Commonly known as the "Gigue" Fugue (Fugue à la Gigue), it is a cheerful and energetic organ work often attributed to Johann Sebastian Bach. Written in a lively 6/8-time signature, its defining characteristic is the rhythmic vitality derived from the Baroque gigue (or jig) dance form. This unique, standalone fugue is thought to be an early work, possibly from Bach's Arnstadt period (1703-1707). Its authenticity has been debated due to stylistic irregularities, but recent scholarship generally supports its attribution to Bach. The subject itself is a long, winding melody with a distinctive dotted rhythm that creates a sense of perpetual motion. The piece is noted for its virtuoso pedal passages, which demand great agility from the organist.
The background to Holst’s transcription is given in Michael Short’s biography of Holst (1990, p.271). His arrangement of a Bach fugue was already well advanced in 1927. He had selected the Fugue in G major, BWV 577. On 8 May the following year he entered into a formal agreement with the BBC, designating the work Fugue à la Gigue. Short quotes the composer: “When I was studying the organ some forty years or more ago it struck me that of all Bach’s organ works, just one, this fugue, seemed ineffective on the instrument for which it was composed.”
Upon completing the arrangement,
Holst appended the following annotation to the score: “The title “Fugue a la
Gigue” describes the work perfectly, but there is no reason to think that it
was so named by Bach.” After the wind band score was prepared, Holst made an
orchestral version that could be performed by a full symphony orchestra.
The premiere performance of the wind band version may have been on 14 October when Holst conducted the Birmingham City Police Band at the West End Cinema, Birmingham. This concert also included his two military band Suites, and an arrangement of the Nocturne from the Moorside Suite. A review in the Evening Dispatch (15 October 1928, p.14) noted that “the players exerted every nerve to present his works creditably, and the result was very gratifying…Most enjoyable of all…was the Bach Fugue…”
The Birmingham Post (15 October 1928, p.14) declared “[that with his] effective arrangement for wind band of Bach’s jolly Fugue à la Gigue - he permitted the only repetition of the evening. Nor was he backward in showing his appreciation of the playing. In some respects, and notably in the matter of tuning, the City Band has in these concerts set standard for the City Orchestra live up to…”
Reference books record that the premier performance of the orchestral version was given in Cheltenham on 24 February 1930. Short (1990, p.287) writes: The next day [Holst] walked through the Cotswolds to Cheltenham, where he was to conduct the first concert performance of The Golden Goose...Besides the choral ballet, the concert also included the first performance of his orchestral transcription of the Fugue à la Gigue. His performance of this with the City of Birmingham Symphony Orchestra drew demands for an encore from the audience, with which he was obliged to comply.”
However, contrary to this received wisdom, there is a review in the Folkestone, Hythe, Sandgate & Cheriton Herald (22 February 1930, p.9) that refers to a performance by the Folkestone Municipal Orchestra, of the orchestral version on the previous night, at the Leas Cliff Hall in Folkstone. The conductor was [probably] Eldridge Newman. The appraisal recalled that “Lastly we had an arrangement by Holst of an organ fugue in G major by Bach…This started badly, the subject announced by the solo cello was smudgy, nor were the answer (viola) and the beautiful little codetta in two-part counterpoint cleanly played; these faults were made more evident when the violin entered with beautiful clean rhythmic playing and perfect phrasing. From this point all went well, the way in which the conductor built up the final climax was most inspiring.”
The essence of Bach's "Gigue Fugue," is its single, joyful, and relentless theme defined by wide leaps and dotted rhythms in a distinctive, dance-like meter. This theme is characterized by its perpetual motion and light, buoyant energy, adhering to strict four-voice fugal structure.
In its orchestral arrangement
this contrapuntal texture is vividly translated. Holst's skill in neo-classical
transparency ensures every line is heard, using specific instrumental
combinations to highlight the organ's original voices and stops. The fugal
subject opens sequentially for instance, from the cellos to the violins - building
dynamically to a joyous, full orchestral conclusion.
Listen to Holst’s arrangement of Bach’s "Gigue Fugue," for orchestra on YouTube, here. Leonard Slatkin conducts the BBC Philharmonic.
Bibliography:Short, Michael, Gustav Holst: The Man and His Music. Oxford University Press, 1990.
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