
 cadence, to A-minor; by a rectification of three measures 
 it is turned towards the key of D-minor with a confirmatory 
 close of two measures. But at this moment tenor and alto 
 enter, the former with an up-beat of three quavers, the latter 
 with one of one quaver (stretto from the degrees a and (?), 
 introducing the theme in the dominant harmony of G, 
 which key continues for the subsequent soprano entry of 
 the theme on g'^ whereas at the close of the period the 
 tenor (theme beginning on d) changes it to the dominant 
 of the key of C (with/^, Mixolydian) so that the 8^^ 
 measure acquires the meaning of a 4^^; an appended sec- 
 tion of 4 measures (in which occurs a triplet of counts) 
 concludes in the principal key. The bass now remains 
 stationary on the fundamental note of the key up to the 
 end, while a last period (tenor and alto in stretto, see 
 above r), in well-known characteristic coda fashion, intro- 
 duces the natural seventh of the tonic, thus touching the 
 under- dominant, and concluding freely in the last three 
 measures without any indication of the theme. The middle 
 modulating section (4 periods) is by far the greatest of 
 the three, but by inserting a stretto in the principal key 
 the equilibrium is not disturbed. 
 
FIRST PART. 
 
 I. 2. 
 PRELUDE AND FUGUE IN C-MINOR. 
 
 This prelude is by no means a chip of the same 
 block as the first. It is not too bold to assert that in 
 the separate numbers of the Well-tempered Clavier Bach 
 not only aimed at displaying technique in all positions of 
 the keyboard, but at the same time, and once for all, in 
 typical manner at revealing the character of each par- 
 ticular key. The C-minor prelude of the first part is so 
 possessed with the spirit of the C-minor key, so full of re- 
 strained power, of passionate throbbing, that the C-minor 
 Symphony of Beethoven and likewise his Sonate pathetique 
 recur spontaneously to one's mind. And that before this 
 remembrance Bach's work does neither pale, nor wither 
 away and become a mummy is certainly the best proof of 
 the mistake made by Debrois van Bruyck in speaking of 
 "jingling and rumbling of sounds" ("rasselnde Tonrum- 
 pelei"), and in looking at it as only a brilliant note-piece, 
 quite of an etude kind ("ganz etiidenartig") and slightly 
 monotonous. But it should be mentioned that Bruyck's 
 dogmatic judgment changes later on into enthusiasm. 
 
 The construction of the piece, for the rest, is similar 
 to that of the first prelude. It consists of three (extended) 
 periods of which the last has decidedly a coda character 
 (organ point on ^,and finally on <:, with a turning towards 
 the under- dominant). The first period opens ex abrupto 
 (6^^ to 8'^ measure) and concludes in the principal key; 
 already at the fourth measure, the second reaches the chord 
 of six-four, and makes a half-close on the dominant (with 
 repetition of measures 5 — 8); the third period (coda) has 
 Bach's own mark Presto ("rattling like hail in a storm" 
 ["das gleich einem prasselnden Hagelwetter losbricht"] , to 
 quote van Bruyck), but in the after-section returns through 
 Adagio to the Tempo primo (allegro). The two-part figu- 
 ration motive: 
 
PRELUDE AND FUGUE IN C- MINOR. 
 
 i 
 
 likewise 
 
 ±1* ^±1* 
 
 W^ 
 
 ^ 
 
 
 -#-§#- 
 
 8.: 
 
 is only abandoned in the repetition of the after-section 
 (Nachsatz) of the second period in favour of a one-voice 
 motive, of wider extent, which leads to the Presto: — 
 
 mi^^s^^^^^^^^m 
 
 ta a ^^^LULU 
 
 W 
 
 The Presto itself has motives with mascuHne endings 
 Q^^U up-beat) 
 
 JE^Eg^EggEft^^^ F^PFft^ 
 
 which contrast sharply with the long endings of the first 
 two periods; also the two Adagio measures adhere to 
 these masculine endings, and only the final cadence restores 
 equilibrium by means of feminine endings prominent up 
 to the lo'^ measure of the period. 
 
 If the piece be reduced to elementary harmonic form, 
 noting only the melodic summits, its general construction 
 may easily be made intelligible: 
 
 \ 
 
lO 
 
 FIRST PART. 
 
 Allegro (2 J) Commencement ex abrupio || i^t period. 
 
 ^E 
 
 atrsfc 
 
 :^ 
 
 »c (8) g' »g (2) . . vn> d' 
 
 I 
 
 & &- 
 
 t=4 
 
 ] 1 1 1 1 L__ 
 
 =1: 
 
 (4) M (=^};") C (6) «c (^i7«) bt?' 
 
 after-section repeated 
 
 
 1=1: 
 
 gz: — ^— — g J <:^ . iia: 
 
 ^> gy— I— ^ ^ . 
 
 (6a) eK I^« (8) bb' et?^- (6) f (d"^) 
 
 2nd period. 
 
 rfe 
 
 !S^ 
 
 1=^ 
 
 -^ G- 
 
 t==|: 
 
 ix- 
 
 (8a). 
 
 (2) 
 
 ^ 3 
 
 cVI 
 
 (4) 
 
 ^^^^^ 
 
 :l=:t: 
 
 t=:X 
 
 -G G- 
 
 '■ri 7 d- 
 
 -<^ G 
 
 
 ^^ 
 
 6> 
 
 rVJ.I* 
 
 Presto. 
 
 i 
 
 H=i=z=\. 
 
 ^^EEgE^EE 
 
 (6) g^ 
 
 -■1= 
 
 iJ^' (8a) g' iJ" g- 
 
a. PRELUDE AND FUGUE IN C- MINOR. 
 
 II 
 
 1^ 
 
 £: 
 
 w 
 
 l=l-ll 
 
 Ji«" (2) g+ g' 
 
 'g g' 
 
 (4)0g 
 
 Adagio. 
 
 ii 
 
 fc=e 
 
 jr ,. 
 
 t=t 
 
 g^ Og g'(4a)«g ^^9^ Og g'(4b-5) c'(6)«c 
 Allegro (Triplet). 
 
 I 
 
 ^9^(8)0»^«cc'cIX c^-g' c' cVU g' (10) c+ 
 
 The fugue which follows this powerful piece shows 
 the character of the key from quite another side. The 
 minor character, intensified by the 3 flats, naturally infuses 
 into the mood a certain earnestness, which, however, in 
 combination with the graceful rhythm and the somewhat 
 obstinate repetition of the c in the melody, gives to the 
 music the character of sober-mindedness rather than of 
 energetic will. The articulation, of itself presenting an 
 alternation between the legato of the melodic intervals 
 and the staccato of the harmonic breaks, increases this 
 impression of perseverance, of quiet diligence (without 
 any haste; Allegro quasi Allegretto). The simple metrical 
 nature of the theme, which occupies 4 measures without 
 elision or insertion of any kind, is favorable to symme- 
 trical construction of periods. Bach has therefore reserved 
 any departures from the same (^/g measure instead of ^j^ 
 for two of his episodes, which by that means obtain 
 special importance and characteristic physiognomy. The 
 theme is as follows: 
 
 (4 J) 
 
 '^^^^^^^m 
 
 crcsc. 
 
12 
 
 FIRST PART, 
 
 The answer differs only in one note (see * in last example) 
 from the transposition in the fifth. Though Marx (cf. Komposi- 
 tionslehre II, Appendix J), relying on certain old editions even 
 prefers for this note the answer in the fifth (d), yet according 
 to recent showing the authenticity of the c in the auto- 
 graphs is beyond question. There remains then only to 
 ask why Bach answered ^ by ^ and not by d^ Although 
 by way of proof it is sufficient to point to the old rule 
 that the opening step from tonic to dominant (c — g) at 
 the beginning must be answered by dominant-tonic (g — c), 
 it may be further noticed that the Dux ends in the prin- 
 cipal key and therefore the modulatio7i to the key of the 
 dominant is reserved for the Comes, and this would not 
 be facilitated by starting with dominant harmony. The 
 harmony of the Comes at first is not that of the dominant 
 but that of the tonic, which by addition of the natural 
 seventh (VII^ z=z a) becomes, without restraint, under- 
 dominant of the minor key of the upper-dominant («^).*) 
 
 In this fugue the countersubject plays a very impor- 
 tant role, since (supported by the principal motive of the 
 theme) it furnishes material for a number of characteristic 
 episodes. Comes and counterpoint follow on immediately 
 after the last note of the theme, and bring the first period 
 to a close: — 
 
 1^ 
 
 ^^^ft 
 
 'iSA^^ 
 
 ^ 
 
 ^ PT^g-) tF=F 
 
 *) Readers may be reminded that the a natural in the Comes 
 is spoken of as natural seventh (VII ij) because it is the under- 
 
 seventh from ^ (g^^) thus 
 
 The chord 
 
 ^ 
 
 —^ with addition of the a 
 
 suggests the sub-dominant harmony of the key of G minor. 
 
a. PRELUDE AND FUGUE IN C- MINOR. 
 
 This countersubject never abandons the theme, and 
 is combined with the same, whether as Dux or Comes, 
 excepting where the theme appears as coda over the 
 closing bass note (in the last entry but one of the theme, 
 the 'countersubject is freely divided between the soprano 
 and the middle voice). 
 
 The fugue is written h tre\ in order therefore 
 to make the end of the first development with the 
 Dux in the bass the end also of a second period, 
 Bach precedes the bass entry by an episode of four 
 measures (in which are worked the opening motives of 
 theme and countersubject), and thus obtains a natural 
 return to the principal key. It should not be overlooked 
 that the decisive close of the Comes in the key of the 
 minor upper-dominant is a cause of the few theme entries 
 (in all — ■ Dux and Comes — only eight). 
 
 The (modulating) middle section of the fugue begins 
 with an episode of four measures, in which the opening 
 motive of the theme is thrown to and fro by the upper 
 voices, while the bass spins out the opening motive of 
 the countersubject into a running semiquaver passage^ the 
 period then concludes with the theme given out in the 
 parallel key (E flat) which had been reached at the fourth 
 measure. As at the entry of the bass, so here a second 
 countersubject is combined with the first: it is afterwards 
 strictly adhered to, and is, in fact, related to the first, 
 and only appears as a third- and sixth - doubling of the 
 same (during the first motive it is silent): 
 
 I St Cp. 
 
 a; 
 
 ^^ 
 
 ^ 
 
 &^ 
 
 ^ 
 
 ^FfEr 
 
 J 
 
 2nd Cp. 
 
 A second period in the middle section, having as 
 fore-section a free episode (in which motive 2 of the. 
 countersubject is carried on in the upper voice, and motive 
 b of the same is given out in thirds oy the lower voices) 
 modulates back to the principal key, but only to introduce, 
 in the after-section, the Comes in the alto part. Now 
 begins the third period in G-minor, and at its close the 
 
14 
 
 FIRST PART. 
 
 final return to the principal key is made, in which key 
 the concluding section remains. The fore-section of this 
 third period of the middle section, as indeed that of the 
 concluding section, is framed by Bach in ^/a measure (of 
 which no heed is taken in the original notation); both 
 are episodes of sequential form (evolved from the opening 
 motives of theme and countersubject with third-doublings 
 in the third voice), while the after-sections each show a 
 theme entry (Dux): at the close of the middle section, in the 
 soprano, and at that of the concluding section, in the bass. 
 The close consists of one period, but extended, first by repe- 
 tition of the second group (pause on the dominant ^'), 
 and then by an improved cadence (the first S'^^ measure 
 has the third in the bass) by means of a repetition of 
 the closing group. It has already been mentioned that 
 the Dux, given out once again in the soprano (with 
 free additional voices to strengthen the harmonic effect), 
 is appended by way of coda. Both prelude and fugue 
 close in the major. 
 
 Observation. It is altogether impossible, because dis- 
 figuring to the fugue, any longer to read the five 3-measure groups 
 which are real, and undeniably perceptible to the ear, as measures 
 in groups of two (i. e. in ^/^ time). The only other possible way 
 would be to accept the order: _ c» - thus 
 
 (2P 
 
 (4) 
 
 ^^ 2f :^ (6):? -^ V ^ ^ 't^^^'- 
 
 But to this it might be objected that the concluding entry 
 of the theme would become a surplus, an extra insertion. That 
 the sequence breaks through rhythmical order, and will well bear 
 a stringendo is indeed recognized. The esthetic effect is however 
 thoroughly satisfactory and convincing, when by the re-entry of the 
 theme an end is put to the storm and stress of the fore-section. 
 
J. PRELUDE AND FUGUE IN C%. MAJOR. 
 
 I. 3. 
 PRELUDE AND FUGUE IN CS-MAJOR. 
 
 Kroll has written this number in the key of D flat 
 in place of Cj}, and might plead, by way of justifi- 
 cation that Bach, had he lived at the present day, would 
 certainly have done the same; for, without doubt D flat is 
 a key more familiar to us than Cj|, but in his day, 
 the reverse was the case. The C}( prelude, however, 
 affords convincing proof that his powers of feeling and 
 of invention were definitely influenced by the key: this 
 ardent midsummer mood, this flashing, glimmering and 
 glistening ("Blitzen, Flirren und Flimmern") were evolved 
 from the spirit of the Cjf- major key; the veiled, soft key 
 of D flat would have suggested treatment of a totally 
 different kind. The principal thought is to be read thus: — 
 
 Vivace. (2 J ) 
 
 ife 
 
 fe^ 
 
 (2) 
 
 (4) 
 
 i. e. beginning with the accented measure, and having a 
 long feminine ending; in spite then of the quivering 
 figuration 
 
 ±3 
 
 'r^\r\f \ :V\f U^^ 
 
 etc. 
 
 it has a quiet, almost languishing character, and seems to 
 suggest a siesta under the shade of leafy trees, on grass 
 fragrant with blooming flowers, and all alive with the hum 
 of insects. The quiet movement of the under part: 
 
 v=^=^- 
 
 ? 
 
T« 
 
 FIRST PART. 
 
 supports the melody without attracting attention to itself. 
 This thematic half-period is repeated four times (in Cj( -major, 
 Gj(-major; DJJ-minor, Ajf- minor), while each time, by a 
 graceful transition, the voices exchange roles. 
 
 theme. 
 
 The first section comes to an end with the close in 
 aJJ- minor (parallel key); the character of the piece, 
 however, suffers no pause in the movement, and the 
 following episode (passing through the keys A jt- minor, 
 E J) -minor, Dji- minor, A ((-minor, Gj}- major, D|-minor, 
 CJt" major, G|(- minor, FJj- major), with its constantly 
 whirling turn-shaped figuie, and its octave leaps up and 
 down, resembles indeed a mad dance of gnats: 
 
 ^^-^W^i 
 
 ^ f y 
 
 — -=-■•- — ^f X-#- -a- ■•- 
 
 r ir 
 
 thj 
 
 With the close of the second 8-measure period descending 
 by degrees (in this little episode I look upon the measure 
 motive as M I, so that the alla-breve character ceases 
 
3. PRELUDE AND FUGUE IN CI- MA J OR 
 
 17 
 
 for the time, and gives place to a rhythm more of a 
 dance kind) the key of the under-dominant F%-major is 
 
 reached, and the principal theme (again with J^ as count, 
 
 and therefore J^ | J, as measure motive) is resumed, only in 
 a lower position than the one it occupied during the first four 
 repetitions — producing a truly refreshing effect, like that of 
 a thick shady wood; but already in the after-section the 
 key of C^- major and the position of the opening of the 
 piece return, bringing the second section, and with it the 
 whole piece, to a close. All that follows is coda (two 
 8-measure periods with extensions and a short episode of four 
 
 J^ I J measures, with two organ -points on the dominant 
 G sharp). In place of the continual tremolo, appears a 
 broken one 
 
 which intensifies the general character — everything is life 
 and movement, everywhere there is blossom and radiance: 
 the very atmosphere trembles; and yet the firm metrical 
 design of the principal theme (the long feminine endings) 
 displays to the end the same rapturous repose. The har- 
 monic basis of the concluding section (giving the melodic 
 points) is as follows: — 
 
 (4) (6) 
 
 Riamann, Analysis of Bach's '•Wohltemperirtes Clavier", 
 
i8 
 
 FIRST PART. 
 
 %m 
 
 Ms •• 
 
 .. i& 
 
 (8) , (6a) (8a) 
 
 ' • (NB.) (NBI) 
 
 ^^m 
 
 ^ 
 
 «r" (2)»4 c|tvn<*='"^i> 5. 
 
 S 
 
 9? 
 
 :J= 
 
 3=!: 
 
 ^''^ (gr cjt- '*'' ^jt" gf^ •*S'^^^ 
 
 Adagh 
 
 P^^ 
 
 e^ — ZZ3 
 
 ^^ 
 
 gjt' cjt^- ilj;- gJt* ^ (8a) cjl^ 
 
 In the concluding measures great arpeggio forms, 
 like deep sighs, writhe through a compass of almost three 
 octaves. 
 
 The fugue (k 3) does not in any way appear to me 
 (as maintained by Bruyck) of a humorous nature, but 
 rather breathes peace and cheerful delight: it is of enchanting 
 sound, and full of deep feeling. Bruyck in his impression 
 of the piece was evidently influenced by Czerny's indica- 
 tion of tempo {Allegro J — 104). The numerous feminine 
 endings and harmonic subtleties are quite opposed to such 
 hurrying {Andanti7io piacevole appears to me to give the 
 right idea of the tempo). 
 
J. PRELUDE AND FUGUE IN C\- MAJOR. 
 
 19 
 
 The theme consists of four measures, without ellipses 
 or extensions, and is therefore favourable to symmetrical 
 construction^ in the first half it is full of expression and 
 submission, and has a feminine ending, but in the second 
 it changes, so to speak, to a parlatido style: 
 
 (4 J) .^^ 
 
 ^^i^^ ^a^^^^^p 
 
 "(2) 
 
 dim. 
 
 (4)- 
 
 As it does not modulate, and concludes with the 
 tonic, Bach begins the answer, not with the fifth of the 
 dominant, but with the tonic. Thus the first melodic 
 progression is altered, as the second g\ (ornamented with 
 the long appoggiatura «jf) is regularly answered by ^j( 
 (with ornament e^\ the rest is faithfully transposed. Here 
 it is with the first counterpoint (countersubject) 
 
 I Cp. 
 
 ^ 
 
 tefefe^-^^^S 
 
 — C5^;^ 
 
 Harmony: cj}+ djj' gjf' (NB) 
 
 ^ m$^^^ 
 
 "p~^ 
 
 V 
 
 
 V T 
 
 t^. 
 
 d#' 
 
 gjf- 
 
 I. e. after the first djf' Bach steers back by means of the 
 gj}' to the principal key, and only in the second part of 
 the theme does he effect the real modulation by giving 
 to ^Jt""' (tonic) under-dominant meaning (cj^). Throughout 
 the further course of the fugue the Dux is treated in a 
 
20 
 
 FIRST PART. 
 
 similar manner, for the feminine ending of the second 
 measure is harmonised, not with the upper-, but with the 
 under-dominant : 
 
 not 8 7 6 
 
 (^ g^) 
 
 but 9 8 7 
 
 Special notice should be taken of the fact that Bach 
 is almost painfully accurate in preserving the harmonic 
 meaning of his fugue themes. The fugue under notice, 
 with its many theme entries, affords a rich opportunity 
 for anyone to become convinced of the truth of this 
 statement. 
 
 After the Comes, the Dux is at once heard in the 
 bass, and with the first countersubject is associated a 
 second one which, with exception of two theme entries in 
 which it is altered in favour of a more definite bass pro- 
 gression, is strictly carried out: 
 
 ^Mf^—^-3--^^^^^ 
 
 fo-2^»-#-= -^— 1 i 
 
 According to necessity a change is made in the ending, 
 but the characteristic, syncopated, descending progression, 
 on the other hand, is strictly preserved. The three ob- 
 bligato voices appear in their entirety in four different 
 positions, viz.: — 
 
 a) 2nd Counterpoint 
 
 I St Counterpoint 
 
 Theme. 
 c) I St Counterpoint 
 
 Theme 
 
 2"d Counterpoint. 
 
 b) 2nd Counterpoint 
 
 Theme 
 
 I St Counterpoint, 
 d) Theme 
 
 2nd Counterpoint 
 
 I St Counterpoint. 
 
 The combination a) reappears, curiously enough, near 
 the end (immediately before the coda), note for note as it 
 is found in the first development; and just before that c) 
 reappears, only with Comes instead of Dux. Also in the 
 
J. PRELUDE AND FUGUE IN C\- MAJOR. 
 
 episodes Bach makes plentiful and rich use of double 
 counterpoint, but heightens the effect of the transposition 
 of voices by clever additions and deviations (movement of 
 a voice by contrary motion). The motive material for the 
 episodes is: — 
 
 (Commencement cf the 
 ist Counterpoint) 
 
 (Inverted) 
 
 2 b) 
 
 ^^ 
 
 =^ 
 
 1^ 
 
 (Inverted) 
 (Commencement of the 2°^ Counterpoint) 
 
 The leap upwards of a sixth taken from the com- 
 mencement of the theme (which, however, soon becomes 
 extended into an octave leap) appears, in the third episode, 
 in place of the motive 2U) in the following form 
 
 etc. 
 
 with i) as counterpoint in the bass. With exception of 
 a few freer cadential formations, the above is the total 
 material used in the somewhat long fugue, of which we 
 have now to consider the general features as regards con- 
 struction. 
 
 That the number of sections here exceeds three can 
 already be seen by the greater number of elaborate episodes, 
 of which no less than six can be pointed out. 
 
 The first of these appears, after the three voices have 
 entered regularly, and without connecting measure or measures, 
 as Dux (soprano) — Comes (alto) — Dux (bass). It consists 
 of four measures, and seems not so much fitted to lead 
 to a second development, as to round off the first in ?>. 
 symmetrical manner (it completes the second period), anti 
 
2 2 FIRST PART, 
 
 to give to it the indispensable close in the key of the 
 dominant. A second section now appears, beginning 
 with a theme entry (Dux) in the key of the dominant 
 (soprano), and ending with one in the parallel key of the 
 dominant (alto), with an intermediate one (in the bass) 
 in the parallel key (A^-mi7ior) of the principal key. An 
 episode closing in D^-7nmor completes the first entry as 
 an 8-measure period; the second is followed by an episode 
 of six measures (the 8'^ measure changing its meaning to 
 that of 6^^), and the third by an after-section with elision of 
 the 5*^ measure, which strengthens the close in E^- minor. 
 The close of the second section is marked by a shake, 
 and the crowded harmony, suggests indeed an allargando. 
 A third (most central) section — it should be noted 
 that by the return to the principal key in the middle, a 
 kind of rondo form is estabhshed — at first plays harm- 
 lessly with the opening portion of the theme, during 
 which the alto accompanies with the inversion of the first 
 figure of the countersubject (la)-, at the fourth measure the 
 bass takes hold of the same, and now the soprano introduces 
 the theme in the dominant (as Comes). In this case the 
 episode leads through Z>^- minor back to the principal 
 key, and the entry of the theme in the soprano forms a fore- 
 section, to which the alto at once answers (Dux in the 
 principal key): herewith this middle section is brought 
 to a close, A fourth section — a new episodical section — 
 which divides the middle from the concluding portion of the 
 fugue, just as the second divided the first from the middle 
 portion — contains free episodical working and embraces a 
 compass of three periods. The first of these periods 
 brings its fore-section to a close (in which motives i, i a, 
 2 and 2 a are worked out) with the second half of 
 the theme (the only appearance of those motives apart 
 from the theme entries); the after-section plays again 
 with the motives i and 2b, but in a somewhat long 
 sequence, which extends its compass to eight measures 
 (close in the principal key). The second period is firmly 
 fixed in the principal key (the first inclines towards the 
 under- dominant, and thus already points towards the end) and 
 makes a half close on gj}'. The whole of the second and 
 third periods must be thought of as over an organ-point 
 on g^, which note is continually recurring; and by the very 
 cessation of this organ -point the commencement of the 
 
4. PRELUDE AND FUGUE IN C\- MINOR. 
 
 23 
 
 concluding portion is sharply marked. Again the motive 
 material also of the second and third periods of this long 
 episode, consists of the commencement of the theme with 
 a new and simple counterpoint: — 
 
 NB. 
 
 Finally the concluding portion introduces a complete 
 development in the principal key, and this is distinguished 
 from the one at the opening of the fugue, in that it starts at 
 once with two voices (with theme in bass), and is completed 
 by a postlude, not of eight measures, but of six: it is 
 occupied with the motives i, 2, 2 a and 3, does not modu- 
 late, and, in it the bass descends to the lowest octave. 
 But Bach cannot satisfy himself, and by way of coda 
 makes the soprano give the Dux again twice, once quite 
 faithfully, the second time with slight melodic alteration; 
 in the closing motive all four voices appear in broad 
 quaver movement. 
 
 I. 4. 
 
 PRELUDE AND FUGUE IN Cif-MINOR. 
 
 We now enter into the Holy of Holies : throughout the 
 sum-total of musical literature there are but few pairs of pieces 
 so full of dignity and of inspiration as these two. In the 
 prelude the serious, sad key of C^-fuifior expresses noble 
 feeling, full of depth and energy. The two following 
 groups each of two measures: 
 
 (2 J. ) ^ 
 
 ^^ * r _ I (2) r 
 
 f=¥=^i=^ 
 
24 
 
 FIRST PART. 
 
 and: 
 
 N^^^M^^rtiKs 
 
 (6) 
 
 the first, the commencement of the fore-section (Vorder- 
 satz), the latter, that of the after-section (Nachsatz) in the 
 first period, are Uke unto mighty gasps, or, better still, to 
 the yearning sighs of a great heart. The piece is built 
 up of five 8-measure periods (at times with considerable 
 extensions) consisting of developments of the same. They 
 are spun out in sequential form, so that the lines of the 
 music often become quite immeasurable, as, for instance, 
 in the second period 
 
 ff¥» J J N jmi;^fa^^ ^teS 
 
 f. 
 
 and 
 
 p^r^ 
 
 but in a still stronger degree in the last two periods in 
 which ebb and flow fill eight whole measures; the tejjipo 
 must not however become very slow. Czerny's Metronome 
 mark J == 92, with crotchets therefore as beats, is a 
 decided mistake; it corresponds with his tempo indication 
 Andante con moto instead of Andante con espressione or 
 sostenuto, if indeed Adagio be not the only suitable one for 
 it. The following may sound paradoxical, but really it is not 
 so: the crotchets must be taken faster than Czerny wishes, 
 (almost double as fast) in order to be able to follow 
 
 the \ as a count or beat. How would it be possible 
 to grasp the gigantic lines of the last period of eight 
 measures (before the corrected close of four measures). 
 
4. PRELUDE AND FUGUE IN C%- MINOR. 
 
 25 
 
 if the crotchets were taken in sufficiently slow time to 
 
 make J J | J stand out as measure motive I (The 8 mea- 
 sures would then become 16!) 
 
 With regard to the scheme of modulation, it may 
 be briefly remarked, that the first period closes in the 
 (parallel) key of E-viajor, but the 8'^ measure acquires the 
 new meaning of 2"'^ in the following period, which comes 
 to a marked close in G^- minor (minor upper-dominant). 
 Here ends the first section. The third period passes 
 through B-major {2^^ measure), touching lightly on CJ- 
 minor (4^^ measure), to F^- minor {^2i, in which an elision 
 of an unaccented half measure occurs), and again settles 
 firmly in the key of C\- minor » With this the piece 
 is really at an end, for the periods which follow, and 
 which by their marked shortenings (elision of the i^* and 
 5'^ measures), appear, in comparison with those of the 
 first section, highly intensified; they modulate no more, 
 but continue to form extended close-confirmations. The 
 harmonic scheme is as follows: — 
 
 11^^ 
 
 :Srte^^ 
 
 (2)c|VII («c)j2>) gjj9* 
 
 (4) "gjl 
 
 ttse 
 
 :?2] 
 
 ^ 
 
 P 
 
 (6) cjfvn g|7 OgjJ cjjvn (8) gj(^- (Half close). 
 
 i 
 
 * 
 
 l=:=t 
 
 25l« 
 
 -e- 
 
 (2) <=« 
 
 IX< 
 
 g^ 
 
 (4) "git 
 
 ft 
 
 a= 
 
 y*-* 
 
 cj(ix(6) gjfo^ ^%T + (8) gj( 
 
 VII 
 (Deceptive cadence). 
 
26 
 
 FIRST PART. 
 
 a 
 
 ^ 
 
 :)= 
 
 -9<tS>^ 
 
 1221 
 
 <*«' 
 
 (6) 
 
 gf e|"' 
 
 ?: (8)»g# 
 
 (Corrected close). 
 
 The fugue {k 5) rises like unto a majestic cathedral, 
 increasing in intensity up to the close; and finally, where 
 the strettos of theme and countersubject form the highest 
 point, and, at the same time, the real close (the rest is a 
 coda with organ-point on the dominant, and assuredly a 
 diminuendo was intended), the might is simply overwhelm- 
 ing. The theme, evidently of allabreve character, as the 
 merest glance will show, is one of the very shortest, and 
 must be read: 
 
 ^1 
 
 /. e. in */8 or indeed */i measure (the a as count). Czerny was, 
 therefore, utterly mistaken in making the crotchet = 112. 
 A tempo must be taken which still makes it possible to 
 trace the semibreve movement (though with a feeling of 
 powerful restraint). As Bach repeatedly changes the closing 
 (accented) semibreve into an unaccented one, minims, not 
 semibreves, are, as a matter of fact, the real pulse throbs 
 of the piece (certainly counts frequently changing meaning, 
 /. e. accented becoming unaccented, would scarcely be intelli- 
 gible; for, as is known, the elision of certain counts produces 
 peculiarities of the most mischievous kind). We must therefore 
 say that within quiet minim measure the theme nevertheless 
 proceeds with semibreve values, and therein lies its dignity 
 (its dignity is more than great: it is colossal). For this 
 reason I felt compelled to mark the minim movement 
 
 Sostenuto ma non troppo, and Cp time was changed into 
 */2 time, not only that the rhythmical nature of the theme 
 might be made clear to the eye, but that one might al- 
 ways be fully conscious of the wonderful esthetic fact that 
 amid plain movement in strict counts the theme pursues 
 its superhuman course in counts of double the length. 
 
