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Ch 24 Listening Quiz Lg 13 Bach the Art of Fugue Contrapunctus I

Written By Monday, April 25, 2022 Add Comment Edit

Musical work by Johann Sebastian Bach

Title 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'southward experimentation with monothematic instrumental works.

This work consists of 14 fugues and four canons in D minor, each using some variation of a single principal field of study, and generally ordered to increase in complexity. "The governing idea of the work", every bit put by Bach specialist Christoph Wolff, "was an exploration in depth of the contrapuntal possibilities inherent in a single musical bailiwick."[i] The discussion "contrapunctus" is frequently used for each fugue.

Sources [edit]

Mus. ms. autogr. P 200 [edit]

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

The primeval extant source of the work is an autograph manuscript possibly written from 1740 to 1746, commonly referred by its call number as Mus. ms. autogr. P 200 in the Berlin State Library. Bearing the championship Die / Kunst der Fuga [sic] / di Sig[nore] Joh. Seb. Bach, which was written by Bach'due south son-in-police Johann Christoph Altnickol, followed by (in eigenhändiger Partitur) written past Georg Poelchau [de], the shorthand contains twelve untitled fugues and two canons arranged in a dissimilar order than in the offset 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 then-untitled Contrapuncti and canons in the following order: [Contrapunctus ane], [Contrapunctus 3], [Contrapunctus 2], [Contrapunctus v], [Contrapunctus 9], an early version of [Contrapunctus 10], [Contrapunctus vi], [Contrapunctus 7], Catechism in Hypodiapason with its two-stave solution Resolutio Canonis (entitled Catechism alla Ottava in the first printed edition), [Contrapunctus 8], [Contrapunctus 11], Catechism 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 Canon al roverscio et per augmentationem—a second version of Canon in Hypodiatesseron.

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

Bundled with the primary shorthand are three supplementary manuscripts, each affixed to a composition that would appear in the get-go printed edition. Referred to as Mus. ms. autogr. P 200/Beilage 1, Mus. ms. autogr. P 200/Beilage two, and Mus. ms. autogr. P 200/Beilage 3, they are written nether the title Die Kunst / der Fuga / von J.Southward.B.

Mus. ms. autogr. P 200, Beilage 1 contains a final preparatory revision of the Canon in Hypodiatesseron, nether the championship Catechism p[er] Augmentationem contrario Motu crossed out. The manuscript contains line break and page interruption information for the engraving process, most of which was transcribed in the first 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 chapeau 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 championship, Canon per Broaden: in Contrapuncto all octava, but had strucken it out again on the proof sheet and restored the title as it was formerly".

Mus. ms. autogr. P 200, Beilage 2 contains two-keyboard arrangements of Contrapunctus xiii inversus and rectus, entitled Fuga a ii. 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 commencement printed edition.

Mus. ms. autogr. P 200, Beilage 3 contains a fragment of a three-subject fugue, which would be later called Fuga a 3 Soggetti in the showtime printed edition. Unlike the fugues written in the main shorthand, the Fuga is presented in a ii-stave keyboard system, instead of five private staves for each voice. The fugue abruptly breaks off on the fifth page, specifically on the 239th measure 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 point where the composer introduces the proper name BACH [for which the English note would exist 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).

Start and second printed editions [edit]

The first printed version was published under the title Dice / Kunst der Fuge / durch / Herrn Johann Sebastian Bach / ehemahligen Capellmeister und Musikdirector zu Leipzig. in May 1751, slightly less than a year later on Bach'due south death. In addition to changes in the society, annotation, and material of pieces which appeared in the autograph, it contained two new fugues, 2 new canons, and three pieces of ostensibly spurious inclusion. A second 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 independent 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 exercise not appear to have been part of Bach's intended order: an unrevised (and thus redundant) version of the 2d double fugue, Contrapunctus 10; a 2-keyboard arrangement[two] of the offset 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 every bit a recompense for the work'southward incompleteness, having purportedly been dictated past Bach on his deathbed.

The anomalous character of the published order and the Unfinished Fugue take engendered a broad variety of theories which attempt to restore the work to the state originally intended past Bach.

