No.1 in E-, BWV802

Although usually played on the piano or harpsichord, this piece is one of four "duets" included in a self-published collection ("Clavierübung" is German for keyboard practice) of works for organ. The title "duet" refers in this case to the two voices of the part-writing, as in Bach's well-known Two-Part Inventions, rather than to separate instruments.

This first duetto is approximately two minutes and 45 seconds in length. Its theme is made from two contrasting ideas—a full minor scale ascending and descending in a brief arch, and chromatic patterns in an angular pattern in a syncopated (skipping) rhythm accompanied by octave skips in the bass. The lower voice then takes up the theme and the treble and bass parts are reversed (in invertible counterpoint).

The two voices then quickly imitate each other playing smaller patterns derived from the main subject. The scale pattern is then doubled in parallel and changing intervals between the two voices. The chromatic second half of the theme is then expanded by modulation and the scale is added on at the end, now subtly reversed from an introductory to a cadential function.

Once again an extended but more intimate sounding modulation of the stepwise chromatic patterns takes place followed by a building of tension around the arching scales again harmonized in changing parallel intervals in the two voices. The voices break apart again for a final, elaborate and noble cadence.

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No.2 in F, BWV803

This piece is the second of four "duets" included in a self-published collection ("Clavierübung" is German for keyboard practice) of works for organ, although this composition is usually played on the piano or harpsichord. The title "duet" refers in this case to the two voices of the part-writing, as in Bach's well-known Two-Part Inventions, rather than to separate instruments.

The lively primary subject begins with three ascending punctuated notes of the tonic chord and then proceeds to skip happily along to the upper tonic. The second voice then enters in brief imitation ending with both voices in fast parallel intervals. A short passage of alternating descending and ascending patterns in both hands follows before the theme re-enters and the large phrase comes to a simple cadence.

The middle section begins afresh with another subject, a quite strange chromatic melody that first glides slowly, then rushes forward in bursts to cadence with a mordent figuration. The second voice comes in with the figure which quickly modulates through several remote keys and never comes to a final halt but instead rushes back into the first theme again by a swiftly descending scale run. The theme is now presented with constantly interweaving and on-rushing scales to soon arrive at a bright and definitive conclusion after an approximately two-and-a-half-minute duration.

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No.3 in G, BWV804

Although usually played on the piano or harpsichord, this piece is the third of four "duets" included in a self-published collection ("Clavierübung" is German for keyboard practice) of works for organ. These pieces would sound fine, of course, played also on that instrument. The title "duet" refers in this case to the two voices of the part-writing, as in Bach's well-known Two-Part Inventions, rather than to two separate coordinated instruments.

This duet is of slightly under three and a half minutes' duration, and opens upon a gentle rolling pastorale landscape in 12/8 time. The upper and lower voices imitate each other in simple invertible counterpoint. The melody begins to modulate toward the relative minor and hints at a remembrance or takes on the slight tenor of nostalgic sadness. However, this lasts only a moment and seems to vanish in the air as the major theme returns.

The middle section develops this minor key reflection with moderately paced scale runs that imitate each other before joining together in parallel intervals. Again the echoing modulates through several keys, building slightly in intensity before the main subject is heard again in the lower voice accompanied by smooth, steadily rolling patterns in the higher voice.

The first pattern in the theme is fragmented and passed between the duet, and then both lines gently roll along in a steady 12/8 time. The fragment is again imitated in the two voices with slightly more ornamentation and then the piece draws to a peaceful conclusion.

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No.4 in A-, BWV805

Although usually played on the piano or harpsichord, this piece is the last of four "duets" included in a self-published collection ("Clavierübung" is German for keyboard practice) of works for organ. These pieces would sound fine, of course, played also on that instrument. The collection is dedicated to "music lovers to refresh their spirits and especially for connoisseurs of such work."

The title "duet" refers in this case to the two voices of the part-writing, as in Bach's well-known Two-Part Inventions, rather than to two separate coordinated instruments.

This duetto is only about two minutes in duration. The main subject is a punctuated, angular melody with flashes of ornamentation that begins with three longer even notes and concludes in one swift anapestic (short-short-long) gesture downward and one gesture upward. The theme skips along with ornamented punctuations in a short secondary subject before the momentum rushes forward in steady sixteenths as the lower voice takes over the theme (in invertible counterpoint).

The theme is recapitulated in the right hand and then a fragment of it is imitated and modulated between the two voices. The secondary chromatic subject is inserted in this passage and the piece ends with a dramatic, brief restatement of the theme.

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