Prelude and Fughetta, for keyboard in E minor, BWV 900 is the most - TopicsExpress

Prelude and Fughetta, for keyboard in E minor, BWV 900 is the most impressive of the group. The prelude has the same type of tortuous, dissonant part writing as the allemande of the English Suite in the same key. It differs in introducing the inversion of the subject and countersubject right at the start, in the first imitative entry (m. 2), and in the somewhat surprising outbreak of scale figuration in thirty-seconds at the end of each of the three sections—all this within a concise eighteen-measure framework. A similar sort of acceleration occurs in the fugue, the longest of the group, whose subject, moving primarily in eighths, is of the old-fashioned rhetorical type, punctuated by silences. h e latter are i lled in by the countersubject’s figuration in sixteenths. These are among the points of style recalling the “Chromatic” fugue BWV 903/2, with which this fugue shares what seem to be characteristics of Bach’s Weimar virtuoso works: the sequential phraseology of the subject; long episodes in two voices, ot en setting figuration in sixteenths against “walking” eighths; and a flashy final cadence that immediately follows a statement of the subject in the soprano (embellished from m.98 onward).The long stretches of the fugue given over to episodic passagework in two parts, by comparison with the somewhat similar BWV 870a/2, might be why Bach eventually admitted the latter into WTC2 but not BWV 900. youtube/watch?v=n0A7gk9gD2w

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