The most important recording of the Roth Quartet is their 1934 performance, based on a transcription by Mary Norton and Roy Harris, of a string quartet arrangement of this piece. Because one of the subjects is transposed up and down a 12th or a 10th, two adjacent movements of this composition are marked "alla duodecima" and "alla decima." The title of the seventh part of this composition indicates that it consists of an augmented and diminished version of the main subject. Gustav Leonhardt and Donald Tovey hypothesized that this piece, which is of unspecified instrumentation, was intended exclusively for the (*) harpsichord. Ferrucio Busoni's Fantasia contrappuntistica pays homage to this pi
The most important recording of the Roth Quartet is their 1934 performance, based on a transcription by Mary Norton and Roy Harris, of a string quartet arrangement of this piece. Because one of the subjects is transposed up and down a 12th or a 10th, two adjacent movements of this composition are marked "alla duodecima" and "alla decima." The title of the seventh part of this composition indicates that it consists of an augmented and diminished version of the main subject. Gustav Leonhardt and Donald Tovey hypothesized that this piece, which is of unspecified instrumentation, was intended exclusively for the (*) harpsichord. Ferrucio Busoni's Fantasia contrappuntistica pays homage to this piece. On the autograph manuscript for this composition, P200, Carl Philip Emanuel before he could finish its "Contrapunctus XIV" section. This composition consists of four canons, as well as simple, counter, double, triple, and mirror examples of the title piece type. For 10 points, name this late, unfinished work by J.S. Bach showcasing a contrapuntal style of music.
The most important recording of the Roth Quartet is their 1934 performance, based on a transcription by Mary Norton and Roy Harris, of a string quartet arrangement of this piece.
The Art of Fugue [or The Art of the Fugue; Die Kunst der Fuge]