Review

Johann Sebastian Bach
The Art of Fugue, Volume 3, Contrapuncti X–XII:

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

A brief overview of this work is included in my review of vol. 1, which appeared in the Spring 2009 ITAJ. 

Contrapunctus X Double fugue in counterpoint at the 10th (3:20). I think the most naturally idiomatic writing for trombone is found in this fugue, which has predominantly shorter phrase lengths and an expressive vocal style. The harmonic vocabulary is enriched by the permitted doublings in thirds, sixths and tenths. I do feel that the indicated tempo of Allegro vivace (half-note = 72) is on the fast side, and that a more relaxed tempo is needed to bring out the lyrical character of this piece. There is extensive crossing of parts in the first few pages, but from measure 44 onward, each voice is in its original position.

Contrapunctus XI (5:30). This is a triple fugue using the same three subjects as VIII, which Bach actually placed immediately before IX in his autograph score. Here, the principal subject is presented rectus and the two counter subjects inversus; and they are introduced in a different order. This fugue has a completely different character from its companion VIII; it is dark and tragic, the repeated eighth notes have an almost oppressive intensity, reminding this writer of the “Cruxifixus” from the B minor Mass. Bach’s genius in drawing such contrasted pieces from the same material is obvious. Sauer’s tempo marking is actually somewhat quicker than for VIII, and I feel that the sombre character of this music indicates a slower tempo.  

Contrapunctus XIIa Fuga a 4 voci (Rectus) (2:30) & Contrapunctus XIIb Fuga a 4 voci (Inversus) (2:30).

This is a pair of 4-part mirror fugues, in which each part is fully invertible; both essentially the same piece of music, one the exact mirror-image of the other. The virtuosity here is in the compositional technique, and there is not the subjective intensity of the preceding fugues. Beauty is in the eye of the beholder, and the arranger has taken care to preserve symmetry of parts on the page. The tempo marking of Lento con moto is consistent with customary performance practice, giving due gravitas to these remarkable pieces.

These transcriptions have been produced with a wealth of added detail, and meticulous attention to articulations and dynamics. Great care has been taken to achieve the best possible textural clarity and balance. Production is of a high standard. This work should quickly become part of the standard repertoire for trombone quartet. 

The remainder of the Art of Fugue comprises a pair of 3-part mirror fugues, 4 canons and the incomplete Contrapunctus XIV. A fourth volume is in preparation.

-Keith Davies Jones
Winnipeg, Manitoba, Canada