This is Bach under the spell of Buxtehude and the dramatic language of the Stylus Phantasticus. The opening bars’ string-like figuration constructs a solid and somewhat somber structure, ending with a pedal reference to the later fugue subject and a definitive half cadence. Then the fun begins. A breathtaking descent of diminished and unresolved dominant-seventh chords falls more than an octave, the scintillating sequences begging for the added fire of juxtaposed manuals. The fugue ultimately alludes to the prelude’s freedom in a coda that includes swiftly changing textures, bravura cadenzas and a Neapolitan sixth chord.

Moehlmann dedicated his arrangement of J.S. Bach's Prelude and Fugue in G Minor to Ms. Alice Inskeep, who was one of the original founding members of the influential Music Educators National Conference.