Preludes and Fugues for Piano, Op. 16

In Dresden in early 1845, Clara, along with Robert, had embarked on a study of fugue and counterpoint. Op. 16 contains three preludes and fugues for piano, in G Minor, B-flat Major and D Minor respectively. These idiomatic works show to what great advantage she put her study of Bach and others.

Prelude and Fugue in G minor (No. 1) features a prelude with a haunting melody, almost in the style of a nocturne. The fugue, marked Allegro Vivace, has perpetual 16th note motion that gets passed between each of the three voices.

Prelude and Fugue in B-flat Major (No. 2) has a pianistic prelude with sweeping arpeggios and a tranquil ending. The four-voice fugue is robust and rhythmic.

Prelude and Fugue in D minor (No. 3) features a prelude that is more chordal and retrospective in nature. Its characteristic fugue evokes a mood of stately majesty.