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The Prelude and Fugue in G-sharp minor, BWV 887, is the eighteenth prelude and fugue in the second volume of The Well-Tempered Clavier by Johann Sebastian Bach. It was written in 1738. It was written in 1738.
BWV 860 – Prelude and Fugue in G major; BWV 861 – Prelude and Fugue in G minor; BWV 862 – Prelude and Fugue in A-flat major; BWV 863 – Prelude and Fugue in G-sharp minor; BWV 864 – Prelude and Fugue in A major; BWV 865 – Prelude and Fugue in A minor; BWV 866 – Prelude and Fugue in B-flat major; BWV 867 – Prelude and Fugue in B ...
Bach's G minor fugue is "insistent and pathetic". [ citation needed ] The subject also appears in his funeral cantata Gottes Zeit ist die allerbeste Zeit (God's time is the very best time). [ 1 ] The subject of the fugue employs a minor 6th leap in the first measure, then resolves it with a more conventional stepwise motion.
Bach's autograph of the 4th Fugue of Book 1 Bach's autograph of Fugue No. 17 in A ♭ major from the second part of Das Wohltemperirte Clavier. Each set contains 24 pairs of prelude and fugue. The first pair is in C major, the second in C minor, the third in C ♯ major, the fourth in C ♯ minor, and so on.
Leopold Stokowski made a large number of transcriptions for full orchestra, including the Toccata and Fugue in D minor for organ, which appeared in the film Fantasia and the Little Fugue in G minor. Alexander Siloti made many piano transcriptions of Bach, most famously his Prelude in B minor based on Bach's Prelude in E minor, BWV 855a.
BWV 577 – Fugue in G major "à la Gigue" (spurious) BWV 578 – Fugue in G minor "Little" BWV 579 – Fugue on a theme by Arcangelo Corelli (from Op. 3, No. 4); in B Minor; BWV 580 – Fugue in D major (spurious) BWV 581 – Fugue in G major (not by Bach, composed by Gottfried August Homilius) BWV 581a – Fugue in G major (spurious)
Near the end of the Augmentation Canon of Bach's Canonic Variations on "Vom Himmel hoch da komm' ich her", BWV 769: [4] B–A–C–H (and its inversion) in the last bars of the Augmentation Canon of BWV 769. Near the end of Contrapunctus IV of The Art of Fugue: [7] B–A–C–H in the tenor part of the last bars of Contrapunctus IV of The Art ...
The story of how the variations came to be composed comes from an early biography of Bach by Johann Nikolaus Forkel: [1] [For this work] we have to thank the instigation of the former Russian ambassador to the electoral court of Saxony, Count Kaiserling, who often stopped in Leipzig and brought there with him the aforementioned Goldberg, in order to have him given musical instruction by Bach.