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Bach Contrapunctus I From the Art of the Fugue 1998 Bwv 1080 Double Reed Ensemble

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Musical work by Johann Sebastian Bach

Championship page of the first edition, 1751

The Fine art of Fugue , or The Art of the Fugue (German: Die Kunst der Fuge), BWV 1080, is an incomplete musical work of unspecified instrumentation by Johann Sebastian Bach. Written in the last decade of his life, The Art of Fugue is the culmination of Bach'south experimentation with monothematic instrumental works.

This work consists of xiv fugues and four canons in D small-scale, each using some variation of a single principal discipline, and generally ordered to increase in complexity. "The governing idea of the work", as put by Bach specialist Christoph Wolff, "was an exploration in depth of the contrapuntal possibilities inherent in a single musical subject field."[1] The word "contrapunctus" is oft used for each fugue.

Sources [edit]

Mus. ms. autogr. P 200 [edit]

The title page of Mus. ms. autogr. P 200, which bears the championship Die / Kunst der Fuga / di Sig.o Joh. Seb. Bach. / (in eigenhändiger Partitur).

The earliest extant source of the work is an autograph manuscript possibly written from 1740 to 1746, usually referred by its call number as Mus. ms. autogr. P 200 in the Berlin Land Library. Begetting the title Die / Kunst der Fuga [sic] / di Sig[nore] Joh. Seb. Bach, which was written by Bach's son-in-police force Johann Christoph Altnickol, followed by (in eigenhändiger Partitur) written by Georg Poelchau [de], the autograph contains twelve untitled fugues and 2 canons bundled in a different order than in the showtime printed edition, with the absence of Contrapunctus 4, Fuga a ii clav (two-keyboard version of Contrapunctus thirteen), Catechism alla decima, and Canon alla duodecima.

The shorthand manuscript presents the then-untitled Contrapuncti and canons in the following order: [Contrapunctus ane], [Contrapunctus 3], [Contrapunctus 2], [Contrapunctus 5], [Contrapunctus 9], an early version of [Contrapunctus 10], [Contrapunctus six], [Contrapunctus vii], Catechism in Hypodiapason with its two-stave solution Resolutio Canonis (entitled Canon alla Ottava in the offset printed edition), [Contrapunctus 8], [Contrapunctus 11], Canon in Hypodiatesseron, al roversio [sic] e per augmentationem, perpetuus presented in two staves and so on 1, [Contrapunctus 12] with the inversus form of the fugue written directly below the rectus form, [Contrapunctus 13] with the same rectus–inversus format, and a two-stave Catechism al roverscio et per augmentationem—a second version of Canon in Hypodiatesseron.

Mus. ms. autogr. P 200, Beilage [edit]

Bundled with the principal autograph are three supplementary manuscripts, each affixed to a composition that would announced in the beginning printed edition. Referred to every bit Mus. ms. autogr. P 200/Beilage 1, Mus. ms. autogr. P 200/Beilage 2, and Mus. ms. autogr. P 200/Beilage iii, they are written nether the title Die Kunst / der Fuga / von J.Due south.B.

Mus. ms. autogr. P 200, Beilage 1 contains a final preparatory revision of the Canon in Hypodiatesseron, nether the title Canon p[er] Augmentationem contrario Motu crossed out. The manuscript contains line suspension and page interruption information for the engraving procedure, near of which was transcribed in the first printed edition. Written on the elevation region of the manuscript is a note written by Johann Christoph Friedrich Bach: "Due north.B. Der seel. Papa hat auf die Platte diesen Titul stechen lassen, Canon per Augment: in Contrapuncto all octava, er hat es aber wieder ausgestrichen auf der Probe Platte und gesetzet wie forn stehet" ("N.B. The belatedly father had written on the copper plate the following title, Canon per Augment: in Contrapuncto all octava, simply had strucken it out again on the proof sheet and restored the title equally information technology was formerly".

Mus. ms. autogr. P 200, Beilage 2 contains two-keyboard arrangements of Contrapunctus 13 inversus and rectus, entitled Fuga a 2. Clav: and Alio modo Fuga a ii Clav. in the start printed edition respectively. Similar Beilage 1, the manuscript served as a preparatory edition for the starting time printed edition.

