J. S. BACH Jonathan Berkahn - Victoria University - Victoria ...

of the minuet, both here and in many of his other works. One of the most attractive
uses of this device occurs, however, in the opening Adagio of Trio no.39 in D
(Ex.3.7):
Although it begins with a proper dux/comes pair (rare at any time in Haydn’s music),
Kirkendale does not include it in his list of fugatos; it really is a borderline case, and it
has little in common with the explicitly alla capella material of most of the
fugues/fugatos. Nevertheless, apart from this there are other archaic features, such as
the chiesa walking bass, and the hexachordal theme (in this respect it contrasts
strongly with the resolutely up-to-date symphonic style described above). Composers
had been writing contrapuntal movements on the ascending and descending hexachord
since the time of Sweelink; in Vienna, Froberger had written a particularly famous
example which was published in Kircher’s Musurgia Universalis and copied out
(twice) by Mozart. Part of the charm of Haydn’s movement lies in the fact that,
despite its archaism, the subject happens to outline the contour of a very well known
children’s song. 26 After this ‘exposition’ the counterpoint evaporates and a succession
26 By accident? Mozart was later to write a set of variations on the same theme, and Haydn did include
thematic quotations in other Baryton trios.
220