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Xerox University Microfilms 3 0 0 North Zw b flood Ann Arbor, Michigan 40106 77-2519 THOMAS, Joseph Edgar, 1934- THE KEYBOARD WORKS OF JOHANN KRIEGER. The Ohio State University, Ph.D., 1976 Music

Xerox University Microfilms Ann, Arbor. Michigan 48106

© 1976

JOSEPH EDGAR THOMAS

ALL RIGHTS RESERVED THE KEYBOARD WORKS 0? JOHANN KRIEGER

DISSERTATION

Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate

School of The Ohio State University

By Joseph E. Thomas, B.A., M.A.

The Ohio State University

1976

Reading Committee: Approved By Dr. Burdette Green

Dr. Keith Mixter Dr. Norman Phelps ’ / v / Adviser

School of Music ACKNOWLEDGMENTS

Appreciation is expressed to Ashland College for granting leave to write the following dissertation, A

special note of thanks is directed to those of the Ashland College Department of Music who absorbed responsibilities in my absence,

I am indebted to those providing service at several Libraries, especially at the Music Library of The Ohio State University, the Lowell Mason Library of Music at Yale, and the Bayerisehe Staatsbibliothek in Munich, The

collection Kassel Archives of German Music has proven to be an invaluable source of scores. To a host of teachers spanning over thirty years of my life, I no doubt owe more than can be repaid. A few of these are Mrs. Maurice Horn with whom all ray study actual­

ly began, Mr. Winford Cummings who exchanged a lifetime of ideas with rae during three undergraduate years, and Mr. Donald White who furthered my early interest in advanced analytic techniques of counterpoint. For the approaches presented in an environment conducive to learning, I ap­ preciate the Graduate Faculty of the School of Music. I have been fortunate to be guided throughout the ii dissertation v.’ork by Dr. liorman Phelps, an artist adviser of Music Theory. Special thanks are due Dr, Burdette

Green and Dr. Keith Mixter for their reading and correct­ ing of the draft.

The most loving of acknowledgments goes to the head, heart, and hands of Judith Thomas who used to be an exper­ ienced practitioner of double duty and is now a virtuoso. An award for surviving without a full-time father goes to three sons, Jeffrey, Michael, and Jason, and a very honor­ able mention is beholden my parents for the moral support they offered from a vantage point in the South.

iii VITA

April 3, 1934- • . • • Born - Cleveland, Ohio 1936 •.•••••• B.A., Miami University, Oxford, Ohio 1963 •••*•••• M.A., The Eastman School of Music, Rochester, New York

1965 «•••••••Assistant Professor of Music, Ashland College, Ohio

1974 Associate Professor of Music and Chairman of the Department of Music, Ashland College, Ohio

FIELDS OF STUDY Major Field: Music Theory

Studies in Music Theory • • Professors Barnes, Phelps Studies in Musicology • • * Professors Hoppin, Mixter

iv TABLE OF CONTENTS

ACKNOWLEDGMENTS ...... il 7 IT A ...... iv PREFACE

Sources...... vii Meanings and Definitions . . ix Purpose and Scope......

CHAPTER I THE STATE CF KEYBOARD MUSIC IN THE SECOND HALF OF THE SEVENTEENTH CENTURY...... 1 CHAPTER II BIOGRAPHY...... 12

CHAPTER III THE CONTRAPUNTAL PRACTICE OF THE ANKUTHIGE CLAYIER-UBUKG AND RELATED WORKS ...... 15 CHAPTER IV FUGUES

Fugue in C, Subject 1 ...... 21 Fugue in 3, Subject 2 ...... ••••23 Fugue in 3, Subject 5...... 33 Fugue in 3, Subject 4...... ,*...39 Fugue in 3 on 4 S u b j e c t s ...... 4-7 Fugue in ^ ...... 56 Fugue in a ...... 62 Fugue in G, MS 4982...... 66 Fugue in (I, MS 4982...... 71 Fugue in 5, MSS 4982, 5056 ...... 76 Fugue' in 3, MS 5056...... 81 Fugue in g, Anhang, DT3, x x x ...... 85 Them a from the Suite in 5 Movements...... 90 Them a from the Toccata in C with Pe d a l ...... 9& CHAPTER V RICERCARS

Ricercar i n e ...... 102 Ricercar in P ...... 122 Ricercar in a ...... 128 Ricercar in S-flat ...... •••• .139 v CHAPTER V— Continued Ricercar in g ...... 149 Ricercar in a, Anhang, DTB, xxx, • •••»••• .155

CHAPTER VI P R E L U D E S ...... 159 CHAPTER VII TOCCATAS...... 172 CHAPTER VIII FANTASIAS...... 185

CHAPTER IX WORKS BASED ON THE CHORALE ...... 194- CHAPTER X THE CHACONNE AND PASSACAGLIA...... 205 CHAPTER XI 'CORKS WITH SPECIAL TITLES: THE DUREZZA AND 3ATTAGLIA...... 212 CHAPTER XII THE DANCE SUITES...... 217 Allem a n d e s...... 213 Correntes. .••••••••...... 222 Sarabandes ...... 227 Doubles...... 231 Variations •••••»••« ...... •••• .2?4 Gigues ...... 237 The Extra Dances .242

CHAPTER XIII SUMMARY...... 246 BIBLIOGRAPHY...... 260 FREFACE

Lists of keyboard works by Johann Krieger (1651-1755) are found in two main sources. These sources are the Rep­ ertoire international des sources rousicales^ and Die Kusik p in Geschichte und Gegenwart.

Two publications of keyboard music by Krieger date from his time. Cne of these is Sechs Musicalische Partien

(Nuremberg: Endter, 1697), a collection of six dances Suites and eight extra dance movements. The other is the

Anmuthige Clavier-Ubung (Nuremberg: Endter, 1699), a col­ lection of seven Fugue's, five Ricercars, nine Preludes, two Toccatas, a Fantasia, and a Chaconne. A practical edition of these two collections edited by Max Seiffert^ is contained in the Denkmaler der Ton-

kunst in Bayern, herein abbreviated DTB. Other keyboard works by Krieger included in this volume of the DTB are

^Repertoire international des sources musicales, ed. Karlheinz Schlager (KasVel: Sarenreiter, T975) , 5: i49. The applicable indexing of works by Krieger for this dis­ sertation is K 2451 and K 2452. p Die Musik in Geschichte und Gegenwart. s.v. ’’Krieger, Johann“PhiI"ipp und Famiiie," by Harold Samuel. x •'Max Seiffert, ed.. Denkmaler der Tonkunst in Bayern. Zweite Folge, 36 vols. (Leipzig: Breitkopf & HSr^el, 1900- 1931), 30 (1917):1-71. vii a four-movement Suite— Prelude, Fugue, Fugue, Passa- caglia— as well as a three-movement Suite--Durezza, Pre­ lude, Thema— nnd a Fugue, a Fantasia, a Battaglia (?),

three works based on Chorales, and a Fantasia and Fugue. Two manuscripts interspersed with keyboard scores of Krieger are to be found in the Lowell Mason Library of Mu­ sic at Yale University. Of these two, manuscript LM 4982^

includes three Fugues by Krieger. Manuscript LM 5056^ is the source for three of his Toccatas, s Prelude, two Fugues, and a Fantasia. Another retrievable manuscript, 5426,^ on file in Germany at the Ba.yerische Staatsbiblio- thek contains one Fugue.

