1. “Ueber dieser Fuge, wo der Nahme B A C H im Contrasubject angebracht worden, ist der Verfasser gestorben.” For an illustration of the page, see (for one) Christoph Wolff, “Bach’s Last Fugue: Unfinished?” in Bach: Essays on His Life and Music (Cambridge, Mass., and London: Harvard University Press, 1991), 259. Wolff (261) argues that the page was left unfinished because it had in likelihood been completed elsewhere—in a hypothetical “fragment x” in which Bach would have “worked out, or at least sketched, the combinatorial section of the quadruple fugue in a manuscript that originally belonged together with [the surviving manuscript] but is now lost.” Thanks largely to Wolff’s researches, we now have reason to believe that the Art of Fugue was a work that occupied Bach from as early as 1742; see “The Compositional History of the Art of Fugue,” in Bach: Essays, 265–281. Still, this last fugue is on paper and in a hand that suggested to Wolff that “it is entirely possible that here we are dealing with one of the last documents of Bach’s handwriting” (271).