Mus. ms. autogr. P 200, Beilage 3 contains a fragment of a three-discipline fugue, which would be later called Fuga a 3 Soggetti in the kickoff printed edition. Unlike the fugues written in the primary autograph, the Fuga is presented in a two-stave keyboard system, instead of five individual staves for each vocalization. The fugue abruptly breaks off on the fifth folio, specifically on the 239th measure and ends with the notation written past Carl Philipp Emanuel Bach: " Ueber dieser Fuge, wo der Nahme BACH im Contrasubject angebracht worden, ist der Verfasser gestorben ." ("At the point where the composer introduces the name BACH [for which the English note would be B ♭ –A–C–B ♮ ] in the countersubject to this fugue, the composer died.") The following folio contains a listing of errata by Carl Philipp Emanuel Bach for the first printed edition (pages 21–35).

First and second printed editions [edit]

The kickoff printed version was published under the title Die / Kunst der Fuge / durch / Herrn Johann Sebastian Bach / ehemahligen Capellmeister und Musikdirector zu Leipzig. in May 1751, slightly less than a year after Bach'due south death. In add-on to changes in the order, notation, and fabric of pieces which appeared in the autograph, it contained two new fugues, two new canons, and three pieces of ostensibly spurious inclusion. A 2nd edition was published in 1752, just differed only in its improver of a preface by Friedrich Wilhelm Marpurg.

In spite of its revisions, the printed edition of 1751 independent a number of glaring editorial errors. The majority of these may exist attributed to Bach's relatively sudden death in the midst of publication. Three pieces were included that do not appear to have been part of Bach'due south intended order: an unrevised (and thus redundant) version of the second double fugue, Contrapunctus X; a two-keyboard arrangement[2] of the outset mirror fugue, Contrapunctus XIII; and an organ chorale prelude on " Vor deinen Thron tret ich hiermit " ("Herewith I come earlier Thy Throne"), derived from BWV 668a, and noted in the introduction to the edition as a recompense for the piece of work's incompleteness, having purportedly been dictated by Bach on his deathbed.

The dissonant character of the published social club and the Unfinished Fugue have engendered a wide diversity of theories which attempt to restore the work to the state originally intended by Bach.

Structure [edit]

The Art of Fugue is based on a single subject, which each canon and fugue employs in some variation:

\relative c'' { \set Staff.midiInstrument = #"church organ" \clef treble \key d \minor \time 4/4 d,2 a' | f d | cis d4 e | f2~ f8 g f e | d4 }

The piece of work divides into seven groups, according to each piece'due south prevailing contrapuntal device; in both editions, these groups and their respective components are generally ordered to increase in complexity. In the order in which they occur in the printed edition of 1751 (without the aforementioned works of spurious inclusion), the groups, and their components are as follows.

Simple fugues:

  • Contrapunctus I: 4-voice fugue on primary subject
  • Contrapunctus II: iv-vocalisation fugue on principal subject field, accompanied past a 'French' manner dotted rhythm
  • Contrapunctus III: 4-voice fugue on principal subject in inversion, employing intense chromaticism
  • Contrapunctus Four: 4-voice fugue on principal subject in inversion, employing counter-subjects

Stretto Fugues (Counter-fugues), in which the subject is used simultaneously in regular, inverted, augmented, and macerated forms:

  • Contrapunctus V: Has many stretto entries, as do Contrapuncti Half dozen and VII
  • Contrapunctus VI, a 4 in Stylo Francese: This adds both forms of the theme in diminution,[iii] (halving note lengths), with fiddling rising and descending clusters of semiquavers in one voice answered or punctuated past similar groups in demisemiquavers in another, confronting sustained notes in the accompanying voices. The dotted rhythm, enhanced by these footling rising and descending groups, suggests what is chosen "French style" in Bach's day, hence the name Stylo Francese.[4]
  • Contrapunctus VII, a 4 per Augmentationem et Diminutionem: Uses augmented (doubling all note lengths) and diminished versions of the main discipline and its inversion.

