From the PREFACE. THE following outline analysis of each fugue is intended to provide the first stage upon which a more or less complete analysis, according to the requirements of each student, can he worked out by referring to "A Digest of the Analyses of J. S. Bach's Forty-eight Fugues." These fugues form part of the collection of Preludes and Fugues so well known as "the 48," and named Das Wohltemperirte Klavier (the Well-Tempered Clavier). The term "Well Tempered," refers to a system of tuning the clavier and other keyed instruments, which was in opposition to the then prevailing system. The musicians of that time (eighteenth century) began to feel that changes of key must be more extended, therefore they wished to have their claviers tuned on the "equal temperament system," which allowed a performer to play in any key. Bach thoroughly believed in this new system, and composed a Prelude and Fugue in every major and minor key, forming the first volume of twenty-four. This first set was completed in 1722, and a second set of twenty-four about the year 1744. Sir Hubert Parry in his most interesting book entitled " The Story of the Development of a Great Personality," says: - "The adoption of this name 'Das Wohltemperirte Clavier' (Well Tempered Clavier) by Bach, was a public and deliberate recognition of a radical change in the construction of European scales, of such pre-eminent importance, that it is no exaggeration to say, that without it modern musical art would have been absolutely impossible." The following extract from the periodical named will be interesting to many : - "Old readers of The Organist and Choirmaster will remember an article which appeared in our columns some years ago, describing a visit of the (then) three Editors (with several other professional friends) to Miss Eliza Wesley at Islington. That lady had in her possession in those days Bach's own autograph of the Second Volume (with the exception of a few pages). This MS. belonged to her father, Samuel Wesley, one of the earliest English editors of the 48; and after Miss Wesley's death, it was sent to the British Museum, where it can now be seen."

A free ebook version of this title is available through Luminos, University of California Press’s new open access publishing program for monographs. Visit www.luminosoa.org to learn more. Fugue for J. S. Bach was a natural language; he wrote fugues in organ toccatas and voluntaries, in masses and motets, in orchestral and chamber music, and even in his sonatas for violin solo. The more intimate fugues he wrote for keyboard are among the greatest, most influential, and best-loved works in all of Western music. They have long been the foundation of the keyboard repertory, played by beginning students and world-famous virtuosi alike. In a series of elegantly written essays, eminent musicologist Joseph Kerman discusses his favorite Bach keyboard fugues—some of them among the best-known fugues and others much less familiar. Kerman skillfully, at times playfully, reveals the inner workings of these pieces, linking the form of the fugues with their many different characters and expressive qualities, and illuminating what makes them particularly beautiful, powerful, and moving. These witty, insightful pieces, addressed to musical amateurs as well as to specialists and students, are beautifully augmented by performances made specially for this volume: Karen Rosenak, piano, playing two preludes and fugues fromTheWell-Tempered Clavier—C Major, book 1; and B Major, book 2--and Davitt Moroney playing the Fughetta in C Major, BWV 952, on clavichord; the Fugue on "Jesus Christus unser Heiland," BWV 689, on organ; and the Fantasy and Fugue in A Minor, BWV 904, on harpsichord.

Excerpt from Analysis of J. S. Bach's Forty-Eight Fugues (Das Wohltemperirte Clavier) HE present handbook, on which my revered father was working enthusiastically up to the very day of his death, is designed to supply a concise analysis of Bach's immortal Forty-eight, for the use Of students who are desirous Of obtaining some insight into their construction. Much has already been written on the subject, and from many standpoints; but I am nu acquainted with any book that serves the purpose which has been here kept in view, of pointing out the essentials of the form of the fugues, systematically arranged, and unencumbered by technical details of harmony On the one hand, and by ights into the realms of poetic fancy or Of psychological perceptions on the other hand. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works."

Analysis Of J.S. Bach'S Forty-Eight Fugues (Das Wohltemperirte Clavier) (Partii) has been considered by academicians and scholars of great significance and value to literature. This forms a part of the knowledge base for future generations. So that the book is never forgotten we have represented this book in a print format as the same form as it was originally first published. Hence any marks or annotations seen are left intentionally to preserve its true nature.

Bach's Well-tempered Clavier (or the 48 Preludes and Fugues) stands at the core of baroque keyboard music and has been a model and inspiration for performers and composers ever since it was written. This invaluable guide to the 96 pieces explains Bach's various purposes in compiling the music, describes the rich traditions on which he drew, and provides commentaries for each prelude and fugue. In his text, David Ledbetter addresses the main focal points mentioned by Bach in his original 1722 title page. Drawing on Bach literature over the past three hundred years, he explores German traditions of composition types and Bach's novel expansion of them; explains Bach's instruments and innovations in keyboard technique in the general context of early eighteenth-century developments; reviews instructive and theoretical literature relating to keyboard temperaments from 1680 to 1750; and discusses Bach's pedagogical intent when composing the Well-tempered Clavier. Ledbetter's commentaries on individual preludes and fugues equip readers with the concepts necessary to make their own assessment and include information about the sources when details of notation, ornaments, and fingerings have a bearing on performance.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This is the only English translation of this important book by the world's most distinguished Bach scholar.