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Für Klavier
Titel nach Uploader: Die Kunst der Fuge (für Klavier), BWV 1080
Instrumentierung |
Klavier |
Partitur für |
Solo |
Art der Partitur |
Für einen Interpreten |
Arrangeur |
Carl Czerny |
Verleger |
Edwin F. Kalmus & Co. |
Schwierigkeitsgrad |
Mittel |
Für Klavier
Titel nach Uploader: Die Kunst der Fuge, für Klavier, BWV 1080
Instrumentierung |
Klavier |
Partitur für |
Solo |
Art der Partitur |
Klavierauszug |
Satz, Nr. |
1 bis 18 von 18 |
Schwierigkeitsgrad |
Fortgeschritten |
Genre |
Klassische Musik/Fuge |
Für Klavier
Titel nach Uploader: The Art of Fugue (for piano solo), BWV 1080
Instrumentierung |
Klavier |
Partitur für |
Solo |
Art der Partitur |
Für einen Interpreten |
Arrangeur |
Carl Czerny |
Schwierigkeitsgrad |
Fortgeschritten |
Genre |
Klassische Musik/Arrangement |
Arrangement for piano solo of "The Art of Fugue" (Die Kunst der Fuge) written by J. S. Bach. It includes the 14 complete fugues and the incomplete 15th.
Feel free to have a look to the score preview and sound samples, quality guaranteed.
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For SATB saxophone quartet
Titel nach Uploader: J. S. Bach: The Complete Art of the Fugue, arranged for SATB saxophone quartet, BWV 1080
Instrumentierung |
Altsaxophon, Tenorsaxophon, Baritonsaxophon, Sopransaxophone |
Partitur für |
Quartett |
Art der Partitur |
Partitur, Stimmen |
Tonart |
d-Moll |
Satz, Nr. |
1 bis 19 von 19 |
Arrangeur |
Paul Wehage |
Verleger |
Musik Fabrik |
Schwierigkeitsgrad |
Schwer |
Länge |
75'0 |
Jahr der Komposition |
1740 |
Genre |
Klassische Musik/Kammermusik |
The Art of the Fugue, BWV 1080
The Art of the Fugue is considered to be one of the greatest musical creations ever
undertaken. A series of fourteen fugues (last of which is not complete) and four canons
which are all based on the same d minor theme would perhaps seem, at first glance, to be a
pendantic academic exercise. However, in the hands of a composer such as Bach, the
monothematic material is magnified through repetion which creates a sound universe which
is all it’s own.
The work is also shrouded in mystery, as there are no tempo indications in the manuscript,
no indications of the instrumentation which Bach intended and no clear indication as to the
order of the movements. An ordering was given to the work after the composer’s death by
the composer’s son, C. P. E. BACH which attempted to underline the pedogogical aspects of
the composition (as a sort of a textbook for studying fugues and counterpoint). The order
used in this arrangement respects this ordering as it was given by Bach’s heirs. It would
seem probable however, that this order was not that intended by Bach.
The name which Bach uses for each fugue of the work « Contrapunctus » is also not usual
However, in the autograph, the Canons are refered to as simply Canon I etc. Bach was
supervising publication of this work at the end of his life and at the moment of his death, the
plates had been made, although they were left unordered. As there are seperate cycles of
simple fugues (Contrapuncti 1-4), Stretto or Counter fugues (Contrapuncti 5-7) , Double or
Triple fugues (Contrapuncti 8-11), Mirror Fugues (Contrapuncti 16-18) and the Final Triple
Fugue (Contrapunctus 19) that is said by Forkel (an early Biographer of Bach) to be the first
in series that was to end with a fugue with four subjects, each of which was to be inverted, it
would seem from the manuscript sources that the Canons were intended to seperate these
cycles. A possible ordering, which goes from the most simple to the most complex would be
as follows :
Contrapuncti 1-4 : Simple Fugues
Canon at the Octave (Contrapunctus XII)
Contrapuncti 5-7 : Counter or Stretto Fugues
Canon at the Tenth (Contrapunctus XIV)
Contrapuncti 8-11 : Double and Triple Fugues (N.B Contrapunctus X Bis, which is a varient
of the material used in Contrapunctus X is not found in every edition of this work and may be
omitted in performance.)