4. PRELUDE AND FUGUE IN CI- MINOR. 
 
 27 
 
 The theme is favourable to regular construction (four 
 full measures); but only in the third section of the fugue 
 does Bach bring the entries so close to one another, that 
 each set of two forms a complete period of 8 measures: 
 
 PPtt 
 
 ^^i^^^l-^E^E^ 
 
 (4) 
 
 ¥ 
 
 j=:<5t 
 
 (8) 
 
 :^i 
 
 (8a) 
 
 He is rather inclined frequently to bring in a new 
 voice on the closing value (4^^, likewise 8'^ measure), so 
 that the fourth measure becomes fifth (the eighth, first); 
 or we may understand it in a polyphonic sense, and look 
 upon the closing value as such, yet, at the same time, 
 as a new beginning; so that, the 6^^ measure following 
 directly after the 4^^, or a new 2"*^ following the 8'^, the 
 opening bar of the half section (i., 5) constantly appears 
 not so much elided, as joined on to the concluding mea- 
 sure of the preceding half-section. This is something 
 quite different from, and indeed much more complicated 
 than the case of the unaccented opening measure of the 
 theme, as in the first fugue, being omitted. And this is 
 also the reason why Bach repeatedly shortens the opening 
 note of the theme; simple elision of the unaccented mea- 
 sure takes the place of change of meaning; and this is 
 not only easier to grasp, but it marks the entry of the theme 
 in a more convenient manner. 
 
 The answer is a faithful transposition of the theme 
 in the fifth; but it is worthy of note, that already in the 
 first development there is an answer in the fourth (under- 
 dominant), and, indeed (if to the four regular voices we 
 suppose the addition of a second alto), in the first alto. 
 This mode of answer does not, however, begin with the 
 under-dominant, but, according to rule, with the fifth, and 
 then proceeds to answering in the fourth; the end notes 
 are, indeed, quite free: 
 
28 
 
 FIRST PART. 
 
 M 
 
 m 
 
 NB. 
 
 ff 
 
 :zz 
 
 ^ 
 
 The characteristic interval of the diminished fourth, ex- 
 tending from the sub-semitone to the third degree, has, however, 
 been preserved. (This leads easily to the question whether, 
 at the present day, when a knowledge of the nature of 
 harmony and of logical tonal construction has been so 
 powerfully developed, the fugue form actually need be 
 limited to the reply in the fifth, or whether, as Bach has 
 done here, a [tonal] answer on other degrees might not 
 be attempted?) 
 
 In the further course of the fugue several other light 
 deviations occur in the theme entries, among which the 
 substitution of a perfect for the diminished fourth in the 
 single major entry of the middle section {A-major, parallel 
 of the under-dominant) almost explains itself; the others, 
 without exception, concern the end of the theme, viz.: — 
 
 * 
 
 M 
 
 a 
 
 a) 
 
 b) 
 
 -sat: 
 
 Twice and likewise 
 in A-major 
 
 NB. 
 
 (three times) 
 
 NB 
 
 I, naturally, take no note of the incomplete entries 
 in the strettos, or in the coda. Bach apparently chooses 
 the chromatic ending at c with an eye to its continued 
 development through the two alto voices. 
 
 J . ! 
 
 tt^^^T^ 
 
 ■-t:; 
 
 .ff^JzzHdzil^-ggzzitdizitl 
 
 n 
 
 (by the way, this is the only real episode in the fugue) 
 
 (8) 
 
4. PRELUDE AND FUGUE IN C%- MINOR. 
 
 29 
 
 Next to the real theme, which, with exception of a few 
 connecting bars, is never absent from the plan, two 
 counter subjects become of immense importance: there is 
 first a succession of quavers of organ -like figuration, which 
 IS prudently led up to by crotchets, thus marking the 
 beginning of the middle section. 
 
 fi feaeg^ a^^ 
 
 and from thence onwards (appearing also in upward 
 motion), it winds uninterruptedly through the voices like a 
 garland, and only ceases at the coda. The same, although 
 foreshadowed in the preceding second development, intro- 
 duces a new, and somewhat impetuous character into the 
 fugue, a strong contrast to the above-mentioned semibreve 
 movement of the theme, and this character is still further 
 intensified by addition of a formal second theme 
 
 1 =1: 
 
 n5: 
 
 V¥ 
 
 (with occasional alteration of the cadence); it only forms a 
 counterpoint to the second half of the theme, but is also 
 employed in light imitation to fill up the short gaps bet- 
 ween the theme entries. It is impossible to look upon 
 this as a transformation of the first counterpoint to the 
 Comes 
 
 pa j^EpP^ 
 
 fe^i^ 
 
 ^^4=^ 
 
 g 
 
 I Cp. 
 
30 
 
 FIRST PART. 
 
 on account of the totally different measure and build 
 which it maintains throughout. 
 
 The combinations of the coda, 
 
 8 va ^^^^ ^^^ 
 
 iJ^ J SIJ, j-jii ijji 
 
 and 
 
 
 ! 
 
 by continued imitations of the countertheme (at the distance 
 of a minim), only once, and quite accidentally, introduce 
 the same in a position in which the feminine ending 
 
 
 which constitutes the only resemblance, is presented in 
 the same position as in the first counterpoint to the Comes. 
 The principal sections of the fugue are: I. The Ex- 
 position consisting of the first and second developments: 
 the first concludes with a redundant entry of the Comes 
 in the tenor in the minor key of the upper - dominant 
 {G^-minor). As Bach makes the tenor pause when the soprano 
 enters (the five voices rise one above another, like the stories 
 of a tower), the new entry of the tenor makes it seem 
 as though the fifth voice was only now coming in (anyhow 
 the five-part writing only now becomes an objective fact). 
 The second development (beginning with 3 voices) joins on 
 immediately: the tenor continues at once with the theme 
 in the under-dominant, whereupon the second alto follows 
 with C\-mi7ior^ the bass with B-7?iajor, and "the first 
 alto with E- major. Both these developments occupy 
 two eight - measure periods with the already noted 
 elisions. II. The second section which now follows (with 
 the running quaver passage) brings back the key of 
 
4. PRELUDE AND FUGUE IN C%- MINOR. -^ 
 
 C\-77iinor (tenor) with theme entries in 6^Ji-w/«<7r (Comes, 
 2"^ alto), again C^-^nmor (i^^ alto) and F^-7ninor (soprano, 
 for the first time with the countertheme, as conclusion of 
 the first period of this section), once again F^- minor 
 (bass), and A -major (2"^ alto), forming a new point 
 of rest; but as the Dux is taken up by the i^t alto, the 
 music continues without break. It should be noted that 
 the appearance of the principal key at a moment in the 
 period having such little cadential power shows a striving 
 towards, but not a full reaching of the same; after the 
 previous sinking down to the under- dominant and to its 
 parallel key, that could only be accomplished by a po- 
 werful turning in the direction of the upper -dominant. 
 Bach therefere lays hold of the dominant of the dominant 
 (^Jt', theme in the first alto), and returns from it to the 
 first dominant (with the above noted chromatic progression), 
 so that now (the 8^^ measure changing its meaning to 
 that of I St) the III. concluding section can open effectively, 
 but quietly (not, as Czerny will have it, jf" as the culmi- 
 nating point of the whole, but mf) with the entry of the 
 Dux in the lowest position (on great C). The cadential 
 meaning of this section reveals itself in unmistakable 
 fashion, since soprano and tenor introduce the Dux in the 
 principal key, and indeed with elision of the 5 tii and i ^t 
 measures, as at the commencement, and again (waiving 
 the elision) the theme is given out in the under-dominant 
 by the alto, and the Dux in still more impressive manner 
 by the soprano, whereupon the coda, with its close strettos 
 of theme and countertheme unfolds, the utmost fulness and 
 power, and opens up into an organ -point on ^|, over 
 which is heard once more the Dux in the soprano. But 
 under the closing c^ oi the soprano, the first alto gives 
 again the answer in the under -dominant, thus forming a 
 plagal close. It would be difficult to name anything at 
 all comparable to the majestic rising and falling from 
 the low bass entry at the commencement of the third 
 section down to the very last note! 
 
i2 
 
 FIRS!' PART. 
 
 I. 5. 
 PRELUDE AND FUGUE IN D. 
 
 The prelude carries on ingenious sport with light 
 motives, graceful and pleasing, rather than strong and ex- 
 pressive. Something resembling a spring mood pervades 
 this piece: light-hearted beings seem to be merrily throw- 
 ing flowers the one to the other. On close examination 
 the two voices of the original notation 
 
 I 
 
 Vivace (4 K 
 
 ^MiM =^-^ 
 
 - 7 
 
 •7 n 7 
 
 n 7 
 
 T 
 
 appear to be very delicate open work in four voices (cf. 
 my edition): 
 
 
 P 
 
 ±ip: 
 
 ^^ 
 
 
 Afterwards the music is mostly in three voices, but, 
 from time to time, the fourth (low middle voice) again 
 becomes perceptible, and at the commencement of the 
 closing section the opening measures are faithfully repeated 
 in the fifth below (under- dominant). Attention is called 
 to the melodic progression, slightly concealed by the 
 figuration, of the two upper voices: — 
 
6. PRELUDE AND FUGUE IN D- MAJOR. 
 
 33 
 
 3_^ll^^. 
 
 i^q^?i-7f-| 
 
 (8)- 
 
 As the bass adheres, for the most part, to its wide steps, 
 it may be broken up into two voices (bass and tenor) — the 
 object of this remark is to enhance the merit of the piece, 
 which, although by no means homophonic, entirely disdains 
 the arts of imitation and of canon. It must be taken at 
 a sufficiently rapid rate for the listener not entirely to 
 lose consciousness of the Allabreve character established 
 in the opening measures. 
 
 The construction consists, indeed, principally of the 
 3 -measure order _w- (/. e. with elision of the first and 
 fifth measures). The rest may be shown by setting out 
 the harmonic scheme, and this can be represented here 
 by the real bass. 
 
 (Elision of 5th measure) 
 
 % 
 
 -& 
 
 m 
 
 a7 (4) d^(6) e 
 
 d» 
 
 (i St period, closing in the dominant) 
 Riemann, Analysis of Bach's "Wohltemperirtes Clavier", 
 
 (8) 
 
34 
 
 FIRST PART. 
 
 (without elision) 
 
 (Elision of 5 th measure) 
 
 3 
 
 -^ 
 
 ^^^ 
 
 (2)^ ^ ^ (4)^ (6) 
 
 a« b7 «b fti^ fJt^^ 0ii»- «cit b' Ob eIX< 
 
 (=cni^ * ^ v^ V 
 
 T= elll^) 
 
 Vllh 
 
 Confirmation 
 
 "^ (srS 
 
 i^ 
 
 (8) 3^ ^(8a) 
 0b(=g6)a7 d+ a» d+ 
 
 _ V 
 
 (second period returning to, and closing in the principal key; the delicate em- 
 ployment of the Doric sixth a fi and c^ as e yjj j should be noticed). 
 
 (Elision of i st M.) (Elision of 5 th M.) 
 
 i 
 
 ± 
 
 l=ti=j: 
 
 -& Gh- 
 
 ^(2)3^ (4) (6) (8-2) 
 
 gH- c7 elX^ b7 0bfiJe>.. OfJj(:raIII<)e' «e(c«)d' g+ 
 i~^ " ^v" VII 
 
 (Third period passing through A-minor and closing in G-major; real episode 
 preparing the return of the opening principal period which springs from it 
 by change of meaning of 8th measure to that of and, but struggles upward 
 from the under-dominant to the tonic). 
 
 (Elision of S^li M.) 
 
 33 
 
 S 
 
 :£i±:2^ 
 
 (4) (6) 
 
 ^3^~^T8W 
 
 a' d+ g< 
 
 d+ 
 
 The rest is coda: there is no elision of the first measure, 
 and at the second the dominant is grasped, and held as 
 organ -point in the bass up to the sixth measure; there is. 
 
J. PRELUDE AND FUGUE IN D- MAJOR. 
 
 35 
 
 however, elision of the fifth, and the sixth and seventh are 
 spread out into '^/a measure (triplet of minims). At the 
 eighth measure the cadence is frustrated by substitution 
 of the second upper -dominant for the tonic, so that an 
 additional close of two measures (set out quite in organ 
 fashion) becomes necessary by way of correction. 
 
 Pi 
 
 d' t 
 
 (2) - 
 
 i^: 
 
 JZ25 
 
 
 (6)' 
 
 ¥ 
 
 I 
 
 m 
 
 ^ 
 
 i= 
 
 6>H- (8=6) 
 
 ^' 
 
 4 3 
 
 (8) 
 
 d+ 
 
 It is also better to interpret these closing measures 
 as one of ^\<i and one of ^/i (in notes double the length 
 of those indicated by Bach). 
 
 The Fugue (a 4) is a powerful, proud piece which, 
 owing to the energetic demisemiquaver run of the theme, 
 and the consistent and persistent dotting of the quaver 
 
 ( ^ I ^. ) 2-ssumes a special grandeur of its own, but which, 
 transfigured by the bright open key of D, only presents 
 as it were, the appearance of, some resolute, formal nature. 
 The movement appears almost homophonic because two 
 or three voices move almost continually in dotted rhythm in 
 chord fashion with only the ^/ga run, after the manner of a 
 Schleifer ofthe commencement of the theme, and a quiet semi- 
 quaver figure (derived from the free measure between the 
 second and the third entry of the theme) by way of contrast. 
 There is no regular first countersubject (counterpoint), for 
 during the first appearance of the Comes the first voice 
 merely imitates the concluding motive of the theme, and 
 then forms a cadence in bass fashion. The answer itself 
 is a faithful transposition in the fifth, as the theme only 
 runs smoothly through the hexachord from the fundamental 
 note to the sixth. 
 
36 
 
 FIRST PART. 
 
 Allegro patetico. (4 
 
 *E: 
 
 
 »/• 
 
 JLipg rn^TF^ rB^ ^ 
 
 (2) 
 
 The free double measure which joins on is as follows: — 
 
 ^ 
 
 
 '^ 
 
 The syncopated motive is now at once taken up by 
 the tenor as counterpoint to the theme entry in the alto 
 
 ■^i— (- 
 
 li^ 
 
 z 
 
 A.f-lL±J . 
 
 iiJ^.^ 
 
 ■0- P 
 I J 
 
 (while the Schleifer falls to one of the other voices, and 
 the "turn" ending almost entirely disappears); and in this 
 form has the importance of a real countersubject, which 
 
5". PRELUDE AND FUGUE IN D- MAJOR. ^« 
 
 returns for the greater number of the theme entries. We 
 have thus the rare case of a countersubject appearing first, 
 independently (in an episode), and only then in combi- 
 nation with the theme. The episodes which occur after- 
 wards consist, for the most part, of the commencement of 
 the theme alternately with the quiet semiquaver motive, 
 the soothing effect of the latter being increased by its 
 threefold repetition in descending form. 
 
 ^E^=ff^^Ef=^^^^=?^^^fi^ 
 
 
 ^-i 
 
 Now to the construction generally I Two theme entries 
 (bass, tenor) fill up the first fore-section; a free double 
 measure (see above) and the alto entry bring the period 
 to a conclusion in the tonic (D). Hence a second period 
 begins with the entry of the fourth voice (soprano), and 
 the fore -section of the same concludes in a free manner, 
 while the after-section includes a new bass entry (Dux) 
 — an octave lower than the first — and a new soprano 
 entry (with a close in the parallel key of B-viifwr). 
 It would be an altogether perverted method of reasoning 
 to speak, up to now, of a first and second development. 
 It would be an equal perversion to include the entry of 
 the fourth voice in the first development, although by 
 so doing the usual close in the dominant would be arrived 
 at. The clear, simple construction of this fugue leaves no 
 doubt whatever that Bach did not consider himself bound 
 to bring in all four voices during a first (even though 
 extended) period, or even during two periods, /. e. to com- 
 plete an important form-member by the carrying out 
 of the theme through all four voices. As the first two 
 voice entries undeniably bring the fore-section to a close 
 in the dominant, the conclusion of the whole period in 
 the dominant would be decidedly tautological; Bach was 
 evidently, consciously or unconsciously influenced by this, 
 and inserted an episode before the third voice entry. He 
 certainly could have obtained a similar result by giving (as he 
 
38 
 
 FIRST PART. 
 
 has done elsewhere) the Comes instead of the Dux to the 
 third voice — but probably this usual way of getting over 
 the difficulty would have incurred the danger of monotony. 
 So now the soprano voice, hitherto absent, appears trium- 
 phantly at the opening of the second period, and indeed 
 with the Comes, and keeps in view, quietly, though resolutely 
 sinking downwards, until the moment comes when it can 
 conclude with the theme in the parallel key. The second 
 (middle) section of the fugue forms a period of considerable 
 extent, the fore-section (M. i — 4) of which is a free epi- 
 sode turning towards the under- dominant; the after-section 
 introduces Dux (alto) and Comes (tenor) in the under- 
 dominant so that it would lead back to the principal key, 
 but for the bass which has the deceptive cadence a — b 
 in place of a — d. Hence the repetition of the after-section 
 becomes necessary: it begins hkewise in the under-domi- 
 nant with Comes in soprano and Dux in tenor, but with 
 a leaning towards the key of E-miiwr (parallel of the 
 under-dominant) in which follow a low bass entry of the 
 theme and a supplemental close. The free runs in 
 the bass taken from the commencement of the theme 
 give a stretto appearance to the whole of this middle 
 section. The rest of the fugue (two 8-measure periods, the 
 first of which repeats the after-section) stands in the principal 
 key: it does not contain one single complete theme entry, 
 but plays freely with the motives hitherto indicated: there are 
 repeated cadences in D-major, but with the cadential effect 
 easily avoided, until all four voices, note against note in 
 full chords stringently execute the final close. Summary: 
 first section — two periods, exposition with a turning 
 towards the dominant; second section — an (extended) 
 period in the under- dominant (second development); third 
 section — two periods in the principal key (free close). 
 
6. PRELUDE AND FUGUE IN D- MINOR. ^0 
 
 I. 6. 
 PRELUDE AND FUGUE IN D-MINOR. 
 
 The prelude is a pensive piece full of nobility and 
 refined feeling, and of a certain bustling activity; with zeal, 
 and not without a certain humour, does the bass part visit the 
 heights and depths of its domain, feeling its way now by 
 steps of a fifth or of a fourth, now rising or falhng in 
 long lines and by conjunct movement. The figurated upper 
 voice must be divided throughout, as at the commencement 
 (with up-beat and feminine ending), into members both 
 of a higher and lower order 
 
 Moderate sempre espressivo. 
 
 ^^m 
 
 £^ 
 
 We have at first an opening ex abrupto (measures 
 6—8) on a stationary bass (organ-point), or (and after all the 
 result is the same) a short independent little phrase of 
 two measures ending with a full close (8^^ measure). 
 The first really developed period of 8 measures which joins 
 on to it modulates to the parallel key {jF-7najor)\ the 
 second soars upward to the minor upper-dominant {A-7?iinor) 
 from whence the third finds its way homeward to V-minor, 
 but makes a deceptive cadence to the key of B^, and on 
 that account repeats in a more emphatic manner the 
 closing group (measures 7 — 8), leading to an extensive 
 coda by substituting ^' (dominant of G-minor) for the con- 
 cluding D -minor chord. This coda consists first of an 
 organ-point on d^ yet insisting continually on the dominant 
 meaning of d^—i. e. it bears the impress of the key of the 
 under-dominant {G-mifior). But finally the second upper- 
 dominant (^®^) is touched upon, and a fairly long organ- 
 point leads quickly to the end. At the beginning of the 
 coda the semiquaver figuration partly loses its feminine 
 ending and the lines of progression become of greater extent 
 
40 
 
 FIRST PART. 
 
 m 
 
 7^J^ 
 
 F^S^-p3^1 
 
 ^3^^^ 
 
 ^i^4 4 ^ 
 
 '«2* * 
 
 It may be mentioned that three harmonies suffice to 
 explain the orthography of the concluding measures with 
 their chromatic progression of diminished triads: — 
 
 (The 2°<* upper-dominant zzz the chromatically changed 
 under-dominant dnuh the 3'''^ upper-dominant ^chroma- 
 tically changed tonic [dl<]). 
 
 The fugue (a 3) is full of ingenious devices, for it 
 contains not only strettos, but inversion of the theme. The 
 latter has the two -fold formation so frequently to be 
 met with in Bach, in its first half it advances quietly by 
 diatonic steps, and in its second becomes somewhat 
 passionate, concluding on the fifth and, by way of inter- 
 rogation, with a shake 
 
 Andante. 
 
 I 
 
 ^ 4=F1 
 
 T/-*- 
 
 P • T 
 
 
 The uniformly ascending melody d e f g a, on which 
 this thought is based, is faithfully preserved in the Comes, 
 the latter being only the transposition of the Dux into the 
 minor key of the upper-dominant. 
 
e. PRELUDE AND FUGUE IN D-MINOR. 
 
 41 
 
 
 *l**" 
 
 This however, notwithstanding the limitation of the 
 theme to the triad position with upper sixth and sub- 
 semitone 
 
 cff I d e f g a I bi? 
 
 is by no means self-evident. Bach might indeed just as 
 well have answered the progression, which taken en bloc 
 = Tonic - Dominant, by Dominant - Tonic, somewhat as 
 follows: — 
 
 ^^^^^^^^m 
 
 or, indeed, like the soprano in measures 8 — 9 (with Neapo- 
 litan sixth ^[7). 
 
 ^ 
 
 
 e f g a 
 
 Over against these various possibilities the faithful 
 transposition seems the simplest way out; the imita- 
 tion of the half close, anyhow, brings the end of the 
 Comes in the second upper- dominant, but, as Bach 
 introduces the E-minor chord (= ^ m^) in place of the 
 
42 
 
 FIRST PART. 
 
 expected E- major chord, this acquires the meaning of 
 the chord of the Doric sixth of V- minor. The theme 
 indeed appears afterwards with deviations of various kinds, 
 viz.: — 
 
 NB. 
 
 (Comes, M. 13 and 21.) (Comes, M. 17.) 
 
 NB. 
 
 ^^^^^ 
 
 ^JL-t 
 
 Comes, M. 34.) 
 
 i 
 
 t^t*^^ 
 
 NB. 
 (Comes, M. 18.) 
 
 NB. 
 
 All this shows that Bach did not look upon the har- 
 mony of the first member of the theme simply as tonic 
 (^a), but as Under-dominant — Tonic (d^^i— "a), so that 
 not d — a, but ^— / and b\? — g — a had to be imitated; and 
 this, with exception of an irregular formation (measures 
 8 — 9), is carried out in the fullest manner. Also this har- 
 monic conception is preserved throughout in the inversions 
 of the theme 
 
 (Comes inversus. M. 14). 
 
 fei 
 
 
 (Oa 
 
 d7 
 
 Od) 
 
*. PRELUDE AND FUGUE IN D-MINOR. 
 
 43 
 
 (Dux inversus M. 28.) 
 
 Besides these two complete forms of inversion there 
 are a great number of incomplete ones, among which, one 
 in the under-dominant (M. 26.) After the real exposition 
 the theme itself (in direct or inverted form), partly in real 
 stretto, partly in easy imitation, forms the counterpoint; 
 but, at the same time, the counterpoint (countersubject) 
 which first accompanies the Comes, plays an important 
 rdle\ it is, in fact, rich in material. 
 
 The motives a and c^ especially, are repeatedly spun 
 out into passages; also the syncopated portion b often 
 becomes prominent. Attention is specially drawn to the 
 passage which, if not properly phrased, sounds really 
 ugly: 
 
 ^^m 
 
 It is ofte of the finest results of phrase mdications that 
 such old established ugly effects disappear, leaving ?io trace, 
 and are replaced by others of pathetic character. 
 
 The principal sections of the fugue under notice 
 are: — 
 
 I. Exposition, i. e. setting out of the theme and answer 
 with the principal counterpoint, and establishment of the 
 principal key: an 8-measure period with emphatic repetition 
 of the 4*^ measure (change of meaning from ^^ to that 
 of the chord of the Doric sixth and full close in Z)-mi7ior)\ 
 
J,. Fin ST PART. 
 
 44 
 
 by a redundant entry of the theme (soprano) the after- 
 section appears to be in four voices. A second full close 
 in the tonic is set off by a Neapolitan 6^^ (the contrast 
 of this E\?-major chord to the E-minor chord in the first 
 full close should be noticed!), and further by the change 
 of meaning of the 8*^ measure to that of i^t in the episode 
 of four measures in which the concluding measure of the 
 theme and its counterpoint are imitated*, and with a half close 
 on «', the inversion of the theme is modestly announced 
 in the alto. 
 
 II. After four measures of transition comes the mo- 
 dulating second section (middle section), in which occurs, 
 first in the fore -section, a stretto of the Comes (on ^') 
 in direct and in contrary motion between soprano and alto, 
 with free counterpoint in the bass; and in the after-section 
 a stretto (firmly establishing the key of A-minor) in direct 
 motion between bass and alto (Comes or Dux? commen- 
 cing on a). The second half of the middle section which 
 immediately joins on re-establishes in decided manner the 
 key of V-inuior, and first of all by reproduction of the pre- 
 viously indicated stretto with change of voices (bass and 
 soprano); in the after-section there is the inversion in the 
 under- dominant in the alto (from d) imitated in the bass 
 (from g), whereupon the soprano brings the period to a 
 close with the complete inversion of the Dux. But towards 
 the close the alto enters with the original Dux, and the 
 bass attempts a stretto with inversion of the same; but 
 by this the 8'^ measure becomes the i^* of the closing section. 
 
 III. The concluding section (coda), for the rest, is of 
 free form, and turns, by way of preparation for the end, to 
 the under- dominant [G-minor), but at the 4^^^, and again at 
 the 8^^ measure makes a full close in D-vihior\ the after- 
 section is increased in intensity (in measures 5 — 6 Comes 
 on ^', i. e. the key of the under -dominant once again) by 
 means of a triplet of measures before the close (in place 
 of measures 7 — 8), which owing to sequence formation is 
 easily perceived, and would well bear strmgendo. Finally, 
 a close confirmation of four measures introduces once more 
 a stretto of the Dux on ^' in bass and alto; and appended 
 to it is still a close -confirmation of one measure in six 
 voices: here the opening motive of the theme forms a 
 counterpoint to its inversion, and both are strengthened 
 by thirds (major close): 
 
/. PRELUDE AND FUGUE IN E-FLAT. 
 J riiard. ^ 
 
 45 
 
 G- 
 
 pm^r 
 
 
 m 
 
 I. 7- 
 PRELUDE AND FUGUE IN E-FLAT. 
 
 Strange that, as yet, no one has noticed that the 
 grand piece with strict writing in four voices which figures 
 as prelude, is itself a powerful fugue worthy to be placed 
 by the side of the fugues in C^- minor, E^-mhior and 
 B^ -minor. Who knows whether some passing whim may 
 not have induced Bach to follow the piece by a second 
 fugue of totally different character. A close examination 
 shows — as indeed Bruyck recognized — a binary, like- 
 wise ternary division of the "Prelude", as I have clearly 
 shown in my edition by different tempo superscriptions 
 {Allegro deciso — Poco Andante — Tempo I"^^). In my 
 opinion the first two sections compose the real prelude 
 (with half close on the dominant), while the third (three 
 times as long as the other two together) is a fugue of 
 considerable development, in reality a double fugue. But 
 again there is a striking relationship between the thematic 
 material of the preluding portion and of this fugue; and 
 this may be seen first in the quiet second section, of 
 which the following is the motive: 
 
 ^^ 
 
 ?: X 
 
 H 
 
 i=t 
 
 (2) 
 
 11 
 
 (4) 
 
.5 FIRST PART. 
 
 while the theme of the fugue appears thus; 
 
 eg 
 
 (2) 
 
 (4) 
 
 The first section proceeding in energetic semiquaver 
 movement with the figuration motive 
 
 ^^^^^^ 
 
 embraces, finally, the very same progression of fourths 
 (likewise fifths) and has similar syncopated feminine endings \ 
 the opening may be reduced to crotchet movement some- 
 what thus: — 
 
 ^ 
 
 -J- 
 
 ^ ^ 
 
 I I 
 
 f^ 
 
 ^fe^ 
 
 ■(5>~ 
 
 \^' 
 
 J-i 
 
 (4) 
 
 The key of the dominant {BV) is reached at the 8**^ 
 measure of the first section; the bass remains stationary 
 on ^t?, and the upper voice blusters first down, and then 
 up again, in increased movement (demisemiquavers), accen- 
 tuating, by means of a shake on the fourth (^j?), a close 
 confirmed by two measures. 
 
f. PRELUDE AND FUGUE IN E-FLAT. 
 
 47 
 
 The tenor enters on the concluding note with the 
 above-mentioned motive, which now appears in stretto form 
 in the four voices: — 
 
 {±&ri-- 
 
 
 
 
 1 — 
 
 -.^ 
 
 ^J- 
 
 vy^ -2-- 
 
 
 
 
 
 1 
 
 *>* 
 
 ff 
 
 — f — 
 
 etc. 
 
 — f 
 
 1 
 
 4 
 
 ^.. 
 
