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Les Miserables Review
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During his long life, Bach must have written and improvised thousands of fugues. For any occasion(secular or sacred), for any instrumentation (be it a single instrument or large ensemble), for compositions with or without text, the fugue was for him an invaluable vehicle to give shape to his inexhaustible inspiration. Was his musical output already an art of fugue by its compass and nature, his mastery and control over this form found its synthesis in a work called The Art of Fugue, or as its title reads in German: Die Kunst der Fuge.In this work Bach grouped together fugues and canons, all based on one theme. As such it stands next to other great mono-thematic works like the Goldberg Variations, Musikalisches Opfer and Einige Canonische Veränderingungen.Since Die Kunst der Fuge was published one year after Bach's death, the work is often connected with the last years of his life. A closer study of the history of the work reveals, however, a long genesis.In counterpoint studies written by Wilhelm Friedemann Bach and corrected by his father in the mid thirties of the 18th century, we find the first traces of the the-art-of-fugue-theme. During these years Bach developed more complex techniques of fugal writing in pieces he used for the 2nd part of Das wohltemperierte Klavier. In Die Kunst der Fuge, Bach combines the use of one theme for several fugues and canons and the complex techniques of fugal writing in a new work.Could his contemporary and colleague Johann Mattheson have challenged him to do so?In his book, Der Vollkommene Capellmeister (1739!), we find the following remark: 'Of double fugueswith three subjects, there is, as far as I know, nothing else in print but my own work… which I, out ofmodesty, would comment to no one. On the contrary, I would much rather see something of the same sort published by the famed Herr Bach in Leipzig, who is a great master of the fugue'. The appearance of a manuscript with the title 'Die Kunst der Fuga' (a title not written in Bach's handwriting but in that of his son in law, Johann Christoph Altnickol), of which the beginnings date from the early forties, maybe1742, does not exclude a connection between the two works.The relation between the two works is more apparent in Bach's use of the name Contrapunctus, for every single fugue. Mattheson applies the term exclusively to fugues and defines it literally as 'Gegensatz', a melody set against a theme ('Punkt' or 'Satz'). In this, the main attention of the content of the pieces shifts from the fugue as a form to its contrapuntal procedure.But the work was not finished with the completion of the manuscript. It may have even been so that, writing the fair copies of the last contrapuncti, Bach started to revise fugues that were already written out in the manuscript. By 1746 (the last section of the manuscript is written on paper dating from that year) the final copy was turned ...
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