Double and triple fugues, employing two and iii subjects respectively:

  • Contrapunctus VIII, a 3: Triple fugue, with three subjects, having contained expositions
  • Contrapunctus IX, a 4 alla Duodecima: Double fugue, with 2 subjects occurring dependently, and in invertible counterpoint at the 12th
  • Contrapunctus Ten, a four alla Decima: Double fugue, with two subjects occurring dependently, and in invertible counterpoint at the tenth
  • Contrapunctus Xi, a 4: Triple fugue, employing the three subjects of Contrapunctus VIII in inversion

Mirror fugues, in which a piece is notated once and then with voices and counterpoint completely inverted, without violating contrapuntal rules or musicality:

  • Contrapunctus XII, a iv
  • Contrapunctus Thirteen, a 3

Canons, labeled by interval and technique:

  • Canon per Augmentationem in Contrario Motu: Canon in which the following vocalization is both inverted and augmented.
  • Catechism alla Ottava: Catechism in fake at the octave
  • Canon alla Decima in Contrapunto alla Terza: Catechism in simulated at the 10th
  • Canon alla Duodecima in Contrapunto alla Quinta: Canon in imitation at the twelfth

The Unfinished Fugue:

  • Fuga a iii Soggetti ("Contrapunctus XIV"): 4-vox triple fugue (non completed by Bach, but likely to take get a quadruple fugue: run across beneath), the third discipline of which begins with the BACH motif, B ♭ –A–C–B ♮ ('H' in German letter notation).

Instrumentation [edit]

Both editions of the Art of Fugue are written in open score, where each vocalization is written on its own staff. This has led some to conclude[5] that the Fine art of Fugue was intended equally an intellectual exercise, meant to exist studied more than heard. The renowned keyboardist Gustav Leonhardt argued that the Art of Fugue was intended[6] to be played on a keyboard instrument, and specifically the harpsichord. Leonhardt'south arguments included the following:[7]

  1. It was mutual practise in the 17th and early on 18th centuries to publish keyboard pieces in open score, especially those that are contrapuntally complex. Examples include Frescobaldi's Fiori musicali (1635), Samuel Scheidt's Tabulatura Nova (1624), works by Johann Jakob Froberger (1616–1667), Franz Anton Maichelbeck (1702–1750), and others.
  2. The range of none of the ensemble or orchestral instruments of the catamenia corresponds to any of the ranges of the voices in The Art of Fugue. Furthermore, none of the melodic shapes that narrate Bach'southward ensemble writing are found in the work, and there is no basso continuo.
  3. The fugue types used are reminiscent of the types in The Well-Tempered Clavier, rather than Bach's ensemble fugues; Leonhardt also shows an "optical" resemblance betwixt the fugues of the 2 collections, and points out other stylistic similarities betwixt them.
  4. Finally, since the bass vocalism in The Art of Fugue occasionally rises above the tenor, and the tenor becomes the "real" bass, Leonhardt deduces that the bass part was non meant to be doubled at xvi-foot pitch, thus eliminating the pipe organ as the intended instrument, leaving the harpsichord every bit the most logical choice.

Information technology is now generally accustomed by scholars that the piece of work was envisioned for keyboard.[viii] Despite disagreements on how (and whether) information technology was intended to be played, The Art of Fugue continues to exist performed and recorded by many different solo instruments and ensembles.

Fuga a three Soggetti [edit]

The concluding folio of Contrapunctus XIV

Fuga a 3 Soggetti ("fugue in iii subjects"), also referred to as the "Unfinished Fugue", was contained in a handwritten manuscript bundled with the shorthand manuscript Mus. ms. autogr. P200. It breaks off abruptly in the middle of its third section, with an only partially written measure 239. This autograph carries a note in the handwriting of Carl Philipp Emanuel Bach, stating "Über dieser Fuge, wo der Name B A C H im Contrasubject angebracht worden, ist der Verfasser gestorben." ("While working on this fugue, which introduces the name BACH [for which the English language notation would be B ♭ –A–C–B ♮ ] in the countersubject, the composer died.") This business relationship is disputed past mod scholars, as the manuscript is conspicuously written in Bach'southward ain manus, and thus dates to a time before his deteriorating health and vision would have prevented his ability to write, probably 1748–1749.[nine]

Attempts at completion [edit]

A number of musicians and musicologists have composed conjectural completions of Contrapunctus Xiv which include the fourth subject field, including musicologists Donald Tovey (1931), Zoltán Göncz (1992), Yngve Jan Trede (1995), and Thomas Daniel (2010), organists Helmut Walcha,[10] David Goode, Lionel Rogg, and Davitt Moroney (1989), usher Rudolf Barshai (2010)[11] and Daniil Trifonov (2021). Ferruccio Busoni'southward Fantasia contrappuntistica is based on Contrapunctus XIV, just it develops Bach'due south ideas to Busoni's own purposes in Busoni'south musical style, rather than working out Bach'south thoughts as Bach himself might have done.[12] Other completions that do non incorporate the quaternary subject including those by the French classical organist Alexandre Pierre François Boëly and pianist Kimiko Douglass-Ishizaka.

