Intrada, Passacaglia et Fugue in Em

This composition consists of three parts, each given a title from Baroque music.

The Intrada is an introduction that begins with a slow creation of atmosphere. The chords used are melancholic and serene, even somewhat vague. As a contrast, there is a Più Animato, followed by some virtuoso runs. From bar 25, a canon begins and the four voices are elaborated contrapuntally.
The second movement is a Passacaglia, in the Baroque a kind of variation form on a certain theme. In this case there are 16 variations on a given bass theme. The work has the character of a dance with a moderate tempo and a triple time signature.
The third movement is the ultimate genre of the Baroque: a fugue. In a fugue, a theme is introduced that is then imitated in three, four or more voices until a complex web of melodic lines is created. In this fugue, the theme (Subject) is also always accompanied by a countersubject. In bar 98, the exposition begins, the presentation of the theme in the main key (Subject). This theme is answered in the dominant key (Riposta), and accompanied by the countersubject. Then comes a third entry of the theme, again in the main key (S) and a fourth entry in the pedal (R), each time accompanied by the countersubject.
After the presentation of the theme, there is a development from bar 112. The themes are repeated in various ways and smaller motifs from the theme can be split off. From bar 165 there is a re-exposition in which the original themes return. In bar 173 this is concluded with an upper dominant cadence. As organ point there is a short passage Grave, in which the first two notes from the fugue are interwoven with the chords from the Intrada. The circle is complete.