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published separately over the next two decades. 71 It is remarkable how little stylistic change there is between the first and the last. We have seen how stable a form the English voluntary had become in the middle of the eighteenth century. Early in the nineteenth century a new generation of organists—William Russell (1777-1813), Thomas Adams (1785-1858), and Samuel Wesley himself—expanded the genre considerably. Three or four movements were now common, and they tended to be longer and more elaborate in texture. Pedal parts —absent in the eighteenth century—began to appear with greater frequency. Although actual sonata- or symphony-like movements were rare, the melodic phraseology of these voluntaries was more up to date; and we can find marches, airs, variations, and even (in Russell’s First Set of 1804) a ‘Cornet a la Polacca’ alongside the older movement types. 72 On the other hand, there was a resurgence in the popularity of dotted, French ouverture-like opening movements and a noticeable increase in the quantity of fugal writing. In Wesley’s op.6, for example, eleven out of the twelve contain a substantial, extended fugue, usually as a finale. Wesley’s counterpoint here is not quite as obsessive as in the works discussed above; which is probably a good thing. Although it is seldom very interesting in and of itself, all the fugues in the op.6 voluntaries are worth playing for one reason or another. The subject of the fugue in the first voluntary for example has an extraordinary melodic energy, ascending an octave and a third in the first two bars (Ex.2.22). The climax of the fugue, though hardly elaborate counterpoint, is a fine realisation of the subject’s potential (Ex.2.23). The subject of the fugue in the sixth voluntary is highly original in its implied cross-rhythms (Ex.2.24), and the fugue itself is leavened by recurrences of the attractively proto-Mendelssohnian air that introduced 71 Olleson’s partly conjectural publication dates (Wesley, pp.298-99) are as follows: no.1: 1802, nos.2- 4: 1803, no.5: 1804, no.6: 1805, nos.7-8: 1806, no.9: unknown, no.10: 1814, no.11: 1817 or earlier, no.12: ?1823. 72 The ‘cornet’ was a solo stop, much used in eighteenth-century voluntaries. 164
it. 73 That of the fourth voluntary is based on the ‘Non nobis domine’ attributed to William Byrd (making full use of the possibilities for stretto in its canonic subject), and that of number eight ends with a striking unison passage (Ex.2.25). The subject of number seven’s fugue is trenchant in its chromaticism, but at the same time retains a clear sense of tonic (the moment in b.5 where the sequence is unexpectedly shifted up a sixth is an imaginative touch, too: Ex.2.26). In fact, a table of all the fugal subjects contained in op.6 would show an exceptionally wide variety of strongly characterised themes. It is little wonder that he responded so strongly to the even greater individuality of the WTC fugues he was about to encounter. 73 You can see also in Ex.2.24 something of Wesley’s casual way of building up an exposition; where did the third voice in b.6 come from? 165
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WRESTLING WITH THE GERMAN DEVIL: FI
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ABSTRACT ‘After’ can be taken b
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ACKNOWLEDGEMENTS There are many peo
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INTRODUCTION ‘Every hearer enjoys
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esponse was: ‘the fugue is no lon
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instrumental fugues of Joseph Haydn
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world of their own. The study concl
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facts and the ‘soft technology’
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DEFINING FUGUE But what are they? W
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elow). For how many voices or parts
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indeed a complete counter-expositio
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on two pitches throughout, tonic an
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already become the historicising na
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Catholic tradition, but Albrechtsbe
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the texture as a whole coincides in
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kind experimentalism of Samuel Wesl
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The clearest sign of things to come
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Perhaps a clue can be found in the
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CHAPTER 1 THE CIRCLE OF J. S. BACH
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FINE DISTINCTIONS (1): MISATTRIBUTE
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sounding object, nothing has change
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Mendelssohn, Schumann, Spitta, Wido
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pieces are known from a single copy
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very good; and the ends of both mov
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ever, could have written it?’ 23
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incorrectly prepared suspended four
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has a number of doubtful features.
