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J. S. Bach: ‘As a keyboard composer Telemann, with the cosmopolitan seaport of Hamburg as his platform, addressed a far wider audience than did Bach at Leipzig, whose keyboard music found its greatest application as teaching material for nascent professional musicians. Telemann’s music, by contrast, appeals to the amateur musician who plays for himself, and is intended to give him pleasure.’ 35 Although Bach did use some of Telemann’s keyboard music in the teaching of his own sons, this is probably true enough. ‘A singular mixture of homophonic and polyphonic elements, such as Bach only employed in toccata-style works in order to generate tension, mirrored the musical mentality of a new kind of audience which preferred to be entertained by quick changes of mood rather than edified by learned discourse.’ 36 In actual fact the galant flavour of these fugues is distinctly muted. All are in four, strictly maintained voices. The subjects are varied in length and character, but well within the mainstream of early eighteenth-century fugal norms. To be sure, the part- writing is less dense and involved than would be usual for J. S. Bach, and some passages are indeed transparently homophonic (Ex.0.4)—but these are merely consequences of a deeper cause. 35 R. Petzoldt, Georg Philipp Telemann, tr. H. Fitzpatrick (London: Benn, 1974), p.94. 36 Ibid., p.95. 32
The clearest sign of things to come is the schematic way in which Telemann seems to have approached the composition of these fugues. Each subject, whether accompanied at the outset or not, is part of a three- or four-voice matrix which returns in different keys throughout, with the parts inverted but otherwise unchanged. This procedure is not an infinite distance from Bach’s practice in the two-thirds or so of the WTC that have regular countersubjects; but Bach is always ready to reinvent his ‘Neben-harmonien’ (Marpurg) in a way that Telemann seldom does. Telemann is even further from the common seventeenth-century practice of doing without a countersubject at all and letting the counterpoint evolve freely from entry to entry. Although in the XX Fugen there is no polarisation between ‘melody’ and ‘accompaniment’, one gets the impression that Telemann tended to think of his subject 33
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 and 28: Catholic tradition, but Albrechtsbe
Page 29 and 30: the texture as a whole coincides in
Page 31: kind experimentalism of Samuel Wesl
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
Page 83 and 84:
[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
Page 94 and 95:
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
Page 100 and 101:
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
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
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his nature to be exclusive about an
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elieve) in German, the compleatly w
Page 180 and 181:
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
Page 230 and 231:
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,
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to enclose your letter to me?’ 35
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The Dean was in a state of great ex
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‘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
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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
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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
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
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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
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. ______
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and Baroque’, Church, stage, and
Page 460 and 461:
Winter, Robert S., ‘Of realizatio
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