Significance [edit]

In 2007, New Zealand organist and conductor Indra Hughes completed a doctoral thesis about the unfinished ending of Contrapunctus Fourteen, proposing that the work was left unfinished not because Bach died, but as a deliberate choice past Bach to encourage independent efforts at a completion.[13] [xiv]

Douglas Hofstadter'southward book Gödel, Escher, Bach discusses the unfinished fugue and Bach's supposed decease during composition as a tongue-in-cheek illustration of Austrian logician Kurt Gödel'south first incompleteness theorem. According to Gödel, the very ability of a "sufficiently powerful" formal mathematical arrangement tin can be exploited to "undermine" the system, past leading to statements that affirm such things as "I cannot be proven in this organization". In Hofstadter'southward word, Bach's slap-up compositional talent is used equally a metaphor for a "sufficiently powerful" formal arrangement; however, Bach's insertion of his own name "in code" into the fugue is not, even metaphorically, a case of Gödelian cocky-reference; and Bach'south failure to finish his cocky-referential fugue serves as a metaphor for the unprovability of the Gödelian assertion, and thus for the incompleteness of the formal system.

Sylvestre and Costa[15] reported a mathematical architecture of The Fine art of Fugue, based on bar counts, which shows that the whole work was conceived on the ground of the Fibonacci serial and the gold ratio. The significance of the mathematical architecture tin can probably exist explained by considering the role of the piece of work every bit a membership contribution to the Correspondierende Societät der musicalischen Wissenschaften [de], and to the "scientific" meaning that Bach attributed to counterpoint.

Notable recordings [edit]

Harpsichord [edit]

  • Gustav Leonhardt (1953, 1969)
  • Isolde Ahlgrimm (1953, 1967)
  • Davitt Moroney (1985)[16]
  • Robert Hill (1987, 1998)[17]
  • Ton Koopman with Tini Mathot (1994), on 2 harpsichords
  • Bradley Brookshire (2007) includes an additional CD-ROM with score to follow along as MP3s play
  • Matteo Messori (2008) alternating 3 harpsichords (after Taskin, Harrass and Hildebrandt)
  • Lorenzo Ghielmi on a Silbermann pianoforte and harpsichord with Vittorio Ghielmi and "Il Suonar Parlante" viols quartet (2009)

Organ [edit]

  • Helmut Walcha (1956, 1970)[16]
  • Glenn Gould (1962) incomplete[18]
  • Lionel Rogg (1970)[19]
  • Marie-Claire Alain (1974, Rotterdam)
  • Herbert Tachezi [de] (1977) on the Jürgen Ahrend and Gerhard Brunzema [de] organ in St. Johann (Oberneuland) [de], Bremen
  • Wolfgang Rübsam (1992)
  • Marie-Claire Alain (1993)
  • Louis Thiry (1993) on the Silbermann organ of St Thomas' Church building, Strasbourg
  • André Isoir (1999)[20] Some movements performed as a duet with Pierre Farago, on the Grenzing organ of Saint-Cyprien in Périgord, France
  • Hans Fagius (2000) on the Carsten Lund organ of Garnisons Church Copenhagen, Denmark
  • Kevin Bowyer (2001) on the Marcussen organ of Saint Hans Church, Odense, Kingdom of denmark
  • Régis Allard (2007)
  • George Ritchie (2010) on the Richards, Fowkes & Co organ of Acme Presbyterian Church in Scottsdale, Arizona (This recording includes as a bonus rail an alternative take of the final unfinished fugue with the completion past Helmut Walcha)
  • Joan Lippincott (2012)

Piano [edit]

  • Richard Buhlig and Wesley Kuhnle (1934)
  • Glenn Gould, incomplete[18]
  • Charles Rosen (1967)
  • Grigory Sokolov (1982)
  • Zoltán Kocsis (1984)
  • Yūji Takahashi (1988)
  • Evgeni Koroliov (1991)
  • Tatiana Nikolayeva (1992)
  • Anton Batagov (1993)
  • Joanna MacGregor (1996)
  • Pierre-Laurent Aimard (2008)
  • Zhu Xiao-Mei (2014)[21]
  • Angela Hewitt (2014)
  • Kimiko Douglass-Ishizaka (2017)[22]
  • Daniil Trifonov (2021)

Cord quartet [edit]

