Bach/Hindemith & Bach/Shostakovich
There is no twenthieth century composer who has not been influenced by Bach. However only few composers left such monumental homages to the grand master of counter point as Paul Hindemith and Dmitri Shostakovich did. The latter followed the example of Bach’s Well Tempered Clavier, writing a continued series of Preludes and Fugues in all keys, in the shadow of the pressure of the communist party. Hindemith, having fled from Germany to America to escape the threat of Nazism, composed a similar series of works: Ludus Tonalis.
Where Shostakovich stays close to Bach though, and in terms of configuration only deviates with regards to the order in which the keys appear (according to the circle of fifths instead of a chromatic order), Hindemith chooses a cyclical form. The playful Ludus Tonalis goes through all keys according to a self-designed tonal system, whereby Interludia provide desired tonal transitions between the twelve fugues (Hindemith makes no distinction between major and minor). The opening movement Preludium is the counter image of the closing part Postludium; as if you would put the score upside down and play the whole work again.

Johann Sebastian Bach - The Well Tempered Clavier (parts)
Paul Hindemith - Ludus Tonalis (parts)
Dmitri Shostakovich - Preludes & Fugues Op. 87