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The Prelude and Fugue in B-flat major, BWV 866, is a keyboard composition by Johann Sebastian Bach. It is the 21st prelude and fugue in the first book of The Well-Tempered Clavier , a series of 48 preludes and fugues by the composer. It was composed no later than 1722. [1]
The prelude is in common time (4/4 time) and is composed of 20 bars, which are split into 2 periods of 10 bars each. The first period has a toccata-style melody which uses demisemiquaver (32nd note) broken chords and scale passages. In the first two bars, it uses a four-note sequence which drops by a third every half-bar. This period ends with a perfect cadence in dominant key of F major.
The second period uses a fantasia style and alternates between chords and scale progressions. The coda in bar 20 uses an extended arpeggio in the tonic that confirms the key of B-flat major. One copy of the prelude by a Bach pupil has the word adagio to the big chords in bar 11, which suggests that the second period should have a more improvisatory rhythm. [2] [3] Below are the opening bars of the prelude:
The Czerny edition has an extra bar added accommodating a cadence after the 20th and final bar of the prelude, described by Tovey as "perhaps the most Philistine single printed chord in the whole history of music". [4]
The structure of the fugue is similar to that of sonata form: it has an exposition (bars 1–13), a development (bars 13–41) and a recapitulation (bars 41–48). In the exposition, the subject is stated in the tonic, B-flat major. The second voice enters in the dominant, F major, in bar 5, then the third voice enters in the tonic once again in bar 9.
In the development, the subject is restated, then the first episode (bars 19–22) modulates the fugue to G minor, then the subject is restated twice in G minor, then C minor. The second episode (bars 30–35) then modulates the fugue to G minor, then C minor. The subject is then restated in E-flat major.
In the recapitulation, the subject is restated once again, still in E-flat major, then a coda (bars 45–48) leads to a perfect authentic cadence in the tonic. [3] [5] [6] Below are the first two statements of the fugue:
In classical music, a fugue is a contrapuntal, polyphonic compositional technique in two or more voices, built on a subject that is introduced at the beginning in imitation, which recurs frequently throughout the course of the composition. It is not to be confused with a fuguing tune, which is a style of song popularized by and mostly limited to early American music and West Gallery music. A fugue usually has three main sections: an exposition, a development, and a final entry that contains the return of the subject in the fugue's tonic key. Fugues can also have episodes, which are parts of the fugue where new material often based on the subject is heard; a stretto, when the fugue's subject overlaps itself in different voices, or a recapitulation. A popular compositional technique in the Baroque era, the fugue was fundamental in showing mastery of harmony and tonality as it presented counterpoint.
Sonata form is a musical structure generally consisting of three main sections: an exposition, a development, and a recapitulation. It has been used widely since the middle of the 18th century.
Ludwig van Beethoven's Piano Sonata No. 1 in F minor, Op. 2 No. 1, was written in 1795 and dedicated to Joseph Haydn. It was published simultaneously with his second and third piano sonatas in 1796.
Ariadne musica is a collection of organ music by Johann Caspar Ferdinand Fischer, first published in 1702. The main part of the collection is a cycle of 20 preludes and fugues in different keys, so Ariadne musica is considered an important precursor to Johann Sebastian Bach's The Well-Tempered Clavier, which has a similar structure.
Prelude and Fugue in A minor, BWV 543 is a piece of organ music written by Johann Sebastian Bach sometime around his years as court organist to the Duke of Saxe-Weimar (1708–1713).
The Well-Tempered Clavier, BWV 846–893, consists of two sets of preludes and fugues in all 24 major and minor keys for keyboard by Johann Sebastian Bach. In the composer's time clavier referred to a variety of keyboard instruments, namely the harpsichord, the clavichord and the organ.
Johann Sebastian Bach's Prelude and Fugue in D major, BWV 532.2, is a prelude and fugue written for the organ c. 1710. BWV 532.1 is an earlier version of the Fugue.
The Clavier-Übung III, sometimes referred to as the German Organ Mass, is a collection of compositions for organ by Johann Sebastian Bach, started in 1735–36 and published in 1739. It is considered Bach's most significant and extensive work for organ, containing some of his most musically complex and technically demanding compositions for that instrument.
The Prelude and Fugue in C major, BWV 846, is a keyboard composition written by Johann Sebastian Bach. It is the first prelude and fugue in the first book of The Well-Tempered Clavier, a series of 48 preludes and fugues by the composer. An early version of the prelude, BWV 846A, is found in the Klavierbüchlein für Wilhelm Friedemann Bach.
The Prelude and Fugue in F minor, BWV 881, is a keyboard composition written by Johann Sebastian Bach. It is the twelfth prelude and fugue in the second book of The Well-Tempered Clavier, a series of 48 preludes and fugues by the composer.
Prelude and Fugue in C Minor, BWV 847, is a keyboard composition written by Johann Sebastian Bach. It is the second prelude and fugue in the first book of The Well-Tempered Clavier, a series of 48 preludes and fugues by the composer.
The six sonatas for violin and obbligato harpsichord BWV 1014–1019 by Johann Sebastian Bach are works in trio sonata form, with the two upper parts in the harpsichord and violin over a bass line supplied by the harpsichord and an optional viola da gamba. Unlike baroque sonatas for solo instrument and continuo, where the realisation of the figured bass was left to the discretion of the performer, the keyboard part in the sonatas was almost entirely specified by Bach. They were probably mostly composed during Bach's final years in Cöthen between 1720 and 1723, before he moved to Leipzig. The extant sources for the collection span the whole of Bach's period in Leipzig, during which time he continued to make changes to the score.
The Prelude and Fugue in G minor, BWV 861, is No. 16 in Johann Sebastian Bach's Well-Tempered Clavier Book I, keyboard music consisting of 24 preludes and fugues in every major and minor key.
Prelude and Fugue in C major, BWV 870, is a keyboard composition written by Johann Sebastian Bach. It is the first prelude and fugue in the second book of The Well-Tempered Clavier, a series of 48 preludes and fugues in every major and minor key.
Prelude and Fugue in C sharp Major, BWV 848, is a keyboard composition written by Johann Sebastian Bach. It is the third prelude and fugue in the first book of The Well-Tempered Clavier, a series of 48 preludes and fugues by the composer.
Prelude and Fugue in E-flat major, BWV 852, is a keyboard composition by Johann Sebastian Bach. It is the seventh prelude and fugue in the first book of The Well-Tempered Clavier, a series of 48 preludes and fugues by the composer.
The Prelude and Fugue in B-flat minor, BWV 867, is a keyboard composition by Johann Sebastian Bach. It is the 22nd prelude and fugue in the first book of The Well-Tempered Clavier, a series of 48 preludes and fugues by the composer. It was composed in 1722 or earlier.
The Prelude and Fugue in D major, BWV 874, is a keyboard composition by Johann Sebastian Bach. It is the fifth prelude and fugue in the second book of Bach's The Well-Tempered Clavier, a series of 48 preludes and fugues. It was composed between 1739 and 1742.
Prelude and Fugue in C-sharp major, BWV 872, is a keyboard composition written by Johann Sebastian Bach. It is the third prelude and fugue in the second book of The Well-Tempered Clavier, a series of 48 preludes and fugues in every major and minor key.
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