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Thoroughbass, Chorale, and Fugue: Teaching the Craft of Composition in J

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Thoroughbass, Chorale, and Fugue: Teaching the Craft of Composition in J THOROUGHBASS, CHORALE, AND FUGUE: TEACHING THE CRAFT OF COMPOSITION IN J. S. BACH’S CIRCLE VOLUME I: TEXT Dissertation zur Erlangung des Grades eines Doktors der Philosophie (Dr. phil.) an der Hochschule für Musik Freiburg im Breisgau vorgelegt von Derek Remeš Eingereicht am 19. Februar 2020 Disputation am 1. Juli, 2020 Revidierte Fassung vom 12. Juli 2020 betreut von Prof. Dr. Felix Diergarten (c) 2020 Derek Remeš (Vol. 1: Text) THOROUGHBASS, CHORALE, AND FUGUE: TEACHING THE CRAFT OF COMPOSITION IN J. S. BACH’S CIRCLE VOLUME I: TEXT Submitted in Fulfllment of the Requirement for the Degree of Doctor of Philosophy (Ph.D) Hochschule für Musik Freiburg im Breisgau by Derek Remeš Presented February 19, 2020 Defended July 1, 2020 Revised July 12, 2020 Advised by Prof. Dr. Felix Diergarten (c) 2020 Derek Remeš (Vol. 1: Text) (c) 2020 Derek Remeš (Vol. 1: Text) © 2020 Derek Remeš i (c) 2020 Derek Remeš (Vol. 1: Text) To all my teachers. ii (c) 2020 Derek Remeš (Vol. 1: Text) Curriculum Vitae Derek Remeš was born in Northfeld, Minnesota (USA) on June 14, 1986. He studied music for one year at St. Olaf College (Northfeld, Minnesota) from 2005 to 2006 before transferring to the Berklee College of Music (Boston, Massachusetts), where he obtained a BA in Music Composition and a BA in Film Scoring in 2010 (summa cum laude). After two years away from academic study, during which time he learned the organ, Mr. Remeš entered the Eastman School of Music (Rochester, New York), where he obtained a MA in Organ in 2014 and a MM in Music Teory Pedagogy in 2017. In addition, he completed all recitals for the Doctorate of Music Arts (DMA) in Organ. At Eastman, Mr. Remeš also completed all coursework for the Ph.D in Music Teory but, before completing the Ph.D, decided in 2017 of his own accord to leave Eastman and instead complete his thesis at the Hochschule für Musik in Freiburg, Germany. In 2019 he was appointed Dozent for Music Teory at the Music Hochschule in Lucerne, Switzerland. Mr. Remeš has presented at over twenty academic conferences and has been an invited lecturer in Italy, the Great Britian, and China. His articles have been published in the Zeitschfrift der Gesellschaft für Musiktheorie, Music Teory Online, Eighteenth-Century Music, BACH: Journal of the Riemenschneider Bach Institute, Teory and Practice, and the Journal of Music Teory Pedagogy. His two-volume book, Realizing Toroughbass Chorales in the Circle of J. S. Bach was published in 2019 by Wayne Leupold Editions. Mr. Remeš is co-editor of the essay collection, Das Universalinstrument: »Angewandtes Klavierspiel« aus historischer und zeitgenössischer Perspektive / Te Universal Instrument: Historical and Contemporary Perspectives on “Applied Piano,” published in 2020 (Schriften der Hochschule für Musik Freiburg, Band 9). He is also co-editor-in-chief for the journal, Music Teory and Analysis (MTA). Mr. Remeš has received numerous academic and artistic awards. Tese include the Society for Music Teory’s Dissertation Fellowship Award (2018), the Landesgraduiertenförderung scholarship from the province of Baden-Württemberg (2017–2019), the Patricia Carpenter Emerging Scholar Award from the Music Teory Society of New York State, a German Academic Exchange Service Award (DAAD), the Teodore Presser Foundation Award from Eastman, and membership into Pi Kappa Lambda (National Music Honor Society in the USA). He has also received Eastman’s Performer’s Certifcate for “outstanding performing ability” on the organ. Please visit derekremes.com for more information. iii (c) 2020 Derek Remeš (Vol. 1: Text) Abstract (English) Te present work investigates the compositional pedagogy of J. S. Bach and his circle. According to Bach, the Fundamental-Regeln (fundamental principles) of composition are derived from thoroughbass and the keyboard. I have discovered that, in an autograph manuscript likely used in his lessons, Bach used the words licentia and fundamental to rationalize a contrapuntal phenomenon known as anticipationes transitus in precisely the same manner as J. D. Heinichen did in his treatise, Der General-Bass in der Composition (1728). Given that Bach knew Heinichen’s treatise and that both men associate thoroughbass with composition, this study posits that Bach’s Fundamental-Regeln are related to Heinichen’s rationalization of modern contrapuntal licenses in relation to a “fundamental,” stile antico background. Additional support for linking Bach and Heinichen comes from my discovery that the anonymous “Vorschriften und Grundsätze” (1738), which originates from Bach’s circle, includes the same table of “fundamental” thoroughbass fgures as Heinichen’s earlier 1711 treatise. For these