Fugue XIII in G flat/F sharp major for 4 voices (Part 1 of 2)

Today I am presenting another fugue from my preludes and fugues project. Since it is a long piece with a special feature in its second half, I have decided to split the presentation into two posts.

I began composing this fugue four years ago, inspired by Bach's Fugue in E major from WTC2 (BWV 878), after seeing Jörg Demus' wonderful introduction and tutorial, which unfortunately is no longer available on YouTube.

The idea is to compose a fugue in the „stile antico“ or Palestrina style, which means having
    • 4/2 time signature (long allabreve),
    • long note values (from quarter notes to whole notes, and even „brevis“ notes),
    • a subject that moves primarily by step, with few leaps. Any leap that occurs is immediately balanced by stepwise motion in the opposite direction.

Exposition (mm. 1 – 15).

The „regular“ exposition is ascending (subject highlighted with blue-colored notes)
    • Dux, G flat major, bass (mm. 1)
    • Comes, D flat major, tenor (mm. 5)
    • Dux, G flat major, alto (mm. 9)
    • Comes, D flat major, soprano (mm. 12b)
with tonal answer.

We have a recurring countersubject (highlighted with olive-colored notes) which is paired with the subject entries in mm. 5, 9 and 13. Whereas the first occurrence of the countersubject starts together with the subject entry (mm. 5), the second one is delayed by one whole note (mm. 9) and the third one is delayed by two whole notes (mm. 13), thus not repeating the previous entry rhythmically but creating a continuous flow.

Second Development Section (mm. 17b – 26a).

After a one-bar codetta (mm. 16b – 17a) with a tritone substitution we reach the second development section where the subject appears in stretto as following
    • B flat minor, soprano (mm. 17b)
    • F major, alto (mm. 18)
    • B flat minor, tenor (mm. 21b)
    • F minor, inverted, bass (mm. 23, highlighed in green)

The countersubject appears three times (mm. 17b, 21b and 23), the latter one in inversion (highlighted by plum-colored notes).

Episode (mm. 26b - 32a).

This episode is built from the material of the countersubject (highlighted with olive-colored notes) creating its own fugato.

Third Development Section (mm. 32b – 36a).

In the third development section the subject occurs the first time in a diminished form. It is not an exact halving of the notes values but also a rhythmic variation.
    • A flat major, diminished (highlighted with turquoise notes), soprano (mm. 32b)
    • C minor, tenor (mm.32b)
    • C major, diminished, soprano (mm.34c)
    • F major, diminished, alto (mm. 34b)
    • A major, diminished inverted (highlighted with pink  notes), bass (mm. 34b)

The subject entries are heavily squeezed together as strettos, and we have a surplus subject entry. The countersubject does not occur in this development section.

Episode (mm. 36b - 40a).

This episode is built from the material of the inverted countersubject (highlighted with plum-colored notes), also in a fugative way.

Fourth Development Section (mm. 40b – 43a).

The fourth development section is another one where the subject is presented in its diminished and normal form, together in stretto.
    • D flat major, tenor (mm. 40)
    • A flat major, diminished, soprano (mm. 40b)
    • C flat major, diminished, bass (mm. 40b)
    • F flat major, diminished, alto (mm. 42)

Episode (mm. 43b - 50).

This episode consists of two different sections with sequences (mm. 43 – 45 and mm. 46 – 50) whereas the fugue subject once occurs in its inversion (E flat minor, bass, mm. 46).

With the crescendo of the second sequence motif, the fugue reaches its first climax, leading to the second half, which I will present next Tuesday, February 24th. Stay tuned!