This famous piece:

saw quite a few revisions between its conception and the version we know. For starters, note the earliest version’s key signature, and the E-flat in bar 2:

The most striking feature of the early version is the abrupt end:

No presto? No adagio? No allegro?

The fugue (in 3 voices) is a fugue with two countersubjects. See them here, the first on top, the second below. Both countermelodies occur with every entrance of the main theme:

Become your best Buxtehude.

We also have a brief look at the c minor invention, BWV 773. The piece is almost entirely a canon.

I also mentioned the issue of “stemming” at the beginning of the episode. Here is the chord I mentioned (BWV 867.) Note how Bach’s nine individual stems imply nine separate voices, whereas the print reduces them to only four:

N.B. Most of the episodes of this podcast have been newly catalogued according to genre or theme or BWV on my Substack. Yet another reason for you to join the platform! You can now browse according to BWV, instrumentation, et cetera. Have a gander at wtfbach.substack.com

Thanks to all my listeners for supporting me in 2025! Thanks to Romain Villet for reminding me to make this episode. Best of luck to him and to all brave enough to transpose Bach in 2026!

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Concepts Covered:

This podcast episode discusses Johann Sebastian Bach’s Well-Tempered Clavier, book 1, (1722) the second prelude and fugue in C minor. Including revisions, fugue structure, and contrapuntal technique, with a few hints at BWV 773 and BWV 867. There is a double countersubject, canonic writing, BWV 847a, and the earliest versions before source P. 415

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