 
 (2) 
 
 The notation in ^U time which I have adopted, does 
 not show the rhythmical plan in an altogether clear manner, 
 but it may perhaps be preferred to the more correct 
 
 I 
 
 BE^EE 
 
 r ^^' 
 
 (4-5) 
 
 
 (8) 
 
 etc. 
 
 with its many changes of meaning; besides, the absence 
 of figuration of any kind would easily lead one to regard 
 the minims as the beats or counts. This section anti- 
 cipates as it were, the strettos of the fugue theme, or — 
 if one will — causes the full, definite theme to be evolved 
 from the motion and fermentation of the closest imitations; 
 the beginning of the real fugue therefore, like that of the 
 ^/g middle section, is prepared 
 
 
 rii. 
 
 \ + \ 
 
 - 
 
 
 
 W. _ 
 
 ^=^-v- 
 
 -f-^^^f- 
 
 • 
 
 f8) 
 
48 
 
 FIRST PART. 
 
 Tempo 1. 
 
 .-^ 
 
 Counterpoint. 
 
 ^^ 
 
 T 
 
 ^^^-^^m^ 
 
 ^=^ 
 
 is 
 
 ^ 
 
 Sc^ 
 
 It= 
 
 Theme 
 
 The countersubject appears then simultaneously with 
 the theme, and is afterwards adhered to so strictly, that 
 one can scarcely refrain from naming the piece a double 
 fugue. Its first half is evidently evolved from the figura- 
 tion motive of the introduction, but as the striking upwards 
 towards the seventh is replaced by progression downward 
 of a second and long feminine ending, it appears formed 
 in quite an independent manner; on close examination the 
 second half reveals itself as a direct imitation of the first 
 theme member: 
 
 g?S 
 
 4=t 
 
 f-^*-^ 
 
 ^^^ 
 
 instead of 
 
 The answering of the theme differs from the usual 
 plan in as much as the progression fifth — prime is not 
 responded to by prime— fifth, but (strictly) by prime- 
 fourth: 
 
 Comes 
 
 instead of ? a) 
 
 E£ 
 
 m^^ 
 
 Hi==t: 
 
 '^^ 
 
 ^ I 
 
7. PRELUDE AND FUGUE IN E-FLAT. 
 
 49 
 
 or? c) 
 
 The Comes then, from first note to last, is a fourth 
 higher than the Dux, and this was absolutely necessary 
 inasmuch as the Dux enters in the dominant key (har- 
 mony of the Dux: b^ — e\?^ — /' etc; of the Comes 
 e\f'^ — a^^ — ^' etc.), /. e. the Comes adopts the under- 
 dominant as counterweight, but only its harmony, not its 
 key (cf. c). This strict answering in the fourth is unde- 
 niably the reason why the fugue has not been recognized 
 as such; and the fact that theme and countersubject appear 
 simultaneously, renders recognition still more difficult 
 
 The order of entry in the exposition is 
 
 Soprano: . . . . Countersubject 
 
 Alto: Countersubject Theme 
 
 Tenor: is as yet siient , 
 
 Bass: Theme — fi:ee 
 
 As however the second half of the countersubject 
 imitates, as a matter of fact, the first half of the theme (in 
 the octave), the principal motive appears to run through 
 the four voices 
 
 Si 
 
 &. 
 
 ^^ 
 
 (Bass) 
 
 (Alto) 
 
 Pi 
 
 iSi 
 
 i 
 
 1^^^ 
 
 ^ 
 
 (Alto) " (Soprano) 
 
 /. e. the first development comes to an end. After an insertion 
 of two measures leading back to the dominant, the second 
 joins on, with the Dux introduced by the tenor which 
 hitherto has been silent, and with the countersubject in 
 the bass (the first notes of which, owing to the conduct 
 of the bass part, are wanting). As this tenor entry is 
 really the first appearance of the fourth voice (the second 
 
 Riemann, Analysis of Bach's "Wohltemperirtes Clavier". 4 
 
so 
 
 FIRST PART. 
 
 voice entry of the first development must be understood 
 thus: — 
 
 (free ) Countersubject 
 
 ^^^^ 
 
 Theme 
 
 ^ 
 
 PP 
 
 S 
 
 /. e. the first e^ of the alto is really an octave too high, but 
 as the bass takes the low e[, required, this is not noticed) 
 it might be reckoned as part of the exposition; anyhow 
 it is better to acknowledge the apparent existence of a 
 fifth voice rather than to look upon it as an incomplete 
 second development. The first section of the fugue ex- 
 tends then over the next interlude (in which the opening mo- 
 tive of the countersubject is used), unto the close in G-minor 
 (parallel of the dominant), i. e. up to the commencement 
 of the middle section with widely developed modulation 
 and numerous strettos, which extends up to the last 
 bass entry of the theme (after the long pause in the 
 bass voice). The strettos answer generally, to those of the 
 Andanfe -ei)isode mentioned above, but introduce the theme 
 in its new form, around which plays, for the most part, 
 the opening motive of the countersubject (the principal 
 motive figuration of the whole piece): 
 
 1, Soprano 2. Soprano. 
 
 i 
 
 k 
 
 ^ 
 
 22 
 
 Efc 
 
 ::i3t 
 
 
 8va dassa 
 
 Alto. 
 Alto. 
 
 j f^^^ ^ 
 
 Tenor. 
 NB. I Soprano. 
 
 h h 
 
 .U^-^.1 
 
 
 Tenor. 
 
7. PRELUDE AND FUGUE IN E-FLAT. ^i 
 
 With above third stretto, the first sub-section of the 
 middle part of the fugue (with Hvely modulations — 
 G-minor — Y-??iinor — Q-minor) may be considered at an 
 end: the second, and so to speak, the heart of the middle 
 section, is again simple in form: there is an absence of 
 stretto (instead of which the theme is again combined with 
 the complete countersubject), and a return is made to the 
 principal key: the entries (after a not very strict one 
 \f bV g c d bv\ in the bass) leading back to the prin- 
 cipal key are: 
 
 Alto: Countersubject 
 
 Tenor: Comes .... Countersubject 
 Bass: Dux 
 
 after which free modulation again takes the upper hand (theme 
 starting with c — -fm. the tenor, and with countersubject divided 
 between the alto, soprano and bass \ then theme commencing 
 d — g in the alto,around which plays the opening motive of the 
 countersubject), whereupon the theme is once again given 
 out by the alto, but opening with a)? — ^1?, while soprano, tenor 
 and bass again divide among themselves the counter- 
 subject. The modulation section concludes with the Comes 
 given out by soprano {e? — a\^ — g — c — b\i) with the counter- 
 subject in the alto, after the concluding member of which, 
 however, follows on the whole Comes, while here counter- 
 subject is in the soprano. From this small entanglement 
 the Dux — commencing the concluding section — emerges 
 in the bass, followed by the theme (^-^) in the alto, 
 the Dux in the soprano (with g\^ in place of g^ organ-point 
 on the dominant), and finally by the Comes in the alto 
 (organ-point on the tonic) ^ and thus follows a last complete 
 development. 
 
 In contradistinction to the seriousness and strength 
 of this powerful piece, the second fugue (k 3), a superfluous 
 addition, seems almost like a harmless merry postlude. 
 Who will venture to say whether the central motive of the 
 theme with its tone succession e^\ a\^ g a\? c b^, recalling 
 the theme of the great fugue, was the result of chance, 
 or of intention, or the unconscious assimilation of creative 
 genius? The theme (which must not be taken in hurried 
 tempo) is as follows: 
 
 4* 
 
52 
 
 FIRST PART. 
 
 The answer varies considerably from the simple trans- 
 position in the fifth, first in that it substitutes for the 
 ambitus of the opening motive Fifth — Prime, the Octave 
 — Fifth {b^ — ^b, e^ — bV) smaller by one degree^ but as 
 the second half of the theme makes a full close in the 
 dominant (/' — /^b"*"), the unavoidable task of reestabUshing 
 the principal key falls to the Comes, and this can only be 
 achieved by an answer of this second half in the fourth: 
 
 The arpeggio motive which leads to the counterpoint 
 here indicated subsequently disappears only during the 
 various theme entries, but forms the chief material of all 
 the episodes. The first, which is inserted between the 
 second and third voice entries, and forms the fore-section of 
 the second 8-measure period, opposes to this motive an 
 expressive, syncopated one, of which also much use is 
 made further on 
 
7. PRELUDE AND FUGUE IN E-FLAT. 
 
 53 
 
 (2.8) 
 
 ff^^tfV 
 
 In the second intermezzo entering on the dominant 
 at the close of the exposition, bass and soprano toss to and 
 fro the motive leading to the countersubject, while the 
 alto, on the other hand, gives out a new chord motive in 
 quiet quaver movement: 
 
 ^^m 
 
 ^ 
 
 ^^p^?^ 
 
 :^ 
 
 7- -L 
 
 "^ 
 
 
 The structure of the fugue, for the rest, can be easily 
 grasped: there are no strettos or other comphcations. 
 The total number of theme entries is nine, of which, in 
 addition to the first three, a single appearance of the Comes 
 in the soprano belongs to the first (foundation-laying) 
 section of the fugue: and only two occur in the modulating 
 middle section (modulations to C-ffiinor and G-mmor) viz. 
 Comes in the alto, Dux in bass: both in Q,-minor. The last 
 three are in the principal key (Comes in the bass. Dux [only 
 beginning in a^\\ in the soprano. Comes in the alto as 
 in the great first fugue, v;ith g^ instead of g, over a 
 repeated b'^ alter the manner of an organ -point). This 
 small fugue is therefore a model of simplicity and na- 
 turalness — unless, indeed, one should give a false reading 
 of the motive leading back to the principal key: 
 
 s^fc 
 
 I 
 
 
 a 
 
 # 
 
 ,15 
 
 ^ ? 
 
 ^ 
 
 T 
 V V 
 
 Anyone who overlooks the connection between the 
 semiquaver following the rest in the upper voice, and the 
 preceding motive, will not give a very smooth rendering 
 of the passage. 
 
54 
 
 FIRST PART. 
 
 I. 8. 
 
 PRELUDE AND FUGUE IN £>- MINOR. 
 
 It was found possible to describe the character of 
 the E^?- major prelude and of its great fugue as strength 
 combined with seriousness and dignity — and thus ans- 
 wering to the general character of the key of E"? (though 
 the second fugue shows that it can also present a more 
 friendly aspect), but here the agreement between the gene- 
 ral character of the key and the contents of the Bach 
 idea is far more imposing. The prelude, with deep, digni- 
 fied solemnity, advances in ^\<i measure; the longdrawn 
 lines of the melody display great and noble feeling: now 
 clear eyes full of love seem to be gazing at us, now deep 
 sighs are heard, sighs of pain at the limited power 
 of human beings who are able to realize only a small 
 portion of unlimited will; so, at least, would I explain the 
 mighty tearing- asunder of the voices at the beginning of 
 the second half: — 
 
 ^^ 
 
 ^JF^iS 
 
 -f-^ 
 
 -brr- 
 
 ^^^S^ 
 
 ^^^ 
 
 
 b^^ 
 
 aa r 
 
 :»/• 
 
8. PRELUDE AND FUGUE IN E^- MINOR. 
 
 55 
 
 The main features in the construction of the piece 
 are as follows: — 
 
 ^^^^^f^ 
 
 -i-^ 
 
 -G— 
 
 Obb ebvil bl7'(4)«bi7 gb' cK el?'(8)^el7 
 V^..^ -V 
 
 =#k^fc-b— :=^ -^- -^^ ^— ^- ■^rF:K' -^ 
 
 -^-^-V ^' 7^ —\'^— -^- 
 
 bt?' «bl7 f'(4)<'f bbvn f 0fbl?viiffi>f7 (8)0f 
 
 II. 
 
 IW^ 
 
 m 
 
 \<^-rT-r^r-^^ 
 
 f^b^ (4) «et7 bb'(4a)<'bl? 
 
 i 
 
 SSEi 
 
 ii^' 
 
 i^ 
 
 et7'(6)*^el7 bb' (8)^bb fb^^ bb' --/SaVeb 
 3 _ 
 
 r|Si 
 
 :5Z=;=t 
 
 ZZSZZI 
 
 eb' (4) <>eb ^b»^ (6) eblX< .. ..(6a) -. bb' 
 
 :^ 
 
 fe^i 
 
 3=1= 
 
 :^iz=st 
 
 G> (5>- 
 
 -6>^- 
 
 Obb bb2^ J. (8-5) eb^ Oeb bb' (Sa) ^bb 
 
 1-^ ^Y 
 
 i. e. the first (smaller) half (2 periods of 8 measures) has 
 a cadence in Y)?-7ni7ior with transition to the under-, and 
 
56 
 
 FIRST PART. 
 
 close in the upper-dominant; the second (two periods with 
 extensions) has a broad chain of chords of the diminished 
 seventh (chords of the lowered 9^*^- without prime, ^'^^ 
 ^t?^^*), but without real modulation; and at the chief points 
 of rest it makes full (likewise deceptive) cadences. 
 
 The fugue (^ 3) is possessed of the same earnest mood, 
 but it is milder, softer, and refrains from all sharply 
 marked rhythm or bustling figures, pursuing its course 
 from beginning to end in quiet crotchet and quaver mo- 
 vement. If anywhere, it is indeed here that the cold 
 judgment of K. v. Bruyck seems out of place: I cannot ima- 
 gine how anyone can speak of this noble, deeply pensive 
 fugue, breathing so fully the spirit of the tonality, as „made" 
 music. The theme was not shaped in order to allow of 
 many combinations; rather did the mystic character of the 
 key (as in the C^f^-rnmor, B9-mi?ior, also in the F-minor 
 and B-minor fugues of the first book) compel the master 
 to display the fullest wealth of his art; and thus the work- 
 manship became unusually profound. As a matter of fact 
 the E^-77iinor fugue became, as we are about to show in 
 detail, a wonder-work of contrapuntal art. 
 
 The theme commences with the fundamental note, 
 rises to the dominant, and then sinks from the upper 
 second of the latter, first by degrees, down to the third, 
 then directly to the fundamental note; but there is another 
 rise, this time to the fourth, from which a descent by 
 degrees is made: — 
 
 Thus we really have a two -fold close -confirmation, 
 first an emphatic one of one measure, which transforms 
 the close on the third into one on the fundamental note, 
 and then a broad, quiet one of two measures. As the Dux 
 remains firmly in the principal key, and, indeed, makes a 
 full close in the same, the Comes has to modulate to the 
 dominant; not to spring to the dominant key, but to pass to 
 it from the harmony of the tonic. We therefore have again 
 e^ — b^ answered by ^b — e^ at the commencement of 
 
i. PRELUDE AND FUGUE IN E\- MINOR. c^ 
 
 the Comes, whereas the remainder fulfils its task by faith- 
 ful transposition in the fifth: 
 
 Comes. 
 
 The Comes enters on the concluding note of the Dux, 
 changing the meaning of the close - confirmation (4 b) into 
 that of an opening measure (6). Dux and Comes thus 
 form together the first period. The fugue has no real 
 countersubject (principal counterpoint to the theme), for 
 later on the theme itself (by stretto) becomes counterpoint; 
 still it should be noticed that quaver movement by de- 
 grees through four notes, rising or falling as at the opening 
 of the theme: 
 
 is specially preferred by Bach, and is extensively employed, 
 not only in the episodes, but in the counterpoint accom- 
 panying the entries of the theme. By that means the 
 quiet movement of the whole piece is essentially brought 
 about. We will now examine the separate sections of 
 the fugue. 
 
 The Exposition comprises, first 01 all, the three voice 
 entries — alto (Dux), soprano (Comes), and — after the 
 insertion of a tree half- period — bass (dux); but after 
 another short interlude the bass (marking, as it were, a 
 fourth voice) enters with the Comes (with some notes 
 chromatically altered), effecting a modulation to the do- 
 minant (B^ -minor), passing through the parallel key (GV- 
 major), and forming (partly with elision of the i ^^ and 5 ^^ 
 measures) two periods. When this section has arrived at a 
 definite close, a second section (the 8^^ measure becoming 
 a 2"<i) commences, a special feature of which is stretto 
 vf the theme in direct motion. The three strettos are 
 
 I. Soprano: Dux (in B\^-mijtor) 1 ^ j. , r ^ , , 
 
 Au ^ > at distance of 2 crotchets 
 
 Alto: „ „ I 
 
 Bass: free counterpoint. 
 
c8 FIRST PART. 
 
 2. Soprano: Comes {/-6v-c\^-6\^ e^c.) 1 . ,• . e 
 \i: )zU U y- b ^ Vt^td I at distance of 
 Alto: „ {6\^-e\?-/-^ eic.)NB. \ ,„_.,„. 
 Bass: „ {g\^-c\^-dV-cV e^c,) J ' crotchet 
 
 3. Soprano: Comes {eV-a^-Sy-aV etc.) 1 at distance of 
 Alto: „ {c^-d\f-e]^-c^? etc.) ] 2 crotchets. 
 
 These lead to the remark that from the beginning of 
 this second section the Comes abstains from the step of the 
 third after the step of the fourth, and thus becomes more 
 like the Dux; and from this we clearly perceive an impor- 
 tant law of formation in fugue, viz., that it is far less 
 a principle that Dilx and Comes should differ from each 
 other than that they should resemble each other: consi- 
 derations of modulation in the exposition cause the many 
 variations of the Comes from Dux. The composer willingly 
 takes advantage of the free choice at his disposal between 
 the step of fifth or that of a fourth (where such occurs) 
 at the beginning, and this double form also plays an 
 important role throughout the present fugue. In smaller 
 and simpler fugues it is desirable that the distinction 
 between Dux and Comes, even in small features, should 
 be maintained; but in more complicated fugues, on the 
 other hand, the unity of form of the theme (as a collective 
 conception for Dux and Comes) ought to be preserved, 
 especially where (as is here the case) it passes through 
 transformations by inversion, augmentation, etc. 
 
 A third section of the fugue is marked off by the 
 entry of the theme in inversiofi, at the close of the third 
 stretto, when the parallel key of G^-major is reached. In 
 this 3"^^ section Bach carries through the i?iverted tJieme 
 without further complications, i. e. it occurs in the soprano 
 (^1? — dV—c — ^1? etc.), alto {a\; — e^ — d — e\^ etc.), and bass 
 (^1^—^17—^1^(1) — a\; ^ic), the two other voices joining in 
 each time with free counterpoint. We have now returned 
 to the principal key (further estabUshed by an interlude 
 of 8 measures) for the purpose of beginning a new section 
 in it. 
 
 Tlie fourth section which now follows introduces first 
 two strettos of the inverted thone, the first quite strict 
 (soprano and bass, both with Dux in E]?-7iiinor: b\; — e)?— 
 d—e? etc.), the second freer (alto: ^ — a]^—g—a\;, soprano: 
 aV — eV—d\^ — e^ etc.), the former at a distance of two crot- 
 chets, the latter at the distance of one; then a three-fold 
 
8. PRELUDE AND FUGUE IN E^ -MINOR. 
 
 59 
 
 stretto (bass, alto, soprano) of the Comes in direct motion 
 (with fv instead of ^t?) in E\?-??ii?tor, at the distance of a 
 crotchet- further, a three-fold one of the inverted Dux (bass, 
 alto, soprano) in G^- major \^ and finally, a perfectly plain 
 appearance of the Dux (but with f—b^ instead of e\?—V7X) 
 in E^-77iinor in the soprano, with free writing in the other 
 voices: this simple theme entry is as a foil to set off the, 
 immense complications which now ensue! 
 
 The remainder of the fugue — now keeping closer 
 to the principal key — , the real concluding section^ intro- 
 duces the the77ie m augmentation combined with the theme in 
 its oi'iginal form , 7iow in direct motion^ now in i?iversion. 
 The three strettos thus formed are: 
 
 1. Soprano: free, then Dux (inverted) 
 Alto: Dux {/' — 6\^, direct) then free 
 Bass: Comes (in augmentation). 
 
 2. Soprano: free, then Comes in C^-major 
 
 Alto: Dux in Gr^-major [c^ — d^ in augmentation) 
 Bass: Dux in G^-maJor {a\?—d\?), then free. 
 
 3. Soprano: . . . Dux in Ev-fninor {/ — by^-in augmentation) 
 Alto: Dux in E\^'-mtnor {/—by) then Comes in 
 
 E\i -minor 
 Bass: Dux in E^ -minor (/— <^b)> then free. 
 
 Only feel with full intensity the power of such gigantic 
 lines, such as those of the soprano from the beginning 
 of the last (10^^) stretto up to the end, and you will mar- 
 vel at the mighty grandeur of the old master: 
 
 ^^^^^^m 
 
 ■» 
 
 The calming tendency of the theme, and, as it were, 
 its philosophical superiority, appear here raised to a truly 
 superhuman degree. 
 
^o 
 
 FIRST PART. 
 
 PRELUDE AND FUGUE IN E. 
 
 I am not certain whether writers on esthetics are really 
 agreed that E-major is specially the key of deep green, 
 of fully developed spring; it would be interesting to know 
 the results of the late Prof. Dr. Fechner's enquiries re- 
 specting the parallelism between sensations of colour and 
 tone. Anyhow, one has only to contrast the present num- 
 ber in the key of E-major, especially the prelude, with the 
 preceding prelude and fugue (especially the latter) in E^- 
 niinor, in order to understand that music can concern itself 
 with deep speculation of a religious-philosophical character 
 as well as with the nvely enjoyment of nature. The light 
 arpeggio triplets with their delicately moving summits (as 
 though ruffled by a soft breath of air), and the cosy little 
 shake of the feathered singers concealed beneath them, wave 
 like branches adorned with fresh leaves: below all is peace- 
 ful (stationary bass, and slow, onward-gliding middle voice) 
 
 Though this character may apply specially to the 
 opening half section, and to its return in the dew-fresh 
 key oi A-7?iaj or {h^yond the middle section), yet do part of 
 the piece is in contradiction with it. 
 
 The construction with regard to metre and modu- 
 lation is fairly simple. From a previously estabhshed 
 point of stress of highest order — from the moment of rest, 
 the starting point of fresh life — springs first a period of 
 eight measures, with emphatic repetition of the fourth 
 
f. PRELUDE AND FUGUE IN E. 5 1 
 
 measure (the close removed from E- to B-major), and 
 with intensified activity in the last group (y^h to Z^^ mea- 
 sure) by means of a triplet measure; and then the close 
 in the dominant key is set aside by the bass (which ad- 
 vances to the minor third d), but restored by four appended 
 measures. A second period turns towards Ft- minor 
 (bV^ [-/j^niy — ^S^)' whereupon four intermediate mea- 
 sures (^^jf \r^^\ — ^^ — ^') prepare the repetition of the 
 first (principal) period in the under-dominant. As this is 
 faithfully transposed, it leads finally to the principal 
 key; the first close is again set aside by the progression 
 of the bass to the minor third {£), and restored by four 
 appended measures; but it is once more frustrated by means 
 of a deceptive cadence {b'^ — ^ g^ [ri ^g]), and it comes finally 
 to an end, in plagal form, and with another triplet measure. 
 
 The very ruling tendency towards the under-dominant 
 (A -major and its parallel F^- minor) from the moment of 
 entry of the second period, agrees well with the character 
 of calm content, delight in human existence. 
 
 In the fugue (a 3) one feels something of the joy of 
 a wandering life which indeed well befits the spring-mood 
 of the key. The energetic run of the short theme (alto), 
 
 is not peaceful enjoyment, but resolution, active energy. 
 The semiquaver movement of the second motive continues 
 without interruption until the close of the whole fugue, 
 and first, as countersubject (counterpoint to the Comes), 
 
 ^ ^:1 == ^ ^^ 
 
 #-!• — F— 4=— F--F — m—M-»—^ 
 
 
62 
 
 FIRST PART. 
 
 then, as filling up until the entry of the third voice (bass;, 
 
 with 6*^ measure taken as 7*^. Here the sixth parallels 
 appear to show us two wanderers arm in arm. The syn- 
 copated motive, which is here taken up by the alto part, 
 is likewise turned to account further on, and first in the 
 immediate continuation: 
 
 # 
 
 rl 
 
 r^LTt 
 
 (8) 
 
 (8a)^ 
 
 This elevated mood becomes more intense still in 
 the next episode (over the moving bass busy with the 
 motive a of the countersubject), and in the following voice 
 entry; 
 
 The hearts of the wanderers expand, and in jubilant tones 
 sounds again the theme in the soprano (the Dux in a higher 
 position). I leave to the imagination, once aroused, to com- 
 plete the picture, and only point, besides, to the episode 
 after the second development, in which the bass moves 
 along somewhat painfully, and the alto sighs from weariness, 
 while the soprano advances with merry hum: 
 
PRELUDE AND FUGUE IN E. 
 
 (>z 
 
 In the exposition the fugue has two complete deve- 
 lopments in the principal key with the following order of 
 voices: alto (Dux), soprano (Comes), bass (Dux); soprano 
 (Dux), alto (Comes), bass (Comes). The middle section 
 is limited to a modulation to C^-minor (parallel), and in- 
 troduces in this key two theme entries (soprano: Dux, 
 somewhat free*, alto: likewise Dux), and includes only an 
 incomplete period (measures 4 — 8) and one of 8 mea- 
 sures, also, if one will, the four leading-back measures. 
 The concluding section (entirely in the principal key) has, 
 first of all, a complete development (bass: Dux, soprano: 
 Comes, alto: Dux), and after a free imitation of the great 
 episode of the middle part in the principal key, still an 
 incomplete one (soprano: Dux, alto — after an episode 
 of four measures — Comes). What simplicity in the dis- 
 position and development as compared with the gigantic 
 fugue in E^ -minor I 
 
 I. 10. 
 
 PRELUDE AND FUGUE IN E-MINOR. 
 
 The two following pieces are specially remarkable. 
 The pale coloured key of E-minor suggested to Bach two 
 ideas totally differing from each other. Tne prelude is 
 full of passion, of painful palpitation, of impetuousness. 
 It seems as if it were a pianoforte arrangement of some 
 Trio for violin, lute, and harpsichord, and would best be 
 interpreted if read in that spirit: 
 
64 
 
 FIRST PART. 
 
 Gravo, patetico. 
 
 Nr 
 
 ^ 
 
 m rf^-f 
 
 ^m 
 
 ¥^ 
 
 ■it=^- 
 
 m= ^rj^-^ ^^ 
 
 0-^ 
 
 All three instruments (let it be granted to me to work 
 out my idea) carry out their parts in a consistent manner, 
 until the entry of the Presto (indicated by Bach himself), 
 i. e. somewhere about the middle of the piece. But the 
 contents of this Presto only differ in appearance from 
 those of the first section; a glance at the lower voice shows 
 that the beginning of the same is only the transposition 
 of the opening measures from E-mi7ior to A- minor; but 
 the violin has been carried away by the lively movement, 
 and now the harpsichord follows, for the most part, in 
 6tiis and loths, while the lute is silent, at any rate is no 
 longer noticeable: — 
 
10. PRELUDE AND FUGUE IN E- MINOR. 
 
 65 
 
 ^^-j :^ t£ £j-.- tff ffff i 
 
 m 
 
 M^: 
 
 PI 
 
 .#.?: ^ 7: ■*-* 
 
 Q^ 
 
 ^^ 
 
 !^ i M I I 
 
 E5^: 
 
 Harmony : 
 (Lute) 
 
 (2) 
 
 »-^-H^ 
 
 -^ 
 
 _^ ♦i^A ^ #- -#. 
 
 aVn etc. 
 
 The metrical and harmonic structure will become clear 
 from the following: — 
 
 First Part. 
 
 m^ 
 
 •5?-r-^T— ^-1— ^ 
 
 1^^ 
 
 22: 
 
 «b eVII b'(4)<'b eVIIOfJt^ 6 \bVI Og (6a) d' g^ c«d'(8) 
 
 
 Sequence 
 
 :& 
 
 -G—^—<2. 
 
 g+ ein^ b' (2) «b f'^ g' (4) c+ aVI^ e' ^e 
 
 _l I 
 
 Sequence 
 
 i 
 
 ^ 
 
 :ffi=:5: 
 
 i=t: 
 
 F^^ g 
 
 ];^«"e^-(8) b' e' f ^9" eVII b^> fj*»-b'(8a) ^b e' e^^ e' 
 
 General upbeat^ 
 Riemann, Analysis of Bach's "Wohltemperirtes Clavier". 5 
 
66 
 
 FIRST PART. 
 
 Second Part (Presto) 
 
 te 
 
 fe^E^jg 
 
 ,vn 
 
 » (4) Oe eVI^ b' Ob ^«> 
 
 I 
 
 :^ 
 
 W 
 
 -X=X 
 
 Oe e' (8) Oe vi VHVili (2) b^^ ^b e 
 
 VII 
 
 fe^ 
 
 m 
 
 (4) 
 
 i 
 
 f|o^ b' Ob eVII Ob b' bVIIjlJ b' % ]^' 
 
 n/. 
 
 ^^ 
 
 P 
 
 bvnjj b' (8a) Ob eVIIb' (8b) ^h 
 __l^i VII 
 
 The Fugue — the only one of the Well-tempered Clavier 
 in 2 voices — is of somewhat mournful mood, and yet 
 there are no painful convulsions: it is rather of a con- 
 templative character, like the beholding of nature clad in 
 its autumn garb, when even the falling leaf and the bare- 
 becoming branches afford esthetic enjoyment. The rela- 
 tionship of the theme to the E- major Prelude may not 
 be a chance one; anyhow it is instructive to note the 
 same, and, for the grasping of the meaning, important. 
 
 The theme consists, apparently of three measures, but 
 in reality has four, since by an unexpected harmonic turn 
 the second measure becomes third (the note b [i] on which 
 a close is possible becomes a long appoggiatura [4]): 
 
to. PRELUDE AND FUGUE IN E-MJNOR. 
 
