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The very slow harmonic rhythm, however, limited harmonic range, extreme polarisation between melody and accompaniment, and luxuriant melodic ornament (Ex.1.17) soon make it clear that—as the title suggests—his real model is the Italian operatic style of Hasse, say, or Jomelli. A Prelude in C (Ex.1.18) sounds at first yet further up to date—Haydnesque, even. 91 But closer examination reveals the limitations of Krebs’s handling of the galant style. Each phrase falls neatly into balancing two-bar segments in the approved modern manner; but, within the terms of this style, he has no way of building larger structures other than by repetition and accumulation. To escape the primitive alternation of his two-bar phrases he has to resort to Fortspinnung and motivic development, which is effective enough in its way but shows little understanding of 91 Compare the finales to the Sonatas in F Hob.XVI:23 or in G Hob.XVI:27. 92
sophisticated periodic construction. The ability to combine simple materials into complex structures by means of elision and carefully proportioned phrase-lengths—an ability so central to the achievement of Haydn and Mozart (or even Sammartini and Stamitz)—remained a closed book to Krebs. It may have been this relative ineptitude with the periodic forms of the Classical style that enabled Krebs to approach the style of J. S. Bach so closely. What with all the confusion around the edges of Bach’s oeuvre, and the close similarity between their styles, it is a little surprising that the number of works by Krebs misattributed to Bach is not larger than it is. A similarity between the opening bars of the Prelude and Fugue in D minor BWV 554 and that of prelude to the chorale Jesu meine Freude in Krebs’s Clavier Ubung Bestehend in verschiedenen Vorspielen und Veränderungen einiger Kirchen Gesaenge has led some to attribute this movement, and therefore all of the ‘eight short’ preludes and fugues (BWV 553-560— almost certainly not by Bach) to him. But the resemblance extends as far as the first two bars only, and is not outside the range of coincidence; apart from this the pieces have little in common with Krebs’s style (an alternative ascription, to his father Johann Tobias—also a student of Bach’s—has even less foundation.) It has also been argued that the conclusion of the Fantasia and Fugue in C minor BWV 537 was not just copied but composed by Krebs; 92 and it is possible that one or more versions of BWV 740 (Wir glauben all’ an einen Gott) are by him. 93 The only work in Schmeider’s catalogue known for certain to be by Krebs, however, is a little Prelude in C, BWV 567 (Ex.1.19). 92 J. O’Donnell, ‘Mattheson, Bach, and the Fantasia and Fugue in C minor BWV 537’, The Organ Yearbook 20 (1989), 88-95. 93 K. Tittel, ‘Welche unter J. S. Bachs Namen geführten Orgelwerke sind Johann Tobias bzw. Johann Ludwig Krebs zuzuschreiben? Ein Versuch zur Lösung von Autorschaftsproblemen’, Bach- Jahrbuch 52 (1966), 102-137, and H. Hoshino, ‘J. S. Bahha no orugan sakuhin no shingi ni kansuru ichikosatsu “Wir glauben all’ an einen Gott, Vater” (BWV 740) o megutte’ Orugan kenkyu 23 (1995), 1-17. 93
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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
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 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
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Page 120 and 121: in the Overture to Alcina (1735). A
Page 122 and 123: Root-movement is quite unpredictabl
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Page 126 and 127: Superficially they have much in com
Page 128 and 129: situations; but his influence outla
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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
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Page 140 and 141: 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
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Fisk, Josiah, ‘Classical music an
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______ ‘The “Grosse Fuge”: an
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1967). Horowitz, Joseph, ‘Mozart
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______ 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
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______ ‘Beethoven’s ninth symph
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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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