The only issue to resolve is why Bach should have chosen to express these keys in the notation he did. Even if the C# Major P&F were (according to Ollie) originally in C, this does not explain why, in presenting it a semitone higher, he eventually opted for C# instead of Db.

Even assuming that a reason might have been his preference for keys that were 'easier' to write and read, this does not explain why he should have used a signature of 7 sharps for no. 2 (in both sets) instead of the 'easier' presentation of just 5 flats.

"My dear good Kroll,

"What a first-rate man you are to me, and what pleasure your letter has given me! Probably you already know that I also have been figuring as an invalid these last five weeks.--God be thanked and praised that I am already pretty fairly on my legs again, without rheumatism in the joints or gout! In a few days I shall begin my provincial tour (Lyons, Marseilles, Toulouse, Bordeaux), and then towards the end of August by steamer to Stockholm and Copenhagen. Weymar, our good, dear Weymar, will again be our Christmas Day! Oh what beautiful apples and trifles we will hang on our Christmas tree! and what talks and compositions, and projects and plans! Only don't you disappoint me, and mind you come fresh and well. Leave the bad looks to me, and see that you fill out your cheeks properly. This winter we must be industrious, and struggle through much work.

"Your Mazurkas are most excellent and talented. You have put a great deal into them--and, if you will allow me to speak quite freely--perhaps too much into them, for much of it halts. Although the dedication to me is both pleasing and gratifying, I cannot help thinking that it would be to your interest not to publish anything before next spring. Take advantage of being as yet unknown, and give to the public from the beginning a proper opinion of your talent by a collective publication. Write a couple of pleasing, brilliant Studies--perhaps also a Notturno (or something of that sort), and an effective Fantasia on some conspicuous theme. Then let Schlesinger, Hartel, or Mechetti (to whom I will most gladly speak about your works beforehand) publish the six pieces--your Concerto and the C major Study, together with the later pieces--all together, so that publisher, critic, artist, and public all have to do with them at the same time. Instead of dishing up one little sweetmeat for the people, give them a proper dinner. I am very sorry I did not follow this plan myself; for, after much experience, I consider it far the best, especially for pianoforte works. In Weymar we will talk more fully and definitely about this. Conradi [Musician and friend in Berlin] is also to come. I don't require the Huguenot Fantasia at present. He will have time enough for it in Weymar. En attendant, Schlesinger will give him a modest payment for the work he has begun. Please kindly see about the enclosed letters for Freund as soon as possible.

"With all good wishes, I am, dear Kroll,

"Yours most sincerely,

"F. Liszt

"Port Marly, June 11th, 1844"

Your Mazurkas are most excellent and talented. You have put a great deal into them--and, if you will allow me to speak quite freely--perhaps too much into them, for much of it halts.

Although the dedication to me is both pleasing and gratifying, I cannot help thinking that it would be to your interest not to publish anything before next spring.

We wonder whether Liszt is himself deemed a first-rater

Anybody who thinks intelligently about this piece will in time come to realise that it is a "tone poem" in miniature depicting the Dawn Chorus as heard by Bach on a wonderful sunny morning in early Spring. This should also explain the highly exotic key signature!

Quite audibly, the first section represents the early singing of the Singdrossel (Song Thrush) - or more precisely two of them singing counterpoint together. You can clearly hear the playful flapping of wings as each one sings beautifully to the other, no doubt in excited conversation as to where the current worm 'rich pickings' can be found.

You will also notice - with extreme clarity - that in the second half of the piece, these are joined by a Cuckoo (or possibly even a pair crooning away to each other). They are also animated and clearly enjoying the early morning sunshine.

If any further doubt could possibly exist that this is the 'programmatic content' of this little piece, I should urge you to listen to this performance - deliberately made to illustrate these new discoveries:

CLICK HERE

To-day in our long series of crackpot versions we have come to the Fugue in F sharp major from Bach's Book II. It is much more interesting than its Prelude! Riemann gives a long analysis - six pages - the perusal of which we can unhesitatingly recommend to members (we wish it were possible to include it all). He concludes by drawing our attention to the work's undisturbed symmetry, and reminds us that Debrois van Bruyck looked upon it as the normal type of the species.

Tovey tells us that the Countersubject is as important as the Subject - something one of our members has already said, and not of this Fugue merely!

Here (rapid-share or send-space) is the crackpot version - pleasant enough! - and here for comparison is a rendition by a contributor new to this thread, Friedrich by name. We like his Prelude but are not entirely convinced by his Fugue; since he was also a "jazz" player we should not expect from him too much though should we.

(I must admit I can't get enough of this music, not sure why)