When the King of Prussia requested Bach's presence for a visit, Bach probably expected to be asked to improvise some complex music on the king's prototype fortepiano.  But did he expect the king to give him such a twisty, chromatic theme?  And, after he played an extemporaneous 3-part fugue successfully, was it then even more unfair for the king to ask for a 6-part fugue immediately following that?  And, most intriguing to us, was it actually Bach's son who convinced the king to spring this "trap" on Bach, as theorized by Arnold Schoenberg?

Today we dive deeper into the Musical Offering, and take a suggestion from listener Darcy, looking at a fairly jazzy few seconds of Bach. 

Playlist of the entire Musical Offering, performed by the Netherlands Bach Society

Or, go straight to the Ricercar a 3.

Ricercar a 6, orchestrated by Anton Webern (as mentioned in this episode), with scrolling score, performed by the LA Philharmonic