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Date: | Wed, 11 Jan 2017 13:02:30 +0100 |
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Hi,
hit the send-button too early. The first paragraph might not have been clear a
according to Alfred Dürr (Johann Sebastian Bach. Das Wohltemperierte Klavier. Kassel, Bärenreiter 1998; third ed. 2008) there are two sources that have (earlier versions of) the pieces in transposition. These are C# prelude or pair (originally in C) and the fugue in Ab which originated in F, but was heavily amended in the process.
I thought there was a third source, but I can't find it back.
The Fugue in d# minor (BWV 853) in WTC I is a good example how to determine a strong hypothesis for a transposition:
In measures 15-16 there is a simple scale going up to b#2. The b#2 is being held across the barline then jumps a septima below to c# and cadences (shortly) in F# major:
Eighth-notes, all in the second octave:
| b c# d# e# f# g# a# b#– | –b# c# [f#_]
The septima jump, otherwise a decisively doubtful solution (contrapuntally, melodically), was simply forced, because otherwise the standard WTC-1 compass in the treble (b2 = c3) would have been exceeded. This example shows Bach as the highly pragmatic composer he was.
If the original can be assumed to have been in d the somewhat awkward septima jump disappears. The result is:
| bb c d e f g a b | c3 c [f_]
Interestingly this piece has a subject and its contrapuntal treatment displaying a distinct touch of “old style”. It never exceeds the meantone range (keys from eb, bb… c#, g#), either, and can be played without problems on a fretted clavichord (d and a unfretted). It needs however a full chromatic compass in the bass.
Kind regards
Ibo
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Dr. Ibo Ortgies
PhD in musicology, Researcher, Translator
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University of Gothenburg
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