Tonic Chord May 8, 2018

Analysis

Prelude

SUMMARY:

Bars 1-16: Period I. Dominant Pedal, key of A (Bars 10,11). Ending with Perfect Cadence in the key of the Dominant, A.

Bars 13-16: Coda. Confirming the key of the Dominant, double bar.

Bars 17-33: Period II. Starting from its Dominant, it touches upon D major (Bar 21), G major (Bar 22), B minor (Bars 23-24) and E minor (Bars 26-27), before arriving at the Relative Minor (B). Dominant Pedal, key of B minor (Bars 30,31). Ending with Perfect Cadence in the key of the Relative Minor, B.

Bars 33-40: Period III. Working along in a descending Sequence, it makes for the Dominant of the Original key, ending with Half Cadence on the Dominant, A.

Bars 40-41: Descending scape passage landing on the Tonic, D.

Bars 41-56: Period IV. Starting with Recapitulation of the Opening Theme, touching G major (Bar 42), then working on to the Tonic. Dominant Pedal, key of D (Bars 50,51).

Bars 53-56: Coda. Formed from the same material as the Coda in the first part of the movement, but grafted here into the key of the Tonic and serving to clench the key. Enters momentarily to B minor and touching G major before ending in the Original key.

REMARKS:

Bar 3 and 4 (with the exception of an interchange of position of the two upper parts in Bar 4) are a reproduction of Bars 1-3 an octave lower, serving to establish the key firmly.

At Bar 8, the first notes of the Theme are tossed about in the Treble by similar and contrary motion, repeated in the Tenor an octave lower in the following bar. (Compare Bars 48,49.)

Bars 13-15 are in a descending Sequence.

At the commencement of the Second part of the Prelude (Bar 17), the Theme appears Inverted in the Treble in the key of the Dominant, to which the Bass replies (Bar 19) at the octave below.

Bars 30-33 are a transposed version by contrary motion of Bars 10-13 into the key of the Relative Minor (B).

Bars 48, 49, and Bars 50, 51 are transpositions into the Tonic key of Bars 8, 9, and Bars 10, 11, respectively.

Period I is capable of two subdivisions: (1) at Bar 5, where there is a Perfect Cadence in the Tonic, and (2), at Bar 13, where there is a Perfect Cadence in the Dominant.

Periods II and III are not capable of subdivision.

Period IV is capable of two subdivisions: (1) at Bar 45, where there is a Perfect Cadence to the key of the Subdominant (G), and (2), at Bar 53, where the Coda is reached.

Throughout the movement there are numerous reminiscences of the first limb of the Theme, used both by similar and contrary motion, The Theme itself is often found with a prefix of a few notes anticipating its own figure, as in the Bass of Bars 7, 23, and 46, where they are also taken by contrary motion. Often also with a suffix, as in Bars 8, 24, and 48; in this case the second limb of the Theme (corresponding to Bar 2) gives place to the continuation of the quaver (eighth note) figure.

The movement as the appearance of being originally composed for two Trumpets and Strings.

In “form and mould” it is thoroughly of the Sonata type of the period, but it contains indications of an endeavor to break through that limited form into something more ample and adequate. The material proposed at the latter part of Bar 5 (upper part) in the complementary key – the Dominant – and the emphasis laid upon this key at this special point, may, without much stretch be regarded as supplying the place of a Second Subject; moreover, this material is transposed into the key of the Tonic in the Recapitulatory Section of the movement. The material following the double bar commences with a quotation of the Opening transposed into the Dominant, and the various keys touched upon in this section, make it prophetic of the “Development” or “Free Fantasia” section of the Modern Sonata. Again, it has a clear and definite Recapitulation, and the Coda of the first part of the movement is shifted into the Tonic key in the second part.

 

Fugue

ANALYSIS:

ENUNCIATION SECTION:

Bars 1-2: Subject in Tenor [D major].
Bars 2-4: Real Answer in Alto. No Counter-subject [A major].
Bars 4-5: Codetta.
Bars 5-6: Subject in Treble [D major].
Bars 6-7: Stretto I, Answer in Bass [A major].

MODULATORY SECTION:

Bars 7-10: Episode I, modulating from A, through D, and back to A.
Bars 10-11: Subject in Alto [E minor].
Bars 11-13: Answer in Treble [B minor].
Bars 13-14: Codetta, modulating from B minor to A major.
Bars 14-15: Stretto II, Answer in Alto [D major].
Bars 14-16: Subject in Treble [D major].
Bars 16-21: Episode II, modulating from D major to A and closing in that key in Bar 20.
Bars 21-22: Subject in Tenor [B minor].
Bars 22-23: Stretto III, Answer in Treble [B minor].
Bars 22-24: Subject (altered) in Alto [B minor].
Bars 24-25: Codetta, modulating to F sharp minor.
Bars 25-27: Answer in Bass, and close in F sharp minor [F sharp minor].
Bars 27-29: Answer in Bass, followed at the distance of one beat by Answer in Treble. Stretto IV [D major].
Bar 28: Fragment of Answer in Alto [D major].
Bars 29-33: Episode III, modulating from D to G.
Bars 33-34: Subject in Tenor. Stretto V [G major].
Bars 33-34: Subject in Alto [G major].
Bars 33-35: Subject in Treble [G major].
Bars 35-40: Episode IV, modulating from G to D.
Bars 40-41: Subject in Tenor [D major].
Bars 42-43: Codetta.
Bars 43-44: Answer (altered) in Bass [A major].
Bar 44: Answer (early fragment) in Tenor [A major].

RECAPITULATORY SECTION:

Bars 44-46: Answer in Treble. Stretto VI [A major].
Bars 44-46: Subject in Alto [D major].
Bars 45-46: Subject in Tenor [D major].
Bars 45-46: Subject in Bass [D major].
Bars 47-50: Coda [D major].

SUMMARY:

Exposition: Bars 1-7.
Counter-exposition: None.
Counter-subject: None.
Codettas: Four.
Stretto: Six.
Episodes: Four.
Coda: Bars 47-50.

REMARKS;

1. This Fugue has a “real” Answer, and would be called a “real” Fugue.
2. All the Episodes are constructed upon the last four notes of the Subject. Of such importance is this short melodic figure that on one occasion or another it is used exactly one hundred times throughout the Fugue.
3. Six Stretti:
   1. Stretto I is between the Treble and Bass at one bar’s distance.
   2. Stretti II and III are between the Alto and Treble at half-a-bar’s distance.
   3. Stretto IV is between the Bass, Treble and Alto, at the distance of a crotchet (quarter notes), the Tenor being silent.
   4. Stretto V is between the upper parts at the distance of a crotchet. The Bass is complementary.
   5. Stretto VI is between all the parts, starting with the Treble downwards, the parts being at the distance from each other.
4. This short Fugue – containing only fifty bars in all – is an extraordinary example of conciseness throughout. In its treatment of the important device of Stretto it is entitled to the chief place of honour in this collection.