Abstract
In a 1960 issue of the Saturday Review, Glenn Gould reviewed a book by Professor Erwin Brodky, The Interpretation of Bach’s Keyboard Works. Brodky devoted part of his book to “seriously discussing the supposed intrinsic relations between the fourteen note subject of the Fugue in C Major of the first book of the Well-Tempered Clavier and the fact that the alphabetic arrangement of the letters in Bach’s name add up to a total of 14 and that if we add the initials J.-S., we obtain the inverse ...
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