Reflections

The prelude is magnificent and surely rivals (and possibly surpases) the fugue for complexity and grandeur. Nears its conclusion, it bursts into a brilliant little fugue (partial, nested fugues are known as fugato) in 3/8 time, as if the prelude suddenly segued into the real fugue. A joke? Well, it is painful when it concludes so quickly and you confront the actual fugue. Initially, it is anti-climatic and even droll. But Bach takes the opportunity to develop this fugue to slowly rise to the level of complexity and grandeur worthy of its prelude. The contest is resolved when you understand that these two pieces are fused together into the proud "Prelude AND Fugue No.3 in C-sharp major". We can have our cake and eat it too. The counterpoint and its emotional impact is especially profound upon the arrival of the augmented subject entry (the 1st 4-note motive from the subject). The coda is also regal and extended and feels like the fading reverberation of the noble fugue(s) before it.

As Bruhn highlights, the exposition of this fugue is quite unusual. Normally, a fugue's exposition is a relatively rigid presentation (or exposure) of the subject in each and every voice without transformations or tricks. This fugue has two surprises. First, the second subject entry arrives early creating stretto against the still running first subject. Second, the third subject entry is actually inverted, moving in contrary motion to the original subject. With what appears to be a relatively simple subject, this fugue is unusually quick to offer some not so simple and intriguing implications.

For your reference, here is the subject of the fugato within the prelude: