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| Composer : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Brass Quartet | ||||
| Style : | Baroque | ||||
| Key : | A major | ||||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Copyright : | Copyright © Mike Magatagan | ||||
| Added by magataganm, 05 Jun 2017 Johann Sebastian Bach was a German composer, organist, harpsichordist, violist, and violinist whose sacred and secular works for choir, orchestra, and solo instruments drew together the strands of the Baroque period and brought it to its ultimate maturity. Although he did not introduce new forms, he enriched the prevailing German style with a robust contrapuntal technique, an unrivalled control of harmonic and motivic organisation, and the adaptation of rhythms, forms and textures from abroad, particularly from Italy and France. BWV 949 is another fugue in A Major, preserved like BWV 896 in copies by Johann Christoph Bach and from the Kellner circle. The use of A major in both fugues may be only a coincidence, but as BWV 949 is another contrapuntally organized fugue it is possible that Bach associated rigorous counterpoint with the use of what was at the time a fairly adventurous key on the far "sharp" side of C. Although BWV 896 is likely a considerably earlier composition than BWV 949 but, the pieces have much in common. As in BWV 896, the subject of BWV 949 moves by step after an initial "repercussive" motive, and the few episodes are brief and restrained. The present subject is more square, without strong dance implications, but the writing gradually grows more exuberant, with hints of violin style in the episodic passages. Figuration emerges triumphant over contrapuntal work in a short pedaliter coda. Elsewhere as well BWV 949 is the more adventurous of the two pieces. Only BWV 949 modulates to F# minor, even introducing the subject—in inversion—in that key (m. 35). In addition, two rectus entries of the subject are altered chromatically to permit modulations to the relative minor (mm. 22, 61). There is no tonal design underlying the piece as a whole; instead the design turns on the introduction of the inversion a little before the midpoint (m. 35). But this does coincide with the least ephemeral of the modulations to Fit minor, the only one marked by a strong cadence in that key (m. 41). Unfortunately the significance of this moment is later upstaged when a significant-sounding flourish (m. 60) leads to merely a second arrival on Fit minor. The fugue must be one of the earliest of Bach's to have a regular counter-subject—two countersubjects, actually. More importantly, there is little motivic material anywhere that is not directly related to the subject or the first counter-subject. Unfortunately, this single-mindedness is not to the piece's advantage, nor is the obsession with the relative minor. The fugue repeats itself several times; the second of the two altered entries in the relative minor is almost a reprise of the first one, but because it is not part of a larger recapitulation the parallelism seems accidental. Sources: D B Mus. ms. 10580; P 487; LEu N.1. 10338 (M. pr. Ms. 20'); US NHy LM 4941; Gb. Editions: BG 36; Dadelsen and Riinnau (1970), NBA V/9.2. Although originally written for Harpsichord. I created this Interpretation of the Fugue in A Major (BWV 948) Transposed to F Major for Brass Quartet (Bb Trumpet, Flugelhorn, French Horn & Tuba). Sheet central : | Fugue en La majeur (3 sheet music) | | |||
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