BACH -BUSONI

\

THE FIRST TWENTY-FOUR

,/

Preludes and Fugues .

. I

OF

TheWell-. Tempered

Book 1 Book 2 Book 3

1.50 1.50 1.50

. . ..

(Prices apply to u. S. A.)

G. SCHIRMER, INC.

New York

i

I i

r .~

THE

. WELL-TEMPERED· CLAVIC-HD·RD

BY

. .

JOHANN-SEB·ASTIANBACH

'. REVisED. ANNOTATED, AND PROVIDED WITH PARALLEL EXAMPLES AND SUGGESTIONS· FOR THE STUDY OF MODERN PIANOFORTE- TECH'NIQYE

BY

FERRUCCIO B. -BUSONI

o. SCHIRMER, INC., NEW YORK

--------~~-----------.,-~.C'~,,0.-.:-,.-~,,_ •

.. -----

In trod uction.

To the foundations of the edifice of Music, . JOHANN SEBASTIAN BACH contrlbuted huge blocks, !1rmIY and unsllak~bly laid one upon the other. And in this same foundation of our present style of composition' is to be sought the inception of modern pianoforte-playing. Outsoaring his time by generations, his thoughts and feelings .reaehed proportions for whose expression the means then at command were inadequate. Thi~ alone can explain the fact, that the broader arrangement, the "moderniZing", of certain of his works (by Liszt, 'I'ausig, and others) does not violate the "Bach style" -.' indeed, 'tather seems to bring it to full perfection; - it explains how ventures like that undertaken by Raff'; for instance, with the Chaconne * are possible without-degenerating into caricature:

Bach's successors, HAV"nN' and MOZART, are actually more remote from us,' and belong wholly to their : period. Rearrangements of any of their works in the sense of the Bach transcriptions [ust noticed, would be

, , .' ,. t

sad blunders. The clavier - compositions of Mozart and Haydn permit in no way of adaptation to our piano.:'

forte-style; . to their entire conception the original setting is the only fit and appropriate one.

The spirit' of Mozart's piano - style is handed down, in a form internally weakened but externally enriched, byHL'.MMEL. With.the latter begins that phase of musical history which' deserves to be termed "feminine", wherein Bach's influence, and consequently his connection with the composing virtuosi of the pianoforte, grows weaker and weaker - parallel with the 'comprehension of these gentlemen for Bach's music.

. . The unhappy leaning towards '''elegant. sentimentality", . then spreading wider and wider (with ramifications into our own time), reaches its climax in Field, Henselt, Thalberg and Chopin **, attaining, by its peculiar brilliancy of style and tone, to almost independent importance in the history of pianoforte-literature.

But With BEETHOVEN, on the other hand, new points of contact with the Mastel' of Eisenach were evoked, bringing the advance of music nearer and ever nearer to the latter; nearest of all in Liszt and Wagner***, the characteristics in the style of either pointing directly Bach-ward, and completing the circle which he began e . The attainments of modern 'pianoforte-makinq, and our command of their wide resources.vat length render it possible for us to give full and perfect expression to Bach's undoubted intentions.

It therefore seemed to me the propel' course to pursue, to begin, with a digression from the "Welltempered Clavichord" -' a work of ' so high importance for the pianoforte and of such comprehensive musical value -, that I might trace and show (from the very trunk, as it were) the manifold outbranehings of modern

pianoforte" technic. ' .

Although we owe to CARL CZERNY - a man whose importance, is derivable in no . small measure from the fact, that he forms the intermediate link between Beethoven and Liszt - the resurrection; so to speak, of the "Well-tempered Clavichord;', this admirable pedagogue handed us, the work in a garb cut too much after the fashion of his period; hence, neither his conception nor his method of notation can pass unchallenged at the present time. BULOW and TAUSIG, advancing on' the path opened by the revelations of their master,

* This piece, ,orilrtnally written by Bach for =Solo violin, was arranged byRaff for full orchestra.

** Chopin's puissant inspiration, however, forced its way through the slough of enervating, melodious phrase-writing and, :the dazzling euphony of mere VirtUOSB sleight-of-hand, to the height of teeming individuality. In harmonic insight he makes a long stride

toward the mighty Sebastian. . "

Mendelssohn's "Hummelized" 'piano-style, overflowing with smoothly specious counterpoint, has, naught in common with 'Bach's. rock-stirring polyphony, an earlier and persistent arguments to the Contrary notwithstanding. On the other hand, :Mend~lssohn's successful

efforts to inaugurate performances of Bach's works, must be sen.down as redounding to, his credit.' "

*** The truth of this assertion, as regards Liszt, shows most clearly in his magnificent Variations a t!lotilIt from Bach

(,,}\,einen,KlagenU), and in the Fantasia and Fugue o1vB. A. C. H.

Conversely, the reciuuioes in Bach's Passions stand nearest, amqng all classieo - musical productions, to Wagner's spirit, both in . respelct.to their expressional form and depth of feeling. [Compo Note 3 to Prelude VI.]

lI.6BO

Liszt, by his interpretatiohs of the classics, were the first to attain to fully' satisfactory results in 'the editing of Bach's works. This is abundantly proved, in particular, by Billow's .masterly edition of the Chromatic Fantasia and Fugue, and' 'I'ansig's Selection from these Preludes and Fugues.

Much will be met with, in the course of this' work, which substantially agrees with 'I'ausig; but identical passages are rare. In this connection I beg to quote from a: letter written by the poet Grabbe to Immermann concerning a proposed translation of Shakespeare: "Where I eould use Schlegel", he writes, "I did so; for it isridiculons, stupid, 01'- vain in a translator to leap aside' over hedges and ditches, where his. predecessor

has made a path for him". ,

The need, of an edition as complete * and COITect in form as possible has indu~ed the editor, in this attempt to furnish such an one, to bestow upon his work the most painstaking and conscientious attention, reinforced by more than ten years' study of-this particular subject. The present edition, ,however, also aims in a certain sense at re-founding, as it were, this inexhaustible material into an advanced method, on broad lines, of pianoforte-playing; this .aim will, however" be carried out principally in Part,' I, that being preponderant in the

variety of its technical motives. ** '

'The present work is also intended as a connecting' link between, t4e editor's earlier edition (publ: by Breitkopf and Hartel) of Bach's Inventions, forming on the one hand a preparatory school, awl his concert, editions of Bach's Organ-fugues in D andE~, and of the Violin- Cltaconne, which will serve, on the other haItd,as a close to the course herein 'proposed.

Following these 'last, the study of further pianoforte- arrjI,ngements of Bach's organ-works is recoinmended, namely:

Liszt, Sir!; Preludes, and Fu!JllR.8.

- Fantasia and FU9ue~'G-nlinor. 'I'ausig, Toecata and Fugue, D-miIior. d' Albert, Pas.yacaglia,

,When these works have -been thoroughly learned, both musically and technically, every really ambitious student of the piano ought to take 'up the still unarranged organ-coin positions of Bach, and try reading- them at siflltt Wl1h as great cvmpleteness and richness of harmony as is possible on the pianoforte ( doubling the' pedal-part in octaves wherever feasible). The manner in which this is to be executed, is' suggested in the Eeamplee of Transcription given as an Appendix to, Part I.

Still, this comprehensive course of study in Bach's piane-music forms but a part of that which is necessary to make a thorough pianist of a person naturallygifted, If this truth were stated in plain terms by everj' conscientious teacher to zealous beginners, the standard wherewith _ people are now-a-days content to icompare the artistic and moral Capacities of students would speedily be -raised to a height inconveniently beyond the reach of the generality. By such .means a barrier might gradually -be built up against dilettantism and mediocrity, and thus against the degeneration of art, - a'bal'lier which might cause many to pause and reflect, more carefully - than present vconditions render needful. before risking a leap. and a possible breaking of their necks.

* Tausig unfortunately left; the flI'eater half of the work untouched.' several keys being unrepresented in his Collection; even the monumental Bp-minor' fugue in Part IT- (to mention one instance) is .omitted ; 'neither can he escape the censure of having reproduced certain incorrect rea.dingsof .the Czerny~it_ - Bischoff's and Kroll's praiseworthy efforts were confined for the most part to a critical, t!lXtnal revision, Recent good editions are those by Fra.nz and.Dresel, Louis Kohler, J!ldassolm, . Reinecke and Riemann. The chief aim of this last revision is analytical phrasing and anatomization. Analyses in book-form have also been published by Riemann and still

:eadier by van Broyck. IS;'" o .t

** The editor does not for a moment imagine that he is able to exhaustively accomplish this task alone, He will be well satisfied if he should succeed in disclosing a. broader horizon for , the study of Bach's works, and in formulating a. plan for successfully btidging over. the interval between ,the "Well-tempered Clavichord" and modern piano-technic, ",

. ,

New York, January, 1894.

Ferruccio B. Busoni.

;;i;

I,

207

Table of Contents of Volume I.

" 5
" 8
" 12
" 1.4
" 1.7
., 1.9
" 23
" 25
" .£0
H 32
.'''' 34
'" 37
'" 1H)
.. 44
i
'" 47 ,.
j
H 5'0
;, 54
i
H 55 "
,. 58
" 6.2'
'" 64
" 66
" 68
H 69
" 71.
" 73
N 77
" 79 Prelude XIV, F~ minor. Fugue XIV,a 4,F#lltiltor , . Prelude xv, (} IIw./or.

®Fugue XV, a 3, {lmo./or.

. @ Study in composition' ©Study (for hom pianos)

Prelude XVI, {l 1luiwr, .

Fugue XVI~a 4, {l minor with. AppeI).dix. Prelude XVll, .A~ major ..

Fugue XVII, a 4; Ah mafor .

Prelude XVlll, G~ minor.

Fugue XVIII, a 4,(}~ miitor ,

Prelude XIX, A major (Fughstta)

Fugue x:rx, a 3, A maJor

Prelude xx, A JJlzil.or .

Fugue XX, a 4, A JJlziwr

elude XXI,.' • B~ ~Jta/a. ,rC11 .. ;ruJcata) ..

udy ~_ ,

g.u:e ~ a 3, :8~ 1/1,(ljo,r ',0 •

.P.reludeXXII, B~ ;/l/,llJ,f)J'.. •

Fugue XXH,:a 5,Bh 11tilt0!l' .' Prelude xnn., 11 titajor. _ ~ Fugue xxm, a 4,B moior _

Prelude ~B!JtfJlOr •

FUgue XXIV~. a 4, B tit/nor • Supplement .

First Appendix to Volume I.

Second ." . " " '"

Third ,,;,:"

Fourth- K" H

H.658

. Page 81

..

83 86 _88 90 91 94 96 99

102 105 107

Introduction.

Pr-eludeI, Cl1u1ior . Page 2

Fugue I, a 4, C]Jtt{/or

(p'relude II, C (flinpr .. 'Fugue. II, a 3, C minor

. Prelude Ill, 'C# Iltu/or .

Study. . . .'. . Fugue TIl, a 3, C#1Jla./or. Prelude IV, C~ menor .:

Fugue IV, a. 5, C# 'lilt/lOr Prelude. V,.Dllln,ior .

. Fugue V, ad, 0 lit%r' Prelude VI, D mtilOr. .

Fugue VI,a 3, D mtllOr .

Prelude VII,sh mujorCPrel.and FUgue.a4~ .. Fugue Vil,a4, .B~ mUJor.

Prelude VIIf, E~ minor .

Fugue VIII, a 3, R~ Iltt'nor. Prelude IX, B Jllo;/or Fugue IX, a 3, B'lllOior Prelude. X, R 1lUtWT

Fugue X, a 2, "jiJ »U!lOr Appendixto Fugue X. Prelude XI, P major. Appendix to Prelude XI Fugue XI, a3, F major Prelude XII, 11 minor. Fugue XII, a 4, P minor. Prelude xm,?# maJor ' .. Fugue xm;a:\3,F~ maJor ..

"

"

" 1. 09 111

" 115 " 1.17

1.24 127 " 130

oj- ••

132

135 " ::1.38 " .. 1.40 :;" ,,1.4.3

."

.»

.. " .146· ft ~d58 ," 1:54, "',1:91 '" 1;95' "":206

2

"The Wel1- tempered Clavichord"

by

.JOHANN SEBASTIAN BACH.

Revised, annotated,and provided with parallel' exercises and accompanying directions for the study of modem pianoforte-technic by

FERRU-CCIO B. ·BUSONI.

Prelude 1..

·Moderato

3. 5

fJ 1· .2 4 1) !-- -.. i,
.:..., ...-
r
I .. p'~~. I ill' " f' "JIiiI ( liliiii
< '.!Jr--; , ,ilr.--:J iir.-J
I j. 7'" J.
.
. '.
\ . ' (s'innle) 2)

.,

1) The. flowing and even movement in sixteenths must be kept up between the 8tlt and 9t]1 notes in each measure, and between the successrve measures; do not PI'Y'.~! 101' thus'(l): tHE? lAP I

.. _ ' ;t~

2) The Editor recommends abstention from the use Of the pedal up to the 5t!t measure of the 311 seotjon, and the strict holding-down of the hift-hand notes instead, which very nearly. gives the effect or the .pedal.

3) Taus,ig's conception of .this prelude, requiring a pia n iss i m 0 execution - throughout; is likewise deserving of

notice, and forms an entirely new study." . ,

W. I. For the attainment Of·a perfect Iegatov praettee- the figUrefii'~'in andantino tempo, with a-somewhat in such a way that each tone in the, right hand' is ,suCQessively held down through the true du-

II. Then try, to obtain the effect, of the original notation by playmg the figure thus:

Allegro; l(~'''l!'l(!Jmenie. , ,J

or E--t+{ Ii -. . - . 2 t '. , .'

~frJi!,.,:d·~@]Jgj}d f err I tJ jJ2ib e! Ea I fJ Jl@32w h U

-, "::;'~~ .... ".. -. ..

~ J ugUa trY r F j I f!j - «3Em f r i? I iSlA .9J g! tii f,f2pJ etc.

, ~ l • , Ii '" 8 2 _1 8 .,

. Copyright, 1894, b!J f:J. Sckirme,. (Inc) . . ' , •

(J;~p.1Jriglil renewal a.,signed. 1928, to (;_ ScAirmer (Inc.) f t 6flO ' ' Printed in the U. S. A.. '

·'·"''''~~''''''':~'''''''_''_''''''___'L''__'__ _:'.

3

poco rtnr.

p,

5

,3

3

p

, , 4,

3

~ -- ..:....c__ - , ----.._ - --..,... .--- ._..._.
t
.. (_ ,"~"" i '_ i_ :j'ff i"JI •• '_"-i-* ( It+ ' i~'" -,
~
" ~ I ' I ~' k. I
.
. .
~._... 2 r-- 13 1 I " 6

III., This Prelude is also adapted for the practice of an energetic staccato in the following arrangement, Jp 'practicing this staeeato.eare must be. taken to render the interchanging' of the hands perfed!V smooth and even.

Allegro moderato.

24:. ' 2,' . .,'.' .'. • .' .', ' 2 n

FtJ trt', -j'3 0 i' I ~ . Pat n i' en I fi, I'd n Ef'-; I .f.l iji'.i! ij Jil I etc

it 211U, ,tr ti ,tJ ,,211, ,;, , " ,"!~ ,,"

··IV: Finally, thtsPrelude . may' also be usefully, en1ployed for the study of the ,lightest staccato (in close imitat~on, of the "springing bow" on the violin). The following- arrangement will serve as a preparation for the4t]1 n~ber of -the Ltsst - Pagantni etudes.

Allegro' vivace, '!eggier-issinw.

'. 4 6' . 1;1 15 "8 '0 '

d' ~... ... ' tall ~ ~ 12 ~ ~ .

~~.~m~~~m~, ~.:~m~iJ~¢?~1 ~~~~'~W~~re~'~J ~I ~.J[§m~g J~' ~_i· ~'g~J~I~' ~m~p=lm~ .. ~n!~a·~tP~' I etc.

, " , , " "1 1 1 ' _ ' r " 1',' ,. ,

II,

flS60

4

tenuto, quasi f!/fitto fit" pedale. 2 3 .5

1. 3

1. 2 4,

13.4234

me1l0 temuo

3

(ossia:.If. -

;0:)

._ motto !tl1gnmehte«i o1momo.w 1235 3.142'14

. - -5 - allnl,'/(: _

123 314, & i

4) The E.di.·to;, desires to.',~Ut1P .. n against an, over_, valua.tiOn,or P,·OSSi~le. under-~iion, .of ~s piece. ,T~, qU~t, ~ from. Riemann, it' is simply a ~ortal'" to the entire work; f9rming, however, in 'its euphony, 'and structural finish, '

'fLhighly satisfactory .mustcal introtJuction.' . . ,

'u,eeo

2) 1) The theme is equal in .Jength to 6 quarter- notes, or I1f.2 measures in 4/4 time, As tb.eparts follow: each other in c\osesucce~ion",. without intermediate 'episodes, the entrances at S. and B. produce a shifting ofthe.4/4

rh.ythin, resultingjnanappa.reIit 3/2 measure. . '. .

