The fugue is omnipresent in music history. Its secret counterpart is the prelude. While the fugue is ostensibly strictly ordered, the prelude allows more space for the musical material.
What does it sound like when a fugue by Schumann, Chopin, Ferdinand von Preussen or Lyonel Feininger (yes, the painter also composed!) is juxtaposed with a prelude by Bach? What subtle marriages are forged between the master of polyphony and his descendants?
The pianist Yaara Tal and the author Alain Claude Sulzer provide musical-literary insights.