The Möller Manuscript

Transmitted in the "Möller Manuscript." The common name "Möller Manuscript" derives from the owner Möller's name written on its cover, but the majority of it was compiled by Johann Christoph, the organist of Ohrdruf who took in the young Bach. It contains 54 pieces, including fragments, from not only North Germany but also Italy and France. Among them are 12 works by Johann Sebastian Bach, including sections written by Bach himself, making it a valuable resource for understanding Bach's handwriting. (Note that the "Andreas Bach Book" has a nearly identical origin from the same period. These two volumes were passed down from direct disciple to disciple.)

Fuga in A minor, BWV 949

Fuga in A minor, BWV 949, is still considered a doubtful work in some literature, but the Möller Manuscript clearly attributes it to Johann Sebastian Bach. It exhibits a typical early style, meaning there are almost no free development sections (episodes) that do not present the subject, and the piece concludes with a passage largely unrelated to the subject. However, it is ambitious in its contrapuntal technique, featuring two counter-subjects derived from the subject's material. The use of counter-subjects in this piece is almost a first in Bach's compositional history. The subject begins with a very prominent repeated note figure and ascends gently by a fifth with a motive accompanied by an embellishing tone (e.g., the B natural in the first 16th note of measure 2 or the C-sharp in the second beat, a non-harmonic tone that ornaments the note in a concave or convex shape). This embellishing tone motive is scattered throughout, and it is no exaggeration to say that this figure is almost constantly heard somewhere throughout the entire piece. It is undeniable that this makes the piece somewhat monotonous. However, the subject's entries are always meticulously prepared, with careful consideration of range and texture. Particularly, the entry in the bass just before the coda (measure 74) is even dramatic. The coda section contains a bass line marked "Pedal," and for the D-sharp in measure 80, a transposition or sostenuto pedal is required, but the final four measures can be played with both hands alone. Overall, it can be described as a clear and highly effective work.