The Distortion of Musical Syntax: articulation of the fugue subject in Franck's Prelude, Chorale and Fugue

This is the question I had when I practiced yesterday. I haven't quite made up my mind on what to do, and I'd like to share with you some fragments of ideas.

The problem is here:

The fugue subject starts at "Tempo I", and it comprises of two parts: the first part consists of two "sighing motives"with anticipation, and I am referring to the first six notes of the fugue subject with the rests. The second consists of a descending line and a resolution, which represents the seventh to fifteenth note of the fugue subject.

How should I articulate the seventh and eighth notes? (the first two notes of the second part of the fugue subject)

The phrasing and syntax of the music as represented by the notation is curious. The slurs between the second and third, and fifth and sixth notes, form two sighing motives. The second and fifth notes are non-chord tones (with the implication of V - I or V - vi as the harmonic progression), resolving to the third and sixth notes. We can view them as appoggiaturas; Donnington (1974:197) states the art succinctly:
     The Italian verb appoggiare means "to lean" and implies an ornamental note expressively emphasized and drawn out before being more gently resolved on its ensuing main note. This is the true appoggiatura.

In the first part of the subject, the strong-weak syntax is notated. (Of course, how you link the two gesture is another question.) However, the beginning of the slur at the seventh note is on the weak beat. Should I emphasize the weak beat because it's the beginning of a (long) slur? Should the seventh be in quasi legato with the eighth?

Often, we find the best answer when we situate the question within the context, i.e. the whole piece of music. But in this case, that complicates the question.

Similar gestures has occurred in earlier places of the piece. Here are two important moments:

In the middle of the prelude, this capriccio section has forbade the fugue subject. Compare the articulation markings from the third measure to the first beat of the fourth measure, with those from the second beat of the fourth to the first beat of the fifth. Is it a similar problem as the one we have in the fugue?

After the Chorale (second movement), there is a bridge (Poco Allegro section) before the fugue commences. Take a look at the articulation of the fugue subject: it is different from the first appearance of the fugue subject in the "official" fugue. Pay attention also, to the gesture on the right hand at the end of the upper system. The anticipation of the top voice forces the gesture to cross across the bar line. Rhetorically, it creates doubt. The doubt is enforced by the transposition of the same gesture in different register, eventually withers into the void. "Not the right way," said Franck, and we're off to another attempt to reaching the fugue.

In the middle of the second attempt, the withering gesture propagates. Notice the difference between the phrase marking at its first appearance (final beat of measure 2 to second beat of measure 4)  and its second (final beat of measure 4 to second beat of measure 5). Is the first gesture an adventure, and does the A-sharp outside the phrase marking represent hesitation? (Although the harmony at the final beat is V over I, I think A-sharp does sound foreign, even exotic and sexy, given the B as bass note.) Is the inclusion of the C-double-sharp in the second gesture a confirmation of the success of the adventure? (And therefore, the fugue starts after the germination of this gesture?)

This brings us to the fugue, the subject matter of today. The second presentation of the fugue subject at the alto voice (top voice in the second system) is marked differently from the first presentation in articulation. The second part of the subject has its first note detached from the phrase afterward. The weak beat emphasis occurs after the fugues subject. After two gestures of weak beat emphasis, the strong beats begins the slur again.

What can we make out of this labyrinth given to us by Franck? Here's my suggestion:


Same-note upbeat to a sighing gesture: hesitation and anticipation (a dialectic), or simply an assured anticipation, to the ensuing sighing gesture. Decision depends on the context and the performer's interpretation.
Slurs (long or short) on the downbeat: smooth gesture.
Slurs on a fourth beat: deliberate distortion of the four-beat syntax, to be emphasized. The distortion is always rectified by subsequent appearances of the right syntax. This distortion is a dissonance in syntax, leading to a right, thus consonant syntax.

Coming back to the opening question, I will play it (the first note of the second part of the fugue subject) quasi legato, with more emphasis than the same-note anticipations that precede. It is as though a continuation of the exploration, or this time a trial and error, although the fugue has started (formally, it has started.) The fixation point of the fugue subject articulation is at the second appearance of the subject. Interestingly, the articulation is the same as that in the opening of the bridge section. (At this point, I play the bridge with a lot of planned hesitation. But none of the recordings of the masters is doing that.)

Three more things to say:
1. I believe the distortion of syntax appears in poetry! But I don't' know about them. Does anyone know?
2. I guess someone in the music theory circle has said similar things. I want to know who they are and how they theorize, and what how to they label it.
3. Well, I admit, when I play it on the piano, it's another art. Enough bullshit.