I got to know the Kunst der Fuge
in performances by Gould (incomplete) on LP,and on CD Pommer conducting Neues Bachisches Collegium Musicum Leipzig in his version, Moroney on harpsichord, and Scherchen (Westminster/Millennium) conducting his own very varied instrumental version, which I often play for pleasure; I haven't heard the earlier recording of the Vuataz instrumentation mentioned above. I was bored by the Keller quartet version somebody presented us with.There is a pretty exhaustive discography here -http://www.bach-cantatas.com/NVD/BWV1080-Rec1.htm
Does anyone know the "Renaissance" version (viols etc) by Savall? or the Zender-led Stiedry version? This and the Musikalisches Opfer
are my favourite Bach works, perhaps also because I love encountering these two works anew in different forms, though I think it is a good idea to return to a relatively unvarnished presentation at times e.g.. the Moroney (of the KdF) - I'm probably not going to buy any more interpretations to weigh down the groaning shelves, though if I find interesting versions online I might download them. I find it odd that the first recording of the work was of the string quartet version in 1934. As far as the putative unity of the work is concerned, what is the best order of the fugues and canons? I have read that Bach probably did complete the quadruple fugue after all - but it strikes me as strange that his sons didn't know about it. Anybody have something to say about this? I would also be interested to hear what any of you might have to say about Busoni's meditation on and partial incorporation of the KdF in his Fantasia Contrappuntistica
(not to mention Sorabji's response to that in his Opus Clavicembalisticum...