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By Which Voice Is the Subject First Stated in Contrapunctus I From the Art of Fugue

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Musical work past Johann Sebastian Bach

Championship page of the first edition, 1751

The Art of Fugue , or The Art of the Fugue (German language: Die Kunst der Fuge), BWV 1080, is an incomplete musical work of unspecified instrumentation past 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 fourteen fugues and 4 canons in D small, each using some variation of a single main subject field, 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 area."[ane] The discussion "contrapunctus" is often used for each fugue.

Sources [edit]

Mus. ms. autogr. P 200 [edit]

The title page of Mus. ms. autogr. P 200, which bears the title Dice / 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 possibly written from 1740 to 1746, usually referred by its call number as Mus. ms. autogr. P 200 in the Berlin State Library. Bearing the title Die / 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 autograph contains twelve untitled fugues and two canons arranged in a different society than in the first printed edition, with the absence of Contrapunctus 4, Fuga a two clav (two-keyboard version of Contrapunctus 13), Canon alla decima, and Canon alla duodecima.

The autograph manuscript presents the and then-untitled Contrapuncti and canons in the following order: [Contrapunctus 1], [Contrapunctus 3], [Contrapunctus ii], [Contrapunctus 5], [Contrapunctus nine], an early on version of [Contrapunctus ten], [Contrapunctus 6], [Contrapunctus 7], Canon in Hypodiapason with its two-stave solution Resolutio Canonis (entitled Canon alla Ottava in the first printed edition), [Contrapunctus viii], [Contrapunctus xi], Canon in Hypodiatesseron, al roversio [sic] e per augmentationem, perpetuus presented in ii staves and so on one, [Contrapunctus 12] with the inversus course of the fugue written directly below the rectus class, [Contrapunctus thirteen] 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 chief shorthand are three supplementary manuscripts, each affixed to a composition that would appear in the first printed edition. Referred to every bit Mus. ms. autogr. P 200/Beilage one, Mus. ms. autogr. P 200/Beilage 2, and Mus. ms. autogr. P 200/Beilage 3, they are written under 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, under the title Canon p[er] Augmentationem contrario Motu crossed out. The manuscript contains line break and page suspension information for the engraving procedure, most of which was transcribed in the get-go printed edition. Written on the top region of the manuscript is a note written by Johann Christoph Friedrich Bach: "N.B. Der seel. Papa hat auf dice 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" ("N.B. The late father had written on the copper plate the following title, Canon per Augment: in Contrapuncto all octava, but had strucken it out once again on the proof sheet and restored the title equally it was formerly".

Mus. ms. autogr. P 200, Beilage ii contains 2-keyboard arrangements of Contrapunctus 13 inversus and rectus, entitled Fuga a 2. Clav: and Alio modo Fuga a ii Clav. in the first printed edition respectively. Like Beilage 1, the manuscript served equally a preparatory edition for the get-go printed edition.

Mus. ms. autogr. P 200, Beilage iii contains a fragment of a iii-discipline fugue, which would be later called Fuga a 3 Soggetti in the first printed edition. Unlike the fugues written in the principal autograph, the Fuga is presented in a two-stave keyboard system, instead of v individual staves for each voice. The fugue abruptly breaks off on the 5th page, specifically on the 239th measure and ends with the annotation written by 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 notation would exist B ♭ –A–C–B ♮ ] in the countersubject to this fugue, the composer died.") The following page contains a listing of errata past Carl Philipp Emanuel Bach for the first printed edition (pages 21–35).

Offset and 2d printed editions [edit]

The first 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's death. In addition to changes in the order, notation, and fabric of pieces which appeared in the autograph, it independent two new fugues, two new canons, and three pieces of ostensibly spurious inclusion. A 2d edition was published in 1752, simply 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. Iii pieces were included that do not appear to have been function of Bach's intended order: an unrevised (and thus redundant) version of the second double fugue, Contrapunctus 10; a two-keyboard organisation[2] of the first 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 equally a recompense for the piece of work'south incompleteness, having purportedly been dictated by Bach on his deathbed.