. 2) S stands for Soprano, A for. Alto,. T for Tenor, and B for Bass; they always Indieate . the entrance of the theme. The· notes on the. upper staff are fol' the right hand throughout; those on the loWer staff for. the

.len hand only. .

5

FugaI,a 4. Mdt

4) 5 S

3 4

t

) (2

II

. A d

.fJ 0 era: o.vquasr n an e. 2 2 ,] r ~~ ,.4_
S 1
j .
'Il 'Il!l'""C. - .
~ 1) 'Il!f ~ (3)
fJ 1 23 4, ....! 2
2 5 '.(1 4, 1 2)
.~ ..
. .
.
.. l~ .:: ... ~ . ... 1~""'1-:·· -_j:.Tf 2 :1- - •
A .-
5 (. 5 4, :1_ 2

'3 2 S

S 4

2

(4) .. 5 ·2

5

4,

1

5

-...._::::

------~--------

5 4, 2 3

.5

5

I

I

6

(I»

4, 2

'DIp

3 4

4· 5,.;. 2 5 2: a 132313 2_ 1
~. 1 2 ' 3 2 3 4, 3 -4 5 4 3 4, ...oIIIIi - 2
,.......~..J - --
.
\ .. ~~ -IL r TI. ~ l' 1<;: " 11 ' J1 2 I ~
t t ""l -2 1 2 1 2 t 3 POc!U:y,yz'mO riteTl.
~ 'llfT poco espres,~ 3.--;~
tt 1) .f:! IL r~-- .!j---
.. T ~: ~r- 2~ 1"2ai t..l 1.1. 2 '\ 't\--'"
.
.
.._r' 2 mPI l. '; 1 Ii 3 -.-
, 2 1 2· 3 (3~.5

a tempo, meno' legato ma sempre molto tenuto

5 _'_ . . ~ 5 4

5 3 4' 6

1 .2

3)

1 1
~
i I
~ 4, 5 1 2 3 4
(I . 2)
6 I (~
~Jl. _J 2 6 S"
.... 6

5235354 3·

_-+--!!i Ii

e .. I T ~ ~ I ,-~ ~

r

I I

2

5

3 2 1

4 2

5

____,. '2 12 . 3

2 1 3 5

~ fi

3) The M 'and4t!J_ quarters in the bass originally conceived' .thematically: '. ,! h:r;r

4) According to the formal strueture,the double-bar belongs here; according to 'the. polyphonic JOrID,

the soprano and bass close haIfa measure. further on. . . . .

6) The bass phras~ i1r:tTt:::a.p is Ii. mutilation of the theme; here the .!3trettosim'ply grows freer, In the

. , . ../

Iast " measure of the development but one, the tenor alone remains "thematic" ...;.thesole· survivor, . as ltwere, or :

the battle between tlie parts; in the. last measure we even, lose every 'trace of the theme.

7

621

(l)

sostenuto

-

1':'\..

5 ~_1

lB. A fuglie so archltectonlcally perfect in construction as this will be. met with, in the. course of Part I, fn possibly' one other ease.; that of the notable: A'I1-minor fugue; whose "architectural style" is, to be sure, en. tirelJ differe~t. Here the culminating' effect' is massed . in the middle; whereas ~in the A'I1_ minor . fugue the msatiable upward striving presses .onward to the very last measures

'The exposition (the successive ·appearance of the theme in each of the four parts, with alternation-be c. tween the tonic anddomili,ant keys) embraces 6 measures, and ma.ybe represented graphically bya Straight line. :The d e ve Jo p men t 'then follows in .!hree"sections, the middle one being that most replete with contrapuntal devices, while. the thirddeveH:ipment-section gradually leads back into the "straight line" (Ooda).

Retaining our architectonic. comparfson, we 'feel tempted -. to 'illustrate the scheme of .this fugue by means of

the annexed figure: .

A

B

c

conformably to which We have A = Exposition, 6 measures

B = Development, f= 7 measures .: S"tretto zz:
_ .. Stretto (climax) ."
b= 5 measures continually Jlarrowj.ng '"
17 measures =
c= 5 measures = simple Stretto again, and return. to rest. o = Coda .. 4 measures ~ Organ- poiiit on the tonic. '

:-11880

(i)~ Prelude II.

Allegro con fuooo •

. :!l2! >-

~ I -1IIiIIi..! I 3 I 2 ~ ::>.,;,;..;,23 132 3>-_ ....... -- ........
\ @ .... "': .. _. .__::::.-.;"I:~ - .... -.- v~- ... -:::;?'--..:: -* ,... V ~.~ .. _..
. . --:: .
< f distinta1Jlente articolato . -===:.
--".; . ->---- >-;,::--- ~f - - ~~ .~ - ... . _--.
-1 .
~~ ........ - - 1 21 3= -- . - -.- t2 123212)

Hi,· The technical utjlity of this Prelude _ "\_Vhich is comparable to an agitated stream reflecting the flames of a

i,lonflagration:... ni83 .be enhanced: af by a strict holding .of the notes with both • little fingers; b)by a mar t e j., l~to- variation of the principal figure . with an "alternate striking of the hands in double. notes" (Zweigrif'fen); or Q)'1,ly addedioetases, thU8.~renderiitg the whole a stud.y ofsixths·ln"transcendent execution't.; This Prelude (as . Bach wrote Ji> .;)1so . makes . an' excellent preparation, for the study of .the trtlf With the l~t, 2tJ,. and -al.!

fingers~ . e.g.·.. &fiJi 4 J J J J J J I-

52 1 3 2 9 3 2 3.1 2 6 .

Studie.(Et~.)

a.)

etc.

Studie. (Etude.)

U8GO

9

(14)

(3 t 3 23 f 3) 4 3 2 3

1)

6

.' 11· I f -..,! 1 8 2.3 s . 3 -..!, 13 2 3 I 3 5 2
r:
\ ..
I- ' (64 g 4 '!) -- (4 ~f~)"·~· ............ .. .. ~t ..•• -
. ' .... ....
t ( )
- - - - - -.
....
I 2 ·3 4 <I 23 3.1 2 3 4- 2_ 2 4- 3 '4 2

4 2 3 I

4- 2 3 2

(I)

(t 2 4- 2 1 5 2 5 1 2) I 3 . ---= ==--

r . 11 I 5 2 t :I t 3 t 2 . - .-....
~
~ - 1' __ ~~._q*~"_~" ;... .... .". .. .... -- '* .. * .-i ... •• ...
1· • ~ ..
~ ~ - - - - - , -. - - - -
f .
I . ,
- - , - - - 1) . In the- 'Editor's oplnion, the- fir~pel'iod -ends with the 14t]1 measure iD the relative key, and the second With the .next Urnieasures, ddst before', the Presto. This latter' embraeesy-togethee with thee 0 d a, 14 measures' mote, (reckoning the Adag'io as4 allegro measures); hence' the generally satisfactory symmetrical af-

. feet; Tbi's' division, too, best aecords : with our natural perception". . .

,.O:kos1tre f9)

{Measure f4J

vzi'O)

(f 2 3) 21 3

/ma7;;g: (quasi Oadensa)

2) '.

(5-3) 34$1

(5)

2) The artist niust know, -among other things, how to husband his strengt-h for climaxes ann turning- potnts, and how to seize opportunities ~or "gathering; 'new ,-strength. This consideration makes the addition of a . hold ( I":\} over. the G in the left hand appear justifiable; it should lend to the - bass. a certain organ-like ponderousness, and throw the Pie s to _ "bearmg : down all barriers:' with its irresi,stible flood _ into yHstronger relief; the point of re_st -----thus, gained before this itu a st 0 a den z a will also enable the. player to recover the necessary lightness and elasticity, whioh are, apt to- suffer from '24 measures of' -an obstinately . monotonous movement.\}?inaUy,iliissame ieft - hand G may be transformed, by adding the lower octave and .employing the Stemway third pedal (p e d a Ie de prolongement, or i sustatning vpedal ), int'o an' effective .6_ineasure 01'

ganvpoint, . -.

-8) The tempo to be taken here is four times as slow as that of the preceding movement;' so that a quarter of the A d a g i 0 corresponds to an'entire - measure of the Pre s ttl, Supposing 'it to be. played without a change in time = 'signature, the followfng reading' would : yield a rhythmioally correct execution:

(Allegro.)

>-

etc,

-

,-

;"i:

I',.

~ .... ----*

,;:w. . .. __ .. __ ..... _*

. The. differenoe between the' 32Q.- notes and 64tD- notes is apt to be overlooked by pupils, who. thus find them, selves entangled inmost extraordinary measures; the above simplified notation will aid them in finding the right way. _ The character of this episode is that of a broad "recitative - style';'

Presto.

. (Meo~re.2.)

r;

j;

\., -;

..);.},

5 8 -\ Ii 8 q,

2t It . I 4- I ..._....

~"%'
I
'<
I
~
...
.

t
..
i

!
, l
.
J
.. ~

.~


1~ 11

2 3

6 2 t 3. 2 t:"\

2 t 2

Studie. (Etude.)

rr-----. ------~

~~ -- .. *

(/IkasureJO) '" II Ii II A~

~tc.

Lo stesso tempo .

U-:-_TTi~_-'- -_U: -:-_-:- --U___ _;_..-

Pedal Hl, -~----------:-

\....n..__

----------~

______ ~_-~-- .. t:Y

.12

Puga Il a3

, . .~ (S) ,
(5)
~ I, Allegretto, vlvacemente, ~: 2 ~b __
.. 1
.
l~ ,- .
~
,
< I': ~). _..--" \.) .P
IJ
5
t, t 3 2 5 4- t a 2 t 1 ..1!. 2 t 4 3 2 3 4
. ,5
I . . .
\ . .
~p- ...... . -
- I ..I!I!I -, ~ --- ~ ~ . . ! .. - 1)'.
- 1 or; ~ ·,u0
,~ .. _, .t !-Db~ ~ s:; ;::::::j~
. . /' -...... r--.. 1 2
. - . - -
I . . .
,
.t ~ ..... r ....... ....... --- .- _., ~~
~ (4) (1 3 2)
'j 5 t~ ..!. .~ J -.....
'.'
t '1 T 3 ~> 4!'~~.:::>- . . . --: .
. poco

poco

mp

t ' •

. .

qua.rn stucco

2 .~

t

4 3

2 4

t 3

2 4

3

1) The eeunterpofnt t In eighth-notes to be .. played stacc,ato throughout: ,

,'2) At. first.sight, one is' easily \empted to take the first half of this measure. in .:tiJ-e Soprano for a, con ... ,tinuationc of the preceding sequenee.... the -more so, because. the sequence actually goes on in the bass for,· an-. ' other hlll.t- measure. It is fQr the player to separate, in' the phr~sing.the entrance of the theme 'on the seeond

eiglrth-n~te ,trom '~e'" episude, mid to bring ";'if -out : by proper stress 'OIl the notes. .

BJ. I~s. ph~asing,_ almost dance-likerbythm., its subject progresstng by the simplest·orinterval~, . .and:'h~n~e,. easy. of ,apprehenSion, and its, striktng eoonOl,ny of 'contrapuntal' devices, have made ,this fugue, perhaps" the most popular one in the whole collection. T~-enas a whole, ,the, development inaybe regarded as a s-ing l e long episode (divertimento), which is thrice divided, at regular intervals of .ttme, into' shorter sectio.~s by ,the_ .entranee of the theme. So much for 'the vp olyp h o n i e forin; according to- its t:ormal structure;un8 .part .eonsists -of twice 8: measures. ~" , ... ,',' . ,

,~,U880 '

'" .. ~

I

~ ..

! !

13

3) 4, 4

34 45212

t. it '2, 1 ,3

5,4

.2 1

8 5

. __ ....- .. '_

dl,The added octaves in therbasa were brought into vogue by ,CzernY. The Editor,however~:agrees ,withFhiilz ' Nld_:D'resel m alloWing 'them fh:st to enter with the entrance' of the theme. anq- also supports the"opiJiion,.~t: this addition Camlot .be considered' a violation of ]Juchrs sfiY1e -.

t4

) _--;

Prelude III.

Veloce e l~e~g~g~i_er __ o~.~ __ ~-:-- __ ~ __ ~ ~~~

~ 5

(3 1 2 3 " 2)

~.1010 tt. jJ, .: 4 2 1 1 ! _ - . _ ~. .' • ,,_ ~ ". ~ .. ~ 1- _ '""-...:.
••
,
~ I~ (uno coraa)
. -
< egua{nu!IIte p (11l0
I I.L 1/ ._.- /' -1it ~ .. ~ ~ .~.
.
" -
. I I ~.------------*

~ ~ ft, 34~ __;, 2~ 2_""--" •.
/ iJ. 4 1/ .. V ..
\ ~ -
..... I
-.
<
I ."r ~ 1 ~ .~ ~ .. ~ it ~ !: !!:
-_ - • •
·
•
,
.0
r' 2 2 " 1 5 2 1 5 • 1) :%

135

~ ~ 1)
e ~ . ~.
(1 31) 5

~·J,i.ft. tJ. t/ .. t/ - ~~~~-. ! ,12.
., '".:i - .. :t
- '-
\ •• 0 r " (3' t 2- 3)
"
It ~ .,;:; _ • 1*: _ ,h ..... -----..... L-~ __.,.- ~~
..L .. - •
·
·
." 2 3 1 4- 3 2 4 -1 2 I (1 5

1 2

5

2 3)

, .. -_
r1 J,i. ft. ___ 4 ~,~ .R. .. ~. ~ ~.-. ~~
#- t..t*"_ _1f#- - 4 ! 4
\ ~
- (t) -
I.L '_"""'--A '~ . ~ _/' x.._ «: ~~~._ .
I · ' .
·
, ,
,. I : : __

: t- r

r

1) i I

2 "

1) Thi~ reading is also, authentic, and finds logical contirmatton . hi the 24 measure of the 2~ .section:

2) j VI is later consistently tr~nsformed into eigbth-notesiIi the' u~= beat, thus: P ii1?-H6QO_

• ·S 5 ·3 1 3

~ (2 4)

.15

4 2

4

1 3

(2 5 1 3)

."......._

r

1) I

J

1

5

o

16

,~. * simile

-\ ...

"'---")t

::>-

- [

.11'

t:

POI'!: -2

5- (1)'

~ ,,_,," il
~~.;_
_._- .. r

!

17

Studie. Etude.

Technische Vartantenzu Praeludium m," Technlcat. Variants of Prelude III.

Do eseguirsi d pilt fedelmente possibileill tempo e caraitere del ji;:zo originate,

Ii 4 3 4 Ii. 1I 421212

Ossla

~5q

;aU plUff FQ

lin~: i

2 , ,

1 . :

Ii !i" 2 'J Si:.Ij, 2 1-1 I ~ 1

1I1111 r ... . .,;,. .;. i. .. .- -.;. >I,; - - "' . • .,,: "_ .o!
"-' ... v. ,...- - .
.12128 1 II r~
",J.J.".J .;.IJ.i"J x .. x-J..I ..... lix4~~~~ K".i .... r.fl. tt. • .- ~ ~ .
:
11 =i --I......I-J li 3

~. '€!t ~ ~ ~----~ . .
!J ~ It. _,;, .. I: ." ~ .~. t! ;.I .J ..... ..I ~J
-
"-' ...... ---.~
II
t 2 1 a 1 I 2 1 II 3
lxJ .. ~.!ttJ J r ~
..I.J I .J ... J x#..l J..l" ..I.J I ..I ~..1 ] I ~.1 .I. . . .,jj .I 1
:
,. ........",...l 7"" 8. =i - ~i - Ii~

I~~.j ~~~~~~~~~~~m

-~ .~: ~~~fI,iJtiiii~~'iii.'~iifi~~i~~~iiiij~Fl.~·

'f·.;1 ,,~

~:!, 1.) This study must mot 'be taken up until the or i gin a l'~ which requires what might be termed a "flring " tii'i'l'nil" eJteCutiori, is fully. mastered technieally,

A· further preliminary exercise Is ootained by transposing the latter into C-major.

HMO

I·

i

ts
t!
:11
)
1\\
Iii ,>
I~ ii
i ; q

II

I

!

II

'I :1 1]

ii

II

Ii

Ii Ii

!l

. H

18

8--~

:

~ ! .

~!."i . .. 1. .~ ~ - !! 8ii;---::-~·--·-i·-·~·;···~·J···-·T;::

- .. ,.

I

-.1 I

i

. J~_.~.-: flt:~k-' Ii.. -',,~' ...

