Bach: The Well-Tempered Clavier Book 2 – Prelude & Fugue No. 1 C Major BWV 870

Johann Sebastian Bach created the keyboard composition which is known as “The Well-Tempered Clavier” (WTC). It was formed of 2 books of preludes and fugues in 24 major and minor keys as in total of 48 preludes and fugues in order of 12 semitones from C to B. This essay will analyse the relationship between the Prelude & Fugue no. 1 in C Major BWV 870 WTC II. It is generally accepted that this music takes an important part in Bach’s work since it is the first composition of WTC II.

To begin with the prelude, it consists of four voices: soprano, alto, tenor and bass with an improvisation style. Grey claimed that “whereas the latter is in the nature of an improvisation upon a pattern figure which is rigorously maintained throughout, the present example is very much freer and subtler in form and procedure.”[1] Although in Baroque period, there was only basso continuo with a free creation of melody by music players, the preludes of Bach were written with flexibility structure. Furthermore, Grey said that the preludes in WTC II have many differences from the first set because they have a greater connection that will lead to the ensuring fugues[2]. For example, the subject in this prelude is involved around F instead of G which will certainly end with C, while the first preludes in WTC I have more independence of the fugues. Therefore, it can be argued that this prelude is truly an introduction of the Fugue.

On the other hand, the form of the fugue has a very formal structure. It is divided in 3 sections: an exposition, a development, and a recapitulation. Having 3 voices, the fugue in C major WTC II starts with the main theme “subject”, followed by counter-subject. Bruhn claims that “with its length of four bars, divided by a rest exactly in its middle, the subject of the C major fugue reveals a very regular phrase structure.”[3] In addition, the subject will be imitated in 3 different voices.

In conclusion, it can be seen that the prelude is essentially introducing to the fugue. It shows an idea of improvisation style relating to the fugue, while the fugue has a strict structure. Moreover, the tempo and the emotion between this prelude and fugue are also different. Being slower and more expressive, the prelude makes the fugue be more exciting.

References

1 Bruhn, Siglind (2003), ‘J.S. Bach’s Well-Tempered Clavier In-depth Analysis and Interpretation’, accessed Oct 6, 2015, http://www-personal.umich.edu/~siglind/wtc-ii-01.htm.

2 Gray, Cecil.The forty-eight Prelude and Fugue of J. S. Bach: Prelude and Fugue (three parts) in C major, Oxford, Oxford University Press, 1938.

[1] Cecil Gray, The forty-eight Prelude and Fugue of J. S. Bach: Prelude and Fugue (three parts) in C major (Oxford, Oxford University Press, 1938), 82.

[2] Ibid., General Observation, 80.

[3] Siglind Bruhn(2003), J.S. Bach’s Well-Tempered Clavier In-depth Analysis and Interpretation, accessed Oct 6, 2015, http://www-personal.umich.edu/~siglind/wtc-ii-01.htm.