Abstract
On the genre and performance peculiarities of J. S. Bach’s choral fugue (on the example of comparative analysis of BWV 131 and BWV 131a)
Highlights
Despite the vast musical material associated with the embodiment in the choral texture of the highest polyphonic form – the fugue, there is lack of the literature that would outline the specificity of this arrangement, its fundamental principles
Two factors play a important role in a choral fugue – the verbal text and the timbre coloring of the voices
Despite the abundance of literature devoted to the fugue theory in general, the phenomenon of the choral fugue has so far received insufficient research attention
Summary
Despite the vast musical material associated with the embodiment in the choral texture of the highest polyphonic form – the fugue, there is lack of the literature that would outline the specificity of this arrangement, its fundamental principles. The problem of identifying the specificity of the choral fugue hasn’t been highlighted yet as a major issue in domestic musicology. Among the most recent works, which include the consideration of the issue of choral fugue, we should mention the capital study by N. N. Simakova points out the importance of the timbre content of the theme for emphasizing the figurative content of the words, since the most striking in the process of the deployment of the fugue is the register-timbre modus, and the timbre coloring of soprano, alto, tenor and bass gives a relief figurative representation
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