  • Quartetto Italiano (1985)[23]
  • Juilliard String Quartet (1987)[24]
  • Emerson String Quartet (2003)
  • Vittorio Ghielmi and "Il Suonar Parlante" viols quartet (2009) with Lorenzo Ghielmi on a Silbermann piano and harpsichord

Orchestra [edit]

  • Arthur Winograd by Winograd Cord Orchestra (ca 1952)
  • Hermann Scherchen with Orchestre de la RTSI (1965)[25]
  • Karl Ristenpart with Chamber Orchestra of the Saar (1965)
  • Karl Münchinger with Stuttgart Sleeping accommodation Orchestra (1965, 1985 live)
  • Neville Marriner with Academy of St Martin in the Fields (1974)
  • Lukas Foss with I Soloisti di Pickup (1977) orchestrated by William Malloch
  • Jordi Savall with Hesperion XX (1986)
  • Erich Bergel with Cluj Philharmonic Orchestra (1991)[16]
  • Rinaldo Alessandrini with Concerto Italiano (1998)
  • Stuttgart Chamber Orchestra (2002)
  • Rachel Podger with Brecon Baroque (2017)

Other [edit]

  • Milan Munclinger with Ars Rediviva (1959, 1966, 1979)
  • Fine Arts String Quartet and New York Woodwind Quintet (1962)
  • Yūji Takahashi (incomplete) electronic version (1975)
  • Musica Antiqua Köln (managing director Reinhard Goebel) for string quartet/harpsichord and various such instrumental combinations (1984)
  • Canadian Contumely for brass quintet (1990)
  • Amsterdam Loeki Stardust Quartet for recorder quartet (1998)
  • Phantasm (manager: Laurence Dreyfus) for viola da gamba four-function espoused (1998)
  • Pittsburgh Symphony Orchestra Contumely (1998)
  • Fretwork for Consort of Viols (2002)
  • József Eötvös for two eight-string guitars (2002)
  • Walter Riemer [de] get-go version on fortepiano (2006)[26]
  • An electronic version, Laibachkunstderfuge, by Neue Slowenische Kunst industrial band Laibach (2008)
  • Vulfpeck (founder Jack Stratton) for talk box (2016)[27]

See too [edit]

  • List of compositions by Johann Sebastian Bach
  • Listing of compositions by Johann Sebastian Bach printed during his lifetime
  • The Fine art of Fugue discography

Notes and references [edit]

