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

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movement as a minuet writ large) 29 but the same tonal structure becomes something quite different when expanded to sonata dimensions. This is a case where size really does matter. In a sense, the source of this change in significance is the very closeness of the I-V relationship. Even if approached by way of its dominant, it is surprisingly difficult to hear the dominant as a key in its own right—it always threatens to return to its original role, and point the way back to the tonic. In order to establish the dominant securely as a new tonic, an immense amount of reinforcement and overstatement is required. A shift which occurred as a matter of course in small-scale forms is thus dramatised when expanded to sonata proportions—this shift to the dominant is quite simply the most important thing that happens during a sonata exposition, a process that makes sense of every other event. While this same modulation usually does occur in a fugal exposition—several times, perhaps—the essential mechanism of a fugal exposition has nothing to do with modulation at all. Instead, it is all about opening up registral space, defining the mode by successively exposing tonic and dominant pitches (not keys). This is why tonic must be answered with dominant, dominant with tonic, and therefore the reason for the arcane mysteries of the tonal answer. 30 Once this is understood, everything else falls into place—tonality is an entirely secondary consideration. It is quite possible to have a fugal exposition with virtually no modulation at all (Ex.0.1). To be sure, many expositions do fall into the standard nineteenth-century ‘subject in tonic: answer in dominant’ pattern (Ex.0.2), especially where the subject is lengthy or harmonically oriented; but in general it is unwise to assume that the key of 29 Versuch einer Anleitung zur Composition (Leipzig, 1782-93), tr. N. K. Baker as Introductory essay on composition: The mechanical rules of melody, Sections 3 and 4 (New Haven: Yale <strong>University</strong> Press, 1983), p.118 (Pt III: 39). 30 The clearest exposition of this question I have yet found is in Roger Bullivant’s book Fugue (London: Hutchinson, 1971), pp.56-74, which includes a truly virtuosic analysis of the answer to Buxtehude’s ‘Gigue’ Fugue, BuxWV 174. See also P. Walker, ‘Modality, tonality, and theories of fugal answer in the late Renaissance and Baroque’, Church, stage, and studio: music and its contexts in seventeenth-century Germany (Ann Arbor: UMI, 1990), pp.361-388. 28
the texture as a whole coincides in any particularly close way with the I-V interchange of subject and answer (Ex.0.3). So far as I am aware, no theorist has ever specified whether a fugal exposition should end in the tonic or dominant key, simply because the point is immaterial. 29
Page 1 and 2: WRESTLING WITH THE GERMAN DEVIL: FI
Page 3 and 4: ABSTRACT ‘After’ can be taken b
Page 5 and 6: ACKNOWLEDGEMENTS There are many peo
Page 7 and 8: INTRODUCTION ‘Every hearer enjoys
Page 9 and 10: esponse was: ‘the fugue is no lon
Page 11 and 12: instrumental fugues of Joseph Haydn
Page 13 and 14: world of their own. The study concl
Page 15 and 16: facts and the ‘soft technology’
Page 17 and 18: DEFINING FUGUE But what are they? W
Page 19 and 20: elow). For how many voices or parts
Page 21 and 22: indeed a complete counter-expositio
Page 23 and 24: on two pitches throughout, tonic an
Page 25 and 26: already become the historicising na
Page 27: Catholic tradition, but Albrechtsbe
Page 31 and 32: kind experimentalism of Samuel Wesl
Page 33 and 34: The clearest sign of things to come
Page 35 and 36: Perhaps a clue can be found in the
Page 37 and 38: CHAPTER 1 THE CIRCLE OF J. S. BACH
Page 39 and 40: FINE DISTINCTIONS (1): MISATTRIBUTE
Page 41 and 42: sounding object, nothing has change
Page 43 and 44: Mendelssohn, Schumann, Spitta, Wido
Page 45 and 46: pieces are known from a single copy
Page 47 and 48: very good; and the ends of both mov
Page 49 and 50: ever, could have written it?’ 23
Page 51 and 52: incorrectly prepared suspended four
Page 53 and 54: has a number of doubtful features.
Page 55 and 56: einforces them. Its texture is impo
Page 57 and 58: of thinking over long spans.’ 44
Page 59 and 60: W. F. Bach and Krebs have always en
Page 61 and 62: the equitable distribution of his e
Page 63 and 64: slender volumes, including many pie
Page 65 and 66: In style (there is no particular th
Page 67 and 68: and it is the least comfortable bit
Page 69 and 70: voices inverted, and serve the purp
Page 71 and 72: each line in a polyphonic texture a
Page 73 and 74: If its general type is old, however
Page 75 and 76: thematic material. The subject coul
Page 77 and 78: Karl Geiringer makes an almost emba
Page 79 and 80:
prolix F minor fugue, the expressiv
Page 81 and 82:
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
Page 92 and 93:
The very slow harmonic rhythm, howe
Page 94 and 95:
If not inimitably characteristic, t
Page 96 and 97:
As we saw in the first part of this
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subject is also expansive; it too c
Page 100 and 101:
to expand and elaborate the surface
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The significance of this sort of st
Page 104 and 105:
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
Page 122 and 123:
Root-movement is quite unpredictabl
Page 124 and 125:
124
Page 126 and 127:
Superficially they have much in com
Page 128 and 129:
situations; but his influence outla
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130
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ounded too closely by early Methodi
Page 134 and 135:
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
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
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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
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
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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
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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
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
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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
Page 216 and 217:
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.
Page 260 and 261:
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
Page 272 and 273:
‘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
Page 286 and 287:
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
Page 298 and 299:
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
Page 310 and 311:
of much that was excellent’. 3 In
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continually surpass his own creativ
Page 314 and 315:
This ethical approach to music, so
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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
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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
Page 424 and 425:
Beethoven, Ludwig van, The letters
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Brown, Clive, ‘Perspectives on Be
Page 428 and 429:
______ Beethoven (Oxford: Oxford Un
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zu Köln 1998, 315-321. ______ and
Page 432 and 433:
Fisk, Josiah, ‘Classical music an
Page 434 and 435:
______ ‘The “Grosse Fuge”: an
Page 436 and 437:
1967). Horowitz, Joseph, ‘Mozart
Page 438 and 439:
______ 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
Page 452 and 453:
Schwarz, John I. jr, ‘Samuel and
Page 454 and 455:
______ ‘Beethoven’s ninth symph
Page 456 and 457:
Record, 90 (1960), 163-74. ______
Page 458 and 459:
and Baroque’, Church, stage, and
Page 460 and 461:
Winter, Robert S., ‘Of realizatio
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