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Composition: Parallel Fugues Here is a list of all the parallel fugues to the entire Art of the Fugue:
- Fuga to Counterpoint 1 (BWV 1080/1): (Numeration of this and the following counterpoints, if not noted otherwise according to the Peters-Edition, Ed. 4609). In Bach’s case a "simple" fugue, in my case there are 2 themes: The first is my own, the second is Bach’s theme, but set against his own, and in a reduced and magnified way.
- Fuga to C. 2 (BWV 1080/2): In Bach’s case (handwritten: Nr. 3) a "simple" fugue, rhythmically noted, in my case my own theme using motifs from scandinavian folkmusic.
- Fuga to C. 3 (BWV 1080/3): In Bach’s case (handwritten: Nr. 2) the inversion (mirroring) of his theme, in my case the inversion of my first theme from the fugue to C. 1
- Fuga to C. 4 (BWV 1080/4): (handwritten: lost, first Ed.: Nr. 4) Bach changes his theme for the first time, I do the same thing with my own new theme.
- Fuga to C. 5 (BWV 1080/5): In Bach’s case (handwritten: Nr. 4) inversion- and counterfugue, in my case (Fuga tripla e contraria) also, and in the same time period a triple fugue (fugue with 3 themes). My second theme appears again in the fugues to C.10 and 15 (BWV 1080/19)
- Fuga to C. 6 (BWV 1080/6): In Bach’s case (handwritten Nr. 7) inversion- and counterfugue with diminution, "in stile francese", the same style in my case.
- Fuga to C. 7 (BWV 1080/7): In Bach’s case (handwritten Nr. 8) inversion- and counterfugue with diminution and augmentation, the same style in my case with my own theme.
- Fuga to C. 8 (BWV 1080/8): In Bach’s case (handwritten Nr. 10): Tripelfuge (with 3 themes), only the 3rd theme can be associated with his original theme. I also composed a fugue with 3 themes of my own.
- Fuga to C. 9 (BWV 1080/9): Bach’s fugue (handwritten Nr. 5) has 2 themes, the first is new, the second is an augmentation of the original theme, in my case also with 2 times of my own.
- Fuga to C. 10 (BWV 1080/10): (handwritten: lost, first Ed. Nr. 10) Bach’s fugue (alla Decima) has 2 themes, the first a new one, the second the original, that later appears in parallel 6th and 10th intervalls. My parallel fugue does the same with themes of my own.
- Fuga to C. 11 (BWV 1080/11): (handwritten Nr. 11) Bach’s triple fugue with the use of themes from his C.8, including simultaneous appearance of his themes and their inversions. I use the same technique with my themes and their inversions from my parallel fugue to C.8.
- Fuga to C. 12 (BWV 1080/12) recta: Bach’s fugue (handwritten Nr. 13) in 3/2-time (rectus) is completely in the inversus version, in all of the 4 parts ("voices"). My parallel fugue does the same: The "recta" can be played simultaneously with Bach’s rectus, and my "inverse", inverted according to Bach’s method, can be played
- At the same time together with Bach’s inversus.
- Fuga to C.12 (BWV 1080/12) inversa: Bach’s (handwritten Nr. 13) and my complete inverted version of 12 rectus and recta.
- Fuga to C. 13 (BWV 1080/13) recta: In Bach’s case (handwritten Nr. 14) like C. 12 rectus, but 3-part, 3 times longer than C. 12 and will be completely inversed in the inversus version. I do the same.
- Fuga to C. 13 (BWV 1080/13) inversa: Bach’s (handwritten Nr. 14) inversus of C. 13 rectus. I do the same.
- Fuga to C. 14 (BWV 1080/10) (handwritten Nr. 6) is an shorter version of C. 10 with some key-changes. My version corresponds to this.
- Parallelkanon 1 to Canone 1: Bach’s (handwritten Nr. 12) Canone all’ottava (BWV 1080/14) – (Canon in the octave). My canon conforms to this.
- Parallelkanon 2 to Canone 2: Bach’s (handwritten Nr. 9) Canone alla decima in contrapuncto alla terza (BWV 1080/15) – (Canon in tenths in counterpoint in thirds). My canon conforms to this.
- Parallelkanon 3 to Canone 3: Bach’s (in Bärenreiter Nr. 16) Canone alla Duodecima in contrapuncto alla quinta (BWV 1080/16) – (Canon in twelvths in counterpoint in fifths). My canon conforms to this.
- Parallelcanon 4 to Canone 4: Bach’s (handwritten Nr. 15) canone per augmentationem in motu contrario (BWV 1080/17) – (in augmentation and counter-mode). My canon conforms to this.
- Parallel Fuga 1 to Fuga per due pianoforti (BWV 1080/18,1): Bach’s (handwritten Nr. 14) rectus: Revision of C. 13, but 4-parts, for 2 pianos, also in altro modo (=inversus). This version then inverted the same way like C. 12 and C. 13. My parallelfugue does the same.
- Parallel Fuga 2 to Fuga per due pianoforti (BWV 1080/18,2): Bach’s inversus or: in altro modo is the inversion of the rectus. My "inverse" is it in the same way.
- Fugue to C. 15 (other counting: C. 14 – BWV 1080/19): (handwritten: lost) Bach’s unfinished triple-fugue, ends originally in 239th measure – unfinished. I have expanded and completed it as a quadrupelfuge adding a 4th theme, the original theme from Bach’s C. 5. This addition ends in measure 333.
In addition I have composed a 4-part parallel fugue to this entire complex composition, consisting of 333 measures.
Introduction about composing »
Why parallel fugues to the Art of the Fugue (BWV 1080) by J. S. Bach? » |
