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is an almost perfect instrument for exploiting the resources of that language.’ 56 Rosen has a very ‘strong’ conception of the nature and limitations of a given musical language; for him the Classical style was not infinitely flexible, infinitely capacious; it ‘exacted a price for each expansion of the language.’ 57 Arguing vehemently against precisely this approach is James Webster’s book Haydn’s ‘Farewell’ symphony and idea of Classical style: through-composition and cyclic integration in his instrumental music. 58 The book is built around a deep and thorough analysis of the ‘Farewell’ symphony intended to support his contention that ‘there has never been a more stunning triumph of long-range musical planning’; in other words, he is prepared to accept it as ‘great work’ without qualification, without Rosen’s relativising category as a ‘transitional’ work. 59 According to Webster, ‘all of Haydn’s music, including that from his earliest years, is masterly, and completely adequate to its purposes both generically and aesthetically’. 60 For Rosen there was a point, in the early 1780s, when Haydn’s musical style began to cohere in a new and extraordinarily powerful way; a cohesion and power that alone merits the designation ‘Classical’. 61 For Webster, questions of chronology are quite distinct from questions of musical value; Haydn wrote exciting and challenging music throughout his career. To be sure, his style certainly evolved and changed, but there was no magical point de perfection at which it was raised to the nth power. It is clear that Rosen’s enjoyment of Haydn’s earlier works is inhibited by what he sees as their provisional nature. Is there, correspondingly, something that Rosen can hear in 56 Ibid., p.147. 57 Ibid., p.350. 58 Cambridge: Cambridge <strong>University</strong> Press, 1991. 59 Rosen had indeed criticised elements of this particular symphony when outlining the limitations he saw in Haydn’s ‘Sturm und Drang’ style: Classical style, p.147. Nevertheless his response to Webster (‘Music à la mode’, New York Review of Books 41/12 (1994), 55) is exceptionally generous and irenic, qualities not always conspicuous in Webster’s writing. 60 Webster, Farewell symphony, p.10. 61 While his book Sonata forms is impressively eclectic, drawing especially upon Italian operatic models that are still not well enough known, he confines his discussion of The Classical style almost exclusively to Haydn, Mozart, and Beethoven, genuinely regarding them as its only authentic representatives. 246
the later works that Webster is missing? It is difficult to imagine how such a question might be decided on an empirical basis. In either case it is impossible to ignore the significance of the op.20 and op.50 fugues. Either they represent the terminus of one particular line of Haydn’s development, testifying to the impressive breadth of his style (and standing with the best of any instrumental fugues of the period); or they represent a crucial milestone in the growth of Haydn’s style. 247
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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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that would perpetuate his oratorios
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—also remained strongly Handelian
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118
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in the Overture to Alcina (1735). A
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Root-movement is quite unpredictabl
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124
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Superficially they have much in com
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situations; but his influence outla
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130
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ounded too closely by early Methodi
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At first the real focus of attentio
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surprisingly grammatical, confirmin
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138
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the subject (where again he seems n
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in Bath) recommended that Charles
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have, to a head-injury sustained in
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146
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The ending is rather curious: he re
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hectic week, he could choose betwee
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152
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even have had an informal agreement
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Unlike Handel, however, there no tu
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Throughout the nineteenth century t
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Here, however (especially once the
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162
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published separately over the next
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166
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Likewise does the fugue subject of
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A little more Bach can be seen, per
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attitudes were representative, or e
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consciously parodying his Methodist
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his nature to be exclusive about an
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elieve) in German, the compleatly w
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no other way one could hear operas,
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a stretto treatment (at one minim
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have had a rich Treat in chewing th
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admirable Musick might be played in
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At this point one might have expect
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This is soon accompanied by quaver
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The C minor entry in b.50 destabili
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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
Page 214 and 215: very little to it, which is of cour
Page 216 and 217: When Haydn wrote string quartets, t
Page 218 and 219: place, socially and musically; and
Page 220 and 221: of the minuet, both here and in man
Page 222 and 223: The distinction that Kirkendale dre
Page 224 and 225: variety of keys as well: not just I
Page 226 and 227: detail. As far as the tastes of Pri
Page 228 and 229: constructed in an entirely new mann
Page 230 and 231: Note the extent to which Haydn’s
Page 232 and 233: A clear example of this can be seen
Page 234 and 235: Haydn would write only one more fug
Page 236 and 237: At any rate, the effect of later ei
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Page 240 and 241: Junker and others were neither part
Page 242 and 243: sentimental’ (c.1814?), Haydn’s
Page 244 and 245: intensity of the debate? This is ho
Page 248 and 249: CHAPTER 4 MOZART, FINISHED AND UNFI
Page 250 and 251: as such—at times even creating th
Page 252 and 253: thought and practice until very rec
Page 254 and 255: sonata movement sets up certain exp
Page 256 and 257: organ music: from the death of J. S
Page 258 and 259: (to us) the direct influence of J.
Page 260 and 261: and back without a sign that anythi
Page 262 and 263: is not necessarily at variance with
Page 264 and 265: conclusion is not perfectly in acco
Page 266 and 267: there can be no doubt that Mozart,
Page 268 and 269: to enclose your letter to me?’ 35
Page 270 and 271: The Dean was in a state of great ex
Page 272 and 273: ‘passive’ voices; Ex.4.5 shows
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Page 276 and 277: 276
Page 278 and 279: against itself, augmented and inver
Page 280 and 281: Andante also found favour, but part
Page 282 and 283: enewed application to this task. Wh
Page 284 and 285: for a child of twelve. The subject
Page 286 and 287: These masses mark the two poles of
Page 288 and 289: After this exposition the cadential
Page 290 and 291: is a much less dramatic tale, of ca
Page 292 and 293: happened, on October 26 1783 at Ben
Page 294 and 295: 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
Page 448 and 449:
______ 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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