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Prelude and Fugue XIX in A Major
This prelude is one of those very frequent instances in Bach in which the character of the piece speaks to us of grace and innocence while being the product of the highest knowledge... It is a kind of light, transparent dance in which each voice suggests to us a different idea... The whole is held together by the most refined triple counterpoint...
The theme of the Fugue progresses in ascending fourths, a pattern somewhat rare in Bach... At measure 20, on the dominant, the bass stops, while the soprano and alto go on, still on fourths, in happy leaps...
At measure 23 appears a theme in conjunct sixteenths which forms a striking contrast with the opening theme... One is keenly aware that Bach feels the need of these sixteenths in opposition to the intervals of fourths... Almost all commentators consider these sixteenths a counter-subject... What is certain is that the contrast of the opening theme to the stated counter-subject and to their interplay inspired Bach to say exquisite, tender and mischievous things... It must be noted that this Fugue escapes conventional analysis and all commentators recognize this...
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