Modern editions of keyboard works by Krieger are available in several compilations. For these, consult 7 August Hitter; an anthology entitled Eighteenth-Century Q Imitative Counterpoint. Music for Analysis; and Archibald

h. Lev/ Haven, Conn., Yale University, The Lowell Mason Library of Music, LM 4982.

■^liev; Haven, Conn., Yale University, The Lowell Mason Library of Music, LM 5056.

°Munich, Germany, Ba.yerische Staatsbibliothek, Mus. Ms. 5426. The Fugue contained in MG 542& is found in the Yale M3 4982. n 'August Gottfried Ritter, Zur Geschichte des Orgel- spiels vornehrolich des deutschen. im 14. bis zum Anfange des lo. Jahrhunderts (Leipzig: Max~TTesse, 188^7, pp. 121-

Q Eighteenth-Century Imitative Counterpoint, Music for Analysis, ed. '.vailace 3erry and Edward Chudacoff (f'ew York: Appleton-Century-Crofts, 1969), pp. 22-24.

viii T. Davison and Willi Apel.°

Definitions and Meanings

Use of the name Krieger without forenarae in the fol­ lowing discourse is a reference to Johann Krieger, the subject of this dissertation. The older brother of

Krieger, Johann Philipp, is ordinarily identified herein simply as Philipp Krieger.

In fugue analyses, the terras link, bridge, and epi­ sode are differentiated. Link refers to the non-modulat­

ing activity of one or more voices connecting the end of one subject or passage with the beginning of the next,

3ridges and episodes are modulating passages lacking a subject, but episodes are longer and the term connotes more development than is found in bridges. Major keys are designated by capital letters; minor keys are indicated by lower case letters. An English translation of German titles is often used— for example, Fugue for Fuga. The title "Passagaglia" is respelled as "Passacaglia", "Giacona" as "Chaconne". The terra theraa in the works of Krieger means subject. It is found in con­ nection with Fugues though not Hicercars or other genres.

The phrase Mmulti-note chords'* refers to chords with five or more notes.

q 7Archibald T. Davison and Willi Apel, eds., Histori­ cal Anthology of Music. rev. ed., 2 vols. (Cambridge, Mass” Harvard-Tniversity Press, 1962), 2:132-153* ix The term contrapuntal dissonance is used to imply that unessential tones are determined according to consi­ derations of consonance-dissonance rather than of func­ tional harmony. Definitions of unessential tones are con­ sistent with the terminology of Knud Jeppesen10 and Walter Piston,11 with the following clarification: the term cam­ bists is used for an unessential tone approached by leap of a third and left by step in the opposite direction, and the term suspension is used whether or not the preparation is tied to the following note. The few special cases that arise are explained in the text.

Purpose and Scope

The purpose of this dissertation is to provide a de­ tailed and analytical study of the keyboard works of Johann Krieger. Though numerous examples ere included, the reader may want to have complete scores at hand. The study focuses on the works and genres of Krieger rather than on their relationship to other composers or practices.

10 Knud Jeppesen, The Style of Palestrina and the Dissonance. trans. Margaret W . Hamerik (iLondonl Oxford University" Press, 1927)* pp* 35-268. ^Walter Piston, Harmony (Hew York: W.W. Norton, 1948), pp. 102-116.

x CHAPTER I THE STATE OF KEYBOARD MUSIC IK THE SECOND HALF OF THE SEVENTEENTH CENTURY

The middle Baroque fell benefactor to one of the

richest concentrations of musical innovation in the his­ tory of music. Not only did the period inherit the vocal­ ly dominated genres of monody, opera, oratorio, cantata, and recitative, but such primary instrumental types as the toccata, canzona, suite, sonata, rondo, variations, ana concerto. The way v;es thus laid open for the development and expansion of keyboard composition. Jan P. Sweelinck (1562-1621) helped set the stage not only with his teach­

ing of several well-known students, particularly Scheldt, but also with his originating of the organ fugue, includ­

ing fugues complete with intricate contrapuntal devices and pedal entries. Girolamo Frescobsldi (1585-1643) added

to the heritage with imitative ricercers and canzonas, toccatas, and partitas, exhibiting more chromaticism than that of many earlier keyboard works. ..liereas the impetus of Sweelinck and Frescobaldi yielded archetypes created outside Germany prior to the second half of the seventeenth century, the immediate 1 2 continuation of keyboard development took place chiefly

v/ithln Germany, Samuel Scbeidt (1587-165*0 explored pos­ sibilities of treating chorale melodies in idiomatic writ­ ing for the organ, Johann Froberger (1616-1667) composed a variety of works ranging from capriccios to ricercars, establishing at the same time a position in history for

creating the dance suite. Dietrich Buxtehude (1657-1707)* whose fire and taste attracted genius as well as throngs,

elevated the status of the organist and organ composer through toccatas, fugues, passacaglias, and organ chorales of excellent caliber. Johann Pachelbel (1655-1706) imbued

the German Protestant organ style with an array of figura­ tion formerly associated with virtuoso Catholic organists, employing Andreas Werckneister's concept of equal tempera­ ment to the extent of fifteen different keys, Johann Kuh- nau (1660-1722) adapted the church sonata to the harpsi­ chord, designating contrasting tempos for successive move­ ments. With the composition of preludes, both Kuhnau and

J.K.F. Fischer (c. 1665-1746) aroused interest in the pro­ cedure of exploiting a single idea, motivically expressing the nonothematic proclivity of the Baroque. Virtually all the forms and genres represented by the above composers were in a state of development. A resume of those represented in Johann Krieger*s keyboard music can be given for his time. 5 The prelude had ceased to function merely as an inde­ pendent piece suitable for introducing a particular sacred

or secular event, becoming in addition a preface to one or more other movements* Typical connections were a prelude with a ricercar or fugue, or with movements of a suite, partita, sonata, or concerto grosso. The prelude lent it­ self to remarkable variation in rhythmic treatment, from free improvisory style, even including tones without des­ ignated note values as in works by Louis Couperin, to clearly chiseled out rhythmic ideas suitable for precise repetition as in works by Buxtehude* By the mid seventeenth century, the ricercar labored for the need of a single identity. Variously treated as a conservative and occasionally laarned or pedagogic work approximating monothematic or polytheraatic fugues on the one hand, or mere studies, even solfeggios, on the other, the ricercar enjoyed a respectable following among south German organ composers, and sporadic hommage by others,

./ithin a half century after Krieger, interest in the ri­ cercar would -with a few exceptions lay dormant.

