Review

Johann Sebastian Bach
The Art of Fugue Volume 4: Contrapuncti XIII–XV & Chorale ‘Vor deinen Thron tret’ ich hiermit’:

Arranged by Ralph Sauer


Vancouver, British Columbia, Canada
Publisher: Cherry Classics Music
Date of Publication: 2008
URL: http://www.cherryclassics.com

Score and parts

Primary Genre: Trombone Ensembles - 4 trombones

Contrapunctus XIIIa & XIIIb, 3-part mirror fugues, 2:20 & 2:20. These are probably the least satisfactory in this set of transcriptions. The parts in themselves lack interest; the beauty can be fully appreciated only by the player at the keyboard or the listener with the score in hand. Perfect symmetry is lost with the re-distribution of three voices between four parts and addition of a fourth part in the last three measures.

Contrapunctus XIV, 3:20. In place of the four canons, which are properly an appendix to the Art of Fugue, and would be unsuitable for this arrangement, Sauer includes an earlier and shorter version of Contrapunctus X. The final version adds 23 measures to the beginning, and is more highly developed throughout.  I do not think this ‘first draft’ really belongs here; the final fugue should have this number. 

Contrapunctus XV (incomplete), 8:00. This densely textured fugue introduces two new subjects; in measure 193 the musical signature BACH appears as the third subject; from measure 233 all three subjects are contrapuntally combined. At the point where conjecturally the main subject would enter Bach’s manuscript ends, as does this transcription. Playing this fugue requires enormous technical control and mental concentration. The music twice builds to great intensity, but as the final peak is approached, the path ends and we are abruptly left looking into the vastness of space. This incompleteness is, in a sense, a profound statement; our own life’s ending may arrive just as suddenly and with many tasks unfinished, and we then contemplate – infinity? 

Chorale BWV 668a, 4:20. This is believed to be Bach’s last composition, the manuscript was written in another’s hand; he most likely dictated it to his pupil and son-in-law Johann Altnikol. Bach’s family included it in the first edition of The Art of Fugue as an explicit apology for the incompleteness of the final fugue. Despite its apparent irrelevancy, I think it does serve as a fitting end to this musical journey. It is a simple and profound affirmation at the end of a life well lived, ‘Before Thy Throne I Stand.’ Amen.

Transcription of The Art of Fugue must have been a demanding project occupying countless hours; notes had to be accommodated within a smaller compass than before, parts had to be reassigned, innumerable editorial markings inserted. The whole occupies 114 pages of full score, with a total playing time of more than an hour. Attention to detail in the preparation has been meticulous, there is consistency throughout and parts are produced with exemplary clarity. We owe a large debt of gratitude to Ralph Sauer for his dedication and accomplishment.

Preparation of this music for performance will also require great effort and dedication. The Art of Fugue raises the bar for trombone quartet performance to an unprecedented level. As I wrote in my review of Part I, this is the greatest piece of music ever made available for trombone quartet. It is unlikely that this standard will be surpassed. It should be the goal of every serious quartet player to perform The Art of Fugue. It is also suitable for performance by larger trombone ensembles for which it should also be indispensable repertoire.

Production of this edition has been a true labour of love; it has been my privilege to review it. This is a masterpiece of our literature and I hope I have done some justice to it and been able to express something of its beauty and profundity. I recommend this work to every serious practitioner of the Art of Trombone playing, which presumably includes most readers of this Journal.

-Keith Davies Jones
Winnipeg, Manitoba, Canada