reasons, Heinichen’s conception of thoroughbass, which differs signifcantly from late-eighteenth-century thoroughbass theory, plays a foundational role in this reconstruction of compositional pedagogy in Bach’s circle. Based on an account by C. P. E. Bach, his father’s teaching involved three topic areas: thoroughbass, chorale, and fugue, each of which receives a chapter in this study. Chapter One argues that the primary reason thoroughbass emerged in Germany c.1700 as the dominant pedagogical and compositional method is that thoroughbass promotes an understanding of compositional relationships in a manner that tablature does not. Bach may have attributed such signifcance to thoroughbass because it enables a single player to control a polyphonic texture in real time through the simplifcation, synthesis, and embodiment of traditional contrapuntal teachings. Chapter one also explores the two most signifcant aspects of Heinichen’s thoroughbass theory: what I call “contrapuntal function” and “scale-degree function,” which are combined in Heinichen’s method of improvising a prelude. Next, Chapter Two explores the implications of the recent attribution of the Sibley Chorale Book to Bach’s circle and calls for a greater awareness of a generic distinction between chorale harmonization in the ornate, four-part, vocal Choralgesang style and the simpler, thoroughbass- and keyboard-centered Choralgesang style, which is in essence only two-voice (soprano and bass). A growing body of sources from Bach’s circle containing multiple basslines under each chorale supports the hypothesis that Bach’s teaching also included this technique. Finally, Chapter Tree begins by examining the relationship between chorale and fugue and by suggesting a possible pedagogical method of transitioning between the two. Next, thoroughbass fugues from Bach’s circle are explored, including two such works that Bach apparently used in lessons. Chapter Tree closes with an investigation of the techniques of invertible counterpoint and canon as they relate to Bach’s teaching and presents some of their underlying principles in mathematical form. iv Abstract (Deutsch) Die vorliegende Arbeit untersucht die Kompositionslehre von J.S. Bach und seinem Umkreis. Laut Bach stammen die „Fundamental-Regeln der Composition“ vom Generalbass und vom Klavier. Der Verfasser dieser Arbeit hat entdeckt, dass eine Urschrift Bachs, die er höchstwahrscheinlich in seinem Unterricht verwendet hat, die Termini licentia und fundamental einsetzt, um ein kontrapunktisches Phänomen namens anticipationes transitus auf genau der gleichen Weise zu beschreiben wie Johann Heinichen es in seinem Traktat „Der General-Bass in der Composition“ (1728) tut. Da Bach mit Heinichens Traktat vertraut war und da beide den Generalbass mit der Komposition verbanden, ist es eine Hypothese der vorliegenden Arbeit, dass Bachs „Fundamental-Regeln“ in Zusammenhang stehen mit Heinichens Rationalisierung kontrapunktischer Lizenzen in Bezug auf einen „fundamentalen“ stile antico Hintergrund. Ein weiterer Hinweis auf einen Link zwischen Bach und Heinichen liefert die Neuentdeckung, dass das anonyme Manuskript namens „Vorschriften und Grundsätze“ (1738), welches aus Bachs Umgebung stammt, die gleiche Tabelle der „fundamentalen“ Generalbassziffern enthält wie Heinichens Traktat aus dem Jahr 1711. Aus diesen Gründen spielt Heinichens Generalbasskonzept, welches auf ganz anderen Prinzipien basiert ist als die Generalbasstradition der zweiten Hälfte des 18. Jahrhunderts, eine zugrundeliegende Rolle in dieser Rekonstruktion der Kompositionslehre in Bachs Umkreis. Laut C.P.E. Bach teilte sich der Unterricht seines Vaters in drei Temenbereiche auf: Generalbass, Choral und Fuge – jedem Bereich wird in der vorliegenden Arbeit ein Kapitel gewidmet. Das erste Kapitel stellt die Tese auf, dass der Generalbass als das vorherrschende pädagogische und kompositorische Werkzeug in Deutschland circa 1700 aufgekommen ist, da er (anders als die Tabulatur) ein Verständnis der Satztechnik ermöglicht. Der Grund, warum Bach dem Generalbass solche Bedeutung beigemessen hat, könnte sein, dass es der Generalbass einem Klavierspieler ermöglicht, durch eine Vereinfachung, Synthese und Verkörperung der tradierten Satzregeln einen polyphonen Satz in Echtzeit zu beherrschen. Darüberhinaus werden im ersten Kapitel zwei zentrale Aspekte der Teorie Heinichens untersucht: die sogenannte „Kontrapunkt- Funktion“ und die „Skalenton-Funktion“, welche in Heinichens Methode zum Präludieren zum Einsatz kommen. Das zweite Kapitel beleuchtet die Bedeutung der Zuordnung des sogenannten „Sibley Choralbuchs“ zu Bachs Schülerkreis und plädiert für eine klarere Wahrnehmung des Unterschieds zwischen zwei Hauptgattungen der Choralharmonisierung: dem verzierten, vierstimmigen Choralgesang-Stil und dem einfacheren, generalbass- und klavierorientierten Choralbuch-Stil,
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