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

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up to Mozart’s standard, the melodic content is not far off at all. 71 Most intriguing—disturbing, even—is the situation of the Lacrymosa. Mozart was able to draft eight bars before he died: they may have been the last bars he wrote. Süssmayr completed the remaining twenty two. And it is, I think, very difficult to tell the difference. One might compare Sechter’s completion of the fugues K.153/375f and 154/385k (discussed pp.277-8), where the joins are equally hard to detect and where the completion is at least comparable to the torso. But there Mozart was working at fairly low creative pressure, within a restricted style, at which Sechter was arguably more competent than Mozart (at that stage in his career at least). The Lacrymosa on the other hand is an intensely expressive movement, showing a high degree of melodic inspiration and harmonic imagination—neither of which flag in any detectable manner after the point at which Süssmayr, otherwise a nonentity as far as musical history is concerned, took up the pen. This ability to mimic Mozart’s style (just as he was, it seems, able to mimic his handwriting) is almost uncanny. Did he step into Mozart’s shoes in other respects as well? One is reminded of a scurrilous rumour—almost certainly baseless—that Süssmayr was the real father of Franz Xaver Wolfgang Mozart fils (1791-1844). Probably not, but there is no doubt that he was, to an extent, the father of Mozart’s Requiem. One explanation, advanced by Constanze among others, is that Süssmayr had the advantage of personal instructions from Mozart, or even fragmentary sketches— now lost—from which to work. There is however one important respect in which he 71 Süssmayr’s contribution to the Requiem is discussed (and generally damned) in F. Beyer, ‘Mozarts Komposition zum Requiem. Zur Frage der Erganzung’ Acta Mozartiana 18/2 (1971), 27-33; R. Maunder, Mozart’s Requiem: on preparing a new edition (Oxford: Clarendon Press, 1988); P. Moseley, ‘Mozart’s Requiem: a revaluation of the evidence’, Journal of the Royal Musical Association 114/2 (1989), 203-37. R. Levin ‘Zu den von Süßmayr komponierten Sätzen des Requiems KV 626’, Mozart-Jahrbuch 1991, 475-493; R. Fuhrmann, ‘War Franz Xaver Süßmayr Mozarts Schüler und Assistent?’ Kongreßbericht zum VII. Internationalen Gewandhaus- Symposium: Wolfgang Amadeus Mozart-Forschung und Praxis im Dienst von Leben, Werk, Interpretation und Rezeption anläßlich der Gewandhaus-Festtage in Leipzig vom 3. bis 6. Oktober 1991 (Leipzig: Peters, 1993); and W. Gloede, ‘Süssmayrs Requiem-Ergänzungen und das Wort-Ton- Problem’, Mozart-Jahrbuch 1999, 81-103. 302
may have disregarded Mozart’s explicit intentions, and it concerns precisely this movement. In 1960 Wolfgang Plath discovered just such a group of sketches for the Requiem, which included seven bars of a hitherto unknown ‘Amen’ fugue in D minor, presumably intended to conclude the Lacrymosa (Ex.4.16): How tastes have changed! In 1825 Gottfried Weber was so critical of the Requiem’s fugal movements that he doubted their very authenticity. Today, we are so enthusiastic about them that we feel the need to fabricate yet more: seventy-nine bars of eminently professional counterpoint and orchestration in Richard Maunder’s completion; eighty-eight in Robert Levin’s. All in the name of obedience to the unquestionable authority of the composer’s intention. Yet is the situation really so clear? To be sure, hard textual evidence—dots on paper—will always bear more 303
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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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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
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.
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Page 262 and 263: is not necessarily at variance with
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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 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
Page 296 and 297: ascending, descending (or both), st
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Page 300 and 301: (apart from particella for wind and
Page 304 and 305: weight than Süssmayr’s say-so. B
Page 306 and 307: crisis [Lebenskrise] from which, in
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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
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Page 320 and 321: It is, in part, a question of autho
Page 322 and 323: voice ‘Parthie’, an oboe concer
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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
Page 334 and 335: On the other hand, whilst there is
Page 336 and 337: of a sort that has if anything tend
Page 338 and 339: To thus posit ‘lateness’ about
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Page 342 and 343: These critics were not necessarily
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Page 346 and 347: hear it more often. Well, once more
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Page 350 and 351: 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
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Winter, Robert S., ‘Of realizatio
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