Identify please

[Mat]

Which set does this fugue come from?

[musicalis]

Hello
Fugue en sol mineur
I have this score in the following book, but your pictures comes from an other book. I do not know the n° BWV. It is one of the 9 fugues and there is no prelude attcahed to this piece.

JS BACH

Oeuvres completes pour orgue annotées et doigtées par Marcel Dupré
HUIT PETITS PRELUDES ET FUGUES
TROIS PRELUDES - NEUF FUGUES - CINQ FANTAISIES
VOLUME V

pages 60

[Mat]

Thank you very much, Jean-Paul. Too bad you don't know the BWV number. Can anyone else could help me with that? Or show me where to find a recording? TIA.

[musicalis]

Hello Mat


I can find the BWV number by listening the begining of all the G minor fugues I have in my CD, but today i have no time. I hope somebody will reply to you before.

[Mat]

That would be very nice. I'll be waiting patiently

[jvhldb]

I found what might be a match (BWV 131a) at http://imslp.org/wiki/Cantatas,_BWV_131-140_(Bach,_Johann_Sebastian)), follow the link to http://imslp.info/files/imglnks/usim...ue_g_minor.pdf

Hope this helps.

[Contratrombone64]

Yep it's BWV 131A Just listening to Hans Fagius playing it now ... lovely stuff.

[Mat]

Aha! Exactly what I was looking for. Thank you.

[musicalis]

Dear Mat
I have searched in all my CD of Back organwork and not found this fuga. Now, I know why : it is not an organ piece but a transcription. This article of Cambridge university may interest you :

BWV 131a Fugue in Gminor
Copies via J. C. Kittel (P 320et c.)
This is a transcription of the last forty-five bars of the final chorus of Cantata
131 (1707), whose opening and closingmovements are, unusually, a prelude
and fugue, the latter a permutation fugue of three subjects (Example 1). This
conforms to the tradition of choral permutation fugues (Kr¨uger 1970p . 11),
as in other early works: Cantata 196, the Capriccio in B major. Perhaps the
model is Reinken’s sonatas and through them ultimately Frescobaldi’s Fiori
musicali. Unlike the Passacaglia fugue, BWV 131a has no interludes, and
its many tonic cadences are typical of such fugues. After Frescobaldi, one
line in a permutation fugue was often chromatic, with influential examples
in Kuhnau’s Clavier¨ubung II (Leipzig, 1692) and also Pachelbel’sMagnificat
primi toni, v. 19 (1701–5?), which has a chromatic fourth subject and countersubject
much like b. 3 of Example 1.
J. S. Bach is usually thought not to be the arranger (Spitta I p. 451),
and as with BWV 539, details make it unlikely to be authentic: the sources
(many, but froma commonroute), certain unidiomatic moments, omission
or alteration of fugal parts, and little in common with the authentic early
fugues BWV 531, 549a. Lines impossible for two hands are omitted and
the bass simplified. The succinct ending, though also vocal, need not be
Bach’s (as Bartels 2001 suggests), but could be the work of an arranger such
as Kittel. The cantata’s ending was surely the original, i.e. with a gradual
buildup from two to five parts.

Source : http://assets.cambridge.org/97805218...64_excerpt.pdf

[Mat]

Hi J-P,

Thank you for your help. I stumbled upon this very same article while looking for the fugue. Very interesting piece of information.

[Contratrombone64]

Dear Mat
I have searched in all my CD of Back organwork and not found this fuga. Now, I know why : it is not an organ piece but a transcription. This article of Cambridge university may interest you :

BWV 131a Fugue in Gminor
Copies via J. C. Kittel (P 320et c.)
This is a transcription of the last forty-five bars of the final chorus of Cantata
131 (1707), whose opening and closingmovements are, unusually, a prelude
and fugue, the latter a permutation fugue of three subjects (Example 1). This
conforms to the tradition of choral permutation fugues (Kr¨uger 1970p . 11),
as in other early works: Cantata 196, the Capriccio in B major. Perhaps the
model is Reinken’s sonatas and through them ultimately Frescobaldi’s Fiori
musicali. Unlike the Passacaglia fugue, BWV 131a has no interludes, and
its many tonic cadences are typical of such fugues. After Frescobaldi, one
line in a permutation fugue was often chromatic, with influential examples
in Kuhnau’s Clavier¨ubung II (Leipzig, 1692) and also Pachelbel’sMagnificat
primi toni, v. 19 (1701–5?), which has a chromatic fourth subject and countersubject
much like b. 3 of Example 1.
J. S. Bach is usually thought not to be the arranger (Spitta I p. 451),
and as with BWV 539, details make it unlikely to be authentic: the sources
(many, but froma commonroute), certain unidiomatic moments, omission
or alteration of fugal parts, and little in common with the authentic early
fugues BWV 531, 549a. Lines impossible for two hands are omitted and
the bass simplified. The succinct ending, though also vocal, need not be
Bach’s (as Bartels 2001 suggests), but could be the work of an arranger such
as Kittel. The cantata’s ending was surely the original, i.e. with a gradual
buildup from two to five parts.

Source : http://assets.cambridge.org/97805218...64_excerpt.pdf

You need another compelte Bach organ works CDs I think ...