I cant understand how big z managed to get to this resolution. Mindblowing achievement.
@olofcarlsson3731
Жыл бұрын
Thank you so much for posting this!
@geiryvindeskeland7208
3 жыл бұрын
What sources tell you that the subtitle is falsely? Otfried Büsing has written an article in which he shows that Nottebohm’s idea is not convincing.(Bach Jahrbuch, 2015) I believe the subject from Contrapunctus 1 should be combined with the three in C XIV, but the subject causes voice problems both in rectus and inversus. Measure 293, an ugly 6/4 chord, I do the same, but Michael Drislane rejects the solution: «Bach would never do such a thing». I completely rejects Goncz’s combination at measure 331, in which we lose Bach’s beautiful dissonance. Quote: «All four subjects are inverted»……. That is not true. In my completion, I have two combinations, in which all four subjects are in inversus at the same time.
@JohannBirnbaum
2 жыл бұрын
«Bach would never do such a thing.» Fugue in E major (BWV 878/2, measure 12) kzitem.info/news/bejne/2Z6D1YRvep-KhG0
@calvin4
Жыл бұрын
Actually, Bach, though very rarely, used 6/4 chords (not passing, pedal, nor cadential 6/4 chords). But in Measure 293 of this completion, I don't even think the voicing could be comprehended as a 6/4 chord. Firstly, examining the vertical harmonic voicing, a low A, the root of A major, is soon compensated in the second 8th note, making a complete voicing of an A major, and Bach did that in many of his other works. Secondly, examining the horizontal voice leading, there is another low A in Measure 292, hence the low A's in Measure 292 and in Measure 293 can also be comprehended as there is a low A sustaining through. That is to say, a low A actually "exists" in the first 8th note in Measure 293. Hence there is no 6/4 chord in Measure 293.
@geiryvindeskeland7208
Жыл бұрын
Calvin, I am sorry, I should have given you an answer a long time ago. The reason for my silence is that I have lost interest in the project when I understood that the four subjects do not work well together in the different positions. Still, I am sure that the subject from Contrapunctus I should be combined with the three in the unfinish quadruple, but only in tenor position.(remember that it should be playable with two hands) The subject is not suitable for a number of othe placements. I still remember the first time I played through the quadruple combination with the 41-note subject of the bass, I reacted strongly negatively. Sorry, Calvin, but it doesn’t help that the bass gets an A already after one quaver, it’s already too late. And after on quaver on A, we get a new E that reinforces the feeling of a 6/4.
@schrysafis
Жыл бұрын
If one understands that the 1st theme of Contrapunctus XIV is connected with the main theme of The Art of Fugue what could prevent them to use the subject to complete the fugue?
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