The Art of Fugue: Bach Fugues for Keyboard, 1715-1750

By Joseph Kerman

Fugue for J. S. Bach used to be a normal language; he wrote fugues in organ toccatas and voluntaries, in plenty and motets, in orchestral and chamber track, or even in his sonatas for violin solo. The extra intimate fugues he wrote for keyboard are one of the maximum, such a lot influential, and best-loved works in all of Western track. they've got lengthy been the root of the keyboard repertory, performed by means of starting scholars and world-famous virtuosi alike. In a chain of elegantly written essays, eminent musicologist Joseph Kerman discusses his favourite Bach keyboard fugues—some of them one of the best-known fugues and others less widely used. Kerman skillfully, now and then playfully, unearths the internal workings of those items, linking the shape of the fugues with their many alternative characters and expressive features, and illuminating what makes them quite attractive, strong, and moving.

These witty, insightful items, addressed to musical amateurs in addition to to experts and scholars, are fantastically augmented by way of a CD with new performances made specifically for this quantity. as well as the total rankings for the entire track mentioned within the e-book, the CD positive aspects Karen Rosenak, piano, enjoying preludes and fugues from TheWell-Tempered Clavier—C significant, publication 1; and B significant, ebook 2—and recordings via Davitt Moroney of the Fughetta in C significant, BWV 952, on clavichord; the Fugue on "Jesus Christus unser Heiland," BWV 689, on organ; and the fable and Fugue in A Minor, BWV 904, on harpsichord.

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The 4 attainable different types of triad at the root C are the main triad (C E G), minor triad (C E∫ G), decreased triad (C E∫ G∫), and augmented triad (C E G∏). Triads might be numbered with capital (major) or lowercase (minor) digits in accordance with the dimensions place in their roots. In C significant the triad on C is precise I, the triad on D ii. flip loosely, short decoration, akin to E F E as an decoration for E: p. forty six 17 bars 89–98. voice contrapuntal line in a fugue, even if the fugue is sung or performed on tools, pointed out via singers’ names: soprano, alto, tenor, bass. Bibliography Altschuler, Eric Lewin. Bachanalia: the basic Listener’s advisor to Bach’s Well-Tempered Clavier. Boston: Little, Brown, 1994. Bullivant, Roger. Fugue. London: Hutchinson, 1971. Busoni, Ferruccio. Zwei Kontrapunct-Studien für Klavier, nach Joh. Seb. Bach. Wiesbaden: Breitkopf & Härtel, 1917. ———, ed. The Well-Tempered Clavichord by way of Johann Sebastian Bach, Revised, Annotated, and supplied with Parallel Examples and proposals for the examine of recent Pianoforte-Technique. big apple: G. Schirmer, 1895. Dickinson, A. E. F. Bach’s Fugal Works. London: Pitman, 1956. Dreyfus, Laurence. Bach and the styles of Invention. Cambridge, Mass. : Harvard college Press, 1996. Dufourcq, Norbert. Jean-Sébastien Bach, le maître de l’orgue. Paris: Floury, 1948. Forkel, J. N. “On Johann Sebastian Bach’s existence, Genius, and Works. ” within the New Bach Reader: a lifetime of Johann Sebastian Bach in Letters and files, ed. Hans T. David and Arthur Mendel, rev. Christoph Wolff, pp. 417–82. big apple: Norton, 1998. Keller, Hermann. The Well-Tempered Clavier via Johann Sebastian Bach. Tr. Leigh backyard. manhattan: Norton, 1976. 167 168 / Bibliography Kerman, Joseph. “A (Bach) Fugue for Andrew. ” In phrases on song: Essays in Honor of Andrew Porter, ed. Claire Brook and David Rosen, pp. 92–98. manhattan: Pendragon, 2003. ———. “Bach’s maximum Hit. ” overview of Bachanalia, by way of Eric Lewin Altschuler. long island overview of Books, October 6, 1994, pp. 22–23. ———. “Fuga tremendous: Jesus Christus unser Heiland. A four. Manualiter. ” In Musical modifications and Musical instinct: 11 Essays in Honor of David Lewin, ed. Raphael Atlas and Michael Chernin, pp. 167–78. Roxbury, Mass. : Overbird Press, 1994. ———. “Salience and Serendipity” [on BWV 872/2]. In Remembering Oliver Strunk, instructor and pupil, ed. Christine Mueler and Pierluigi Petrobelli, pp. 35–43. ny: Pendragon, 2004. ———. “Tovey’s Beethoven. ” In Write these kinds of Down: Essays on track, ch. 10. Berkeley: college of California Press, 1994. Kirkpatrick, Ralph. studying Bach’s Well-Tempered Clavier: A Performer’s Discourse of procedure. New Haven: Yale collage Press, 1984. ———. Liner notes to Bach: Das wohltemperierte Clavier. Deutsche Grammophon LPM 18844–5. Rec. 1965. Ledbetter, David. Bach’s Well-tempered Clavier: The forty eight Preludes and Fugues. New Haven: Yale college Press, 2002. Markham, Michael. “‘The Usefulness of Such Artworks’: Expression, research, and Nationalism within the artwork of Fugue. ” repercussions nine (2001): 33–75. Parry, C. Hubert H.

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