Artist: Masaaki Suzuki Title: J. S. Bach: Die Kunst der Fuge, BWV 1080 Year Of Release: 2024 Label: BIS Genre: Classical Harpsichord Quality: flac lossless (tracks) 24bits - 96.0kHz Total Time: 01:37:02 Total Size: 2.06 gb

Tracklist

1. Die Kunst der Fuge, BWV 1080: Contrapunctus I
2. Die Kunst der Fuge, BWV 1080: Contrapunctus II
3. Die Kunst der Fuge, BWV 1080: Contrapunctus III
4. Die Kunst der Fuge, BWV 1080: Contrapunctus IV
5. Die Kunst der Fuge, BWV 1080: Contrapunctus V
6. Die Kunst der Fuge, BWV 1080: Contrapunctus VI (in stylo Francese)
7. Die Kunst der Fuge, BWV 1080: Contrapunctus VII (per augmentationem et diminutionem)
8. Die Kunst der Fuge, BWV 1080: Contrapunctus VIII
9. Die Kunst der Fuge, BWV 1080: Contrapunctus IX (alla duodecima)
10. Die Kunst der Fuge, BWV 1080: Contrapunctus X (alla decima)
11. Die Kunst der Fuge, BWV 1080: Contrapunctus XI
12. Die Kunst der Fuge, BWV 1080: Contrapunctus inversus XII (Forma recta) [Version for Two Harpsichords]
13. Die Kunst der Fuge, BWV 1080: Contrapunctus inversus XII (Forma inversa) [Version for Two Harpsichords]
14. Die Kunst der Fuge, BWV 1080: Contrapunctus inversus XIII (Forma recta) [Version for Two Harpsichords]
15. Die Kunst der Fuge, BWV 1080: Contrapunctus inversus XIII (Forma inversa) [Version for Two Harpsichords]
16. Die Kunst der Fuge, BWV 1080: Canon alla Ottava
17. Die Kunst der Fuge, BWV 1080: Canon alla decima (in contrapuncto alla terza)
18. Die Kunst der Fuge, BWV 1080: Canon alla duodecima (in contrapuncto alla quinta)
19. Die Kunst der Fuge, BWV 1080: Canon per augmentationem (in contrario motu)
20. Die Kunst der Fuge, BWV 1080: Fuga inversa a 2 Clav (Forma recta)
21. Die Kunst der Fuge, BWV 1080: Fuga inversa a 2 Clav (Forma inversa)
22. Die Kunst der Fuge, BWV 1080: Fuga a 3 Soggetti
23. Choral: Wenn wir in höchsten Nöten sein, BWV 668a

The Art of Fugue emerges as the central instrumental project of the last decade of Bach’s life, after a gradual development over several years: the exploration in depth and with an overflowing musical imagination of the contrapuntal possibilities inherent in a single musical subject. In this work, the theoretical component of Bach’s thinking is at its clearest: theory and practice merge, old and new stylistic elements and compositional techniques are integrated and demonstrate in an incomparable way his individual approach to composition. Since Bach gave no indication of the instrument, nor does his writing shed any further light on the subject, one might even wonder whether this work is a purely theoretical work, intended solely for musical analysis. However, since the composer’s rediscovery in the nineteenth century, musicians have appropriated the work, whatever their instrument. It is now generally accepted that the work was composed for the keyboard. A second harpsichord part is added for three fugues, played here by Masato Suzuki. After several acclaimed recordings of Bach’s works for keyboard instruments, Masaaki Suzuki finally takes on this immense work, the pinnacle of the cantor’s art and one of the absolute peaks of Western music