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Home / Concerto Grosso What Did the the Art of Fugue

Concerto Grosso What Did the the Art of Fugue

Musical work by Johann Sebastian Bach

Championship page of the showtime edition, 1751

The Art of Fugue , or The Fine art of the Fugue (German language: 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's experimentation with monothematic instrumental works.

This work consists of 14 fugues and 4 canons in D minor, each using some variation of a single master subject, 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."[one] The word "contrapunctus" is frequently 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 piece of work is an autograph manuscript mayhap written from 1740 to 1746, usually referred by its telephone call number as Mus. ms. autogr. P 200 in the Berlin State Library. Bearing the title Dice / Kunst der Fuga [sic] / di Sig[nore] Joh. Seb. Bach, which was written past Bach's son-in-law Johann Christoph Altnickol, followed by (in eigenhändiger Partitur) written by Georg Poelchau [de], the shorthand contains twelve untitled fugues and 2 canons arranged in a different order than in the commencement printed edition, with the absence of Contrapunctus 4, Fuga a 2 clav (2-keyboard version of Contrapunctus 13), Canon alla decima, and Canon alla duodecima.

The autograph manuscript presents the so-untitled Contrapuncti and canons in the following order: [Contrapunctus 1], [Contrapunctus 3], [Contrapunctus 2], [Contrapunctus five], [Contrapunctus 9], an early version of [Contrapunctus 10], [Contrapunctus vi], [Contrapunctus 7], Canon in Hypodiapason with its two-stave solution Resolutio Canonis (entitled Catechism alla Ottava in the first printed edition), [Contrapunctus 8], [Contrapunctus eleven], Catechism in Hypodiatesseron, al roversio [sic] eastward per augmentationem, perpetuus presented in 2 staves and so on one, [Contrapunctus 12] with the inversus course of the fugue written directly beneath the rectus form, [Contrapunctus 13] with the same rectus–inversus format, and a two-stave Canon al roverscio et per augmentationem—a second version of Canon in Hypodiatesseron.

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

Bundled with the main autograph are three supplementary manuscripts, each affixed to a limerick that would appear in the first printed edition. Referred to every bit Mus. ms. autogr. P 200/Beilage 1, Mus. ms. autogr. P 200/Beilage ii, and Mus. ms. autogr. P 200/Beilage 3, they are written under the championship Die Kunst / der Fuga / von J.Southward.B.

Mus. ms. autogr. P 200, Beilage ane contains a final preparatory revision of the Canon in Hypodiatesseron, under the championship Canon p[er] Augmentationem contrario Motu crossed out. The manuscript contains line suspension and page break information for the engraving procedure, most of which was transcribed in the starting time printed edition. Written on the top region of the manuscript is a note written past Johann Christoph Friedrich Bach: "N.B. Der seel. Papa lid auf die Platte diesen Titul stechen lassen, Canon per Broaden: in Contrapuncto all octava, er hat es aber wieder ausgestrichen auf der Probe Platte und gesetzet wie forn stehet" ("North.B. The belatedly father had written on the copper plate the following title, Catechism per Augment: in Contrapuncto all octava, merely had strucken it out again on the proof sheet and restored the championship as 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 2 Clav. in the first printed edition respectively. Like Beilage 1, the manuscript served as a preparatory edition for the first printed edition.

Mus. ms. autogr. P 200, Beilage three contains a fragment of a three-subject fugue, which would be later called Fuga a three Soggetti in the showtime 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 voice. The fugue abruptly breaks off on the fifth page, specifically on the 239th measure out and ends with the note written past Carl Philipp Emanuel Bach: " Ueber dieser Fuge, wo der Nahme BACH im Contrasubject angebracht worden, ist der Verfasser gestorben ." ("At the bespeak where the composer introduces the proper noun BACH [for which the English annotation would be B ♭ –A–C–B ♮ ] in the countersubject to this fugue, the composer died.") The following page contains a list of errata by Carl Philipp Emanuel Bach for the first printed edition (pages 21–35).

First and 2d printed editions [edit]

The offset printed version was published nether the title Die / Kunst der Fuge / durch / Herrn Johann Sebastian Bach / ehemahligen Capellmeister und Musikdirector zu Leipzig. in May 1751, slightly less than a yr after Bach'due south death. In addition to changes in the order, notation, and fabric of pieces which appeared in the shorthand, it independent two new fugues, two new canons, and 3 pieces of ostensibly spurious inclusion. A second edition was published in 1752, but differed only in its addition of a preface by Friedrich Wilhelm Marpurg.

