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

the way of repair, and so Albrechtsberger’s advice mostly suggested refinements of
style. It is not hard to see reasons for his alterations. Some concerned fugal technique
specifically: the avoidance of non-thematic entries, for example, or entries a seventh or
ninth from the note last quitted, and the enrichment of Beethoven’s stretti. There are
broader principles, however, to be inferred. In general, Albrechtsberger’s emendations
could be said to result in greater consistency of melodic and harmonic rhythm, and a
more efficient development of the fugue’s motivic ideas—bringing Beethoven’s
already competent exercise still further into line with Baroque norms.
As was the case with Sechter’s completion of Mozart’s fugue in G minor
K.154/385k (pp.277-8 above), Albrechtsberger’s alterations are demonstrably superior
to Beethoven’s original, in the sense that they fulfil the conventions of eighteenth-
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