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!!!!1750 __ Die Kunst der Fuge BWV 1080 (The Art of Fugue) * Johann Sebastian Bach (1685-1750) * ''Comment :'' « Über dieser Fuge, wo der name B A C H im Contrasubject angebracht worden, ist der Verfasser gestorben » (At the point where the composer introduces the name BACH ^[Ed. : for which the English notation would be Bb-A-C-B^] in the countersubject to this fugue, the composer died). ''^[Ed. : This note in the handwriting of Bach’s son Carl Philipp Emmanuel Bach is written on the Contrapunctus XIV autograph. The use of motif or musical cryptogram (or “gematria”, number-word symbolism) or musical signature or ciphered versions of names in musicians’ compositions corresponds to a cryptogrammatic sequence of musical notes referred to an extra-musical text and logical system (between numbers, note names, and letters : syllables to solmization names, letters to note names, etc.). Composers have dabbled in musical cryptograms for centuries : Josquin des Prez ; Adrian Willaert ; Costanzo Festa ; Johannes Brahms ; Franz Liszt ; Robert Schumann ; Nikolai Rimsky-Korsakov ; Max Reger ; Ferruccio Busoni ; Charles Koechlin ; Camille Saint-Saëns ; Gabriel Fauré ; Arnold Schoenberg ; Anton Webern ; Maurice Ravel ; Florent Schmitt ; Charles Ives ; Francis Poulenc ; Albert Roussel ; Arthur Honegger ; Darius Milhaud ; Hans Eisler ; Olivier Messiaen ; Dmitri Shostakovich ; Edward Elgar ; Elliot Carter ; etc.^]'' * ''Sources :'' {small}J.G. Walther. (1732). ''Musicalisches Lexicon''. Leipzig: W. Deer ; E. Sams. (1980). Cryptography, musical. In Sadie Stanley (Ed.), ‘The New Grove Dictionary of music and musicians’. Vol. 5. p. 80. Macmillan.{/small} {br}{br}
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