In spite of its revisions, the printed edition of 1751 contained a number of glaring editorial errors. The majority of these may be attributed to Bach's relatively sudden death in the midst of publication. 3 pieces were included that do non announced to have been part of Bach's intended order: an unrevised (and thus redundant) version of the second double fugue, Contrapunctus X; a 2-keyboard system[2] of the commencement mirror fugue, Contrapunctus XIII; and an organ chorale prelude on " Vor deinen Thron tret ich hiermit " ("Herewith I come before Thy Throne"), derived from BWV 668a, and noted in the introduction to the edition as a recompense for the work'due south incompleteness, having purportedly been dictated past Bach on his deathbed.

The dissonant character of the published lodge and the Unfinished Fugue take engendered a wide multifariousness of theories which attempt to restore the piece of work to the country originally intended by Bach.

Structure [edit]

The Art of Fugue is based on a single discipline, 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's prevailing contrapuntal device; in both editions, these groups and their respective components are generally ordered to increment in complexity. In the gild 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 principal subject
  • Contrapunctus Ii: 4-voice fugue on principal subject, accompanied by a 'French' fashion dotted rhythm
  • Contrapunctus III: four-vocalism fugue on principal subject in inversion, employing intense chromaticism
  • Contrapunctus Iv: 4-voice fugue on master subject area in inversion, employing counter-subjects

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

  • Contrapunctus Five: Has many stretto entries, as practice Contrapuncti VI and VII
  • Contrapunctus Half dozen, a 4 in Stylo Francese: This adds both forms of the theme in diminution,[3] (halving note lengths), with petty rise and descending clusters of semiquavers in ane vocalism answered or punctuated by similar groups in demisemiquavers in another, confronting sustained notes in the accompanying voices. The dotted rhythm, enhanced past these fiddling ascension and descending groups, suggests what is chosen "French style" in Bach's day, hence the name Stylo Francese.[four]
  • Contrapunctus VII, a 4 per Augmentationem et Diminutionem: Uses augmented (doubling all note lengths) and diminished versions of the main subject field and its inversion.

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

  • Contrapunctus VIII, a iii: Triple fugue, with three subjects, having independent expositions
  • Contrapunctus Nine, a 4 alla Duodecima: Double fugue, with two subjects occurring dependently, and in invertible counterpoint at the 12th
  • Contrapunctus Ten, a 4 alla Decima: Double fugue, with two subjects occurring dependently, and in invertible counterpoint at the 10th
  • Contrapunctus 11, a 4: Triple fugue, employing the three subjects of Contrapunctus Eight in inversion

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

  • Contrapunctus XII, a four
  • Contrapunctus Thirteen, a 3

Canons, labeled by interval and technique:

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

The Unfinished Fugue:

  • Fuga a 3 Soggetti ("Contrapunctus Xiv"): 4-vocalization triple fugue (not completed by Bach, just probable to have become a quadruple fugue: see below), the 3rd field of study of which begins with the BACH motif, B ♭ –A–C–B ♮ ('H' in High german alphabetic character note).

Instrumentation [edit]

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

  1. It was mutual do in the 17th and early 18th centuries to publish keyboard pieces in open score, especially those that are contrapuntally circuitous. Examples include Frescobaldi'south Fiori musicali (1635), Samuel Scheidt'southward 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 menstruation corresponds to whatsoever of the ranges of the voices in The Art of Fugue. Furthermore, none of the melodic shapes that characterize Bach'due south 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'southward ensemble fugues; Leonhardt as well shows an "optical" resemblance between the fugues of the 2 collections, and points out other stylistic similarities between them.
  4. Finally, since the bass vocalization in The Art of Fugue occasionally rises in a higher place the tenor, and the tenor becomes the "real" bass, Leonhardt deduces that the bass part was not meant to be doubled at 16-foot pitch, thus eliminating the pipe organ as the intended instrument, leaving the harpsichord as the most logical choice.

It is at present mostly accepted past scholars that the work was envisioned for keyboard.[8] Despite disagreements on how (and whether) it was intended to exist played, The Art of Fugue continues to be performed and recorded by many different solo instruments and ensembles.