 6^ 
 
 The actual motive (see the notes marked with upward 
 stems), clearly perceptible through the continued semi- 
 quaver movement, actually makes the fugue more or less 
 in 3, instead of 2 voices (which must of course be attended 
 to in performance). As the Comes enters on the last note 
 of the Dux, the fourth measure really becomes fifth, so 
 that the whole period of 8 measures appears contracted 
 to 5 (extending to the first quaver of the fifth bar). The 
 order of reply is, indeed, altogether irregular. For as the 
 Dux modulates to the dominant, the Comes, according to 
 right and custom, ought to have modulated back, some- 
 what after this fashion: 
 
 to which, from a formal, technical standpoint, no exception 
 could have been taken. Perhaps, however, the full, satis- 
 factory rounding off of the period did not fit well with 
 the composer's mood, or perhaps Bach was anxious to 
 imitate strictly the chromatic progression — anyhow he 
 preferred the strict order of reply in the fifth, which leads 
 him at the end of the Comes to the dominant of the 
 dominant (f^"^): 
 
 P^^^^^^^ 
 
 (Q. 
 
 ^7) 
 
68 
 
 FIRST PART. 
 
 1 I I I I I I ^ 1 — ^ \ ^-M^ 
 
 (8)\ 
 
 so that the period, and with it the exposition, shows no 
 quiet estabUshment of the principal key; and only with 
 the parallel key at the end of the annexed episode of 
 six measures (i — 4, ^a — 4^) is a point of rest reached, 
 which however becomes the starting point of new move- 
 ment, for now commences the second development on the 
 concluding note (soprano: Dux in G, bass: Comes in/?). 
 The fugue contains no learned compHcations such 
 as those of stretto, inversion, augmentation etc., and there- 
 fore, so as not to result in a monotonous succession of 
 theme entries, must make rich use of episode. The 
 countersubject is strictly carried through: 
 
 i 
 
 #-^# 
 
 ^=F^t^ 
 
 (6=7) 
 
 The following counterpoint to the countersubject apart 
 from the theme entries, occurs in the first episode 
 
 ^^P 
 
 and further use of it is made later on. Entirely new ma- 
 terial is developed in the second episode 
 
 ^ • ^-^ etc. 
 
 (8va 6assa.) 
 which likewise recurs. 
 
tt. PRELUDE AND FUGUE IN F- MAJOR. 5q 
 
 The chief sections are: i. Exposition: 2 8-measiire 
 periods; first Dux {E-viinor — B-minor) in the soprano, and 
 then Comes {B-minor— F^-maJor) in the bass; the episode 
 which follows concludes in G. 
 
 2. Modulation section a) Dux (G — D) in the so- 
 prano; Comes (D — A) in the bass; an episode modulates 
 through C-major to krviinor (with a remarkable imisono of 
 both voices); 
 
 U) Dux {A -minor — E- minor) in the bass, Comes 
 {E-minor — B) in the soprano; an episode modulates to 
 D-minor\ 
 
 c) Dux {D -minor — A-mifzor) in the bass, Comes 
 
 iA-minor — E) in the soprano; another episode {eP — ^e 
 =zc^'\ — ^' — g'^ — b'^ [uniso7io'\) finally leads to 
 
 3. The concluding section in the principal key, which 
 only consists of 4 measures: dux in the soprano, and then, 
 once more Dux, commenced in the bass, but completed 
 in the soprano. 
 
 L II. 
 PRELUDE AND FUGUE IN F-MAJOR. 
 
 These two pieces, as suggested by the character of 
 the key, are clear and simple. The prelude is strictly 
 written in two voices nearly all the way through and (with 
 exception of two bars) might quite well be classed among 
 the 2-part "Inventions", to which, in its whole structure, it 
 bears a strong resemblance. Its contents, i. e. the vital 
 power revealed in the movement of the melody, in rhythm 
 and harmony, or, if we consider the form, the esthetic effect 
 of the piece might be defined as active industry without 
 haste; the bright key of Y -major sparkles like morning 
 fresh with dew, and even the key of T>- minor, which 
 appears in conjunction with it, remains frp,e from all 
 bitterness and melancholy, for its most powerful harmonies 
 (the chords oi B^ -major and A-maJor) are selected by pre- 
 ference. The first two measures give out the motive from 
 which the whole piece is developed: 
 
76 
 
 FIRST PART. 
 
 Allegretto vivace (J,). 
 
 -—0-\-^^ 
 
 
 ^^^ m- 
 
 £ giij!rj 
 
 §5 
 
 ^^^^3^ 
 
 In the after-section of this period there appears a 
 new element, viz. a shake with fore-slide (Vorschleife) and 
 after-beat (Nachschlag) 
 
 ( /^'-^ ) 
 
 The great distance (3 octaves I) between the two 
 voices is extraordinary; towards the close the under one 
 descends to the lowest ((7), and the upper one to the 
 highest (^') note of the keyboard of Bach's time. The 
 following is the harmonic scheme: — 
 
 tS^ 
 
 :X 
 
 ^ 
 
 e 
 
 -G>-- 
 
 -G^ 
 
 f+ bb® C f^- II g' c+ a' Oa ^d c» 
 
u. PRELUDE AND FUGUE IN F-MAJOR. 
 
 71 
 
 [V] 
 
 fe^F^^ 
 
 -G- 
 
 '&- 
 
 ■x=^ 
 
 f4- Oa dVII a^ Oa 11 dVH a^ ©a 2> e 
 
 (b>-*-) 
 
 d' 
 
 1222- 
 
 V- 
 
 -^■ri^S^ 
 
 g-J- Ogf7 bi7+ llM gVII d^ 0(1 c7 f+ bW< 8 c^ 
 (!) (.el7«) (=bh 
 
 Adagio. 
 
 i=g^ 
 
 ;^=^: 
 
 x=x 
 
 f^-|l bh c7 
 
 rlLf 
 
 f+ b{7« c7 f+jl bi7« C^ £■»- 
 
 /. ^. a short period (4 measures J^ | J J forming the ground 
 work firmly establishes the key of F\ a second (eight 
 measures) modulates to D-minor and settles firmly in that 
 key; a third, which is approached by a general up-beat*) 
 of 2 J (the triplet \ J. J^ should be noticed 1) modu- 
 lates through A-major and G-major (1) to B\;-major\ a 
 fourth passes through G-miiwr back to F-maJor, and firmly 
 establishes this key in the after-section-, whereupon, after 
 a brief transition passage (general up-beat but without 
 triplet formation, and only the 8^^ measure changing its 
 meaning to that of i^*), the introductory short period 
 (4 measures J | J ) returns (theme in the lower voice), 
 an appended and extended cadence bringing the whole to 
 a conclusion. 
 
 The fugue (a 3), although it contains strettos, is one 
 of the simplest and least pretentious. Pleasantly does the 
 theme move between fifth and fundamental note, touching 
 besides, the upper and under neighbouring degrees. The 
 opportunity may here be taken to refer to an idea of 
 
 *) A general up-beat is not a single up-beat to the following 
 motive, but a transition or group leading to the phrase or theme 
 
 which follows. 
 
FIRST PART. 
 
 Felix Draseke's, to which I attach special importance, viz. 
 not to regard the octave i— 8 as the harmonic scheme 
 for melody movement, but rather the tonic triad with the 
 two boundary degrees; thus for F-raajor, 
 
 not: 
 
 but; 
 
 m 
 
 zir-c2r. 
 
 jC^ 
 
 For, as not only Moritz Hauptmann, but even Guido 
 d'Arrezzo felt (as, indeed, can be seen from his system which 
 resulted in solmisation), from the 6'^ to the 7*^ degree of 
 the key a gap is perceptible, to cross over which means 
 nothing less than a transition to another region of the 
 domain of sounds. For themes of narrow compass, such 
 as those of most fugues, it naturally makes a very great 
 difference, whether they remain in one tone region, or 
 whether they rise, or sink to another. The character of 
 contemplative repose, which the themes of the C-major^ 
 C^-minor^ D-minor and E^- minor fugues must be acknow- 
 ledged to possess, is owing, and in no small degree, to this 
 consideration. The theme of the JD-major fugue is too 
 impulsive in rhythm, to be regarded as of quiet character : 
 the hurried leap up to the sixth in it appears like an 
 attempt to force, with violence, a passage across the above- 
 mentioned gap. Our present theme is at first comfortably 
 poised on the fifth, like a fish resting on the top of a 
 smooth wave: it then dives below the fundamental note, 
 glides back again to the fifth, and then with quiet serpen- 
 tine motion passes through the third down to the fun- 
 damental note; 
 
 Andantino piacevole. \ \ \ J ) 
 
 ^^Ep^^ 
 
 ^a 
 
 ^^=- 
 
 (2) 
 
 and, as if Bach had really been influenced by an associa- 
 tion of ideas similar to the one hinted at here, the voice, 
 continuing as counterpoint while the Comes is given out, 
 develops at length the serpentine semiquaver movement, 
 and ends with a shake, which in this connection has a 
 specially striking effect 
 
II. PRELUDE AND FUGUE IN F-MAJOR. 
 
 79 
 
 Comes. 
 
 ^^^ 
 
 S^r^^Tr 
 
 *T T.T^^TT 
 
 (Countersubj e c t.) 
 
 i^i^ 
 
 tr 
 
 3-^ 
 
 S^^ 
 
 ^^^ 
 
 The answer only differs from the theme in the first 
 step {/ — a instead of g — a answering to c — d), 'not so 
 much to satisfy a (non-existent) principle that tonic should 
 be answered by dominant at the outset, but rather, indeed 
 (as in the C^-fJiajor-iugwo), to enable thepomes to modulate to 
 the key of the dominant from the tonic, and not, after the 
 conclusion in the principal key, to spring to that of the 
 dominant: 
 
 incorrect: 
 
 correct : 
 
 1^ 
 
 t=T 
 
 ^-^ 
 
 3t=± 
 
 f+ 
 
 The fugue spins along without formality, revelling in 
 the full freedom of its melody. The third voice (bass) 
 does not enter immediately (although that could have been 
 accomplished without difficulty), but only after an inserted 
 free measure which incHnes towards the principal key 
 (^'^— /■*') and permits the upper voice to proceed quietly 
 to rest; under the concluding notes comes the new entry 
 (8a=i) at the end of which the exposition (collecting 
 of all tiie voices and production of the thematic material) 
 must be considered at an end (three periods of four 
 measures). The first (principal) section (the one in the 
 principal key) extends beyond the exposition, and com- 
 
74 
 
 FIRST PART. 
 
 prises a second, and indeed, redundant development with 
 the following order of voices, soprano (Dux), alto (Comes), 
 bass (Dux), and in stretto with the bass once more the 
 alto (Comes); between these first two developments there 
 is an episode of four measures, which, with a syncopated 
 counterpoint (of which no further use is made), rises to the 
 dominant, while the bass has the counter subject. This counter- 
 subject appears, besides, with all the seven theme entries 
 of the principal section, faithfully accompanying the theme 
 (but Co??ies [companion] ought really to be the name of the 
 first counterpoint, in so far as it is retained, rather than 
 that of the "answer"). 
 
 The already mentioned stretto at the end of the 
 first section requires a close-confirmation of two measures, 
 from which, by a delayed resolution of the ninth {g) 
 springs an episode leading to the (modulating) middle 
 section 
 
 I 
 
 ^.A^ 
 
 ^ 
 
 n 
 
 ^ ^ 
 
 ■-^=^ 
 
 ^fe 
 
 (2) dvii 
 
 i 
 
 iEEefe 
 
 (Oa) 
 
 ^^^^^T^ 
 
 (4)a' 
 
 (under the last notes is heard the beginning of the theme 
 in the bass {c^ d c bV a). 
 
 The middle (modulating) section is likewise capable 
 of being subdivided: after the half close on a'^ there is first, 
 a strict stretto of the theme in D-7ninor (all three voices: 
 soprano, alto and bass beginning with a b\^)-^ and, until 
 the bass makes its entry with the theme, it holds on to a 
 as an organ-point. The second half of the middle section, 
 which follows on withoutmodulation after a close-confirmation 
 of two measures, is in G-minor, and consists of a stretto of 
 
//. PRELUDE AND FUGUE IN F- MAJOR. 
 
 75 
 
 all three voices in reversed order (bass, alto, soprano, be- 
 ginning with d — eV). All the strettos (including the one 
 with which the first section closes) are formed by the se- 
 cond half of the theme acting as comiterpoint to the first 
 half, of the same 
 
 41 
 
 ^ 
 
 ^ ^ ^^s y^ q = 
 
 The concluding section — the self-evident return to 
 and re-estabhshment of the principal key, is specially 
 remarkable in that it does not contain a single complete 
 theme entry. The return is effected in the simplest manner 
 (V [=/5bT — ^'— /"^)» and the continuation, by introduction 
 of the natural seventh of the tonic {^\ ^=eV) touches, in 
 well-known fashion, the key of the under- dominant (ca- 
 dences: f^—b'?^ and <r'— /+). The rhythm of both halves 
 of the theme (quaver movement by degrees, and ser- 
 pentine semiquaver movement) continues during the whole 
 of the concluding section, but the integral theme is 
 not once to be met with; only once does it seem as if 
 it would present itself in stable shape: 
 
 ^^^^^ 
 
 But there the matter rests; in place of the swinging on the 
 fifth and the quiet movement within one tone region, 
 there runs through the whole of the concluding section a 
 scale movement in quavers pressing forward in a straight 
 line, while the winding of the semiquaver movement 
 opposed to the same increases in extent. Returning to 
 the metaphor used at the commencement of our analysis, 
 we no longer see the sleek dwellers in the watery element 
 playing in the sunlight on the surface, but quietly gliding 
 in the depths, now downwards, now upwards; a picture of 
 peace, on which we gaze, until the final cadence removes 
 it from sight. 
 
76 
 
 FIRST PART. 
 
 1. 12. 
 
 PRELUDE AND FUGUE IN F-MINOR. 
 
 The key of F- minor — sombre both by its minor 
 character, and by its position on the undertone side of 
 the fundamental scale (key of the under-third of y^-;«/«^r) 
 — yet, standing in close relationship to the fundamental 
 major scale (C), and commanding the C- major chord as 
 dominant, it receives a consoHng ray of light — is one 
 of the most melancholy of keys. It does not express 
 sorrow as deep as that of E^ -minor, nor passion as 
 morbid as that of C'^- minor, but it is impregnated with 
 deeper feeling, greater solemnity, pensiveness, introspection, 
 than almost any other key. Its near relationship to C- 
 major (the F-minor- chord is the counter- clang, the Anti- 
 podes of the C-major-choTd) gives to it the character of 
 one standing in the world, yet with averted eyes. Quiet 
 and unerring he advances with head erect through the 
 crowd, intently surveying everything, but, like a true 
 philosopher, not heeding small things. Place side by side 
 the first movement of Beethoven's Appassio7iata and the 
 F-minor prelude of the first part of the Well-tempered 
 Clavier, and in both the same features will be quickly 
 recognized! 
 
 The characteristic elements of the prelude are a mo- 
 tive wandering slowly along in uniform crotchets (for the 
 most part simultaneously, in two voices) and, in opposition 
 to it, and lighting up its countenance, an expressive semi- 
 quaver figuration interspersed with significant (accented) 
 rests. The piece is, for the most part, written strictly k 4 \ 
 the figuration is absent from the bass, which, when not 
 advancing earnestly in crotchets, generally has notes of 
 greater value — at the beginning, a short organ -point on 
 the tonic, and at the end, a long one on the dominant 
 The motive material is stated at the opening: 
 
na. PRELUDE AND FUGUE IN F- MINOR. 
 
 77 
 
 Sostennto e cantabile. 
 
 m^ 
 
 ^ 
 
 fa -a_p L?-^ ^^^%^d=^V 
 
 BS-J- 
 
 f^^ 
 
 ^^3 
 
 mf 
 
 §g^ 
 
 J I 
 
 Jr= 
 
 TO &- 
 
 % 
 
 ^rr:^ > rj: 
 
 ^ 
 
 n 
 
 Ss 
 
 ^ 
 
 s 
 
 (4) 
 
 The harmonic construction (with the essence of the 
 melody which, for the most part, is broken up into figures) 
 is as follows: — 
 
 [y] 
 
 ^^^ 
 
 ®C C7 ©c fVII c7 
 
 Jt=t 
 
 ^ 
 
 (4^5) 
 
 »c c7 oc fvn c7 fvn(8) 
 
 — j^ — &- 
 
 3 
 
 g 
 
 -<5^ P- 
 
 m 
 
 c7 11 f7 bt^vii f Of [--d^6^ (4) et?' at?-*- eb' 
 
78 
 
 FIRST PART. 
 
 I 
 
 te^^ 
 
 B 
 
 >^'l- ■ [ y] I J 
 
 1 
 
 tl7+ d|?« eK db« (8^6) et?' d{?« ej?' / 8a \ al7^ 
 
 (=^^)= 
 
 I 
 
 fe^ 
 
 E^ 
 
 !» — (L 
 
 !i=t 
 
 c' «c vn(4)g' »c g' «g cvn gfi> ' (g) 
 
 I 
 
 ^ 
 
 s 
 
 :t=1=^=^f 
 
 :b^=i 
 
 f» 
 
 Of c'Oc fvn cix<(4) C+- V 
 
 H 
 
 
 [v] 1^.1 I 
 
 i?^-r-t?g^=j: 
 
 jC J 
 
 vn c2> 7 (8^1) c c' Oc fVll c' (4) «c g' c' (4a) 
 VII> 1 
 
 m 
 
 ^^i^^si 
 
 SEE? 
 
 •cc'0cg'(6) c+ 7. «c g' (6a) c+ Occ2^c'(8)<'c 
 
 The first period keeps in F-minor, making a half close 
 in that key; the second modulates to A^ -major (parallel), the 
 third goes to C-minor and to C-major (upper-dominant), 
 the fourth turns through B];- minor back to i^-w/«^r, while 
 the fifth (the last) brings back the opening period (but 
 with decidedly greater emphasis), and stands over a do- 
 minant organ-point. Three times (at [v]) accented measures 
 (8., 4) change meaning and become unaccented (5., i.). 
 
 The fugue (^ 4), in deep musing, stands not a whit 
 behind the prelude; by its theme the measured movement 
 of uniform crotchets becomes also here a characteristic 
 feature: 
 
u. PRELUDE AND FUGUE IN F- MINOR. 
 
 79 
 
 Adagio pensieroso. 
 
 l^S^ 
 
 . r f r I j 
 
 i=^^=^^^ 
 
 v=^ 
 
 (2) 
 
 (4) 
 
 Although already the countersubject introduces semi- 
 quaver movement, and although the crotchets are slow 
 enough to represent beats, still the Allabreve character 
 of the fugue cannot be ignored. The minims are cer- 
 tainly so slow as to produce the character of measured 
 movement, which, by the constantly recurring runs of the 
 counter-subject (typical of the whole figuration of the 
 long piece), becomes all the more prominent: 
 
 Countersubject. 
 
 ^^^^^^^^^^ 
 
 (6) 
 
 ^^^^^^m 
 
 k^:^=S!k=A^ 
 
 ^V= 
 
 (8) 
 
 The straight lines of the separate motives should be 
 well noted; where a feminine ending would cause the bending 
 of a line, the "ligature" (syncopation) is replaced by arrest, 
 and the end note becomes the starting note of a new 
 motive. Thus it is impossible to lose sight of the 
 already emphasized Allabreve-character of the theme and 
 to bring out the same in performance, without allowing 
 the small details of a highly expressive figuration to ob- 
 scure it (herein the fugue differs essentially from the pre- 
 lude, which has not also this Allabreve-character). 
 
 The answer of the theme is quite analogous to that 
 of the F-maJor fugue*, here, as there, the theme commences 
 with the fifth of the scale (but in the harmony of the 
 tonic) and ends on the fundamental note; the Comes has 
 
8o 
 
 FIRST PART. 
 
 therefore to modulate from the harmony of the tonic to 
 the key of the dominant /. e. the answer does not com- 
 mence with g, but with /, so that the first melodic step is 
 extended. The chromatic nature of the theme is faith- 
 fully preserved in the answer; it implies harmonic depths, 
 which materially aid in bringing out the pensive character 
 of this fugue: 
 
 ^ 
 
 I lI . I 
 
 * 
 
 tl^= ^J-bJ -^J— i— ^ 
 
 oc vn og (6) d^ g' ^g cvn c+ Og g' (8) «g 
 (cni<) 
 
 The metrical nature of the theme (~ ^ ~; the i st 
 [unaccented] measure is wanting) gives rise to a great 
 number of elisions (whenever an entr)'" of the theme 
 occurs, a measure of 4 crotchets or 2 minims is wanting). 
 If, in spite of this, the symmetry never appears seriously 
 to be disturbed, and changes of meaning (of measures) 
 do not occur, the reason is that, as soon as the theme 
 ceases, in place of the above mentioned AUabreve measure, 
 an ordinary ^/^ bar (with crotchets as beats or counts) 
 enters; for it is certainly clearly impossible to take the 
 episodes with their logical working-out of the first motive 
 
 of the counter-subject 
 
 in an AUabreve - sense. 
 
 We have therefore throughout the fugue alternate periods, 
 some with the measure motive J | J> others with! | J. 
 The first development includes the 4 voice entries in 
 the order, tenor — alto, — bass — soprano: of these 
 the first three (Dux — Comes — Dux) are immediately 
 connected one with the other, whereas between the third 
 
 and the fourth, an episode of 6 measures J | J (i — 2; 
 I a — 2 a; 3 — 4) is inserted. The fourth voice brings 
 in Ukewise the Dux, so that the exposition concludes 
 in the principal key (total compass; 3 times 3 mea- 
 
 sures 
 
 of J I I, 6 measures of J | J, and still once more 
 3 measures of J | J). 
 
12. PRELUDE AND FUGUE ItJ F-MINOR. g, 
 
 The second development, likewise in the principal 
 key, is of looser construction, and contains only two theme- 
 
 ftntries. After an episode of 6 measures J | J, modulating 
 to C-minor (i — 4, 3 a — 4a), the tenor introduces the theme 
 in the key of the upper-dominant (^C-minor) or rather — 
 the Comes without its distinctive mark (the third at the 
 commencement), and after a new episode leading back through 
 B^ -minor and A^- major to F-minor, and consisting of 
 
 8 measures J | #> with emphatic repetition of the first 
 group of the aftei, jection (triplet of J | J measures), the 
 bass introduces the Dux, at the conclusion of which, by 
 cessation (though only quite a short one) of the three upper 
 voices, the close of the first (principal) section is marked off. 
 The modulating middle section again has only two 
 theme entries, first in the alto, after an episode of 8 mea- 
 sures J I J passing through D^ -major, B^- minor to 
 A? -major; this entry commences va.A?-major, but the close 
 turns to F-minor (everything indeed happens so smoothly 
 and so naturally that I cannot discover in it any trace of 
 Bruyck's "harmonic Q.g% dance" ["harmonischer Eiertanz"]); 
 
 and, after a further episode of 7 measures J | 1 (the first, 
 in unaccented one, is passed over), which modulates through 
 C-minor and A^ -major to E^- major (half close on 
 bt''), a second in the tenor. With this the end of the middle 
 section is reached /. e. the next episode, which passes 
 through A^ -major, and F-minor (principal key) to a half 
 close on g^, leads already to the 
 
 Concluding section (re-establishment of the principal 
 &ey). The chief features of the latter are the ap- 
 pearance of the theme which now follows in the key of the 
 dominant {^C-minor'), or better still of the Comes without 
 the distinction only necessary for the first development*, 
 
 and, after an intermediate episode of 6 measures J | J 
 the appearance of the Dux in the bass, to which, finally, 
 a 'Tjose- confirmation of 4 measures J i J is appended. 
 Thus the tripartite division is here easily recognized and 
 the modulatory means are altogethei of a simple character-, 
 so that, throughout, the principal key of F-minor formr 
 the point of stress. 
 
 Ricnann Analysis of Bach'« "Wohltemperirtes Clavief" ^ 
 
 la 
 
 .S 
 
 \ 
 
Si 
 
 FIRST PART. 
 
 I. 13- 
 PRELUDE AND FUGUE IN F-SHARP. 
 
 The nature-painting moods of the C-sharp and E-major 
 preludes have new noble counterparts in this prelude and 
 the fugue of similar mood which follows. As the key of 
 F-sharp stands between E-major and C^-major, brighter than 
 the former but less glowing than the latter (compare the 
 passage in Fj} in the middle of the C^ prelude), so does 
 the Fjt prelude form a natural middle member between 
 the one in E, fresh as spring, and the other in Cjf, rich 
 with summer glow. Although strictly in two voices from 
 beginning to end, still it is full of hfe, entrancing up to 
 the very last note, moving onward in so natural a manner, 
 that one always lingers over it with renewed rapture. The 
 gently swinging opening motive (afterwards with short 
 shake on the concluding note) 
 
 Allegretto scherzoso ( J^ ) . 
 
 which is immediately taken up by the under voice, at once 
 calls to mind the mood of the prelude in E. This indeed 
 is the only figuration motive which the under voice repeats 
 alternately with the upper one: the former proceeds 
 
 quietly, in J^ counts, by diatonic steps — in long de- 
 scending and ascending lines, producing an effect similar 
 
 to that of the J movement in the C^'^-7najor prelude — 
 while the upper voice carries out a syncopated motive of 
 enchanting grace; 
 
 f T-^^T r > 
 
 r ^'^9. 
 
13. PRELUDE AND FUGUE IN F- SHARP. 
 
 83 
 
 while listening to it one can only think of the woods, of 
 flowers, and of the song of birds. The close-confirmation 
 which occurs four times, forms an especially refined 
 feature: 
 
 We may venture to pass over a detailed harmonic 
 analysis of this piece: it offers no intricate problem. We 
 only give a general outline of the construction. 
 
 The introductory motive first quoted above offers a point 
 of support of highest order (8'^ measure), from which the 
 first period is regularly evolved, terminating on the domi- 
 nant {c^^\ On the concluding note of the close -confir- 
 mation, the motive recommences; at first we have the 
 8'^ measure above mentioned as point of support (notice well 
 the feeling of repose thus obtained), and then the upper 
 voice descends again with the syncopated motive; but the 
 under-dominant of C\-major (/^^) which is reached in the 
 second measure changes its meaning to that of minor 
 tonic (^«^i() in that it begins again (a 5^^ lower), so that 
 the first group (i^t and 2"^ measures), with changed har- 
 monic contents, is repeated (la— 2a); the key oi D\-minor 
 (parallel) is now adhered to until the close of this period 
 The next period, in the fore-section, turns to the key of 
 A\-7ninor (parallel of the upper-dominant), and in the 
 after-section to G'^-7ninor (parallel of the under- dominant); 
 this must be looked upon as the modulating middle section 
 as in the following period ^d'^ changes its meaning to ^^, 
 and already in the fore-section concludes in Fi-7naJor, which 
 is now adhered to to the end (still through another and 
 complete period). 
 
 The fugue (a 3) is as pleasing and as graceful as the 
 prelude. It is important to note that the theme sinks 
 down from the octave, through the fifth and third, to the 
 fundamental note (cf, our remarks on the theme of the 
 fugue in F-maJor): 
 
 6« 
 
8^ FIRST PART. 
 
 Andantino quasi Allegretto, 
 
 ^^^ ^^ 
 
 It can scarcely be by chance that Bach chose a 
 corresponding order of entry of voices (soprano — alto — 
 bass), so that not only within the separate theme entries, 
 but through the whole exposition the esthetic impression 
 remains the same (an inward down -sinking): Yes, it is 
 not difficult to recognize that this tendency prevails 
 throughout the whole fugue. It is also worthy of note 
 how Bach suppresses the feminine ending (third — funda- 
 mental note) in both the bass entries of the theme, thus 
 attracting, on both occasions, special attention to the end 
 of the downward movement. In the answer to the theme 
 the intervals are faithfully maintained with exception of 
 the opening step in which to 5 — i is opposed, according 
 to rule, I — 5 of the key, thereby satisfying the oft 
 repeated principle, that when the Dux remains in the 
 principal key, the Comes must modulate from tonic 
 harmony to key of the dominant, and not leap to 
 the same. 
 
 The counterpoint of the first voice which accompanies 
 the Comes: 
 
 countersubject; 
 
ij. FRELUDE AND FUGUE IN F- SHARP. ^r 
 
 appears, with two exceptions, against all the theme entries, but 
 transposed not only in double counterpoint of the octave, 
 but also twice in that of the twelfth (but only from 
 motive b) thus: — 
 
 double counterpoint in the 8v«. 
 2. ,-^- ""^^ 
 
 g^^=fe^^^fe 
 
 ^ ! .' i I 
 
 
 double counterpoint in the 8^^ double counterpoint in the I2'h 
 
 (8va alta) 
 
 3. r^ h 
 
 
 V 
 
 in the Sve I in the 12 th 
 
 This counter- subject clings closely to the theme, and 
 offers but httle resistance to the downward tendency of 
 the latter, nay, rather is drawn down with it. 
 
 Perhaps it may have been Bach's intention to disturb 
 as little as possible, by other formations, the impression of 
 the theme peacefully descending through the three voices. 
 Only the episode following the exposition introduces a 
 new characteristic motive which afterwards consorts with 
 the theme and countersubject, and, in fact, becomes a 
 real second counter- subject^ it has a light upward motion, 
 almost as if it were a body without weight capable of 
 being raised by the gentlest breath of air, and incapable 
 of a real fall. 
 
86 
 
 FIRST PART. 
 
