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Rahul Puar

Analysis: Fugue from BWV 998 by Johann Sebastian Bach

Johann Sebastian Bach was known as a master of the fugue and is still widely recognized as the preeminent composer of the genre. Mainly composing fugues for the organ or other keyboard instruments, some were also written or adapted for violin, cello, and lute. Bach’s BWV 998, Prelude Fugue and Allegro, has the indication, “Pour la Luth o Cembalo” at the top of the manuscript (Bach 1). The question has lingered as to which instrument he wrote for; the lute or keyboard. The texture, range, and fact that Bach did not play the lute, are viable pieces of evidence from both the lute and keyboard camps in regards to origin. Some believe it was composed for the Lautenwerk , which is a cross between the two instruments. Bach was known to own several Lautenwerk at the time of his death. According to Jonathan Godfrey: “If the account of Johann Sebastian’s compositional process by Carl Philipp Emanuel is correct, it raises some concerns when contemplating the seemingly keyboard influenced idiom that pervades the Prelude, Fugue, and Allegro. It is certainly probable that Bach composed the three pieces away from any instrument and used a keyboard instrument (perhaps lute-harpsichord) only to “test his results” (Burkholder 445). However, since BWV 998 does seem to be more contoured technically toward the keyboard than the lute, it is reasonable to suggest that a keyboard instrument did at least have some impact on the compositional process”(Godfrey 3). Bach most likely composed the work away from any instrument. The title “Pour la Luth o Cembalo” indicates that Bach was most likely aware that it was feasible to play on either instrument in terms of range and tuning. Despite the piece’s undetermined origins, I chose to use the guitar score rather than the grand

staff to make the analysis immediately relevant to my instrument, though I referenced the score on several occasions. Because of this, I will refer to the tonic key of D instead of E flat. This fugue in E flat major takes the form of ABA, with the A sections being exact replicas of one another. The subject is two measures in length and begins on the second beat of the first measure. The figure starts on the tonic in the soprano which descends to the lower neighbor a semitone away and back up again. This three notes figure is the backbone of the prelude which precedes the movement. A descending fifth and stepwise motion back up to the tonic completes the subject, which is then smoothly taken over by the answer in the alto voice. This tonal answer varies the semitone neighbor of the subject in favor of a downward leap of a third, while still maintaining the spirit of the thematic material and emphasizing the dominant. There does not appear to be a counter subject. The exposition is covered in measures one through thirteen and the voices are introduced in the order of soprano, alto, tenor, and bass. The answer in the alto and subject in the tenor voice are separated by two measures of ‘link’ material in measures five through seven. The link sequences downward and flows smoothly into the subject in the tenor voice in measure seven. This statement is followed by another link of two bars in measure nine. Here, Bach introduces a smattering of sixteenth notes, possible foreshadowing the sixteenth notes to come in the B section. The final answer of the exposition comes in using the lowest registers of the guitar in measure eleven. Since the texture of the piece seems to center around three voices at a time, I can see how one could analyze the fugue in three voices

instead of four. I thought the ranges of the voices too important to ignore and saw the piece as having four voices that drop in and out as to highlight their subject and answer entries. The answer entry in the bass in measure eleven is harmonized with a figure that is yet to be seen more in the piece. A group of double suspensions in thirds create 9-8 and 7-6 suspensions simultaneously. The quality of the suspensions varies greatly throughout the piece, giving us every suspension type available at some point in the piece. As the exposition ends on measure 13 beat 2, the final bass answer is sequenced up by step in the key of the dominant. This very short link is again harmonized with the double suspension material. This leads directly to a statement of the subject in the tenor voice. I appreciate that one may not call this a link since it carries the answer material; however I felt that the effect of these measures was driving toward the restatement of the subject in measure fifteen. Completing the tenor statement of the subject, we finally get an episode which lasts four measures. The material here is from the double suspensions that were introduced in the preceding measures. The episode is a rising sequence and takes us through a series of suspensions and retardations. This episode takes us to beat two of measure 21 where we get the answer in the soprano beginning on a deceptive cadence. Link material of a single beat is all that separates the soprano answer statement from a very interesting answer statement which begins in measure 23, beat three. Here, the first four notes of the answer are in the alto voice while the final four notes are present in the bass voice in measure 24. Completion of this divided entrance of the answer is a full measure of the double suspension motiv

over a rising bass figure. This rising bass figure is akin to the last four notes of the answer. In measure 26 it is picked up by a full A major scale in the bass which covers two and a half measures, and acting as cadential material. This brings the A section to a close at measure 29. So far we have heard seven full statements of the subject and answer with a possible eight statements if you consider the bass voice in measures thirteen and fourteen. In the exposition the statements went in the order: soprano, alto, tenor, bass. The second half of the A section has statements in the order: tenor, soprano, alto/bass. The episodic material in this section is minimal but still serves as a backbone and contributes greatly to the character of the piece. The middle, or B section, of this ternary fugue contains contrasting material as well as recalling motives from the A section. Beginning with a running sixteenth note arpeggiated figure that ends on a perfect authentic cadence in the tonic, the B section is a blunt digression from the A material. We get our first answer entry in measure 31 in the tenor line. This entry has the characteristic semitone neighbor figure as the subject, but is in the key of the dominant. The final four notes of this entry begin with a leap of a third instead of the expected scale motion. This brings us to the B section’s opening figure, now in the dominant, and ending with a perfect authentic cadence. The familiar figure takes us to a full statement of the subject in the alto line in measure 35. Again the subject is decorated with the running arpeggiated figures above it. Another two measure link bridges the previous subject entry with a literal statement of the answer, again in the tenor line in measure 39. The link material sequences upward, using material from the first beat and last beat of the B

