Fugue

In contrast to the flowing, tranquil Prelude, this Fugue is written in 6/16, which somehow leads one to assume a rather fast tempo. While Bach certainly uses 6/8, his use of 6/16 is limited to specific instances. For example, this time signature appears in the Gigue from the French Suite in G major, or in the Toccata in D major. Although it could have been written in 6/8, there must be a reason for choosing 6/16. While it's easy to assume this reason is simply a faster tempo, such an assumption presents its own problems.

From the author's perspective, a tempo that allows the frequent 32nd notes, particularly from measure 89 onwards, to be heard clearly is appropriate. If this fugue is played too fast in a hall with excessive reverberation, these 32nd notes might sound like a glissando. Considering such a possibility, a tempo that is not excessively fast is chosen here.

Indeed, the meaning of writing in 6/16 should be considered not merely as indicating a faster tempo, but also as maintaining a higher level of tension itself.

While some pianists play this fugue delicately and elegantly, one must not forget that it is in F major. Recall other pieces in F major. It is a key of very strong expression, and also a very joyful key. Consider Bach's mood when he wrote this fugue. Could there have been a more joyful time? Measure 61 might be one of the loudest sections in this fugue. And the subject from measure 85 briefly turns to minor on the first beat of measure 87. This is a humorous compositional technique, full of joy.

Then, upon reaching the 32nd notes, the volume is reduced once at measure 94, and from there, the tension is progressively increased until the end. Play the ending not by merely increasing the volume, but by conveying immense energy, without worrying about others' opinions or trying to make it sound 'neat'.