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

1885 edition of J. S. Bach’s ‘little’ preludes BWV 924-43, in order to create a more
substantial preparation for the WTC; it is unlikely that anyone noticed the difference. 60
The VIII Fugen are not replete with contrapuntal complexities; but then, neither is
most of the WTC. It is the expressive and individuated nature of their subjects, and
their variety, that bring J. S. Bach most to mind.
The set is arranged in order of key, much like the Inventions and Sinfonias: C
major, C minor, D major, D minor, E flat major, E minor, B flat major, F minor. The
rather unusual number of eight, 61 as well as the foreshortening of the tonal scheme in
the last two fugues, suggests that fatigue may have set in toward the end of this (hardly
overwhelming) work.
The first fugue, in C, could be regarded as an epitome of Friedemann’s fugal
style. In many respects it is extremely conservative. The three voices are preserved
strictly throughout, until the very last chord. The subject retains its identity, being
neither abbreviated or varied, and is presented in a variety of related keys in his
father’s mature manner (I, V, vi, and ii). The episodes are well-integrated, and often
thematic (not a difficult feat perhaps when the head motif consists of an ascending
triad).
Although technically orthodox, however, it does not sound very much like a
Baroque fugue. The most obvious reason is its subject (Ex.1.5):
60 Raccolta di piccoli preludi et fughette di J. S. Bach insieme a 6 fughette di suo figlio Wilh.
Friedemann (Florence and Rome: 1885); republished in 1950 by Schirmer. Buonamici’s pairing
was quite fitting, as Friedemann may have have a hand in the composition of some of the preludes.
61 Although both Handel and Arne published sets of eight keyboard works, it was an uncommon
number to choose.
64