Simon Lohet, Quinta Fuga
Lohet’s Quinta Fuga (I follow the designation in the original Edition, instead of naming it Fuga Quinta) shows its Renaissance roots more than the previous four. It uses frequent repeated chords, a device we nowadays don’t associate with the contrapuntal style of a fugue. And it uses (again) frequent parallel fifths and octaves. These are either a characteristic for the instrumental music of the period, or Lohet was (in this respect) a very bad composer. Interesting (and for me unexpected) is also the e flat in the bass voice in bar 43 against the d in the alto voice. Perhaps an error in voice leading by Lohet, but it sure results in a colourfull harmony.
In the original edition there is no indication whether the bass-part should be played on the pedals or not. I wanted to use the pedals in this fugue. But for the purist, or those who think it sounds better that way, I made a manualiter score as well.
The recording was done on the sample set of the Silbermann organ of the Stadtkirche Zöblitz by Prospectum.
Lohet, Quinta Fuga
Lohet, Quinta Fuga (manualiter)