.. .:!

x:;j ...

..

~: '

'.

~"'i
,

~

.(
{
~
('
; (
; .: \
J
{

I
\ Fuga ITI, a 3 . .NJegro: moderat9.1)

19

At first Smoothly 4Itd graceful"/:Y.; then with a gradual inlenStJ'icah'OII.

i {a/t2 3 t}
~~.~. 2 ~ 8 _,....., ......, ......, .:i~~ i -. .~
, .
..
. ,
..
I@. . - - ~ J. ~ "f'1iiiiIiiI -
7Ilp sempre tl/s!intamenJe it ritmo, ". (4- 2 !) 1-.,.
~ .
.
.
r ~~. 1ft} . ~J -~.
E.- "if'
er, nrasilJ15s (!I the !!tel/tel e. g., - • J I iF~r- ma oe'8 uall correct. Oth 'jJ

2 341J~

.4 812 4 3t

'5

1

3 45

2 f 2 3 Q+

1 21 3) ;;

.legg.

r.

poco pronunciato

. 1) Riem~8 proposed tempo-mark "Andantinopr~o.evole" might ~a8ily lead' to a certain inappropriate assitude of movement and expression very pl'ejudicialto' this. fugue in which rhythmical oulminatingvpoints apd strongly' marked phrasing are indispensable,

2J LIteral 'executton ~_., gir ~ I the rrext measure ill same way.

egualmente

,..._._.4 •• 35

5

Ossia

3-~ tempo

a

1 23"

--,,--- .c., - --" 4 lr

07", ace, to thcparaltel passage: =ee

3) Through 31/2 measures the key -fs _ equivalent , (on the piano) to F-minor.Thisidea will facilitate piay tng them by heart.

4) Here the downward leap of a seventh in the theme is. inverted to the upward - step of a. second.

21

1:1 4 2

: (6 4 1 <142

6 !. 1

. P:i) The autb,entic readings are bl in thelefth.md 'and, in the next measure,g21 in tbe right; not ~ and d th~Ol'~ and tn~orrect readings~-'~·

'·'·1·

i"

I ~ s

'.i

22

6)

3

231

• 1

! Execution:'

(5 ,,#.##. 1

3 2

en.

.fm br -;-

r

, r

S.2 t 2

."

i

2 3 4 1

\

(12 11 2 3 1 2 i 3 12) .

. , 6

.6} With the last 1 if:e measures the 24 sectiOll·~nd~, theY, at the same time, 'forming .the commencement ofib~' 'blJ "section (,f). Conitiinations of this .sert are not; uncommon ~n polyphonic forms' (compare, for instance, No.U of Bach's I n v e n t ion $ in the Editor's . edition, and also the middle movement. of· Beethoven's Sonata, Op, 109-,. ill

Biilow's . edition.) '.. .

The subdivisions above proposed; indicating . the ~atural 'boundariescWithin the' "developinent,~. ~_ be foup.d· to

. -have the satisfactory-proportion of. 9 :i9: 9 measures; it is evident, that ·themiddle section is' about' twice as .

Jong asdfuer "Of. the others. . . .. -.. . .

-, . II), the Editor's judgm~t,th~ third. pI:incipal· division '. now following· is' 'to be . regarded simply ~san ej(i.;.: 10 g-:ue,,, wherein all that has been ''Said oetore' is repeated & concentIiit~ :form; thougn tiletruecuntrapuntal development 'comes to, a3tandstnl. Henceforward," tlie prineip$!' key is, oh 'the. whole" adhered , t~;-ihe br,ief~tJ,tan./" lIIentmodp.liltionsru.erely serve 'to restabltsh its dommatlon more .and .mere," whe~by the .entlre 'conclusiQIl:at':'

talns to the' veryheigbtof ·affinilative.energy. . '. "

'('}Here the theme appears as if interwoven in, the flgurationof the bi"ghestpart;,nlodulation from thedoI]ii. nantkey to. that of the tonto: tt is as if theSoprano answered- itself in the key of the higher't:itt1l,anticip8tlng' any ;further . reply byretur~ingat the same time to the prfneipal key and' reaeblng' a definitiY,e ..close.' .,'

. ;. ,. .

These .two. lasimeasures hl" ~e,Soprimb. might be Skeletonized as fonOWS:#I·~6Frt:tmArr P 1 I

, .

28

Prelud-e IV.

-Andante sezloso, non troppo sostenuto ed espressivo.

- 431'2315,:-" a-I

messa voce

___ ('fw~ ~ ~.*~

(~ .. : .. .: .. * )

('fw ~)

(~ ... --~

" sempre. sostenuto

8

---

poco marcata

espress. _ poco pesante -

- 5 a ~2-

a tempo

3

-

r

5 - .... - --

"1~~

o

........_ 0-

8

. -.

cresco

__ w'lThettme :"is to De 'imagined-as bavi.n~ two heats - to the ~sur~'(J. X2) to prevent a- pO~llue ,drag-

~_. _ g of the: tempo.- . __

24

~J.I. ~ _4 3 2 1 5_ - 1 ~._1! 2 #J ~
,,--..
l .

< t 2 2 1 Ii! - .. - J
- ~~.- -, 1- : - - j. N ~J. I HJ . l !
Il ... ~d ,,~;,~. ~_ -=
· .
r · . 0
., •
3 5 r I 2) NJ.

3 fguallllellte j,' molto

largamenfe ('l£'ith large TOIu)

( fl J.I. ~ ::: == • - - I .

< It. - ....... ?~ .. .. - -
pOCO a poco cre8C._ - - - - - - f,mt't gr088em Ton.
.~ ·
·
,
. -
..... ....... To 4J" ~~o ..,j" ~ ~~ 41 ____ .~ 41, 11 fi. noco amen 080 1\ 1 ==
( ~J.I. .j.fo .. _ - j .Ill? --=------1
..
.. 0 0· .
-
.. . .
It. - ,. I I j~.
< .. ~~.I.._ .ten.
.Iof_ ft. r r , r r JoloJ r '1/
( · .
..
o. •
- T - r '.t~1 ~ 12
... ----:
'" ---====4 =====-

..--:---.-

fi

• •

-=

2) The measures between the two' M's are, formally speaking, only 8· melodic pro hHL.g It t io n olthe ea ~ dence.c, an interpolation 'somewhat in"recitative- style," forming In any event III highly effe¢tive-:def-ermeQt; ·an4 ,thus .an enhancement, of the final straln.. The movemen_ta~ originally conceived,. supposing this "I!arenthesis'~ omitted, may. be reconstructed as' below, pl{linly shoWing the internal conneetton of the measures, inilUe·lliatelY' preceding aQQ rollowing the l~t '!IDd 21] Nt respecttvely:

:' . m .. ,

.. 'm. Through the chastemelanclioly of these tones there. soundsca note 'Q_f . suppressed, paiJj, bursting forth onlyat . rare Intervals.c, a Pa s sian - like strain tor. Whose expression'a truly devotlonat mbofi-. and an "earnest cOD.ceptton of the full depth .and grandeur of Bach's . style, canal9flC. -suifi'iiil_:_--IngeniousIy d~vise.~ nuances.will not aVIDI; even 'mature artistic . powers cannot' dispense, with what is. termed, iir-oonUnoo 'parl"ance,U,inood;' "inspira': tion".It:· follows, th* the ni'arks' o1'"'expresslon and shading,which occ~r· throug:houtthe piece:'.ll.re· meant, .and.

can serve. merely as··sugg¢stiona,..,l,i.Jld not as absolute directions. .

11660

25

Fuga IV, a 5.

Gravemente e sostenuto, ma non troppo.l)

All

I:

t

I:

I

i

I; 1 j~

t I ~,

,I

l!

F

11

1i

, .~~ f+~
~., +t, T poco 'pesante 0 Jj. .-.. -*
.
I
If. ttl . t I. ' A 2 1 '"
< so 0 voce, mUl erioso 2
,~ ,..... 41 ... ..:,-_ I- 'j""'- ....... 31
f .
.

1 I ..... • , I ·B poco pesante

~~' +t S 15---5 5
\,
5 I
.d_---- M.D. tJoco
5 31, r~~~ .. 1'1
.ll _0 ,-6 • A.I·l.s " 1I ,5 4 .~ ! ~r--
·
·
" . '
'A 2 A 2,- \ ~ .~~ fff L--........:: r L[_r .r 12
~ -
I 11 21
I, 21 1 'I
·
\ ·

~' 1 1'16 '4 '3 [I 'I.:._- -I '5 r: r 3) 12 '4 ......... ......, r'" ,,_ 6~~- ~!-6

~ ., +t.' 5 61 »> 5 3 -- 4- 5~
J . -
If. , 1 , 1 -' 1
j' .. M.D.
4 ~ 3 (1 2)
~ ~ >If 31 2._ ~21 1 2 2 2 1 2 1
-.
!f. " 'r~ ffr ,tl 1- -f - , I~' y~
3 ---
t ,
... T 12 11/ ~-'
.
\, .
,~
,r r I r I I ' , I' " 1 - " la '14 _ J5 [t 1 4)
3- 1} The eighth-notes of the co'unter-subject~hould roll on ina tranquilv.stately movement.. to which th~ general tempo must conform.

,2}' The' couhter_'l'llh.tect_ , (ttc riN'l1 plays, in "the first section of the exposition, an important (almost'

i) b b I i.g'at 0) r61~:: Wllich IS to he borne in mind iilthe execution.

, 3},Wher~~~r a'moving part ttonches, in its." .eourse, a- t fed note in another, so th~t ,they' sound in, unison. 'th~note in' ,question,' 'is to: he 'struck again, out, of .regard for the .movtng P..ill't.

4} We' ~'Yminglf - ass,eitt to,Riemarin's vle~, that the .next 131./2 measures llldJ'pe considered as a second expo sithn, alnettopeinclilhplete in fact and effect on 'account of the omtssiorr of the,sGjuano and of the ll!i alt~~ In' place <M' these, .'If~wever, the- 2~ alto in this supplementary exposition brings out the, .theme t w tc e , this'2fl alto':" not tltelSJ., as Rien,.,ann asserts_is to b~,regarded as' thefinalexponeitt of

~~~. ,

Ey thep8.rtial notation of the. theme (In, three staves, the Editor hop.es to facilitate a comprehension Qf the contrapuntal scheme.

26

-, I) . .. J ~ J 5~
., .d~,w. ft, n"---"" 2 ..... .D.. ----------- ~..r~I· .. j 5 ri, 4. t
r .'
1~ 1 L ! ~. .... 11'4.13 f I'r b----
~ .u.~ M:S .. ==
:
t· If -6-.,... .... .. ... .. "'- ....All}t I#r{ Ii . ~ ~
..... ...... t
l(i;~ 31 4, . , ~ 6 4 I 3,..., I r-1 .~ I 1
~

r T - - - 5 5 ' °

fLu. .jof . 3 4--4 6, °1 ,..,., ·5 4:t ~1 .. 4f 5~1 ·,--·>1' A-
I
I·@. --, "If·· r . r:- f-1-2 . J1 i2 I r; ~3. ,~ 3 , 41S '2 12

- ,,-.. 2, 11 ,w.~ ~ . M.D. M.D.
-& ~. -& .. -
·
,
. r::-4 .1 6~ , "~ 1 ·2 .1 . ~.
An'2 _,j
I M.S. B.I) I) 31 I , J .1 IIj,J ·n r-nn-
·
\
.... I 3} I 3 Co'{nter_SUbj~·~ 5)

31·~)~

4, 4.1 ...J J J__.l ...J lj·J J.j ..J Jk 3r "T c .. 6
~j"j, .jof ., j 1'1
;/ .., _I I .J -' I
{ . .
, .
.. ..
-
r seJnpre me :J:Ja voce -:- An!·1
. .. T'J .. ftJ . ·i I,
-~. ftn ~. ----..
{ ·
·
-
~ ..
.--- 4 8· Iii 4 ----- ·3 Ef"sode ~
~ »++. rT'll 2 51 °1
( ..
.
.
:·--1, . . , .. ~ . i' r . . .,.. L' . I "~2 11 ._.
Itt - E.· >- .
< ..
:-;J ~.l ~J. .. ~*Jj"j,]tt~J.l~ ,
. L..- ~J . ·~I . 1~..1 .I l·inJ t Lt ... L.tl j~l ~ .. J
( ·
.. , . (0.1.)2 h-llJ JI·.l 3 ~·4~S ..
~,w. ~. 6-----"a-----_ 1 .6 .Il"
41 5 3 T .''''''£ t :j. J 1:[ .I . , '1'l.
, -
.'
i~ - A.!. . ~ - -, 2 . t .
~ ,.L -e -
-c, . _ ..... . ---- :' __ _. - , .
~ , ·
.. .. . .
..
·(o.i~· . ...-.r ......... -
. , ........ : ... ,'~. ".

'6) 'The 3 quarter-notes ·in the au ft~k:t (up-beat) of the l~c·otinter-S1,lbjeetr r- rar"e .'Vfariou~uy modified in·~e

course of the development; the chief. van:~tions are ~fI-# Ut1 Ii, fEll ;.l fietc~:

. ;.

(0 U)

5 .11

'4 3

.f! ~ ~ 41 .... 1 3 :"'~J :r; 41 3 ; • 4L:" __ ~ j J~I ____
~
, -. tr r'~' ___ : 1-1 12 ,._..
rt- I ---
--- ---
COUllfc; S1ilfit II. ;-!-, ! ~j*nl!: .~ ~ ~ ~ln~ -
__ " (O.I)~ ~ J JoJ 4.1 J, I .I
.r:: 4-
~70:: .
'.
j 'R ,,4 5 il' 3,4 5 .11 3 15

3 2 5

~6. (53)

<i 8,1 2)

6

(0.n.)5

I

!

I

j

I I

I l

I

~

~'

I

~

I

I

I

I

I

s~--~------~~~----~------~----~------

'marcato

3

, \

---

3

J I

Ii

1 IS

~J,jo:~ ,;.. '8 i I .11 i -, ,3 j i IS .11 8
~ ....• ,.....,. , i T F - ,,4
, ..
•
---
It! 3 '''''£ ,J 1:-' '-:-' r--'k ,I;t:: 1-:--) ,r;r'l I
dolente 2 ,:I,
< dim.
t ,'-:':1 '1 :lJ~1 - -rrrr j
( 01 i.J 1 I
.
,
~ .. f; J5 8 r -
- ~- ~: .

5 , 6) Prem this point Up-to theDoda.r the 1S] eounterc subject iplays an entitely'ob'bligat':o' role; i. e.,itbe.<l9mes the persistent t!.Pd: constant 'companion <if'the prineipal theme!

Lik~~is6'~obhligato up to the v e ry c e n d.v Do not make' the two staccato quarterc.notes :

too short. .. ' ' ,

7) Follow out the beautiful leading of the 1~t, alto,which takes up . successively the principal theme; and the' 2~ and. Isj, contra- subject. Also follow the bass at beginning of 3~ section; here the' succession' ls'dJt.

fel'ent. .

I 8) The chromatic imltatton between+soprano and' l~altp, coniJiienCing -here and continuing totheeud of I / the second section, should be brought out' prominently.

~. "

~ \ .

28

s

~ JJ,.I+ 4 I ~
~~ .
_-r:__u r r "~,~ I~ _I I I 1-& I r I IU _[ 1 J I r r 13 r ,. r r ~ r r

'IllP2. ce.l.) - 1 1 2 1 3 1 2J---'2
j armomoso 1 -- 2 3 _A_ -
( · '.
·
- - . -. 4 r 4 ~
o't'J 5 B~~ ~#~~ r ~_· ~ft ~_

5)

(5 4
~J.I,.I+ .4 51 --- !l; 51 .=::::::--., I 5.1 1 I 5
\I@
. - l i l' 1 I r r I
~ '2 - ::I ~r-.~ 1 13 I r I
.-._ . ..._.. 2 ----
( ---- 2 1 2_3
( ,1 ..:. ..:. - ----
·
·
~Irrrr irr r r r ~~r ...._ --- r


-~ 4 a -~
~~'! 1
fl.l#-fIo 1 -, 2 .J 2 aJJ J.J.~ J I.J .~ J_..I_ __J_'[ll j ,1\ --F-r:! r "1 I 1
( -

It, .._...~~ 3---4 8 5 2 V
~ 2 1 2 ~ 2 1 2 1 J~ ten. poco a
T ! ly-iJI j 1-& -
( · -
w
. .
I 'I I ra f- (i 2 "!"- - I; -
2 o

2~1 ~ ....,..~
~ .w. ft. 4, 4 4,~ S·
r I 1 I I 1 '* - i "I
,- . -
.
i@ f. -~ I~ '2 1 If\'r~ll .. ,I 2 --- I ._ ~ 1 I ~i I
I • tf,~ 2 1 ·2
pO~J /-30 e cresco ~I .~ -, ,d J -J; ~I-~J
-~ - . -- .
·
.
\ .._-- -IS 1 3-........... _ ....... ;.J 4, (a-4)

; ;'

5 .~ J nJ
/ .~ Joj. .1+ S I 5 I I' 31r-~
r .,
.. .
I@. .1 I...::J. 1 r ,.1.J..J . ~~3 . l 1 _l I 12 I ~~ 1 ----
3 1 24 :";.2 1 2 3 1- ----
)- pl:uf .._-- cresco _ - -
-- - -
-1 11 2 ~ 2 - t 2012 4-t
I I ""'I 1.- 1"'--1
~ ·
·
NJ - r--1· 1.- . I~~ "'-'-12_ 1- 15 1,- I F

6

29

fJ ~ flr. sr Igu ' '
marcato ~.,..j ~I S (4) 3 i
3, 61 . !I 4,
I
0'
I@) r=> 11 ' A.I.loen marc.f2 2(1) ""12 t-~ ,----
fJ~flr.. (;! ~) 2
f'TII'
t~ '1. H .. J::.-A.. r. fl ~~ if t r.H:*__.,,' . . ~._
. 1 2 < .'!J~J-_~- t 1.-
~ »::» J ~- 3~f ) 21 ..... :-- ~~. . N
· ...-..
---,.
1. B I ben marcato '15 3 r

5

4

fl ~ •. ~ ! I_:! j ·~15~. I . , 61 6, 41 61'-5 -::-:---.
~l\~~ ,
4 ~234 '3~3 4 12 '3 I 13--- ~ " t ~4 ,.
~
ten. 2 f ~ 1 2 :I e: esnress. 3 4 .,. A "
~
., .
@) -" - 0 /(~ 1;'''' '- .. .. _ t!.:... _.../ • ~.' ..
...-..~ ~ .J ~!73 T t .
t r:e.marc . ..:.. ..:... ~~.: '" \ ., ,., ,~ I.
·
·
II ~.~ 1"14 115'--1 ~;;" .u
3 4 r

(5 4)

~ u- ~. sl &, 1,1 3
5 5 5 lareamente '" ,
f.. 14. I:.J'" ra '--.;.. V[ ~ 14 J3~ f-I ~4 . I~ 4 Fa T2 ~4 3 12
I-- 4
. ~ J,j. ~ ~ . ~
3 2 2 ~ , . 2 2
. -
.... .~..-----' 4 ____ 1, .. ,."'9' r:;.J .. =-*__,__..... .. ~-- ... ,-, __
~ ..
LL sempre .f"o, 'I~" 01 .r ~~ - , 2~4
. 2..;-... 0 . _;;".
·
•
. ~
~---- ~--------~-------.:--- r '-P •. n~ T I I

1

(;0-) ( vol!) ifulrtolte)

(0

6

~.w.ft 31 .51 I":',
~ ,
..
II! I! 13 I 'A,vla ""12 14 ,
~~ft, . (2) (1) .. n I":',
.
,
~~ JCi . .... r:;.J •. 12..-. ~21"-': 1...--4 *--_/ . "":: • t.Jt-~ -t
breIt . _1 ..J J !l r.
broad.-; -L- J. . M I I .2 3 !"':"\<
I -I
· - r
,..
...... __ -~ : . ~ \;.,I ,

p:;,·~,mY·~ jtl