The need for detailing the history of the ricercar and canzona from about 1600 to the fugue of Bach is rec­ ognized in the article entitled Fugue in the Harvard Dic­ tionary (2nd edition, p. 556). Krieger is one of the best composers to investigate for a comparison of fugues and ricercars. Prior to making such a comparison, an 4

investigation of esch of Krieger*s ricercars and fugues is in order.

A reason for the decline of the ricercar was undoubt­ edly the rise of the fugue. It is not surprising that

considerable vagueness surrounds the distinction between fugues and ricercars. Their overlapping histories and the

divergence of conceptions by different composers produce a relationship that is at once close and complicated. Yet the two types are not merely different titles for the same kind of piece. The term ricercar, implying a recurring

element, connotes a work of erudite endeavor or study.

Considerable breadth in application of the term is found a century before Krieger in manuscripts that differenciate little between ricercar, fantasia, preamble, and tiento. 'The ricercar is thought to have orginated in lute music, notably with Francesco da Milano, 1536. Its early history is that of a non-imitative work serving technical or in­ structive purposes. Its kinship with the vocal motet can be noted where imitative treatment within the compass of vocal range becomes characteristic. The adaptation of the ricercar to the organ and the resulting infusion of the keyboard idiom gave rise to a hybrid form of ricercar. Its position as a forerunner of the late Baroque keyboard fugue became unmistakable. Both the ricercar and fugue have long been identi­ fied with the imitative principle; both experienced a 5 period of polythematic adolescence, becoming more strong­ ly unified monothematic pieces with, fewer points of imita­ tion. The systematic entering of a given number of parts, one-by-one, ultimately in a tonic-dominant order, estab­ lishes a framework for both the ricercar and fugue, making the tv;o impossible to differenciate except on the grounds of particular works, composers, or schools. The innumerable efforts in fugue composition in the latter half of the seventeenth century explored and crys­ tallized the fugal elements destined to become trademarks of the fugues of J.S. Bach. The art of combining melodies

overcame the reservations about counterpoint that had ris­ en with the Camerata and the monodic movement. A new re­

spect arose for the art of treating linear progression by contrapuntal manipulation. The occasional preference for

variety by means of different themes in polythematic com­ position was challenged by a pervasive argument for the unity of a single affection in each composition. The fugue principle allied itself with a surging interest in chorale composition to form the chorale fugue. The fantasia of the pre-Bach era fulfilled its obli­ gation to fantasy not as an improvisatory rhapsody of un­ bridled range or showy technique, but as a piece for var­ ious purposes, not obligated to the requirements of a par­ ticular kind of music such as dance music, fugal works, or variations. Fantasies were written as separate entities, 6 as preludes to other works, and as movements comparable in dimension to fugues, or sonata movements.

The toccata served as the primary medium for the de­ velopment of idiomatic keyboard writing. Composers in

south Germany emulated the earlier Frescobsldi model with its successive sections of contrasting character end tempo or meter, while those to the north cultivated a rhapsodic type with dazzling figuration. The chaconne and passacaglia, interchangeable terms to the Baroque composer, were then, as now, variations

based on a series of harmonies or on an ostinato. The ostinato appeared generally in the bass, though transfer- . ence to an upper voice was known; the first and last har­ monies of a recurring series tended to remain fixed, while the intervening chords were subject to substitution. Bux­

tehude, a generation before Krieger, contributed "cia-

conas" to the organ literature, and Pachelbel, an almost exact contemporary of Krieger, wrote chaconnes for the harpsichord. The keyboard suites of the time originate in the six­ teenth century idea of grouping dance movements, a prac­

tice known well over a century before Krieger*s 1697 pub­ lication. In the sixteenth century, it was not uncommon to find a dance in duple meter, such as a pavane or passa— mezzo, followed by a dance in triple meter, particularly a galliard or saltarello. The attractive element of 7 contrast from one dance to another was a magnetic idea to Baroque composers, complementing their predilection for expressing a single affection within a movement* Experi­

ments in thematically related dance movements, primarily

between allemande and courante, are occasionally found, but only in varied couples and in variations designated le

double is there an obvious and lasting thematic connection

between movements of dance suites*

Lute music is significant to the history of the

suite, not only because it contains combinations of three or more dances, but because the texture of lute music

leaves its mark on the keyboard style. The transfer of the suite from lute to other media, especially keyboard and string ensembles, reflects the tendency to use the dances for listening instead of dancing with the result that attention could be centered upon the composer*s ef­ forts without extramusical distraction. Released from the bonds of merely maintaining an attractive sound and a clear pulse for the dancer, composers were encouraged to focus on such refined musical matters as melodic elabora­ tion and instrumental or keyboard style. The liberation of dance music from the dancer no doubt accelerated the evolvement of stylized dance composition and separate idi­ oms in vocal and instrumental music. The idea of combining one each of several different dances into a suite was not adopted by all composers. 8 Collections of French composers, including Jacques

Chambonnieres and Franqois Couperin, ere found with the dances grouped by type, allowing the performer the choice of playing a single dance or arranging his own succession of dances. When dances were grouped at the discretion of the performer, one wonders if regard was accorded the con­ cept of unity of key which tended to be characteristic in suites from the beginning, notwithstanding an occasional departure to the opposite mode or to a tonality with no greater difference than a single sharp or flat. The titles of suites varied considerably, some com­

posers preferring the designation "ordres", others "parti­ ta", or, as in the case of Krieger*s suites, "partien",

these latter two being used synonymously in the Baroque for both suites and variations. The earliest use of the

word "suite", by Kicolas-Antoine Lebegue, comes ten years prior to Krieger*s publication.

By the time of Krieger*s birth, 1651, the principal dances of the late Baroque suite, allemande, courante, gigue, and saraband, had long since ceased to be fashion­ able as dances, but the order of the dances was in a state of flux. As a boy, Krieger could have been familiar v/ith a three movement form, allemande, courante, saraband.

