• fugue
  

  noun /fyo͞og/ fugues, plural A contrapuntal composition in which a short melody or phrase (the subject) is introduced by one part and successively taken up by others and developed by interweaving the parts (source: Google).

Fugue

The name itself brings to mind an entity both complex and approachable.  There is its ambient sound–the instruments as being heard altogether–and the individual sounds that lay buried within it.  It’s like a Christmas present wrapped in infinite wrapping paper.  You can never open it.  Only find joy in revealing another wonderful aspect of its existence.

Just as I would critically analyze a poem or literary text, so must I analyze a fugue in much the same way.  As with a poem, I may talk about its tone, diction, rhyme scheme, imagery or symbolism.  At surface level, the poem speaks of one meaning; but beneath its waters lies a reality of  numerous meanings.  I could ask the same questions of a fugue: What is it’s tone, diction (or in this case, it’s rhythm), rhyme scheme ( cadences), imagery and symbolism?

A nice specimen to critique is the fugue that is the third movement of Bach’s Brandenburg Concerto No. 2 in F Major.  Immediately, I hear that its tone is exuberantly expressive.  Of course, performance varies–but I tend to like my fugues fast and deliberate, thank you (with a lot of bounciness on the side, too!).  The tone overall puts me in a cheerful mood.

The diction is sharp, critical even.  The rhythm is urgent and persistent.  The cadences are completed by single instruments , the instruments in pairs, or all the instruments altogether.  Imagery and symbolism is always mentally (and morally) different for everyone.  After having heard this fugue over the years, I mentally associate it with the colors blue and yellow.  Why?  I don’t know, really.  But whenever I go to search for it on YouTube, or hum its main theme, I see those colors.  What do they symbolize? For me?  Nothing really–they’re just colors, right?  But here is some interesting symbolism I gleaned from the web about the colors blue and yellow (which I may apply inadvertently to my own interpretations):  COLORS

Enough critical thought.  Here is the concerto in its entirety.  Critique it for yourself.

P.S.: The title of this post only makes sense if you listen through to the third movement!

http://www.youtube.com/watch?v=sYIkOHN1bg8&feature=related

http://www.youtube.com/watch?v=bgETFJdnXek&feature=related

http://www.youtube.com/watch?v=gPKTVg5hvQw&feature=related

(printable sheet music)

1st Movement-C major

Because this sonata is written on an organ–perhaps Bach’s favorite instrument besides the harpsichord or viola–we see three clefs.  From top to bottom, there is the treble cleft(a);  a second treble cleft which acts similar to an alto’s singing voice(b);  and the bass cleft(c).  The time signature is 3/4, and since it is written in C major, we have no accidentals in the key.

The movement begins with a simple call and response–initiated by the (a) cleft and repeated in the (b) cleft.  When the theme of the call and response appears in the (b) cleft the bass supports it with a march-like bounce, giving the introduction a free yet structured feel.  Once the voices have introduced themselves they move promptly into the beautiful realm of counterpoint Bach is best known for.  The key here is to be able to discern both voices–that is, being able to hear both voices individually and together.  The  result of being able to discern is that you can enter into the atmosphere of the music–you begin to feel its pulse.  The themes from the call and response are repeated throughout and it is truly amazing at what Bach does with so little.

Throughout, we hear a suspension in the bass cleft that allows the clefts (a) and (b) to speak out in tight counterpoint.  What is interesting to note in this piece is Bach use of syncopation–which was popularized by the likes of Scott Joplin and others.  To me,  this gives the music a sort of graceful authority.  Although the theme remains platonic, the syncopation seems to command a more prominent importance–almost as if Bach was trying to stress a point, such as here:

or here:

Perhaps Bach wanted to stress the importance of frugality?  To use what little we do have to feed those without.

This is what I like to think.  Having a point of understanding let’s me enjoy the piece on a moral level.   The music becomes more than music at this point.

2nd Movement A minor

The second movement switches to A minor, which is similar to the key of C major in that it also has no accidentals.

The transition between the two movements is starkly felt.  The first movement carried a rather admonishing tone throughout–as if saying don’t forget!  Remember what I said, because I will keep repeating this theme!

Well, the second movement seems to be exactly what was to have been feared. Its feel is  immediately cold, dim, and introspective.  After a while you perceive its hypnotizing sway–not unlike a ship tossed at sea.  There is a journey to be experienced here.  There are scintillating episodes that shine so brightly that they would seem to burst into actual light (beginning at 2:35 in the video).

