JAVS Spring 2025

Example 12. BWV 997, Preludio. mm. 26-28.

Example 13. BWV 997, Preludio. mm. 53-56.

everything in shorter note value. Transcribing the fugue was the most challenging work in my transcription. Therefore, I began transcribing the fugue first, knowing that it would be the most time-consuming work. Although there are many changes, I would like to highlight several passages that I had to approach and interpret more flexibly. First, I reassign a D over G# at m. 6; the original version indicates the D is tied over from the beginning of the measure the emphasize the application of implied polyphony (See Example 14). To have room to grow, I remained in a simpler texture at the beginning of the movement. Additionally, I want to bring out all suspensions as much as possible. For example, I choose to stay in a two-voice texture from mm. 7-15 (See Example 15).

II. Fuga The second movement is a fugue in three voices. The subject and countersubject are rather plain: the subject consists of an ascending scale from the first to the fifth scale degree, with a countersubject of an ascending chromatic scale. Compared to Bach’s other solo instrumental works, this fugue is much longer due to its da capo form. The A section could stand in its own as a fugue; however, Bach composed a lengthy B section comprised almost exclusively of running sixteenth notes, with little thematic presence. Notably, the whole movement could be seen as a Vivaldian ritornello concerto: the A section of the fugue is like a concerto’s tutti section, while the B section is like that of the concerto’s solo section. The da capo represents the concluding orchestral ritornello.

This fugue is modelled on the fugues from BWV 1001 and BWV 1011. To imitate Bach’s aesthetic, I notate

Example 14. BWV 997, Fuga, mm. 4-6.

Journal of the American Viola Society / Vol. 41, No. 1, Spring 2025

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