J.S.Bach: The Art of Fugue : Max Pommer (1984)

J.S.Bach's The Art of Fugue/Die Kunst Der Fuge (BWV 1080), performed by Max Pommer and the Neues Bachisches Collegium Musicum Leipzig (1984).
Short index (long index below):
0:00 Introduction to this recording
4:38: Bach, Kunst der Fugue BWV 1080, Max Pommer
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Tracklist (source: Discogs)

Simple Fugues

4:38 : SIDE A

A1
Contrapunctus 1 (Subject In Similar Motion)
Viol [Alto] – Thomas Fritsch
Viol [Tenor] – Nikolaus Gädeke, Siegfried Pank
Viol [Treble] – Monika Tutschku
Violone – Achim Beyer

A2
Contrapunctus 2 (Subject In Similar Motion)
Bassoon – Knut Sönstevold, Thomas Reinhardt
Double Bass – Rainer Hucke
English Horn – Axel Schmidt
Oboe d'Amore – Burkhard Glaetzner

A3
Contrapunctus 3 (Subject In Contrary Motion)
Cello – Burkhard Schmidt (2)
Double Bass – Rainer Hucke
Viol [Tenor] – Siegfried Pank
Violin – Eberhard Palm, Roald Reinecke

A4
Contrapunctus 4 (Subject In Contrary Motion)
Bassoon – Knut Sönstevold, Thomas Reinhardt
Cello – Burkhard Schmidt (2)
Double Bass – Rainer Hucke
Flute – Wolfgang Loebner
Oboe – Burkhard Glaetzner
Oboe d'Amore – Axel Schmidt
Viol [Tenor] – Nikolaus Gädeke
Viola – Wolfgang Espig
Violin – Eberhard Palm, Roald Reinecke

A5
Canon Alla Ottava
Organ – Walter Heinz Bernstein

Fugues By Contrary Motion And Stretto Fugues

24:00 : SIDE B

B1
Contrapunctus 5 (Subject In Contrary And In Similar Motion)
Orchestra – Neues Bachisches Collegium Musicum Leipzig

B2
Contrapunctus 6 In Stile Francese (Sunject In Similar And Inverted Motion, Stretto)
Bassoon – Knut Sönstevold, Thomas Reinhardt
English Horn – Axel Schmidt
Flute – Wolfgang Loebner
Oboe – Burkhard Glaetzner

B3
Contrapunctus 7 Per Augmentationem (Subject In Augmentation And Diminution)
Bassoon – Knut Sönstevold
Cello – Burkhard Schmidt (2)
Double Bass – Rainer Hucke
Flute – Heinz Maier, Wolfgang Loebner
Viola – Wolfgang Espig

B4
Canon Per Augmentation In Contrario Motu
Organ – Walter Heinz Bernstein

Fugues With More Than One Subject

41:51 : SIDE C

C1
Contrapunctus 8 (Fugue With Three Subjects)
Bassoon – Knut Sönstevold
Double Bass – Rainer Hucke
Oboe d'Amore – Burkhard Glaetzner
Viola – Wolfgang Espig

C2
Contrapunctus 9 Alla Duodecima (Fuge With Two Subjects, Exchange Of Parts At Twelfth)
Flute – Wolfgang Loebner

C3
Contrapunctus 10 Alla Decima (Fugue With Two Subjects, Exchange Of Parts At Tenth)
Bassoon – Knut Sönstevold
Cello – Burkhard Schmidt (2)
Double Bass – Rainer Hucke
English Horn – Axel Schmidt
Violin – Eberhard Palm

C4
Contrapunctus 11 (Four-part Fugue With Three Subjects
Bassoon – Knut Sönstevold, Thomas Reinhardt
English Horn – Axel Schmidt
Oboe – Burkhard Glaetzner

C5
Canon Alla Decima, Contrapunto Alla Terza
Organ – Walter Heinz Bernstein

Mirror Fugues

1:07:39 : SIDE D

D1
Contrapunctus 12 (Four-part Fugue, Inverted In All Parts) a. Rectus b. Inversus
Harpsichord – Max Pommer, Walter Heinz Bernstein

D2
Contrapunctus 13 (Three-Part Fugue, Inverted In All Parts) a. Rectus b. Inversus
Bassoon – Knut Sönstevold
Cello – Burkhard Schmidt (2)
English Horn – Axel Schmidt
Flute – Wolfgang Loebner
Violin – Eberhard Palm, Roald Reinecke

D3
Contrapunctus 13 "Alio Modo" (In Bach's Arrangement For 2 Harpsichords) a. Rectus b. Inversus
Harpsichord – Max Pommer, Walter Heinz Bernstein

D4
Canon Alla Duodecima In Contrapunto Alla Quinta (Canon At Twelfth And Exchange Of Parts To An Octave Canon)
Organ – Walter Heinz Bernstein

D5
Fuga A Tre Soggetti (Fugue With Three Subjects Unfinished)
Bassoon – Knut Sönstevold, Thomas Reinhardt
Oboe – Burkhard Glaetzner
Oboe d'Amore – Axel Schmidt
Viol [Alto] – Thomas Fritzsch
Viol [Tenor] – Monika Tutschku, Nikolaus Gädeke, Siegfried Pank

Label: Capriccio (2) ‎– C 50 059/1-2
Format: 2 × Vinyl, LP, Stereo
Box Set
Country: Germany
Released: 1984
Genre: Classical

Equipment used:

Turntable : Clearaudio Performance DC
Clearaudio vinyl harmonizer (underlay)
ADC : Benchmark USB 1.0
PC: HP Envy
Capturing program: Samplitude Pro X

Episode of "From my (vinyl) Collection" in which I share with you recordings that blew me away, are emotional to me, or just have a historical meaning. All recordings will have a few minutes introduction to give you a bit of a background. On the recording, on the player, on the context of the time...

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