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

More documents

Recommendations

Info

______ ‘Beethoven’s ninth symphony: the sense of an ending’, Critical Inquiry 17/2 (Winter 1991), 289-305. ______ Late Beethoven: music, thought, imagination (Berkeley: University of California Press, 2003). Somerset, Henry V. F., ‘The Habsburg emperors as musicians’, Music & Letters 30 (1949), 204-215. Sonneck, Oscar G., ed., Beethoven: impressions by his contemporaries (New York: Schirmer, 1926). Spitta, Philipp, Johann Sebastian Bach, tr. C. Bell and J. A. Fuller-Maitland, 3 vols. (New York: Dover, 1951). Spohr, Louis, tr. Joseph Bennett, ‘The great composers sketched by themselves. No.VII. Spohr (continued)’, Musical Times 21/450 (August 1880), 391-95. Staehelin, Martin, ‘A veiled judgment of Beethoven by Albrechtsberger?’, Beethoven essays: studies in honor of Elliot Forbes, ed. Lewis Lockwood and Phyllis Benjamin (Cambridge, Mass.: Harvard University Department of Music, 1984), pp.46-52. Stanley, Glenn, ed., The Cambridge companion to Beethoven (Cambridge: Cambridge University Press, 2000). Stauffer, Georg, review of Bach, Handel, Scarlatti: tercentary essays, Musical Quarterly 72/2 (1986), 272-82. Stewart-Macdonald, Rohan H., ‘Canonic passages in the later piano sonatas of Muzio Clementi: their structural and expressive roles’, Ad Parnassum 1/1 (April 2003), 51-107. Stierle, Karlheinz, ‘Der Text als Werk und als Vollzug’, Der Hörer als Interpret, ed. Helga de La Motte-Haber and Reinhard Kopiez (Frankfurt am Main: Peter Lang, 1995), pp.11-28. Stocker, Andre, ‘Orgelmusik zwischen Bach und Mendelssohn I’, Singende Kirche 454
40/4 (1993), 182-188. ______ ‘Orgelmusik zwischen Bach und Mendelssohn II’, Singende Kirche 41/2 (1994), 67-71. Subotnik, Rose Rosengard, ‘Adorno’s diagnosis of Beethoven’s late style: early symptom of a fatal condition’, Journal of the American Musicological Society 29/2 (Summer 1976), 242-75. Sulzer, Johann Georg, and Koch, Heinrich Christoph, Aesthetics and the art of musical composition in the German Enlightenment: selected writings of Johann Georg Sulzer and Heinrich Christoph Koch, tr. Thomas Christensen and Nancy Kovaleff Baker (Cambridge: Cambridge University Press, 1995). Sumner, Floyd G., ‘Haydn and Kirnberger: a documentary report’, Journal of the American Musicological Society 28/3 (Autumn 1975), 530-539. Sutcliffe, W. Dean, Haydn: String quartets, op.50 (Cambridge: Cambridge University Press, 1991). Swartz, Kenneth; Kreilick, Kelley; Hantz, Edwin; Kananen, William, ‘Neural responses to melodic and harmonic closure: An event-related-potential study’, Music Perception 15/1 (Fall 1997), 69-98. Swift, Richard, ‘Mahler’s Ninth and Cooke’s Tenth’, 19th-century Music 2/2 (November 1978) 165-72. Szabolcsi, Bence, The twilight of F. Liszt, (New York: Crescendo, 1973). Taruskin, Richard, ‘Resisting the ninth’, 19th-century Music, 12/3 (Spring 1989), 241- 256. ______ Text and act: essays on music and performance (New York: Oxford University Press, 1995). Taylor, Eric, ‘Rousseau’s Conception of Music’, Music & Letters 24 (1941), 231-42. Telemann, Georg Philip, ed. Traugott Fedke, Sämmtliche Orgelwerke, 2 vols. (Kassel: Bärenreiter, 1964). Temperley, Nicholas, ‘Handel’s influence on English music’, Monthly Musical 455
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 and 32:
kind experimentalism of Samuel Wesl
Page 33 and 34:
The clearest sign of things to come
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
Page 85:
Ex.1.12b shows the start of a fugue
Page 88:
Egypt) did not prevent him from bei
Page 92 and 93:
The very slow harmonic rhythm, howe
Page 94 and 95:
If not inimitably characteristic, t
Page 96 and 97:
As we saw in the first part of this
Page 98 and 99:
subject is also expansive; it too c
Page 100 and 101:
to expand and elaborate the surface
Page 102 and 103:
The significance of this sort of st
Page 104 and 105:
By the time the halfway point is re
Page 106 and 107:
‘originality’—of historical p
Page 108 and 109:
to follow in his father’s footste
Page 110 and 111:
CHAPTER 2 J. S. BACH IN LONDON: CON
Page 112 and 113:
of the mark. 4 Handel’s influence
Page 114 and 115:
that would perpetuate his oratorios
Page 116 and 117:
—also remained strongly Handelian
Page 118 and 119:
118
Page 120 and 121:
in the Overture to Alcina (1735). A
Page 122 and 123:
Root-movement is quite unpredictabl
Page 124 and 125:
124
Page 126 and 127:
Superficially they have much in com
Page 128 and 129:
situations; but his influence outla
Page 130 and 131:
130
Page 132 and 133:
ounded too closely by early Methodi
Page 134 and 135:
At first the real focus of attentio
Page 136 and 137:
surprisingly grammatical, confirmin
