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The 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's experimentation with monothematic instrumental works.
BWV 577 – Fugue in G major "à la Gigue" (spurious) BWV 578 – Fugue in G minor "Little" BWV 579 – Fugue on a theme by Arcangelo Corelli (from Op. 3, No. 4); in B Minor; BWV 580 – Fugue in D major (spurious) BWV 581 – Fugue in G major (not by Bach, composed by Gottfried August Homilius) BWV 581a – Fugue in G major (spurious)
The six-part fugue in the "Ricercar a 6" from The Musical Offering, in the hand of Johann Sebastian BachIn classical music, a fugue (/ f juː ɡ /, from Latin fuga, meaning "flight" or "escape" [1]) is a contrapuntal, polyphonic compositional technique in two or more voices, built on a subject (a musical theme) that is introduced at the beginning in imitation (repetition at different pitches ...
This is a list of commercial recordings of Johann Sebastian Bach's The Art of Fugue. Artist Date Recording Instrument and remarks Roth Quartet: 1934–1935:
Prelude (Toccata) and Fugue in E major, BWV 566; Prelude and Fugue in A minor, BWV 543; Prelude and Fugue in B minor, BWV 544; Prelude and Fugue in B-flat major, BWV 866; Prelude and Fugue in C major, BWV 531; Prelude and Fugue in C minor, BWV 546; Prelude and Fugue in C minor, BWV 871; Prelude and Fugue in D major, BWV 532; Prelude and Fugue ...
The subject of the fugue is composed of three separate motifs, all of which can be found in canzonas and ricercars. The 19th-century Bach scholar Philipp Spitta praised the fugue, particularly its modulations. Williams has suggested that "perhaps the imaginative penultimate bar was inspired by J. S. Bach". [8] [3] Prelude and Fugue in A minor ...
Johann Sebastian Bach used the motif in a number of works, most famously as a fugue subject in the last Contrapunctus of The Art of Fugue. The motif also appears in other pieces. [4] Later commentators wrote: "The figure occurs so often in Bach's bass lines that it cannot have been accidental." [5]
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