The enigmatic masterwork of Tchaikovsky’s final days remains open to a wide range of interpretations. Andrew Farach‑Colton hears how it has been approached on recordings dating back almost a century
“The governing idea of the work . . . was an exploration in depth of the contrapuntal possibilities inherent in a single musical subject.”1 So says Bach scholar Christoph Wolff of Johann Sebastian Bach’s Die Kunst der Fuge, BWV 1080. Comprising fourteen fugues and four canons, we have inherited the work in an incomplete state; soon after Bach introduces his own musical signature as Contrapunctus XIV’s third subject and combines it with two previous themes, the music abruptly stops.