Prelude and Fugue in C, BWV553

This is one of the so-titled Short Preludes and Fugues (8), a group of compositions whose authorship has prompted much speculation. Stylistically, the works seem at odds with other compositions by Bach, even early ones. Yet they possess more than a few qualities that point to this great master as composer. Some musicologists have asserted they must be very early works if Bach did indeed write them, but others hear in them evidence that they date to his later years. This C major effort is typical of the contradictions in the set: the thematic material has a generally Germanic cast, but the harmonies are Italianate. The opening theme is lively and filled with sunshine in its energy, but the accompaniment has a chugging gait and a comparatively barren character. The opening does not sound like most Bach listeners know, but it has been suggested that this work and the others in the set were written for keyboard students, and thus possibly not afforded the same attention as more serious compositional efforts. Moreover, the fugue half of this binary form piece divulges moments of mastery, especially in the contrapuntal writing. Overall, this four-minute work must be assessed as a worthwhile though quite minor effort regardless of who its author might be.

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Prelude and Fugue in D-, BWV554

This is the second of the so-called Short Preludes and Fugues (8), works whose authorship remains both in doubt and the subject of much controversy today. If they are by Bach, they probably date to the early 1700s, though some believe they may have been written at a much later time. It may have been around 1720 when Bach was composing music for keyboard students that he intended to be generally straightforward and without the complexities often associated with his other compositions. The prelude half of this work has three sections, the outer ones featuring a lively, attractive ritornello and the inner portion offering development of the material and otherwise somewhat more elaborately conceived music. The mood is serious here, the music busy even if the accompaniment is fairly simple. The Fugue is brighter and features much more sophisticated contrapuntal writing. Its theme is quite angular and Bach (or whoever wrote it) goes on to develop the material with considerable skill. Here the music does resemble Bach somewhat, despite its less-richly detailed manner. In sum, this approximately three-minute work will offer considerable listening enjoyment to those unconcerned about questions of authorship.

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Prelude and Fugue in E-, BWV555

While this piece is of doubtful provenance, some Bach scholars—a minority, however—believe it may well have been written by him. It is part of the set of Short Preludes and Fugues (8), works whose inconsistent stylistic qualities call into question Bach's authorship. Yet the works may have served a role in the less artistically consequential world of keyboard teaching, and thus all or perhaps parts of the works may have been written by him. In any event, this Prelude and Fugue in E minor is not without considerable merit for the listener. Of the eight works in this "doubtful" set, this work features the longest and perhaps most impressive Fugue section. The Prelude is a bit somber in its moderate pacing, though its main theme has a stately, attractive manner. The Fugue begins in a subdued mood, but gradually works up tension in music whose mostly ascending trajectory and solidly conceived contrapuntal writing impart a majestic sense that is not quite fulfilled when the work reaches its rather abrupt ending. Lasting a bit over three minutes, this is one of the better Short Preludes and Fugues.

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Prelude and Fugue in F, BWV556

This is No. 4 in the set of Short Preludes and Fugues (8), a group of compositions once attributed to Bach but now generally dismissed as the work of another. Yet some musicologists still believe that Bach could be the author or at least the author of parts of these eight pieces. For one thing, passages from the works often divulge characteristics associated with Bach's style, and those that show a more simplistic, less-Bach-like manner may be the result of the composer designing these pieces for keyboard students. This F major effort bears some similarity to the D minor Second (BWV 554) and to the G minor Sixth (BWV 558) in that their prelude sections are in ternary form. No. 4's Prelude here is lively and bright, even if its harmonies are not particularly imaginative. It features a motif that bears a likeness to one in the finale of Bach's Pastorale in F major (BWV 590). The Fugue has a more stately manner, but also exudes a measure of joy. Again, while the main line is engaging, the accompaniment does not divulge Bach's usual deft contrapuntal skills, nor is the development noteworthy. Still, this two-and-a-half or three-minute work is attractive, if relatively simple and straightforward.