~~~

. m IIi this fugue we seem to be, borne upward, out .. of the crypt of a mighty cathedral, through the • broad nave and· .onward to rthe extreme height of the vaulted dome,' Midway in our flight, the" unadorned

l . . ".

gloom of the beginning, is supplanted by cheerful ornamentation; .mounttng to the close, the structure grows

in austere sublimitYi):et 'the presence of the' unifying idea is· felt everywhere, _ the single. fundamental mo-

tive leaves Its impress 011 - every part; .

so

Prelude v..

Allegro con 'sp'lrito e molto scorrevole

1} The rising and falling of the, figuration (in the first section) should be accompanied by a' correspOWling swell and subsidence in the dynamic shadlng-nuances.. which, being felt rather than.' a-u d i b ly ex. p r·e &'aed; 0

are too ethereal. for expression by Written signs. .

2) In view of the intimate relations between this. figural motive and that of the well- known A .minoi"

fugue (publ. separately) by the same . master

e x e e l l e nee _ should be' taken up together ecution of the figure, the following· trariscription the~fugue_ study is completely mastered.

its full share in the exoffer . few . difficulties. after

To the "positive" of this per pet u u m TIl 0 b i 1 e Chopin's Etude Op. 25, No.2, und the .14' in al e to' ~isAm:iOo:.r.

Sonata, furnish; '111e comparative and superlative, Of course, this comparison refers chiefly to the technica1;fOrm. 18l:\S to the musical content. of these pieces; so different in. many. respects. But aU.lll1'ee are alike tl), hilppillel"~

.~f conception and u.nit~' (If. mood. U@I\O'

31

1 2

co:.

: ."

Execllfi(J1t;~#ho1i1 chal1f[il1Kthe tempe (sempre allegro).

lH. ~

~ 3 'l'1i 3.

'l!w.*

I

'l!w.*

\

'32

'····~·"·······r· .. ·

00

r

Fuga V,a4.

Allegro moderato ed eroico, piuttosto Andante.v

,5

1) Th'e tempo may be approximately' determined by stating, that the 3211 notes of the Fugue are about equal, to th,e ,sixteenth- nCjltes Qf the Prelude.

2}-Take care not. toplay the dotted note too long, 0)' ,the sixteenth-note too short_,mist~kes to .whtoh teach-

.ers' • ears, .have 'long since ~wna'()clistomed1 not this WIlY ·,2 E±1 Q but 'so .~. ifr tal; When aeeo», ... 1Janied by the figure in 32iJ notes, the proper execution is sufffelently 'obvious.

N3~ Thanks ,to its rhythmico - plastio forcefulness and .the ~xceeding stmplieity of its coritrapuntal , construction, (note, for Instance, the carelessness with which the four _ part structure ishelJi together in the all section},

. this fugue divides the honors of" popularity- with its rival, the fugue in' C- mmor. However, it is none the less ,a eharaeterfstto pieee of the first rank,and finds most effective expression' in ,this fugal form.

, Besides this, the thematic relations between Prelude and Fugue are closer than may generally be assumed; 'their co m m 0 n h a r in 0 n i c bas is' would render it' possible to sup e r irn po s e the one piece on the other,

.(ofcourse, with some modtftoatlons), E. fj. '

I\~ + .. .. . ...JI. j._ c.OO. ...-=!,~
ItJ~" FUl!:a ==""'" ,- - .- _. .-==- - --J::I=IIiII "!"'""""'
,~ _,.. .. _,..' .. .,... .,... .,... ~ - .... '.-.~ ..
... " " ' ..
r etc.

t1680

2

34

Prelude VI.

Un poco agitato-, 5

allegro,

I) 3 2

1

2

I)

qU{lsi staccato 2)

5

5

fJ - .-!!II ~ 3 .,e.. ~,j.! .. ;.
,_.. ..J 3 2 4 2 1 2 4 2 1*'_ - • •
I .
. .
I@J '. -
, ('fw. :#) ._
-~ .,. ~ ' .
I .
2 ._. 2
- 3

3

5

5

a

2

2

4 2 1 5 3 2

~ 82 II

2

II

1) (The directions. under NQ-l, Prelude . V; 'are also to be observed here.)

2) That -ls, to be struck somewhat shorter than the treble notes, but not with a _dry tone.

lB. This Prelude is to be played nON legato throughout.. In' this style ot touch the fingers. strike the keyS elastlcallywtthout aid from-the wrist, and the finger which. is down. sprJnis back from the key before the next' finger 'falls. This style of touch differs, however, .from the true staccato in' that the fones, although separated one trom the other, should .have as s 0 f t and sus t a i ned a sound 'as the nature' of the case permits.

. A suitable preparatory stu dy to the foregoing is 'N9 10 of the two - part. Ln v e n.t j on s by B!lc;h (in theEditor~sedition); a useful aft e r - stu dy is furnished by. the Prelude itself, played thiough ... sevetal'.times wit h-.

j.IHi.7.imS:i:6U6.ii1. tH82;82. :a:~ . ? '8211'126 . ~ .

. ~.EJ= t#fflijJJ~ I ~Jj WWmt/! W.W I ¢Jj,

out using the thumb:

. ete,

At this stage, the' Editor considers it· proper to call attention to the. Importance of the. non legatO" touch, as the style in closest sympathy with the nature' of the pt a n o forte . In ·.it is to be sought.vfor example, the 'secret ,of the (:pearly" touch, which "Is based on the same precot;lditions.of separ~tedness,softness;)md . evenness. The legat()toucll-,favored hy the earlier school· is, in pOirtf.offact,. nOil-attainable '. oh- the .Jlfano.,. .

forte, even if-)n Isolated mstaneesc.au effect . be produced which is illusively' like a ' true legatoJ' .

\

35

._/

3 2

ten. 5124235

. .

'fFriedemanll Bach's ~~~~~I-----

Close ace. to. :§ '('f

I.:.J

The chase after+an ideal legato is a relic of that period in which Spohr'a vvioltnvmethod and the Italian

.. art (if song held 'despotic sway ovel"~he style of execution. There obtained (and still .obtains ] among musiciansthe erroneous notion, that Instrumental "technic ought to be modelled after the rules 01 singtng , and' that it the more nearly approaches pertectton,: the more closely it copies . this model so arbitrarily set : up'· for imitation. But the conditions _ the taking breath, the necessary Joiriing. or dividing of syllables, words.and sentences, the' difference In the regfsters .; on which the art of Singing "is based, lose greatly. in Importance .. even when applied to the violin, and are not in' the least bindidg for the pianoforte. Other laws, however.pro, . duceiother.; characteris"tic_ effects. These latter; therefore, are to be cherished and developed by preference, in ord'er' that the native vcharacter of the Instmment may make itself duly felt. In 'proof of the, stae., cato.natureof the pianoforte, we instance the enormous detetupment which' has come about, within afew decades, in. wrist; technics' and octave - playing', to receive detailed mention under Fugue X. .' .

:By regularly transposing the first. note of. each triplet into its 'higher octave, -thts prelude is transformed-In, to a modern Etude for. broken chords in open .harmo~y. 'IIi thi~"'for'm: it may (find should) 'serve as a preparation for the similar larger Etudes bX Chopin "a11d Henselt

36

54 <I

4 2 1

t 4 i 2

3'1.2

2.0

fi

4 S 2 1 S 2

4

jJocf[_.

·'i ..

------~

fi

4 .!~! ~4 5 2ft!!..! 1~j3 4 21 Z ~
~ . 2 323 31 2 S 2,j,f.!L 3 1!..!, 2 1L 5
--_ .12!.1_ft:':" _ '~"'.1~_ 3 .2L 5 31 I -
- .........
I '"
I@, 0)- - - _ ~.f' .. ~ T f""
#~ : e
~ L/ -ll . I
.
. . I "?; S)This .eadenee. 'sounds 'indisputably like it presage <If the chromatic runs so characteristic of Liszt'smusicr even the flower ,of modern chromatics Is rooted in .he tone-weft of Bach, as might be proved by numerous

examples. This again confirms the ;rernarksin th~' Introduction. ' .

In: conformity with -the. proposed "transcription" tn. open harmony, this cadence would sound best ~n this form:'

in the. p,receding me.J!sure(1ncluding the tie.d g_ in .the auftakt) (up.beatHhe original versionmaybe retamed.

37

Fuga VI, a3.

Andante espressivo.:

~_ .-- __ I 2 323 t. 4, - 4 ___...- 3 4, :::
I :~ 1)s· ~. I --- _. !t2Rt2a2

< dolce -y J b~ ..L ..t ~ ~ ;J~~~.JJ
4I.:"Tj-
.
• 5

3

4 ~_;__~j S 3 PflCO_ cresc. . ' ...

1 ~-:-1-2::--~1-- 4~

B dolce

1

1M.

t'i'et-Episode) elm

(</r)'

tranqu£llo

4- 5 3

2 5

2 ~.

2 3

(4 5.5 5___...

4- 5

2 1 2 5

1) In this Fugue, and. those coming after, 2 denotes the in v e r 810 n of the theme in the Soprano. (theme in contrary motion), V:: in- the Alto, .L = in the Tenor,a: in the Bass.

2) rt:.'heBass~ in this measure, should be conceived as ,a transcription (or rather a corruption) of the theme.; {ElF sg .

$). In each case, the trillbeloilging to the theme is to be executed as shown'In-theBxposttton. .

\

38

~ .- 2 _o----=---_ r- ~-.-- ---- ·s 1 -
-f - 2
j -- -;.,- "T
.. .. p
~ 1--1 -Ir U ] J~
j- ~ - , -tr ___ 1
·
· . -
\ I 'J I I J t1' l - _ ....... 4 15
3(1:123'13) B

II

sempre sostenuto :-...

1 3

B

1 2 a 2 - 4 3-'7'3 f ~ .
... !La ·l-.I~J .. of-I
fl 51 .. -- L I .J 1""""""11 51, 2 i 2 r
---
.- - - - - ·
.. ~--,-".
- ·
•
I~ I A:rt r'12 12 J I~ . ¥r --\ - I TIl rV4 ,. I~)

'tk:@ML f
< ----=- ~
-- J.
.. ~ -...-~ .. ":1i_ ' ... fTTII
I · ·
· ·
~ 1 ~ 2 -- 2 2 16 8 2 '1 2 1 "3
5 . . 4 U '4, \:,.1-

'4} Both of the two 4-measureperiods so marked (at the close of the development, 1sj;. section, -and the conclusion' of the fugue) are perfectly symmet-rical as compared one with, the other. The second (tonic) is an. exact transposition of the first (Domin). This method of procedure, - so frequently employed by Bach,is impor-

tantas ty-pical of the sonata - form later evolved. .

General View:

_ 1. Bxposition = 9 measures (the 'Bass finishes the period .a measure- before).· Episode = S measures .

. _ . [Sectlon 1:: 8 measures (close in dominant key)

Il. Development.] Section 2:: 8. measures (in 8tb- measure, alto ,begins the sf! division)

III COila. jSection 1 = 10 measures; .- - - . _ -

. -. lSection 2:: 6 measures (the first 4 Indentioal with the closing. measures of Devel., Sec. 1.)

39

Prelude VII.

(Introduction)

All gro deeiso 1) ,

e . . :t_': , .. -:=::=--- J - '
'~ r !J~ - --.._
~ "
!7 ~ ~~ I 1
.. f·2) ~
_; --- _
c ~ ..1- -- ---...rJ -.14 ~ _.j
- !1, "'T_ T 1
......
I caT- ,. ":"
---.. ~ .,..
7" ,. -
~- J bJJJ ~J~'~

,IJ 2
I -.. j J ~ -I ~ -
, , ~
r
.,
f I -. , ~n ,~
< .... -I'- t" ..,.. .,. ~
-- --- ..-.-- - ::::--...... -
I .
.
I - AndaJ)te.1)

i~

u

I "

i

~

Ii.,'

I

:1

"

I

i!

'i

-~~======fritell.

, alrer;itatzvo

1) ',The tempo- marks, and also the perfectly logic~i division of this Preluue into an "Introduction" and "Fugue!: fire to be credited to Riemann; and were, taken fron1his analysis of the "Well-tempered Clavichord!'

2) In the coming Fugue' we shall see this .figure . in sixteenth-notes utilized as. the count ercsu bje ct to the theme. S} Accordmg to Kroll and Bischoff, this1ied eighthcnote is not oj but d.~ This idea, however, appears equally contradictory to the .seheme observed in the foregoing 4 'measures and to our, harmonic sense, Which bears in

,this, figuration, the dominant seventh-chord of lA-major. Consequently, We write c~ in the place in .question, \

4) The' theme of the coming Fugue, _ and also to a certain extent the "skeleton" of its development and stretto,

are presented here in advance; this might be compared t,o a ehaptercheadtng briefly setting forth its contents. '

Ii Ii

"

i~

Ii

Ii

l'

I!·

il-

II ,I

1.;

40

~ :J "- 11
~ I ~ 51 41 31 ~ 4 Sr.
1 3 41 2 t 1::
'-'
•
tJ I I 12 Tl~ I--'" I 2 r'
: ~ Jl t~ - 0..t l. i1
-6 ~. j ~.J J -II:
• - 1".;_ - -R'-
.
. ~
<, q. 5, 5 1 ~ 5
4 .~ 2 1

5 . 4

4

2 I -II 2

(~ II I

, 1 - I I I I I I I ~ 11 ~. r.. . '1 •• ;;:- I I

t~:~~.~. ~~J~.~2 ,~~p~, ~J~"~.~n--.~~·~i· ---J~."!l.~JiJ~.D~.~ Mt..~Jg.;~n~·

·L-O.5 __ ~ ~5 4 ~ 2_· __ 1 .1 1

4 11 ~---------------~----------

5)

1

spoco rite»

4

5

espress, 4 2

1-

Tempo 11) (Fuga a4)

~ I_ • <0. S.) t '. 86 - - ~
<
I@. ~~ I ~ I:..~ ~ .'.~ ~'''''''_
- -
:OJi/ 3 -2 .5. 8 t~
. I • -
.
.
=r I

I' I

B

5) Here .. the fugal theme is quite fullypre~ented '? W'I, 4.11· r I V=rJI Its' rhythmic form, however, has still:

to undergo a transformation. _

6) Kroll and Bischoff' let the Tenor enter here. on A (in unison with the Bass). Riemann, instead, erroneously substitutes the A 1 to, making it skip down from el~ to a}, while the Tenor breaks off entirely.·. In reality; the Alto does not take up the theme. till- the. 6t!t measurer vat first, from its .postttcn, apparently' taking the place of the Tenor part it resumes in the next-following measure. the place in which it naturally belones. The Soprano does not participate in the 'Exposition of the theme.