Structure [edit]

The Fine art of Fugue is based on a single subject area, 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 work divides into seven groups, according to each piece's prevailing contrapuntal device; in both editions, these groups and their respective components are by and large ordered to increase 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-vocalisation fugue on principal subject area
  • Contrapunctus Two: 4-voice fugue on principal subject area, accompanied by a 'French' way dotted rhythm
  • Contrapunctus Iii: 4-voice fugue on principal subject in inversion, employing intense chromaticism
  • Contrapunctus IV: 4-vocalisation fugue on principal discipline in inversion, employing counter-subjects

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

  • Contrapunctus V: Has many stretto entries, as exercise Contrapuncti Six and Seven
  • Contrapunctus VI, a 4 in Stylo Francese: This adds both forms of the theme in diminution,[three] (halving note lengths), with little rise and descending clusters of semiquavers in ane voice answered or punctuated by similar groups in demisemiquavers in another, against sustained notes in the accompanying voices. The dotted rhythm, enhanced by these little rising and descending groups, suggests what is called "French way" in Bach'due south solar day, hence the name Stylo Francese.[four]
  • Contrapunctus VII, a iv per Augmentationem et Diminutionem: Uses augmented (doubling all annotation lengths) and diminished versions of the principal subject and its inversion.

Double and triple fugues, employing two and 3 subjects respectively:

  • Contrapunctus 8, a 3: Triple fugue, with 3 subjects, having independent expositions
  • Contrapunctus Ix, a 4 alla Duodecima: Double fugue, with 2 subjects occurring dependently, and in invertible counterpoint at the twelfth
  • Contrapunctus 10, a four alla Decima: Double fugue, with 2 subjects occurring dependently, and in invertible counterpoint at the 10th
  • Contrapunctus Xi, a 4: Triple fugue, employing the three subjects of Contrapunctus 8 in inversion

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

  • Contrapunctus XII, a four
  • Contrapunctus XIII, a 3

Canons, labeled past interval and technique:

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

The Unfinished Fugue:

  • Fuga a 3 Soggetti ("Contrapunctus XIV"): iv-voice triple fugue (not completed by Bach, but likely to have become a quadruple fugue: see below), the third subject of which begins with the BACH motif, B ♭ –A–C–B ♮ ('H' in German letter note).

Instrumentation [edit]

Both editions of the Art of Fugue are written in open score, where each voice is written on its own staff. This has led some to conclude[5] 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[6] to exist played on a keyboard instrument, and specifically the harpsichord. Leonhardt'due south arguments included the following:[7]

  1. It was common practice 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 period corresponds to any of the ranges of the voices in The Art of Fugue. Furthermore, none of the melodic shapes that characterize Bach's ensemble writing are constitute 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'due south ensemble fugues; Leonhardt also shows an "optical" resemblance betwixt the fugues of the two collections, and points out other stylistic similarities between them.
  4. Finally, since the bass vocalism in The Fine art of Fugue occasionally rises in a higher place the tenor, and the tenor becomes the "existent" bass, Leonhardt deduces that the bass role was not meant to be doubled at 16-pes pitch, thus eliminating the pipe organ as the intended instrument, leaving the harpsichord as the most logical option.

It is now more often than not accepted past scholars that the piece of work was envisioned for keyboard.[viii] Despite disagreements on how (and whether) it 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 page of Contrapunctus Xiv

Fuga a iii Soggetti ("fugue in iii subjects"), besides referred to as the "Unfinished Fugue", was contained in a handwritten manuscript bundled with the autograph manuscript Mus. ms. autogr. P200. It breaks off abruptly in the eye of its third department, with an just partially written measure out 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 proper noun BACH [for which the English notation would exist B ♭ –A–C–B ♮ ] in the countersubject, the composer died.") This account is disputed past modern scholars, equally the manuscript is clearly written in Bach's ain mitt, and thus dates to a time before his deteriorating health and vision would have prevented his ability 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 4th bailiwick, 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's Fantasia contrappuntistica is based on Contrapunctus 14, but information technology develops Bach's ideas to Busoni's own purposes in Busoni'southward musical style, rather than working out Bach's thoughts every bit Bach himself might have done.[12] Other completions that do non contain 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 usher Indra Hughes completed a doctoral thesis most the unfinished ending 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 independent efforts at a completion.[13] [14]

Douglas Hofstadter'south volume Gödel, Escher, Bach discusses the unfinished fugue and Bach'southward supposed death during composition equally a natural language-in-cheek illustration of Austrian logician Kurt Gödel's starting time incompleteness theorem. According to Gödel, the very ability of a "sufficiently powerful" formal mathematical organisation can be exploited to "undermine" the organization, by leading to statements that assert such things as "I cannot be proven in this system". In Hofstadter's discussion, Bach's keen compositional talent is used as a metaphor for a "sufficiently powerful" formal system; withal, Bach's insertion of his own name "in code" into the fugue is non, fifty-fifty metaphorically, a instance of Gödelian self-reference; and Bach'due south failure to stop 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 Art of Fugue, based on bar counts, which shows that the whole piece of work was conceived on the footing of the Fibonacci series and the gilt ratio. The significance of the mathematical architecture tin can probably be explained by considering the function of the piece of 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 Hill (1987, 1998)[17]
  • Ton Koopman with Tini Mathot (1994), on ii harpsichords
  • Bradley Brookshire (2007) includes an additional CD-ROM with score to follow along equally MP3s play
  • Matteo Messori (2008) alternating iii harpsichords (later on 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[eighteen]
  • 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, Strasbourg
  • André Isoir (1999)[xx] 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 building 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 Pinnacle 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)