The anomalous graphic symbol of the published order and the Unfinished Fugue have engendered a wide variety 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 unmarried subject field, which each catechism 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 work divides into seven groups, according to each piece'southward prevailing contrapuntal device; in both editions, these groups and their corresponding components are more often than not ordered to increase in complexity. In the club in which they occur in the printed edition of 1751 (without the same works of spurious inclusion), the groups, and their components are as follows.

Simple fugues:

  • Contrapunctus I: four-voice fugue on principal subject area
  • Contrapunctus Ii: 4-phonation fugue on principal subject area, accompanied past a 'French' fashion dotted rhythm
  • Contrapunctus Iii: four-phonation fugue on chief subject in inversion, employing intense chromaticism
  • Contrapunctus IV: 4-voice fugue on principal subject in inversion, employing counter-subjects

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

  • Contrapunctus Five: Has many stretto entries, as do Contrapuncti VI and VII
  • Contrapunctus Vi, a 4 in Stylo Francese: This adds both forms of the theme in diminution,[3] (halving notation lengths), with trivial rising and descending clusters of semiquavers in ane vox answered or punctuated by 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'southward twenty-four hour period, hence the name Stylo Francese.[4]
  • Contrapunctus Seven, a 4 per Augmentationem et Diminutionem: Uses augmented (doubling all note lengths) and macerated versions of the principal field of study and its inversion.

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

  • Contrapunctus Eight, a 3: Triple fugue, with 3 subjects, having independent expositions
  • Contrapunctus IX, a 4 alla Duodecima: Double fugue, with two subjects occurring dependently, and in invertible counterpoint at the twelfth
  • Contrapunctus X, a 4 alla Decima: Double fugue, with two subjects occurring dependently, and in invertible counterpoint at the tenth
  • Contrapunctus Xi, a iv: 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 4
  • Contrapunctus XIII, a iii

Canons, labeled by interval and technique:

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

The Unfinished Fugue:

  • Fuga a 3 Soggetti ("Contrapunctus Fourteen"): iv-voice triple fugue (non completed by Bach, but likely to have go a quadruple fugue: see below), the third subject area 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 vocalisation is written on its ain staff. This has led some to conclude[v] that the Art of Fugue was intended as an intellectual exercise, meant to be studied more than 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's arguments included the following:[7]

  1. It was common exercise in the 17th and early on 18th centuries to publish keyboard pieces in open up score, specially those that are contrapuntally complex. Examples include Frescobaldi's Fiori musicali (1635), Samuel Scheidt'southward Tabulatura Nova (1624), works past 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 period corresponds to any of the ranges of the voices in The Fine art of Fugue. Furthermore, none of the melodic shapes that characterize Bach's ensemble writing are found in the work, and at that place is no basso continuo.
  3. The fugue types used are reminiscent of the types in The Well-Tempered Clavier, rather than Bach'due south ensemble fugues; Leonhardt also shows an "optical" resemblance betwixt the fugues of the two collections, and points out other stylistic similarities betwixt them.
  4. Finally, since the bass voice in The Art of Fugue occasionally rises above the tenor, and the tenor becomes the "real" bass, Leonhardt deduces that the bass part was not meant to be doubled at 16-pes pitch, thus eliminating the pipe organ as the intended instrument, leaving the harpsichord every bit the most logical selection.

It is now generally accustomed by scholars that the work was envisioned for keyboard.[8] Despite disagreements on how (and whether) it was intended to be played, The Fine art of Fugue continues to be performed and recorded by many different solo instruments and ensembles.

Fuga a three Soggetti [edit]

The final page of Contrapunctus XIV

Fuga a iii Soggetti ("fugue in iii subjects"), also referred to as the "Unfinished Fugue", was independent in a handwritten manuscript bundled with the autograph manuscript Mus. ms. autogr. P200. It breaks off abruptly in the middle of its third section, with an only partially written measure 239. This shorthand carries a note in the handwriting of Carl Philipp Emanuel Bach, stating "Über dieser Fuge, wo der Proper noun 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's own paw, and thus dates to a fourth dimension before his deteriorating health and vision would have prevented his power to write, probably 1748–1749.[ix]

