The Art of the Fugue represents Johann Sebastian Bach's last musical gift to the world, standing as a thorough investigation of contrapuntal art through fugal style and technique. Bach had become musically "old-fashioned" within his lifetime, and, indeed, the year of his death is used to mark the end of the Baroque era. The Art of the Fugue can be said to comprehensively sum up an art form on which much of Bach's life's work had been based.
Two basic sources were available for developing the Canadian Brass' performing edition of The Art of the Fugue: first, copies of the original manuscript in Bach's own hand and, second, editions based on the first published edition (posthumous) of 1750. For clarity, the numbering system of the first published version has been maintained for this recording, but the performing order corresponds more closely to the original autograph version.
The Art of the Fugue uses a single D-minor subject or theme as its basis, clearly stated and answered at the opening of Contrapunctus I. Then begins a fascinating journey through all the possible techniques that Bach was able to call upon to treat this subject and other companion subjects fugally. The Art of the Fugue contains four "simple" fugues (I, II, III, IV), three stretto fugues (V, VI, VII), two double fugues (IX, X), two triple fugues (VIII, XI), and two "mirror" fugues (XII, XIII). The last fugue of the set (XIV) was to have been a quadruple fugue. Having already introduced three themes, the third of which was his own signature BACH (in German nomenclature B = B-flat and H = B natural), he was about to crown this last fugue with the main D-minor theme. However, illnesses from which he never recovered required him to abandon this work in order to dictate his last work: "Vor deinen Thron tret' ich hiermit." Although modern research
argues several other chronological possibilities, tradition seems to demand inclusion of this famous chorale prelude. Recording Bach's The Art of the Fugue heralds the coming of age for the
Brass Quintet medium. Brass can quite justifiably perform this work because of Bach's intentional avoidance in indicating specific instruments of his era to perform it. Thusly, The Art of the Fugue transcends mere time boundaries and becomes the cornerstone of an enduring repertory for a wide variety of instruments, including brass.
The Canadian Brass began its investigation of The Art of the Fugue in 1970. This led to a radio concert for the Canadian Broadcasting Corporation, giving the group the opportunity to work intensively with the well-known Toronto Bach authority Reginald Godden. In 1976 the Brass had the first of many meetings with the legendary Glenn Gould. It was during these meetings that The Art of the Fugue was first conceived as a recording project. From Glenn's insight and advice, the Brass was encouraged to bring this project to fruition. It was producer James Mallinson's great love of The Art of the Fugue and his high regard for Arthur Frackenpohl's transcription that provided critical momentum.
The Art of Fugue, BWV 1080
01. Contrapunctus I.Andante Sostenuto (2:43)
02. Contrapunctus III.Andante Espressivo e Dolce (2:21)
03. Contrapunctus II.Allegro Moderato e Ritmico (2:44)
04. Contrapunctus IV.Allegro Moderato (3:35)
05. Contrapunctus V.Allegro Energico (2:21)
06. Contrapunctus IX.Vivace (3:14)
07. Contrapunctus X.Allegro Moderato (3:06)
08. Contrapunctus VI.Andante Ritmico (3:34)
09. Contrapunctus VII.Larghetto Maestoso (2:45)
10. Contrapunctus VIII.Allegro (4:52)
11. Contrapunctus XI.Allegro Moderato (4:33)
12. Contrapunctus XII.(Rectus), Lento (2:21)
13. Contrapunctus XII.(Inversus), Lento (2:20)
14. Contrapunctus XIII.(Rectus), Allegro Spiritoso (2:25)
15. Contrapunctus XIII.(Inversus), Allegro Spiritoso (2:28)
16. Contrapunctus XIV.Maestoso (unfinished) (7:07)
17. Contrapunctus XIVb.Chorale prelude: "Vor deinen Thron tret' ich hiermit (4:05)
Contrapunctus IX.Vivace
Contrapunctus XIII.(Inversus), Allegro Spiritoso
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