Book contents
- Frontmatter
- Contents
- Preface
- List of abbreviations
- BWV 131a Fugue in G minor
- BWV 525–530 Six Sonatas
- Preludes and Fugues (Praeludia) BWV 531–552
- Eight Short Preludes and Fugues BWV 553–560
- Miscellaneous pieces BWV 561–591
- Concertos BWV 592–596
- BWV 597 and 598
- Orgelbüchlein BWV 599–644
- Schübler Chorales BWV 645–650
- Chorales formerly called ‘The Eighteen’ BWV 651–668
- Chorales from Clavierübung III BWV 669–689
- Chorales formerly called ‘The Kirnberger Collection’ BWV 690–713
- Miscellaneous chorales BWV 714–765
- Chorale variations (partitas) BWV 766–771
- BWV 790
- Four Duets from Clavierübung III BWV 802–805
- BWV 943, BWV 957, BWV 1027a and 1039a, BWV 1029.iii, BWV 1079.ii, BWV 1085
- Chorales now called The Neumeister Collection BWV 1090–1120
- Further works, in part of uncertain origin
- Calendar
- Glossary
- Bibliography
- Index of names
- Index of BWV works cited
Miscellaneous pieces BWV 561–591
Published online by Cambridge University Press: 22 September 2009
- Frontmatter
- Contents
- Preface
- List of abbreviations
- BWV 131a Fugue in G minor
- BWV 525–530 Six Sonatas
- Preludes and Fugues (Praeludia) BWV 531–552
- Eight Short Preludes and Fugues BWV 553–560
- Miscellaneous pieces BWV 561–591
- Concertos BWV 592–596
- BWV 597 and 598
- Orgelbüchlein BWV 599–644
- Schübler Chorales BWV 645–650
- Chorales formerly called ‘The Eighteen’ BWV 651–668
- Chorales from Clavierübung III BWV 669–689
- Chorales formerly called ‘The Kirnberger Collection’ BWV 690–713
- Miscellaneous chorales BWV 714–765
- Chorale variations (partitas) BWV 766–771
- BWV 790
- Four Duets from Clavierübung III BWV 802–805
- BWV 943, BWV 957, BWV 1027a and 1039a, BWV 1029.iii, BWV 1079.ii, BWV 1085
- Chorales now called The Neumeister Collection BWV 1090–1120
- Further works, in part of uncertain origin
- Calendar
- Glossary
- Bibliography
- Index of names
- Index of BWV works cited
Summary
BWV 561 Fantasia and Fugue in A minor
Later eighteenth- or nineteenth-century copies only (P 318, P 1066), and Peters IX.
Two staves; headed in P 318 ‘Fantasia’, and by a later hand, ‘in A moll (Preludio e Fuga per il Cembalo)compost: da Giovanne Sebast: Bach’.
One view is that this is an early work ‘composed for pedal harpsichord’ (‘Pedalflügel’:BG 38 p. xxii), like the A major fugues BWV 949 and 950. Another is that whoever the composer was, he knew the Prelude and Fugue in A minor BWV 543 (Keller1937); perhaps it was Kittel, of whom the changes of movement from semiquavers to demisemiquavers may be typical (Keller d 1948 p. 57). Why the work could also be accredited to W. F. Bach (Frotscher 1935 p. 856) is unclear.
The figures of bb. 1 and 29 can be found (in the same key) in Buxtehude's D minor Toccata, and others suggest a familiarity with diminutio conventions. Details reminiscent of BWV 543 include such figures as the broken chords above tonic pedal, the harmony at bb. 82–3 and the fugue-subject itself, which is the most Bach-like thing in the whole. Like BWV 543, it consists of an opening phrase followed by a sequence, a type known elsewhere amongst contemporaries (e.g. Böhm's C major Praeludium and BWV 948) or pupils (J. P. Kellner's Fugue Anh.III 180). A ‘style relationship’ with the Concerto BWV 594 has also been heard (EB 6583 p. xiii).
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- The Organ Music of J. S. Bach , pp. 145 - 200Publisher: Cambridge University PressPrint publication year: 2003