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There are a few reasonably complete entries, but for the most part the subject is dissolved in a vaguely contrapuntal motivic ‘soup’. This counterpoint pays little attention to any supposed integrity of the voices, and is occasionally (bb.6, 14) simply ungrammatical. It would seem that Beethoven is here seeking to emulate something of the sound of J. S. Bach’s fugal writing without having yet grasped its basic structural principles. One might compare it to some of Samuel Wesley’s early attempts at fugal writing (see pp.136-40). As he was well aware, he could not teach himself counterpoint and fugue—if he received ‘the spirit of Mozart from the hands of Haydn’, he received the technique of Bach from the hands of Albrechtsberger. The extreme conservatism at certain levels of Viennese musical culture meant that Vienna (in particular Viennese organists) had become an important centre for Bach-reception. 25 Albrechtsberger’s pedagogical methods may have been based upon those of Fux, but he was equally 25 See Y. Tomita, ‘Bach reception in pre-Classical Vienna: Baron von Swieten’s circle edits the “Welltempered Clavier II”’ Music & Letters 81/3 (Aug 2000), 364-391; Y. Kobayashi, ‘Frühe Bach- Quellen im altösterreichischen Raum’, Johann Sebastian Bach: Beiträge zur Wirkungsgeschichte (Vienna: Verband der Wissenschaftlichen Gesellschaften Österreichs, 1992), 35-46; L. Finscher, ‘Bach and the Viennese classics’, Miscellanea musicologica 10 (1979), 47-58; E. Badura-Skoda, ‘“Clavier”-Musik Die in Wien zwischen 1750 und 1770’, Studien zur Musikwissenschaft 35 (1984) 65-88; and O. Biba, ‘Adolph Friedrich Hesse und Wien’, Organa Austriaca 2 (1979), 37-62. 318
familiar with Marpurg and well versed in Bach’s style. Much has been written about the ‘difficulty’ Beethoven had writing smooth counterpoint and the roughness of his harmony: Beethoven also mystified his passages by a new treatment of the resolution of discords, which can only be described in words by the term, ‘resolution by ellipsis’, or the omission of the chord upon which the discordant notes should descend. ...Many of his passages also appear confused and unintelligible, by a singular freedom in the use of diatonic discords or discords of transition; many instances appear of passages by contrary motion, each carrying their harmonies with them. In the obstinate manner in which he drives one passage through and against another, he has no equal, except Sebastian Bach and our own illustrious countryman Samuel Wesley. 26 This judgement shows considerable critical insight. One of the ways in which the music of J. S. Bach is most clearly distinguishable from that of his contemporaries is the extraordinary freedom with which he handles his diatonic voice-leading—a freedom that had its effect upon Wesley too. There is also no doubt that Beethoven’s treatment of dissonance—the matter of keeping a suspension, say, out of the way of its resolution—often shows less finesse and attention to detail than we normally find in Haydn and Mozart. Partly this was a development which can be seen in early nineteenth-century music as a whole (in Weber and Rossini as well, for example) partly it is a consequence of Beethoven’s own stubbornness, his determination to bend the voices to his will. The line between an original turn of phrase and an ungrammatical solecism is not always a clear one—questions of musical grammar, like those of verbal grammar, can be complex and negotiable. As with any attempt to convince us of a doubtful proposition, much depends upon force of utterance and strength of personality. 26 Musical World, March 1836, as quoted in An anthology of musical criticism from the 15 th to the 20 th century, ed. N. Demuth (London: Eyre and Spottiswoode, 1947), pp. 156-57. Samuel Wesley (who was still alive at the time) would no doubt have been flattered by this comparison to his idol. 319
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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
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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.
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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,
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
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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
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
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
Page 340 and 341: historical development; 61 all thes
Page 342 and 343: These critics were not necessarily
Page 344 and 345: could anyone have expected that Bee
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
Page 352 and 353: At times, so eccentric are his text
Page 354 and 355: eighteenth century; and however muc
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Page 358 and 359: His opp.1bis, 5, and 6, however, (p
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Page 362 and 363: nineteenth century—the style of H
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Page 366 and 367: 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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