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Little Prelude and Fugue No 6 in G minor, BWV558

by J T Krebs ?

Like several others, the prelude is in ternary form but here it is not the tutti-solo-tutti pattern of the concerto; the central panel of this triptyque continues to develop the motif of the much longer opening section. The fugue is one of the most highly developed and wide-ranging harmonically. While it doesn’t have a strict countersubject there is much use made of an additional motif.

from notes by Stephen Westrop © 2000

Comme plusieurs autres, le prélude est de forme ternaire, mais sans adopter le schéma tutti-solo-tutti du concerto : ici, le panneau central du tryptique continue de développer le motif de la section d’ouverture, bien plus longue. La fugue, l’une des plus développées et harmoniquement amples, ne comporte pas de contre-sujet strict, mais fait beaucoup usage d’un motif supplémentaire.

extrait des notes rédigées par Stephen Westrop © 2000
Français: Hypérion

Wie mehrere andere ist auch dieses Präludium dreiteilig, jedoch nicht im Konzertschema Tutti-Solo-Tutti angelegt; der Mittelteil des Triptychons setzt die Durchführung des Motivs aus dem wesentlich längeren ersten Teil fort. Die Fuge gehört zu den am höchsten entwickelten und harmonisch mannigfaltigsten. Sie hat zwar kein Gegensubjekt im engen Sinn, macht jedoch viel Gebrauch von einem zusätzlichen Motiv.

aus dem Begleittext von Stephen Westrop © 2000
Deutsch: Anne Steeb/Bernd Müller


Bach: Attributions
CDA67263Archive Service
Bach: The Complete Organ Works
CDS44121/3616CDs Boxed set (at a special price) — Deleted


Track 16 on CDA67263 [3'22] Archive Service
Track 16 on CDS44121/36 CD16 [3'22] 16CDs Boxed set (at a special price) — Deleted

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