The Art of Fugue: Bach Fugues for Keyboard, 1715-1750
University of California Press, 25 jul. 2005 - 196 páginas
Fugue for J. S. Bach was a natural language; he wrote fugues in organ toccatas and voluntaries, in masses and motets, in orchestral and chamber music, and even in his sonatas for violin solo. The more intimate fugues he wrote for keyboard are among the greatest, most influential, and best-loved works in all of Western music. They have long been the foundation of the keyboard repertory, played by beginning students and world-famous virtuosi alike. In a series of elegantly written essays, eminent musicologist Joseph Kerman discusses his favorite Bach keyboard fugues—some of them among the best-known fugues and others much less familiar. Kerman skillfully, at times playfully, reveals the inner workings of these pieces, linking the form of the fugues with their many different characters and expressive qualities, and illuminating what makes them particularly beautiful, powerful, and moving.
These witty, insightful pieces, addressed to musical amateurs as well as to specialists and students, are beautifully augmented by a CD with new performances made specially for this volume. In addition to the complete scores for all the music discussed in the book, the CD features Karen Rosenak, piano, playing two preludes and fugues from TheWell-Tempered Clavier—C Major, book 1; and B Major, book 2—and recordings by Davitt Moroney of the Fughetta in C Major, BWV 952, on clavichord; the Fugue on "Jesus Christus unser Heiland," BWV 689, on organ; and the Fantasy and Fugue in A Minor, BWV 904, on harpsichord.
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alto Art of Fugue augmentation B-flat Major Bach fugues Bach's Baroque bass entry beat beginning Bullivant Busoni C-sharp Minor cadence in bar cadential central cadence CHAPTER chorale chord Christus unser Heiland Chromatic Fantasy clavichord climax composition contrapuntal contrapuntal inversion counterpoint countersubject Davitt Moroney diminution dissonant dominant double fugue eighth-note example exposition Fantasy and Fugue feels figure fourth Fuga fugal Fughetta Fugue in B-flat Fugue in C-sharp fugue subject fugue's G Minor gigues half cadence half notes harmony Hermann Keller improvisation interval ject Jesus Christus keyboard Laurence Dreyfus leap mediant melodic line modulation motif octave pair pedal phrase piece pitch Prelude and Fugue quarter notes recto recurring episode rhythmic Riemann scale degree Schenker Schulenberg semitone sequence sixteenth notes soprano soprano entry stretto strong cadence subdominant subject entry submediant Tempered Clavier tenor texture thematic tion tonic tonic entry Tovey triad Well-Tempered Clavier