J. S. BACH Jonathan Berkahn - Victoria University - Victoria ...

very good; and the ends of both movements show Bach still unable to wind up without a pause, a
flourish, and two or three block chords. Even so, he failed with the Fugue, having manifestly lost his
grip at bar 126. But in spite of its defects, the work has real dignity, and deserves more
performances than it gets.’ 19
Thus far the critical report is mixed. The significance of BWV 534 in Bach’s
stylistic development is granted; it is not above criticism (although the commentators
do not agree on what the faults are), but all respond emotionally to the effect of the
piece as a whole.
The next two accounts are interesting. Both are ingenious attempts to make
sense of its shape, which fits poorly with nineteenth-century ideas about fugal
construction, seeking in particular an answer to Spitta’s criticisms.
Roger Bullivant (1971)
one of the most infuriating fugues to analyse is the early-mature F minor organ BWV 534. This
piece has actually been criticised for its lack of structure. Here is what happens: [a step by step
account follows]
It will be observed that a definite form emerges, but one which bears no relationship to a
ternary design whether by key or anything else. Indeed if any ‘stock’ form is to be named it would
be the rondo ... in the sense that from the time to time the subject does seem to make a ‘fresh start’ in
the tonic. ... It is hoped that this kind of analysis makes sense of a design which happens to be one of
the worst from the standard point of view.
* * *
...the Bach ‘Albinoni’ fugues, although long, can be regarded as an exposition extended so
long as to be boring. But the F minor organ fugue cannot be got rid of so easily. Clearly it has form
and equally clearly some parts of it are exciting while others express relaxation. [He shows why key
and ‘learned’ devices are not useful for defining this particular form.] Analysis has to learn not only
what to include, but what to leave out. Neither key of entry nor stretto are important in this fugue:
19 Preface to The organ works of Bach, vol. VI [BWV 532, 534, 552, and 565] (London: Novello,
1948), p.iii.
47