Judgements varied as to the best position for the gigue, when one was present, and for a time the gigue was favored as an internal movement. By the age of sixteen, Krieger 9 could have been familiar with the precedent of beginning a suite with a prelude, and later, the perogetive of insert­ ing a dance of one's choice. In 1693* when Krieger was forty-two, the four-movement suites of Froberger (1616- 1667) were published posthumously with the movements "put in better order", allemande, courante, sarabsnde, and gigue. The suites of Krieger were published four years after this posthumous publication. At this time, the po­ sitioning of an optional dance or dances prior to a clos­ ing gigue, as in Bach, was not yet practiced.

The fingering practice of keyboard instruments in Krieger*s time differed considerably from that of today. The principal difference lay in the greater reliance in earlier times on the use of fingers two, three, end four, especially in scale passages. The first and fifth fingers were not considered advisable for standard passages, but they were occasionally used.

Since the intervals of the lower parts are often wid­ er than those of the upper parts, it is apparent that the first and fifth fingers of the left hand were used more than those of the right hand. According to F.T. Arnold, Lorenzo Penna, in a reprint dated 1696, states a rule saying that for ascending lines the right hand should make alternate use of the third and fourth fingers, whereas the left hand should use fingers three and two. For descending lines, these fingerings are 10 interchanged for the left and right hands. The first and fifth fingers are sometimes recommended for the highest and lowest notes of a scale. Aside from the possibility of sharply angling the hand to the right or left, or crossing a finger over the middle finger, stepwise passages executed by alternating two fingers had to yield a phrased rather than a legato result. Passing one finger over another is a standard part of the early technique, but it is common to find pas­

sages with hand shifts that cannot possibly accomodate smooth connection. It is generally stressed that the im­ possibility of such connections was intentional. In short, the fingering practice encouraged, at times de­ manded, a proper phrasing. Such phrasing can be accom­ plished with modern fingering technique, but unfortunate­ ly, it is easily overlooked. Instances of notes a step apart to be played by the same finger have been noted. In these cases, it is clear that the finger must be lifted permitting a silence of phrasing. That'awkward stretching of the hand was to be avoided is evident in statements that the best fingering for groups of notes in melody should be played with the same

fingers that one would use if they were written as a chord or arpeggio. Advice is offerred to the effect that the hand should not hang below the keyboard, because this can cause the fingers to be cramped. 11

Arnold Dolnetsch records the recommendations of 31ias Aramerbach (1571) regarding fingerings of harmonic inter­ vals. Thirds were to be played by the second and fourth fingers; fourths, fifths, and sixths by the second end fifth fingers; and sevenths, octaves, ninths, and tenths by the thumb and fifth fingers.

The validity of the earlier fingering practice can be supported for three reasons. One, the phrasing and artic­ ulation in keeping with Baroque performance practice is

upheld. Two, the actions of early keyboard instruments is lighter than those manufactured today, and three, the fin­

ger crossings that would be awkward for attainment of good tone on modern instruments lent themselves quite naturally end easily to the earlier touch. CHAPTER II

BIOGRAPHY

Johann Krieger, also known as Giovanni Kriegher, Kruger, Krieger Jiinger, and Krieger minore, was born in

Nuremberg, December 28, 1651 and died in Zittau, July 18, 1735. Prior to the establishment by Max Seiffert of the correct birth date, one often finds the erroneous date of January 1, 165P given. This date according to the records of St. Lorenz in Nuremberg is the day of baptism. Al­

though Krieger's musical career put him in touch with no­ blemen and church officials, he was b o m of humble ances­

try; his father, Hanns, was a carpet maker and dyer, and

his mother, Rosina, was the daughter of a master builder. As a youth, Krieger took singing instruction with the Sebald cantor, H. Schwemmer and he became discantor in the church choir performing the regular Sunday afternoon concerts in the Nuremberg Frauenkirche. He studied the art of the keyboard from 1661-1668 with G.C. Wecker, an organist v/ho studied with Kindermann and a composer whose works are represented in the same manuscript that contains some of Krieger*s works. No record of composition lessons with Wecker is recorded, but the genres of Intonatios and 12 13 Fugues by Wecker with occasional subtonic notes is inter­ esting in view of the moments of modality in Krieger1s Preludes and Fugues. Among Wecker's pupils was Pachelbel, twenty months younger than Krieger. A copperplate engrav­

ing in A Brief Outline of Charming Children1s Ballets names the twelve-year-old Krieger as a participant. In order to learn composition he studied with his brother Philipp, two years his elder, in Zeitz. Accord­

ing to Mattheson, Johann followed his brother to Bayreuth, where he became court organist and remained for five years. In 1677 he sojourned with his parents in Nurem­ berg, then moved to Halle where Philipp had just been ap­ pointed to a position. Apparently through his brother's

intervention Johann obtained the position of Kapellmeis­ ter under Count Heinrich I in Greiz in 1678. In 1680 he became Kapellmeister for Duke Christian of Sachsen- Eisenberg.

In the year 1681 and at the age of twenty-nine, Jo­ hann was appointed "Director Chori Musici" and organist of

St. Johannes Church in Zittau. He actually entered the position in the spring of 1682, serving the musical life of Zittau for fifty-three years until his death at the age of eighty-three. The performances of many of his works in Weissenfels and his numerous visits there suggest a con­ tinuous close relationship with his brother Philipp. 14

On November 18, 1686 Krieger married Martha Sophia, the daughter or Gottfried Forster, a licensed physician. Of the children from this marriage, five sons and four daughters, six were still alive at the death of their father. Among them, besides Johann Adolph, were Johann Gottfried, "Juris Practicus" in Leipzig, and Christian

Philipp, "Secretarius" end "Juris Practicus" in Hamburg. The Anrauthige Clevier-ffbung of Krieger is said to be one of the few works which Handel took with him from Ger­ many to England. Handel gave his copy to a friend, Ber­ nard Granville, who records that Handel valued and recom­ mended the work as a model for organ and harpsichord com­ posers. CHAPTER III THE CONTRAPUNTAL PRACTICE OF THE ANMUTHIGE CLAVIER-UBUNG

Of the two keyboard collections printed during Krieger*s life, the larger and more significant volume, the Anmuthige Clavier-Ubung. is a compendium of counter­ point consisting of nine preludes, seven fugues, five ri- cercars, a fantasy, a chaconne, a toccata comparable in scope to a prelude, and a grander toccata complete with organ pedal and fugue ending. The title page verifies the work to be that of Johann Krieger, organist and di­ rector of choirs in Zittau, and published by Wolfgang Korisz Endter of Nuremberg in 1699* Krieger is associated with other composers of the middle and late Baroque with regard to his use of the ti­ tle Clavier-Ubung. meaning keyboard study. The title ap­ pears in Kuhnau's collection entitled Neue Clavier-tibung and in no less than four of J.S. Bach's publications.

