Patterns of play: Orlando Gibbons, Simon Lohet and Johann Sebastian Bach’s E major Fugue from book two of the Well-Tempered Clavier, BWV 878/2. Part I

Charlston, T. (2019) Patterns of play: Orlando Gibbons, Simon Lohet and Johann Sebastian Bach’s E major Fugue from book two of the Well-Tempered Clavier, BWV 878/2. Part I. Clavichord International, 23 (2). pp. 39-48. ISSN 1387-0882

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Abstract

This article, the first of two parts, considers the musical implications and historical precedents behind the process of studying and learning a complex piece of counterpoint on the clavichord. The thread of thematic material and motivic constructions in J. S. Bach’s E major fugue from the second book of the Well-tempered Clavier is traced against the known tradition of contrapuntal composition and study. The accompanying musical example contains a new complete transcription by the author of the Fantasia in C by Orlando Gibbons (1583-1625) from Benjamin Cosyn’s Virginal Book dated 1620 (GB-Lbl R.M. 23.l.4) and the Undecima Fuga by Simon Lohet (before 1550–1611) from the third section of Johann Woltz’s Nova musices organicae tabulatura printed in Basel in 1617.

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  • Patterns of play: Orlando Gibbons, Simon Lohet and Johann Sebastian Bach’s E major Fugue from book two of the Well-Tempered Clavier, BWV 878/2. Part I. (deposited 02 Dec 2019 10:29) [Currently Displayed]

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