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einforces them. Its texture is impo
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of thinking over long spans.’ 44
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W. F. Bach and Krebs have always en
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the equitable distribution of his e
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slender volumes, including many pie
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In style (there is no particular th
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and it is the least comfortable bit
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voices inverted, and serve the purp
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each line in a polyphonic texture a
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If its general type is old, however
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thematic material. The subject coul
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Karl Geiringer makes an almost emba
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prolix F minor fugue, the expressiv
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Kittel, and Krebs himself. 76 Inevi
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[that] a keyboard composer can and
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Ex.1.12b shows the start of a fugue
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Egypt) did not prevent him from bei
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The very slow harmonic rhythm, howe
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If not inimitably characteristic, t
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As we saw in the first part of this
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subject is also expansive; it too c
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to expand and elaborate the surface
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The significance of this sort of st
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By the time the halfway point is re
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‘originality’—of historical p
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to follow in his father’s footste
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CHAPTER 2 J. S. BACH IN LONDON: CON
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of the mark. 4 Handel’s influence
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Page 120 and 121: in the Overture to Alcina (1735). A
Page 122 and 123: Root-movement is quite unpredictabl
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Page 126 and 127: Superficially they have much in com
Page 128 and 129: situations; but his influence outla
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Page 132 and 133: ounded too closely by early Methodi
Page 134 and 135: At first the real focus of attentio
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Page 140 and 141: the subject (where again he seems n
Page 142 and 143: in Bath) recommended that Charles
Page 144 and 145: have, to a head-injury sustained in
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Page 148 and 149: The ending is rather curious: he re
Page 150 and 151: hectic week, he could choose betwee
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Page 154 and 155: even have had an informal agreement
Page 156 and 157: Unlike Handel, however, there no tu
Page 158 and 159: Throughout the nineteenth century t
Page 160 and 161: Here, however (especially once the
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Page 168 and 169: Likewise does the fugue subject of
Page 170 and 171: A little more Bach can be seen, per
Page 172 and 173: attitudes were representative, or e
Page 174 and 175: consciously parodying his Methodist
Page 176 and 177: his nature to be exclusive about an
Page 178 and 179: elieve) in German, the compleatly w
Page 180 and 181: no other way one could hear operas,
Page 182 and 183: a stretto treatment (at one minim
Page 184 and 185: have had a rich Treat in chewing th
Page 186 and 187: admirable Musick might be played in
Page 188 and 189: At this point one might have expect
Page 190 and 191: This is soon accompanied by quaver
Page 192 and 193: The C minor entry in b.50 destabili
Page 194 and 195: WESLEY’S LAST YEARS During this p
Page 196 and 197: Wilhelm Friedemann (see chapter 1).
Page 198 and 199: describes it well: ‘The concertan
Page 200 and 201: with sixteen-part orchestra’ (Car
Page 202 and 203: would be of interest to a budding c
Page 204 and 205: wrestling with the problem of integ
Page 206 and 207: Clearly, Haydn is letting fugal thi
Page 208 and 209: By contrast, the fugue which closes
Page 210 and 211: unknown in any other Haydn fugue (a
Page 212 and 213: around b.54, homophonic quaver figu
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very little to it, which is of cour
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When Haydn wrote string quartets, t
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place, socially and musically; and
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of the minuet, both here and in man
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The distinction that Kirkendale dre
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variety of keys as well: not just I
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detail. As far as the tastes of Pri
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constructed in an entirely new mann
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Note the extent to which Haydn’s
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A clear example of this can be seen
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Haydn would write only one more fug
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At any rate, the effect of later ei
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appears not wholly to satisfy Kirke
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Junker and others were neither part
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sentimental’ (c.1814?), Haydn’s
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intensity of the debate? This is ho
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is an almost perfect instrument for
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CHAPTER 4 MOZART, FINISHED AND UNFI
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as such—at times even creating th
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thought and practice until very rec
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sonata movement sets up certain exp
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organ music: from the death of J. S
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(to us) the direct influence of J.
