The three part Fugue in G BuxWV 175 originates as an organ work but readily transcribes as music that can be played on the piano. It is a movement featuring much imitation in the three lines of music. It is also divided into three sections and is more canzona than fugue. The music needs to be played very evenly with a lightness of touch. Entries of the subject in the voices need to be stated clearly. The challenge in playing music in this style is creating space and communicating the intentions and formal shape of the music. The playback tempo in the realisation is 72 quarter note beats to the minute but the movement can be played at a quicker tempo if preferred. There is minimal score detail in the sheet music score as is the convention with music from this era. The music editor also suggests listening to some of the organ versions that exist readily accessible on streaming media. Buxtehude 1637 – 1707 was an important compose of the mid-baroque period and an important influence on J. S. Bach, G.F. Handel and G. P. Telemann. Whilst described as a German composer he considered to be Danish himself though the place he was born is now in Sweden! His place of work from 1668 was St. Mary’s Church, (Marienkirche) Lübeck and apart from his vocal music composed for church contexts there is a substantial amount of music for organ including preludes, toccatas and fugues, chorale settings and pieces based on repeating bass lines or ostinatos. It is worth exploring music originally intended for the organ and harpsichord performance on the piano. Alan Feinberg’s CD “Fugal State” and Francesco Tristano “Long Walk” are two contemporary collections that include the keyboard music of Buxtehude played on the piano.