 Its character is first fully shown where the soprano — 
 contrary to all custom — begins the second development 
 in the same position as that of the first, and indeed with 
 the Dux: — 
 
 ^^^^^^^^^ 
 
 ate 
 
 §= 
 
 SE 
 
 i 
 
 Also in this second development the theme runs 
 through the voices from top to bottom (alto: Comes — 
 without the distinction in the opening step, thus: theme in 
 C^-major\ bass: theme in D^- minor). At the second entry 
 (alto) the new counter-subject is wanting; at the third, after 
 a modest start, the first countersubject gives place to it 
 entirely, when it appears in inverted form, and already 
 ascends this time up to ^jj^, while in the last development 
 it climbs up as high as b'^. We must not attempt to 
 pursue in detail the alternate play of the motive of the 
 theme, of the first, and especially of the second counter- 
 subject The number of theme entries is only a small 
 one, also in the concluding section there are only two — 
 one in the alto: Dux in the under-dominant, and one in 
 the soprano; Dux for the third time in the same position 
 as at the opening (the theme is also drawn upwards in 
 the concluding section by the second countersubject); but 
 the opening motive of the theme is on the move at all 
 ends and corners (at the beginning of the concluding 
 section it is given out four times, alternately by soprano 
 and alto, and then descends four times by degrees in the 
 bass), so that it sounds as if there were many entries or 
 strettos. 
 
 The order of modulation is as follows: — i^* section 
 (exposition): twofold modulation to the key of the dominant, 
 which, however, both times, by addition of the seventh, 
 again becomes dominant harmony. The second (modu- 
 lating) section turns, first from the principal key to the 
 
t4. PRELUDE AND FUGUE IN F)^- MINOR. g. 
 
 key of the dominant, and then to the parallel key. The 
 3'<i section returns from the last named key to the prin- 
 cipal one, and through this to the key of the under- 
 dominant, finally keeping firmly to the principal key. 
 Here again the simplest means, most easy of comprehen- 
 sioii, are employed and yet what enchanting effect does 
 not the master evolve from them I 
 
 I. 14. 
 PRELUDE AND FUGUE IN F|-MINOR. 
 
 The mood of both these pieces is elegiacal; still, with 
 respect to depth of feeling, there is a marked difference 
 between them. The prelude especially is related to the 
 parallel key, the clear, joyous one of A-major, and in the 
 whole of its motive material is of lighter formation than 
 the fugue — dragging along with notes of long values 
 and syncopations, and avoiding almost intentionally the 
 key of A-major — , and gravitates rather towards the pas- 
 sionate one of C^' minor. Perhaps one ought to look upon 
 the prelude as landscape, on the fugue as soul-painting; 
 in both it is the season of autumn, but while the autumn 
 mood of nature casts, as it were, only a light shadow over' 
 the landscape — , it is only a change of forms, the pas- 
 sing-away is an opening to new life — through the fugue 
 runs a solemn awe — the question: to be or not to be! 
 
 The principal design of the prelude is an undulating 
 movement in semiquavers, which sinks from the sixth to 
 the fundamental note: 
 
 In addition, over a stationary bass, the middle voice 
 gives short notes descending in parallel movement — are 
 they drops of rain, or tears? 
 
88 
 
 FIRST PART. 
 
 '& 
 
 
 ^ 
 
 Both motives dominate the whole piece; the second 
 is frequently modified (as already in the very next measure), 
 so that by breaking up of a voice part even the inter- 
 mediate quaver values produce a similar effect: 
 
 S 
 
 =-^^ 
 
 or even so, that in the femuiine ending y )— HH ) of the 
 
 principal motive the "dropping" tones appear as semi- 
 quavers in the same voice part: 
 
 * 
 
 fei. 
 
 ^ 
 
 3ti:==: 
 
 -T-^ 
 
 !5a 
 
 ■*-^' 
 
 ■¥ 
 
 b=^ 
 
 ^ 
 
 The feminine ending of the principal motive dis- 
 appears — not reckoning the stereotyped close -formulae 
 appended to the several sectional closes — only once, by 
 means of 2 double measures (^Z^), giving place to a smooth- 
 ly running motive with masculine ending 
 
 :y=^ 
 
 -#— ^- 
 
 te^ b /"P 
 
 -*-^ 
 
 ^- 
 
 -^■ 
 
 they are, however, only a leading-back, and immediately 
 precede a cadence 
 
S4. PRELUDE AND FUGUE IN F\'MINOR. 
 
 The Structure is as follows: — 
 
 Allegro non tanto. 
 
 89 
 
 %^ 
 
 EEJ 
 
 3^ 
 
 H« m- 
 
 ^ 0- 
 
 --Xr. 
 
 f{(VU Oejf c{}' Ocj} yil gj{. (4) Ogj} 
 (l St period in the principal key.) 
 
 ^ |fe^ ^^^^^ 
 
 •cjf d« e» a+ =fj;vil Ocjj cJt' (8) »cj( 
 = a+ d» 
 
 ,t^ 
 
 t 
 
 £^^ 
 
 fjt .^ ®sit *^tf ^* *^ ^' (*) *^ 
 
 (2"d period modulating to the parallel key and in the after- 
 section to the dominant.) ; 
 
 ft _^^]r f — .#- 
 
 jjgp 
 
 i=:|: 
 
 (5 !•- 
 
 i 
 
 « e-^ h' (4a) e^- OgJ cJfVII .. gjj' 
 
 *^ 
 
 i 
 
 -^ — # 
 
 i^ 
 
 t=t=&r 
 
 c|v" ogj} gjf' (8) »g# II c#' «c# VII g|: 
 
 (close-confirmation) 
 
 tf 
 
 |y^^s^i =} ^g^ 
 
 'g|{ g#M8a) «g3llcj(vn g{j7 (8b)0gJ( 
 
 (cadence) 
 
90 
 
 FIRST PART. 
 
 tf 
 
 ^^ 
 
 g^'^Pf 
 
 £ 
 
 cjjvnogjj gj(= .gj( c|vn .gj* g|j.(4) «g| 
 
 (bin*) 
 
 (3rd period leading in the after section to the under-dominant 
 and parallel keys.) 
 
 ^J4U_L| , ^f f ^ 
 
 f|' «f| f|» 0f| eJ a+ e' (8) a+ 1| 
 
 (=d«) 
 
 :|^ 
 
 ^^^^P^^^ 
 
 (leading back) 
 
 ii 
 
 rzifazt 
 
 E^^ 
 
 II f|^«.. (4»)c|' II ftt^-nocf cj(' ocjf 
 
 (Cadence) (Concluding period in prin- 
 
 cipal key.) 
 
 i 
 
 fe 
 
 ^■ 
 
 p 
 
 1^ 
 
 *_J £ 
 
 fjfvu ocjj cj(' (4) ocj cjf' Ocj( fjjvn cj}' (4a) Ocjf 
 
 (Cadence) 
 
 iz p"T^ 
 
 
 ±_^ * * ^ i 
 
 fJVll «e»t c)t' OcJt fjJVU »cjt c|' (8) "cjt fj*'!! c|' ff (I) 
 
 (Cadence) 
 
t4. PRELUDE AND FUGUE IN F\- MINOR. 
 
 The theme of the fugue (a 4) passes slowly upward 
 from the fundamental note to the third, and, amid pain 
 and torture, struggles still further with chromatic harmonies 
 up to the fifth, from which it sinks back by degrees to 
 the fundamental tone. 
 
 Lento e mesto I 1 1 . 
 
 ss^ 
 
 I 
 
 f=^^ 
 
 (2) 
 
 (2a) 
 
 S 
 
 i^^3^M5^^^ 
 
 (2b) 
 
 dim. 
 
 W 
 
 "Scholastic and heavy" ("Scholastisch schwerfaUig"), 
 "grave rather than pathetic" ("mehr gravitatisch als pathe- 
 tisch") is the way in which Bruyck describes this fugue, 
 and he speaks of the "halting members" ("stockende 
 GHeder") of the theme. It almost seems to me as if he had 
 not quite imderstood the harmony on which it is based, so 
 that this remnant of non-comprehension spoilt his enjoyment 
 of the piece, certainly one of highly complicated character. 
 The metrical nature of the theme with its twofold present- 
 ation of the second measure (2, 2 a, 2 b) is decidedly not 
 one of the easiest to understand. The harmonic meaning 
 of the theme — as is always the case with Bach — is 
 definitely fixed by the first countersubject: the latter is 
 given here with the Comes (which is an exact transposition 
 of the Dux into the dominant) 
 
 •88 
 
 VII 
 
 (=fj}III'') 
 
92 
 
 FIRST PARI 
 
 fe=???=1^ ^P 
 
 ^^ t^^ f 
 
 cjf'Ocit (2a) c|' 
 
 (= gjflli') 
 
 djf' (2b) 
 
 <r 
 
 ^m 
 
 
 (djjin<) 
 
 «gi cjjvil «g| g|- 
 
 'eii 
 
 thus we twice meet with the interval of the Doic 
 sixth-, i. e. twice a consonant clang- element, owing to 
 an unexpected chromatic progression, is further changed 
 to the Doric sixth (^jJ is I in ^d^, but 3^ in b^-^ e\ is 3 
 in ^■'"). A third 3 (^|f) occurs in place of an expected III, 
 and turns the minor tonic chord into a major upper- 
 dominant. That such super-abundance of harmony requires 
 slow tempo, is self-evident; if time be not given to the 
 ear to grasp the idea of the various (chromatic) notes 
 which create surprise, part of the meaning will, of neces- 
 sity, remain concealed. The actual length of the fugue 
 is therefore moderate (only nine theme entries [not eight, 
 as Jadassohn makes out]). The strong modulation within 
 the theme enables one to dispense with modulation other 
 than that which is required to prepare the later entries of the 
 theme in the key of the dominant. A real tripartite division, 
 such as we are accustomed to find, can with difficulty be traced 
 here, at least, not from the order of modulation. If the first 
 foundation-laying section be considered as extending to 
 the end of the theme entry of the fourth voice (soprano), 
 the boundary between the first and second sections is not 
 clearly marked off; and it appears astonishing that two 
 voices (bass and soprano) — separated, besides, by a 
 long episode — should introduce, one after the other, the 
 
14. PRELUDE AND EUGUE IN F\- MINOR 
 
 93 
 
 Dux. For these reasons it seems to me right to consider 
 the first (principal) section as extending only up to the 
 entry of the soprano, i. e. to the end of the 8-measure 
 episode which follows the bass entry, and where occurs 
 a leaning — and the only one — towards the parallel key 
 {J>major). If above I laid emphasis on the almost inten- 
 tional avoidance of this (parallel) key, I may here add 
 that this key, by the introduction of the G-major chord 
 at the beginning of the sequence closing in A-major, is 
 marked, as it were, with a feeling of deep pain (2 "<* under- 
 dominant, a chord of the Neapolitan 6^^ in a twice-transmitted 
 sense: g^ as V^^*". where V^ft itself = d^). A second 
 boundary (the line of division between the middle and the 
 concluding section) is, to a certain extent, marked off by 
 the pause in tenor and bass at the close in C^- minor 
 (they both re-enter, successively, with the theme). The 
 episodes agree altogether with the character of the theme 
 and of the countersubject, and are evolved mostly from 
 the third motive of the theme, 
 
 mil 
 
 S! 
 
 i-^ 
 
 and from the syncopation belonging to the first, and to 
 the second motive. The countersubject faithfully accom- 
 panies the theme, and is also repeatedly employed in the 
 episodes. In the inversion of the theme only the character- 
 istic wavy movement is to be recognized in the counter- 
 point, but no strict carrying out of the same, although 
 that would have been quite possible 
 
 t=x 
 
 M 
 
 ^m 
 
 ^^T^aiJ LIT ^ U 
 
FIRST PART. 
 
 That Bach made no use of this combination, is n 
 sufficient answer to all insinuations about "scholasticism" 
 and "manufacture" ("Mache"). The introduction of the 
 inversion of the theme presents itself as a thoroughly 
 natural consequence, and all the more as the theme 
 thoroughly preserves its character; one might say that in 
 place of painful upward striving, there was here greater 
 inwardness, a deeper sinking into self Besides the above 
 inversion, which the alto introduces in the middle section, 
 Bach gives a second form in the bass in the concluding 
 section: it begins and ends with /jj, and probably must 
 be regarded as the inversion of the Dux, as the former 
 that of the Comes. The fugue contains theme entries in 
 no other keys than those of F^- minor (Dux) and Cj^ -minor 
 (Comes). That preference was given in the concluding 
 section to the Dux and its inversion just as in the middle 
 section to the Comes and its inversion, was a logical conse- 
 quence, where, as here, there was absence of real digression. 
 
 With regard to the melodic outline, it may be 
 specially pointed out, that Bach keeps the first section in 
 a low position (even the second soprano entry does not 
 go above ^J(^), and only adopts a higher position in the 
 middle section. The fugue, like the prelude, ends in a 
 conciliatory manner in F\- major. 
 
 I. 15. 
 
 PRELUDE AND FUGUE IN G-MAJOR. 
 
 Both pieces are as brisk as bees: the prelude has 
 throughout gay semiquaver -triplet -figuration, while the 
 fugue, in most lively ^/g time, runs its course for the most 
 part in smooth semiquaver motion. The tempo of both 
 is somewhat rapid, the character throughout one of un- 
 troubled joy, of lively enjoyment. Was Bach reallv con- 
 scious of the fact that the prelude in G-major was related 
 to the one in C^-f?iaJor} There is certainly not such 
 glowing heat here as there: it is not midsummer, but 
 spring, young fresh spring (it should also be compared 
 
If. PRELUDE AND FUGUE IN G-MAJOR. 
 
 95 
 
 with the preludes in E and F); but, as there, so here, we meet 
 v/ith the same sensible, thoughtful human being who revels 
 in the enjoyment of nature. The slender arpeggio motive 
 of the first measures recalls the prelude in E-major\ 
 
 i 
 
 Allegro risoluto. 
 
 ^^fc#l^^ 
 
 8va bassa 
 
 but already the close of the first little period with its 
 persistent c^ — d carries us back to the prelude in C^-maJor: 
 
 i 
 
 ^ 
 
 f %^ q feT :? y' :; y' 
 
 Harmony: 
 
 i 
 
 I: 
 
 ^ 
 
 v^' ^y ^"^W^^ 
 
 d+ 
 
 and with good reason, for an old friend, reclining amidst 
 the tall grass, is gazing at us: 
 
 a^^^^^jg^ 
 
o6 
 
 FIRST PART. 
 
 in the C- sharp prelude 
 
 And now let each see for himself whether he does not 
 discover many other kindred features (the octave leaps of 
 the lower voice, and especially the whole jugglery of the 
 light-winged figuration); only here everything is more pre- 
 cipitate, more impulsive, springing - forth, fluttering and 
 bounding: it is, in fact, youthful spring! 
 
 The piece requires no analysis; the harmonies are as 
 clear as daylight, and the order of keys is normal (prin- 
 cipal key, dominant, parallel, dominant, under- dominant, 
 principal key). 
 
 The Fugue (k 3) carries on a truly jesting game with 
 a somewhat long and prolix theme, which, first of all, rolls 
 upward in merry circular movement from the fundamental 
 note to the third degree, and then, with wanton leaps 
 from the under-fourth and under-leading-note, extends 
 beyond the fifth: 
 
 Con moto giojoso ( J^)« 
 
 The countersubject opposed to it first runs downw^u^d 
 to the third of the dominant, then, so long as the Comes 
 (which is only a transposition of the Dux in the fifth^ 
 
ts- PRELUDE AND FUGUE IN G- MAJOR. 
 
 97 
 
 moves in a circle, proceeds leisurely in quavers, but after- 
 wards rolls upward in lively fashion to the octave: 
 
 i 
 
 p 
 
 :J=fe 
 
 ^ 
 
 S 
 
 vus. 
 
 etc. 
 
 h^ S^lJuin m rr^^rf^^^ 
 
 Three free measures inserted between the second and 
 third entries of the theme introduce a fresh motive, which 
 afterwards attains to considerable importance (movement by 
 degrees with a note always sounding betwixt and bet- 
 ween): 
 
 A^ 
 
 J^i^ 
 
 M ^ I ^ 
 
 .^j=3-Xa 
 
 ^-[^rnffii 
 
 and, by way of contrast, we have an interesting syncopated 
 motive in the following episode: 
 
 i 
 
 %^^^ ^^= ^-X ^--^!^ 
 
 ^- 
 
 -(^ 
 
 Nearly the whole of the material which serves for 
 the working out of this fugue has now been shown (all 
 the motives are combined in all sorts of ways, and also 
 treated in inversion). 
 
 In the exposition the theme appears in the three voices 
 (soprano, alto, bass), during which, it naturally occurs in 
 the dominant key (Comes), but concludes in the principal 
 
 Riemann, Analysis of Bach's "Wohltemperirtes Clavier". 7 
 
98 
 
 FIRST PART. 
 
 one, to which the transition to the second development 
 adheres. This also remains in the principal key: here 
 we have the theme in inversion accompanied by the 
 counter subject i?i inversio7i, worked out in the following 
 order: — alto (Dux [beginning on ^]), soprano (Comes 
 (beginning on a\), bass (Dux), and, indeed, without any 
 connecting bars thrown in. Thus the first section forming 
 the basis comes to a close. 
 
 The second (modulating) section begins with an 
 episode of six measures, which, passing through A-??ii7ior, 
 modulates to E-minor (parallel): in its second half it has 
 only two voices (the alto ceases). The next development 
 is incomplete; the theme first occurs in the soprano in 
 the key of E-minor, and is only accompanied in its second 
 half by the counter-subject; then follows the inversion (like- 
 wise in E-minor, but from g) accompanied by the counter- 
 subject in the soprano, whereupon comes a fresh episode 
 effecting modulation to B-viinor (parallel of the dominant 
 key). The second portion of the modulating section intro- 
 duces first a stretto of the theme between the soprano 
 and bass in B-niinor (alto ceases): 
 
 L \ 1 / 'I J iX 3 ' ^ TTT— 
 
 f rntj ^ ciir ^ 
 
 8ve lower. 
 
 and after an episode of six measures modulating back to 
 JD-major, a second one, at the same interval, in the key of 
 D between alto and soprano, in the course of which the 
 bass remains stationary on a\ the soprano ends with a 
 
 shake on e (harmony a'^, triplet of 3 J ), and three more 
 free measures lead to a broad close in J)-maJor»siitng- 
 thened by a cadence. This close proves to be the be- 
 ginning of the final section (in the principal key), for on 
 the last note the soprano begins a long shake on d, while 
 the bass takes up the theme in the key of G-major, and 
 in inversion (from d), ending on g (the alto again accom- 
 panies with the countersubject in inversion), 
 
16 PRELUDE AND FUGUE IN G-MINOR. qq 
 
 But in order to make clear the coda- character of this 
 section, the bass, leaving out a half measure, springs down 
 to the low C (the lowest note of the keyboard in those 
 days), and the music turns to the key of the under- dominant 
 (C), quickly passing, however, through A-minor and «' to 
 the dominant (half- close on the low D); in addition the 
 last stretto begins, changing the meaning of the 8 '^ measure 
 to that of i^', but it is not strictly carried out. First of 
 all the alto starts from d with the inverted theme, and 
 after one measure the bass follows with the same; but as 
 soon as the soprano (in the following measure) introduces 
 the theme in its original form, commencing on the 3^^^ (b), 
 the alto gives up the inversion, and first of all joins the 
 soprano in third-doubling, while the bass, instead of the 
 second half of the inverted theme, continues the circular 
 movement downwards as counter-part to that of the two 
 upper voices. The remainder forms a free cadence in 
 G-major, with the last four measures over the bass remaining 
 stationary on g. 
 
 I. 16. 
 
 PRELUDE AND FUGUE IN G-MINOR. 
 
 I must take this prelude under my special protection 
 against Bruyck; for although the same defends both the 
 prelude and fugue against Forkel, still he comes to the 
 conclusion that the prelude is somewhat angular ("etwas 
 Eckiges"), that the shake organ-point in the third measure 
 does not sound overpleasantly ("dass der Triller-Orgel- 
 punkt im dritten Takte nicht zum lieblichsten kHnge"), 
 that in these pieces "angular forms and figures express a 
 certain burlesque humour" ("eckigen Formen und Figuren 
 ein gewisser burlesker Humor ausdrucke"),and that certain 
 hard effects in the after-section of the last period were 
 pet fads of Bach. I cannot agree with a single one of 
 those remarks; I find neither angular points nor hard 
 effects, neither humour nor burlesque in the piece. Evi- 
 dently Bruyck came to grief here through incorrect reading- 
 
 7* 
 
lOO 
 
 FIRST PART. 
 
 and that may have happened not only to him and Forkel, 
 but to many another. I select only the passages standing 
 in question, which indeed give a satisfactory idea of the 
 general contents. The "not overpleasantly sounding shake- 
 organ-point" is as follows: — 
 
 (Larghetto.) 
 
 I 
 
 W 
 
 eE=3: 
 
 .^' 
 
 * 
 
 
 ^MZl^h_IIFi 
 
 Harmony: **d 
 
 gvn oj gvii 0(j gvii 0(i a' 
 
 Where, in this, is there the slightest disturbance of 
 the euphony? The g belongs to all the harmonies as chord 
 note, and the suspensions (d c^ b^ a and b^ c over chord of 
 g^^^ are perfectly easy to understand, and, if only played 
 properly (with a certain dwelling on the notes marked — 
 [agogic accent]), produce an excellent effect. 
 
 I cannot discover Bruyck's progression of sevenths in 
 the following passage: 
 
 -b ^ — P-F 
 
 =1— ^ 
 
 %-. 
 
 ^^^ 
 
 ^ 
 
 
 t^*^ 
 
 ^=^^=$ 
 
 %^- 
 
16. FRELUDE AND FUGUE IN G- MINOR. 
 
 while the passage, apparently most repugnant to Bruyck, 
 
 p^^^^m 
 
 Harmony: ^'d 
 
 if only rightly understood (especially the chord of the Nea- 
 politan sixth with its ornamented suspension), is not only 
 full of expression and pathos, but entirely free from harsh 
 effects. In order to be grasped by the listener, it must 
 be rendered in a broad manner. 
 
 The whole piece is of a contemplative, earnest mood 
 (the tendency to repeated formations of an organ-point 
 character should be noticed), and of a certain power of 
 expression owing to the up-beat form 
 
 which pervades the whole and in which the running demi- 
 semiquavers are brought, as it were, to a standstill against the 
 semiquaver. I presume that no one has been barbarous 
 enough to turn them into mad motives of the following 
 form 
 
 i 
 
 :fc=f 
 
 '—0- 
 
 ggs 
 
 m 
 
 which would certainly be angular, burlesque, and indeed 
 humorous! 
 
I02 
 
 FIRST PART. 
 
 The structure with regard to key is as follows: — 
 1 8* period in G-7ninor with half-close (<af+) at the 8^^ 
 measure; the repeated after-section then modulates to 
 B^^ -major (parallel); the 2"^ period modulates to C-niinor 
 (under-dominant), and at the 4^^ measure makes a half, 
 and at the S*'^ a full-close, which is confirmed (8 a). The 
 3*<^ period returns by the nearest road (^^ = ^^^^) to the 
 principal key, and remains stationary, at the fourth measure, 
 on a half-close (^'), which is repeatedly confirmed; also 
 the full-close of the eighth measure is confirmed by a 
 supplementary one, with feminine ending, touching on the 
 under-dominant. 
 
 The fugue (k 4) is a highly instructive piece. By the 
 way it may be mentioned that a Capriccio in D-mmor 
 by Friedemann Bach has fugal treatment of a theme al- 
 most similar: 
 
 Friedemann Bach; 
 
 ■^^^^^^m_ 
 
 our Dux; 
 
 As Friedemann was only twelve years of age when 
 his father had completed the first part of the Well-tempered 
 Clavier (1722), his work is probably an unconscious pla- 
 giarism; but, in every respect, it is inferior to that of his 
 father's, and especially in the character of the theme 
 itself, which has lost its pensive earnestness, and has be- 
 come hurried and restless; the absence of the feminine 
 ending in the first half, and of the (accented) rest at the 
 beginning of the second, are heavy losses. 
 
 Jadassohn justly notices the unity of the whole fugue, 
 inasmuch as the countersubject introduces no fresh motive, 
 but only the inversion of theme motives: 
 
16. PRELUDE AND FUGUE IN G- MINOR. 
 
 103 
 
 Comes 
 
 i^ 
 
 i^ -. k;s4j! 
 
 
 counter 
 subject 
 
 But the matter is not quite so simple as he makes 
 out. Had Bach provided counterpoint somewhat after 
 this fashion: 
 
 ^^ 
 
 ^SB 
 
 WW nrrUT^ 
 
 b* 
 
 the countersubject would really be only the inversion of 
 the theme, with the two halves in reversed position, and 
 shght bridging over of the gap^ but then the tautology 
 of both would have been unmistakable, and the whole 
 would have been in danger of losing its vitality. Bach, 
 indeed, by using both halves of the theme, but displaced by 
 one crotchet in the measure (so that the accented becomes 
 unaccented, and vice versa), makes the same thing appear 
 sojnething quite differerit. (It is well known that the charm 
 of a close canon consists in the imitatio?t becorning counter- 
 subject). If we articulate Bach's countersubject more pre- 
 cisely, we find first a syncopated motive (the g before the 
 rest produces an effect quite similar to a note held over, 
 only more striking, more sobbing), which in the feminine 
 ending beyond the rest contains a second element foreign 
 to the theme: 
 
 ■i^ 
 
 ;i^ 
 
 ^ 
 
T04 
 
 FIRST PART, 
 
 The ascending motive ^^ J at the beginning of the 
 
 second half, is Hkewise a very precious addition, as it 
 clearly shows the meaning of the accented rest in the 
 theme, and prevents the same from being understood as 
 an end rest; the inversion of the opening motive has the 
 same position in the measure as in the theme, but arranged 
 so that here it forms the conclusion, whereas there it 
 formed the opening; and thus it, too, forms an important 
 countersubject. By comparing both principal motives 
 through both voices, my meaning will be better under- 
 stood: — 
 
 ^ 
 
 ^ 
 
 ^it 
 
 FS^-* 
 
 :ii 
 
 and: 
 
 m 
 
 m 
 
 F ftT l^ 
 
 The theme consists of three measures (- ^ -) and 
 therefore gives opportunity in the developments for the 
 elision of the unaccented opening measure of the several 
 half periods (i^* and 5^^ M.), whereas the episodes are 
 regularly formed (cf. the C-major fugue I. 1). In point 
 of melody the theme belongs to the quiet ones, those 
 based on the triad position (compass f\ \ g b^ d \ e\^). 
 In the answer a change of interval is seen at the outset 
 (third g d\^ in place of second a d\?), because the Comes 
 has to modulate from the principal key to the dominant, 
 but must not leap at one bound to the same. The first 
 two voice entries (alto, soprano) are separated from the 
 two others (bass, tenorj Dy an episode of two measures 
 evolved from the countersubject. After the close 'mZ>-mmor 
 (dominant) follows a long episode, with elision of i ^^ and 
 5^^ measures; but it repeats the second group (3 — 4 M.) 
 and concludes in B^^ -major (parallel). 
 
16. PRELUDE AND FUGUE IN G- MINOR. 
 
 105 
 
 The second (modulating middle) section which now 
 begins, first introduces the Dux (alto) in B^ -major ^ then 
 the strict Comes (bass) passing regularly from B^- major to 
 F-fJiajor, further the Dux (soprano) in F-major (or, one 
 might say, the Comes in B^-viajor without its distin- 
 guishing opening step), so that this whole second develop- 
 ment is in B]^- major. The first three entries follow with 
 elision of the unaccented opening measure, the last without 
 elision, but also without any connecting notes. The second 
 half of the modulation section (and also the concluding 
 section) which is approached by two measures leading 
 to C-7ninor (under-dominant) has only one form of the 
 theme (that of the Dux), i. e. we have fresh confirmation 
 of the principle that the structure of the first development 
 is the real cause of the double form of the theme as Dux 
 and Comes; but it must not be overlooked that the very 
 widening of the first step in the theme of this fugue 
 intensifies the expression. The order of voices in the 
 third development is as follows: — tenor (theme in 
 C-viinor [g a\?], soprano (likewise g a\^), alto (theme in 
 G-minor [principal key]), all three follov/ing one another 
 in immediate succession. This whole development (as 
 also the following episode already belonging to the closing 
 section) is throughout in three voices (Foikel's reproach of 
 less perfection may perchance refer to this long departure 
 from 4 -part writing). The concluding section resumes 
 the principal key which enters at the close of the 3 ""^ develop- 
 ment, and, at the end of an 8-measure period freely 
 developed from motive b (see above), makes a half-close, 
 and then follows on with an apparent stretto of the Dux 
 through three voices (soprano, tenor, bass; only the first 
 part of the theme is used in complete form, the second 
 is replaced by the counterplay of the countersubject) and 
 two complete theme entries (Dux in alto and in tenor), in 
 which 4-part grows to 5-part writing (but only as chords)! 
 
io6 
 
 FIRST PART. 
 
 I. 17. 
 PRELUDE AND FUGUE IN Ab. 
 
 A certain thoughtfulness and tenderness of expression 
 distinguish these two pieces. The prelude is frequently 
 depreciated from an esthetic point of view, and this pro- 
 bably arises from lack of comprehension of the rests in the 
 principal theme, and also from want of a satisfactory clue 
 to the structure, as regards periods, of the piece. If the 
 first measure be taken as unaccented, i. e. the second as 
 answering to it, and if one read with full measure (from 
 bar-stroke to bar-stroke), the first section is torn into 
 mere disconnected 2 -measure shreds. The metrico-rhyth- 
 mical contents are rather as follows: — 
 
 Allegretto poco mosso. 
 
 ted^=^4^jF^ 
 
 ^ I 
 
 
 ^'v ^""LLLf'*^' ^""^ 
 
 The second period, with which the first section con- 
 cludes, modulates to the key of the dominant, and opposes 
 a more lively movement to that of the principal thought: 
 
l^. PR EL UDE AND FUG UE IN A^ . j q « 
 
 i 
 
 ■^-U^i=^=^^, 
 
 ^-r^-^-^= ^ ^=^=^r 
 
 The second section is a fairly faithful reproduction 
 of the first, with inverted voices, but with modulation 
 turned towards the under -side, i. e. to the principal key, 
 and from thence towards that of the under- dominant, so 
 that, at the end, the principal key is established without 
 any difficulty. As to the first section, so also to the 
 second is appended a close-confirmation of one measure, 
 but, in addition, a coda of 8 measures and a one-measure 
 confirmation. 
 
