Abstracts
Abstract
Johann Sebastian Bach had already elaborated the tool of double inversion, inside the Contrapunctus “in stylo francese” of the Art of Fugue. However, the counterpoint tool of double inversion is typical for the two later pairs of fugues BWV 1080, 12-13 a, b. After an examination of the global asset of the Contrapunctus 6, a particular attention is shown to the technique of inversion (mirror) in relation to fugues 12 and 13. Consequently a brief, but methodical, analysis succeeds to demonstrate the existence of totally symmetrical thematic phases inside Contrapunctus 6. The existence of double inversion inside an earlier Contrapunctus can indicate the level of premeditated elaboration in the whole work. Additionally, it could also suppose a parallel or contiguous time of the compositional process among the BWV 1080, 6, 12 and 13, which could re-impose a new examination of the correct order of the Contrapuncti.
Keywords:
- analysis,
- Johann Sebastian Bach,
- fugue,
- inversion,
- mirror
Résumé
Cet article veut démontrer que Jean-Sébastien Bach avait déjà élaboré l’outil d’inversion complète (miroir) à l’intérieur du Contrapunctus in stylo francese de L’art de la fugue (BWV 1080, 6). L’outil de contrepoint de l’inversion complète est typique pour les deux paires ultérieures de fugues BWV 1080, 12-13 a, b. L’existence de l’inversion complète à l’intérieur d’un Contrapunctus antérieur (en relation avec les deux paires postérieurs) peut indiquer le niveau de préméditation dans l’élaboration du matériau de l’intégralité du recueil, en particulier dans la mesure où la notion de progression de complexité technique est concernée. En plus, il pourrait aussi supposer un temps parallèle ou contigu du processus de composition entre les BWV 1080, 6, 12 et 13, qui imposerait un nouvel examen de l’ordonnancement des fugues dans le recueil.
Mots-clés :
- analyse,
- Jean-Sébastien Bach,
- fugue,
- inversion,
- miroir
Appendices
Bibliography
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