The term clavier, referring at this time to any of several keyboard instruments, especially the harpsichord, clavichord, or organ, specifies no particular medium for the works. It is difficult to believe that even such ab­ stract efforts as those of the Baroque were invariably

15 16

composed with no particular instrument in mind. Clues surrounding Krieger*s Clavier-t?bung suggest that the or­ gan was the conceived, though not necessary, instrument Tor performance. First, the penultimate bass pitch at the close of fugues and ricercars is so long that only the organ, not the keyed string instruments, could sustain it. Secondly, the spacings are, however rarely, such that an inner voice has to be executed by quickly shifting the

part from one hand to another, unless of course the bass line is a pedal part played by the feet.

The preludes of the Clavier-Ubung:. the fantasy, and the shorter toccata are as adaptable, however, to the harpsichord as to the organ; the fugues and ricercars would be done justice by the harpsichord, with its ability to speak the inner and lower lines with remarkable clari­ ty, and the fact should not be ignored that purely contra­ puntal Baroque works with a fixed number of voices are de­ lightful to perform with virtually any combination of suitable instruments. In the final analysis, it is only the toccatas with markings specifying certain voices for the organ manuals, pedal, and Ruckpositif that are desig­ nated to be played by this particular instrument.

The order of works in the Clavier-Ubung is somewhat free but homogeneous, inviting a maximum of interest from lovers of the clavier and assuring that the collection is not limited in function. Eight of the fugues and 17 ricercars can be paired by key with a prelude, yet the preludes are not always positioned prior to the fugue or ricercar of the same key. It is likely that the coupling of a prelude and fugue, or prelude and ricercar was cen­ tral to the plan of composition, but to publish the works in a strict ordering of pairs might discourage perfor­ mances of the pieces as independent works, particularly as regards the need of organists for single works in music for the church.

The arrangement of keys, initially by seconds and fi­ nally by fifths, and the opportunity to pair preludes with fugues or ricercars in the first twenty of the twenty- five pieces can be seen in the following list. The Fan­ tasia aus D, while not entitled Praeludium, can serve as a prelude to the preceding Fuga aus D. The pairings are I- II, IV-III, V-VI, VII-IX, X-VIII, XVI and any one of the five fugues in C (XI, XII, XIII, XIV, XV), XVIII-XVII, and XX-XIX.

Table 1. Pairs of Works in the Anmuthige Clavier-Ubung; I. Praeludium aus E XI. Fuga aus C. Thema 1 II. Ricercar aus 5 XII. Fuga aus C. Thema a III. Ricercar aus F XIII. Fuga aus C. Thema 3 H > • Praeludium aus F XIV. Fuga aus C. Thema 4 V. Praeludium aus GH XV. Fuga aus C. d 4 Themati VI. Fuga aus G* XVI. Praeludium aus C VII. Ricercar aus A XVII. Ricercar aus L VIII. Ricercar aus B XVIII. Praeludium aus G 1.8 IX Praeludium aus A XIX Fuga aus D X. Praeludium aus B XX. Fantasia aus 0

Thus prior to Bach's Das Wohltemperierte Clavier with forty-eight preludes and fugues in all keys, 1 7 2 2 and 1744-, and prior to J.K.F. Fischer's Ariadne musica with twenty preludes and fugues in nineteen different keys, 1715* is Krieger*s Anmuthige Clavier-Ubung with eight pre­ ludes and fugues or ricercars in eight different keys, 1699. The naturals end flats in the German titles above signify major and minor modes respectively. The scope of the keys in the Clavier-Ubung is smal­

ler than it would have to be in view of the tuning during Krieger*s time. Only once, in the case of three sharps,

does the collection exceed the bounds of two sharps or two flats for keys accomodated by mean tone tuning. The vari­ ety of chords includes major triads on E, B, and F-sharp, suggesting that keys other than the ones used in the col­ lection would have been practical within the tuning in Krieger*s locale, for example, the key of E major. Ei­ ther the tie to the fading modal system is not yet broken, or Krieger simply chose not to be as adventurous in keys

as some of his contemporaries. In regard to the modern practice of using the most

convenient signature for the primary key of a section or work, Krieger uses one less flat or sharp in seven of the twenty-five pieces. Though all seven are in a minor key, 19 his practice varies; two other works in a minor key use modern signatures. The initial prelude in e, without sig­ nature, is followed by a ricercar in e, with a one-sharp signature, leaving open the possibility that the latter, with its modern signature, was composed somewhat later. Whatever view was held with regard to signatures, some

changes were destined to be made since it is inconsistent to use the same signature for a minor and d minor. The clefs in the collection are conventional f-clefs for the lower staff, but c-clefs positioned on the lowest line for the upper staff. The effect of this so-celled soprano or descant clef is to allow the staff to accomo­ date range a third lower than that of the treble clef. That the descant and bass clefs are best for the time is quite possible; however, the treble and bass clefs are well-suited for the four-octave range of harpsichords end numerous organs of the seventeenth century. In all like­ lihood, Krieger and many other composers of the time, in­ cluding Poglietti, Kuhnau, and Buxtehude, used the descant and bass clefs simply because a melodic line that changes from one staff to another could be notated without the need of a ledger line between staves. The awkwardness of writing three ledger lines for the highest note of the z four-octave range C to c , is of no consequence to Krieger z in the Clavier-Ubung since c^ is not used. It is possible that the descant clef had the effect of discouraging Krieger from using the highest notes of the range; in any case, the appearance of treble clefs in manuscripts of J.S. Bach is accompanied by a more frequent use of the ex­ treme high register than is found in Krieger. CHAPTER IV

FUGUES

Fugue in C, Subject 1

The Fugue in C major on subject one is the first in a

series of five works in the Anmuthige Clavier-Ubung culmi­ nating with a Fugue in C on four subjects. Based on the maximum number of parts appearing at any one time and on

the number of subject entries in the exposition* the work is a four-voice fugue. Crossing of parts is found in a few instances.

The first and third entries of the exposition are given responses at the fourth above; that is, the an­ nouncement of the subject ordinarily used as an answer precedes a statement in the tonic creating a V I V I order.

