KNOW YOUR CLASSICS

New Zealand Listener, Volume 21, Issue 522, 24 June 1949, Page 26

KNOW YOUR CLASSICS

THIS is the last of a series of articles written for "The Listener’ by

BESSIE

POLLARD

Next week we will publish the first ot five

articles, each of which will discuss in outline an important symphonic work to be heard during the coming season of the National Orchestra,

(25) The Art of Fugue (J. 8. Bach) HE Art of Fugue was Bach’s last great work, written between 1749 and 1750 (the last year of his life) while he was totally blind. He died before completing the final fugue. The work was intended probably as an instructive thesis for the QSaching of counterpoint and fugue by example rather than by rule. It comprises 14 fugues, four canons and two fugues for two claviers, Parry, iy his book Johann Sebastian Bach states that the work was not named Kunst der Fuge ("Art of Fugue") by Bach, and that the movements were not called fugues, but "countérpoints," The ‘Art of Fugue was published after Bach’s death, Only 30 copies were sold, and Bach’s son, Karl Philip Emanuel, disposed of the copper plates from which these were reproduced, as scrap metal. Three recent outstanding arrange~ ments of the composition’ are: \for two pianos, by Erich Schwebsch; for string quartet, by Roy Harris and M. D, H. Norton; and for orchestra, by Wolfgang Graeser. The entire work is based on varied developments of the same motto theme ("A" below) which is presented first as a simple fugue for four voices. In contra» | punctus 3 we hear the inversion of this subject ("B" below)-

Contrapunctus 5 begins the fugues in contrary motion, No, 6-entitled In Stile Francese, no doubt because of its short runs and dotted rhythms-has the motto theme in diminution (shorter note values-see "A" below)-and inverted in diminution ("B" below), while No. 7 features them in augmentation (longer note values) direct and inverted,

Contrapunctus 8 and 9 present new themes (*A" and "B" below)-

No. ‘10 also brings forward a new theme (below), while No, 11 is based on the same material as No. 8, but with all the themes invertedee

No. 12 is a canon at the octave; No. 13 at the 10th; No. i4 at the 12th; and No. 15 in augmentation and contrary motion. No. 18 begins the final great sweep ef this mighty work, so dramatically interrupted by the composer’s death. It ‘is, dominated by three new themes, the first ("A" below); the second ("B" below); and the subject on his own name, in German notation B. A. C. H. ("C" below). -¥ Sg St >

Centrapunctus Nos. 1-8 from the Art of Fugue by Bach will be heard from Station 4YC on Tuesday, June 28, at 9.26 p.m.