Präludium und Fuge b-moll

op.11 No. 22

We are slowly approaching the goal - not much is missing until op. 11 is complete.

After the powerful conclusion of the last work, "quiet tones" now follow.
In the case of the Prelude, I have the B flat minor Prelude from the Well-Tempered Clavier II of the great JSB in my ear and also wanted a "walking" piece in which a continuous line wanders through all 3 voices. It has become - I think - far more than a style copy.
Seen from the harmony (better from what can be heard), sudden reversals and modulations, unexpected chord progressions, biting dissonances already prepare the fugue, which tries to resist B flat minor, but is forced by me to the tonic again and again. In the development, one already hears chromatic tone sequences, suddenly we are in D minor, and the listener may ask himself "why is he doing that" - well, he has no idea .... to be honest .....
Then, back in B flat minor, the theme starts from the back and moves forward. This inverted sequence of notes is now played around by chromatic lines, the boundaries of tonality suddenly come within audible reach, but the musicologist will surely find an explanation for the resulting chord sequences. Then a few more bars with the fugue theme and with this section the fugue also ends. I have dispensed with the recapitulation and the "epic" coda - after all, I want to finish Opus 11 at some point (haha).