Cold and Fugue Season (arr. Ellen Foncannon): 2-Part Choral Octavo

Ellen Foncannon's arrangement transforms Bach's intricate counterpoint into a format that younger or less experienced singers can access without sacrificing the intellectual rigor that makes his music valuable. The 2-part setting preserves the essential harmonic and melodic integrity while reducing the demands on ensemble blend and part independence, making this an ideal stepping stone toward Bach's full-voiced works.

Bach's counterpoint feels like a conversation between two equally intelligent speakers, each with something to say and the courtesy to listen. The fugal elements create a sense of inevitability and architecture; phrases unfold with logical precision even as they delight the ear with unexpected harmonic turns and moment-to-moment beauty.

This arrangement serves middle school and early high school choirs seeking substantive Bach repertoire without the complexity of four-part or five-part writing. It also works well for treble or mixed ensembles where dividing into just two parts allows maximum musical independence while maintaining ensemble cohesion.

• Clarify the phrase structure by identifying where Bach's harmonic arrivals fall; mark these cadential points so singers understand how their line propels the piece forward rather than treating it as a series of unrelated measures.
• Balance your two parts carefully during the fugal sections, where thematic material passes between voices; the line that holds the subject must sing slightly forward while the accompanying part remains rhythmically steady and supportive.
• Shape the melodic contours with attention to Bach's original harmonic progression; even in this reduced voicing, the underlying chords are present and should inform how you inflect longer notes and approach phrase endings.

Consider pairing this with another Bach work in a themed concert exploring his range as a composer, or program it as the sophisticated centerpiece of a concert that includes less demanding repertoire. Its six pages make it substantial enough to carry a concert set without overwhelming younger singers preparing multiple pieces.

• Following independent melodic lines while listening to and blending with another voice part
• Reading and singing fugal subjects and their imitative entries
• Understanding Baroque harmonic language and voice leading principles
• Maintaining rhythmic precision within a contrapuntal texture
• Shaping phrases based on harmonic arrivals rather than text alone