JOHANN SEBASTIAN BACH Die Kunst der Fuge
Fabio Bonizzoni Mariko Uchimura
Fabio Bonizzoni, harpsichord Mariko Uchimura, harpsichord (tracks 13-17)
Total playing time: 63:32 Recorded in Bunnik, Netherlands, 09/2008 Engineered by Adriaan Verstijnen Produced by Tini Mathot Executive producer: Carlos Céster Design: Valentín Iglesias Booklet texts: F. Bonizzoni, A. Hartinger English-Français-Deutsch-Español
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JOHANN SEBASTIAN BACH (1685-1750)
Die Kunst der Fuge (BWV 1080, after P200)
One keyboard 1 Contrapunctus 1 2 Contrapunctus 2 3 Contrapunctus 3 4 Contrapunctus 4 5 Contrapunctus 5 [alla Duodecima] 6 Contrapunctus 67 Contrapunctus 7 [in Stylo Francese] 8 Contrapunctus 8 [per Augment et Diminut] 9 Canon in Hypodiapason 10 Contrapunctus 10 11 Contrapunctus 11 12 Canon al roverscio et per augmentationem
Two keyboards 13 Contrapunctus 13 [recto] 14 Contrapunctus 13 [inversus] 15 Contrapunctus 14 [recto] 16 Contrapunctus 14 [inversus]
Appendix 17 Fuga a tre soggetti
About this CD
The fact that Bach may have been working on Die Kunst der Fuge up until the point that he died and the fact that the work’s concluding contrapunctus may have been left incomplete are just two factors which have subsequently allowed posterity’s imagination to operate in full flight. When Bach passed away, without further delay his sons busied themselves preparing this score work for printing and were the first in nurturing the legend that Bach, incapable of completing the final contrapunctus, dictated a four-part chorale on his deathbed in order to compensate for the abrupt end and as a way of saying farewell... In any case, what we are left with is a unique composition which for a great deal of time has been considered as a purely theoretical exercise and one which was not intended to be performed. Nowadays, however, many experts think otherwise and among them is Fabio Bonizzoni, who is convinced that this is music written for a keyboard instrument, and very likely for a harpsichord. Our musician has opted with his recording for the structure of Bach’s first autograph version, the so-called P200 manuscript, making use thereby of an additional harpsichord for four of the contrapuncti, something which was suggested by Bach himself in that manuscript.
Bonizzoni, whose artistry is currently particularly being appreciated on account of his memorable series of recordings of Handel’s Italian cantatas, presents with this album one of his own most personal projects; but one which also acts as a punctuation point prior to Bonizzoni embarking upon a new set of adventures with his ensemble La Risonanza.