Abstract
This article disputes the generally accepted view that the unfinished fugue from Bach’s Die Kunst der Fuge can be completed with the theme in its original form. Nor can it represent the final quadruple inversion-fugue described in the Nekrolog. This was, the author believes, at the time the original edition was prepared still fragmentarily extant as the Grund Plan noted on the back of one of the leaves of the unfinished fugue, which was itself a last-minute effort by Bach, undertaken when his sight was briefly restored, to fill the last remaining unengraved plates with a triple fugue of symbolic significance, if not of supreme contrapuntal mastery.
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