  1. ^ Johann Sebastian Bach, the Learned Musician by Christoph Wolff, p. 433, ISBN 0-393-04825-X.
  2. ^ The printed indication of "a ii Clav." and the counterpoint of the added voices practise not appear to follow Bach's practice, evidencing that the parts were likely included past the editors of the printed edition to bolster the work.
  3. ^ Helmut Walcha, "Zu meiner Wiedergabe", in Dice Kunst Der Fuge BWV 1080, St Laurenskerk Alkmaar 1956 (Archiv Product, Polydor International 1957), Insert pp. 5–11, at p. vii.
  4. ^ Anon. (n.d.). "The Art of Fugue – Types of Fugues, Part ane". American Public Media. Retrieved 28 April 2012.
  5. ^ Anon. (northward.d.). "The Art of Fugue – Bach'southward Concluding Harpsichord Work: An Statement – Did Bach intend Art of Fugue to be performed?". American Public Media.
  6. ^ "images of front and back covers; The Art of Fugue – Bach'south Terminal Harpsichord Work: An Argument (1952)" (PDF).
  7. ^ The Fine art of Fugue Gustav Leonhardt's 1969 liner notes for Harmonia Mundi HM xxx 950 XK: Johann Sebastian Bach, Die Kunst der Fuge [1969], three–viii.; besides for Deutsche Harmonia Mundi's CD edition 77013-2-RG (an extensive summary of his 1952 The Art of Fugue – Bach's Last Harpsichord Work: An Statement)
  8. ^ David Schulenberg. "Expression and Authenticity in the Harpsichord Music of J.Due south. Bach". The Journal of Musicology, Vol. 8, No. 4 (Fall, 1990), pp. 449–476
  9. ^ See due east.g. the discussion in Johann Sebastian Bach, the Learned Musician by Christoph Wolff, ISBN 0-393-04825-Ten.
  10. ^ Walcha's determination to the last Contrapunctus has been recorded past Walcha himself, in his Stereo recording of the complete organ works by Bach for Archiv (1956-1971); and past Walcha's student, George Ritchie, in the documentary flick Desert Fugue (2010).
  11. ^ "The Art of Fugue". Rudolf Barshai Memorial . Retrieved six February 2021.
  12. ^ Meet Donald Tovey's comments in A Companion to the Art of Fugue (2013 Dover reprint, ISBN 0-486-49764-X, folio 177 footnote).
  13. ^ University of Auckland News, Volume 37, Upshot 9 (May 25, 2007) Archived September 26, 2007, at the Wayback Automobile
  14. ^ The thesis is available online: http://hdl.handle.net/2292/392
  15. ^ Loïc, Sylvestre; Costa, Marco (2011). "The Mathematical Compages of Bach'southward The Art of Fugue". Il Saggiatore musicale. 17: 175–196.
  16. ^ a b c The recordings by Walcha (1970) and Moroney include both their completion of Contrapunctus XIV and the unfinished original, while Bergel's includes only his endeavor.
  17. ^ Robert Hill: Recordings of Musical Offering & Art of Fugue, bach-cantatas.com
  18. ^ a b Partial performances on organ (Contrapuncti I–IX) and piano (I, II, Four, IX, XI, XIII inversus, and Fourteen).
  19. ^ The recording, which includes both the unfinished original and Rogg's completion, in the twelvemonth of its release won the Grand Prix du Disque from the Charles Cros Academy.
  20. ^ André Isoir: Recordings of Musical Offering and Art of Fugue, bach-cantatas.com
  21. ^ Published by Accentus Music: CD – J. S. Bach Kunst der Fuge – Zhu Xiao-Mei, Piano, No. ACC 30308
  22. ^ "video".
  23. ^ Paolo Borciani and Elisa Pegreffi with Tommaso Poggi and Luca Simoncini, every bit Quartetto Italiano, CD Nuova Era 7342, recording 1985.See [one]
  24. ^ "J.S.Bach – Juilliard Cord Quartet – die Kunst der Fuge (1992, CD)".
  25. ^ Except the canons, which are played by harpsichordist Kenneth Gilbert on the recording.
  26. ^ "J. South. Bach: The Art of the Fugue – Die Kunst der Fuge, BWV 1080". world wide web.niederfellabrunn.at.
  27. ^ Jack Stratton: Contrapunctus IX (talkbox) on YouTube

External links [edit]

  • Full discography of The Art of Fugue, bach-cantatas.com
  • Discography
  • Johann Sebastian Bach / L'fine art de la fugue / The Fine art of the Fugue – Jordi Savall, Hesperion Twenty – Alia Vox 9818
  • Pianoforte Guild: JS Bach – A biography and diverse gratuitous recordings in MP3 format, including Art of Fugue
  • Web-essay on The Fine art of Fugue
  • Introduction to The Art of Fugue
  • Die Kunst der Fuge (scores and MIDI files) on the Mutopia Project website
  • The Fine art of Fugue: Scores at the International Music Score Library Project
  • The Art of Fugue every bit MIDI files
  • Image of the ending of the final fugue at external site
  • Contrapunctus Fourteen (the reconstructed quadruple fugue) – Carus-Verlag
  • Malina, János: The Ultimate Fugue, The Hungarian Quarterly, Wintertime 2007
  • Contrapunctus Fourteen (reconstruction): Function 1/2, Part 2/2 (YouTube video)
  • Contrapunctus XIV: Completion (in quarter-comma meantone) (YouTube video)
  • Contrapunctus II as interactive hypermedia at the BinAural Collaborative Hypertext
  • Synthesized realization and analysis of The Art of Fugue by Jeffrey Hall
  • Hughes, Indra (2006). "Accident or Design? New Theories on the unfinished Contrapunctus fourteen in JS Bach's The Fine art of Fugue, BWV 1080", The Academy of Auckland PhD thesis
  • "Johann Sebastian Bach'south The Fine art of Fugue", article Uri Golomb, published in Goldberg Early Music Magazine
  • Ars Rediviva: Sound Recordings Library, The Art of Fugue, Contrapunctus Eight
  • Description of documentary film Desert Fugue
  • Electronic realization by Klangspiegel
  • Completion of Contrapunctus XIV past Paul Freeman
  • Bach, Alphametics and The Fine art of Fugue
  • "Le concert d'Irena Kosikova a fait un tabac", La Dépêche du Midi, 11 Baronial 2014 (in French)

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Source: https://en.wikipedia.org/wiki/The_Art_of_Fugue

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