Bach, Johann Sebastian : Fuge a-moll BWV 947
Work Overview
First Publisher：Peters
Instrumentation：Piano Solo
Genre：fuga
Total Playing Time：3 min 40 sec
Copyright：Public Domain
Commentary (2)
Author : Asayama, Natsuko
Last Updated: October 1, 2007
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Author : Asayama, Natsuko
This work's authenticity is doubted because all sources older than the 19th-century published score (Bach's Complete Keyboard Works by C.F. Peters in Leipzig, edited by Griepenkerl, published in 1847) have been lost. The first edited score was based on a manuscript owned by Forkel.
It is extremely difficult to prove that it is an authentic work by Bach based on the available sources. However, the simplicity of its style and writing does not constitute decisive evidence of a forgery. If one removes the title "Fugue," structural similarities can be found with works such as the Capriccio BWV 993. Furthermore, the ascending theme with repeated eighth notes bears a strong resemblance to the Fantasia BWV 571 for organ, and the frequent use of parallel motion and accompaniment-like chords in the latter half of the piece is also common.
Three contrasting motives can be found in this piece: the repeated eighth notes on the same pitch that clearly announce the beginning of the theme, the sixteenth notes that gradually ascend and descend in a series of turns, and the dynamic arpeggiated chords. The arpeggiated chords only appear towards the end of the piece. Then, the music, which had been progressing slowly and hesitantly, suddenly flows out with a sense of expansion. Eventually, the accompaniment also absorbs the previous thorn-like appoggiaturas and is sublimated into a smooth linkage of quarter notes. (At this point, especially on modern pianos, care must be taken to ensure that the chords do not sound sharp or heavy.)
While such a structure is too simple for a fugue, it is a concise and charming work that effectively utilizes its lively rhythm.
Author : Ooi, Kazurou
Last Updated: November 20, 2023
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Author : Ooi, Kazurou
I will discuss the characteristics of the piano that are common to all works, not just those by Bach. The piano is an extremely unmusical instrument compared to others, such as string instruments or vocal music. There are many reasons for this, one of which is the issue of repeated notes.
The issue of repeated notes arises when the same note is struck repeatedly at exactly the same dynamic level and at exactly the same timing. If this is done, the piano as an instrument will sound extremely mechanical and rigid.
The beginning of this fugue also features repeated notes. Let's take the first measure as an example. At the beginning, there are three A's, followed by three B's. The score the author is referring to indicates a crescendo towards the fourth beat of the first measure, but of course, this was not written by Bach. It was added by the editor of this score, but it is not entirely incorrect. Playing all the repeated notes at the beginning at the same level results in an unmusical performance.
There are two target notes for the theme (subject) of this fugue. Let's take the first measure as an example. The first goal is the C on the downbeat of the first beat of the second measure. To create a sense of moving towards this point, be careful that the repeated notes A and B do not have the same volume as you approach C.
The second target note is the E in the third measure. After reaching the first goal, reduce the volume once and end on the A of the second beat. Then, from this A on the second beat, apply a crescendo again towards the E in the third measure. When comparing the first and second goals, ensure that the note of the second goal is clearly louder than that of the first. Thereafter, treat the theme in the same way whenever it appears.