 |
Vidéo :
![]()
| Composer : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Harp | ||||
| Style : | Baroque | ||||
| Key : | D minor | ||||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 03 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. The Fugue in D Minor (BWV 948) is one of the stranger pieces in the Bach canon, excluding such obvious pastiches as the Concerto e Fuga BWV 909. Nevertheless it is included in NBA V/9.2 on the evidence of its sources, which fall into three independent groups all naming Bach (or at least 1. S. B.") as the composer. None, however, is by an identified copyist close to Bach, and the style, although seemingly from somewhere in his orbit, does not point unequivocally to him. The work is claimed to be early and based on "norddeutschen Vorbildern" (NBA V/9.2, KB, 294), but there are no models for its bizarre coda in the works of Reinken, Bohm, or other north-German composers. Zehnder (1995, 332-3) groups the work with several others that he assigns to the period 1709-11. One of these, the organ praeludium in G minor BWV 535/1, includes the thing closest in Bach's output to the cadenza at the end of BWV 948, which takes it around the entire circle of fifths (cf. BWV 535/1, mm. 19-32). But the stylistic affinities between these pieces are superficial, even if the present subject, consisting of a short motto followed by sequential figuration, resembles others in Bach's early fugues. One full measure of the subject (m. 4) arpeggiates a single dominant-ninth harmony, a type of gesture that seems relatively late. Odd things happen in the second half of the piece, where a near-verbatim recapitulation of the first exposition (mm. 45-52116-9 + 11b-15a) is interrupted by a short, unmotivated cadenza in A minor (m. 53). Up to here the fugue has been in three parts, but a fourth voice now enters, seemingly requiring pedals; the new voice does not state the subject until m. 62b. Shortly afterwards comes a second, much more lengthy cadenza that passes mechanically through the circle of fifths on its way to a motivically unrelated close." Even apart from the ending, the unimaginative counterpoint, which accompanies the sequences of the subject in routine eighths and quarters, would place Bach's authorship in doubt. Measures 65-6 are virtually unplayable even with pedals. It is conceivable that, like the prelude to the Suite BWV 815a, BWV 948 represents an experimental stage of a piece that was never brought to final form; perhaps it was finished by someone other than Bach. . 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 Arrangement of the Fugue in D Minor (BWV 948) for Concert (Pedal) Harp. Sheet central : | Fugue en Ré mineur (5 sheet music) | | |||
 |
 |
 |
 |
© 2000 - 2024
Home - New realises - Composers
Legal notice - Full version