Analysis
Contents
Prelude
SUMMARY:
Bars 1-9: Period I. Starting in A major, it begins to work towards the Dominant at Bar 6. Ending with a Cadence in the key of the Dominant, E.
Bars 9-20: Period II. Starting with the Theme by Inversion in the Dominant. Touches B minor (Bar 11) lingers on the Relative Minor (Bars 14-16) and making its way back to the original key, ending with a Perfect Cadence in the key of the Tonic, A.
Bars 20-30: Period III. Starting with a Reproduction of the Opening material, touches the Subdominant Major, D (Bars 21-22), B minor (Bar 24) and D major (Bar 25), and ending with a Perfect Cadence in the key of the Tonic, A.
Bars 30-33: Coda. On Tonic Pedal firmly clenching the key.
REMARKS:
This Prelude is constructed mainly upon on short Theme, which is however very frequently employed by Inversion, its first appearance in that form being at Bar 9 in the Bass part.
The Theme is present in almost every bar, sometimes appearing by similar and contrary motion in the same bar.
Period III reproduces the Opening material in the Original key, and by similar motion.
Fugue
ANALYSIS:
Bars 1-2: Subject in Bass [A major].
Bars 2-4: Real Answer in Alto. No Counter-subject [E major].
Bars 4-5: Codetta, modulating from E to A.
Bars 5-6: Subject in Treble [A major].
Bars 6-7: Codetta, modulating from A to E.
Bars 7-8: Answer in Bass [E major].
MODULATORY SECTION:
Bars 8-9: Codetta, modulating from A major to F sharp minor.
Bars 9-11: Subject in Treble [F sharp minor].
Bars 11-12: Codetta, modulating from F sharp minor to C sharp minor.
Bars 12-13: Answer in Alto [C sharp minor].
Bars 13-16: Episode I, modulating from C sharp minor to A major.
Bars 16-17: Subject (slightly altered) in Bass [A major].
Bars 17-20: Episode II, modulating from A, through B minor and back to A.
Bars 20-21: Subject in Treble [D major].
Bars 21-23: Episode III, modulating from D, through A to E.
Bars 23-25: Answer (slightly altered) in Alto [E major].
Bars 25-27: Episode IV, modulating from E to A.
RECAPITULATORY SECTION:
Bars 27-29: Subject in Treble (slightly altered) [A major].
SUMMARY:
Exposition: Bars 1-6.
Counter-exposition: None.
Counter-subject: None.
Codettas: Four.
Stretti: None.
Episodes: Four.
REMARKS:
- This Fugue has a “real” Answer, and would be called a “real” Fugue.
- Episode I (Bar 13) contains suggestions of the Subject in the two upper parts, with an independent Bass.
- Episode II (Bar 17) differs from Episode I in having the suggestions of the Subject in the Bass, and at Bar 18 contrary motion is employed. The two upper parts consist of free imitation of a short figure of the same character as that employed in the Bass of the former Episode.
- Episode III (Bar 21). In this the suggestions of the Subject are shared by all the parts.
- Episode IV (Bar 24). This is much the same in formation as Episode III, but the figure is occasionally taken by contrary as well as by similar motion.
