Simple FuguesContrapunctus I a 4 [0:00'02"]Contrapunctus II a 4 [0:02'50"]Contrapunctus III a 4 [0:06'19"]Contrapunctus IV a 4 [0:08'56"]
Counter-fuguesContrapunctus V a 4 [0:12'56"]Contrapunctus VI a 4 in Stile francese [0:15'58"]Contrapunctus VII a 4 per Augment[ationem] et Diminut[ionem] [0:20'20"]
Double and Triple FuguesContrapunctus VIII a 3 [0:24'35"]Contrapunctus IX a 4 alla Duodecima [0:31'05"]Contrapunctus X a 4 alla Decima [0:33'42"]Contrapunctus XI a 4 [0:37'17"]
Mirror FuguesContrapunctus XII a 4 (frectus) [0:43'35"]Contrapunctus XII a 4 (inversus) [0:46'22"]Contrapunctus XIII a 3 (rectus) [0:49'08"]Contrapunctus XIII a 3 (inversus) [0:51'41"]Contrapunctus XIII Fuga a 2 Clav. (rectus) [0:54'15"]Contrapunctus XIII Alio modo. Fuga a 2 Clav. (inversus) [0:56'42"]
CanonsCanon alla Ottava in Hypodiapason [0:59'15"]Canon alla Decima in Contrapunto alla Terza [1:04'18"]Canon alla Duodecima in Contrapunto alla Quinta [1:08'37"]Canon per Augmentationem in Contrario Motu [1:13'16"]Canon in Hypodiatesseron, al roverscio e per augmentationem, perpetuus [1:17'16"]
Final Fugue (incomplete)Contrapunctus XIV Fuga a 3 soggetti [1:23'25"]
PROGRAM NOTE
Johann Sebastian Bach's "The Art of Fugue" BWV 1080 (in German: Die Kunst der Fuge) stands as a pinnacle of contrapuntal composition, showcasing Bach's unparalleled mastery of form and structure. Written in the final years of his life, this monumental work explores intricate fugue techniques, including inversion, augmentation, and stretto, with mathematical precision. Bach's approach to music in "The Art of Fugue" transcends mere composition, embodying a profound synthesis of scientific rigor and emotional depth, inviting listeners on a transcendent journey of intellectual and spiritual discovery.
This original piece, however, is a distorted approach to that work. It is a brand new personal twisted and curled version of Bach's piece. It is as if the art of Johann Sebastian Bach had been reflected through a broken mirror.
The idea of revisiting, recreating, and reinterpreting the art of the past came from my admiration to Pablo Picasso’s "Las Meninas" which is based on the famous painting by Diego Velázquez.
Counter-fuguesContrapunctus V a 4 [0:12'56"]Contrapunctus VI a 4 in Stile francese [0:15'58"]Contrapunctus VII a 4 per Augment[ationem] et Diminut[ionem] [0:20'20"]
Double and Triple FuguesContrapunctus VIII a 3 [0:24'35"]Contrapunctus IX a 4 alla Duodecima [0:31'05"]Contrapunctus X a 4 alla Decima [0:33'42"]Contrapunctus XI a 4 [0:37'17"]
Mirror FuguesContrapunctus XII a 4 (frectus) [0:43'35"]Contrapunctus XII a 4 (inversus) [0:46'22"]Contrapunctus XIII a 3 (rectus) [0:49'08"]Contrapunctus XIII a 3 (inversus) [0:51'41"]Contrapunctus XIII Fuga a 2 Clav. (rectus) [0:54'15"]Contrapunctus XIII Alio modo. Fuga a 2 Clav. (inversus) [0:56'42"]
CanonsCanon alla Ottava in Hypodiapason [0:59'15"]Canon alla Decima in Contrapunto alla Terza [1:04'18"]Canon alla Duodecima in Contrapunto alla Quinta [1:08'37"]Canon per Augmentationem in Contrario Motu [1:13'16"]Canon in Hypodiatesseron, al roverscio e per augmentationem, perpetuus [1:17'16"]
Final Fugue (incomplete)Contrapunctus XIV Fuga a 3 soggetti [1:23'25"]
PROGRAM NOTE
Johann Sebastian Bach's "The Art of Fugue" BWV 1080 (in German: Die Kunst der Fuge) stands as a pinnacle of contrapuntal composition, showcasing Bach's unparalleled mastery of form and structure. Written in the final years of his life, this monumental work explores intricate fugue techniques, including inversion, augmentation, and stretto, with mathematical precision. Bach's approach to music in "The Art of Fugue" transcends mere composition, embodying a profound synthesis of scientific rigor and emotional depth, inviting listeners on a transcendent journey of intellectual and spiritual discovery.
This original piece, however, is a distorted approach to that work. It is a brand new personal twisted and curled version of Bach's piece. It is as if the art of Johann Sebastian Bach had been reflected through a broken mirror.
The idea of revisiting, recreating, and reinterpreting the art of the past came from my admiration to Pablo Picasso’s "Las Meninas" which is based on the famous painting by Diego Velázquez.
Albert CARBONELL - DIE KUNST DER FUGE (complete).pdf