Historical Context

One of the large-scale virtuoso fugues. It is preserved in manuscripts, including those by J.C. Kittel, one of Bach's last pupils. Since earlier sources present the Fantasia and Fugue separately, it is possible that Kittel was the one who paired them. The year of composition is unknown, but the style of the piece is archaic.

Fantasia

In the Fantasia, a theme derived from the ritornello is developed during the 12-measure ritornello. The ritornello appears in exactly the same form at the beginning and end, but the two intervening occurrences are transposed and ornamented. The voice writing is quite free; while the ritornello is in four or more voices and the episodes (development sections) are generally in three voices, there is no hesitation in adding chords to increase the sonic density. However, the reason this piece still has a very archaic sound is that the principle of concerto-like contrast is entirely absent, and perfect cadences involving all voices do not readily occur outside of the ritornello. The entire piece flows continuously, always sustained by a suspension in one of the voices. This solemn atmosphere is reminiscent of works for organ. Furthermore, the harmony, centered on consonances, creates a melancholic yet transparent sound. It is not a direct emotional expression through chromaticism, but rather the sorrow of a monarch, outwardly calm yet concealing deep lamentation.

Fugue

The Fugue is divided into three parts and features two contrasting subjects. Each subject is presented at the beginning of the first and second halves, and in the third part, which is the latter half of the second half, a development combining the two subjects takes place. Complex contrapuntal techniques, including inversions and contrary motions of the countersubjects, are employed, and the piece generally maintains four voices, resulting in a rich, weighty sound. While performance demands not only clear differentiation of voices but also challenging techniques such as hand crossing and wide intervals, the tension created by the contrast between the two subjects is the essence of a double fugue, making it a particularly rewarding work for performers.