The Art of the running away

the Art of the running away (in German: die Kunst der Fuge ), BWV 1080 is a possibly unfinished work (see in the article the part devoted to Gustav Leonhardt) written by Johann Sebastian Bach as from at least 1741, in the continuation of the musical Offrande BWV 1079, until its death in 1750. Regarded as the will of the type-setter, work thus written represents the apogee of its style of writing, and the top of the style contrapuntic.

Work

Composed of a score of parts (called counterpoints or contrapuncti), this unit draws its unit from the prone principal of the first counterpoint (contrapunktus 1) which is used as a basis for the unit of the parts.

Subject of the first counterpoint, which is used as basic materials with all work: This subject is easily recognizable because it presents to its beginning an arpeggio of the agreement of minor D, outcome with sensitive (do#). Written in the long values (white), this subject inspires with the listener to be plunged in a contemplative feeling, in a very calm environment.

All the following counterpoints are written in the tonality of minor D, and propose either a development on the same subject, or a development on a variation of this subject. This work of Jean Sebastien Bach testifies to all the technical and musical possibilities which the Fugue offers: runnings away with three and four votes, in increase, reduction, out of mirror, crayfish, on several subjects, Strette S…

Contents of the Art of the running away

Here contents of the Art of the running away :

Counterpoint 01 : Simple running away
Counterpoint 02 : Simple running away
Counterpoint 03 : Simple running away
Counterpoint 04 : Simple running away
Counterpoint 05 : Simple running away
Counterpoint 06 : Running away in reduction (in French style)

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Counterpoint 07 : Running away in increase and reduction

Counterpoint 08 : Fugue in 3 voices
Counterpoint 09 : Running away with the twelfth
Counterpoint 10 : Running away with the tenth
Counterpoint 11 : Running away with four votes
Counterpoint 12 : Running away with four votes (at the place and back)
Counterpoint 13 : Running away with four votes (at the place and back)
Counterpoint 14 : Canon
Counterpoint 15 : Canon
Counterpoint 16 : Runnings away out of mirror
Counterpoint 17 : Runnings away out of mirror
Counterpoint 18 : Runnings away out of mirror
Counterpoint 19 : Running away with three subjects

NB. This list is presented here like a synthesis: the recordings, partitions and the many books on the subject do not present the same unit (on the level about the parts and of their contents), this is probably due to the fact that the partition was published, on a purely posthumous basis by one of its sons in a structural disorder, without name and date.

This work is known as " inachevée" ; at the time of the writing of the parts of the Art of the running away , Johann Sebastian Bach would have says one dictated to his entourage the notes, because it had become blind. The partition stops on the following sentence: On this running away where the name of BACH is used in countersubject, died the author (sentence written by his/her son Carl Philipp Emanuel). Full with interrogations, the partition is frequently bound, on the recordings, with the Choral VOR deinem Thron tret' ich hiemit - Seigneur, me here in front of your throne - (BWV 668) that the type-setter would have also dictated on his bed of death.

However, the harpsichordist, organist and Dutch leader Gustav Leonhardt with shown, since 1952, that work was completed and written for the harpsichord; the evidence abounds in this direction. It showed besides that, far from being abstract, it was intended to be played. Gustav Leonhardt also pointed out that the unfinished running away would be “an appendix” without relationship with the cycle of the Art of the Running away, because the topic and the tonality are different from all the other guns; it could be also the beginning of a new cycle.

On this subject, lira the treaty of Gustav Leonhardt the Art of the Running away, last work of Bach for the harpsichord, argumentation appeared in 1952 and republished at Van De Velde Editors.

Discography

Many a recording make it possible to discover the Art of the running away , with different instrumentations:

* Interpretation with the Organ : very many recordings. One will retain in particular the very instructive experiment of the organist Gerd Zacher who carried out in 1996 on CD the recording of same Contrapunctus I to 10 recoveries, with 10 different styles and registrations.

* Interpretation with the Harpsichord : very many recordings. Gustav Leonhardt at DHM carried out the version of the reference and most faithful to the spirit of the type-setter.

* Interpretation with the Piano : very many recordings; Glenn Gould recorded a version of the Art of the running away with a very whimsical interpretation.

* Interpretation by a String quartet : Quartet Juilliard (very original and interesting design of this style by a more modern formation).

* Interpretation with the Orchestra : Hermann Scherchen and the CBC Toronto Chamber Orchestrated, 1965 (this box comprises the repetition of work and the soundtrack in the concert).

* Various interpretations for various formations: Quartet of saxophones…

Internal bonds

Johann Sebastian Bach
Running away
Counterpoint
musical Offering
Canon
Canon of proportion

External bonds

To listen to the Art of the running away (integral): Maximianno Cobra, Cembalo, Harpsichord, Harpsichord HODIE

Partitions of the Art of the running away:

Various partitions for organ, string quartet, trio with cords, duets of keyboards…
Classicalmusicnow: description of the Art of the running away

Zh-yue: 賦格藝術

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