section’s opening arpeggios. The answer is in turn followed by another two measure link in measure 41, this time sequencing downward using a pedal point motiv. This is material that we have not yet seen in the fugue, though it begins on the same three note semitone neighbor like the subject. The last statement that we get for some time is in the alto voice in measure 43. Interestingly, the statement is in the key of the submediant. The first five beats have the theme sandwiched between the soprano and tenor line, only to become the top line in the final three beats and end on a perfect authentic cadence. Up until this point, the B section has held to the pattern of link material for two measures, then two measure statement of subject or answer. The first sixteen measures of section B give us four statements of subject or answer, but not in every voice. Only the tenor and alto have quoted the thematic material. I mentioned that the first sixteen measures of section B hold a pattern of two measure alternation between link and subject material. Interestingly, it is another sixteen measures before we get another statement of the theme. Beginning in measure 45, again we get the pattern from the first and last beats of the B section’s arpeggiated theme. These two measures bring us to a cadence on A in measure 47. The chord on the downbeat of measure 47 serves as the end of one sequence, and the beginning of another. This section sequences by descending third in the bass using the first four notes of the answer as material. The sixteenth note rising and falling arpeggios above the bass line also sequences downward, but in a more stepwise fashion. The sixteenth note figure above the bass sequence changes to a pedal point figure which cadences on the mediant in measure 51.

The next sequence we get in measure 51 is two measures long and is stated twice. This pedal point sequences moves down by step from f#(iii) to e(ii) which leads to an authentic cadence in D(I) major in measure 55. This flows directly into another two measure sequence with a rising and falling arpeggio figure much like the one started in measure 47. This section builds much anticipation and dramatic tension as it sequences from e(ii), to f#(iii), to G(IV). Measure 61 is the first statement of the subject that we have had since the one in the submediant, sixteen measures ago. We have been taken up and down sequences and finally arrive at a statement in the soprano over a very strong cadential figure in the tonic key. The long awaited subject flows seamlessly into the familiar theme found in the opening of the B section. The same bass line is used here, but the upper arpegiated notes of the last three beats are changed. Interestingly, Bach brings back his episodic double suspension motive from the A section and includes it in this culmination of the B section. Again, the B section theme comes back in the dominant, followed by more of the double suspensions and retardations. The pattern of two bars of theme and two bars of double suspensions is apparent. After two more bars of the double suspensions, we cadence in e(ii) in measure 71. A figure reminiscent of the sixteenth note pedal point sequence from measure 41 begins on the second beat of measure 71. This cadenza like section begins with two voices, expands itself to three voices in measure 72, and finally includes all four voices as it cadences on the dominant. The final statement of the subject is an interesting one. As the B section comes to a close, we get a strong perfect authentic cadence on the dominant in

measure 75. The V7/V that precedes the cadence uses the 7 th of the sonority as the first note of the subject. This is a highly obscured statement of the subject despite it being in the top voice of the figure. The final note of the final statement is the soprano note in a perfect authentic cadence in the tonic. This ends the B section and it flows seamlessly to the A section’s first statement of the answer. Bach brings us full circle back to the vocal like texture of the A section. Lawrence Ferrara, my old guitar teacher, mentioned that the A section is like a chorale and the B section is more instrumental in character. The drastic contrast between the sections highlights the each section’s independence while still providing enough commonality between the two to give a strong sense of cohesion. There is a distinct difference in the amount of subject/answer material between the A and B sections. The absence of the subject in the second half of the B section makes the return of the subject that much more satisfying when it finally comes back. Also, the clear cut exposition of the A section does not seem to be paralleled in the B section. Any statements seem to be ‘middle entries’ as not all the voices are used and many of the entries are not standard. In other words, it does not seem as though the B section can be viewed as a stand-alone fugue, whereas section A can be. This piece is a monument in the classical guitar repertoire and one of few Bach works that we can relate to the ancestors of our instrument. With so few great composers for plucked string instruments, it is nice to think that a master as great as Bach might have had a soft spot in his heart and ear for it.

Works Cited Bach, Johann S. "BWV 998." Http://imslp.org/. N.p., n.d. Web. Burkholder, Peter J., Grout, Donald J., Palisca, Claude V. A History of Western Music. New York. W.W. Norton and Company, 2010. Print

Godfrey, Jonathan. "“...pour La Luth ò Cembal”: Deciphering the Instrumentation of Bach's Prelude, Fugue, and Allegro, BWV 998." Www.lagrange.edu/. N.p., n.d. Web.