Example 1. Fugue in C, Subject 1, mm. 1-10

21 22 The above contrapuntal technique reflects an inter­ mediate stage in the development of standard fugue proce­ dures* At the beginning of the Fugue on four subjects, seemingly written after this one, the V I V I order of en­ tries found here is changed to a I V I V arrangement, us­ ing the same subject in the same keys*

Three passages, an exposition, a series of middle en­ tries, and a return are discernible; however, continuous

movement in the rhythm of individual end combined parts, the ure of a tied note, and the positioning of a chord in inversion, help avoid a sensation of stopping between pas­ sages.

The characteristic rate of movement in both melodic and composite rhythm is represented by the eighth note in common time with four bests per measure. With one excep­ tion, sixteenth notes occur off the beat in pairs and in one voice at a time* The pairs of sixteenth notes embel­ lish a stepwise relationship conjunctly, fill in a fourth with stepwise movement, or introduce a figure in v.rhich the

second sixteenth note occurs as an essential tone left by leap.

The most characteristic kind of unessential tone is the eighth-note passing tone. Unessential sixteenth notes occur as passing and neighboring notes, and passing tones of any duration on the beat are infrequent. Eighth-note neighboring tones appear off the beat in lower 23 neighboring configurations. Suspensions, including the 4— 3* 9-8, 2-3, and those in ^ chords, occur with the dis­ sonance falling on the first or third beats with the ex­ ception of a few that handle essential dissonances on the

second and fourth beats. Resolutions of suspensions oc­ cur on the beat following that of the dissonance. In the last five measures, a dominant pedal provides the bass for linear and motivic progressions and a passing seventh is

held over as a suspension in the final chord. Typical measures contain changes of harmony on each quarter. Other instances present a half note end two

quarter notes or two quarter notes end a half note. Con­ secutive changes at the rate of the half note provide a slower rate of change over the pedal at the end of the work.

With regard to tonality, the fugue consists of numer­ ous alternations of tonic major and dominant major keys. The subject is a lively two-measure idea beginning rsfter an eighth rest and consisting of three eighth-note iterations, three leaps that introduce successive changes in direction, and three stepwise progressions in an as­ cending order. This subject as well as the motives de­ scribed in the following paragraph can be seen in Example

1 . The counterpoint to the second entry contains four motives used throughout the fugue: (a) e,g,e,f (b) f»fi,a,g 24

(c) f»e,d,c (d) f|e,d,e. These four ideas appear a total

of eighty times including settings against the subject, in links, and over the pedal at the end.

Motive a is set against the first four notes of the subject in eight of its thirteen entries. In five of these settings two voices a third apart present the motive at the same time, reinforcing the entrance of the subject with coincident rhythm. In one instance a stepwise tone is interpolated between the first two notes. The fanfare associated with this motive is avoided with each third

statement of the subject in the passage of middle entries.

Motive b is a distinctive figure of four notes with a pair of ornamental sixteenth notes in the middle. The

length of the motive varies from a half measure to nearly two measures by adjustment of the durations of its first

and last notes. The motive is frequently inverted, mak­ ing it usable as a suspension figure in which the six­ teenth notes provide an ornament for the resolution. Though used to some extent in both the exposition and de­ velopment, including passages with and without the subject,

motive b appears primarily in a cluster of presentations

involving all three upper voices in the last three ana a half measures.

Motive c, the most frequent of the four ideas, is a staple of the counterpoint for both subject statements and links. Its descending stepwise line of four notes end its 25 inversion are adapted to close points of imitation in pas­ sages connecting the end of one subject with the begin­ ning of the next entry, Motive c is also presented by a

pair of voices progressing in thirds in imitative passages and in counterpoint set against the subject. Successive

instances of motive c create descending lines of eight notes.

Motive d is similar to motive c with the exception that the final progression of the stepwise line turns back,

and it is handled much the same. The subject and the four motives are combined with free material to form an exposition, with outer voice en­ tries spaced at different intervals. The first and sec­ ond entries (mm. 1-5; 5-5) are as close together as pos­ sible. The third entry (mm. 5-7) begins a half measure after the end of this second entry, end the fourth entry (mm. 8—10) starts one measure after the end of the third one. A V-I cadence in the tonic key set against the last two notes of the fourth entry ends the exposition. A bridge (mn. 10-12) feathers out the lowest voice

3nd counterpoints the stepwise movement of an inverted rrch in the highest voice with suspensions on three suc­ cessive strong beats. Here, modulation to the dominant key occurs. The first three announcements of the subject (mm. 12- 2 0 ) in the middle passage are separated by decreasing 26 intervals of time: two measures, one and one-half mea­

sures, and a half measure. The first two of these an­ nouncements are connected by a bridge from G major to what

at first may be construed as a minor; however, the 8 minor chord is submedisnt in 0 major, the tonic key. The last two announcements in this group are linked by a non­

modulating passage, and the latter entry introduces a mod­ ulation to the dominant during the course of its statement. iixample 2. Fugue in C, Subject 1, mm. 12-20

i ■ ^ f ■

r ?- f-

fft* ik

A passage in two-voice texture (mm. 20-22) that pro­ vides a departure from the three-voice and four-voice counterpoint obtaining thus far in the section connects the first part of the middle passage with the second part. The four announcements of the subject that form the second part of the development (mm'. 2 2 -3 3 ) correspond to those decreasing intervals of time between subjects not­ ed in the first part to the extent of avoiding increases in time between entries: one and one-half measures, one 27 and one-half measures, one measure, and one measure. As happens in the first part of the middle passage, these an­ nouncements occur in alternations of the tonic and domi­ nant keys, with the last entry handled as a modulating subject.

Example 3* Fugue in C, Subject 1, mm, 22-55

A passage diminishing to two voices again provides departure from three-voice and four-voice texture (mm, 3 3 - 36), In this instance the passage connects the end of the middle entries with the return, and it provides the final modulation to the tonic key, A stretto of the subject (mm, 36-39) begins the re­ turn and a link with imitation (mm, 39-40) binds the stretto v;ith a final entry of the subject. This conclud­ ing entry (mm, 40-42) ir placed in the lowest range of any entry in the work. The last note of this bass entry in­ troduces a dominant pedal (mm. 42-46) that prevails until a cadential progression, V-I, ends the Fugue. 28

Fugue in C, Subject 2

The second work in a series of five fugues in C ma­ jor is a four-voice fugue written in common time and based

on a one-measure subject* The composition is essentially contrapuntal throughout, combining independent voices in contrasting rhythms and contours* Two voices are occa­ sionally paired in rhythm end melody, progressing in

thirds against a faster moving part. Sixteenth-note fig­

ures permeate the texture, and the voices are frequently articulated by rests, especially before entrances of the subject. Special techniques used repeatedly include stretto and mirroring. Although ideas from the counterpoint of

the exposition occur later in the work, no countersubject is employed.