String 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 past Winograd String 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 Chamber Orchestra (1965, 1985 alive)
  • Neville Marriner with University 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 Combo Orchestra (1991)[16]
  • 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 iv-part consort (1998)
  • Pittsburgh Symphony Orchestra Brass (1998)
  • Fretwork for Consort of Viols (2002)
  • József Eötvös for two viii-cord guitars (2002)
  • Walter Riemer [de] offset 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 as well [edit]

  • Listing of compositions past Johann Sebastian Bach
  • List 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 past Christoph Wolff, p. 433, ISBN 0-393-04825-X.
  2. ^ The printed indication of "a 2 Clav." and the counterpoint of the added voices do not announced 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 Product, Polydor International 1957), Insert pp. 5–eleven, at p. 7.
  4. ^ Anon. (north.d.). "The Art of Fugue – Types of Fugues, Role i". American Public Media. Retrieved 28 Apr 2012.
  5. ^ Anon. (north.d.). "The Art of Fugue – Bach'south Last Harpsichord Work: An Argument – Did Bach intend Art of Fugue to be performed?". American Public Media.
  6. ^ "images of forepart and back covers; The Art of Fugue – Bach'southward Final Harpsichord Work: An Statement (1952)" (PDF).
  7. ^ The Art of Fugue Gustav Leonhardt's 1969 liner notes for Harmonia Mundi HM 30 950 XK: Johann Sebastian Bach, Die Kunst der Fuge [1969], iii–viii.; likewise for Deutsche Harmonia Mundi's CD edition 77013-2-RG (an extensive 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. viii, No. 4 (Autumn, 1990), pp. 449–476
  9. ^ Run across eastward.one thousand. the discussion in Johann Sebastian Bach, the Learned Musician by Christoph Wolff, ISBN 0-393-04825-X.
  10. ^ Walcha'due south conclusion to the last Contrapunctus has been recorded by Walcha himself, in his Stereo recording of the complete organ works past Bach for Archiv (1956-1971); and by Walcha'southward pupil, George Ritchie, in the documentary film Desert Fugue (2010).
  11. ^ "The Fine art of Fugue". Rudolf Barshai Memorial . Retrieved 6 February 2021.
  12. ^ See Donald Tovey's comments in A Companion to the Art of Fugue (2013 Dover reprint, ISBN 0-486-49764-Ten, folio 177 footnote).
  13. ^ University of Auckland News, Book 37, Consequence ix (May 25, 2007) Archived September 26, 2007, at the Wayback Car
  14. ^ The thesis is bachelor online: http://hdl.handle.net/2292/392
  15. ^ Loïc, Sylvestre; Costa, Marco (2011). "The Mathematical Compages of Bach's 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 attempt.
  17. ^ Robert Hill: Recordings of Musical Offer & Fine art of Fugue, bach-cantatas.com
  18. ^ a b Partial performances on organ (Contrapuncti I–IX) and piano (I, II, Iv, 9, 11, 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 G Prix du Disque from the Charles Cros Academy.
  20. ^ André Isoir: Recordings of Musical Offer and Art of Fugue, bach-cantatas.com
  21. ^ Published past Accentus Music: CD – J. Southward. 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 [1]
  24. ^ "J.S.Bach – Juilliard String Quartet – die Kunst der Fuge (1992, CD)".
  25. ^ Except the canons, which are played past harpsichordist Kenneth Gilbert on the recording.
  26. ^ "J. S. 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 Fine art of Fugue, bach-cantatas.com
  • Discography
  • Johann Sebastian Bach / L'fine art de la fugue / The Art of the Fugue – Jordi Savall, Hesperion 20 – Alia Vox 9818
  • Pianoforte Society: JS Bach – A biography and diverse gratuitous recordings in MP3 format, including Fine art of Fugue
  • 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 Fine art of Fugue: Scores at the International Music Score Library Project
  • The Art of Fugue every bit MIDI files
  • Epitome of the catastrophe of the final 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, Part two/two (YouTube video)
  • Contrapunctus XIV: Completion (in quarter-comma meantone) (YouTube video)
  • Contrapunctus 2 as interactive hypermedia at the BinAural Collaborative Hypertext
  • Synthesized realization and analysis of The Art of Fugue past 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 University of Auckland PhD thesis
  • "Johann Sebastian Bach's 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 14 past Paul Freeman
  • Bach, Alphametics and The Art of Fugue
  • "Le concert d'Irena Kosikova a fait united nations 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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