 The intentional avoidance of the nearest related minor 
 keys deserves note; even the parallel key is scarcely 
 touched (in the coda with the sequence dV^ — V"» ^'^ — ^^)j 
 and this, in part, explains the joyful repose of the whole 
 piece. 
 
 The fugue (a 4) is remarkable in that it has no real 
 counter subject, although here canonic conduct of the theme 
 does not, as in the C-major fugue, appear to render the 
 same indispensable. It may be pretty safely assumed that 
 the brevity of the theme and its frequent recurrence induced 
 Bach constantly to change the counterpoint instead of ad- 
 hering to one fixed form; anyhow, just as smooth quaver 
 movement is the special characteristic of the theme subject 
 to variation of every kind, so smooth semiquaver move- 
 ment in scale form is the common feature of the counter- 
 point opposed to it. The theme of two measures is of 
 chord nature: 
 
 Andantino. 
 
 i^ 
 
 3^1^ 
 
 (Alto:) 
 
 (2) 
 
 and remains quietly in the principal key; the answer must 
 therefore modulate from tonic harmony to the key of the 
 dominant, whereby the Comes assumes a shape differing 
 in a marked manner from the Dux: 
 
[o8 
 
 FIRST PART. 
 
 mr=^^^^ 
 
 (4) 
 
 to this the alto supplies the following counterpoint: 
 
 P ^ iJ \ T^^^ ^ 
 
 (4) 
 
 and then, with the bass, in characteristic fashion, com- 
 pletes an interlude of four measures: 
 
 I 
 
 ^^^ 
 
 ^^ 
 
 \^ 
 
 l^^^^i^pi 
 
 ^^ ^-^^4^ 
 
 =1; 
 
 1— ■^■■■H^^ r ■=— 
 
 sa^-^^^ 
 
 ■#-#•■#■ 
 
 ^ 
 
 If the motive material of the whole fugue be com- 
 pared with this first period of 8 measures, it will be seen 
 that nothing new is afterwards introduced. But how 
 
/;. PRELUDE AND FUGUE IN A\ 
 
 109 
 
 wonderfully does Bach make varied use of the motives here 
 marked off by slurs, now spreading them out in form of 
 sequence, now inverting them, or advancing them one 
 crotchet in the measure, or dividing them between two 
 voices, etc.! The syncopated motive assumes great im- 
 portance, first in the episodes, but finally, also, as counter- 
 point to the theme-, c is really the only repetition at all faith- 
 ful of the first countersubject (but without theme entry). The 
 theme as at b is frequently employed in the interludes, but as 
 a real theme it appears no fewer than fourteen times, and, 
 later on, in a form which does not exactly correspond 
 either with Dux or Comes (it has the opening skip of 
 the fourth of the Comes, followed by the third of the 
 Dux): 
 
 \^^^ ^u^=s ;m 
 
 The first section extends until after the second entry 
 of the tenor, which forms a confirmation of the close in 
 A}7- major marked by a shake, at the end of the second 
 period of eight measures. Instead of making the four 
 voices enter in direct succession (in four times four 
 measures), according to school rule. Bach here (and often 
 elsewhere) prefers to separate the second from the third 
 voice entry by an interlude of four measures; and after 
 the fourth entry he has here likewise an interlude, during 
 which the tenor is silent, of four measures. But it 
 becomes impossible to look upon these interludes as inde- 
 pendent real "between" members in the period structure, 
 as is possible in many fugues; this indeed is, generally, 
 possible: here they appear rather as completing the sym- 
 metry of the theme entries. In the present case, by the 
 tenor voice ceasing and reentering, the fugue seems as 
 if it were in five voices. 
 
 The second (modulating middle) section first leads by 
 means of a three-voice episode to a half close in F-nwior 
 (<:'); the alto then introduces the Dux in F-minor (parallel 
 key) and with four free measures (5a — 6a, 7 — 8) the 
 period draws to a close in F-minor. A second period 
 of this section changes ^c in /' (i^t to 2°<^ measure), 
 then, as a more expressive repetition of the first group 
 
no 
 
 FIRST PART. 
 
 (la — 2a), introduces the Dux in B\; -minor (tenor), and 
 closes the fore-section with the answering Comes in the 
 alto; the after-section (closing in B^ -minor) forms an 
 episode from the materials of preceding episodes (soprano 
 developing motive b, alto: motive c, and tenor: motives). 
 The four measures which now join on with an apparent 
 stretto of the theme between alto and soprano and a close 
 on the dominant {E\^- major) ought, properly speaking, to 
 be regarded as an intermediate member, as a return to 
 the principal key, as a transition to the third (closing) 
 section. 
 
 This closing section itself begins with a theme entry 
 in the alto (Dux in E\f -major, but of wider compass) and a 
 second {Dux in A\^ -major) in the soprano, formed in a 
 similar manner ; and in well-known fashion, by touching the 
 Mixolydian seventh {gV) and leading to the under-dominant, 
 it indicates the approaching end: 
 
 Alto: 
 
 NB. 
 
 r: ^\'^ ■ J 
 
 ^ 
 
 m 
 
 ^f 
 
 Soprano: NB. 
 
 The alto introduces, besides, an apparent stretto; the 
 after-section makes a half close on the dominant (^t'')- 
 The second period of the concluding section introduces 
 next a complete development, viz. in the bass: Dux in 
 A^-major\ in the tenor: Comes from F-mi7wr to C-7ni7ior\ 
 in the alto: Comes from D^ -major to A\^-major\ and in 
 the soprano: Comes from B];-7ninor to D^-77iajor\ — 
 
 fe=tT ^b=fe g=a 
 
 tenor 
 
 (4) 
 
 >^ fer 
 
 (4a) (6) 
 
18. PREL UDE AND FUG UE IN Gt- MINOR. j j j 
 
 The turning towards D\; -major is twice imitated in con- 
 junct upward movement (^b' — d^^'\ b\;'^ — e\?^' and c- — ^c), 
 whereby the first group of the after-section appears con- 
 siderably strengthened (5 a— 6 a), and then comes a close in 
 full, broad manner with a triplet of measures (3 measures in 
 place of 7 — 8). But as the bass and alto move to / (the 
 ordinary deceptive cadence), instead oi a^ , another repe- 
 tition of the after-section becomes necessary, affording 
 an opportunity of introducing the Dux once more in its 
 original form, after which there is a broad supplementary 
 close. 
 
 1 cannot see in what way this fugue shows imper- 
 fection. It certainly is neither so sombre as the fugues 
 in C^minor and E\^ -minor, nor as energetic as the fugues 
 in D-major and E-major, but, on the other hand, it is 
 exactly an A\f- major fugue. Schumann has taught us 
 what 2.YiA\?-7najor man is (Chopin — the sensitive dreamer). 
 
 I. 18. 
 
 PRELUDE AND FUGUE IN GS- MINOR. 
 
 C^-mifior and G^-7ninor are keys in near relation- 
 ship, the one to the other. Both metaphysically, transcen- 
 dentally, have something in common, /. e. are far removed 
 from the sober views of every day life, and move in 
 a sphere of supersensual presentations and ideal feelings. 
 Did Bach himself notice that the theme of the C'^-7ninor 
 Prelude has once again displayed its inexhaustible, im- 
 pulsive power in the G\-mi7ior prelude? Let us compare: 
 
 Andante espressivo. 
 
 dolce. &i^ f ^ ^ , I 
 
112 
 
 and: 
 
 FIRST PART. 
 
 m 
 
 1^^ ^ 
 
 ^^ 
 
 ite 
 
 i 
 
 V^W^iJl 
 
 also 
 
 m^ 
 
 ^ 
 
 E£ 
 
 5ce 
 
 ^: 
 
 here : 
 
 there ; etc. 
 
 The mood is quite the same, the expression somewhat 
 softer here than there, the whole structure somewhat more 
 dehcate, more polyphonic, while the melodic element 
 exercises stronger power over the chord-like basis. The 
 theme is also introduced in inversion. The construction 
 of the prelude, noting its principal points, appears thus: 
 
 i 
 
 :feE^^=^&^^ 
 
 -ti-^^ 
 
 (4-6) r 
 
 (8) 
 
 (4-2) 
 
 •d{{ djf» odjj djf7 Od> fjj+ efi fjf7 
 
 =b^- 
 
 L 
 
 ist period: G|- minor. 
 
 transition to the 
 parallel key. 
 
18. PRELUDE AND FUGUE IN G\- MINOR. 
 
 113 
 
 
 (8^2) (4^6) 
 
 2iid period: B-major. 
 
 3rd period to the 
 
 -m 
 
 " n-^-. "*• Tl ^>»_ 
 
 
 under-dominant. 4 th period to the dominant. 
 
 D|- minor. 
 
 Transposition of the opening with 
 voice parts reversed. 
 
 K 
 
 -^- 
 
 ^ ^EB E ^ 
 
 d)|vn ajj^ (8a^2)/>a^ ajj' (4-6) ^ajf aj('(8=2) 
 
 Confirmation. ' — 
 
 3rd period: dominant. 
 
 ^=S 
 
 f^^^-^ 
 
 :^ 
 
 i^^ 
 
 I 
 
 ^^ 
 
 r::::^^ 
 
 (8=2) 
 
 Oa# d};'(4-6)0dj( djf'(8=2)«dj; gjt'(4^6)0g#g# 
 
 6th period; to the principal key. 7th period to the under* 
 
 dominant (Cf- minor). 
 
 ,#PJ. 
 
 Sequence 
 
 (quasi 
 
 # 
 
 T- I 
 
 r r T 
 
 ogji fjf' (4) b+ e'- (6) ^jjvii djj'(8-l)«djfOgjj(2j 
 
 (=e «) =€«» 
 
 8th period: returning to the principal key. 
 Riemann, Analysis of Bach's "Wohltemperirtes Clavier". o 
 
114 
 
 FIRST PART. 
 
 stretto.) 
 
 (=«dS) ■ 
 
 Intermediate half period. 
 
 Concluding period. 
 
 15 
 
 ^ 
 
 -<5'^- 
 
 'djtgijviidjj'(8) «d#gjf^ gjfyn odjf 
 
 The fugue (k 4) is one of the most expressive of the 
 whole work, so impregnated is it with subjective feeUng, 
 and developed in so pleasing and natural a manner that 
 nowhere is there a trace of fugue fetters (in this respect I 
 might compare it to the F-minor fugue of the second 
 book). 
 
 Marx is right in insisting that the character of a 
 fugue is essentially established from the commencement 
 by the voice position with which it opens. In the present 
 case the theme is first given out by the tenor, /. e. the 
 fugue begins in a low middle position. The character of 
 the melody of the theme is an unusual one; it advances 
 in slightly curved line from the fundamental note to the 
 third, and rises further (by means of a tritonel) to the 
 fifth, but from thence (in the key of the dominant) de- 
 scends, by wide steps and with repetition of notes, to the 
 lower octave of the dominant. 
 
 Andantino un poco larghetto. 
 
 X"#- 
 
 Dux: odjf ^\-' . . Odjf . . yil ajf' Oajf 
 
 to the dominant. 
 
i8. PRELUDE AND FUGUE IN G%- MINOR. 
 
 "5 
 
 glfe 
 
 djtvil aj 
 
 (4) Oa| 
 
 It should be carefully noticed here that by its appended 
 motives, the first half of the theme receives a certain 
 philosophical repose and precision, the simple reason of 
 v/hich is, that both the upward steps occur in these appended 
 motives. In order rightly to grasp the theme, one ought 
 to think over, and thoroughly realise the effect of the two 
 following false readings. 
 
 the first of which is rendered impossible by the continua- 
 tion (which cannot be properly rounded off), but the 
 second, by Bach's harmonisation of the theme (cf. the 
 soprano entry). What a striking equilibrium, on the one 
 hand, between the pressing onward of the harmony and 
 the counterbalancing holding-back on the opening accented 
 beat, and on the other hand, between the upward striving 
 melody and the backward-turned movement of the har- 
 mony! First of all the harmony advances from tonic to 
 dominant, {g%—f'*') but the appended motive returns to 
 the tonic: the melody however selects just this backward 
 step to advance to the third {£^—a\—b)\ then the har- 
 mony advances ia%—g^ to the key of the dominant by 
 change of ^d\ to dV^^, and the appended motive com- 
 pletes the close from the new under- dominant, through 
 the upper-dominant {a\'^\ to the tonic, and again the 
 melody makes use of this cadential moment to ascend 
 [c^—d^. But the concluding member of the theme 
 rejoices over the victory which it has won in a quietly 
 descending cadence, to which a certain humour (in the 
 noblest sense of the word) is not lacking. I can discover 
 nothing in this fugue of the „ repentance -aria -mood" 
 ("Buss-Arien-Stimmung" mentioned by Jadassohn). 
 
 8* 
 
ii6 
 
 FIRST PART. 
 
 The answer, with exception of the opening note, is 
 in the under-, instead of the upper- fifth: the reason for 
 which is that the theme itself modulates to the key of 
 the upper-dominant and concludes in it, so that the modu- 
 lation back to the principal key falls to the Comes. One could 
 only be in doubt as to whether a greater portion of the 
 first part of the Comes could not have been answered in 
 the fifth, thus: 
 
 m 
 
 P^^ 
 
 in the 5 th 
 or (?) 
 
 • in the 4* 
 
 rftitt 
 
 ^^^ 
 
 :si: 
 
 ^ 
 
 in the 5*^ 
 
 in the 4 th 
 
 Although the second Variante preserves the characte- 
 ristic interval of the tritone which is lacking to the first, 
 yet it would be less possible: the ^jjjc would be quite 
 unsuitable, for over against the higher x^ of the first motive it 
 would excite a downward tendency quite alien to the first 
 half of the theme. But evidently Bach penetrated deeper 
 below the surface, when he sought to get to the under- 
 dominant as soon as possible in order to allow the answer 
 to rise from it to the principal key in a manner similar 
 to that in which the Dux rises from the principal key to 
 the dominant: — 
 
 M 
 
 m 
 
 m 
 
 
 
 to the under-dominant. 
 
 confirmation. 
 
t8. PRELUDE AND FUGUE IN G%- MINOR. j jy 
 
 Finally, nothing could be urged against the answer in 
 the fourth of the first note, if it made easier the order of 
 modulation; but the contrary would be the case, and it 
 would mean the loss of a powerful means of expression, 
 viz. the decisive turning away from the key of the upper- 
 dominant to that of the under-dominant which is displayed 
 in the melody by the step of a third in place of that of 
 a second (cf. the F-minor fugue, in which a contrary cause 
 has led to a similar result). 
 
 The counterpoint throughout is simple: there are no 
 complicated combinations, but where the natural evolu- 
 tion leads to something of the kind (prolongation, in- 
 version of the theme). Bach hints at the possibility of 
 such devices (cf. the middle of the second development, 
 in which the soprano indicates prolongation; of the in- 
 version of the opening motive rich use is made in the 
 episodes.) 
 
 The countersubject preserves throughout the character 
 of the theme, nestles closely to it in such a manner, that 
 one might feel tempted to deny that it had any indepen- 
 dent, countersubject character. But if the countersubject 
 be taken, not in its quality of counterpoint to the Comes, 
 but rather as an immediate, further development of the 
 opening voice, after the enunciation of the Dux, then it 
 is evident, that it brings the theme to full completion, in 
 that it rises again from the lower octave of the dominant 
 up to the third of the tonic, and again settles firmly down 
 on the fundamental note. It therefore works out the 
 second motive of the theme, and, at the end, conforms 
 to the staccato -cha.ra.cteY of the theme. But the synco- 
 pation of its opening motive is a genuine addition to the 
 motive material: 
 
 m^^^^ 
 
 Also the immediate continuation of the tenor voice 
 (the second countersubject) receives manifold treatment 
 in the course of the fugue. In this passage an almost 
 obstinate clinging to the fundamental key (^J), despite 
 the modulation, forms a characteristic feature: — 
 
ii8 
 
 FIRST PART. 
 
 SiPi 
 
 a — P- 
 
 S 
 
 Its smooth crotchets introduce more repose into the 
 piece, and the syncopation at the end gives opportunity 
 for syncopation on an extended scale in several of the 
 episodes. Of possible combinations of the theme and of 
 its two chief counterpoints, the following are employed: — 
 
 i) Soprano: 
 
 Alto: 
 
 Tenor: 
 
 2) Soprano: 
 
 Alto: 
 Tenor: 
 
 3) Soprano: 
 
 Alto: 
 
 Tenor: 
 
 Bass: 
 
 4) Alto: 
 Tenor: 
 
 Bass: 
 
 5) Soprano: 
 
 Alto: 
 
 Tenor: 
 
 Bass: 
 
 Theme (Dux) 
 js^ Counterpoint 
 2"^^ Counterpoint 
 i" Counterpoint 
 2^^ Counterpoint 
 Theme (Comes) 
 2°<^ Counterpoint 
 I St Counterpoint 
 free filling -up voice 
 Theme (Dux) 
 Theme (Comes) 
 I St Counterpoint 
 2"^^ Countei-point 
 2°<* Counterpoint 
 I St Counterpoint 
 Theme 
 free filling -up voice 
 
 1 in the exposition 
 I (3rd voice entry) 
 
 1 at the beginning of 
 , the 2 ^'^ development 
 
 2nd development 
 
 I- 
 
 3- 
 
 The general construction is as follows: — I^t section 
 (in the principal key) : the entry of the four voices, without 
 break, in the following order: tenor, alto, soprano, bass, 
 alternating regularly with Dux and Comes; after an episode 
 of four measures, modulating to the dominant, follows a 
 second developments likewise in the key of the tonic, only 
 in it an episode of four measures is inserted between 
 each of the voice entries: the tenor opens with the Comes 
 (the tenor also opened the first development but with the 
 Dux), the bass follows with the Comes (but beginning 
 with <rjj, therefore standing entirely in the fourth); then 
 the tenor returns (in this fugue it assumes the role of 
 leading voice), but with the Dux as at first, and lastly 
 comes the alto with the original Comes (the second working 
 
i8. PRELUDE AND FUgVE IN G'^- MINOR. j jg 
 
 out begins ^3 — with pausing bass, and ends in like 
 manner — with pausing soprano). 
 
 The (modulating) middle section is particularly terse 
 (only two theme entries): it has first, an episode of 
 8 measures (characteristically coloured by the frequent 
 introduction of the tritone springing from the theme), 
 modulating to the key of the dominant, on whose domi- 
 nant (^jt"*) ^^ closes. The soprano (changing the meaning 
 of the 8'h measure to that of i ^t) enters with the Dux in 
 J)^- minor , whereupon the bass follows with the Comes 
 in B-77iajor (under- dominant). A further episode of 8 mea- 
 sures leads back to G^- minor. 
 
 III. The concluding section next introduces the Dux 
 in the tenor (1), and, after threefold emphatic repetition of 
 the second group (measures 3 — 4), the Comes in the 
 after-section in the soprano (without ^j}). Four measures 
 of close-confirmation bring the fugue to an end. 
 
 The episodes of the first and concluding sections 
 are developed from the second half of the theme, and 
 close repeatedly with a chord - like passage for three 
 voices. Those of the middle section show more indepen- 
 dence in motive treatment, and are somewhat more 
 agitated, but yet their chief motive appears allied to the 
 theme. 
 
 NB. 
 
 pEi^^^^ ,g:.:^ E ~^Z3y 
 
120 
 
 fiRST Part. 
 
 I. 19. 
 
 PRELUDE AND FUGUE IN A. 
 
 A fresh healthy life pulsates both in the prelude and 
 in the fugue. Only he. who cannot see the wood for the 
 trees, will complain of school dust in them. The prelude 
 strictly in three voices,deals with double counterpoint in the 
 octave in a light and graceful manner of which, surely, 
 only the master possessed the secret. The thematic ma- 
 terial of the first period (beginning with the second 
 [accented] group, /. e. without i ^^ and 2"*^ measures) returns, 
 in the course of the piece, no fewer than five times, with 
 four different combinations of voices: 
 
 [. Allegro deciso 
 
 grlfe^^ 
 
 ■^-- 
 
 
 (8) 
 
2. C 
 
 ip. PRELUDE AND FUGUE IN A. 
 3- 
 
 * 
 
 Mm 
 
 ^Al 
 
 'imA 
 
 
 ^^^^^^^m 
 
 4. a 
 
 :fc^ 
 
 "^j5i^<^^ 
 
 -^;^. 
 
 « * r~T " * ^ s 
 
 ^^^^^WH 
 
 iS 
 
 51^ 
 
 i*^^ 
 
 ^] 
 
 5. » 
 
 ^ 
 
 fed 
 
 il N 1^ 5a 
 
 ^^^^^=2 
 
 fc', 
 
 #-H* 
 
FIRST PART. 
 
 a. a 
 
 ^^^ 
 
 ^=^=,=m 
 
 ii 
 
 f 
 
 m f ^ J j^ ^^^ 
 
 ^3^^= 
 
 (2 in E-niajor = 5 in A-major.) 
 (4 in Fti-minor = i in A-major.) 
 
 The second follows immediately after the first (with elision 
 of the first group); between the 2^^ and 3''^ is inserted a 
 free half period in which the under voice continues the 
 running semiquaver figure of a (see above), while the two 
 other voices introduce the syncopated motive ^ contracted, 
 and with third -doubhng; and between 3'^ and 4^^ there 
 is only an improved close of two measures (7 a — 8 a). 
 
 The episode which unfolds itself between the 4**^ and 
 5*^ has a scale progression of semiquavers divided bet- 
 ween the two under voices, while the upper voice remains 
 firm to the syncopated motive; the half close of the 4^^ 
 measure (on e'^') is turned into an added group (3 a — 4 a) 
 shaping itself into a full- close, which however is prevented 
 by the entry of combination 5 (4a = 3). The 6^^ follows 
 immediately on the 5^^, and lastly come two close-con- 
 firmations each of two measures: first, with the upper 
 voice and lower voice in contrary motion, and in semi- 
 quavers (motive a), and finally with a quiet cadence and 
 with addition of 3''*^ voice. 
 
 The order of keys is the normal one 
 
 I St Section: principal key (i) — dominant (2) — prin- 
 cipal key (3) leading to 
 2***i Section: parallel (4), then leading home to 
 3^<i Section: principal key (5 — 6). 
 
 The ehsion of the first group (i^' and 2"^^ measures) 
 which is found throughout the piece, gives rhythmical 
 
iff. PRELUDE AND FUGUE IN A. 
 
 123 
 
 interest to the many changes of meaning which necessarily 
 result therefrom. The strict adherence to the thematic 
 material of the first measures produces neither a formal 
 nor monotonous effect, because the interchanging of voices 
 and key-contrasts always offers points of interest. It 
 •may be further remarked that the rests of the middle 
 voice {b) at the beginning (I) are filled up in all later 
 entries of the theme, not always in the same manner, but 
 each one according to the preceding motive formation of 
 the voice in question. 
 
 Voice c only shows its true form at the second 
 theme entry: 
 
 NB. 
 
 ^p^i^ 
 
 NB. 
 
 /. e. the octave leap at the commencement is not an 
 essential part of it, and the bass cadence of the last measure 
 (of the piece) where it occurs in the bass, (I. 4) is only 
 levied from it. 
 
 As the prelude, if it is to produce its full effect, must 
 not be taken too slowly (the semiquaver figuration is 
 flowing and easy to be understood), so the rendering of 
 the fugue must necessarily be a very quiet and expressive 
 one, if it is not to become — according to the description 
 of Debrois van Bruyck "an interesting mosaic" ("inter- 
 essantes Kombinationsspiel"), "somewhat monotonous as 
 to rhythm" ("rhythmisch ein wenig monoton"), "as if it 
 were designed for a figured-bass exercise" ("als ob es auf 
 eine Generalbassubung abgesehen ware"). Yes, indeed if 
 nothing else can be discovered in the theme except rising 
 fourths and falling thirds, then it does move up and down 
 in bass fashion, and the continued quaver movement of 
 the first half of the fugue may seem "somewhat mono- 
 tonous". 
 
 But, in truth, this number is full of heartfelt feeling, 
 and of almost touching naivetd — if only the rhythmical 
 nature of the theme and the feminine endings of its 
 several motives be properly recognized and understood: 
 
,3^ FIRST PART. 
 
 Poco lento, con molto espressivo. 
 
 How simple, how charming is this double putting for- 
 ward of the tonic: the first quite plain, the second preced- 
 ed by leading note and third (likewise the "overhanging 
 6^^") and veering towards dominant; and how gently, 
 amiably does the theme stretch out towards the fifth, and 
 indeed to the octave, finally sinking submissively down to 
 the third. The striking of the upper octave must not be 
 confused with a pressing upwards towards it: the melodic 
 annexations to the theme extend, on the whole, only to 
 the sixth, i. e. remain quietly in one and the same tone- 
 region, and occupy a compass recognized by us as normal 
 (cf. 1. ii). 
 
 The elision of the unaccented beat of the first measure 
 of each group constitutes a rhythmical peculiarity of the 
 theme, /. e. the continued order in triple form — accented 
 — unaccented — accented: 
 
 J. J.|J.|J. J. I J. 
 
 (2) (4) 
 
 which runs nearly through the whole fugue. That the plain 
 ^/j, time of the original notation does not show this clearly 
 without explanation may be granted, especially as the few 
 departures from this mode of structure render its recognition 
 more difficult. A further hindrance to the immediate under- 
 standing of the piece is the circumstance that the second voice 
 entry does not wait until the first has ended, but at once forms 
 a stretto (the alto begins at the third measure). Again, accord- 
 ing to school rule, the theme would only extend to the se- 
 cond ^, and the rest be considered counterpoint to the 
 Comes. But this is in contradiction with all the theme 
 entries which follow; also the theme, on which Bach built 
 this long fugue, would be one altogether too insignificant I 
 But the strongest point in our favour is that during the 
 first half of the fugue, characteristic counter-motives do not 
 appear; the entry of the real countersubject marks indeed 
 
19. PRELUDE AND FUGUE IN A. 
 
 125 
 
 the chief point of the second (middle) section of the 
 fugue (le-estabhshment of the principal key); and it renders 
 possible the unusually long spinning out of the fugue. 
 
 The answer of the theme corresponds entirely to the 
 principles recognized as binding in our previous analyses. 
 The Dux remains in the principal key: the Comes has 
 therefore to modulate to the dominant; the Dux at the 
 commencement emphasizes twice the fundamental note of 
 the key, and therefore the Comes must twice emphasize 
 the fifth, but not in the harmony, or even key of the 
 dominant, but in the harmony of the tonic. Hence the 
 enlargement of the first interval (3 ""^ in place of 2 "*^), and 
 the contraction of the third (2 "<^ in place of 3 ""^^ \ the rest 
 is a faithful transposition in the fifth: — 
 
 "* (6) (8) 
 
 The interweaving of Dux and Comes brings about the 
 change of meaning, in the after- section, of the 4*^ measure 
 to that of 2"d (6). The continuation of the first voice is 
 not, as already said, a real countersubject, but it remains 
 in the character of the theme: 
 
 ^J /^ 
 
 (6) 
 
 (8) 
 
 The third voice (under-voice, tenor) only enters when 
 Comes has ended, and with elision of the unaccented beat 
 
 (without up-beat J ). At the conclusion of the theme it 
 springs downwards, and by giving out the Comes, seems 
 to be a fourth voice (bass). An appended measure ®/g 
 (triplet) changes the half-close on ^' into a full- close in 
 A-major, which is, however, frustrated by the re-entry of 
 the Dux in the soprano (as at first). Here ends the 
 
[26 
 
 FIRST PART. 
 
 exposition; this new theme entry belongs to the second 
 development, and also, already, to the second (modulating 
 middle) section of the fugue. An episode of equal length 
 follows (with triplet from the seventh to the eighth 
 measure), modulating from A-maJor to F^- minor. At the 
 close the bass introduces the theme in Ff^- minor (8'^ == 
 P^ measure), with somewhat free ending, viz. an extension 
 (triplet) turning from Ff^- minor to B-minor\ this close is 
 confirmed {ja — 40), but frustrated by a very free theme 
 entry in the bass, which changes ^f\ to ^^ and advances 
 through A-major to E-major, first making a half- close in 
 it, and then, in the repeated after-section, a full-close. 
 Also here there is again a triplet of counts, /. <?. one 
 measure of */§ instead of ^/g. An episode immediately 
 following resumes the triplet formation, continues it through 
 three measures (triplet in place of 'ja — 8 a), and tends towards 
 the principal key. And now we have reached an impor- 
 tant turning point (the heart of the middle section of the 
 fugue). For against the Dux in the bass appears a counter- 
 subject, with running semiquavers, in the alto, introducing 
 quite a new element, though not endangering the unity 
 of effect; the smooth counterpoint nestles, indeed, closely 
 to the theme: 
 
 t =mim^ 
 
 (3) 
 
 I I I 
 
 (4) 
 
 The section opens with two voices (the under one 
 taking Dux, the upper one, the countersubject) ; then, 
 when the middle voice follows with the Comes, the upper 
 voice attempts the countersubject, but gives it up, and 
 all three voices proceed once more in quavers, as in the 
 first section, with a triplet (a ^/g M.) as close. The middle 
 voice once more takes up the theme in the same position. 
 