This fugue is similar to others analyzed in that it incorporates an exposition, a passage of middle entries,

and a return; however, in numerous other respects it is totally different. The organization and order of subject

treatments in the middle passage are unique, and the re­

turn contains no restatement of the subject. Suspension figures instrumental in handling disso­ nance on the beat appear in a variety of sonorities and rhythms. In these cases, the upper note of ninths, fourths, sevenths, fifths in diminished triads, fifths in six-five chords, and the lower note of seconds resolve 29 downward by step. The tied note of the suspension is sometimes repeated prior to resolution. Ornamental reso­ lutions involve a pair of sixteenth notes in a passing- lower neighbor configuration in the last three measures. V/ithin these measures a double suspension combines an or­ namentally resolved seventh and a ninth.

Passing and neighboring motions account for virtually all the remaining treatments of dissonance, including a passing six-four chord and the upper neighbors of two trills. A few cambiatas, the last one held over as a sus­ pension before resolving, are found. They begin with an ascending leap of a third and are left by step in the op­ posite direction.

Harmonic rhythm is characterized by change at the rate of the quarter note. Changes at the rate of an V _ eighth note are not avoided, and those at the rate of a half note are employed in isolated cases until consecu­ tive instances occur in the final measure. The keys of the Fugue are tonic major end dominant major. Alternations of these two keys are noted through­ out.

The theme is a modulating subject (mm. 1-2). The first three tones, which are the fifth, fourth, and third degrees of the tonic key, provide an opportunity to hear an initiation of C major. The transposition up a step of these tones, which are the second, first, and seventh 50 degrees of the dominant key are understandable in G ma­

jor* The progression leading tone to tonic ends the sub­ ject.

The tonal answer (mm. 2-3) has no chance to imitate tones at the fifth above without disturbing a basic trait

of the subject or suggesting a dominant of the dominant* The stepwise movement and the repeated notes ere kept in tact, and the entire answer is a transposition of the sub­ ject up a fourth. The counterpoint of the answer is a good example of on independent and complementary rhythm set against a subject, and it introduces contrary motion to intervals that fall on the beat.

Example 4. Fugue in C, Subject 2, mm* 1-3

The continuation of the answer prior to the third en­ try (m. 3 ) contrasts with the predominantly stepwise sub­ ject, introducing a pattern of nearly continuous leaps. A sequential fragment of thirds, t-d,c-e, from this pattern is used later in the counterpoint. The third entry (mm. 3-4) is a transposition up an octave of the first statement, and the fourth entry

(mm. 4-5) is transposed up an octave from the first 31 answer, completing an ascending order of entries for the

four voices* A setting of the final two pitches of the

fourth entry in e V-I cadence of the tonic key completes the exposition.

During the cadence concluding the exposition a sub­

ject (mm. 5 -6 ) that extends into the passage of middle en­ tries begins to be stated. The position of this subject in the measure is changed by one beat compered to previous announcements. The texture is reduced here from four to three voices.

The mirrored form of the subject is exploited (mm. 7-

1 1 ) in three successive passages, first in stretto and next by individual entries in each outer voice.

Example 5* Fugue in C, Subject 2, mm. 7-11

Following a bridge, three passages present the sub­ ject in stretto. The first of these (mm. 11-13) employs imitation at the time distance of three beats between an inner and an outer voice. The second stretto (mm. 13-1*0 52 overlaps on inner and on outer voice also; however, the interval of time between entries is reduced from three beats to one beat. The third stretto (mm. 14-15) main­ tains the close interval of one beat in the imitation and it exposes the imitating parts in the outer voices. An extension (mm, 1 5 -1 6 ) featuring an elaboration upon a

stepwise descent in the uppermost pert provides departure from repeated announcements of the subject.

An episode (mm. 16-18) beginning in the dominant key and becoming modulatory develops the sequential fragment of thirds from the continuation of the initial answer.

First, the lower part unfolds thirds in an ascending se­ ries against a trill. The upper part imitates the ascend­

ing series at the octave against lower voices a third a- part. An extension within the episode introduces a de­

scending sequence based on the progression of a six-four chord to a five-three chord arriving at a cadence. A second group of strettos follows the episode. The first of these (mm. 1 8 -1 9 ) is a two-voice stretto in two- voice texture, and the second one (mm. 2 0 -2 2 ) is a three- voice stretto in three- and four-voice texture. The last imitating voice in the three-voice stretto is doubled at the third for nearly all of its statement of the subject.

A second episode (mm. 22-25) transposes one measure of the earlier episode so that it begins in the tonic key instead of the dominant key. The spacing is changed in 33 such s way that the intervals between the two upper voices

are an octave wider than before. The final passage employing the subject (mm. 25-24) introduces three statements in the dominant key at the same time. The lower two of these subjects is inverted. A fourth reference to the subject though only to its first four notes enters in stretto one-half measure after these three statements. Four-voice harmonic progression occurs throughout the remainder of the Fugue, with suspensions on each first and third beat (mm. 24-28). With regard to a section of re­

turn, a modulation to the tonic key is not introduced un­

til the final three measures.

Fugue in C, Subject 5 The Fugue in C on subject three is a tonal and mono- thematic work written mostly in three-voice texture but expressing four different voice parts in the exposition, middle part, and tonic key ending. Written in common time with a two-measure subject, the four-voice Fugue makes copious use of modulation and occasional use of ep­ isodes.

Use of the subject in various registers and different voices, surrounded by continuously changing counterpoint, is commonplace. Special devices include fragmentation of the subject, expansion of an interval, stretto, sequence, 34 imitation* and mirror imitation. As in the second Fugue in this series of five in the same key, no statement of the subject is found in the return.

Sixteenth-note passing tones and sixteenth-note

neighboring tones occur more continuously throughout the work than other kinds of unessential tones. Suspension

dissonance can be found on any of the four quarter notes. The dissonance of cambiatas and embellished cambists fig­

ures is never coincident with chord change. Other unes­ sential tones include black notes longer than the six­ teenth approached and left as passing tones, neighboring tones, and a free tone (n. 2 0 ) that divides the interval of a perfect fifth in the bass into two thirds.

Harmonic change at the rate of a quarter is quite consistently expressed. Changes at the rate of a half

note occur at or immediately before entrances of the sub­ ject, with the exception of a few instances when the me­

lodic rhythm is especially active in two voices at the same time. The half—note rate of change is also used at the end. The keys of the Fugue are tonic major, dominant ma­ jor, relative minor, subdominant major, and supertonic mi­ nor. The subject (mm. 1-3) is a diatonic line beginning with an eighth note prior to the middle of measure one that introduces a series of figures in sixteenth notes 35 and eighth notes including a four-note stepwise descent.

