A proposito dell’Arte della Fuga./ Regarding the Art of Fugue

Questa mattina aprendo wordpress ho trovato questo commento con relativo link al sito diesis&bemolle (che seguo da qualche giorno con interesse) da parte di Piero. Consiglio a tutti di andare in luogo per una visita.
This morning opening wordpress I found this comment by Piero with link to the site diesis&bemolle (which I follow with interest). I recommend everyone to go to place for a visit.

A proposito dell’ “Arte della Fuga”, sottopongo all’attenzione degli amici di Riccassani due commenti postati su Diesis&Bemolle, con particolare riferimento al completamento del Contrapunctus XIV.
A note on ‘”Art of Fugue”: I submit to the attention of the friends of Riccassani two comments on diesis&bemolle, with particular reference to the completion of Contrapunctus XIV.


For our foreign friends here you can find an english translation of the written content of the diesis&bemolle webpage.

J. S. Bach – The Art of Fugue (Die Kunst der Fuge BWV 1080)

Composed between 1749 and 1750, the Art of Fugue is considered the pinnacle of counterpoint in Baroque music, a monumental work where Bach wants to develop all the possibilities about transformation of a theme. For years considered mere demonstration of great technical ability, has been re-evaluated in recent times as high expression of the musical art of the Eisenach’s maestro.

A simple and concise theme in D minor is exposed and then taken to generate other themes by imitation in different registers, spilling melodic intervals and reversing the order of the notes themes set out in an alternating and overlapping of multiple entries originate a composition consisting of 21 tracks. This work, unfinished at the death of his creator, goes off on so-called theme BACH, where, according to the German musical notation B corresponds to B flat, A to the C to C and H to Si

The writing of Bach’s autograph does not bear any indication of the mode of execution, which may be entrusted to the harpsichord or other keyboard instrument, the score was also transcribed for symphony orchestras and instrumental groups.

The tracks included in The Art of Fugue are performed, usually in that order, which, however, is not exhaustive, being subject to change according to different transcriptions. I know it’s a little bit complicate but it’ worthy.

10/11/2012 at 19:21

The March 21, 1985 was a memorable day for the world of music: it was
the 300th anniversary of the birth of Johann Sebastian Bach.
For the occasion, the EBU (European Broadcasting Union) chose The Art
of Fugue to solemnize the date. Every country was invited to present a counterpoint in different sound forms. So there were: Choir,
Woodwinds, Orchestra, Strings and Brass, Antique tools, String Trios, harpsichord,
Piano, Organ, Synthesizer etc..
The universality of Bach was thus proclaimed in every part of the world through
his most complex, profound and transcendent. Unforgettable!

12/11/2012 at 14:16

It is thought that the unfinishing of the last Counterpoint (XIV) is due
perhaps a deliberate choice by Bach to urge the student to do it if,
basis of all the thematic elements supplied by him and developed. And ‘certain, however,
The fourth theme of this “fugue with three subjects” had to be the main theme
of the work. Many prominent musicians have ventured into such an arduous exercise with
alternate results.
In 1991, the Hungarian musicologist Zoltán Göncz proposed the solution shown in
the following video. The entry of the various issues is indicated with the numbers 1 to 4, input
progressively in the square in bold. The appearance of the fourth square (permutation matrix) themes are carried out simultaneously in
“Quadruple counterpoint” completing the work in a very interesting and
musically plausible way.
The performance takes place on the historic organ “Christian Müller” (1734) from the Waalse
Kerk in Amsterdam.



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