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A comparison of textures employed in the Gigue from Partita no 4 by Bach, and the Fugue in A Major by 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 1, 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 , the second section is the sequential syncopated rhythmic idea, as seen in Bars 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 continuous semi-quaver motif that prove to be the most important. An example of the whirling semi-quaver melody is seen in Bars 0 5, and the broken arpeggio can be seen in Bars 4 7, as the opening arpeggio is inverted.
The texture increases in Bach's gigue in Bar 16, as a third voice is introduced, and remains for the majority of the piece. However, Bach varies the texture by interspersing the three parts, with 4 part sections, as is seen in Bar 164 - 171, causing the fugal structure to become less secure. This is emphasized by the reduction of texture, down to two parts, in Bars 45 48, as two-point counterpoint is played. The texture varies again as the right hand begins to play paired notes in Bars 0 5, giving the piece a chordal and almost homophonic feel, dislodging the feel of a fugue completely. As the opening arpeggio returns in Bars 5 7, the texture is reduced to a single line, reiterating the monophonic texture of the beginning, and stating where the idea has come from. The majority of a three part texture is also seen in Shostakovich's fugue, and is caused to be all the more similar to Bach's gigue as both composers manage to vary the texture in different ways, giving each piece its variety and individuality. Where Bach abandons the traditional contrapuntal fugal style in favour of chords, Shostakovich's piece is consistently contrapuntal, usually in three parts. However, like Bach, Shostakovich creates a range of textures by diminishing the voices down to two parts in Bars 50, before the three part texture returns in Bar 50.
The idea of a fugue is completely dislodged in Bach's gigue, as the piece takes on a binary form, with sections A and B almost constituting two separate fugues. At Bar 4, another subject is introduced, still using a monophonic texture and relating it to section A by the use of the continuous semi-quaver melody as was first stated Bars 5 6 of the original subject. The use of binary form is a complete contrast to Shostakovich's fugue, as this is a linear piece, which uses counterpoint to provide variety. As was seen in section A of Bach's gigue, the texture does not simply stay with the three voices and offers some relief in Bars 55 6, as the monophonic texture develops into a two part texture. When the second voice is introduced, it is in fact a restatement of the first subject, and begins as though it is turning into a double fugue. Bach manages to further remove the gigue from the form of a fugue as he successfully manages to combine fugal textures with textures such as the 4 part chords, which are more conducive to dance form.Order custom research paper on Textural comparisons in Bach and Shostakovich.
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 6 6, forces the player to use the sustaining pedal on the piano, showing that the piece is written specifically for this instrument. The pedal also acts as a way to orientate the listener to the tonic key, and provides a root for the changing harmonies, as are seen in Bars 66 68.
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.
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