41

Ii Ii r Ii

5 '* 3 (2) 4

3 4- 5

1

2 J -,..,,:_ 2 51--- 2
:J~"..1 T....., -----
f'l I_ I
--. .r -
i@: ~- ~ ~ ~ 11 jdo!cp -
fl')_~~
< J ·.dim . . J
L. • -----
.
. I 4 ______ C2 - .
. 2 ~)

4-

6

4- 5 4- IJ 2 5)

4- 3~ (4 3 1)

~ f I ___ 2 5
I
If, 1 - _l_ III; I ~f .; ·~~r---
k I --
- - :--- - -
:; r;r!1'" ~~ "JJ J ·nJ KI J"
J -..._j_...l . 1 ::l
.
I I I
'0 ~.

I.

I'

42

7)

.. .

1 4-

2 3 43

5

f.

T

6: 3

i======-

23f'l.42 2

. l1_-4

5

A .' H/,({'rc.

Tmnrc.

2 a

1 2. a

1"1 I 1 'tl _..l l_t_ I r l -- .. 2 J
)I~
.. -
~ _ '::1 I r A' r fi'll 1'0

\ .lm ·2_3. 4" " cresq_._......_· .. ···n~ -.
... _ :; ...• J-::! 11 1_ . :;. .r:r- ... .1 .J. T~ '~
I ...
.
0-
5 .- - 5 Th,e followiNg. notation ~ 8fl.cIRS-morc conformable to .the leadiNg: of tke jO-rfs .

43

'~!
;~,
~J 3
I
.
,
,
~
~
~,
D
i:~
~
~~
H
1 ... 2

... 2

(1 3 2)

.j'-.-"

1 2 t Ii 3 3

IQ 5
.", I . 41 S~ -\,:---_1 ~ II I
I .
I@: 12 1 12 IAI I "I JI I I[ .....
• . 1m"
lm~==-JJJ1JiJJ 9
l 3, I) Ii 1 i - -- .- --...
.
/!~1)-_ - 5 2""4 3"2 1 2\1
- (1 3

, (1 2 1)

5

5

fJl - I 1 II 21 1 9' 31 . 1 . r.-.
i@.. \._ (3 1 ~ f1) I~ ... 2
20 r 2'3' 5 3 :--..
Ii 1 2 .: V· -
1 .J ~
TI .J , -&4
"
. .
t-e- -eo .)
-...:.I 8) In order. to bring out the culminating point more . prominently,the Editorsugg-ests that a doubling of the Bass part in octaves appears not inappropriate. According to this view, the left-hand part would stand thus;

- -,..._ i' a~· )

• ji2 Q 3~_ ere 9 ~ y??J~or r.h.

'j·W~, F m:=~~ ,I ~ iW~

if - -=-,fo , '

;1

44

. ~

Fuga Vll,t) a4 . . Tempo ginsto '

t} j .
I
",
',~ oJ Po
< Pesante e ben tenuto , ma nOll "egnto 2
5 .~ 4 ~ • - .. n 4 3 2 5
I - - - - • 3
.
•
..... f

fj I
I r; ~ ra c..rr
t!~ i i ! r I r I r i ~i I
<
I ,6/'- 'n ~- "I..-~ . _ • • l_.
·
·
..... 3 5 2

5

~ I 5 .. I
I
\ "@. fUr r ~" t ~~ 13 ~/ v~- I.--r r:" " .
rU~ "'" ~" .
I .' _ - - .,.. .J _ .
I · .
·
" T 3 _

5

4

2

i) The more' sportive Fugue originally inserted here seems utterly incongruous to the Prelude, so boldly, outlined in conception and structure. Riemann's remarks confirm this opinion. Contrariwise, the E~ major Fugue in Part II exhibits, both in its theme and in the broad, vigorous. working- out , a striking kinship, ail "elective af- i' finity", to the foregoing Prelude.L giving birth to the fancy that we have, as it were, to do . with as upe r-

n u me r a r y ·d ev e 10 pm en t - sec t ion of the "Fugal Prelude" (omitting the ornamental -eounter - subject ).

The liberty which' the· Editor has taken in setting this fugue in the place of the legitimateincnmbent, Is justified by- the circumstance, t~atBach was apparently Influenced, in his arrangement of the series, solely

by the order of too keys. If the two' volumes had. originally been issued together (there was an interval of

20 years betweenl ) it is quite likely that Bach would have partly interchanged their contents, pairing se , veral preludes an-cl-fugues In a' manner'different from the 'present. In any event, the graceful, not very weighty E~. ro3joJ' Prelude in Part If, stands in a more sympathetic relation to tne . first E~- major Fugue than to the. second.

45

8 "

~ I I r--, I J j I I ~l j I 2 :I 6
I t -- 3
"7
t.:@: .
-. I· I I 'I~I I ,.. 1 1 1- r r J-L I r
--I ,n . .J-· ~ J/ ~J; J t~.J_ J. i l.J ~ J~.d ..lJJ
"' .
I ~. .
'\ .~ I mellofs

Ss

. -i

: .

: If.. OOmp.ariSO: of ~e :hemes in ; ,~ito~\J.pportthe· editor's optnton.

, !

. i

,

question is ealeulated

Fugue (from Part i llJ ~. j

It will also be. of interest to note> that the subject of the greatB~-major (.tri.pler Fugue for'the or g an .must likewise be considered as belonging to this

'Same family of themes. This subject reads: .

"-!'gl. "I, I! I r 1 fiE

in Divtsion I: "%, ;. .~. r T t ~ fir

and in: Invlsion Ill

even: ~"i¢'I,i:JW§t~· ~jJ~. ~]~. 1~I:l~. ~j, ~r-~@~f~' ~r~r~' .

(rhythmically identical with our Prelude.) An.obbligato o.o u n t e r c s u hj e c t in s Ixt e en thvuo t e s, developed 'in Division ill of the Organ-Fugue, Completes ·.theresemblance of the latter with' the·Prelude now under consideration.

We . are,UlEl:refore; fullyj1i$tified in. the conception, that these 3 ELmajor fugues 'form (intellectually) one

wor~, 'or at least 3· worklngs» out of.oile and the same idea .: 8.S 3 'branches from. one parent stem.c, a COD .. ceptioll"wherein . Baeb's inexhaustibility fs presented to our renewed astonishment.

As. mentioned in the IntroduotioD1an arrangeinent,of'thistripleorgan - fugue is embraced in thee-course of

study' mapped out by the Editor. .. . . .

'.2)" Wehiiri'i° ineefwlth a rare example. The second section ot" the executory part shows a point ofr.e st. This ?ecomesthe more conspicuous and effective·: oWing to the eontrapunotal development bemg vresumed with full .energy ... in the tenor part.

46,

4,

~ .. 2: ,.j J _L 1 J~J I I .......
f fJ 1 1 1 1 .J l_ -..,..:
\I@J . ab!ce~' I 1 ' I I .
tranquz'l! 0 e tnt!o le"g'ato
.t -- . --I- '-
·

- 1 - fJ f .-....1 r I 1 I J 1 I 1 1------1 _l I 1 I 1
~ I@J '1 I '1 I I 1 I 1 1 ·1 I I 1 1 1-
T'marcato !J. ! -. ~J
.' ~ 3 .".,2 ma dolce
-
~I J .,,_ __ • on.";' . - -
~ · J
· ,,_, .. ,_

~ • ~ 5 4 I, 14,5

4, 1

c, •
6 4· .. a 6 4, S '3) .
2 2 '- 2 '- a 6 3 2 1 3
r t.rt (A) 6

s

cresco _

3 2 1

2 4

1 4, 5

3

6

5 _

tJr I 1 - 1 I 51 6 6 a 2
' . " .1
\~ .
I ~ . 1 ". r _1 ~! f· ...... rr r/t r 'r >r-'-- --'-~jJ.
J t / cres~. ed. allarg. -~"~
- :J . I.... 'f '-..: ~I ,11'-1 ~( .:
-
t · -

-I -- I, .... 2 1 II -e.
. 6

8) TJu:l tollowtng; transcl'iption, whicli allows of .: doubling the Bass part in. octaves, is offered as setting forth .

. in fullest.' vtgor . the. characteristic ponderousness and Sturdiness' of this Fusrn« ~E

II .

47

Prelude VIII.-

Lento.

2 a 4. ~

('; 2 1 n

'I . r

dolcz:r;.<;imo; unncm'da

- -I

I@.

-] - ~ .~
'. . . e .
.
4"'" ~C#5 Y c poco espress.
! 3
l\ 4 \ / \ I . 0 .

.... 2' 1

_. - ~4=-- __ -,--_--,A,-4 ---:-,

IJomper- pedal

3

('; - " pp L2 $ r3: $1: $j:~ .h •.•
I; ] In' .itT:- !I";': rk.
. .
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IrT . -
It: .. I -.. 7' ~2)
. ,
c- voller -
1[moniO!o t~ r9' 1_ .L . I, _ -
. - .
0 .
.
" \ ' ~ .. wt'.\ ~ l~~\n't\ ~J
./ 3

4 2

f'l I .~ l::-?- J ~ i ~ c1r--!. 2 1
- ~- ,~
. . .
r.: . 3) IIiiiiiI 1 ~
~ .-
fIl I 1R!iflt broad to".!'
:
..
'f: ~- 1 l~ lq1 '$~ !ff .~ ~~ \,__' __ --If\.

\\--_-~~\--~ ~I

\L "~ ~t\\__ ~

I .____ .....:.-r •
..J.
5) ==- s corde

. i) Th"e rlg1;tt f'oot should -hold the pedal down for the time -marked by the h er i z. 0 n t a I ,.lttte,releasingand ~~ssing it as. marked by the vertical. and oblique lines.

SttggesUonsJor the execution:

48

non le/?,ato

5

5

~ I .~ 2. • ~ f. 3 I) 2 ... f 3 !.2 3 4 6_ - I .
. ~
. . . . . ·
. . . ·
L@, •
r Jpiudeciso ! I iii"""'" 6) - ,_ IiiiiI ~
dtITt. piltdim: .
I' · ma sempre /arga'lllellte si:-, .. ~
, ~. - . .
· . .
. .
.
\ .
.. -'; 3 2 15 ~2 5 I - ,,:"--...,' ~. non legato sensa Pedaie

(as.aboee)

3

cresc. sub/to

34-3 4

~I I . !!!!!!!I _. cir...-.. - 2 1 . f 3. f .• .,... 1 •• .2 .L::--. 3 i 2 _ .
- . ..
~ · . ·
· · .
· · .
I@, r I IiliII - ..... IiiIIiiia •
dolce 7) jdramatfco
t ~ ~ t':) n ~n fn ,I _.,
·
· .
I pp P »11' ~ «1._* , f

a'pp(l~~Siollato

! rz'tenuto _ 1

fi=-p

8} The l~ in the Soprano- ought fairly to "sing't; . give the niiddh:,:parte:XPl'es8io~t but Mas' prominence, 9) . The soft pedal need not be.vretaken till the entrance' of the "·m is t er i 0 s o", 3 -measures fur ther on,

·NJ. Thi~ deeply emotional movement, emanating from the in~pil'~tion· of a . devout dreamer, is 'Bach's prophetic forecast .. that in the fullness of time a Chopin would artse.. Whoever is able to look beyond the external form, or to" penetrate into the depths, will admit the' mysterious affinities subsfsting. 'between this Prelude and Chopin's Etude Op.25, N4? 7.

The exeeutton of long - breathed melodies 011 the pianoforte is not only . difficult, but poslttvely : n.n n a tu r a 1. In no case can a tone be evenly sustained, and a swell is still" less' possible; yet these are two : indispensable conditions for the rendering of cant'it bile passages, and 'impossible of fulfflment. on the piano .. The . connection of one sustained t~ne with a folloWing tone is perfect 'to. a -certain extent oilly "wh~n the second tone is strnek with~"a'softness precisely correspondtng to the n at.u r a I decrease in t o'n e of the first (4." PJJ) •. Wliile the tone of the pianoforte; by . reason of 'the instrument's meehantsm, naturally -mcreases in power and sonorousness in the d e sc e nd i ng . scale, the melodY'requires, on the other hand, that intensifications, as a general rule, shall be accompanied' by an Increase of tone-power when as o e ndi n g ; - but beyond a certain pitch .the duratlon=of : the; piano - tone becomes so short, that pauses' -and breaks in, the melodic:,'conttntiity are ahsolutely umavefdable. It ,s;-the function ofth~ t o ue h, to over.eome these .difficulties and to counteract these defects .. asfaI' as m~ybe. Toavoidplagia:ri~ation ;O;f varioUs nma~ksniade.; by Thalberg on this point, I 'quote 'HteraIly a feW passages from the Preface toiiis"LiAl't du

Chant'appliqu'e au Piit.no". This .. ccmrSe.appears to, bathe best,.in view of· the tact .that these remarks

ve noteworthy,- and yet a~~eady' forgotten. r .

49

~. I I._I 6 ~
•
t If. J-f .r'.~:Jy.~ I~~ ~~. $ .g;.' !-5 ~4 ~~
.lIP
~
:~ _l_ ~-;;:::::::: -- ~ ---
.
:::--.---- . mz:r;terio.flo 1 1<1 I J!""_ ~._.:X;

4

(5)' 3

fj . ~ .... 1,2 t 3 6 1 . .,..: !'.il 31 1 4 ~ .
I , 2
.
,~ ~~u 'u - ;~r:;.f I'~ ':.i ~- .1iiiI""""" ----- ' ~ / r-. ~ ~r
3 3 corde. ~ .. ik ~1 j
I .
" .~-~"# --- ::;_.;=-- ~-$ - ~
allargalldo 5

~ I r pp .-.!!!!II ..!.)) 2 1 .-..!!!II I =-a!!I U-. -
I .
.
.~ -----~~. ,. ,__"lSI- ___ "C1 ------ ~r ,,,t· p~. --: f--'
t~~ t~ . t~ 10) ._n.
~ ~
. .
. .
~
.,. . £J -r ..... aua corda

~

«1) One of the first requisites for the acquisition of a sonorous style of playing, and a tone at once run and adaptable to. all nu~nces, consists in "the attainment of perfect freedom from rigidity. It is. therefore, indispensable to possess, in the foreaI'm, wrist, and fingers, the. eminent suppleness and versatile 'flexibility that eharactertze : the· voice of a skilful singer. (See Note on pag. 35.)

2) In broad, chaste, dramatic melodies very much must· be exacted trom the instrument and as full a tone as possible drawnfronl it;· yet this ought never to be sought by striking the keys hard, but by takhlg them with a short .stroke and pre s ~ 1 n g the m dow n dee p with a warm, powerful, energetic touch. For simple,tender melodies the keyboard should be k n e-a d e d , as' it were, with a boneless hand and fingers· of velvet; in this case the keys must be f e It of rather than s t ru c k ..

5) Always: avoid in playing that ridiculous and tasteless mannerism in which the .melody-notes are struck at anef'aggerated interval . of time after their accompaniment, so that from beginning to end' of the piece the im~ssion of a eonttnuous succession of syncopations is produced.... We' urgently advise that the notes be sustained, giving to· each its 'f u II' ti me - val u e. To this end, especially in playing polyphonic oompositions, -a change of fingers. on keys already held downniust be diligently looked to. In this connection, we cannot too highly recommend to youthful artists the slow and conscientious study of the Fugue, as the sole method of training 'the hand for. the proper mastery of the polyphonic style .... · The performance of a simple 3 or 4-part Fugue, and its' correct and appropriate interpretation in moderato tempo, requires and gives proof of more talent than the 'execution of the most brilliant, swift ,and intrtcate pianofortemovement. »

The infinite diversity in the minute shadings of the tones, which is at the command of the vbestvequtp, ped modern pianist, is not applicable, however, in its full extent to the Interpretatton of Bach's "concert;" pieces'! The successive shades should follow each other in a more a b ru p t and unprepared fashion, like changes in l'~gistrationj·· In most cases, too, the sam,e shade of expresston should extend unvaried through. out an· entire movement,

The. method of marking the (Indlspensable) pedal which we have adopted for this piece is not absolutely binding, but will serve. as a poi n t ·d' a p p u i for individual applications.