Fuga a three Soggetti [edit]

The final folio of Contrapunctus XIV

Fuga a 3 Soggetti ("fugue in 3 subjects"), likewise referred to as the "Unfinished Fugue", was independent in a handwritten manuscript bundled with the autograph manuscript Mus. ms. autogr. P200. Information technology breaks off abruptly in the center of its third department, with an but partially written measure 239. This autograph carries a annotation 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 notation would be B ♭ –A–C–B ♮ ] in the countersubject, the composer died.") This account is disputed by mod scholars, as the manuscript is clearly written in Bach'southward own mitt, and thus dates to a fourth dimension before his deteriorating wellness and vision would accept prevented his power to write, probably 1748–1749.[9]

Attempts at completion [edit]

A number of musicians and musicologists have composed conjectural completions of Contrapunctus XIV which include the quaternary subject, including musicologists Donald Tovey (1931), Zoltán Göncz (1992), Yngve Jan Trede (1995), and Thomas Daniel (2010), organists Helmut Walcha,[x] David Goode, Lionel Rogg, and Davitt Moroney (1989), conductor Rudolf Barshai (2010)[eleven] and Daniil Trifonov (2021). Ferruccio Busoni's Fantasia contrappuntistica is based on Contrapunctus Fourteen, but information technology develops Bach's ideas to Busoni'due south ain purposes in Busoni's musical manner, rather than working out Bach's thoughts every bit Bach himself might have done.[12] Other completions that exercise not contain the fourth 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 XIV, proposing that the work was left unfinished not considering Bach died, but equally a deliberate option by Bach to encourage independent efforts at a completion.[13] [14]

Douglas Hofstadter's book Gödel, Escher, Bach discusses the unfinished fugue and Bach's supposed decease during composition as a tongue-in-cheek analogy of Austrian logician Kurt Gödel's commencement incompleteness theorem. According to Gödel, the very power of a "sufficiently powerful" formal mathematical system can be exploited to "undermine" the system, by leading to statements that affirm such things equally "I cannot exist proven in this arrangement". In Hofstadter'south discussion, Bach's swell compositional talent is used as a metaphor for a "sufficiently powerful" formal system; still, Bach's insertion of his own name "in lawmaking" into the fugue is not, fifty-fifty metaphorically, a case of Gödelian cocky-reference; and Bach's failure to cease his self-referential fugue serves every bit a metaphor for the unprovability of the Gödelian assertion, and thus for the incompleteness of the formal organisation.

Sylvestre and Costa[fifteen] reported a mathematical architecture of The Art of Fugue, based on bar counts, which shows that the whole work was conceived on the basis of the Fibonacci series and the gilded ratio. The significance of the mathematical architecture can probably be explained by considering the part of the work as 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 Loma (1987, 1998)[17]
  • Ton Koopman with Tini Mathot (1994), on two harpsichords
  • Bradley Brookshire (2007) includes an additional CD-ROM with score to follow along as MP3s play
  • Matteo Messori (2008) alternating three harpsichords (after Taskin, Harrass and Hildebrandt)
  • Lorenzo Ghielmi on a Silbermann piano and harpsichord with Vittorio Ghielmi and "Il Suonar Parlante" viols quartet (2009)

Organ [edit]

  • Helmut Walcha (1956, 1970)[16]
  • Glenn Gould (1962) incomplete[xviii]
  • 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, Denmark
  • Régis Allard (2007)
  • George Ritchie (2010) on the Richards, Fowkes & Co organ of Superlative Presbyterian Church in Scottsdale, Arizona (This recording includes every bit a bonus runway an alternative take of the final unfinished fugue with the completion by Helmut Walcha)
  • Joan Lippincott (2012)

Piano [edit]

  • Richard Buhlig and Wesley Kuhnle (1934)
  • Glenn Gould, incomplete[xviii]
  • 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 Cord 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 Chamber Orchestra (1965, 1985 live)
  • Neville Marriner with Academy of St Martin in the Fields (1974)
  • Lukas Foss with I Soloisti di Pickup (1977) orchestrated past William Malloch
  • Jordi Savall with Hesperion Xx (1986)
  • Erich Bergel with Cluj Philharmonic Orchestra (1991)[sixteen]
  • Rinaldo Alessandrini with Concerto Italiano (1998)
  • Stuttgart Bedroom 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 (director Reinhard Goebel) for string quartet/harpsichord and various such instrumental combinations (1984)
  • Canadian Brass for brass quintet (1990)
  • Amsterdam Loeki Stardust Quartet for recorder quartet (1998)
  • Phantasm (manager: Laurence Dreyfus) for viola da gamba four-part espoused (1998)
  • Pittsburgh Symphony Orchestra Brass (1998)
  • Fretwork for Consort of Viols (2002)
  • József Eötvös for two 8-string guitars (2002)
  • Walter Riemer [de] outset 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 also [edit]

