J.S. Bach: Fugue "à la Gigue" in G major, BWV 577 [2023 Revisit] (Synthesized)

For information on the visualization, please read the note at the end.

For those unfamiliar with the term, a "fugue" is a contrapuntal composition in two or more voices, built on a subject or theme. This subject is introduced at the beginning and recurs frequently in the course of the composition. Bach was a master of the genre and has many fugal compositions to his credits.

Unique among Bach's works, the Fugue in G major is a bit of an anomaly - its in jig-time (triple meter), the sort of thing one finds in Buxtehude and Pachelbel, but at a lower skill level. It begins, innocently enough, with a cheerful tune in dotted Gigue rhythm, but quickly proves to be a treacherous test of virtuosity with its rapid, four-voice writing and its especially difficult pedal part.

There was speculation as to the authenticity of the work, however, more recent scholarship has confirmed that BWV 577 is indeed by Bach. Apart from the style of the theme, another unusual feature is the use of echoes towards the end of the piece. It has been noted that there is more than some similarity between the fugue subject of 577 and the subject (and treatment thereof) of Buxtehude's "Gigue" Fugue in C major, Bux WV 174. Perhaps both are simply more-or-less similar, co-existing works in the style of the North German organ tradition.

Authorship aside, the fugue is thought to be an early work from Bach's Artstadt period (1703-1707). It is a fine sample of Bach's virtuoso pedal passages which are seldom found in his late organ works. Not attached to a prelude, the Fugue stands alone, a fact that also fittingly reflects its unique musical character. The jig-like nature of the affect is obvious from the start of a long winding subject, with wide intervals and four clear sections, each musically distinct. The variety and richness of the subject makes possible a colourful fugue that dances along through a number of episodes.

Concerning his organ performance of the fugue, we have a comment of a contemporary, who saw Bach playing in Kassel in the presence of Bachs friend, the Prince of Köthen, on one of Bach's organ trips together with the Prince in 1732. He tells us that Bach played as quick on the pedal, that the eye could merely follow the movements and so easily, that his feet seemed to fly over the pedal. This is contrary to the monumental Bach of late romantic tradition, but describes him as a vital man full of energy.

Using the MAMM (Music Animation Midi Machine player) visualization it is quite fascinating to watch Bach’s brilliance in action, particularly the interplay of the fugal elements.

For those wanting to follow along with the MAMM player visualization, the instrumentation is as follows:

Manual 3: Orange
Manual 2: Green
Manual 1: Blue
Pedals: Pink

As always, the use of headphones will greatly enhance the listening experience.