Composer

:

Wilhelm Friedemann Bach

Genre

:

Keyboard

Style

:

Fugue

Compose Date

:

ca. 1774 - 1778

Publication Date

:

1968

Average_duration

:

3:23

Wilhelm Friedemann Bach, the eldest son of Johann Sebastian Bach, composed the 'Fugue for keyboard in E flat major, F. 31/5 (BR A85)' in the mid-18th century. The exact date of composition is unknown, but it is believed to have been written between 1740 and 1750. The piece was first published in 1803, long after the composer's death. The 'Fugue for keyboard in E flat major' is a single-movement work that follows the traditional structure of a fugue. It begins with a short exposition, in which the main theme is introduced in the tonic key of E flat major. The theme is then imitated by the other voices, or "voices," in turn, creating a complex web of interweaving melodies. The fugue then proceeds through a series of episodes, in which the theme is developed and transformed in various ways. These episodes often modulate to different keys, providing contrast and variety to the piece. The fugue culminates in a final stretto, in which the voices overlap and interlock in a dense and intricate texture. One of the most notable characteristics of the 'Fugue for keyboard in E flat major' is its use of chromaticism. The piece frequently employs chromatic harmonies and melodic lines, creating a sense of tension and instability. This chromaticism is particularly evident in the final stretto, where the overlapping voices create a dissonant and complex texture. Another notable feature of the piece is its use of counterpoint. The fugue is a prime example of Bach's mastery of counterpoint, with each voice contributing to the overall texture in a unique and intricate way. The piece also demonstrates Bach's skill in creating complex and sophisticated harmonic progressions, with unexpected modulations and chord changes. Overall, the 'Fugue for keyboard in E flat major' is a masterful example of Bach's contrapuntal and harmonic techniques. Its intricate and complex texture, combined with its use of chromaticism and counterpoint, make it a challenging and rewarding piece for performers and listeners alike.

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