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and back without a sign that anythi
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is not necessarily at variance with
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conclusion is not perfectly in acco
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there can be no doubt that Mozart,
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to enclose your letter to me?’ 35
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The Dean was in a state of great ex
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‘passive’ voices; Ex.4.5 shows
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274
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276
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against itself, augmented and inver
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Andante also found favour, but part
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enewed application to this task. Wh
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for a child of twelve. The subject
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These masses mark the two poles of
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After this exposition the cadential
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is a much less dramatic tale, of ca
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happened, on October 26 1783 at Ben
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the voices. There is a single expos
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ascending, descending (or both), st
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298
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(apart from particella for wind and
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up to Mozart’s standard, the melo
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weight than Süssmayr’s say-so. B
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crisis [Lebenskrise] from which, in
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all, please few with counterpoint a
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of much that was excellent’. 3 In
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continually surpass his own creativ
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This ethical approach to music, so
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Like Mozart, Beethoven was a great
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There are a few reasonably complete
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It is, in part, a question of autho
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voice ‘Parthie’, an oboe concer
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although it is in a different key;
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which had such a similar subject (E
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328
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his early life is there a single re
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‘Metaphorically, Beethoven was al
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On the other hand, whilst there is
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of a sort that has if anything tend
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To thus posit ‘lateness’ about
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historical development; 61 all thes
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These critics were not necessarily
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could anyone have expected that Bee
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hear it more often. Well, once more
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development came the flood of ‘mu
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Sometimes, it is just noise, in the
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At times, so eccentric are his text
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eighteenth century; and however muc
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Carpani; from the time he entered E
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His opp.1bis, 5, and 6, however, (p
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360
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nineteenth century—the style of H
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364
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movement. There is no danger of irr
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time, whereas the glory of many a B
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On the other hand, the tonal range
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It is with some surprise that we he
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A canon at the fourth below, ‘we
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Clementi. In this respect the issue
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turns out to be none other than our
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None of these, in any case, remotel
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traditional form.’ 125 Weber expr
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Arioso into the rest of the movemen
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eturned by b.248. On the other hand
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grise, it nevertheless exerts consi
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century fugal writing more satisfac
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CONCLUSION ‘Like most other disci
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from Fux to Haydn to Bruckner was n
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were written for the organ. 7 While
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prelude/fugue pair. Perhaps rather
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practice is less concerned with the
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Baroque, but did so subtly, without
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periodicity and its fluctuating ton
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eauty with ‘an excess of art.’
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(op.35/1) is a model of textural co
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410
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inhospitable to fugue.’ 30 To the
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W. F. Bach, Fugue in F minor BRA 88
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Exx.2.11-13 S. Wesley, ‘4 Fugues
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Chapter 4 Mozart, finished and unfi
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ed. Joseph Joachim and Andreas Mose
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BIBLIOGRAPHY [anon.] ‘The organ r
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Beethoven, Ludwig van, The letters
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Brown, Clive, ‘Perspectives on Be
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______ Beethoven (Oxford: Oxford Un
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zu Köln 1998, 315-321. ______ and
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Fisk, Josiah, ‘Classical music an
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______ ‘The “Grosse Fuge”: an
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1967). Horowitz, Joseph, ‘Mozart
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______ Fugue and fugato in Rococo a
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und ihrer frühen Rezeption’, Arc
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(1991). MacArdle, Donald W., ‘Bee
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contrappunto sopra il canto fermo (
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Nicolosi, Robert, T. S. Eliot and m
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______ Double counterpoint and cano
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Routh, Francis, Early English organ
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Schwarz, John I. jr, ‘Samuel and
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______ ‘Beethoven’s ninth symph
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Record, 90 (1960), 163-74. ______
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and Baroque’, Church, stage, and
Page 460 and 461:
Winter, Robert S., ‘Of realizatio
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