Analysis
Contents
Prelude
SUMMARY:
Bars 1-13: Period I. Tonic Pedal (Bars 1-3). Ending with a Perfect Cadence in the key of the Dominant Minor, F.
Bars 13-24: Period II. Dominant Pedal (Bars 20-22), followed by Tonic Pedal (Bars 23,24). Modulatory in its early part, touching E flat minor, A flat major, D flat major before returning to the Tonic at Bar 17.
REMARKS:
This Prelude is mainly built upon the Opening figure (Treble part), which is frequently used in Contrary Motion, especially in Period II.
At Bar 7 the Theme appears in the Treble in a descending Sequence, and at Bar 13 a new figure appears in the Bass, also working in a descending Sequence. In the same Sequence also the Opening figure is used for the upper parts.
Fugue
ANALYSIS:
ENUNCIATION SECTION:
Bars 1-3: Subject in First Treble [B flat minor].
Bars 3-5: Tonal Answer in Second Treble [F minor].
Bars 5-10: Codetta.
Bars 10-12: Subject in Alto [B flat minor].
Bars 12-14: Answer in Tenor [F minor].
Bars 15-17: Subject in Bass.
MODULATORY SECTION:
Bars 17-25: Episode I, modulating from B flat minor to D flat major.
Bars 25-27: Subject in First Treble [D flat major].
Bars 27-29: Answer in Second Treble [E flat minor].
Bars 29-31: Subject in Tenor [B flat minor].
Bars 31-34: Answer in Bass [E flat minor].
Bars 34-36: Codetta.
Bars 37-39: Answer in Alto [D flat major].
Bars 39-46: Episode II, modulating sequentially from A flat, through E flat, to B flat.
Bars 46-48: Answer in Tenor [B flat minor].
Bars 48-50: Answer in Bass [B flat minor].
Bars 50-52: Answer in First Treble – Stretto I (complete) [E flat minor].
Bars 50-52: Answer in Second Treble – Stretto I (complete) [E flat minor].
Bars 51-53: Subject in Alto – Stretto I (complete) [E flat minor].
Bars 52-54: Answer (slightly altered) in Bass – Stretto I (complete) [E flat minor].
Bars 53-55: Answer in Tenor – Stretto I (complete) [E flat minor].
Bars 55-57: Subject in Second Treble. Answer in Alto [E flat minor].
Bars 57-67: Episode III, modulating from E flat minor to B flat minor.
RECAPITULATORY SECTION:
Bars 67-69: Subject in First Treble – Stretto II (complete) [B flat minor].
Bars 68-70: Answer in Second Treble – Stretto II (complete) [B flat minor].
Bars 68-70: Subject in Alto – Stretto II (complete) [B flat minor].
Bars 69-71: Answer in Tenor – Stretto II (complete) [B flat minor].
Bars 69-71: Subject in Bass – Stretto II (complete) [B flat minor].
Bars 72-75: Coda.
Bars 73-74: Reminiscence of the first limb of Answer in Alto, and of the second limb of Subject First Treble [B flat minor].
Bars 74-75: Fragment of the second limb of Subject in Alto. Conclusion, Tierce de Picardie [B flat major].
SUMMARY:
Exposition: Bars 1-17.
Counter-exposition: None.
Counter-subject: None.
Episodes: Three.
Stretti: Two (complete).
Coda: Bars 72-75.
Pedal: None.
REMARKS:
- This Fugue is in five part. It has a “tonal” Answer, and would be styled a “tonal” Fugue. The alterations in the Answer, for the sake of tonality, are made from the first note to the second, and from the second note to the third.
- In the Codetta (Bars 5-11) the Second Treble imitates the First Treble at the the fourth below, at a distance of a minim (half note).
- The concluding note of the Theme is on five occasions altered to major instead of remaining minor, tow of these instances occurring in the Exposition (Compare Fugue, No VI).
- The Episodes are built upon the second limb of the Subject, treated sometimes by similar and sometimes by contrary motion.
- Three things are noticeable in the Stretti: (1) they are both made up in a descending direction; (2) the closet Stretto is reserved for the last; (3) through not built upon a Pedal, both of them are exceedingly fine.