  • Listing of compositions by Johann Sebastian Bach
  • Listing of compositions by Johann Sebastian Bach printed during his lifetime
  • The 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 do non appear to follow Bach's practice, evidencing that the parts were likely included by the editors of the printed edition to bolster the piece of work.
  3. ^ Helmut Walcha, "Zu meiner Wiedergabe", in Die Kunst Der Fuge BWV 1080, St Laurenskerk Alkmaar 1956 (Archiv Production, Polydor International 1957), Insert pp. five–11, at p. vii.
  4. ^ Anon. (n.d.). "The Fine art of Fugue – Types of Fugues, Part 1". American Public Media. Retrieved 28 Apr 2012.
  5. ^ Betimes. (n.d.). "The Art of Fugue – Bach'southward Last Harpsichord Work: An Argument – Did Bach intend Art of Fugue to exist performed?". American Public Media.
  6. ^ "images of front and back covers; The Art of Fugue – Bach'southward Last Harpsichord Work: An Argument (1952)" (PDF).
  7. ^ The Fine art of Fugue Gustav Leonhardt'south 1969 liner notes for Harmonia Mundi HM 30 950 XK: Johann Sebastian Bach, Die Kunst der Fuge [1969], 3–8.; as well for Deutsche Harmonia Mundi'southward CD edition 77013-ii-RG (an extensive summary of his 1952 The Art of Fugue – Bach's Last Harpsichord Work: An Argument)
  8. ^ David Schulenberg. "Expression and Authenticity in the Harpsichord Music of J.Due south. Bach". The Periodical of Musicology, Vol. 8, No. four (Autumn, 1990), pp. 449–476
  9. ^ Run into e.g. the word in Johann Sebastian Bach, the Learned Musician by Christoph Wolff, ISBN 0-393-04825-X.
  10. ^ Walcha'south conclusion to the last Contrapunctus has been recorded by Walcha himself, in his Stereo recording of the complete organ works by Bach for Archiv (1956-1971); and by Walcha's educatee, George Ritchie, in the documentary picture show Desert Fugue (2010).
  11. ^ "The Fine art of Fugue". Rudolf Barshai Memorial . Retrieved vi February 2021.
  12. ^ See Donald Tovey'due south comments in A Companion to the Fine art of Fugue (2013 Dover reprint, ISBN 0-486-49764-X, page 177 footnote).
  13. ^ University of Auckland News, Volume 37, Issue 9 (May 25, 2007) Archived September 26, 2007, at the Wayback Machine
  14. ^ The thesis is bachelor online: http://hdl.handle.net/2292/392
  15. ^ Loïc, Sylvestre; Costa, Marco (2011). "The Mathematical Architecture of Bach's The Fine art of Fugue". Il Saggiatore musicale. 17: 175–196.
  16. ^ a b c The recordings past Walcha (1970) and Moroney include both their completion of Contrapunctus Fourteen and the unfinished original, while Bergel's includes simply his attempt.
  17. ^ Robert Hill: Recordings of Musical Offering & Art of Fugue, bach-cantatas.com
  18. ^ a b Fractional performances on organ (Contrapuncti I–Nine) and piano (I, II, IV, 9, XI, Thirteen inversus, and 14).
  19. ^ The recording, which includes both the unfinished original and Rogg'southward completion, in the year 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 past 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, as Quartetto Italiano, CD Nuova Era 7342, recording 1985.See [ane]
  24. ^ "J.S.Bach – Juilliard String Quartet – die Kunst der Fuge (1992, CD)".
  25. ^ Except the canons, which are played by harpsichordist Kenneth Gilbert on the recording.
  26. ^ "J. Southward. Bach: The Art of the Fugue – Die Kunst der Fuge, BWV 1080". www.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 / Fifty'art de la fugue / The Art of the Fugue – Jordi Savall, Hesperion XX – Alia Vox 9818
  • Pianoforte Society: JS Bach – A biography and various complimentary recordings in MP3 format, including Art of Fugue
  • Spider web-essay on The Art of Fugue
  • Introduction to The Fine art of Fugue
  • Die Kunst der Fuge (scores and MIDI files) on the Mutopia Project website
  • The Art of Fugue: Scores at the International Music Score Library Project
  • The Art of Fugue as 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, Winter 2007
  • Contrapunctus 14 (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 Pattern? New Theories on the unfinished Contrapunctus 14 in JS Bach's The Art of Fugue, BWV 1080", The University of Auckland PhD thesis
  • "Johann Sebastian Bach'southward The Art of Fugue", article Uri Golomb, published in Goldberg Early Music Magazine
  • Ars Rediviva: Sound Recordings Library, The Fine art of Fugue, Contrapunctus 8
  • Description of documentary film Desert Fugue
  • Electronic realization by Klangspiegel
  • Completion of Contrapunctus Fourteen by Paul Freeman
  • Bach, Alphametics and The Art of Fugue
  • "Le concert d'Irena Kosikova a fait un tabac", La Dépêche du Midi, 11 August 2014 (in French)

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