Johann Sebastian Bach
Fuge e-Moll BWV 956
Fuge g-Moll BWV 578
Johann Georg Schübler
Fuge g-Moll
Carl Gotthelf Gerlach
Fuge g-Moll
Johann Philipp Kirnberger
Fuge e-Moll, Engelhardt 35, BWV Anh. II 94
Grave e-Moll, Engelhardt 16, BWV Anh. II 12
Hieronymus Florentinus Quehl
Fuge C-Dur
Johann Sebastian Bach und/oder Johann Ludwig Krebs
Fuge Fis-Dur, BWV II Anh 97, Krebs-WV 409
Fuge F-Dur, original Fis-Dur, BWV II Anh 97, Krebs-WV 409
Still during Johann Sebastian Bach’s (1685–1750) lifetime his sons, pupils, colleagues and admirers began to create collections of inventions, preludes, fugues, organ trios and chorale settings in the style of their revered model. Various collections of fugues for keyboard instruments without pedal have come down to us from this circle, among them the following titles: Wilhelm Friedemann Bach (1710–1784), Eight Fugues (ca. 1778–1779)[1] BR-WFB A 81–88/Fk 31; Carl Philipp Emanuel Bach (1714–1788), VI Fugen vor die Orgel, wie auch vor das Clavier Wq 119/2–7, one source dating from 1756[2]; Johann Philipp Kirnberger (1709–1783), Huit Fugues pour le clavecin ou l’orgue, Berlin 1773[3], and Johann Christoph Kellner (1736–1803), Six Fugues pour les orgues ou le clavecin, Berlin s. d. [ca. 1770].[4] Collections of this kind reflected the users’ demand for instructive models for their own compositional attempts as well as their need for repertoire pieces they could perform in public.
The editor of this volume is convinced that a number of the fugues presented here are instructive training pieces from which the improvisation of a fugue might be learned. Later compositions of this kind may have served rather as exercise repertoire for organ and keyboard students. As these fugues were used for private studies and thus had to make do without obbligato pedal, the collection presented here is suited for playing on organs without pedal as well as on any domestic stringed keyboard instrument.
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