Die Kunst einer Fuge. Ten interpretations of the first contrapunto of Bach's The Art of Fugue. Ten interpretations, dedicated to ten different composers, baptized with the names of one of their compositions.
 To what extent can this interpretation be read as a deconstructive strategy? On the basis of conventional analyses, it could be posited that the voice exposing the subject is the dominant voice; the subject's role determines the frame, the departing point in the analyses. The other two or three voices are subordinate to the subject's voice at that moment. When the subject is not heard, the voices that relate in a canonic way amongst each other are in a privileged position with respect to the other voice. Hence, a series of hierarchical oppositions come into place where one voice takes up a superior position with respect to the other. In a sense, this hierarchy is necessary in order for the text to secure its thematic unity. However, this is precisely what deconstruction reacts against. 'To deconstruct the opposition is first of all to overturn the hierarchy', says Derrida (Positions, p.41). This is exactly what happens in Zacher's third interpretation. He reverses the hierarchy in 'Alt-Rhapsodie', where the central is put in opposition to the marginal, the essential to the supplementary. 'Why favor the alto voice in this way? - Because it was so underprivileged'. In revaluing the alto, he calls into question the dominance of (one of) the other voices. The supplementary, faint, undeveloped voice acquires a positive appearance in 'Alt-Rhapsodie', free and lively. 'It is the ferment which keeps the whole Fugue alive'. The opposition does remain intact, but the attention shifts from the previously dominant voice to the previously subordinate voice. However, the reversal of the hierarchy, the attention to the dominated voice, does not simply bring about a new hierarchical relation; rather, it leads to a subversion of the distinction between the essential and the subordinate. After all, what would the central be if the marginal were capable of becoming the central? In conjunction with its reversal, the hierarchy is subverted and dislocated.
 The explanatory notes on the third interpretation begin as follows: 'Here, for the first time, the interpretation could be described as a misuse of the Fugue'. Misuse. The derivative, the debased version of the term 'use'. The idea of misuse implies the possibility of a proper use. Misuse is an accident that sometimes befalls use. By activating the very term, misuse, Zacher confines himself to a widespread hierarchical opposition, namely the distinction between readings and misreadings. This understanding inevitably rests on a certain notion of identity and difference. It assumes that correct readings preserve, reproduce or maintain the identity of a text, while misreadings distort it; they produce or introduce a difference. However, when we apply this general idea to music and to 'Alt-Rhapsodie' in particular, the question remains as to what would be a 'correct reading'. First of all, it is difficult to determine what the musical text actually comprises. The score? If so, when would the identity of the musical text be maintained? At the first reading ever? By the reading that Bach advocates? In neither case can Zacher say that his third interpretation misuses the fugue for the first time. Is the identity of a musical text maintained when the right notes are played? Zacher does not play any 'wrong' notes in this version either. When it is played on the right instrument? In that case, the previous two interpretations ('Quatuor', dedicated to Bach, and 'Crescendo', dedicated to Schumann) are already misuses, as well. Or, would Zacher perhaps indicate that this third version is the first one that is really far removed from the conventional interpretations? That 'Alt-Rhapsodie' significantly deviates from the existing conventions? But is it really a matter of misuse? Did the conventional performances, in fact, maintain the identity of the text? Each performance differs from all others to some extent; apparently, however, there can be only one 'correct' performance (or none at all: perhaps, every performance of a score is a misuse by definition because it transforms the identity of the score). Are then all performances, except that one (which one?), misuses?
 A misuse of the Fugue. One must assume that Zacher refers to conventions in the performance praxis of 'Contrapunctus I'. These conventions depend upon socio-institutional conditions, i.e., non-natural power relations that can be analyzed, transformed, deconstructed. Zacher disrupts a certain consensus by showing the possibilities of a differential play in the reading of a text. Only when seen from the power basis of conventional structures can the 'Alt-Rhapsodie' be regarded a 'misuse'. Zacher's comment is evidence of the force and function of these conventions. However, the fact that misuses are possible, is also evidence that the context is neither absolutely solid, nor entirely closed. It contains a margin of play, of difference, of openings. 'Alt-Rhapsodie' prompts one to consider the processes of legitimization, validation, and authorization that produce differences among readings, differences that enable certain readings to expose other readings as misreadings. In general, inversions of hierarchical oppositions expose to debate the institutional arrangements that rely on hierarchies and thus open possibilities of change (cf. Culler, p.179). A rhapsodie. A work having no fixed form.