Ip. PRELUDE AND FUGUE IN A. 127 
 
 not as Comes, but as Dux (in the key of the dominant)-, 
 again at the close there is a triplet, which here leads to 
 a long episode in ^/g measure. This episode is developed 
 from the quaver motive of the theme, and the semiquaver 
 motive of the countersubject, and leads to a theme entry 
 in the under-dominant {I)-major)\ it adheres to ^/g mea- 
 sure, but in form it is very free, and it passes to 
 B-mi7ior (parallel of the under- dominant). In place of 
 the ^/g measure ^/g measure reappears, with elision of the 
 
 Mght beat of the first measure { J. J^ | J^ | ), tending 
 back, at the same time, to the quieter character of the 
 first section; for there can be no doubt that in the 
 structure — kj — dwells great repose: the first accented 
 beat is the starting point, the point of support, the second, 
 the end point, point of rest, /. <?. we have in this forma- 
 tion continued small members, which are easily intelligible, 
 and which produce a calming effect, not one of rushing 
 on, but one of holding back. There are no more entries 
 of the theme, but the motive play of the whole fugue 
 makes it sound as if the theme were continually present 
 (a stretto-eff'ect). 
 
 The modulation passes through A-major (<^f J( = d*) 
 and E-maJor (a+ = a«), to F^- minor (b' = f#iii^), which 
 is established in great detail (7, 7 a, 7 b, 8, 7 a— 8 a). Here- 
 with concludes the widely developed second (modulating 
 middle) section of the fugue, and, indeed without definite 
 return, for after the unisono - close of all three voices on 
 /jj, the middle voice continues with the Dux, as if it had 
 arrived at a: 
 
 ±=51 
 
 i. e. F%- minor changes, without further ado, into A-major, 
 A simple transition from F%- minor (by change of meaning 
 of the close to a new commencement [8a=i]) leads 
 back to A-major\ at the same time the countersubject 
 disappears from the scene, and the three voices move 
 again, after the manner of the first section, in quiet 
 quavers (with crotchets interspersed). After the regular 
 
128 
 
 FIRST PART. 
 
 close of the Dux, the bass follows with the Comes, so 
 that, at the eighth measure comes the dominant (half-close) 
 and a new after-section becomes necessary, which in a 
 broad manner — preparing the final close — changes the 
 half- into a full -close. Again there is a triplet, which 
 rightly — and for the last time — leads to ^/g measure, 
 in which occur three successive close -confirmations. The 
 whole work is rounded off in an imposing manner, and 
 unity of the piece is marked by the reappearance of the 
 countersubject in this Coda (which should be taken in 
 quiet tempo), which faithfully forms a last escort to the 
 theme motives which nowhere constitute a real theme 
 entry. 
 
 I. 20. 
 
 PRELUDE AND FUGUE IN A -MINOR. 
 
 Both pieces in K- minor are, certainly, somewhat 
 colourless, but are not, on that account, of less value 
 than the other numbers of the work. It is not only the 
 key which produces this effect, which indeed does not 
 extend beyond the surface; the rature of the themes 
 (answering most certainly to the general character of the 
 key) is one which would produce no essentially different 
 result if a transposition were effected into h}?- minor, or 
 Qi^-7ninor\ they lack not only rhythmical energy, but 
 harmonic depth or melodic polish. It is a light trifling, 
 a pleasant see-saw movement, rather than a passionate 
 struggle, or trembling terror. This is still more perceptible 
 in the prelude than in the fugue: the theme of the former 
 presses upward, it is true, from the fifth of the key {e) 
 gradually to the octave, not with firm melodic continuity, 
 but rather with an up and down chord movement as 
 though it had no stability — a prey to the lightest 
 breath of air: — 
 
so. PRELUDE AND FUGUE IN A- MINOR 
 Allegro poco mosso. 
 
 129 
 
 The construction is the simplest imaginable. The 
 thematic little period of four measures commences and 
 concludes in A-minor; it is repeated in the after- section, 
 and in the key of the minor upper-dominant {JE-)ninor), a 
 change which has been brought about by the single 
 d^\ but the voices are reversed, and the accented beats 
 (beginnings of the bars) are emphasised by full chords. 
 The fore-section of the second period has the same mo- 
 tives, but falling instead of rising: it passes through ^b 
 (=^iii^ chord of the Doric sixth) — a^ —^a (= /«) 
 — ^' to C-major, in which key it makes a half close, 
 whereupon the after-section introduces the theme in C-major, 
 not rising, however, from the fundamental note to the funda- 
 mental note, but from the third cu its octave. Besides, 
 Bach freshens up interest by another means, viz. the 
 introduction of a third (middle) voice. The leading back 
 which follows is still in three voices {c^*^ [= g^^^] — d'^ — 
 ^d — ^^11 — a"^ — ^^^\ the fourth measure changes 
 meaning and becomes a second, while the new fourth 
 already closes in the principal key to which the after- 
 section now adheres. A three- part coda of two measures 
 on an organ -point turns once more to the under- dominant 
 {D-minor) and concludes with A-7JiaJor instead of A-minor. 
 It should be noticed that the theme in the third period 
 no longer rises, but remains stationary, first on d, then 
 on a. 
 
 The fugue (k 4) is one of the longest in the work, 
 and rich in contrapuntal devices. The theme consists of 
 a shortened (by elision of the first and fifth measures) 
 period (order: — v^ — ). Its relationship to the theme 
 of the prelude is self-evident: like the latter it rises 
 gradually from the fundamental tone of the key, not, 
 however, to the octave, but only to the sixth (/); it then 
 falls suddenly to the leading note, but rises once again 
 to the fifth, and concludes on the fundamental note. It 
 also shows the same aimless suspense, and the same lack 
 
 Riemann, Analysis of Bach's "Wohltemperirtes Clavier". g 
 
I30 
 
 FIRST PART. 
 
 of rhythmical energy, the same harmonic simplicity, and 
 the same lack of melodic charm (that the prelude is so 
 much shorter than the fugue appears to me a merit rather 
 than a fault; I imagine therefore that both originated 
 simultaneously, or, at any rate, that the prelude was 
 written expressly for the fugue). 
 
 Allegro moderato. 
 
 ^^^3^ ^=^ ^?-J^M:^^ 
 
 *l^f-(2): 
 
 — : WIT 
 
 £ 
 
 ^ 
 
 
 ^^'fr^^ 
 
 dim. 
 
 •(8) 
 
 (6) 
 
 As the theme does not modulate, the Comes has to 
 complete the modulation to the key of the dominant, 
 and this is, indeed, at once brought about in the first 
 motive; it begins with the fifth of the key (but with tonic 
 harmony meaning 1), and the rest is a faithful transposition 
 in the fifth. The fugue has no real countersubject, but 
 the diatonic motive which appears in the first counter- 
 point to the Comes plays the ro/e of one: — 
 
 u^i-^l^i-T-^tr ; 
 
 y ^<hr. [; ^-^ ^ 
 
 Much use is made likewise oi a syncopated motive 
 in the first counterpoint: 
 
 pSEi^^^^ii 
 
so. PRELUDE AND FUGUE IN A- MINOR. 
 
 ^V 
 
 but, as stated, there is no real countersubject faithfully 
 accompanying the theme ^ and, indeed, it is not a necessity, 
 for, as in other similar cases, the theme itself becomes 
 counterpoint (in the strettos). The middle portion of the 
 counterpoint is evidently derived from the theme, and, in 
 part, anticipates the stretto-working: 
 
 g^^^^^^^ 
 
 ^ 
 
 (4) 
 
 (6) 
 
 In the first section of the fugue we have the exposi- 
 tion with its four regular voice entries (alto: Dux; so- 
 prano: Comes; bass: Dux; tenor: Comes), which, with 
 exception of one insertion confirming the close before 
 the bass entry, join on directly the one to the other. 
 The great length of the theme is probably the reason of 
 the restriction with regard to episodes. After only one 
 measure confirming the close (^+ instead of ^b), the second 
 development follows the first. This latter already belongs 
 to the modulating middle section, and introduces the 
 theme successively in all the four voices i?i inversion, 
 first from e in the soprano (leading from A-minor to 
 G-major), then from g in the tenor (through C to D-minor\ 
 further in the bass from a through a^^^ to C-major and 
 F-major, and finally in the alto from f, settling once again 
 in A-77iinor. We have now penetrated to the core of the 
 middle section, and a return to the principal key during 
 that section is already familiar to us. The third develop- 
 ment which now follows reproduces the theme in its 
 right form, but in strettos, first in A-minor (Dux) between 
 soprano and tenor, then in E-nwior (Comes) between 
 alto, bass and soprano, and finally in A-minor (Dux) be- 
 tween tenor and alto, all at the distance of 2 crotchets. 
 The somewhat long episode modulating to the parallel 
 key {C-major) is followed by the fourth development, in 
 which there is first of all a stretto between soprano and 
 bass (interval of 2 crotchets, the theme in C-maJor), at 
 the end of which the second half of the theme is carried 
 through all the 4 voices: 
 
 9* 
 
132 
 
 FIRST PART. 
 
 mzn 
 
 8va bassa 
 
 ^ 
 
 ^m 
 
 ^^ 
 
 etc 
 
 then a stretto between alto and tenor (inversion of the 
 theme from a) passing through D-vi'uior back to C-major 
 and one between l^ass and soprano (inversion from d, in 
 G-maJor), a fourth between soprano and alto (inversion 
 from <?), and, finally, one, only half carried through, between 
 bass and tenor (inversion from e in JD-minof). We now 
 arrive at the concluding section (re-establishment of the 
 principal key by emphasising its under-dominant side), in 
 which there is first a stretto of the theme (not in inver- 
 sion) between bass and tenor from d and a (from D-minor 
 to A-minor), then, in soprano and alto, a stretto of the 
 inverted theme from e and a (from A-minor to D-minor), 
 further, in bass and alto, a stretto of the inverted theme 
 from c (through F-7najor to G-minor), then a three-fold 
 stretto (over long holding note g in bass) between tenor 
 (inverted theme from g), alto, (theme [not inverted] 
 from f? on a*^ [D-minor} , not completed) and soprano 
 (theme from e in D-minor), and still a stretto [not in- 
 verted] from a and e in A-minor (alto and soprano; in 
 these there are 2 triplet measures); and finally, over a 
 stationary bass (organ point on a) still a threefold stretto 
 between tenor (inverted theme from a), alto (ditto), and 
 soprano (theme from d) with ^/g instead of ^/g measure. 
 The number of voices in the strettos is increased, by the 
 free addition of filling up notes, to five and six. The 
 work concludes with some free, broad, rnd full measures. 
 
ft. PRELUDE AND FUGUE IN B k 
 
 ^33 
 
 I. 21. 
 
 PRELUDE AND FUGUE IN B>. 
 
 Two fresh, healthy pieces without subtleties or mysti- 
 fications of any kind. If when compared with Cthe key of 
 B flat is more satisfying, fuller than that of F (it is the 
 most distant key on the flat side which can only be 
 explained by fifth relationship), Bach has certainly inten- 
 sified that eflect, and in a marked maimer, by the character 
 of the themes, which he selected for these pieces, The 
 prelude, has something of organ dignity about it: even of 
 the principal motive (commencement): 
 
 Allegro (^) : 
 
 ^iAj^t&Btt^ 
 
 (4) ^ 
 
 r T 
 
 that can be said (the zig-zag movement of the bass part 
 leads one to the conclusion that it was thought out 
 pedaliter)\ but still more do the episodical running pas- 
 sages for one voice appear as if they were borrowed 
 from a Bach organ toccata: 
 
 ^^^ 
 
 etc. 
 
 and the second half of the piece with its full organ effects 
 may be quoted as a similar example: 
 
U4 
 
 FIRST PART. 
 
 Q 
 
 ^^^^^S 
 
 ^l 
 
 i^^ 
 
 m 
 
 P* 
 
 i 
 
 ^f 
 
 In spite of the loose, almost phantastic character of 
 the construction, it is easy to understand (the first section 
 works up to the upper-dominant [F]; the second, with 
 frequent allusion to the under-dominant, firmly reestablishes 
 the key). We give the outline of the melody together 
 with the harmonic scheme: 
 
 P^sfcs: 
 
 t 
 
 u 
 
 u 
 
 ^m 
 
 bb' 
 
 (bl7« 
 
 Oa (6) eb« 
 
 f6) 
 
 bl7+(6a) 
 
 ^^^m 
 
 V (8) bK bt?'' (4) c' 
 
 (»d) 
 
 §^^ 
 
 m^nrr:' 
 
 bb+ f (4) bK f'(4a) 
 
 (C 
 
 (8) <>» 
 
 f) 
 
 
 bb^ g' c+ a' Oa bb« c' (8) f+ bt?« c' (8a) 
 
 (=n 
 
31. PRELUDE AND FUGUE IN B^. 
 
 '35 
 
 ^^ 
 
 • d 
 
 a^ 
 
 ^. 
 
 i 
 
 zrr — j^ 
 
 f-»- J. bb*' (Sb) c' f+ c» f+ bb<» c7 (8d) f+ 
 
 /I 1 1 concluding section. 
 
 i 
 
 7. bl?^- bb^ (2) g^ ,.(4) «g ..(=eb<') 
 
 p 
 
 3 
 
 s 
 
 5 
 
 ?2: 
 
 i^ 
 
 ..(8)bb^-(2)bb^- J. eb« c7 (4) n 
 
 bb-^fix^ 
 
 (8=4) bb' 
 
 V (8) bb^- 
 
 The fugue (a 3) is one of the most pleasing, most 
 unpretending, most harmonious pieces of the Well-tempered 
 Clavier. The climbing character of the voices is quite 
 evident here, and hardnesses requiring special phrasing to 
 make them sound euphonious do not occur. Also, in 
 spite of the wide position of the three voices, the piece 
 presents no technical difficulties, so that it must be 
 reckoned among one of the first to be studied. The theme 
 has a plagal character, /. e. its point of stress is first on 
 the fifth of the key (/), whence it rises to the octave and 
 to its third, first in quiet upward and downward gliding 
 quaver movement, then pressing forward in a more lively- 
 manner in semiquavers, and finally remaining aloft with 
 unbroken semiquaver movement (concluding with a feminine 
 ending), a true garland of flowers: 
 
136 
 
 FIRST FART. 
 
 i 
 
 w 
 
 Andantino un poco Allegretto i \\. 
 
 g= ^ ^~n ^ 
 
 (2) 
 
 2^ 
 
 ^^ 
 
 #-#- 
 
 ^=itz^=S 
 
 ^ 
 
 ^^ 
 
 (4) 
 
 The theme occupies just four measures, and as Bach 
 introduces the same in the voices without intermediate 
 material, the even measure of the piece, justly noticed by 
 Westphal, Spitta, etc. is the natural result (/. e. the sym- 
 metry, almost without disturbance of any kind, of the 
 construction). The answer only differs at the commen- 
 cement from the transposition in the fifth, and, indeed, 
 again for the reason that it has to make the modulation 
 to the key of the dominant, and not to enter with the 
 harmony of the dominant (which can only take place when 
 the Dux has aheady made the modulation): 
 
 P^ 
 
 I 
 
 JEF 
 
 Instead of one countersubject carried right through, 
 we here have two, strictly adhered to throughout the 
 fugue. The first (at the entry of the Comes in the alto) 
 is as follows: — 
 
9t. PRELUDE AND FUGVE IN B^. 
 
 ^37 
 
 m 
 
 ,fe=i? 
 
 P3=^ 
 
 ^^ 
 
 ^ 
 
 *" — • 
 
 (6) 
 
 fc^ -^:a-t-iL-ji- ^-j^Ji ^5= pi 
 
 (8) 
 
 and only in the upbeat at the commencement suffers 
 several changes of small moment. The second counter- 
 subject (at the entry of the Dux in the bass) has a semi- 
 quaver motive to the first half of the theme, and accom- 
 panies its second half with sixths: 
 
 p^dzz 
 
 — # — 
 
 -Tf— 
 
 "i— T 
 
 -i-5-5 rf—- 
 
 -f- 
 
 •r «« 
 
 ^ 
 
 
 W 
 
 -^—^ 
 
 -M=^— S^- 
 
 
 ■7 7 
 
 HH- 
 
 =^ 
 
 _J * ■■. 
 
 # "f j6 ^T 
 
 ^ 
 
 *^" 
 
 t^ — 
 
 
 
 
 ^ 7 * * • 
 
 -« — 
 
 =i^ 
 
 The first development is redundant, for after the bass 
 there is still an entry of the theme in the soprano, and 
 indeed of the Comes (higher than the Dux at the opening, 
 and therefore intensifying the effect). It must really be 
 considered as belonging to the exposition (an apparent 
 fourth voice), for hitherto there has not been a single 
 episode. For the rest, all the episodes are formed by the 
 spinning out of the "climbing" figuration of the second 
 half of the theme; the first, indeed, in its first half, by 
 a rosalia-like shifting of the closing group from F- major 
 to G-miftor, by which modulation to the parallel key is 
 effected; this key is mantained through three episodical 
 measures (soprano pushing on the motive of the second 
 half of the theme; the bass, playing with the inversion of 
 
138 
 
 FIRST PART. 
 
 the first half of the theme) coming to a half close on ^'. 
 The alto now introduces the theme (Dux) in G-minor 
 (parallel key), faithfully supported by the two counter- 
 subjects, which gradually pass through nearly all trans- 
 formations, and then follows the bass with the Comes in 
 C-minor (parallel of the under-dominant). After an episode 
 of five measures (with 8 = i) enters again the alto with the 
 first half of the theme from c (c e]; c g b\^ a\^ etc.), and 
 (having the appearance of a stretto) the soprano with the 
 complete Dux in JS!'? -major, thus the alto can bring in 
 the Comes in that key [e^ g e\? b\^ d c) so as definitely 
 to restore the princijoal key (from E^ , closing in Bv). 
 Three close- confirmations, each of one measure, bring 
 the fugue to an end. In comparison with other fugues, 
 the small space (in all only seven measures) granted to 
 the principal key at the end attracts notice; the first 
 section, which, owing to the double entry of the Comes, 
 modulates twice to the dominant, fills sixteen measures. 
 The modulating middle section fills four and twenty; on 
 its way from the under-dominant of the parallel (C-minor) 
 to the under- dominant (Et?) it touches once, lightly, the 
 principal key; anyhow the tendency towards the under- 
 dominant side, during the whole of the second half of 
 the fugue, is evident. 
 
 I. 2 2. 
 
 PRELUDE AND FUGUE IN Bb-MINOR. 
 
 We now come to two of the most sublime 
 numbers of the work. The deep darkness of the key of 
 Bt?- minor inspired the old master with ideas of holy 
 earnestness, and cast a sacred lustre over his tones, such 
 as is rarely to be met with in his writings. Perhaps in 
 both these pieces one ought to think of church, looking 
 especially on the prelude as a fervent prayer, a tormented 
 and dejected heart beseeching for the loving mercy of 
 the Almighty. 
 
aa. PRELUDE AND FUGtrE IN Bh- MINOR. 
 
 '39 
 
 The many organ -points (nearly the whole piece is 
 studded with them) hold the melody, as it were, with 
 invisible bands, and the rising thirds of the principal 
 motive with the repetition of note which follows, together 
 with the feminine ending so full of expression, appear like 
 a "heartfelt request, like raised-beseeching hands: 
 
 Larghetto. 
 
 %m^^^^^mf'^ 
 
 ^ 
 
 r r T 
 
 U LI 
 
 The whole piece is evolved in an astonishing and 
 masterly manner from the two motives, 
 
 and . <^ 
 
 # ^ ^^ 
 
 the second of which always preserves its direction (falling 
 suspension-resolution), whereas the first is worked out both 
 in rising and falling form, also occasionally combined 
 with its inversion. In the matter of expression this episode 
 is of touching na'ivetd: 
 
 ^ 
 
 ^ 
 
 JJ 
 
 -^ 
 
 w^^ 
 
14^ 
 
 FIRST PAKT- 
 
 We giVe the harmonic analysis with only figuresr 
 
 Of 
 V 
 
 VI VII I II III » ' 
 
 vni IX ^ IV V •> fr 
 
 . bi^ •• I f " ^ 
 
 ^- V ^ 
 
 (2) 
 
 (4) 
 
 n in 
 
 vn> VIII ^^ 
 
 f •• fviitj b>vii .. 
 
 f Of ^[7 VII 
 
 (8-4) 
 
 V . 
 
 I .. Of VI (= 
 
 (8) V V 
 
 (2) 
 
 it?' a>- 
 
 VI VII 
 
 «0c VI VIIH fVII c' I C' ^'C .. f 
 
 (4) 
 
 fvn c' 
 
 2> 
 
 (8) 
 
 ;' Oc fVII C' 
 
 (8a) 
 
 ni< 
 
 ,.(=et?vii)bb' ob|7.^(=gb')at?' d|?-»- .. g>« .. (=b|?vi) 
 (2) (4) 
 
 b^vn f .. bi?' I obt? X" F^ •f ^l^^^ •• f' •• 'f 
 (8.6) (6a) (8) 
 
 bt^vn 
 
 (4) 
 
 f 
 
 VI -« VII |] 
 f VIII IX < 
 
 c' f-»- 
 
 (4) 
 
ta. PRELUDE AND FUGUE IN B^- MINOR. 
 
 41 
 
 IV V VI VII 
 
 fVI^ Vn Of b I;? VIII IX-? .. 
 
 V «f bb^u f* 
 
 IV 
 
 (6) 
 
 bt7 
 
 t ob{7 yn I bt^^ 
 
 The fugue (^ 5) bears the same earnest stamp, but 
 treats measure and metre with greater freedom almost 
 than any other piece in the "Well -tempered Clavier" 
 (and that is saying much). In my edition of the work 
 1 have attempted fully to expound the metrical con- 
 tents; and this has resulted in a frequent change from 
 */o and '^/g to -'/i measure, which last finally prevails. 
 As in the C-uiinor fugue (I. 2.) ^/o measure appears twice 
 in episode; -^/j measure arises through enrichment of the 
 theme. If we consider as beyond dispute the fact that the 
 situation of a theme in a bar (its metrical nature) con- 
 stitutes a special element of its essence, it follows that 
 an intelligent interpreter will always seek for, and find 
 its points of stress in the same place; this is especially 
 true in the fugue under notice, of the first minim of 
 the theme, which, without doubt, bears the stronger 
 accent; and indeed in Bach's notation, with exception 
 of two streltos, it always appears at the beginning 
 of the measure in C-time, strictly maintained throughout. 
 But also for certain close-formations, which signify special 
 points of rest of the tone movement, we demand absolute 
 definite metrical relationship (point of stress of an accented 
 measure [4., 8]). Occasional effects resulting from con- 
 flicting demands must be thoroughly grasped if one wishes 
 to have firm points of support in interpreting the piece. 
 
 The theme descends solemnly from the tonic to the 
 dominant, then leaps upward as far as the upper sixth of 
 the tonic, only to fall down from it to the third, and 
 afterwards rise from the second to the fifth: 
 
 Andante sostenuto. 
 
142 
 
 FIRST PART. 
 
 Still one may be in doubt, as to whether the appended 
 
 (5) rising crotchet motive does not already belong to the 
 \j 
 
 countersubject, since the alto enters with the Comes under 
 the ^b (4'^ measure). As the Dux remains in the prin- 
 cipal key, the Comes must modulate from it (and indeed 
 from the harmony of the tonic) to the key of the dominant. 
 Therefore b\^ — / is answered not by f^c, but by f—bV^ 
 whereas the rest is a decided answer in the fifth: 
 
 ^ 
 
 ^ 
 
 ^S 
 
 (6) 
 
 (8) 
 
 (9) 
 
 This first answer includes, as we see, also the ap- 
 pended motive (5, 9); but already in the next entry (Dux 
 
 in the tenor) we have in its place only a feminine ending, 
 and, indeed, a further sinking from the third, to the funda- 
 mental note of the key; 
 
 fe^.^ 
 
 ^^ 
 
 ;& 
 
 and the fourth and fifth entries (i^t and 2"<* bass with 
 Comes and Dux) evidently extend the measure to ^/^ as 
 they do not, like the first and second, keep the falling 
 and rising crotchet motive within the same harmony, but 
 change the harmony twice (tonic — dominant — tonic, like- 
 wise under- dominant (chord of the Doric sixth) — upper- 
 dominant — tonic): 
 
 I St bass 
 
 IJ^l 
 
 £l^EE=#=^ 
 
 .h^,U- 
 
 ^i^=H^ 
 
 ^m^ 
 
 Of 
 
 V 
 
 (i) 
 
aa. PRELUDE AND FUGUE IN D^- MINOR. 
 
 43 
 
 aSi 
 
 :te 
 
 r 
 
 ^^^^^^ 
 
 bt^ 
 
 VII \ 
 
 (=e[7"I-'/ 
 
 (8) obb 
 
 By repeating the two crotchet motives (one degree 
 lower) there arises one single ^/g measure which modulates 
 to Dp-major-^ the close-confirmation leading to the second 
 development consists of a ^/^ and of a ^j^ measure. 
 
 The first voice entry (soprano) of the second devel- 
 opment, which, at the same time, forms the second (modul- 
 ating section) of the fugue, certainly introduces again the 
 appended motive and thus keeps firmly to ^/g measure, 
 but it cannot well be defined either as Dux or Comes, 
 for at the opening it has the fourth -progression of the 
 Dux, but also the tenth of the Comes (it modulates from 
 D^ -major to E^-7ninor')'. 
 
 ;i§ 
 
 fc^ 
 
 ^=t 
 
 r— I — r 
 
 t=t: 
 
 ^ 
 
 d{?^ 
 
 (bb') 
 
 (4) «b|? 
 
 (5) .. 
 
 The alto follows with the Comes in E\f -minor, with 
 total suppression of the continuation of the theme beyond 
 the 4^^ measure: 
 
 11--=:^ 
 
 -.-ziti 
 
 The three other theme entries (i ^^ bass from B^ -minor 
 to E\? -minor, 2"^ bass from E\? -minor to A^-fninor, tenor 
 from A\^ -major to D\f-7?iajor) are again in ^/^ measure, 
 /. e. they have the extended and enriched form of the 
 theme as in the 4'^ and 5'^ voice entries of the first 
 development (between the last two there occur? one single 
 measure of */2). 
 
f44 
 
 FIRS7 PART. 
 
 The third (concluding) section, after an episode in 
 •^/g measure formed from the first episode and leading back 
 to the principal key, opens with a somewhat delayed entry 
 of the Comes in the tenor: 
 
 ^=r 
 
 ^=vr=^ 
 
 r 
 
 (4) 
 
 At the close (4*^ measure), the second bass enters 
 likewise with the Comes: 
 
 Pg 
 
 e^p^ 
 
 3=* 
 
 ^ 
 
 Z5t 
 
 if^ 
 
 (4=6) 
 
 (8) 
 
 and now (at the 8'^ measure changed to meaning of 2"**) 
 begin the strettos, first between soprano and alto at the 
 distance of a minim: 
 
 ^ 
 
 i 4 
 
 A 
 
 J2P=- 
 
 (4) 
 
 and here it must be remarked, that in the case of such 
 close strettos (one count) the imitation can be only a 
 general one, for of necessity the metrical nature of the 
 'iheme in the voice, which turns all the accented beats of 
 the theme into unaccented ones, becomes completely 
 disturbed. Next follows the tenor with the theme in its 
 piimitive form (with appended motive), yet at the opening 
 ran be defined neither as Dux nor Comes: 
 
 m^ 
 
 ^ 
 
 g J 
 
 ^ 
 
 jj 
 
 (8) 
 
22. PRELUDE AND FUGUE IN B\- MINOR. 
 
 145 
 
 again a proof (of which especially in this fugue there are 
 many) that the difference between Dux and Comes is 
 only the occasional result of the modulatory considerations 
 of the exposition, but not the special aim of fugue com- 
 position (not Dux and Comes, but theme and counter- 
 subject [or countersubjects] are the chief elements of 
 fugue). Quite extraordinary is the simultaneous stretto of 
 the theme in two voices (alto and tenor) and in ^/^ measure 
 which now follows: 
 
 An extended, and wonderfully fine episode brings us at 
 the fourth measure (reckoning the <s^ as beats, real ^/^ 
 measure), first to a deceptive cadence in B\?-minor {/^^^ ^ ) 
 which, by an inserted measure (4^), is changed into a half 
 close on f^\ while the after-section — which skips the 
 fifth measure, and only gives a small up-beat to the sixth, 
 so that a ^/^ measure comes between — begins with a 
 stretto, which probably has not its equal, of all five voices 
 at the distance of a minim: 
 
 Tenor. 
 
 iUl 
 
 Riemann, Analysis of Bach's '•Wohltemperirtes Clavier' 
 
146 
 
 FIRST PART. 
 
 I^^s: 
 
 -^% 
 
 1 J iiA i 
 
 ^^^=^=f =r= ^^ 
 
 -^ 
 
 
 and then comes to a free conclusion. 
 
 We can only briefly allude to the countersubject, 
 which indeed (as the theme is treated in a thoroughly 
 free manner, and, quite contrary to Bach's usual custom, 
 is harmonized in a variety of ways), is not consistently 
 carried out, yet acquires great importance, especially in 
 the episodes, (above all in the two in ^\^ measure). Since, 
 as already mentioned, the motive appended to the theme 
 stretches on into the second voice entry, the contents 
 of the countersubject really consist of only one single 
 motive, namely the syncopated one (together with its in- 
 version) : 
 
 but this is already extended in the first episode (s/, 
 measure): 
 
 gfe^^^^=E 
 
 -^-^=^- 
 
 f—T—r-r-^f-^-Tr-\- 
 
 t=k=5^tzd 
 
 rtj= 
 
 in which form it is kept until the third voice entry (still 
 further enriched): 
 
aj. rn ELUDE AND FUGUE IN B. jj- 
 
 
 
 If all these three forms be considered identical, the 
 coimtersubject may be traced pretty well throughout the 
 
 whole fugue. 
 
 I. 23. 
 
 PRELUDE AND FUGUE IN B. 
 
