Albert Cano Smit - Bach: The Art of Fugue (2025) [Hi-Res]
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BAND/ARTIST: Albert Cano Smit
- Title: Bach: The Art of Fugue
- Year Of Release: 2025
- Label: Aparté
- Genre: Classical Piano
- Quality: flac lossless (tracks) / flac 24bits - 96.0kHz
- Total Time: 01:20:39
- Total Size: 279 mb / 1.11 gb
- WebSite: Album Preview
Tracklist
01. Die Kunst der Fuge, BWV 1080: Contrapunctus 1
02. Die Kunst der Fuge, BWV 1080: Contrapunctus 2
03. Die Kunst der Fuge, BWV 1080: Contrapunctus 3
04. Die Kunst der Fuge, BWV 1080: Contrapunctus 4
05. Die Kunst der Fuge, BWV 1080: Canon per augmentationem in contrario motu
06. Die Kunst der Fuge, BWV 1080: Contrapunctus 5
07. Die Kunst der Fuge, BWV 1080: Contrapunctus 6 a 4, in stile francese
08. Die Kunst der Fuge, BWV 1080: Contrapunctus 7 a 4, per augmentationem et diminutionem
09. Die Kunst der Fuge, BWV 1080: Canon alla ottava in hypodiapason
10. Die Kunst der Fuge, BWV 1080: Contrapunctus 8 a 3
11. Die Kunst der Fuge, BWV 1080: Contrapunctus 9 a 4, alla duodecima
12. Die Kunst der Fuge, BWV 1080: Contrapunctus 10 a 4, alla decima
13. Die Kunst der Fuge, BWV 1080: Contrapunctus 11 a 4
14. Die Kunst der Fuge, BWV 1080: Canon alla duodecima in contrapunto alla quinta
15. Die Kunst der Fuge, BWV 1080: Contrapunctus 12 a 4, rectus et inversus. Forma recta
16. Die Kunst der Fuge, BWV 1080: Contrapunctus 12 a 4, rectus et inversus. Forma inversa
17. Die Kunst der Fuge, BWV 1080: Contrapunctus 13 a 3, rectus et inversus. Forma recta
18. Die Kunst der Fuge, BWV 1080: Contrapunctus 13 a 3, rectus et inversus. Forma inversa
19. Die Kunst der Fuge, BWV 1080: Canon alla decima in contrapunto alla terza
20. Die Kunst der Fuge, BWV 1080: Fuga a 3 Soggetti
21. Wenn wir in höchsten Nöten sein, canto fermo in canto, BWV 668a
'Despite its confusing titles, referring to the contrapuntal nature of each movement (two or more melodic lines interacting), and despite some theories that the work was meant as a theoretical study piece, I am certain that this is a piece that needs to and was meant to be performed and brought to life. Each movement has a distinct character, bringing to mind the fact that counterpoint may also mean “to emphasize by contrast”. I remember hearing the opening notes of the piece for the first time, and being captivated by the impression that an entire universe was slowly being revealed through the work. [...] This album is my humble attempt at communicating this to every music lover. I’m grateful to them and to everyone joining me on this journey of discovery.' - Albert Cano Smit
01. Die Kunst der Fuge, BWV 1080: Contrapunctus 1
02. Die Kunst der Fuge, BWV 1080: Contrapunctus 2
03. Die Kunst der Fuge, BWV 1080: Contrapunctus 3
04. Die Kunst der Fuge, BWV 1080: Contrapunctus 4
05. Die Kunst der Fuge, BWV 1080: Canon per augmentationem in contrario motu
06. Die Kunst der Fuge, BWV 1080: Contrapunctus 5
07. Die Kunst der Fuge, BWV 1080: Contrapunctus 6 a 4, in stile francese
08. Die Kunst der Fuge, BWV 1080: Contrapunctus 7 a 4, per augmentationem et diminutionem
09. Die Kunst der Fuge, BWV 1080: Canon alla ottava in hypodiapason
10. Die Kunst der Fuge, BWV 1080: Contrapunctus 8 a 3
11. Die Kunst der Fuge, BWV 1080: Contrapunctus 9 a 4, alla duodecima
12. Die Kunst der Fuge, BWV 1080: Contrapunctus 10 a 4, alla decima
13. Die Kunst der Fuge, BWV 1080: Contrapunctus 11 a 4
14. Die Kunst der Fuge, BWV 1080: Canon alla duodecima in contrapunto alla quinta
15. Die Kunst der Fuge, BWV 1080: Contrapunctus 12 a 4, rectus et inversus. Forma recta
16. Die Kunst der Fuge, BWV 1080: Contrapunctus 12 a 4, rectus et inversus. Forma inversa
17. Die Kunst der Fuge, BWV 1080: Contrapunctus 13 a 3, rectus et inversus. Forma recta
18. Die Kunst der Fuge, BWV 1080: Contrapunctus 13 a 3, rectus et inversus. Forma inversa
19. Die Kunst der Fuge, BWV 1080: Canon alla decima in contrapunto alla terza
20. Die Kunst der Fuge, BWV 1080: Fuga a 3 Soggetti
21. Wenn wir in höchsten Nöten sein, canto fermo in canto, BWV 668a
'Despite its confusing titles, referring to the contrapuntal nature of each movement (two or more melodic lines interacting), and despite some theories that the work was meant as a theoretical study piece, I am certain that this is a piece that needs to and was meant to be performed and brought to life. Each movement has a distinct character, bringing to mind the fact that counterpoint may also mean “to emphasize by contrast”. I remember hearing the opening notes of the piece for the first time, and being captivated by the impression that an entire universe was slowly being revealed through the work. [...] This album is my humble attempt at communicating this to every music lover. I’m grateful to them and to everyone joining me on this journey of discovery.' - Albert Cano Smit
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