50

Fuga VIII,t) a 3. Andante pensi so

tr

t t

II I ero ,non oppo accen a ~__:__ a_ -----_ .__- ---
-..
@., ;:;j f G ~ 11 -"
P messa »oce
5 2 ~ - I 5 2 e_ 5 t I
.
.
V . - .......
IV = __, ~---------- ......__ z-
A Bmfi'dolce

poco espresso

4 4, 5

3 2 t

4 4 3

t.

pitt distintamellfe ,

~l s 3

1

3 5

2

--1) Statedbriefly-,_ this Fugue is the most important in the' Book.; perhaps: in the~hole FirSiPart. This -.

.... .," ..

Isr-mentloned in order that. the 'player. may_ be aware, from the very start, of' the fun'momeB.t ,of the task to whteh headdresses himself:'

2) AC6ordirig~ to the Editor'S analysis, there are three, seetions ~thiBthe Development which, formtiivid_ ing-li~es; of these, that in the middle is nearly as long a~s the two others 'combined. 'Thus, thepropor-' tlons ale sirnilar here. to those to the development -section of the C# ';maj«>r ,Fugue (the tlrli-d' in this boolL)

",' - . .

Thegenetal analysts foU6ws:

51

1 4 - 2

0: "

-~ J -

2 -1 2 _1

4 3 4 5 __

5 4

Ii

5

4 I) ~~"'..l 3 2r-2 I ~L 3 ~ 3 3 4
fj f - .-.r-I..I J l ---l 4 r"'"'T I t, r T I _]
t it- o
0 0
I - 1 I ~~~ ~ >' II;". 'I I 'II
-
- ... -
I . :
e :
I
,- " - I 1'. ... I)

4 1

(solto)-

3 4 2 1

3

1

212 '4, 3 4,

)1 : 10 1/2 measures.i, Stretto to. similar motion. ,

Development II :22- measures _ Develnprn, and Stretto in contrary motion.

III = 10 measures _ Stretto "in both - the above varieties.

"I'he. tit I.r d division of the fugue -contains an effecH-ve inten~ification-of what goes before; the a ugme nt It t l-o n of the 'theme is here added to aU the devices employed up to this point, entwined in an tntrtcate contrapuntal .maze; the trouble of following out these combinations will' be richly repaid.L Special attention should" be paid to the, masterly eo n s tr u ct ron of the FUI'"~H~.

,.

52

5

8 5 a 5 4-

5

poco slentando

4 3

l

~2 4-

S4

2 .r--..tJJ)

2

1 2

1

. poco marcrrto Ii

1

3

Ii

5

25 • 1 2 3 5· 2mo1trJ 84)7)" ~

marc. II \.

. SOPRANO. .

:~:l~ T~~ =:;::~~~~;h~n n;:. h!~~:~~::::~n w:~::,.'~:~u;:7m:7~~mc) I~'~:~T~O~~::~:~:~. ~;~·~C~ .. ~~~l§oe§~~.:~·.~:~:~ .. ~~~:~;~;~ ..•

4) S,A, T, B denote the me in th~ Soprano (Alto, Teno~, Bass) in augmentation, (i.e. tbe time -valnes of the ~otes are doubled}, The appearance of the theme in. augmentation is' indicated, further; ... more, by a horjaontal bracket .~.

53
2
1 J"
1
1
1 2 1 211 1 4.

3 J.

1.__...1 3

3 1 2 3 5

5 2

4 3 1

3 1

s

. /'-m-d-ro--~~~'----------J~·-

marc. •

I
~ 2 1 .3 2 1 4 3 5
!
I 3 1 i2 4, B
4,
1 .. /"'>.,
OJ· 1 ; 3 \
1 1 2 3 3 4, 5

J~ .1b~
I t\.f I
Ti
..
.
2 1 2' '!: 2 1 2 1 ;!
.11 a .11 5
4- 3 4. 11 5

-2

L....L .r ~'.;~1 5

1 3 '5 :a1largando _

Ossia 1B'3 3 3 a

54

"The Well-tempered Clavichord"

by

JOHANN SEBASTIAN ·BACH.

il I I

1

!

~

I ! !

~

~

1

I.

I l

Revised, annotated, and provided with parallel exercises and accompanying directions for the study of modern pianoforte ... technic by

FERRUCCIO- B. BUSONI.

Prelude IX

•

Part It.

1 . .!

t ! I

I

I

.,

j

I

I

,.-... ;.

-----_

.

5

5

1) In this passage, and analogous ones, the sign ....... was written over .the note. The wrtting-cut insmaJI notes shows how the sign is to be understood. 'I'he-unfoetunate necessity for· suehipedanttc minuteness Was recognized. . by BUlow, and still earlier by C. Ph. Em. Bach, fromwhose "Essay on the true .method of playing the Clavier" (1787)

we quote, in this connection, tbe following remarks, wh)ch are quite. as applicable to our own time: ...

!:All embellishments indicated by small notes belong to the following note; consequently, the preceding note must never he "robbedref any portfon of its time-~valuefa!ld thefoUQWing note 19ses only so much . as 'tJ.l.e~maU . notes call for~ This observatton is the more pertinent, the .more generally the rule is disregard~d ... ;· From this rule It _ follows'; that these small notes, and not the following prtnolpal note, are.tb. beetrudctogether wfthfhe bass or the other parts. Through theIil. we glide· ("slide"l.J.ntO the following note; this, . too, is far too. otten. neglected .... Howeversupernuo,!s~tmayseem to insist . that the other paris, together with the bassi should bf struck with-the first note of.:any embellishment, .itis, nevertheless, a rule which isyery often disregarded". (Part I,

Chap. 2, §§ 23 and 24-.) . ... . .. . . .

2) The ':poco ·ritenuto" before the -cadenoea in B-major and A'.maJ0r. must be. treated with the utmost taste and discretion; the given fingering .is the natural one fOJ;"the- style 'of touch required here,

N,B. Bach, after touching, in the contents ()f. Pari I (according to 9ur edition), the ])rincipal 'degrees i~the seale of musical. feeling, and·· giving expresston to the heroic, melancholy, vehement, rerleettve.. and . humortsttc moods. in a form which likewise' gave full scope to the technical virtuosity of' his time,presents in this; .Prelude,for: the first time, a.picture of idyllic' oolor and tender simplicity of -expresston, in whose perftJrinanoothese Same at·.

trtbutes shoul d be reflected.· . . -: .....

What Biilowsaid aboilt Beethoven" with reference to his "J)iabe111VariatioDs", maybe applied, wi~h equal appropri-

ateness.to .thls wcrk.'!is:?:"-#lt61~:we see hi it "the microcosm of Bach'!! genius"~· .

Copyright, £89~. by C. Schirmer Uno.) Printed in the U. S. A_ Copyright rene~al as#g~ 192~ tQ(1.ScMr_mer. (Inc.J

11661

55

slJ'JIIpr_e tranqu17~

elegnto .

•

s

13

2) poco . rz"ten. _ -. ~ tempo

.~.

.11 un OCO sosteil. 5

,,--..

5 5

Fuga IX,a3.

All t

no» legato. mi:amente

I

~~a· egro gIllS. o, . risoluto 9 :1. 2 "
I') 5 1 _3 -
::::- 2 -. -
.
1 I
I' moluto2 r: l~
-= ~
·1 Jl ~ 5 2314
.
. .
, .. -.~. .... i· 3U ., .- - .- . ... - t. f~
--- .I

~on legato, 'lJ'l'Camente

. 4.

18452

·r

Hill

Pi 11

\

I

1

'! I

.1 j ,

i

!

I

I

t

1

scorretote

~J.I,+fo --- _- -- _ ~ _-~-
\ ._
.6.' '----~
u~·~8) ... ) ffJ~f;~~ oreso.
~ -J ';1 j it::: I ' ';j j
j r-~ r-
·
·
._ r r 1
""1 . r rrr I I r 1 j r r I ..J
. . . '!"""'" . .
. . . . :- . . - legg.

2 2

2 2

The defect in the (otherwise .elever} 80- called Chopin fingering for chromatie scales ·inthirds is fo.und JB the twice - repeated employment o.f the thumb on thevconsecutive white keys e -f and ,b._ c. Certainmodernpianofortevirtuo.siavoid. this difficulty by sliding, with the second finger, from e~ to.e and from b~ to. b ...... an expedient which perfectly answers the pU'!:pose, and which gives an absolute legato:

. lJ or" re<~"trin",erin~: 'i + t ~ . _ 8 +. oi . r

In-minor thirds: 42&1 fU~lswj#!mi ;-i~'¥'i

•. '. 3 # IS # 8 . oi 8 '1.8 4

· Chopin fingering: '1 2 1 2 V 2. 12 1 2 U

+ +

In descending, the second finger slides down

certain casesj for instance, in the fo.llowing: venient.

4 r; 3 4 8" 8 4···1i 3 "4 + 1I

In maj or thirds: _1 bJ ~l ~j _hJ fli ijh'r §'r ~f"

and from ej to. c. The fifth finger,. too, may slide in where the o.rdinary fingering~. ~ tl ~ proves Ineon-

it becomes evid~nttb.at the second part of the fugue does no.tbegin,in the soprano. and alto, tjJlthe fo.urth eighth-note" of . the. measure. The Same is true of· th" bass at the begtnnmg o.f the third part.

S) The different types of character exemplified by the three parts, should be brought out here 1)y the employment o.f differen.t .kinds or toueajthe figures in 16th-notes in pearly fluency; the counterpotnt in eighth-no~es, light &!l~.detached;, the middle pait as sustainedly as possfble, and not without expression. The same holds good_ ~ting the exchange of . their roles_for the parallel passage in the' third partymeasures 4-7.

'i !

L~ .

nach Krol1:. EJ" ~ ace. to Kroll:

I ! I

! I. !

2 .II 5 8ten

~ ~Hf . r.--,
. - ...... _ T .:.----:
I~ ~~ L ~ - .fo
I .. .... 5) _.
• 1·_ - /" _- ._
I * .
. , .
l r ,. ~. j #i -.... ..
II 4) By the rassumptlon of the alto figuration, the entrance of the: theme in the soprano.rsuffers mutilation. Hence, an' . alter.ati.·on or· thls passage, .. mewhat a~p I:~ ItJll It iB, however, inexo".sahle.that Czerny, .. without

follows, would not be wholly unjufOitifiable: ~ _. . ~ i further ~eremony, makes a similar change in the text.

6)"Some persons with a mania f~r emendation and a horror of parailel fourths (hut not of any piece of pre. s"timptl.l~usneSS)'.hav. e smpotl1edout. ,tbeibird. {~ a ortme «n the gre.ater, .because thi-s passage is to beat in the last meas~r.e but one as follow~: l~ he understood thPmfl#calty.

In the counterpoint, the realm of individualism, anypart which 'has anyihing to say may go itsown Way" To this Plinciple,Whlcb aJfurdsan explanation of the "harshnesses" in Bach's music; the master adhered by preference.

1.B: The piece requiresa fresh, lively,"solid" style of execution, with an energetic and charaoteristic marking of eam eri~ce Of -the theme .. Aretardation of the tempo at, the end of the last measure but one, is unallowable, as repugnant to the SWleoftheplece.

U6St

'Prelude X

Sostenuto,"quasi Andante. "') ..

58

'I"l J,j . tfuto, Cfltltfllldo. 1)
~I 1 1...1. 1....1 1....11 I I .... »r:": =--
I @ ~ ~ r r
I. "-;., . - _ ---.... -r: _. - _. .--1--. ~ ~
.l'" •
. . J
.
~ - - - "ffi.·* 'fw *

, ·aolce~ egualmente. .

.~

sim#e.

szmt'le

e 1) The forte which Tausig requires, in ,aU the parts, up' to the. entrance of A.,. minor, applies really, . in' the main, to the' soprano alone, which is in the true sense of tile term a "singing" part (for this point we re.fer tnourdetail€~ (uscussion in the N.B. to Prelude YIn); the inner 'parts should be struck more softly, and as 'per/eellgisaliil(jlot broken)dwrdsj the bass figuration should flow on calmly and evenly; unswerved by the : changing emotions of the melody. The eapressio» (we have abstained from using. the, in, this' case, .insuffioie'nt expression- mark. e8"]Jfest."'lfJo) . rises, at certain points of this grandly and. broadly 'conceived melody, almost to jiasston. The piece breathes melancholy, but not 'sentimentality or discouragement. There must be no fond pining away, 'no' sort suspense, no lib~' gering. For the grieving of a strong nature finds expression in'very different tones from that of !t1anguid, l;IickJy soul. Make this dlstinotionvbetween 'Bach and Chopin, even where the former permits transtent-repose .. to ~he 'full energy of his powers;· here it breaks out unexpectedly, like' a fountaln of living water from theearth,.iike thf. ,flame of a hidden fire .. This sudden reversal of the 'mood (or, as one' might say, this outbreak of a: forced and desperate humor) does not allow the player to use the two transitional measures at' (3) for a carefully worked up , crescendo l-interposed between the contrasting passages;' he . ought . rather to retain the first tranquil tempo

until- immediately before the Presto." .

2) Carefully observe the 'rest between trill and after-.beat;this peculiar, and very expressive- Interruption of . the melodic Iine was misunderstood even ,by Tausfg.

* The figures in 16th-note" should neither be hurrifld over without expres!ilion, nor pathetically .retarded.

11661

) ,

t

59

. ten. ~.r-_--

. ~

,.

I - -- .0
1'1.w. .-
I --...,f .. "'fI=II I
I --, --. I.J. .T 1
liiiit
-.: I I ",. P I -
'" V I
'" .~ I .. "
I To
..,..,. ... - •
,z •. .- . . -
-. -
--- ...... ten.

-

-

~ JoIo ten. poco olritato

I

~, 7

.erMC. _

"7 ....... - _-

·1

r' "",. 0 I ...

p'- .-.

~ ..... ~ .. ..,_ .... - .......

ossla fortes

~ JoIo--.,1 - 11 ji:p
LJI.:n TT 1 r'T'r11 I 3) ..
~ -- --
... "( I .T .P I. -
'" ~ t : "' .. -
V I p; ~ r
- .1.. .. p tranquzl10
. -:._.- tJ. -._;_._ S ... -- _._._
. -
·rr ......... ......... -- .~-
...... ,~'. 60

,

- -
.~ ,j,j. • I lot...! ~ Y , I!!i!!!I!!!!!I! :::::..,
\ .~ 2 1 8 281 2 ...... ..-
-
< JI _____
~ ti -.-.~ ~
- -
I ·
· . ~-.
- .... ........ <; ...,.~ ~ . ~ ,j,j...-....- - - .. .•. .. --;.. .~ .....
-
~ ~ ~. - .~ olio- .,-. ...
p-
o
.- _ . _'. .... ."... _
·
·
,-,r'---!~ Jt ... ' .. ~} 8 4) Despite its altered character, the-oontents of . the Presto are most intimately related to. those of the slow . movement. On the one' hand, the 16th~ note figures: area direct continuation or the former accompantment-mottve, on the other, the two parts have the inner bond of an harmonia bam's c(YJJtJJlOn, taken all in 'all, tl1 both. Thus~ the first- four uneasures of the Presto 'are (viewed harmonically)' a transition into the subdominantof the opening measures of the. Prelude. Meas. 5-7 of the Presto contain a "contraction" of meas, 1()....14 of the Andante~ in tIle original' key. Ih' the Presto, meas. 8~· 9, and half of 10, correspond exactly to meas. 15~ 16, and half of 17, in the preceding movement. From here onward, the ·movement frees itself, from harmonic constraint,and the tempes-, tuous 'sweep reaChes a climax in '3 cadence-Iike organ-point. This last ,effect, no less than the typicalfigurate half'-jneasnre motive with its eonslstent repetition and peculiar -phraslng-es an auftaxt- motive.wivrdly remind us of the C-minor Prelude (NQ II)~ which we advise the student to repeat as this juncture; whereas' theslmv part of. this piece' has a yet completer model in the middle movement of the "Italian Concerto", which may be introduced here as a valuable l.ide-study:. (Compare "Appendix" on next. page.)

U66t

61

-

(tenJ

- ..

