Measures 1-13

Beginning with two voices, the music gradually ascends until measure 5, so start measure 1 p and gradually crescendo. At measure 6, it becomes three voices. From here, it descends, but at measure 9, it becomes four voices. In other words, the music gains thickness, so it is appropriate to gradually increase the volume even as it descends. Imagine a pipe organ, with the image of thicker pipes sounding powerfully as the pitch lowers.

Measures 14-41

This is the fugue section. The theme begins on the second beat of measure 14 in the alto, with a dotted quarter note B. It extends from the second beat of measure 14 to the eighth note G on the downbeat of the first beat of measure 16. Identifying these themes and emphasizing them in performance will make for a clearer rendition, but be careful not to miss them as they appear in varied forms. The locations where the theme appears are listed below:

• 1: Measure 14, 2nd beat, alto
• 2: Measure 16, 4th beat, soprano
• 3: Measure 23, 2nd beat, tenor
• 4: Measure 25, 1st beat, soprano
• 5: Measure 29, 1st beat, tenor
• 6: Measure 33, 4th beat, tenor
• 7: Measure 37, 2nd beat, soprano
• 8: Measure 38, 4th beat, tenor

Measures 42-70 Adagio

This is the recitative section. The theme for this section is defined as extending from the first beat to the bass E on the fourth beat. Assuming this, the theme appears nine times in this section, each in a different key. The performer should be aware of each key and change the atmosphere accordingly. As this is also an improvisatory section, the author would, depending on the shape of the passage, play freely, perhaps speeding up or slowing down the tempo. For example, the 32nd-note passage starting on the fourth beat of measure 60 would likely be played in one breath until the G-sharp on the downbeat of the fourth beat of measure 61.

Furthermore, even with rhythms that appear to be constant, the tempo might be varied at times. For instance, the pattern starting on the third beat of measure 63 continues until measure 66, and during this period, some tempo variations (rubato-like changes) would likely be applied.

The themes of this section are listed below:

• Measure 42, 1st beat: E minor
• Measure 44, 1st beat: A minor
• Measure 48, 2nd beat: E major
• Measure 51, 1st beat: E minor
• Measure 54, 4th beat: G major
• Measure 59, 2nd beat: D major
• Measure 63, 1st beat (varied): A minor
• Measure 67, 1st beat (varied): E minor
• Measure 69, 3rd beat (varied): E major

Measures 71-142 Fuga

This is the final fugue section.

First, the themes are listed below:

• Measure 71, 1st beat: E minor
• Measure 75, 1st beat: B minor
• Measure 80, 1st beat: E minor
• Measure 87, 1st beat: B minor
• Measure 96, 3rd beat: E minor
• Measure 101, 1st beat: B minor
• Measure 111, 3rd beat: B minor
• Measure 125, 1st beat: E minor
• Measure 133, 1st beat: E minor

As you may have noticed, unlike typical Bach pieces that modulate to various related keys, this fugue merely alternates between E minor and B minor. In sections where the theme does not appear, there is a brief modulation to G major, but otherwise, the tonality changes successively through harmonic sequences, creating a sense of anticipation of going somewhere, but ultimately remaining in E minor or B minor.

In this style of fugue, one can also feel the high tension that Bach adheres to. However, unlike before, it's not possible to create variations such as "the theme in this key is strong" or "that key is weak." Therefore, the task becomes one of creating variations within a limited scope. If all themes are played with the same dynamics, the performance will be flat. So, dynamics should be applied to each theme, but this is a subjective task and ultimately left to the performer. Performers should consider not only the themes themselves but also the surrounding context, making judgments from a broader perspective.

The following is merely one example of the author's subjective dynamics. Please use it only as a reference.

Measure 71 begins with one voice, so start with a soft volume. However, this fugue has a very high overall tension, so even at p, play with a sense of tension. Measure 75 suddenly modulates to B minor. This theme can be played brilliantly.

At measure 80, the bass is added, making it three voices. This becomes the dynamically strongest part (within the fugue) so far. At measure 87, the bass theme is now in B minor. How does this theme compare to the others? Looking at the figuration after this theme, only 16th notes proceed in two voices between measures 93 and 94. While how one perceives this section may vary, the author would likely maintain p for a while. Therefore, the theme at measure 96 would not be made significantly louder.

The theme at measure 101 is in B minor, and here the volume is increased slightly. From measure 109, the ascending sequence significantly increases the tension. Therefore, the theme at measure 111 is increased in volume just a little more. But still, hold back.

At the theme in measure 125, a new figuration is added in a separate voice. This is the soprano figuration F-sharp E F-sharp E F-sharp E F-sharp E F-sharp in measure 126. Measure 127 is the same. Even here, still hold back, and the dynamics are finally increased from the ascending sequence starting at measure 128. At measure 130, crescendo without hesitation, further increasing the tension. At measure 132, even when descending, do not reduce the tension. At measure 133, for the final theme, do not reduce the tension either. At the third beat of measure 136, reduce the volume once, and then increase it again. Use the soprano figuration E B D-sharp B E B D-sharp B to crescendo. Maintain forte until the final measure.