℗ 2021 haenssler CLASSIC
| Released | October 1, 2021 |
| Duration | 1h 21m 13s |
| Record Label | haenssler CLASSIC |
| Catalogue No. | HC21049 |
| Genre | Classical (Piano) |
J.S. Bach: The Art of Fugue, BWV 1080
Eloise Bella Kohn
Available in 96 kHz / 24-bit AIFF, FLAC high resolution audio formats
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The Art of Fugue, BWV 1080
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1.1
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Contrapunctus I
Johann Sebastian Bach; Eloise Bella Kohn |
3:06 | |||
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1.2
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Contrapunctus II
Johann Sebastian Bach; Eloise Bella Kohn |
3:02 | |||
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1.3
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Contrapunctus III
Johann Sebastian Bach; Eloise Bella Kohn |
2:39 | |||
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1.4
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Contrapunctus IV
Johann Sebastian Bach; Eloise Bella Kohn |
3:51 | |||
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1.5
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Contrapunctus V
Johann Sebastian Bach; Eloise Bella Kohn |
3:16 | |||
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1.6
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Contrapunctus VI à 4 in stylo francese
Johann Sebastian Bach; Eloise Bella Kohn |
5:22 | |||
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1.7
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Contrapunctus VII à 4 per augmentationem et diminutionem
Johann Sebastian Bach; Eloise Bella Kohn |
4:03 | |||
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1.8
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Contrapunctus VIII à 3
Johann Sebastian Bach; Eloise Bella Kohn |
5:42 | |||
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1.9
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Contrapunctus IX à 4 alla duodecima
Johann Sebastian Bach; Eloise Bella Kohn |
3:11 | |||
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1.10
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Contrapunctus X à 4 alla decima
Johann Sebastian Bach; Eloise Bella Kohn |
4:20 | |||
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2.1
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Contrapunctus XI à 4
Johann Sebastian Bach; Eloise Bella Kohn |
6:36 | |||
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2.2
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Contrapunctus XIIa à 4 in forma rectus
Johann Sebastian Bach; Eloise Bella Kohn |
3:18 | |||
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2.3
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Contrapunctus inversus XII à 4
Johann Sebastian Bach; Eloise Bella Kohn |
3:24 | |||
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2.4
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Contrapunctus XIII à 3
Johann Sebastian Bach; Eloise Bella Kohn |
2:20 | |||
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2.5
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Contrapunctus inversus XIII à 3
Johann Sebastian Bach; Eloise Bella Kohn |
2:26 | |||
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2.6
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Canon alla ottava
Johann Sebastian Bach; Eloise Bella Kohn |
2:36 | |||
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2.7
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Canon alla decima
Johann Sebastian Bach; Eloise Bella Kohn |
4:56 | |||
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2.8
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Canon alla duodecima
Johann Sebastian Bach; Eloise Bella Kohn |
2:26 | |||
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2.9
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Canon per Augmentationem in contrario motu
Johann Sebastian Bach; Eloise Bella Kohn |
4:27 | |||
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2.10
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Contrapunctus XIV "Fuga à 3 soggetti" (Completed T. Escaich)
Johann Sebastian Bach; Thierry Escaich; Eloise Bella Kohn |
10:12 | |||
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Digital Booklet
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“After several decades of debate, it is now firmly established that the Art of Fugue was composed for harpsichord. The notation on four staves could lead to confusion and wrongly suggest that the work was intended for an ensemble of four instruments. But this scheme of notation for a keyboard instrument was not uncommon in the past (e.g. it was used by the Italian Girolamo Frescobaldi in his Fiori Musicali), as it facilitates the visualization and grasp of each individual voice's progression and beauty. I am convinced that played appropriately and with artistic integrity, the piano can serve Bach's music superbly. In this recording I have played entirely without pedal so that the splendour of the contrapuntal lines is fully rendered. In some cases, for instance an appoggiatura, the piano allows for perfect imitation of a form of vocality, like a singer following the tonic accents of a language and pronouncing one syllable more quietly than another. The harpsichord can only imitate this by agogic inflections, by playing in an irregular rhythm. Some vocally inspired passages can therefore sound magnificent on the piano.“
- Eloïse Bella Kohn
96 kHz / 24-bit PCM – haenssler CLASSIC Studio Masters
| Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -3.44 -5.66 to -1.30 | -21.73 -23.87 to -20.71 | -18.96 -20.90 to -17.90 | 12 11 to 14 | |
| 1.1 | Contrapunctus I | -3.31 | -22.28 | -19.3 | 12 |
| 1.2 | Contrapunctus II | -3.56 | -20.85 | -18.0 | 12 |
| 1.3 | Contrapunctus III | -2.86 | -21.42 | -18.5 | 12 |
| 1.4 | Contrapunctus IV | -3.09 | -20.71 | -17.9 | 12 |
| 1.5 | Contrapunctus V | -1.60 | -20.79 | -18.0 | 12 |
| 1.6 | Contrapunctus VI à 4 in stylo francese | -1.30 | -21.48 | -18.8 | 14 |
| 1.7 | Contrapunctus VII à 4 per augmentationem et diminutionem | -4.12 | -21.30 | -18.6 | 11 |
| 1.8 | Contrapunctus VIII à 3 | -3.68 | -21.06 | -18.4 | 12 |
| 1.9 | Contrapunctus IX à 4 alla duodecima | -3.28 | -21.28 | -18.5 | 12 |
| 1.10 | Contrapunctus X à 4 alla decima | -4.18 | -21.52 | -18.8 | 12 |
| 2.1 | Contrapunctus XI à 4 | -2.71 | -20.77 | -18.1 | 12 |
| 2.2 | Contrapunctus XIIa à 4 in forma rectus | -4.94 | -23.53 | -20.8 | 11 |
| 2.3 | Contrapunctus inversus XII à 4 | -5.66 | -23.87 | -20.9 | 12 |
| 2.4 | Contrapunctus XIII à 3 | -2.16 | -21.13 | -18.3 | 12 |
| 2.5 | Contrapunctus inversus XIII à 3 | -3.86 | -21.73 | -18.9 | 11 |
| 2.6 | Canon alla ottava | -4.34 | -21.75 | -19.0 | 11 |
| 2.7 | Canon alla decima | -5.01 | -23.60 | -20.8 | 12 |
| 2.8 | Canon alla duodecima | -2.26 | -21.29 | -18.5 | 12 |
| 2.9 | Canon per Augmentationem in contrario motu | -5.15 | -22.99 | -20.3 | 12 |
| 2.10 | Contrapunctus XIV "Fuga à 3 soggetti" (Completed T. Escaich) | -1.61 | -21.31 | -18.7 | 13 |