Page 138 and 139:
138
Page 140 and 141:
the subject (where again he seems n
Page 142 and 143:
in Bath) recommended that Charles
Page 144 and 145:
have, to a head-injury sustained in
Page 146 and 147:
146
Page 148 and 149:
The ending is rather curious: he re
Page 150 and 151:
hectic week, he could choose betwee
Page 152 and 153:
152
Page 154 and 155:
even have had an informal agreement
Page 156 and 157:
Unlike Handel, however, there no tu
Page 158 and 159:
Throughout the nineteenth century t
Page 160 and 161:
Here, however (especially once the
Page 162 and 163:
162
Page 164 and 165:
published separately over the next
Page 166 and 167:
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
Page 174 and 175:
consciously parodying his Methodist
Page 176 and 177:
his nature to be exclusive about an
Page 178 and 179:
elieve) in German, the compleatly w
Page 180 and 181:
no other way one could hear operas,
Page 182 and 183:
a stretto treatment (at one minim
Page 184 and 185:
have had a rich Treat in chewing th
Page 186 and 187:
admirable Musick might be played in
Page 188 and 189:
At this point one might have expect
Page 190 and 191:
This is soon accompanied by quaver
Page 192 and 193:
The C minor entry in b.50 destabili
Page 194 and 195:
WESLEY’S LAST YEARS During this p
Page 196 and 197:
Wilhelm Friedemann (see chapter 1).
Page 198 and 199:
describes it well: ‘The concertan
Page 200 and 201:
with sixteen-part orchestra’ (Car
Page 202 and 203:
would be of interest to a budding c
Page 204 and 205:
wrestling with the problem of integ
Page 206 and 207:
Clearly, Haydn is letting fugal thi
Page 208 and 209:
By contrast, the fugue which closes
Page 210 and 211:
unknown in any other Haydn fugue (a
Page 212 and 213:
around b.54, homophonic quaver figu
Page 214 and 215:
very little to it, which is of cour
Page 216 and 217:
When Haydn wrote string quartets, t
Page 218 and 219:
place, socially and musically; and
Page 220 and 221:
of the minuet, both here and in man
Page 222 and 223:
The distinction that Kirkendale dre
Page 224 and 225:
variety of keys as well: not just I
Page 226 and 227:
detail. As far as the tastes of Pri
Page 228 and 229:
constructed in an entirely new mann
Page 230 and 231:
Note the extent to which Haydn’s
Page 232 and 233:
A clear example of this can be seen
Page 234 and 235:
Haydn would write only one more fug
Page 236 and 237:
At any rate, the effect of later ei
Page 238 and 239:
appears not wholly to satisfy Kirke
Page 240 and 241:
Junker and others were neither part
Page 242 and 243:
sentimental’ (c.1814?), Haydn’s
Page 244 and 245:
intensity of the debate? This is ho
Page 246 and 247:
is an almost perfect instrument for
Page 248 and 249:
CHAPTER 4 MOZART, FINISHED AND UNFI
Page 250 and 251:
as such—at times even creating th
Page 252 and 253:
thought and practice until very rec
Page 254 and 255:
sonata movement sets up certain exp
Page 256 and 257:
organ music: from the death of J. S
Page 258 and 259:
(to us) the direct influence of J.
Page 260 and 261:
and back without a sign that anythi
Page 262 and 263:
is not necessarily at variance with
Page 264 and 265:
conclusion is not perfectly in acco
Page 266 and 267:
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
Page 274 and 275:
274
Page 276 and 277:
276
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
Page 298 and 299:
298
Page 300 and 301:
(apart from particella for wind and
Page 302 and 303:
up to Mozart’s standard, the melo
Page 304 and 305:
weight than Süssmayr’s say-so. B
Page 306 and 307:
crisis [Lebenskrise] from which, in
Page 308 and 309:
all, please few with counterpoint a
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 318 and 319:
There are a few reasonably complete
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
Page 328 and 329:
328
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
Page 348 and 349:
development came the flood of ‘mu
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
Page 356 and 357:
Carpani; from the time he entered E
Page 358 and 359:
His opp.1bis, 5, and 6, however, (p
Page 360 and 361:
360
Page 362 and 363:
nineteenth century—the style of H
Page 364 and 365:
364
Page 366 and 367:
movement. There is no danger of irr
Page 368 and 369:
time, whereas the glory of many a B
Page 370 and 371:
On the other hand, the tonal range
Page 372 and 373:
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 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 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 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
show all

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

Create successful ePaper yourself

Delete template?

Save as template?