Uniquely complex in both form and structure, this work by J. S. Bach is regarded as a pinnacle of Western music. No composer possessed a greater understanding of the workings of counterpoint than Bach. In The Art of the Fugue, he summarizes counterpoint's entire known potential by using a very simple theme in the most complex possible ways.
This work proved to be Bach's last, and the composer left the nature of its instrumentation undocumented. Despite numerous popular interpretations—including harpsichord, organ, string quartet, and orchestra—speculation persists that Bach intended it purely as an elaborate intellectual exercise. C. P. E. Bach declared its primary value as that of a teaching aid and a guide to composition. This solo keyboard edition was edited by Carl Czerny, a student of Beethoven and teacher of Liszt, who wrote hundreds of piano études that remain staples of piano training today. Modern pianists will find Czerny's edition of this classic a source of unfailing variety and limitless imagination.
Fuga I a 4 voci
Fuga II a 4 voci
Fuga III a 4 voci
Fuga IV a 4 voci
Fuga V a 4 voci
Fuga VI (in stile francese) a 4 voci
Fuga VII a 4 voci
Fuga VIII a 3 voci
Fuga IX a 4 voci
Fuga X a 4 voci
Fuga XI a 4 voci
Fuga XII a 4 voci
Fuga XII (inversa)
Fuga XIII a 4 voci
Fuga XIII (inversa)
Fuga XIV a 4 voci (Variante zu No. X)
Canone I (per augmentationem in motu contrario)
Canone II (all'ottava)
Canone III (alla decima)
Canone IV (alla duodecima)
Fuga I per due Pianoforti
Fuga II per due Pianoforti (in altro modo)
Fuga XV a tre soggetti ed a 4 voci
88 pages
BWV1080
