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______ ‘The “Grosse Fuge”: an analysis’, Music & Letters, 12/3 (July 1931), 253-261. Griffiths, Paul, The string quartet (New York: Thames and Hudson, 1983). Griffiths, Vernon, An experiment in school music making (Christchurch/London: Whitcombe and Tombs/Cambridge University Press, 1941). Grossman, E. Lary, ‘Fugal procedures in the symphonies of Joseph Haydn’, PhD diss., Northwestern University (1993). Gruber, Gernot, ‘Franz Liszts letzte Symphonische Dichtung “Von der Wiege bis zum Grabe”’, Bruckner, Liszt, Mahler und die Moderne: Im Rahmen des Internationalen Brucknerfestes Linz 1986, 73-78. ______ ‘Mozarts “Bachbild” und die Ausdrucksvielfalt seiner Musik’, Wege zu Bach: Fünf Aufsätze (Wiesbaden: Breitkopf & Härtel, 1992), pp.20-25. Gürsching, Albrecht, ‘Johann Sebastian Bach: 1747-1826—Anmerkungen zu Zeit, Stilwandel, Kompositionstechnik und Wirkung’, Musica 50/1 (Jan-Feb 1996), 9- 19. Harman, Alec; Milner, Anthony; and Mellers, Wilfrid, Man and his music (London: Barrie and Rockliff, 1962). Harrison, Sidney, The artless musician (London: Pelham, 1964). Hart, Kenneth, ‘Samuel Wesley’s Reminiscences’, http://www2.smu.edu/theology/faculty/hart/ken_hart.htm. Hartmann, Gunter, ‘Mozarts “Platz zwischen Handl und Bach”’, Österreichische Musikzeitschrift 48/1 (Jan 1993) 27-35. Hauptmann, Moritz, Erläuterungen zu Johann Sebastian Bach’s ‘Kunst der Fuge’ (Leipzig, 1841). Havlice, Dana Marie, ‘The musical style of Mozart’s fugues for keyboard’, MA diss., California State University, Fullerton (1982). Heartz, Daniel, Haydn, Mozart, and the Viennese School 1740-1780 (New York, Norton, 1995). 434
______ Music in European capitals: the galant style, 1720-1780 (New York: Norton, 2003). Heinemann, Michael, ‘“Altes” und “Neues” in Beethovens “Eroica”-Variationen op.35’, Archiv für Musikwissenschaft 49/1 (1992), 38-45. ______ and Hinrichsen, Hans-Joachim, eds., Johann Sebastian Bach und die Nachwelt: I 1750-1850 (Laaber: Laaber-Verlag, 1997). Hennenberg, Fritz, Das Kantatenschaffen von Gottfried Heinrich Stölzel (Leipzig: V.E.B. Deutscher Verlag für Musik, 1976). ______ ‘“...ein Bach durchaus ebenbürtiger Instrumentalkomponist”? Zum 300. Geburtstag von Gottfried Heinrich Stölzel’, Neue Zeitschrift für Musik 151/1 (Jan 1990), 9-13. Henzel, Christoph, ‘Zu Wilhelm Friedemann Bachs Berliner Jahren’, Bach-Jahrbuch 78 (1992), 107-112. Hickman, Roger, ‘The nascent Viennese string quartet’, Musical Quarterly 67/2 (April 1981), 193-212. Hicks, Anthony, ‘The late additions to Handel’s oratorios and the role of the younger Smith’, Music in eighteenth-century England: essays in memory of Charles Cudworth, ed. C. Hogwood and R. Luckett (Cambridge: Cambridge University Press, 1983), pp.147-169. Higgins, Paula, ‘The apotheosis of Josquin des Prez and other mythologies of musical genius’, Journal of the American Musicological Society 57/3 (Fall 2004), 443- 510. Higgs, James, Fugue (London, 1878). ______ ‘Samuel Wesley, his life, times, and influence on music’, Proceedings of the Musical Association 20 (1893-94), 125-47. Hildesheimer, Wolfgang, Mozart, tr. Marion Faber (London: Dent, 1983). Hirsch, Eric Donald, Validity in interpretation, (New Haven: Yale University Press, 435
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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
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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
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 424 and 425: Beethoven, Ludwig van, The letters
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 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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