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for a child of twelve. The subject of the first fugue is particularly striking, presenting an exposed tritone as its first interval, and then oscillating between F sharp and F natural (Ex.4.10): unfortunately both of these elements disappear with the—perfectly correct—tonal answer): Apart from two rather square episodes and a loose stretto toward the end, entries occur every three bars throughout the fugue with almost maddening consistency. Although certainly open to J. LaRue’s criticism of excessive regularity (pp.230-1 above), the cause is probably less to do with the influence of Classical habits of phrase-rhythm than the fact that it has simply not occurred to Mozart to do anything else with the subject. Fortunately the ‘et vitam venturi’ fugue is less regular in this respect; its five bar distance of imitation would have made such repetition less obvious in any case. It, too, shows unusual tonal features. A double fugue, the two subjects engineer a modulation to the supertonic in the third bar (to the submediant in the answer); repetition of this a tone lower brings it back into the usual tonic/dominant orbit (Ex.4.11): 284
This harmonic combination determines the texture a little more than would normally be the case in most Baroque polyphony; although there is a small amount of free counterpoint, the subject is never very far away. This fugue is integrated with the rest of the Credo by a device as simple as it is effective. After the conventional adagio at ‘mortuorum’, a return to the allegro is announced by a few bars of the ubiquitous bustling orchestral material that accompanied so much of the earlier parts of the movement. Once the fugue begins of course the orchestra plays colla parte until near the end, where a return of this same orchestral material rounds the whole off nicely. 285
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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
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Wilhelm Friedemann (see chapter 1).
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describes it well: ‘The concertan
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with sixteen-part orchestra’ (Car
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would be of interest to a budding c
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wrestling with the problem of integ
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Clearly, Haydn is letting fugal thi
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By contrast, the fugue which closes
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unknown in any other Haydn fugue (a
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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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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 246 and 247: is an almost perfect instrument for
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 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 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
Page 296 and 297: ascending, descending (or both), st
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Page 300 and 301: (apart from particella for wind and
Page 302 and 303: up to Mozart’s standard, the melo
Page 304 and 305: weight than Süssmayr’s say-so. B
Page 306 and 307: crisis [Lebenskrise] from which, in
Page 308 and 309: all, please few with counterpoint a
Page 310 and 311: of much that was excellent’. 3 In
Page 312 and 313: continually surpass his own creativ
Page 314 and 315: This ethical approach to music, so
Page 316 and 317: Like Mozart, Beethoven was a great
Page 318 and 319: There are a few reasonably complete
Page 320 and 321: It is, in part, a question of autho
Page 322 and 323: voice ‘Parthie’, an oboe concer
Page 324 and 325: although it is in a different key;
Page 326 and 327: which had such a similar subject (E
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Page 330 and 331: his early life is there a single re
Page 332 and 333: ‘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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