Review

J.S. Bach
The Art of Fugue, Volume 2: : Contrapuncti VI–IX

Arranged by Ralph Sauer

Four trombones.

Vancouver, British Columbia, United States
Publisher: Cherry Classics Music
Date of Publication: 2008

Score and parts. Grade 4/5.

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. The four fugues included in vol.2 are more complex, and both transcription and performance present significantly greater challenges. I admire what has been achieved here.

Contrapunctus VI Stretto fugue in contrary motion in “French Style” using diminution, with subject in rectus and inversus (4:20). This is virtuosic and extremely demanding, requiring absolute precision of articulation and rhythm, as the subject, presented in the dotted rhythm style of the French entrée, chases shadows that dance around it at wildly different speeds. There is some crossing of voices, 1st and 2nd parts change places from measures 32 through 49, and 1st and 4th parts cross in measures 60 and 62. The subject entry (inversus) as a 5th voice in measure 75 has been omitted. 

Contrapunctus VII Stretto fugue in contrary motion using diminution and augmentation, with subject in rectus and inversus (2:45). This fugue is much closer to Bach’s cantus firmus ‘organ style’ and here it has been possible to keep each voice on one part throughout. A 5th voice enters in measure 56, and the arranger has very skillfully managed to blend these notes into the other parts. 

Contrapunctus VIII Triple fugue with principal subject in inversus (6:20). One of the most extended of the set, this magnificent fugue occupies 11 pages of full score in this arrangement. Marked Allegro vivace, it is also quite demanding, with a continuous flow of even eighth notes running throughout the piece like a clear mountain stream, passing seamlessly from player to player. There is extensive redistribution of the three voices between the four parts, which for the first time gives each player some breathing space.

Contrapunctus IX Double Fugue in double counterpoint at the 12th with the principal theme in rectus (3:10). It opens with a new counter subject, and the main subject enters in measure 35. It is presented in cut time, and is customarily taken at a brisk tempo; Sauer marks it presto. The Swingle Singers famously chose this fugue to open their debut album in 1963, thereby proving that it really can swing. A high-energy performance is summoned to bring this installment of The Art of Fugue to an exhilarating conclusion. 

-Keith Davies Jones
Winnipeg, Manitoba, Canada