This movement has a lot of charm.   With its introspective air, I like to believe that these beautiful charms are nothing more than illusions.  They quickly degrade into frustration and anguish, such as here:

The bass picks its way throughout the soundscape.  It attempts to remain steady.  The syncopation familiar to the first movement is present also here, albeit more grave in nature.  The seriousness of this movement cannot be ignored and its poignancy is highlighted by its somber ending.  Much is left unsaid and it will be the purpose of the next movement to somehow change all this!  We need answers!

3rd Movement Major

Now we get back to a very expressive feel.  The return to C major brightens up the mood, yet this movement is by no means a return to “enjoyable” times.  With careful listening, the (a) and (b) clefts are locked in a tight tussle, instigated by the bass.  Everything moves along in a seamless arc, with melodies becoming bass and the bass becoming melody. The opening has a distinct upward lilt, and the music has a tendency to move upwards.

As per the video, I like to imagine the bass as sounding a lot like cellos, and the upper voices come across as a mixture of violins or flutes.  In this sense, this movement makes me think of a concerto with its construction!

I have heard some people criticize Bach’s music because of his “over-reliance” on counterpoint, and his use of “flipping” the music upside down.  I fail to see why these same people would consider this somehow as if Bach were cheating.  The music may look simple enough, and it is in simplicity where there is genius.    It takes more than simply “flipping” the music as Bach does and still maintain artistic clarity.  What is amazing is how the music takes on a different character when it is transposed from the treble cleft to the bass cleft.

viola da gamba.

Viola da gamba

Viola D’amore

Viola D'amore

Recorder

Recorder

Harpsichord

Harpsichord

Piccolo

Piccolo

Lute

Lute

Viol-courtesy of William Byrd!

Viol

Harp

Harp

Pipe Organ

Pipe organ

Sackbut

Sackbut

Enjoy.

1.  Et exsultavit spiritus meus |BWV 243

2.  Patron, das macht der Wind |BWV 201

3.  Der Herr segne euch je mehr |BWV 196

4.  Komm, mein Jesu, und erquicke |BWV 21

5. Jesus nahm zu sich die Zwölfe |BWV 22

6. Widerstehe doch der Sünde |BWV 54

7. Wachet auf ruft uns die stimme |BWV 140

8. Öffne meinen shlechten Liedern |BWV 25

9. Du wahrer Gott und Davids Sohn |BWV 23

10.  Kreuz und Kronen sind verbunden |BWV 12

11.  In deine Hände befehl ich meinen Geist |BWV 106

12.  Ich wünsche nur bei Got zu leben |BWV35

13. Erfüllet, ihr himmlischen göttlichen Flammen |BWV 107

14.  Jauchzet Gott allen Landen |BWV 51

15.  Der Glaube ist das Pfand der Liebe |BWV 37

16.  Ich will den Kreuzstab gerne tragen |BWV 56

17.  Wir eilen mit schwachen och emsigen Schritten |BWV 78

18.  Schäme dich, o Seele nicht |BWV 108

19.  Jesus soll mein erstes Wort |BWV 171

20.  Verleih, daβ ich aus Herzengrund |BWV 177

21. Der Ewigkeit saphines Haus |BWV 198

22.  Alles, was von Got geboren |BWV 80

23.  Betörte Welt, betörte Welt! |BWV 94

24.  Wo zwei und drei versammlet sind |BWV 42

25.  Gott, du hast es wohl gefüget |BWV 63

26.  Kommt, ihr angefochtnen Sünder |BWV 30

27. Woferne du den edlen Frieden |BWV  41

28. Herz, zerreiß des Mammons Kette |BWV 168

29.  Kron und Preis gekrönter Damen |BWV 214

30.  Ein unbegreiflich Licht |BWV 125

31. Mein Jesu ist erstanden |BWV 67

32. Ich habe genug |BWV 82

33.  So du willst |BWV 131

34.  Ich will nach dem Himmel zu |BWV 146

35.  Ich bitte dich, Herr Jesu Christ |BWV 166

36.  Wohl euch, ihr auserwählten Seelen |BWV 34

37. Ihr Kleingläubigen, warum seid ihr so furchtsam? |BWV 81

38. Gott versorget alles Leben |BWV 187

39.  Ebarme dich |BWV 244

40. Bereitet die Wege, bereitet die Bahn! |BWV 132

41. Stumme Seufzer, stille Klagen |BWV 199

42.  Dein Vachstum sei feste |BWV 212

43.  Jagen ist die Lust der Götter |BWV 208

44. Woferne du den edlen Frieden |BWV 41

45. Gottlob! nun geht das Jahr zu Ende |BWV 28

46. Treu und Wahrheit sei der Grund |BWV 24

47. Gott schickt uns Mahanaim zu |BWV 19

48. Wir danken und preisen dein brünstiges Lieben |BWV 134

49. Ich bin vergnügt |BWV 58

50. Wie furchtsam wankten meine Schritte |BWV 33

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