Bach, Johann Sebastian : Fuge e-moll BWV 956
Work Overview
Genre：fuga
Total Playing Time：3 min 00 sec
Copyright：Public Domain
Commentary (2)
Author : Asayama, Natsuko
Last Updated: June 1, 2008
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Author : Asayama, Natsuko
This work is transmitted as the sole source, a manuscript copied by a pupil of J. P. Kellner. Kellner was a contemporary of Bach and collected Bach's works; however, if it is a copy by his pupil, the possibility that it is Kellner's own work becomes very high.
However, several characteristics typical of Bach can be observed throughout the work. First, the theme, which includes this type of sequential progression and repeated notes, is a type frequently used by Bach before his Weimar period. Furthermore, after the complete presentation of the three-voice subject, long free passages are inserted between subject entries. This is a characteristic of Bach's early fugues. (In his middle to late period style, such as in The Well-Tempered Clavier, subject entries are presented consecutively, and free developmental sections appear, as it were, connecting subject groups.) Moreover, a clear perfect cadence modulating to the parallel major is placed almost in the middle of the piece, at measure 35. The technique of placing a perfect cadence within a fugue to give it symmetry is a form that Bach established in his later years, but its embryonic stage is already present here.
While it cannot be denied that some parts have become monotonous and trite due to sequential progressions and parallel motion in thirds, glimpses of chromaticism and skillful harmonic progressions are also evident, making it a profound fugue, regardless of its authorship.
Author : Ooi, Kazurou
Last Updated: November 20, 2023
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Author : Ooi, Kazurou
First, as this is a technically challenging fugue, determine a single tempo and ensure it does not slow down. To achieve this, the tempo at which the most technically difficult passages can be played should be set as the overall tempo, ensuring consistency.
Bach's E minor key has two facets: when played slowly, it expresses seriousness and sorrow, but when played quickly, it is highly tense, and this fugue is no exception.
The theme (subject) begins in bar 1 and extends to the first beat of bar 4, ending on E. Observing its contour, it reaches its highest note, E, on the second beat of bar 2, and then gradually descends. Therefore, give the most volume to this E, and gradually decrease the volume as it descends. Subsequently, treat the theme in the same manner whenever it appears.
A common pitfall is a balance where the theme is not clearly audible; therefore, always bring out the theme distinctly and suppress the volume of other voices.
After the theme in bars 1-4 concludes, the alto theme begins from the second beat of bar 4; ensure this is heard. A diminuendo should be applied as it continues its descent from bar 8 to the third beat of bar 9. Subsequently, it ascends rapidly, reaching A, the highest note in this vicinity, in bar 10; apply a molto crescendo to reach A, and then continue to build tension before the bass theme enters forte from bar 11.
This is merely an example, but following this flow, continue to bring out the theme clearly throughout the piece, adjusting the volume in sequences to maintain consistency, in accordance with the surrounding musical context.
Since the fugue itself has very high tension, proceed to the end without stopping the music or reducing the tension more than necessary.