Mendelssohn had a deep admiration for Bach, and this work was also composed in the style of Bach's works. It was completed and published in 1827. Particularly from No. 4 onwards, Romantic elements become more pronounced. It might be interesting to compare the works of Mendelssohn and Bach to understand how Mendelssohn, living in the Romantic era, perceived Bach's fugues (what elements he emphasized).

1. E minor / E major / op.35-1 e moll・E dur

Prelude E minor (1837)

Arpeggiated chords, distributed between both hands, create a wave-like sound, above which a lyrical melody in the middle voice sings very beautifully.

Fugue E minor → E major (1827)

Composed in four voices. First, the subject is presented in the bass, and the piece progresses calmly as it is imitated. In the latter half, the tempo gradually accelerates. It develops brilliantly, utilizing inversions of the subject, among other techniques, which gives a Romantic impression. In the concluding section, a chorale melody resounds magnificently in block chords, and after the fugue subject is gently recapitulated, the piece quietly closes.

2. D major / op.35-2 D dur

Prelude D major (1836)

Over the left-hand accompaniment of staccato octaves, a two-voice melody in the right hand sings gently. Care should be taken to ensure that the alto phrasing in the right hand does not synchronize with the soprano phrasing.

Fugue D major (1835)

Throughout the piece, the melody sings quietly and richly.

3. B minor / op.35-3 h moll

Prelude B minor (1837)

In 12/8 time. Both hands play staccato melodies in parallel and contrary motion. The piece proceeds to the end with the same mood and tension. Effective use of dynamic changes from pp to ff should be employed to add variety to the piece.

Fugue B minor (1832)

A Baroque-style fugue employing dotted rhythms. Towards the latter half, the use of chords becomes prominent, adding richness to the sound as the piece builds.

4. A-flat major / op.35-4 As dur

Prelude A-flat major (1837)

Over the gentle accompaniment of sextuplets in the left hand, two voices in the right hand sing lyrically.

Fugue A-flat major (1835)

A gentle subject is sung contrapuntally in four voices. The Romantic character is strong.

5. F minor / op.35-5 f moll

Prelude F minor (1836)

Possessing the character of a Song Without Words, a melancholic melody sings richly over the chordal accompaniment played by both hands. The accompanying chords should be played subtly, yet varied with meticulous dynamics.

Fugue F minor (1824)

Repeating notes, figures, and scales—each motif is skillfully combined, and as they simultaneously undergo development, the piece surges towards its climax. This No. 5 is relatively frequently performed among the six pieces.

6. B-flat major / op.35-6 B dur

Prelude B-flat major (1837)

Over the rich sound created by ascending chords in the left hand, the right hand sings a rich melody, utilizing chords. Similar to No. 5, it possesses a Song Without Words character.

Fugue B-flat major (1836)

Ascending sixteenth-note figures and dotted rhythmic patterns are skillfully combined, developing powerfully towards the final climax.