For our next set of preludes and fugues from the Well-Tempered Clavier Book 2, let’s go back to Trevor Pinnock’s recent recording on David Way’s instrument, copy of a mid-1700s Henri Hemsch.

G minor

This prelude is the only one in the whole book that has a tempo marking – Largo. It’s a dotted-rhythm piece in the French style, in four parts. It includes contrapuntal elements among the voices and a general stern and reserved tone.

The 4-part fugue is based on a catchy theme that includes both wide leaps and repeated notes, which allows it to mesh very well with itself over the course of the piece, in addition to being easy to spot as it comes in on each voice.

A flat major

This prelude is long and elaborate, resembling an orchestral piece with solo instrument. The solo line alternates with “tutti” segments particularly in the beginning, with constant dotted rhythms. In looking at the score, one can’t but be surprised at the B double flat major scale towards the end!

The fugue, also in 4 parts, includes runs of 16th notes that achieve a moto-perpetuo character. Over this busy theme, the chromatic countersubject, which can be first heard with the third entry of the main subject, provides contrast and complexity to the texture. As in the prelude, Bach modulates to B double flat major in the end.