 A glance at the pieces in Cjj-, F'^- and B-maJor, (I, 3, 
 I, 13, I, 23) shows that they are related to one another in a 
 remarkably intimate manner; and on closer examination 
 one is forced to the conclusion that this does not arise 
 so much from the relationship of the three keys as from 
 the relationship of the ideas prompted by the keys. All 
 keys in proportion as they differ from the fundamental 
 scales {C-major a.nd A-minor) become more and more trans- 
 cendental, more removed from plain every day life, and 
 enter an ideal sphere of existence and feehng. Though 
 we have already felt compelled to define the mood of 
 the preludes in C^ and F^, in the sense of a contem- 
 plation of nature resulting in enjoyment, still there is no 
 contradiction here; it is just in beholding nature that an 
 intelligent man renounces egoism in the fullest sense of 
 the word and acquires the feeling of universal existence. 
 Keys with flats, as opposed to those with sharps, are sub- 
 jective, introspective — and so is minor, as opposed to 
 major. Hence minor keys with many flats are the most 
 reserved and, so to speak, the most philosophical (F-minor, 
 B^ -minor ^ Ev-mi?ior)\ major keys with many sharps, on 
 
148 
 
 FIRST PART. 
 
 the other hand, overflow with all-embracing love; they reveal 
 the happiness of a soul gazing with rapture on the har- 
 mony of the world. Down to the most insignificant 
 semi-quaver there is nothing more fervent, more genuine 
 in feeling, more saturated with melody than this short 
 prelude in B. But the figuration must be minutely ar- 
 ticulated, and justice rendered to every note; if the 
 feminine endings are overlooked, especially those which 
 at the point of stress introduce a (2^) rest, the piece can 
 easily be ruined. With what feeling of repose do the 
 opening bars already fill the soull 
 
 Andante espressivo. 
 
 a=F#=M^i^^ 
 
 mp 
 
 **E 
 
 ^^^^i^ 
 
 SI* 
 
 and again, how nobly does the expression rise in inten- 
 sity up to the last closing measures in which the three 
 voices are increased to four — and even five. 
 
aj. PRELUDE AND FUGUE IN B. 
 
 149 
 
 ^ 
 
 £fflji^ 
 
 ■^=^ 
 
 rr^f^TW 
 
 *j . 
 
 mi 
 
 33p 
 
 J 
 
 ■* — • — a # ff — 3 — #hC 
 
 (6) 
 
 i 
 
 ay 
 
 !^ 
 
 HIT? 
 
 The piece consists of 4 periods of 8 measures, of 
 which the first, third and fourth have, at the close, the 
 triplet formation to be seen above at the syncopated 
 cadence. The first really concludes in the principal key, 
 but a close-confirmation turns to that of the dominant 
 (F^, in which the second enters on the final note (8a=i); 
 this second period is similar to the first, repeats measures 
 3 — 4 in intensified form, and concludes in the parallel key 
 \G\- minor). The third presents at first a somewhat lighter 
 appearance (as if it were an episode), but, with a repetition 
 of measures 3 — 4, returns to the serious mood (under-do- 
 minant, E)y changes the meaning of measure \a \.o that 
 of 6, and concludes with a triplet measure in the principal 
 key. The concluding period enters before the third has 
 ended, by changing the meaning of measure 8 to 2; it 
 turns in the fourth measure to the key of the under* 
 
15° 
 
 FIR 5 7 PART. 
 
 dominant {E), which however becomes itself quickly trans- 
 formed to that of second upper-dominant {e^* = c^'^ " in 
 3«— 4<z) and concludes, without further allusion to the 
 under-dominant, with triplet measure for 6 — 8: 
 
 P 
 
 ^^^. 
 
 h-' fj(' b+ e« fjj' (4) b+ cj:|' fj|+ 
 8 
 
 f ) g J 
 
 ^n=fe 
 
 ^=^=t=p=^ 
 
 ►• cj}7 f{j7 (8^0 b->- 6 c}}' fj(+b« cj*'/8 \ 
 
 B^^ 
 
 f#^- b" f#^ b« g|vil (4) djf' •dj{ gjvii d|' 
 
 M 
 
 r-i: 
 
 f=fc: 
 
 lE^fel^^? 
 
 'dfl gf 
 
 vu 
 
 d>^ (8)0dj{ .. (b«) c{|' 
 
 ip^^r^^^ fB^^^r-l ^ 
 
 Ocij (a«) b' (4) e^ fg^ b' (4a^6) e« 
 
aj. PRELUDE AND FUGUE IN B. 
 
 15^ 
 
 iSi 
 
 i^^ 
 
 t^^. 
 
 P- 
 
 f7 b+ e«fjj7 (S.-2) b7 e+ a« b^ (4) e- cj(o- (4a) 
 
 a 
 
 Mg ::^=FF^= l^^ ^ 
 
 fjj' b- fjf' b+ f{f' b fji' b+ fjj' (8) b^- 
 
 The fugue (k 4) certainly makes use of the device 
 of inversion of the theme, but is, nevertheless, one of the 
 more simple and easily understood numbers. The similarity 
 of the themes of both fugue and prelude shows that they 
 were not joined together by chance, or in a supplemen- 
 tary manner, but were planned the one for the other; 
 the fugue, however, is of less value, and a little more 
 conventional than the prelude. The theme, extending 
 from under to upper fourth, moves in plagal position 
 around the fundamental note of the key: 
 
 Non Allegro. 
 
 ^^m 
 
 ^mu 
 
 -!«=- 
 
 (4) 
 
 In the answer the departure from the usual rule is by 
 no means self-evident; the custom which, indeed. Bach as a 
 rule follows, requires, since the theme begins and ends 
 with the tonic, the Comes to modulate to the dominant 
 from the harmony of the tonic (with /{(, the first note, 
 as 5 in (^''■);Bach might then have written (in combination 
 with the first counterpoint): 
 
 ^^mmm 
 
 -T «^«j) 
 
 rs^ 
 
 etc. 
 
152 
 
 FIRST PART. 
 
 and this Comes and its counterpoint would have presented 
 no difficulties even for the fourth entry; thus the suppo- 
 sition that Bach restrained from this most regular form 
 on account of the continuation, is excluded. Jadassohn's 
 supposition, that Bach was concerned about keeping the 
 step of the fifth with which the second motive joins on 
 to the first {c^ — ^/j(, f^ — b), can with difficulty be main- 
 tained, and still less that Bach was especially anxious 
 about answering the fifth (fifth note of the theme) with the 
 octave {p)\ it was assuredly rather the harmonic progression 
 from the first to the second measure, which prompted Bach 
 to follow a diff'erent path: 
 
 Dux 
 
 Comes. 
 
 =t5i * 
 
 (b+) 
 
 ff- 
 
 (b+) 
 
 b+ 
 
 ffl- 
 
 The answer, appearing in normal form, as given on the 
 last page, has a change of harmony in one place which 
 is not in the corresponding part of the theme 
 
 m 
 
 NB. 
 
 f^ 
 
 This difference would be much stronger than the 
 trifling one in Bach's real Comes, namely of keeping the 
 up-beat and first point of stress in one harmony, while the 
 3 up-beat quavers of the Dux before the dominant of the 
 first point of stress (cj^) estabhsh a tonic. Bach's answer 
 is therefore on the whole more faithful, and this in spite 
 of some small departures from rule: 
 
 ^ttf 
 
 ^ 
 
arj. PRELUDE AND FUGUE IN B. 
 
 153 
 
 ^ 
 
 ^e 
 
 fr 
 
 ^ SS 
 
 NB. 
 
 LLJ 
 
 ^ 
 
 cr 
 
 The ^ t!, towards the end of the countersubject, which 
 leads the modulation back to the principal key, enables 
 the third entry of the theme to take place without episode. 
 Thus the 4 voices (alto, tenor, soprano, bass) follow one 
 another in immediate succession, and the first working out 
 exactly fills the space of 2 8-measure periods and con- 
 cludes in the key of the dominant. An episode of 4 mea- 
 sures, formed from motives of the theme and of the 
 countersubject, leads back to the principal key, yet with 
 a prolonged close (4a) to the under-dominant {e)\ but only 
 to enable the tenor to take up the theme once again in 
 B. After a free imitation of the first episode (in G^-mmor 
 and Fjj), and of its prolonged close, which this time 
 leads back to the principal key, the alto introduces the 
 theme in Fj: it is faithfully transposed in the 5*^, and 
 can therefore be taken either as Dux or Comes. At this point 
 an incomplete second working-out comes to an end, 
 which, according to previous experience, must be reckoned 
 as belonging to the exposition section of the fugue. But 
 now, something, extremely rare occurs: the expected mo- 
 dulating middle section is entirely omitted 1 By way of sub- 
 stitute the master indeed offers us two unlaboured inversions 
 of the theme, and faithfully distinguished the one from 
 the other as Dux and Comes: 
 
 Dux (soprano) 
 
^CA FIRST FART. 
 
 the latter forming a stretto with Dux in original form in 
 the bass. 
 
 This third working out — of special interest in that 
 it acts as middle section, but, as stated, altogether lacks 
 modulation — concludes with the theme in the tenor, and 
 indeed this theme entry commences in E (key of the under- 
 dominant) and ends in C\-i}iinor (parallel of the under- 
 dominant), thus making, finally, at least one more small di- 
 gression, which, however one is accustomed to meet with 
 near the close. After an episode of 6 measures (through 
 F^-minor [= a^] and E-major to B-major) there follows now 
 in fact the concluding section, consisting of a theme entry 
 in the alto (Dux) and one in the soprano (Comes), and of 
 a two -measure close confirmation. In most of the theme 
 entries in similar motion the countersubject is, as a rule, 
 retained (occasionally divided between two voices). But 
 even with the inversions its characteristic feature, the 
 trailing scale passage, is to be found again in the counter- 
 point. 
 
 I. 24. 
 
 PRELUDE AND FUGUE IN B- MINOR. 
 
 In order that the earnest character of the concluding 
 number of the first book might not be exposed to mis- 
 conception, Bach himself indicated the tempo of both 
 pieces : Andante for the prelude, and Largo for the fugue. 
 The moving bass might, otherwise, tempt this or that 
 player, to give an Allegro rendering of the prelude-, 
 and the exceptional length of the fugue exposes it to a 
 similar danger, especially in the hands of the average player, 
 who in slow performance might not perhaps succeed in 
 euphonizing the difficulties of the work. It is to be hoped 
 that the indications of phrasing and the present analysis 
 will assist in securing honourable admiration for the work, 
 and in silencing, once for all, blasphemies such as those 
 uttered respecting it by van Bruyck. 
 
 The theme of the prelude, in the unvarnished manner 
 in which it is presented in the first section of the same (up 
 to the repeat), shows a strong relationship to the Andante- 
 middle-section of the E-JIat prelude (I. 7). Compare 
 
S4- PRELUDE AND FUGUE IN B- MINOR. 
 
 155 
 
 1^ I 
 
 S 
 
 JV — ^ I I 
 
 i^i^^ 
 
 -f f 
 
 with 
 
 i^a^ ^ 
 
 But the same motives are also worked out in the second 
 section, only in its first half they appear in diminution: 
 
 
 x^^^ 
 
 and in its second, somewhat extended 
 
 
 The sharply syncopated motive of the close also 
 shows identity therewith 
 
156 
 
 FIRST PART. 
 
 But how different the effect of the fourth-progressions 
 here in the yearning key of B-minor as compared with that in 
 the clear and firm key of .£17-;;/ (7/'^r. Like raised beseeching 
 hands they stretch the one over the other, while the bass, 
 wandering quietly on, seems to represent inevitable fate, 
 the even march of time. This mood explains why Bach 
 almost intentionally avoids plain closes, for at a perfect 
 cadence, by means of a feminine ending, he crosses over 
 to a new order of progression, or follows the full close, 
 by way of counterpart, with a half close (4^), or else 
 avoids the tonic on the strongest beat. With exception 
 of these insertions and changes of meaning, the metrical 
 construction of the first part is indeed simple, and only 
 at the end shows a measure of triplets; the second part, on 
 the other hand, effects, for a long time, the elision of the 
 first (unaccented) measure of each half period (i, 5), then 
 introduces — evidently with transition to Allabreve-cha- 
 racter — two great triplets [c^c^cS), and only again 
 becomes simple towards the end. 
 
 Andante. 
 
 ^ 
 
 J=,=3!^ 
 
 ( 4) Of}) *c{( bVU f J(' (4) ofJt bVU (4a) 
 
 n^''(whole-close) (half-close) 
 
 %^ 
 
 5 
 
 r=IiT=J: 
 
 3S 
 
 ^It'll "fit 
 
 (4) 
 bVU a» d^- g« 
 
 (=0") 
 
 [V] , ^ 
 
 % 
 
 ^ 
 
 a7 d+ g' a' (8^1) d 
 
 a' g«("bvn)(4) 
 
i4- PRELUDE AND FUGUE IN B-MINOR. 
 
 157 
 
 W^' 
 
 t 
 
 ^1^ 
 
 * 
 
 ^ 
 
 (8arJ) 
 .fj((VII) .cjt c#' fjfVU (8) c#' «c# cjj' 
 
 (half-close) (whole-close) 
 
 i 
 
 ;g^-fzJr^^Efe^ 
 
 fe 
 
 ►cjf d^- a' g«(=bVII) (4) OfJ ^, fjj7 
 
 3 
 
 ly^ 
 
 EE3 
 
 
 «fj( bvii f 
 
 VII ^ 
 
 (8) OfJ( bVII(8a) fj(' 
 (whole-close) (half-close) 
 
 n middle section ^ . 
 
 fa 
 
 * 
 
 - U 
 
 #|li=i: 
 
 ^^ 
 
 Ocjf b7 (4) Ob b? (6) «b a7 (8) 
 
 (VII \ (5 th wanting) (=g*) (ist wanting) 
 
 -^111-; 
 
 ■^=-1 
 
 -&^ 
 
 i- 
 
 ^ 
 
 i 
 
 jiU- 
 
 d+ a^ (2) d+ 
 
 (=Ocj}) 
 
 fjfVII (4)c#» Of{j2> (4a) 
 
 (emphatic (sth wanting) 
 repetition) 
 
■58 
 
 FIRST PART. 
 
 ^^J^^r^r^n:^^ 
 
 -<g TJ- 
 
 cjf' «c}j (6) fjjvii cj(' (8) «c}i . . (2) fjivii oejf (4) 
 
 (ist wanting) (5 th wanting) 
 
 fjfvil (6) cjf'OeJf fj|viic|;r 7 (8) Oc# 
 
 III section with gradual increase of movement, leading 
 to Allabreve. 
 
 t:!i: 
 
 -^-idr 
 
 zi^f JTjr-1 ± 
 
 J -J^ 
 
 (cj{i>) b' 
 
 Ob eVII b6^ I (4) % (bl^=) 
 
 a9> 
 
 js: — r^ 
 
 S 
 
 ^^^^^Ei^^ 
 
 \ 1 
 
 r^r f 
 
 dvii a5 7_ (8) (i«(=»r;;) (2) 
 
 »|i^^ 
 
 ^l^i 
 
 (bVIT \ 
 III< I 
 III< / 
 
 I 'tt 'fit -' 
 
 .VII 
 
 d^ g« (4) 
 
 (=bvii) 
 
94. PRELUDE AND FUGUE IN B- MINOR. 
 
 J 5^ 
 
 ^^J. 
 
 1^1^ 
 
 t=^ 
 
 
 tfr- 
 
 fjf»^ ^fjf bvii III- cjjvi fjf7 ofjj ((5) bvn 
 (ij 
 
 i 
 
 i _ r ? I r— T^ 
 
 -<«?— 
 
 ?Ea 
 
 f#' ofji bvii fjf' ofij bvn (8) fjf' 
 
 allargando. 
 
 ^^ 
 
 ^ #- 
 
 ^^ 
 
 vn> 
 
 (6) 
 
 
 ^ 
 
 (6b) 
 
 $B 
 
 £ 
 
 1 
 
 (8) (8a) 
 
 bvii fjj6> fjf' b' Ob b' «b yn fjj' b-t- 
 
 Here the figuration of the long extended ^^^ displays 
 boldnesses and hardnesses, greater than anything to be mef. 
 with in the immediately following fugue. The passage^ 
 indeed, can be only understood, if the crossing over (leap 
 from the changing note) be taken as ornament motive: 
 
 in place of 
 
 ^& 
 
i6o 
 
 FIRST PART. 
 
 As the whole passage will permit the change to this 
 simple, more easily inteUigible kind of ornament, let me 
 venture to take it as illustration, leaving out, at the same 
 time, the passing notes in the bass which add to the 
 difficulty 
 
 m. 
 
 -rti^ 
 
 ^^1^ 
 
 :^l^ 
 
 
 ^^=v=tr- 
 
 8^ 
 
 
 m 
 
 m 
 
 M=^ 
 
 ^~i^ — tg=^ 
 
 e 
 
 NB. Ob2> 
 
 
 fe(g)^^ 
 
 The last measure but one (NB) with the leap from the 
 second upper-dominant (^J(®^) to the chord of the Nea- 
 politan sixth (0^2 >■) ig still more striking. The passing 
 note /)( in the bass makes it much more difficult to 
 understand the harmony; the quickest way of getting at 
 the meaning is to put the simple under-dominant instead 
 of the second upper-dominant; and write c^ instead of c, 
 for example: 
 
 r f f f !r 
 
34- PRELUDE AND FUGUE IN B- MINOR. j5j 
 
 Then does one become fully conscious of the double 
 vir 
 chromatic character {c^^^^ = b'^^^, c-^ =0/j2>^ ^nd likewise 
 
 \< 
 d^^), and grasp the leap from the raised to the natural 
 
 ( ^^ y j, and from the natural (^^^) to the lowered 
 
 notes (vii>). 
 
 The fugue (^4), considering the slow temJ>o,is probably 
 the longest of the whole work. Spitta (Bach I. p. 782^ English 
 edition Vol. 2. p. 176) says of the theme that it "proceeds 
 slowly, sighing, saddened and pain-stricken", and finds in 
 the whole fugue "the expression of suffering so intensified 
 as to be almost unendurable", but bids one beware "of 
 regarding the piercing bitterness of its effect as a mere 
 result of a contrapuntal skill". He adds: — "From this 
 point of view indeed it is in no way remarkable and even 
 if it were. Bach has proved again and again that he could 
 preserve a sweet and pleasmg character even with the 
 greatest intricacy of construction. No, it was his purpose 
 to produce a picture of human misery, to give it full ut- 
 terance here, in his favorite key, and at the close of this 
 glorious work in which all his deepest sympathies with 
 human feeling had found expression. For to live is to 
 suffer." I cannot imagine that Bach "wished to produce 
 a picture of human misery"; such a conception, besides, 
 does not come within the limits of my other considerations. 
 I may however say that the key of B- minor, the same 
 in which Bach wrote his "Hohe Messe" and many other 
 works of the highest importance, threw him into a state 
 of inspired absorption so that he opened up his inmost 
 soul, and told us of his griefs. But it is no ordinary grief, 
 no feeble groaning and sighing, but a Faust-hke search 
 after truth, a true soul-struggle which reveals itself within 
 these bold harmonic enclosures. The supposed uglinesses 
 and intolerable hardnesses disappear entirely from the 
 theme, and indeed from the whole fugue, as soon as one 
 has gained a clear conception of the harmonies and of the 
 metrical structure. 
 
 The theme — in which the upward - stretching steps 
 of the prelude return in extended form, as more heart- 
 felt, expressive movements — sinks first from the fifth of 
 the key (/J) to the third, in order next to soar upwards 
 from the fundamental note to the sixth {£), and further, 
 
 Riemann, Analysis of Bach's "Wohltemperirtes Clavier". II 
 
l62 
 
 FIRST PART. 
 
 from the fifth (/S) to the major seventh (with appoggia- 
 tura: b fz}!), but from liere it sinks back to the third (with 
 appoggiatura: e, d^\ the third is already raised, in the 
 new intensified aspiration beyond the octave, first to the 
 augmented octave (leading note of the dominant of the 
 key of the dominant) whence it sinks back to the third 
 of the second dominant, in order, finally, to seize as con- 
 queror the octave [d — <rj}), and from thence to ghde 
 quietly down to the fundamental note of the key of the 
 dominant: 
 
 tr 
 
 ^jpja^t g^g^ 
 
 jl/V 
 
 ■■V • 
 
 (6) «cj; 
 
 fiiVIl cjj7 (8) ocjl 
 
 Let the following representation serve to make clear 
 the harmonic succession 
 
 g#%p 
 
 (C) 
 
 ra 
 
 —1=^=^- 
 
 -.-irzLT- 
 
 t ft > t'V ^ 
 
 T T \ I (8) I 
 
24. PRELUDE AND FUGUE IN B- MINOR. 
 
 163 
 
 This exposition corresponds to the mode of writing 
 in my edition; the c written by Bach in the third measure 
 motive, is, however, inteUigible as such, if it be taken as 
 ninth m. b'^ — and then the third motive will sink back 
 to .the under-dominant i^ b)\ but the raising of the ^ to ^ jf, 
 and of the g \o g^ turns the under- dominant into the 
 second upper-dominant: — 
 
 This exposition is all the happier in that it sets aside 
 the uncomfortably anticipated b before the fourth measure 
 (7^^ oi c^ '). Perhaps, therefore, it would be better in this 
 case to restore Bach's original mode of writing {c instead 
 of b^, and, further on,/ instead oi e^ etc.). Anyhow either 
 method if carried out with full consciousness, and pro- 
 perly expressed in performance, eliminates from the theme 
 every unpleasantly sounding note. Besides it is of impor- 
 tance (and of this there is not sufficient hint in my edition), 
 that the major thirds which, in place of the expected mi- 
 nor harmonies appearing as resolutions of appoggiaturas 
 
 ^^S^^i=^= 
 
 instead of *^fjt instead of ®b 
 
 should be somewhat emphasized, as they are not plain 
 end notes, but rather substitutes for end notes, notes which 
 lead onward, which induce modulation. 
 
 As the theme in its second half bears the stamp of 
 the key of the dominant, the answer must return from the 
 same to the principal key, which, as is known, is effected 
 by turning to the under-dominant side, i. e. by an answer 
 at the interval of a fourth. 
 
 This mode of answer enters, in fact, from the fifth 
 note, and is carried out strictly to the end. The answer- 
 
164 
 
 FIRST PART. 
 
 ing of the f^ at the commencement by b was, indeed, not 
 absolutely necessary, and must probably be explained by 
 the old household rules of fugal response, and by the 
 habit of commencing the Comes with the fundamental 
 tone when the Dux has commenced with the fifth (but 
 which is only strictly logical when the Dux remains in 
 the principal key, and the Comes by answering in the 
 fifth would, against the rule, fall at once into the key of 
 the dominant). If Bach's theme were only 
 
 ^^ 
 
 -^ 
 
 the answer would have to be 
 
 ^^ 
 
 The great extent of the theme and its firm modulation 
 frees it altogether from this mode of answering, as it fails 
 in its special aim, viz that of marking the principal key 
 at the beginning. The harmonic meaning of the Comes, 
 as already clearly established by the i^^ countersubject, 
 is as follows: 
 
 a b 
 
 
 ^-CJ 
 
 oejt 
 
 (2) - 
 
 iS 
 
 b' blii^ e 
 d 
 
 
 ^-i^S: 
 
 (6) 
 
 a".. (=fr)''fs 
 
 ^l 
 
 A 
 
 VII 
 
 fS' »fS 
 
S4- PRELUDE AND FUGUE IN B- MINOR. 
 
 ■65 
 
 This first countersubject plays an important, and 
 almost uninterrupted role throughout the whole fugue, 
 though not unchanged throughout its whole extent; and, 
 besides, its three chief motives a, b and c are frequently 
 divided among several voices. The motive a and the as- 
 cending passage in b appear, already in the next theme 
 entiy, in inversion; 
 
 .^' 
 
 :^%EF=M=^: 
 
 ^^ 
 
 and indeed in the same voice (alto) in which the first theme 
 entry and the first counterpoint were introduced; on the 
 other hand the second voice (tenor) gives the remainder 
 of the countersubject faithfully in direct motion. This 
 division of the countersubject between two voices takes 
 place again at the entry of the fourth voice between tenor 
 and bass. The concluding motive {d) of the countersub- 
 ject, which was already taken up in the short episode 
 inserted between the 2"^ and 3"^^ theme entries, is subjec- 
 ted to specially rich treatment. Here is the episode 
 
 End of the 
 countersubject - - - - • 
 
 ^ 
 
 E--^ 
 
 ^^t^=f 
 
 jas 
 
 End of the Comes - 
 
 ^ 
 
 The appended syncopated figure which alternates 
 between the two voices, may be regarded as the germ of 
 the long episode which occurs later on 
 
i66 
 
 FIRST PART. 
 
 ij-i: 
 
 & 
 
 i^ 
 
 E^=i 
 
 W 
 
 5=^ 
 
 <l^ 
 
 r- 
 
 -^^ 
 
 The latter, however produce the effect of soothing 
 balsam and gentle consolatioa in comparison with the 
 powerfully pressing-forward of the original form, in which, 
 resolutions by suspension, similar to those of the appogia- 
 tura notes in the theme, undergo chromatic change 
 
 ^m 
 
 cjf7 OcjJ = eVlIb7 e-' = bVII etc. 
 
 From the second development the motive a of the 
 first counterpoint assumes fresh importance, and, indeed, 
 in its direct form, for it unfolds itself in a winding semi- 
 quaver passage 
 
 ^m 
 
 =^ 
 
 ^ 
 
 which, especially in the strettos (see below), assumes large 
 dimensions. 
 
 The (syncopated) motive c of the first counterpoint, 
 also acquires independent importance later on, and, indeed, 
 in the refined form first hinted at in the second deve- 
 lopment 
 
 ^f 
 
 fe: 
 
 ^^^^ 
 
34 PRELUDE AND FUGUE IN B- MI NOR. 
 
 167 
 
 but which is only fully developed in its right place, the 
 countersubject, in the concluding section 
 
 pi 
 
 ', u #-a 4 # 
 
 where it is preserved as a definite addition to the general 
 wealth. The freedom with which Bach handles form here, 
 is astonishing: those who assert that this fugue smells of 
 the lamp and that it is principally occupied with contrapuntal 
 combinations, have vision only surface-deep. The counter- 
 subject, as already mentioned, is treated very freely. In- 
 version, augmentation or diminution of the theme does 
 not occur, nor are there even any real strettos, but, in 
 place of the latter, many apparent strettos are forth- 
 coming: — 
 
 Fri 
 
 m 
 
 ^ 
 
 ^ 
 
 iu 
 
 Continuation freer 
 
 /. e. as soon as a new voice follows with the commen- 
 cement of the theme, the old one gives it up — certainly 
 no "midnight lamp" combination, but only easy handhng 
 of simple contrapuntal means. Quite original (one might 
 be tempted to say humorous, were such an expression 
 permissible in connection with this fugue) is the giving out 
 — as if too soon — of the commencement of the 
 theme, by a voice, which at once stops, but, four measures 
 later, really introduces the theme: — 
 
 >- *" 
 
 m 
 
 i^s 
 
 - b— U ^-| =^ 
 
 This occurs twice in the tenor at the beginning 
 of the second development, likewise in £-mmor two 
 periods later. 
 
 I. Exposition: Dux in the alto. Comes in the tenor, 
 after four free measures J | J Dux in the bass, and again, 
 after two free J I J measures. Comes in the soprano. A 
 long interlude (8 J I J measures) brings back the key, 
 
1 58 FIRST PART. 
 
 which by a close - confirmation had been changed from 
 B-minor to C\- minor , so that the tenor (after the early 
 entry aheady mentioned) by giving out the Dux in the prin- 
 cipal key, marks a second development. 
 
 II. Modulation Section. After a long interlude (8 a, 
 8 b, 1—8, with the second premature tenor entry) the 
 tenor has the theme (Dux) in E-minor (closing in JB-7ninor)\ 
 then,after two free measures, follows the first apparent stretto 
 between alto and soprano (the former in F^-7ninor, the 
 latter in B-ininot', not bringing the theme to an end, but 
 freely digressing, filling out the period, however, in regular 
 manner). Then comes the bass (again with the complete 
 theme, but with the opening step of the Comes {e d) in 
 B-7fiifior, and — as a kind of confirmation of this com- 
 plete development — an apparent stretto of the Dux 
 through all four voices (broken off at the second measure): 
 soprano {B-minor), alto {E-mi7ior), bass {A-7/iajor), tenor 
 {D-7najorj fully carried out, hence closing in A-77iajor). 
 But with that the master is not satisfied. The bass once 
 again starts in A-77iajor (but as Comes), and concludes 
 with the complete theme in D-major\ after six free me- 
 asures (1—4, 3a — 4a) the tenor enters with the Dux 
 in F^-mi7tor, leading to C^-7}mior, from whence two in- 
 serted measures tend towards E-77iajor (b'): the middle 
 section now closes with the Dux (once again in the Bass) in 
 E-major (instead of E-77ii7ior, chord of the Doric sixth) in 
 the direction of B-nmior. 
 
 III. The Closing-section consists of four 8 -measure 
 periods, the first of which has the Dux in B-7ni7ior given out by 
 the tenor, at the close of which in F\-77ii7ior two acces- 
 sory measures (8 a, 8 b) turn to the half- close on/)(', 
 whereupon an episode of eight measures marks the keys 
 of D'77iajor and B-77ii7ior. The third period contains an 
 apparent stretto of the theme in B-7?ii7ior and E-7ni7ior 
 between tenor and bass-, the fourth, after two free mea- 
 sures, introduces once more the Dux in the alto (not co- 
 ming quite to an end). Thus it may be seen that of the 
 supposed artificialities of the piece, truly little remains. 
 Whoever has rightly understood the theme, and thereby be- 
 come capable of feeling, and making every note well- 
 sounding, will, without difficulty, find hie way through the 
 whole fugue. 
 
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