Attempts at completion [edit]

A number of musicians and musicologists have composed conjectural completions of Contrapunctus XIV which include the fourth field of study, including musicologists Donald Tovey (1931), Zoltán Göncz (1992), Yngve Jan Trede (1995), and Thomas Daniel (2010), organists Helmut Walcha,[ten] David Goode, Lionel Rogg, and Davitt Moroney (1989), conductor Rudolf Barshai (2010)[11] and Daniil Trifonov (2021). Ferruccio Busoni'due south Fantasia contrappuntistica is based on Contrapunctus Fourteen, but it develops Bach'south ideas to Busoni'due south own purposes in Busoni's musical style, rather than working out Bach'southward thoughts as Bach himself might have washed.[12] Other completions that do not comprise the fourth discipline 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 catastrophe of Contrapunctus XIV, proposing that the piece of work was left unfinished not because Bach died, but equally a deliberate choice by Bach to encourage contained efforts at a completion.[13] [14]

Douglas Hofstadter's book Gödel, Escher, Bach discusses the unfinished fugue and Bach'south supposed death during composition as a natural language-in-cheek illustration of Austrian logician Kurt Gödel'southward offset incompleteness theorem. Co-ordinate to Gödel, the very ability of a "sufficiently powerful" formal mathematical system tin can be exploited to "undermine" the organization, past leading to statements that assert such things as "I cannot exist proven in this system". In Hofstadter's discussion, Bach'due south swell compositional talent is used every bit a metaphor for a "sufficiently powerful" formal system; however, Bach's insertion of his own name "in code" into the fugue is not, even metaphorically, a case of Gödelian self-reference; and Bach'due south failure to terminate his self-referential fugue serves equally 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 compages of The Art of Fugue, based on bar counts, which shows that the whole work was conceived on the footing of the Fibonacci series and the gilt ratio. The significance of the mathematical architecture can probably be explained by considering the role of the piece of work as a membership contribution to the Correspondierende Societät der musicalischen Wissenschaften [de], and to the "scientific" significant 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 two harpsichords
  • Bradley Brookshire (2007) includes an boosted CD-ROM with score to follow along as MP3s play
  • Matteo Messori (2008) alternate iii 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)[sixteen]
  • Glenn Gould (1962) incomplete[18]
  • Lionel Rogg (1970)[xix]
  • 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)[twenty] Some movements performed as a duet with Pierre Farago, on the Grenzing organ of Saint-Cyprien in Périgord, French republic
  • Hans Fagius (2000) on the Carsten Lund organ of Garnisons Church Copenhagen, Kingdom of 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 Elevation Presbyterian Church in Scottsdale, Arizona (This recording includes equally a bonus rails an culling take of the concluding 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 Cord Quartet (1987)[24]
  • Emerson String Quartet (2003)
  • Vittorio Ghielmi and "Il Suonar Parlante" viols quartet (2009) with Lorenzo Ghielmi on a Silbermann pianoforte and harpsichord

Orchestra [edit]

  • Arthur Winograd past Winograd Cord Orchestra (ca 1952)
  • Hermann Scherchen with Orchestre de la RTSI (1965)[25]
  • Karl Ristenpart with Sleeping accommodation Orchestra of the Saar (1965)
  • Karl Münchinger with Stuttgart Sleeping room 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)[xvi]
  • 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 Cord Quartet and New York Woodwind Quintet (1962)
  • Yūji Takahashi (incomplete) electronic version (1975)
  • Musica Antiqua Köln (manager 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 consort (1998)
  • Pittsburgh Symphony Orchestra Brass (1998)
  • Fretwork for Consort of Viols (2002)
  • József Eötvös for two 8-string guitars (2002)
  • Walter Riemer [de] first version on fortepiano (2006)[26]
  • An electronic version, Laibachkunstderfuge, by Neue Slowenische Kunst industrial ring Laibach (2008)
  • Vulfpeck (founder Jack Stratton) for talk box (2016)[27]

Run across also [edit]

