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15015 –Prelude and Fugue in F minor

from The 48

J. S. Bach (1685-1750)

arranged for 8 trumpets

by Roger Harvey

Difficulty: Medium

Price: £22.50

Programme Notes:
The 48 or Well-Tempered Clavier of 1722 and 1742 is a 2 volume set of preludes and fugues, each volume containing a piece in each of the 12 major and minor keys. They were written to take advantage of a keyboard instrument tuned to a system of equal or near-equal temperament (there is some debate about this), and so could play in all keys. Previously, 'meantone temperament' in which not all of the tones and semitones of the scale are mathematically identical, meant that C major was accurately in tune, but each key step away from C resulted in the relationship between the various degrees of the scale becoming more distorted. It was rare then ever to venture beyond 4 sharps or flats to avoid this problem. Bach's own sets of Inventions for example go through all the keys up to 4 sharps and flats but no further. Equal temperament has all the semitones equally spaced. The compromise in losing the accurate tuning of C major meant that for the first time keyboard music could be written in any key without tonal distortion.
This Prelude and Fugue in F minor is from the second volume. The Prelude begins with a simple wistfulness but the introduction of some slightly disturbing harmonic shifts towards the end add another dimension.
The lively Fugue subject combines an angular opening with some flowing semiquavers; these semiquavers, once begun pervade the whole piece in a sort of pertuum mobile .

Performance notes:
Prelude: Copious expressive markings are provided but if you do not agree with them feel free to make adjustments. The tempo should be steady enough to be expressive and shaped but avoid lingering too much otherwise the pulse will be lost and the mood become lethargic. The markings should not be taken too literally as they are a suggestion of shape and style; feel the phrasing and play with a strong sense of melodic line.
Fugue: take a lively tempo and keep all articulations clean but without harshness. It should have a playful energy.
The 1st player requires an E flat trumpet. The 7th and 8th parts are necessarily in the lowest register. If this creates problems spare players could be used to judiciously double or share these parts.