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Prelude and Fugue in G, BWV557

This G major effort is part of the set of Short Preludes and Fugues (8), works that are generally considered of doubtful provenance after having been attributed to Bach for some years. Those who still assert he is the likeliest author generally date the works to his earliest years, around 1700. This piece, at least in its prelude section, exhibits the influence of Buxtehude just as many early Bach keyboard works do, and like many of the so-called Neumeister chorales that are generally dated to the early years of the eighteenth century. This G major's Prelude opens in a glorious mood, the music beaming regality and a sense of joy. Its relatively lengthy pedal solo near the end is a Buxtehude trait and the writing throughout this section in general divulges that master's influence. The Fugue is a bit more relaxed than the mostly lively Prelude, but still manages to be busier in its moderate pacing, not least because it features more interesting contrapuntal activity. It also conveys a sense of grandeur and reaches a pleasingly triumphant ending. This work typically lasts three-and-a-half minutes.

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Prelude and Fugue in G-, BWV558

This G minor work is generally classed as No. 6 in the set of Short Preludes and Fugues (8), a collection of largely simple organ works that were once attributed to Bach, but now rest in limbo. The consensus today among musicologists is that Bach was not their author, though that opinion has more than a few prominent dissenters. They typically assert the works may be early Bach compositions or possibly ones written later on for his keyboard students. Whatever the case, this G minor work is one of the more interesting items in the set, especially in its brilliantly crafted Fugue section. The ternary-form Prelude opens dramatically with powerful dark chords under which a rhythmic, contrapuntal figure emerges and gradually grows more prominent, but without overshadowing the main line. The middle panel of the Prelude features some interesting though brief development of the motivic material from the opening. As suggested above, the Fugue is quite impressive, from its lively, stately thematic character to its deft contrapuntal and harmonic workings. On the whole, this three-and-a-half minute effort is one of the better pieces from the Short Preludes and Fugues (8).

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Prelude and Fugue in A-, BWV559

The Short Preludes and Fugues (8), of which this A minor effort is No. 7, are generally thought to be the work of someone other than Bach. There are those who cling to the once-held belief that they are Bach's creations, however, pointing to certain typical compositional features while downplaying elements that appear at odds with the composer's style. Perhaps the most likely explanation concerning their inconsistencies is that Bach wrote only parts of them. This view might well explain thematic similarities between this A minor effort and the Prelude and Fugue (BWV) (also in A minor), dating to around 1716 and a piece whose Bach authorship is not challenged. That said, there are still thorny issues here: in the joyous Prelude section of this Short Prelude and Fugue No. 7, certain figurations divulge the influence of Pachelbel, a composer Bach showed deference to in some of his early works from around 1700-1708. At any rate, the Prelude is attractive and lively, if rather simply constructed. The Fugue, on the other hand, shows greater promise in its contrapuntal features and overall writing, but abruptly ends just when the listener is expecting further development of materials. Lasting about two-and-a-half minutes, this is a puzzling but worthwhile composition.

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Prelude and Fugue in Bb, BWV560

Although this work and the other seven comprising the Short Preludes and Fugues (8) were once thought to date to the early years of the eighteenth century, their time of composition is now, like their authorship, a matter of speculation. While Bach may have written these compositions, or parts of them, they may also have been the work of one or several Bach family members. In any event, this B flat major effort is a worthwhile piece, questions of authorship notwithstanding. The Prelude section opens busily, the music beaming its energy from the upper ranges. Soon a pedal solo gives the music a muscular, even gruff manner while exhibiting the influence of Buxtehude, some of whose stylistic elements can be found in many early Bach works, including several of the so-called Neumeister chorales. The Fugue is less driven in its confident regality and cheerful manner. Oddly, near the end, the fugal writing stops to prepare for a grandly triumphant close. Like most of the Preludes and Fugues in the set, this one—which lasts nearly four minutes—does not require an unusually strong technique from the performer and may have been written for keyboard students.

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