Bach, Johann Sebastian : Fuge d-moll BWV 948
Work Overview
Publication Year：1843
First Publisher：Peters
Instrumentation：Piano Solo
Genre：fuga
Total Playing Time：4 min 30 sec
Copyright：Public Domain
Commentary (2)
Author : Asayama, Natsuko
Last Updated: October 1, 2007
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Author : Asayama, Natsuko
The work begins with a two-part canon and concludes with a brilliant cadenza spanning 13 measures (approximately two full pages). The theme consists of eighth notes in its first half and steadily progressing sixteenth notes in its latter half, and the entire piece is developed through motives derived from the theme. Tonal adventures are evident throughout, particularly in the concluding section, where a sequential progression traverses the circle of fifths.
This piece is currently regarded as spurious. The basis for this judgment is stylistic, citing awkwardness in counterpoint and modulation, an unplayable pedal part, and a somewhat abrupt figuration in the concluding section. However, it has been transmitted through a great number of manuscript copies, and there is no doubt that it originated in circles close to Bach and was passed down through practical performance.
Author : Ooi, Kazurou
Last Updated: November 20, 2023
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Author : Ooi, Kazurou
Regardless of its authenticity, this piece is undeniably a fugue characteristic of Bach. However, the primary issue lies in its final cadenza, spanning from bar 67 to bar 82. Had this cadenza been notated without bar lines, it could be approached with greater freedom and performed with a degree of improvisational liberty, potentially facilitating its execution.
Nevertheless, this cadenza is written entirely in 4/4 time, which imposes a significant constraint. Performers, upon examining the score, would likely perceive it as a cadenza where adherence to the beat is strictly mandated.
Furthermore, from bar 67 to bar 79, a continuous repetition of the same musical figure is observed: a descent from beat 1, an ascent from beat 3, followed by another descent on the upbeat of beat 4. This material persists without variation.
It is incumbent upon the performer to comprehend the tonality of each measure and, at a minimum, to modulate the tonal color and volume according to the prevailing key. It is imperative to avoid playing bars 67-79 with uniform dynamics or volume. Moreover, incorporating suitable improvisational elements and even varying the tempo appropriately in response to the changing keys would enhance the performance.