Topic: New video Bach @ home. Fugue n 11 in F major BWV 856 WTC 1
Dear Friends,
Today we are in the key of F major, and on our journey we encounter a new Fugue masterpiece by Bach.
The fugue spins along without formality, revelling inthe full freedom of its melody. The third voice (bass) does not enter immediately (although that could have been accomplished without difficulty), but only after an inserted free measure which inclines towards the principal key (c7—f+) and permits the upper voice to proceed quietly to rest; under the concluding notes comes the new entry (8a=i) at the end of which the exposition (collecting of all the voices and production of the thematic material) must be considered at an end (three periods of four measures). The first (principal) section (the one in the principal key) extends beyond the exposition, and comprises a second, and indeed, redundant development with the following order of voices, soprano (Dux), alto (Comes), bass (Dux), and in stretto with the bass once more the alto (Comes); between these first two developments there is an episode of four measures, which, with a syncopated counterpoint (of which no further use is made), rises to the dominant, while the bass has the countersubject. This countersubject appears, besides, with all the seven theme entries of the principal section, faithfully accompanying the theme (but Comes ought really to be the name of the first counterpoint, in so far as it is retained, rather than that of the "answer").
The already mentioned stretto at the end of the first section requires a close-confirmation of two measures, from which, by a delayed resolution of the ninth {g) springs an episode leading to the (modulating) middle section.
The middle (modulating) section is likewise capable of being subdivided: after the half close on a7 there is first, a strict stretto of the theme in D-7minor (all three voices: soprano, alto and bass beginning with a bb) and, until the bass makes its entry with the theme, it holds on to a as an organ-point. The second half of the middle section, which follows on after a close-confirmationof two measures, is in G-minor, and consists of a stretto of all three voices in reversed order (bass, alto, soprano, beginning with d—eb). All the strettos (including the one with which the first section closes) are formed by the second half of the theme acting as comiterpoint to the first half, of the same.
My actual setting is:
Played on Yamaha P125 piano stage Video Recording Samsung Galaxy A54.
VST: Hamburg Steinway D Pianoteq Stage 8.4.0
