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Performers in the Baroque knew that something written in the key of a minor needed to be approached with a kind of introspection, yet also some urgency. Not the turbulent kind of other minor keys like g minor, but the steady forward focus of the figuration. In the Prelude this is represented by a triple time rhythm and the setting of broken chord against scale-like movement in the opposing line. Bach uses a lengthy theme (the longest yet in this Book 1 collection) for the Fugue which is worked in the most wondrous ways - a testament to Bach's reputation as a contrapuntal master. We even hear the theme played in inversion (interval leaps opposite direction to original) and in the relative key of C major. The mood intensifies until by the time we reach the conclusion the scale of the writing is almost that of a Brandenburg Concerto with crunchy harmonic dissonances over a pedal A. Truly another masterpiece of the master!