... -

-

I .

-

-

- ..

..

.. ~ ..... -

-

5)

5

II 5) By a doubling of the note-values, in the closing measure; the Cadence would lose nothing in energy, and might possibly gain not inconsiderably. in firmness:

let the: player decide, whether this form is not more congenial to his. rhythmico-symmetric sense, than the original one, and choose accordingly. No compromise (in the shape of an indefinite "Allargando") is permissible. In either case, the tempo must be strictly observed.

Appendix.

From- C. Ph.E. Bach's "Essay on the true method 'of playing the Clavier". (Part· I, Chapter a~)

§ 7. "On account of the want. of a sustained tone, and of Ii perfect crescendo and decrescendo, which have been not . intlptly compared to light and shade, i~ . is no easy task to execute a singing AdagLio on our instrument, without growing tedious and showing too great simplicity through chariness of ornamentation, or beoomlng indistinct ,arid rtdioulous through6vermuchembellishment .•.. The golden mean is hard to find, it is true, but not im";

, Possible .... But all these graces - must" be executed hi such a rounded and finished style, as to make "the listener think he is hearing mere plain notes. To this, end, a' freedom in execution is necessary which shall e.ll.~ elude all servile imitation or mere mechanical dextertty- One must : play from the heart, and not like a trained

: bird. '

§ 13. "As a musician cannot move others without himself feeling· emotion, he must be able to arouse in hi.mseJf.

all the emotions which 'he would impart- to his hearers; he . makes . them understand his feelings, and can in,this way best excite them to sympathy ... ~ Thisbecomesmoie especially his duty in pieces of an expressive cast, ... in playing which he must feel the same passions that moved the composer when penning the pomp osition" ..

It will be seen that these opinions or the younger Bach are in complete accord with those advanced in the

N. B. '8 to Preludes IV and VIII. From them, therefore, the latter reoetve confirmation, and are set by them In

the right Iight,

FugaX,a2. Allegro deciso.t)

62

Coutder-.WlbJect 3)

~ ,Uo ~ , '! 3 8 2 2) ~. '.
. . . . "
,
.
~ - . 1l .4 1 28 5 21 ~
~ fi non legat(J, dlstilltamellte") (1 5 3 .. 2 2 2 II.! 2 8· '8
1) .',Uo:.:. • .:...1.1.' • L' •
.L .
. •
~ 1

1 8 42 1

Jj, 25 S

I'l ~ .........,. .. ,_ ... ~ -
•• •• • ......_
0
.' . - ,..........
~ >- '. • .u.:.. .1. 0 ••• ~~ • .,. .:.'.,Ij.- ··,L e, piit legg-tero ~
1 .. ~. .:..
. .
t .. 0 0 .
- .
~ 2 2 8 3 It~. 8'7"n I I 1
--- (8 1 4, 5)

8

fl J,j. -
I -
I . 0
, .
~ . ! . 0 "l '~. . . v.r~
~ . . -.......
- I ...... ..
l . ..
~
. ' . .
fa t -, ~ . . . . . 2 1 ...... ...... 2 1 . 'ITs 1 - 51

1

5 1

t~.l) The Editor is very sensible of the diffipulty· of finding the correct interpretation and explanation for 'much which is left, in this work, to .intnition;_ especially in view of the conflicting opinions already advanced.by -eminent anthorities, each of which merits full: confidence, and which, are, nevertheless, wholly irreeoncilable.While Riemann holds !hat this fugue has, "on the whole, ,a contemplative character", Tausig expresses an' opinion 9iametrteally opposed to this by his expression; mark "~llegro con tuoco"; and- Bisclloff differs from both; choosing to expr,e~s his idea of its interpretation by' ''Allegro oaprteoioso", The Editor .inclines to Tausig's~ew, but for the "con fuoco" would prefer to substitute "deciso", He considers that dynamic refinement and variety are of less importance than a transparently dtsttnet executtonjor the figuration; forte, with light and shade approprfately distributed, should prevail throughout. . . .. 2) It se~ms to the Edit.or that both' of the final eighth- notes ~ also belong to the theme, although Riemann.

pl;lsses over tbis point, in silence. . . '.' .

8) This fugue' surpasses. all the others in simp licit.} .

It is the only one in two parts; eontams neither inversions nor stretti;

And abstains . from a manifold variation of the: counterpoint in its consistent retention of the first counter-

~~ . .

t (:

I ~ t t t 1 j

.. "The vivacity of the Allpg'l'fJ is com~ClnlY expressed by detached notes", _ C. Ph. E. Bach. or- Compa.!"" the N. R to Prelude VI.

- ,- fl6et' . C '

11 r le

g.

r Is I

,

r·

I n

~r-

63

;1 ~4) • 1..- >-- ....... 34.3 25 i~ ...._
...
-e.
r't' .ft· ~ .-
!i ~
_L ~ .11-. ' .. >- -
_u .- .- .- _Ll. .- ..-
I-Z:'
.
"T .
l" 4 5 3 2 4 5 ,:=- - IIIIIIIIiiiI
4 .." ,2 3 1 4

18 24 s-=

~4) Our scheme of division coincides with that ~f Riemann. However, if we take the circumstance into consideration,that the .~ext dtvtsion and iheOlle aftee- it are a:' complete {Nut faii/iful "'epetiti01l of the first two divisions (at Jeast as regards their form, if. riot the. harmony), and that these 19 measures actually contain the contrapuntal inv'ersiQn of the mat 19, we are· led to the conclusion that here. the traditional fugal form is· not present, IIlI,d that another, corresponding . to .. 1!he . contents, is adopted. Indeed, the Edltor has .long been of the opinion, that. every _ theine Or motive creates:.... aecordlng \, to its length, style;' or character _ tts own, individu al form; . and that the .rules . prescribing' the adaptation of 'new~deas to received' forms, are wholly hurttul, It "is to be hoped thb-·the··· time will ·co~.wher ·the.fughe and symphony will' be regarded .as the perfect flower of Bach's and ~eethoven's thought;b.uJ;. not, !at the same time, as·' the loffiest aim of the modern . composer .. For, when new hl~as are demanded, unusual Jorms .. should not surprise. . .

. We takethe liberty of. adding; ~ comparative view of Riemann's scheme of division and that proposed by the Editor';

. . ruemannr.; ._._. ,._. __ ,_._.~ 'II ~

Number of measuresr.Li.; . 10. 9 10 9 4

Divisions: .- -.--.-.~.--.-.-.I-...__---+------:-+---,---t--_;_--I--,...-.,...'---1

As .proposed by the Edit{jr:.-.---.,.,"--_~""V" -..J'-- v- __ --:-~

T

II· (Repetition of J)

tIlel

64 - Appendix to Fugu~ x.

The Editor proposes to transform this fugue, by doubling the soprano in the higher octave' and the bass in the .:1 lower octave, into a Study in Octaves, the usefulness of which, on account of the peeullar structure of the .fis:ura- I

tton, should' be verY great. . .. 1

Though the role of octave-technique in modern piano .. playing ".is a-very -prominent one, and in 'spite _of. the i

many extant methods and examples, but little has been taught or written 'concerning the. mmlnPr in which octaves I ~

ought to be played.. At this juncture: therefore, the Editor. considers- it appropriate to. offer a few remarks on the 1

most important points. ,!hese are: ~

1. The position of the hand. The back of the hand, together with .. the first joints ~f the fingers, should' • form an even, nearly horizontal plane, -havlng' a slight downward inclination from the wrist. The three middle fingers, which are' mostly- unemployed, should be held in a loose group, 'with thetr : tips drawn inward, "10 that the disagreeable scuffling across the intervening keys in the' octave may ·be avoided. While the wrist .should move with perfect freedom and looseness, care must be taken to keepithe thumb' and little finger at exaetly' the rightdi stance apart!· and in. position for striking.

2. ThenlOvemEmts, of which there are three:

a) The .. striking of- thekey,_ a sharp, decided dottmtl'art/ movement of the wrist. On this the Editor wishes to fay special stress; while the 'rebotlTlti of the band from the keyboard should be' i1t'IJollJlda'l1/, effeeted solely by the comhlned elasticity of the hand and the pianoforte-action. (Though the above appliescbief)y to detached oe~ tavevplaving, the characteristic element of ootare-teehmque.fhe principle therein contained Is equally applicable to

the subspecies of the Portamento, If'/rnfo octave- playtng.) - .

b) The second kind of movement is that of the arm. It 'js . the" function of the l~tter to follow the hand sideways and horizontally, and. to carry it over the place where the 'down - strokevls . to be made . Tbis renders it~ossible to strike the keys vertiMI1.1J and exactly .In the middle. The movementr.of the arm, which prlnelpally affects the forearm, must likewise be- perfectly free _ and loose .

. e) The third kind of movement is the turning"' of the wrist, carrying the hand with it, to eith(lr side, the arm remaining quiet; also, the slightshifiing .from white to· black keys, and vice versa, .. The. fOrmer oconrs when the distance between the keys'. to he struck is too small to requir-e a Flhiftiilg' in the position of the arm, fur instance in appoggiaturas, trills, or In- figures . revolving abo~t.& central tone,p, g.

l4£mmn1~~ J~l1'

'.~.'

Position of hand; on central tone d. on central tone g .

. In passing from white keys to the black keys lying further back, the point where the key is struck should be so shifted as to carry the .hand grariualJy from the edge 'of the . keyboard to the middle. For example, the

WlQ' which the hand would take in playing the octaves:

night lie represented about as follows:

D E f#

In such eases annther i.rule is to be observed, namely,that the Wrist i810 remain. at the same height for striking.,' both the white and the black keys, consequently, the fall of 1hehand is less fortb~Jatter than for· the former.

Above: all, however, the player must seek to acquire an . equal and even st~oke both in' tone and rhythm, and

an I'Qllul POW(!1' Q/. toue i1~ troth. notes Qf the octave. .

Finally, one' of the most important points in learning octave-playing -is

. ,

. 3. The Phrasing,"'·_i. e., the grouping of the- tonee ot" a passage in .conformity (a) with th~ musical motives, (b) with. the position of the notes on the keyboard; or (c) with the-change in the direction. This grouping,how.. ever, should he audible only to the player, and in public performances shobld properly form only ~ mental,not a physical, factor.

'" To the best, of my knowledge, this valuable expedtent.L'whieh, besides', is entirely independent of the ~1Ilu.n"c(J1 phrasing_has n.ot as yet been theoretically exploited,

US6t

: I

i

/ .)

65

.EXAMPLES:ut N-J7] J :Jmal I Taken thus,each group requires only a simple .sideways movement (up)-

e; It..__......__, - ~ and the easy suoeesstve seconds are .retained.

(S"rh-T,,"sil<) -

~ on the contrary, would j'equire a - twofold shifting.,of the 'hand, and exhibit

The phrasing: ? ttl J JIJ OJ) J. Uj Jj I an ascending second followed by a descending .Ieap of a' third-.

In the -following i~ J~ the upper phrase-marks show leaps of fourths and fifths, while those

passage: iJ#5 2~ below give successive seconds.

- ifid;llc" way. ' (um) .

The example quoted above, from Ohopm's Nocturne, is to+be phrased in such a way that the hand- remains, i~ ~ach group, quietly over the same tonet ~ #/l2Wf!:tlll 'Yhereas' the following.p'assage: ~ can ~' best. executed, as markedahove, by letting the hand . ~Iide easily between the l!!l and 2D_d tones of each group, from the black key J ~o the white one. -

Further examples in phrasing (all to be imagined in octaves) are:

To a)

ttr,r- -a""--r-ii ,srtr!l_!f~l ¥h!1 iJ Jii! Ill! lJlM, I ~ 'h ¥5 til I IE hE 'r IE I I 'UL~ 1@i!1

To b)' '. - . (US,t) (J.lszt)

3 -' .--::" 4 . 5 down. .

. ~ ~t=~... ~U1 .' . ~tG --, , ',,' ..

'j! hln"0& rfE r Fb F 1/\3 IJ n a r r r c tl£3 ,IIJ&I',.~ lYE r r f k &cf E_ J j r } I

~ ~.::_, . ~. w "----' ~.......,.. .___. ~ ,. slld BI k ..___. ""="' '''_'~ iii '---' W ~~

_ . " I e. .. Wb.k.shde ..___.

6. ~~ 7. ~~ ',8. .9. ~

4 . ET.JjfJ I j ., EP -~! If i£Md J:£ 'w I ,J I f. FiE =!J bE1fJ.7 I .~~

. ~ ~ mk.kp.YS~Wh.keys. Blk.keys. - BU_ Wh:k.. Bl.k. Wb_k._ .

L --=--r:'i" (Usu)

15. 16. L

f\f f r -r Err 'e r r f II ~ t>ht' or - f r

rr t

ocentre.i erR' tone c_ -

LriiJ ~l .11

up, dmvn~ eentre-tone d up.

(Rubinstein)

Now, applying these principles to our fugue, Wf> obtain the following result:

etc.

Even' should the player not .avafl bimself, in the present case, of this critique of o.ctave-p_Iaying, '_it will prove -ex,remely:usef_Ul~ _~n executing - Bach's- organ-pieces on the piano. (Also compare Appendix -to Vol. 1.)

11661

66

Prelude XI~' Allegro giocoso.

)

r1 1 Ii 8 1 421286

I e "I .. -iii'"' ..... - ...- ,
< quasif; con spl'l'#o
. . ..:. ~ ..:. . ...;. ._ ~ .. . . .- . . ...;. . -
I . -
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Ie .2) .. --- .. -==> 3)

rijr r Ett CtJ' jer w W

a a 8

i~

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. Erk rpr W ftr CaCrr

l~

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-

_--- ........ -_--:.- i

at1U W.W r r r ffF1

--=::::::::::.> :

wwwwwwl

IS 81 2

2 1 35

staccato

~. 3 I'i 5 ~.
t I~ . - ...... .. ~ ........ -~"q.~4- . .4r.- - ..
~
--. .- .
t · -
·
staccato "~ ... 11 .~ ~. .-...t ,.,.."",,_ ........,....., ~ ..I 1.1 T l 1 1...1 I I
t , .. - ... •
-
·
~. - ... - -r- ~ ... - ...... 1) The original eonaeptten-of this half - measure thematle fi_gure is;a.. purely chordal one:

, ... ge baln e;nf{t! *= ~ t , J+P j J J:t12~'! . "

The insertion of a changing or passing-note fneach group .of quarter ... notes -gtves it its present appearance:

2) "Lightly", but not feebly ·(tF l'Iffectedly; such is the meaning of this expression-mark in Bacli~ and the.rper-

·formance of the whole piece is to be, shaped accordingly.' .

8) .with regard to the trills, :We reter, inweneTli, to the Al'pendix tlr 'WlS . Prelude, and, in particular, to .N'!12

of the. Two - parf Inventions (in the Editor's' erin:i(o~1'ag" .an 'admirablezilreltfutilary study.. ..... ... .: .

ft .. B. This' Prelude affords material for three dIfferent exercises:' Flowtilg Chord-figuration,studies on the: Trill, "'and the Springing· Staccato L contrasts which tbP. player should seektl!· cembtne -to a Whole.

Co~yrigbt, 1895, by G. Scb.irmEir,Inc.

U66t

67

rafrrwwrrrw ffCWLtiurrprW-

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I

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·
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f'I ! . ctJWWW;--~. 58 3 5 I l....l I I
:fen. .. . i< . . •.
..
• ,
rt r1• • -1tj.2.!- F&!cre;;c . •
- - - - -
- , 1-:1" I I "l'~"- ---
· '. ..
r . .~ f .2 II -4 • 1~ 8 &~ ->
- .- .2 Fcr etr rr fMr"r ;trtcfrtrW cLr teErfr i
5 ~H .. • . • -It ... ~ .. ~ _ .. _* ~ ... ... .. .~ ..... - .: 1 ._
j -
!@ - - .;
, - - -
~. ._ .. - •
·
·
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! • ! frrwrr;fctrurrc E'

(; . JI,J 'OJ J- )_

~ I,",

4)

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----

• .... 1iL' 'Ir .. t1i~p.

~.

• •

. !.

4a j J5JJU ~

.....____..

154) A~in-the· case of .the first Three-part Invention, tne Edito~ found -it impossible to formulate any scheme for ~e formal division of this Prelude. _ It is one of those Bach "sketches" whtctr cannot be adapted to fit dogmatic

rules, and which, by their genuinely. "prelu dial " character, afford the best justification for their. name. .

. ·IS) Many. editions 'JIave f . here instead of g; the former w:ould indicate an organ- point, which, however,is not intended here; the latter gives the. fundamental part the following form: f· J. J. I J. &J JJj ,

11881 + ..

+

L.

1'·1

.:

'I ::]

i

'1 .1

!

68

. .. Appendix., to Prelude Xl.

