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As for the Fugue, it employs a long theme interrupted by rests, of a very pronounced rhythmic character and an almost humorous gait… We are accustomed to hearing a conclusion where the different voices gradually dwindle until the end where, with no longer any pedal, descending quavers are discretely punctuated by a final, short chord. Hence, this is the work of a young man of about 18… And yet, what mastery, what variety and richness of expression! With the great freedom and diversity of its instrumental writing, often quite close to that of the harpsichord, and its neglect of the pedal-board, this Partita plainly shows that, for Bach as well as Boehm, there was no sharp distinction between organ and harpsichord music.
It is of note that the number of variations correspond here to the number of stanzas in the hymn.
It is actually a rather strict double fugue whose third section unites the autonomous themes of the first two. Bach concludes with an entirely free and brilliant passage which does not seem to bear any relation to the actual fugue, unless he had had the intention of beginning it with a similar virtuoso overture that is either lost or was finally never composed. Could it be that this Fantasia had served as a prelude to the performance of the famed eponymous Motet?
He is an internationally known performer and teacher, [ Release date October 15, Genres Harpsichord, Organ, Fortepiano Keyboards.
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