Canon at the 12th (Contrapunctus XIII)
Contrapuncti 16-18 : Mirror Fugues
Canon for Augentation in contrary motion (Contrapunctus XV)
Contrapunctus 19 Fugue with Three Subjects
In the end, the ordering of the movements is something which is a personal choice, as there
is no way of knowing for sure what Bach intended.
The idea that Bach died while composing the last fugue of the work, just after having
inscribed his name musically in the famous B-A-C-H theme is almost certainly a fantasy
created in the 19th century. It is almost certain that the final fugue was completed and the
manuscripts pages were then lost by his Estate. Analysis of the handwriting and watermarks
in the paper would indicate that the compostion dates from around 1740. In the first edition,
the editors decided to create a cadence and cut several measures out of the ending. In this
arrangement, both the edited version and the final segment found in the autograph score are
included. It is a matter of choice which is more effective. The first edition of this work also
added, as a compensation for the final, unfinished fugue, the organ Choral ‘Wenn wir in
höchsten Nöthen sein' which Bach was revising at the time of his death. Other than to
provide an ending, there is no basis that this Choral is part of the Art of the Fugue and
indeed, the differences in tonality, treatment of the four voices and the absence of the use of
the theme of the rest of the work would tend to prove the contrary. Also the use of an organ
chorale at the end would tend to suggest that Bach intended this w
Für Streichquartett
Titel nach Uploader: Die Kunst der Fuge für Streichquartett, BWV 1080
Instrumentierung |
Geige, Bratsche, Cello |
Partitur für |
Quartett |
Art der Partitur |
Partitur |
Schwierigkeitsgrad |
Fortgeschritten |
Genre |
Klassische Musik/Fuge |
Für Streicher
Titel nach Uploader: Die Kunst der Fuge, BWV 1080 No.1-19
Instrumentierung |
Geige, Bratsche, Cello |
Partitur für |
Quartett |
Art der Partitur |
Partitur |
Tonart |
d-Moll |
Satz, Nr. |
1 bis 19 von 19 |
Schwierigkeitsgrad |
Mittel |
Für Klavier
Titel nach Uploader: Bach - The Art of Fugue (Die Kunst der Fuge) and contrapunctus - 16 Fugues for Piano, BWV 1080
Instrumentierung |
Klavier |
Partitur für |
Solo |
Art der Partitur |
Klavierauszug |
Tonart |
d-Moll |
Satz, Nr. |
1 bis 16 von 16 |
Arrangeur |
Santino Cara |
Verleger |
Santino Cara |
Schwierigkeitsgrad |
Mittel |
Jahr der Komposition |
1742 |
Complete score of the 16 Fugues and Contrapunctus for Piano. Transcribed by Santino Cara from "The Art of Fugue (Die Kunst der Fuge) and contrapunctus BWV 1080" composed in 1742 by Johann Sebastian.
For strings
Titel nach Uploader: Die Kunst der Fuge, BWV 1080
Instrumentierung |
Geige, Bratsche, Cello |
Art der Partitur |
Partitur |
Schwierigkeitsgrad |
Fortgeschritten |
Jahr der Komposition |
1740 |
Genre |
Klassische Musik/Fuge |
Die Kunst der Fuge ist ein von Johann Sebastian Bach komponierter Zyklus von vierzehn Fugen und vier Kanons (BWV 1080).
Mit dem Werk solle anschaulich vermittelt werden, so der erste Bach-Biograph Johann Nikolaus Forkel, „was möglicher Weise über ein Fugenthema gemacht werden könne. Die Variationen, welche sämmtlich vollständige Fugen über einerley Thema sind, werden hier Contrapuncte genannt“.
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