Wheret..s octare.;.technique (comp, App. to, the precedirigFugue) assumed importance only in modern pian9-l.iteratU:r.et,·· Trills have' at all times pl~ed'a leading part. But, what transformations the trill has. undergone.; from a simple a- .~ dornment of the melody up to a self- subsistent feat of virtuosity_: is revealed with phenomenal ' clearness in Bacll, Beet-l hoven, and Liszt. In my opinion, the most diversified and: complicated. tasks for the study of the trill are tobe found in i

Beethoven's Sonatas,-Concertos, and Variations._ With special reference to ·the t.rill as exemplified in Bach, we quote first· ~

of all ,t(he fOllo)wing remarks mm the work by C:Ph.E.Bach,-already cited above at Prelude IX: . . .... ~".).'

. § 3. Chap. 2 ."A good clavter- style distinguishes three .different kinds of trills; .. z: the ordinary trill, the trill rrom r

aboie, the trill from below, and the inverted' mordent. . ~

§ 7. Trills' are the most diffioolt graces. Not everyone can master them. ,~ey must be assiduously practised in I

youth. Their beats must, above' all, be even and rapid, A rapid trill is always preferable toa slow one.... t

§ 8. In practising the trill, do not lift the fingers toohigh .• ., [Make a note ·of !-hibl ] Begin it . quite . slowly,gra~ual';

ly increasing In rapi!iity, but always. smoothly; tbe nerves [muscles] .must alsobe relaxed, otherwise·',"goat-:like,' ...

.unequal trill, is produced. Many try to force the "trill. In practising; the rapidity should not. be increased until the .,1

trj.ll is entirely smooth and even. The . hi gber tone, when. played for· the last time, is .snapped off; i.e.~after strJk:- 1

ing. it, the finger-tip, bent as, far inward as. possible, is withdrawn from the key with the utmost swjftness, witha'slid .. e .. *;- J

.. § 9. Thft. trtllmnst be industriously praetisedwlth alltingera. ... for sustained trflls sometimes occur in the extreme i

parts, In: ,wh~ch one bas not a-choice of fingers; the others being employed in carrying ouvether parts.... j

§ 12. A trill over a note of .anYconsiderable_'length;whether·it progresses up Qi' down,always takes ansd- I

. tercbeat .... A trill not followed br another note, e. g., at the close, or ov~r·a: fermata, etc., always takes -an af- j

ter-beat."_ Bach declares it to be. wrong . .' . . ' . ,

.§ 21 ..... 1'not . to sustain a trill properly; for_' all kinds of trills,. down to the invertedniordent, should occupy the

fun· time-value of the note over which they are set .•.. " .

To the above "must be added, that.' each arid every trill ought to eontain.. adeter1llinate m.t'lllber qtllOtl'~ and should ·be _rhythmicllllT grouped; only by this means ean absolute evenness be attained.

The following scheme Qr'J1jHlematic irill-~s.may be modified. to suit individual needs.

- . ~ .

Differ.! ~ ~

finger- ~ ~

iags. 1 g

Same, with alternatlng ipatrs of fingers:

'1218 .. 1323 _ 1423 .. 2423 .. 2434 .. 2534 .... 3435 ... 8545;

. ~

-

.;.

with different accentuation, in various combinations, e.g, ill. 2 3··",.: 2 II 1 4 2 II

r c·t Fe F r E E.r E r

v .".. ·V <>

: and with changing seconds, e:g ..

',lAU mbJ .'imb'

t 2 Ij 2 32 Ij 2 t. 2 Ij II 8 .~....._...,,__........_...,__.

2 white ~ey8. '.2 ~ack keys .. I wbite key I white key lhIack key t black key 1 black key. 1 hlark kev 1 white kev .1 white key min.sc(!ond mi.lj;seconrl min,seoond mij.seoond

As .a preparation for trtllsin thirds the Editor recommends: .

Ij fi . '

II fi .':1 4

~1Jp11_1_' I !~~~~~

H ~ II

S Ii

a) 'simple trills with sustained tones, e. g ..

~, .. . . . Ill. 2 II . . .

- ". 2 "1 r; .

Trills in thirds : follow next:

rD pa .. irs' ·of. .2 ml(j. Thirds·. .2 maj. Thirds '1 min, Third .2 min, Thirds I min. and 1 ~rQ~ and .:

. With interval of - __ ~t ~BelIll~'~to~ne~~~1 ~W~ho~lije ~to~n~0~. ~1~Se~nn~·~to~D~e~~t~wh~Ol~e~to~n~e~· .~.~I~m~N~· ,~Tbi~·~rd~~l~m~i~n.~Tb~~ir~d ~ to be transposed to aU d~~

. ·;:4 IQ i' #J . .~F ~!a ~i 1 .'i ij. if 1 grees of the .0ctlWe.

~. ,f? If! , I I,ll I 'lwiJJ I. ~tc.

.. ~,fi ~ fi : .. .

. ~~~b:it~~rl~i:t~r:v~z;~~:.aD .. J4l:ttbj Ili~ I ~ I W.· . U?', Fl=wrr. (~~:le~~o1:·~~.B1~~o::::).

. .. e;;t ~ ~ _._11 -, C = . ",,(J.t.zt) .

'TIills wi~b a. ("hanlOnit' num)~er of .~ I~ ·,tlB I~: I d ~. 'Ii ID:.I¥ff1. ,··.5 '(Alkan) 7im~ri~'0 ". ·(·Lf-- )

parts'(simulawd double trill " e. g. : :JU=oe.J=ER~ ffl tJ pr un ~ . _=tiJ="~~i'!:U~ szt

. . Ii t 3 ~ " 2· Z· .. ~

. 2.. Z. . 80 ..

•.. '. .~:~· -: ir*f_~, tj5~&#¥ .. um .. m.d. .. , •.. '1.' :'n .. ~ •. ~t .'11. 1 .. t.o W .. rhieh cl8.SS ~elolUes .

Trills with .a second !. =':::!!~~~~;t t=E€~~M5f ,::~~~~~I?fjllj # ,~~I.ov~ran.or~-Pointformed

obbh'gato par~; e.J;... ,". . ". . . ---:- . ~) ,- -~ . '.. by a trill also belong (see

, . . .... --'--U:Iszt) Beethoven, ~ 58,109,.11l).

Finally, the desire t~ p!odum~ tri~; ~nlhree.or ,more parts led to the idea. of: . 8 2 '3 2' ~ :: ~.

Chord-t~!s.exec.!!!.ed ~ the al- iT~ 1l:L I'. an idea transferred later.t? ~ .'. 11~119f. . r

ternate l-Itnkmg ~fthebands, e.g.,' ~ ~ one-pan.~s and Octave-trill~: t ~'jCiiilCfLtJ ,f#ii? .

As a supplementarY S!ndy we ;m~st notice the Tremolo, which is properly a trillln tmaer intervals. (CornpareLiszt's Tran,ycenr!enfat'TieJiltJ!o:..,Btude on Paganini's Caprice~)

': 10 It 'was considered 'best not. to suppress thf'mflntion of this .peculiaritY.of technique, so characteristic of th~t time; though har<Uy

any moderb piani~will bfl'able, to follow tbe elven direction!>. ' . .,

. .. .,. n:. ' if 661

The~ follow Trills in all species. of fourths, fifths, and sixths; and Trills above, below.. or between .. ~ or more held tones, e.g.

. ~

69

FugaXI,a 3.

All~gretto, ben misnratc.con sernplieita,

. 2 S· 1 .e

I

I

I

I

Th~

c.s ..

2 S " Ii

II) Ii 3 .2 :"'" >- ::r-
.
..
I .
~~ .- .... .,- ~f" • ~- [ J r rZ r v- ~ v
- r
.,I. I,J ~ .1 J I J .
I .
-~ ..
___J I I 'm!ldolce ... - _ . " .e

Ii " .2

3 Ii 1.2 1

11 -.~ 1, 8 l '4 ~. _.~ -_ - - 23~ -
_. - ....
.
t" :--1 r . ~ I i I I II ,. ,.~ ..
. .!- ,. ,. ..
""- 1~ ... _- ;..
.... •• , 1\ <, ......
, -
. .. .
. "
\ 1L.....;.1....l jj -/fr
_-
, ,.c:zmm!

pocomarc. -

*

Q - . .' ". .

,It. B. Despite itscarefu~ polyphonio working- eut, this fugue belongs to the pleasing and less exacting {Jlass.

AS the"exponent (If a type .of character it. is not'the peer of the .E-mr~or·Fugue, . although the latter. eom, man4i,sonly ·comparativ-Blymodes~. resources of expressiori.The ;Edit(lr. felt obliged to-suppress the "elegant"

Phr~sing' of ~ .the. first.5·· eighth- n~tes :'Jik_ fiE U I i: " .which. la. )n . such vogue,' and for whith OzernY is

~ .',

poco marc: "

Pl'obablyresponsiblet in favor of, .,a.more justifiable mode of exeeutten.

U861

70

piit r~ marc. ~)

5 2

,.

=

_fJ(,(:. to

Czerny:

.. ,
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--= """ .. I i
.. ...-II t 2 t
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.
@., ~r· ,_f ~~~rrr P={ltf .. r- ,. -- r .,-.-~ c.. I .".
mello.l ,. '." ~
quas!f - ---
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- -- 1 .,; u - r ft·-
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2

H a tempo

cresco

" 4,

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fi:

S t

54, 2 8 - 2 ....! , - .... ~~
Il ! 2 2 , ,
, 1"1: J
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.
-
J ° . i~1 r r-.,. ro ~ ~ s .1 T ..J ,
-
it basso ~
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15 4,

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"" --J I.JI rt ~ I) t rr-.
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< ... I L joI l- ,T r_ J"- 't./2 I ..
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3,~ 1 & & .l . 1). Although these 3 eighth-notes, on .account of 'the held tone' b~, can be taken' only with the finger- stroke, they' must . nevertheless be brought out as a direct continuation of the preceding stf!:ccat_o; flUs is . the aim' of the fingering given. The ascending bass part should be" taken as a model, and the· imitation should sound out

prominently." . .'

2) Though no one, perhaps, can fail. to recognize the disguised theme in this ornamentatlonv ws call special

f & P u i' J j 91 ~ -Ii I , J f i 0-1 r

. 8) An analogous .case to tkat under 1).

attention to . it :

11i}f\1

:e, )f It

111

71

Prelude XII.

Andante!)

with yOftn4full tone lttrgil/~le'Rte .. e8jJressivo

poco sentito

5 8

4

~. .*

phtpleno p cresco COlt a/folio

t9':1) Andante (moderately slow) is to be- supplemented, iu"the further course of the piece, by the .. qualifying words

. ('tra1ltJuUlo~ espreSJ.·i1Jo .. mesto" .appas1lioliato'~ , '" ' _

. 2) Rests bave beenaidded .by.the Editor to fill out breaks in the full number of parts.

3) The . Editor conceives the form which makes. its appearance here as' belonging to the tripartite type, and has arranged his .' scheme of division accordingly. Thus' the first. part . embraces 5~ measures, supplemented by sa external appendage of .~~ measures more; the second partvcontatns two divisions of.4 and 31;2 measures' .respeotively; and the third part extends' to' the' close.

Oopydght, 1895, by G. Schirmer(Inc.)

. . . _. .

HSSl

i

I,

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i

·72

I

.tt tl h

T

poco slentando a tempo

,

. t~:: -= ' T:~~wI;·1

21

sempre sostenuto e con . gralld'accento

pliJ. .sostenut~ . .,

. tell.

- ~tar

fllla 11Q,n sirep;:toBO

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I - =

°i· ett:~· i

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. U66l

T

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1 I .1

Fuga XII, a 4.

Molto sostenuto, rna ferrno z"n tempo e carattere.

t'il . In Riemann: Adagio pensieroso :: -¢) - _. -..:..
m~ .
~I~ Ap IT I -I
hen ienuto
.~ ~. ~~~-~J,. - ,_
Tp~ ~'.".' J,.- t..- ~~,.; ~ ~ ~
1"zT-'
.
-- -- - ) ~

1 B . -.::___:_ ..

pocomarc~~:'-------------------- ~ __ ~~-------

r.:

l 2)S~_

Ill). The following arrangement, derived

. flama. crossing of the 'hands, will ma- etc.

terially ., promote a distinct enunciation of the . theme:

2) . A 'writing-'ont in score plalnlyshows .Ule interrelationship of 'the' theme' and

the three counter- themes, and, is given ". _. I__ ' . .L.

here as an aid to the stUdent: _:-'-"_--:-J'.~~.§c~ou~n~teijr-18~ub~de,ct~- I~·=m~~Kilfi~~~.~'·""~~~Ij =~~~~ 'W-~~~~

~ . - ~!'.~~ - - .. -", . _,' ~ -

~"4e connecttng-dink 2 ttMJ4'=..does_ .. Pfl~ier-snbjectn. _ _.._' .~

~ot belong to anyone ot ~ counter- 1~~~'~1~""1~-:-~-~~. ~~~.~,.~. ~~..,= .. ~.~~iU~~~gm~~~~fg

themes, in particular, and is . inserted -- CiJunter-subjectm, . _.._ . ~ flo. ~~ __ d-' ..

llternately before the. second .and third, 1~~~~~g~~~~II~~~§~~~~~~~~~g~~§

,. ....

_.t_ Theme. ~ '-~'. - __

ueet

74 ·8).....--.....

i

/

.~

4) gra'lJf$l_ente

3) From the beginning of the second development, a . certain rigidity in the form and .menotony in the harmonic and contrapuntal. evolution are perceptible, which gradually ruin the effect. of the magnificent 'and promising first part. For this, in our opini-on, the unbroken tl"ipar~ite rhythm _(= l%Jis chiefly to blame'. ~nd then ! comes the monotonous suecesston of the alternate entrances of the theme and the episodes; onef<!llows the other with pedantically . stri <\t regularity. The episodes themselves elaborate unchangingly a motive of not ex-. actly remarkable rhythmic charm, based on an harmonto sequence e.ither ascending or descendiug.L, AvOid, in

·this . last-mentioned motive,' a too pronounced marking of its anajJf!stic character (by detaCmngtlie eighth-~oies) Elf@

.11. method of execution which, in the frequent repetitions, would endanger the gr~ character .. of the piece; and

adbere as closely as possible to the Editor's phrasing.' . . .

. 4) Her.e the tripartit.e rhythm is abbreviated' by half a measure, which causes a shtfting of' the fundamental rhyttun; -this . abridgment of the symmetrical form is, however, made good in the next episode by the' tnsertton ,of ~o quarter-notes, A similar drverston appears before and after the entrance of the theme inE~ maj9r.

ti661

75 .

2, 1

i 54 5 8

482 554-

'--'

4- 5 .!). 5

~

N. B. ''fo the very evident relationship subsisting between this fugue and the ninth of' the Three .. part Inventions, the similarity in key may, first of all, contribute in' some measure. But a ,still closer bond appears on c~mparing the thematic material of these two pieces .. For example, both in the/Invention and the Fugue the principle' theme is composed of quarter-notes ip chromattc rsuecesston'r

. .~" ~ .~~ ~ ~.. ~ k j ". . .

Fugue: ,,?ihJi f r r I Fe IF r [ I r II Inventienv ?,ihF J rijr I'FI 8r!r J J J J I . J I

In either oase.rthe counter-theme progresses upwards' by- degrees and in half-measure groups, the latter separated 'by .rests con the strong beats:

Fugue: 'YV9? dCifr.l·dUe ,_I qarfe.w 111 Invention: ~W It ~'J ?J,." J JijJ I' drfthu UIJ II

"_, ~_ :. ..'... ~ -: :i

The simllarity, is;rendyred still more striking. by the agreement in the construction of the two compositions:

For in both a second; obbhgatlL.counter- theme comes to the aid of the' first; and the play of thl! continual superpOsition (contrapuntal inversion) "of the three motives 'goes on, iIi both cases, without further development propei'iy socaUed. Finally, each of these pieces, is dominated by the sustained emotion of thoughtful gravity com,prehended in. the lia.lian expression-mark (~ave"; though the depth andsublimi~ of feeling, and the. intensification of expression, revealed in the Invention, arenQt reached in the Fugue. (Compare Notes 3 and 6 te this Fugue, and the N:B. to N9 9 oftheB-part Inventions, in· the Eilitor's edition.)

U661

-(,.:

§.i ~

· i !

76

JJ 5 53 J 55J5J555JSj:-u'-

, .

5). Wi!4a very delicate 'employment of the pedal, it would be quite feasible to double the bass part. in the oc!ave •. The EdiJ.orhas repeatedly jnslsted, on the admissibility' of this procedure in Bach. Some Instances may be found· in FQgJIes ll, v,- Vll; and the ninth of the ·S-part Inventions: