Wie die unvollendete Fuge aus Bachs Kunst der Fuge (BWV 1080) zur vollständigen instrumentalen Klangrede zu ergänzen wäre

Abstract

The Roman orator’s six-part dispositio, described and applied to the analysis of Bach’s instrumental music in the author’s previous publications, can also be adopted in an attempt to complete the unfinished fugue in Bach’s Kunst der Fuge. An analysis of Bach’s unfinished score shows that he implemented the first two parts of the dispositio entirely and the third part only partially. Any attempt to complete the unfinished fugue must first conclude the third part of the dispositio and then implement the dispositio’s final three parts according to directions given by Bach in the existing score. Strict consideration of the fugue’s contrapuntal technique leads to the conclusion that Bach planned it as a quadruple fugue.