  • Listing of compositions by Johann Sebastian Bach
  • List 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 two Clav." and the counterpoint of the added voices exercise not appear to follow Bach's practice, evidencing that the parts were likely included by the editors of the printed edition to bolster the 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. 5–11, at p. 7.
  4. ^ Anon. (northward.d.). "The Art of Fugue – Types of Fugues, Part ane". American Public Media. Retrieved 28 April 2012.
  5. ^ Anon. (n.d.). "The Art of Fugue – Bach's Last Harpsichord Piece of work: An Argument – Did Bach intend Art of Fugue to be performed?". American Public Media.
  6. ^ "images of front and dorsum covers; The Art of Fugue – Bach's Concluding Harpsichord Work: An Statement (1952)" (PDF).
  7. ^ The Art of Fugue Gustav Leonhardt'due south 1969 liner notes for Harmonia Mundi HM thirty 950 XK: Johann Sebastian Bach, Die Kunst der Fuge [1969], 3–8.; also for Deutsche Harmonia Mundi's CD edition 77013-ii-RG (an all-encompassing summary of his 1952 The Art of Fugue – Bach's Final Harpsichord Work: An Argument)
  8. ^ David Schulenberg. "Expression and Authenticity in the Harpsichord Music of J.S. Bach". The Journal of Musicology, Vol. eight, No. 4 (Autumn, 1990), pp. 449–476
  9. ^ See e.chiliad. the give-and-take in Johann Sebastian Bach, the Learned Musician by Christoph Wolff, ISBN 0-393-04825-X.
  10. ^ Walcha's conclusion 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 by Walcha's educatee, George Ritchie, in the documentary film Desert Fugue (2010).
  11. ^ "The Art of Fugue". Rudolf Barshai Memorial . Retrieved 6 Feb 2021.
  12. ^ See Donald Tovey's 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, Result nine (May 25, 2007) Archived September 26, 2007, at the Wayback Machine
  14. ^ The thesis is available online: http://hdl.handle.net/2292/392
  15. ^ Loïc, Sylvestre; Costa, Marco (2011). "The Mathematical Architecture of Bach's The 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 XIV and the unfinished original, while Bergel'south includes merely his attempt.
  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, IV, Nine, Xi, XIII inversus, and XIV).
  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 Offer 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, as Quartetto Italiano, CD Nuova Era 7342, recording 1985.Run into [1]
  24. ^ "J.Due south.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. S. Bach: The Fine art of the Fugue – Die Kunst der Fuge, BWV 1080". www.niederfellabrunn.at.
  27. ^ Jack Stratton: Contrapunctus Nine (talkbox) on YouTube

External links [edit]

  • Full discography of The Fine art of Fugue, bach-cantatas.com
  • Discography
  • Johann Sebastian Bach / L'art de la fugue / The Art of the Fugue – Jordi Savall, Hesperion XX – Alia Vox 9818
  • Pianoforte Society: JS Bach – A biography and various free recordings in MP3 format, including Art of Fugue
  • Web-essay on The 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 as MIDI files
  • Epitome of the catastrophe of the terminal fugue at external site
  • Contrapunctus Xiv (the reconstructed quadruple fugue) – Carus-Verlag
  • Malina, János: The Ultimate Fugue, The Hungarian Quarterly, Winter 2007
  • Contrapunctus XIV (reconstruction): Part 1/2, Office ii/2 (YouTube video)
  • Contrapunctus XIV: Completion (in quarter-comma meantone) (YouTube video)
  • Contrapunctus Two every bit interactive hypermedia at the BinAural Collaborative Hypertext
  • Synthesized realization and assay of The Art of Fugue by Jeffrey Hall
  • Hughes, Indra (2006). "Blow or Design? New Theories on the unfinished Contrapunctus 14 in JS Bach's The Art of Fugue, BWV 1080", The Academy of Auckland PhD thesis
  • "Johann Sebastian Bach'south The Art of Fugue", article Uri Golomb, published in Goldberg Early on Music Magazine
  • Ars Rediviva: Sound Recordings Library, The Art of Fugue, Contrapunctus 8
  • Description of documentary flick Desert Fugue
  • Electronic realization by Klangspiegel
  • Completion of Contrapunctus Xiv past 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

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