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

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explanations for this, both musical and psychological, are advanced and compared. Chapter 5: ‘Fugue in Beethoven: mundane and transcendental counterpoint’ discusses both his early student-fugues and those of his late works, considering his fugal style in relation to the ‘difficulty’ of much of his music, and comparing it with the similarly challenging counterpoint of Muzio Clementi’s later style. The study concludes with an epilogue pointing toward Mendelssohn and Schumann, tracing their affinity with J. S. Bach and outlining the final decay of the galant aesthetic. 4
ACKNOWLEDGEMENTS There are many people who have had a hand in this project that I would like to thank. Three supervisors have been involved at different times. First of all was Nicholas Baragwanath—also my Masters supervisor—whose sharp critical intelligence helped curb my natural tendency to make absurd generalisations, and who attempted to teach me to say what I mean to say and no more (whether he succeeded you may judge for yourself). When Nicholas left the department, Peter Walls was immensely helpful and encouraging during the short time he was able to supervise me. Most of all, however, I am grateful to Inge van Rij for her transcendent patience and her attention to detail in seeing this thesis through to its completion. Thanks are also due to Nancy November, for her comments on the ‘Haydn’ chapter, and Monika Smith, for advice on all things German. I wish to express my thanks to <strong>Victoria</strong> <strong>University</strong> for a PhD Scholarship during the first three years of the thesis and a PhD Completion Scholarship towards the end. Robert Kerr-Hislop has been an invaluable resource, nursing our computer through three successive incarnations and periodically rescuing us from its (fortunately infrequent) crises and melt-downs. I am also grateful to St Barnabas’ Anglican church, Khandallah (where I have been director of music since before this all began) for the chance to try out some of this music in performance, and for the opportunity to play at being a Kapellmeister in my own small way. Finally, I want to thank my family: my wife, Raewyn, for supporting me economically and morally through this leviathan project; and my sons, Joshua and Samuel, for putting up with me. Also my parents, Elizabeth and Kingsley, for bringing me up in a musical home, financing my first years of study, and for the interest they have shown and the encouragement they have given. 5
Page 1 and 2: WRESTLING WITH THE GERMAN DEVIL: FI
Page 3: ABSTRACT ‘After’ can be taken b
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
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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
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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
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______ Double counterpoint and cano
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Routh, Francis, Early English organ
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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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