A “Proto-Theme” in Some of J. S. Bach’s Fugal Works
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Abstract
This article focuses on a pattern of harmony and voice leading that appears, elaborated, in several fugue expositions (and generically related passages) by J. S. Bach. I contextualize this pattern in examples of “schematic” Baroque fugal writing and suggest that for Bach it functions as a sort of “proto-theme,” with respect to which certain expositions stand as “variations.” These expositions eschew normative I–V–I progressions of Stufen and thus offer a challenge to William Renwick’s exhaustive methodology for fugue analysis. Certain of Bach’s variations appear to respond motivically and energetically to a sense of retrogression implicit the proto-theme and thus evince a characteristic “formal dynamism,” which I demonstrate with an analysis of the A-minor Fugue from Book II of The Well-Tempered Clavier, BWV 889.
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