Tonic Chord May 5, 2018

Analysis

Prelude

SUMMARY:

The impassioned Cantilena is supported by the characteristic repetition of the Chord, three times in each bar.

Bars 1-16: Period I. Ending with Perfect Cadence in the key of the Dominant Minor, B flat.

Bars 16-28: Period. Modulatory.

Bars 28-40: Period III. Coda.

REMARKS:

Period I may be divided into four Phrases; the first Phrase ending in the Tonic at bar 4; the second in the Sub-dominant Minor (A flat) at Bar 8; the third in the Dominant Minor (B flat) at bar 12; and the fourth in the Dominant Minor by a Perfect Cadence at Bar 16.

Period II has two divisions (1) in Bar 20, (2) in Bar 28, where the Coda is reached. This Period aims at continuity rather than subdivision.

Note the striking pair of Interrupted Cadences, Bars 28 and 37, successively deferring the close of the movement consistently with the pathetic mood of the Music.

Fugue

ANALYSIS:

ENUNCIATION SECTION:

Bars 1-3: Subject in Alto [D sharp minor].
Bars 3-6:  Tonal Answer in Treble [A sharp minor].
Bars 6-7: Codetta.
Bars 8-10: Subject in Bass [D sharp minor].

MODULATORY SECTION:

Bars 11-12: Chromatically descending Bass, with florid upper parts.
Bars 12-14: Answer in Bass [D sharp minor].
Bars 15-19:  Episode I, modulating from G sharp minor, through D sharp minor, to A sharp minor.
Bars 19-22: Subject in Alto and in Treble, successively making Stretto I [A sharp minor].
Bars 23-24: Codetta.
Bars 24-27: Stretto II, Subject in Treble, Alto, and Bass, but slightly altered in all three parts.
Bars 27-29: Stretto III, Subject in Treble, F sharp major. Answer in Alto [F sharp major].
Bars 30-32: Subject by inversion in Alto [F sharp major].
Bars 33-36: Episode II, modulating from D sharp minor to G sharp minor .
Bars 36-38: Subject by Inversion in Alto [D sharp minor].
Bars 39-41: Answer by Inversion in Bass [D sharp minor].
Bars 42-43: Codetta.
Bars 43-44: Subject (altered) in Treble [D sharp minor].
Bars 44-45: Subject by Inversion in Bass [D sharp minor].
Bars 46-47: Stretto IV, Subject by Inversion in Treble [D sharp minor].
Bars 47-49: Subject by Inversion in Alto, G sharp minor. Fragment of Subject by inversion in Treble [G sharp minor].
Bars 50-51: Codetta.
Bars 52-53: Stretto V (canonic imitation in the Octave, the parts following one another at the distance of a crotchet).
Bars 54-55: Stretto VI (Subjects inverted).
Bars 56-57: Codetta.
Bars 57-60: Subject in Treble [D sharp minor].
Bars 61-64: Subject in Alto [D sharp minor].
Bars 62-67: Stretto VII, Subject in Bass by Augmentation [D sharp minor].
Bars 64-67: Answer by Inversion in Treble [G sharp minor].
Bars 67-69: Subject in Bass, F sharp major. Subject in Alto by Augmentation [F sharp major].
Bars 69-72: Subject in Treble [B sharp major].
Bars 72-75:  Answer in Alto [G sharp minor].
Bars 75-77: Codetta.

RECAPITULATORY SECTION:

Bars 77-79: Stretto VIII, Subject in Bass, D sharp minor. Subject (altered) in Alto [D sharp minor].
Bars 77-82: Subject by Augmentation in Treble.
Bars 83-87: Coda, D sharp minor. Final chord major. Tierce de Picardie.

SUMMARY:

Exposition: Bars 1-10.
Counter-exposition: None.
Counter-subject: None.
Episodes: Two.
Stretti: Eight (some in Canon).
Inversion: Several instances.
Augmentation: Three instances.
Coda: Bars 83-87.

REMARKS:

1. This Fugue has a “tonal” Answer, and would be styled as a “tonal” Fugue. The Alteration in the Answer, for the sake of tonality, is made from the second note to the third.
2. The Subject appears in its Inverted form for the first time in Bar 30 (Treble part).
3. The Subject is three times used in Augmentation (1) in Bar 62 in the Bass, (2) in Bar 67 in the Alto, (3) in Bar 77 in the Treble. The device is thus carried through all three voices.
4. In Bar 67 the Subjects overlap, the last note of the Subject in Augmentation ends on the first beat of this bar, and becomes the first note of the normal Subject in the same bar.
5. Examples of Canonical Imitations will be found in every Stretto. In Stretti I, II, III, IV, VII, and VIII, the Canonical work appears in two of the parts, the third part being either independent or employing some device of the Subject. In Stretto V the Canonical work appears in all three parts, and in Stretto VI, in all three parts by Inversion.