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

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Beethoven, Ludwig van, The letters of Beethoven, tr. and ed. Emily Anderson, 3 vols. (London: Macmillan, 1961). Benary, Peter, ‘Zur musikalischen Satztechnik in Theorie und Praxis um 1750’, Jahrbuch des Staatlichen Instituts für Musikforschung Preußischer Kulturbesitz 1994, 71-85. Benjamin, William, ‘Pitch-class dogmas’, post on SMT-talk, http://societymusictheory.org/pipermail/smt-talk/2005-August/002612.html (accessed 28 October 2006). Bent, Ian, ed., Music analysis in the nineteenth century, 2 vols. (Cambridge: Cambridge University Press, 1994). Berardi, Angelo, Documenti armonici (Bologna, 1687). Berlioz, Hector, The memoirs of Hector Berlioz, tr. David Cairns (London: Cardinal, 1990). Berne, Eric, What do you say after you say hello? (New York: Grove Press, 1972). Beyer, Franz, ‘Mozarts Komposition zum Requiem. Zur Frage der Erganzung’, Acta Mozartiana 18/2 (1971), 27-33. Biba, Otto, ‘Adolph Friedrich Hesse und Wien’, Organa Austriaca 2 (1979), 37-62. Billeter, Bernhard, ‘Bachs Toccata und Fuge d-moll für Orgel BWV 565: ein Cembalowerk?’, Die Musikforschung 50/1 (Jan-Mar 1997) 77-80. Bitter, Carl Hermann, Carl Philipp Emanuel und Wilhelm Friedemann Bach und deren Brüder (Berlin: Müller, 1868). Blom, Eric, ‘The minor composers’, Music & Letters 8/3 (July 1927), 306-16. ______ Mozart (London: Dent, 1935). Bloom, Harold, The anxiety of influence; a theory of poetry (New York: Oxford University Press, 1973). Blume, Friedrich, Two centuries of Bach: an account of changing taste, tr. S. Godman (London: Oxford University Press, 1950). 424
______ ‘Requiem but no peace’, tr. Nathan Broder, Musical Quarterly 47/2 (April 1961), 147-169. ______ ‘Outlines of a new picture of Bach’, tr. S. Godman, Music & Letters, 44/3 (Jul 1963), 214-227. ______ ‘Bach in the Romantic era’, tr. Piero Weiss, Musical Quarterly 50/3 (July 1964), 290-306. ______ with Finscher, Ludwig, et al, Protestant church music; a history (New York: Norton, 1975). Bonds, Mark Evan, ‘Haydn’s “Cours complet de la composition” and the Sturm und Drang’, Haydn Studies 1998, 152-76. ______ Music as thought: listening to the symphony in the age of Beethoven (Princeton: Princeton University Press, 2006). Braun, Werner, ‘Wilhelm Friedemann Bach und Johann Philipp Kirnberger: Zur Berliner Bach-Tradition’, Barockmusik in Berlin: Sophie Charlotte und ihre Favoriten (Berlin: VDMK, Landesverband Berlin, 1987). Braunbehrens, Volkmar, Mozart in Vienna, 1781-1791, tr. T. Bell, (New York: Grove Weidenfeld, 1990). ______ ‘Väterlicher Freund, “gehorsamster Sohn”. Leopold und Wolfgang A. Mozart’, Väter und Söhne: Zwölf biographische Porträts (Berlin: Rowohlt, 1996), pp.7-39; pre-publication text at http://www.aproposmozart.com/Braunbehrens% 20-%20Fatherly%20Friend.pdf (accessed 7 December 2006). Brosche, Günter, ed., Requiem, Wolfgang Amadeus Mozart 1791-1991: Ausstellung der Musiksammlung der Österreichischen Nationalbibliothek, Prunksaal, Wien 1, Josefsplatz 1, 17. Mai bis 5. Dezember 1991: Katalog (Graz, Austria: Akademische Druck- und Verlagsanstalt, 1991). Brown, A. Peter, Joseph Haydn’s keyboard music: sources and style (Bloomington: Indiana University Press, 1986). 425
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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,
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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
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This ethical approach to music, so
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Like Mozart, Beethoven was a great
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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
Page 374 and 375: A canon at the fourth below, ‘we
Page 376 and 377: Clementi. In this respect the issue
Page 378 and 379: turns out to be none other than our
Page 380 and 381: None of these, in any case, remotel
Page 382 and 383: traditional form.’ 125 Weber expr
Page 384 and 385: Arioso into the rest of the movemen
Page 386 and 387: eturned by b.248. On the other hand
Page 388 and 389: grise, it nevertheless exerts consi
Page 390 and 391: century fugal writing more satisfac
Page 392 and 393: CONCLUSION ‘Like most other disci
Page 394 and 395: from Fux to Haydn to Bruckner was n
Page 396 and 397: were written for the organ. 7 While
Page 398 and 399: prelude/fugue pair. Perhaps rather
Page 400 and 401: practice is less concerned with the
Page 402 and 403: Baroque, but did so subtly, without
Page 404 and 405: periodicity and its fluctuating ton
Page 406 and 407: eauty with ‘an excess of art.’
Page 408 and 409: (op.35/1) is a model of textural co
Page 410 and 411: 410
Page 412 and 413: inhospitable to fugue.’ 30 To the
Page 414 and 415: W. F. Bach, Fugue in F minor BRA 88
Page 416 and 417: Exx.2.11-13 S. Wesley, ‘4 Fugues
Page 418 and 419: Chapter 4 Mozart, finished and unfi
Page 420 and 421: ed. Joseph Joachim and Andreas Mose
Page 422 and 423: BIBLIOGRAPHY [anon.] ‘The organ r
Page 426 and 427: Brown, Clive, ‘Perspectives on Be
Page 428 and 429: ______ Beethoven (Oxford: Oxford Un
Page 430 and 431: 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
Page 440 and 441: und ihrer frühen Rezeption’, Arc
Page 442 and 443: (1991). MacArdle, Donald W., ‘Bee
Page 444 and 445: contrappunto sopra il canto fermo (
Page 446 and 447: Nicolosi, Robert, T. S. Eliot and m
Page 448 and 449: ______ Double counterpoint and cano
Page 450 and 451: 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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