Scarlatti's Five Fugues are published as part of ABRSM's 'Signature' Series - a series of authoritative performing editions of standard keyboard works, prepared from original sources by leading scholars. Including informative introductions and performance notes.

Features a historical survey of writings on the fugue from the Renaissance to the present as well as four 18th-century studies: works by J. J. Fux, F. W. Marpurg, and more. Includes introductions, commentary, and 255 musical examples.

A free ebook version of this title is available through Luminos, University of California Press’s new open access publishing program for monographs. Visit www.luminosoa.org to learn more. Fugue for J. S. Bach was a natural language; he wrote fugues in organ toccatas and voluntaries, in masses and motets, in orchestral and chamber music, and even in his sonatas for violin solo. The more intimate fugues he wrote for keyboard are among the greatest, most influential, and best-loved works in all of Western music. They have long been the foundation of the keyboard repertory, played by beginning students and world-famous virtuosi alike. In a series of elegantly written essays, eminent musicologist Joseph Kerman discusses his favorite Bach keyboard fugues—some of them among the best-known fugues and others much less familiar. Kerman skillfully, at times playfully, reveals the inner workings of these pieces, linking the form of the fugues with their many different characters and expressive qualities, and illuminating what makes them particularly beautiful, powerful, and moving. These witty, insightful pieces, addressed to musical amateurs as well as to specialists and students, are beautifully augmented by performances made specially for this volume: Karen Rosenak, piano, playing two preludes and fugues fromTheWell-Tempered Clavier—C Major, book 1; and B Major, book 2--and Davitt Moroney playing the Fughetta in C Major, BWV 952, on clavichord; the Fugue on "Jesus Christus unser Heiland," BWV 689, on organ; and the Fantasy and Fugue in A Minor, BWV 904, on harpsichord.

Complete score of The Art of Fugue plus extensive commentary features all 14 fugues plus the four canons. The commentary outlines the fugues' contrapuntal devices and offers keen observations on the composer's craftsmanship.

Bach's Well-tempered Clavier (or the 48 Preludes and Fugues) stands at the core of baroque keyboard music and has been a model and inspiration for performers and composers ever since it was written. This invaluable guide to the 96 pieces explains Bach's various purposes in compiling the music, describes the rich traditions on which he drew, and provides commentaries for each prelude and fugue. In his text, David Ledbetter addresses the main focal points mentioned by Bach in his original 1722 title page. Drawing on Bach literature over the past three hundred years, he explores German traditions of composition types and Bach's novel expansion of them; explains Bach's instruments and innovations in keyboard technique in the general context of early eighteenth-century developments; reviews instructive and theoretical literature relating to keyboard temperaments from 1680 to 1750; and discusses Bach's pedagogical intent when composing the Well-tempered Clavier. Ledbetter's commentaries on individual preludes and fugues equip readers with the concepts necessary to make their own assessment and include information about the sources when details of notation, ornaments, and fingerings have a bearing on performance.

Written late in his life, J. S. Bach’s The Art of Fugue has long been admired—in some quarters revered—as one of his masterworks. Its last movement, Contrapunctus 14, went unfinished, and the enigma of its incompleteness still preoccupies scholars and musical conductors alike. In 1881, Gustav Nottebohm discovered that the three subjects of the movement could be supplemented by a fourth. In 1993, Zoltán Göncz revealed that Bach had planned the passage that would join the four subjects in an entirely unique way. This section has not survived, but, as Göncz notes, it must have been ready in the earliest phase of composition since Bach had created the expositions of the first three subjects from its “disjointed” parts. Göncz then boldly took on the task of reconstructing the original “template” by putting together the once separate pieces. In Bach’s Testament: On the Philosophical and Theological Background of The Art of Fugue, Göncz probes the philosophic-theological background of The Art of Fugue, revealing the special structures that supported the 1993 reconstruction. Bach’s Testament investigates the reconstruction’s metaphysical dimensions, focusing on the quadruple fugue. As a summary of Zoltán Göncz’s extensive research over many years, which resulted in the completion of the fugue, this work explores the complex combinatorial, philosophical and theological considerations that inform its structure. Bach’s Testament is ideally suited not only to Bach scholars and musicologists but also intellectual historians with particular interests in 18th-century religious and philosophical ideas.

Science, religion, philosophy: these three categories of thought have organized humankind’s search for meaning from time immemorial. Reality’s Fugue presents a compelling case that these ways of understanding, often seen as competing, are part of a larger puzzle that cannot be rendered by one account of reality alone. This book begins with an overview of the concept of reality and the philosophical difficulties associated with attempts to account for it through any single worldview. By clarifying the differences among first-person, third-person, and dualist understandings of reality, F. Samuel Brainard repurposes the three predominant ways of making sense of those differences: exclusionist (only one worldview can be right), inclusivist (viewing other worldviews through the lens of one in order to incorporate them all, and thus distorting them), and pluralist or relativist (holding that there are no universals, and truth is relative). His alternative mode of understanding uses Douglas Hofstadter’s metaphor of a musical fugue that allows different “voices” and “melodies” of worldviews to coexist in counterpoint and conversation, while each remains distinct, with none privileged above the others. Approaching reality in this way, Brainard argues, opens up the possibility for a multivoiced perspective that can overcome the skeptical challenges that metaphysical positions face. Engagingly argued by a lifelong scholar of philosophy and global religions, this edifying and accessible exploration of the nature of reality addresses deeply meaningful questions about belief, reconciliation, and being.