Fugue der Liebe (Fugue of Love), 1972

With 1972's Die Sins des Apostles, Friedrich Wohlfäht turned his attention to questions of theism and its relationship with sexual mores, the film's essential premise being that god could only be better known through union with other mortals, whoever they be. To that end he surmised that the existence of the apostles during Christ’s latter days would, necessarily, have assumed a more sexual dynamic culminating in a 'total confluence of souls' by means of mass fornication. Klaus Harmony's inevitable answer to this in musical terms was to be contrapuntal in texture. In a reduced form, Fugue der Liebe amply demonstrates this, showing at the same time his genius for more complex manipulation of musical material.