Textural differences in Bach and Shostakovich

Both Bach’s gigue and Shostakovich’s fugue show distinct similarities as both are written, at least partly, in the style of a fugue. Bach’s gigue takes the style of a fugue in Bars 1 – 21, with the subject being stated in Bars 1 – 6, as a single line of melody in the right hand, providing a monophonic texture. The same style of entry is seen in Shostakovich’s fugue, as the subject is given in Bars 1 – 4 in the right hand, before the answer is heard with a countersubject in Bars 5 – 8. The subject in both pieces form the basis for the thematic material throughout the remainder of the piece. Where Shostakovich’s subject is based upon the A Major triad, Bach’s subject can be easily divided into three distinct parts. The first section of the subject is the broken arpeggio, as is seen in Bars 1 – 2, the second section is the sequential syncopated rhythmic idea, as seen in Bars 3 – 4, and the third and final section of the running semi-quaver idea, as is seen in Bars 5 – 6. Although all of these ideas are seen and developed throughout the gigue, it is the arpeggio figure and the contin

Shostakovich creates the climax in his fugue by the use of the higher register in Bars 60 – 61. This too is idiomatic of the piano, as opposed to the harpsichord as this has a much more limited range than the piano. A feeling of climax is also achieved by the use of stretto, as seen in Bars 70 +. This technique provides textural variety and increases the feeling of density by the accumulative effect it has, despite still only using the three parts.

A major difference between the texture of Bach’s gigue and Shostakovich’s fugue, can be seen by the idiomatic keyboard writing. As Bach’s gigue was written to be played on the harpsichord, idiomatic writing for this particular instrument can be seen in Bars 41 – 44, as broken chords are split between the two hands, using a style brise effect. The subtle rhythms and the use of rests create a sustained effect, which would otherwise have been unable to create in on the harpsichord. The overall style of moto perpetuum is also idiomatic for the harpsichord as the constant movement created by the running semi-quaver theme, means that sustained notes are unnecessary in order to provide a constant texture. However, in Shostakovich’s fugue, pedals and long held notes are a vital part of the texture, as they provide textural variety. The use of the dominant pedal, as seen in Bars 62 – 69, forces the

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