A tonic note at the beginning of measure three ends the subject. Fragments of four to nine notes from the predom­

inantly stepwise beginning, and fragments of three to eight notes from the consecutive leaps of thirds and

fourths at the end occur later in the counterpoint. The second entry (mm. 2—4) is a real answer in stret­

to with the initial announcement. The answer is counter- pointed by two fragments, c,ftd, and e,c,f,d,gte,cf from the end of the subject. Of these ten notes the first five are lengthened by comparison with their initial appearance and the last five are in stretto at the distance of an eighth note with the answer.

Example 6 . Fugue in C, Subject 3* mm. 2-4

----- • f . r

1— ■■ "4

The third entry (mm. 4-6) is a transposition of the first statement up an octave. The progression of the three voices during this entry reveals a predominance of roots a fifth apart. Here, the inner voice beginning with a link between the second and third entries presents var­ iations on the first five notes that follow the eighth- note upbeat of the subject. The first of these variations 36 is a retrograde inversion, c,b,a,g,s, and the second is the inversion, a*Si9 ih,c.

The continuation of the third entry, c,f,c,d,e, is im­

itated in inversion over free material in the bass provid­ ing a link and overlapping the fourth entry (mm. 6 -7 ).

example 7. Fugue in C, Subject 5f mm, 6-7

The final announcement of the subject in the exposi­ tion (mm. 7-9) completes an ascending series for the four

entries, and it is a transposition up an octave of the initial ansv/er v:ith the exception of the final progres­ sion, which is altered. The alteration makes possible-a progression of leading tone to tonic in a cadence, vii°-I, that ends the exposition in the tonic key. Following a link the subject is developed (mm. 9-11) by diatonic transposition a second above its initial ap­ pearance, retaining the tonic key. A bridge (mm. 11-12) v;ith references in the bass to the consecutive leaps from the end of the subject initiates the dominant key. The next entry (mm. 12-lh), a recurrence of the initial an­ swer, is in the dominant key end the counterpoint provides 37 variety from earlier settings by coupling a voice with part of the subject, first in similar motion and then in contrary motion* In addition, the number of voices is diminished from three to two during this entry* A bridge

(a, 14) with modulation back to the tonic key extends the two-voice texture initiating a variation upon the five notes following the upbeat of the subject*

Example 8* Fugue in C, Subject 3, nun. 12-13

Each of the next three entries presents the subject in an outer voice. The first one is a modified statement (mm. 14-16) notable for its modulation to the relative mi­ nor key, for the suspensions of its counterpoint, and for the use of three voices in higher range than earlier pas­ sages. After a bridge to the dominant key, the second of these entries places the subject beneath two voices that progress by similar motion in thirds, developing the leaps of thirds and the fourth previously mentioned (mm. 1 7 -1 9 ).

Following a bridge back to the tonic key, the last of these three entries (mm. 1 9 -2 1 ) explores the subject in four-voice texture. An extension (m, 21) prolongs the 38 presence of four parts, acting as a link to the next pas­ sage of development.

An episode (mm. 21-25) develops the middle ten notes of the subject and its four-note stepwise descent in a

modulatory passage for two voices involving dominant and tonic keys. Consecutive leaps in the same direction, oc­ curring at the end of the episode and overlapping the next entry, recall the last two progressions of the subject.

Following an absence of the subject from the upper­ most part for several passages, an entry (mm. 2 3 -2 5 ) is presented in the top line. A second episode (mm. 25-26)

transposes material from the first one, extending the lat­ ter part in a modulating sequence from the tonic to the dominant key. Another entrance of the subject in the up­ permost part, this one incomplete and a fourth lower then the previous one, is accompanied at the interval of a third by an inner voice and imitated in stretto (mm. 26-

29) by an entry in the bass. The stretto and its counter­ point conclude with a change of key to the dominant.

Through modulation to the subdominant (mm. 29-30) sn

The fourth work to differentiate individual composi­

tions by numbering the subject in the title, this one

Theme is a four-voice fugue. Only three of the voices

are used at a time throughout much of the work though chords with as many as five and six notes are found at the

end. Linearity is a prominent feature of the texture in the exposition, middle passage, and opening measures of

the return. Thereafter, the texture can be described as

chordal but interspersed with moments of toccata-like mel­ ody.

Announcements of the subject are connected by links and bridges. A single eighth note maintains movement be­ tween the end of the first subject and the beginning of the next entry. In the remainder of the Fugue, statements of the subject, plus this single eighth note or a rhythm of the same duration, ere separated by passages a half measure or one measure in length. Similar to the sub­ jects, these passages begin on the second or fourth beat of a measure. The Fugue is written in common time with the quarter note representing the characteristic rate of pulsation. Contrapuntal dissonances are handled more often than not by passing motion, particularly with sixteenth notes off the beat. A few passing tones of eighth-note or dot­ ted eighth-note duration occur on beats two or four. 40 Suspensions occur with dissonance on beats one or three with the exception of one involving a cadential dom­ inant seventh chord on the fourth beat. In addition to

4-3, 7 -6 , and 9-8 occurrences, the suspension figure is found in an upper voice with the seventh chords in root position and in first inversion, and with a diminished

fifth, the upper note ornamentally resolved downward over a changing bass. In a lower voice the suspension figure occurs with 2 -3 's, with an augmented fourth, and with a diminished triad in second inversion.

Neighboring tones occur off the beat as sixteenth notes or eighth notes. Consecutive neighboring tones ap­ pear in modified double auxiliary figures (mm. 3 2 , 5 3 )• Two camhiatas, each approached by an ascending leap of a third and left by step in the opposite direction, are found. The latter is held over as a suspension in the fi­ nal chord before resolving.

Chord change at the rate of the quarter note repre­ sents a norm for the work. Deviations from this rate are represented by the eighth note and half note. Half notes in the harmonic rhythm often occur in the same half mea­ sure as a subject entry. The keys of the Fugue are tonic major, dominant ma­ jor, end mediant minor. The subject (mm. 1-2) is a diatonic line beginning with a tonic note and encompassing the range of a perfect 4 1

fifth. The initial note value, a half note on the second beat in common time, sets the stage for syncopation to oc­ cur each time the subject enters. The stepwise progres­ sion from that note to a note a step lower on the fourth beat provides the potential for a suspension. The subject is one and a half measures in length. Tue second entry (mm. 2—4) imitates the subject at the fifth but the first two leading tones in the tonic statement are answered at the interval of a diminished fifth preserving the tonic key until near the end of the answer. The third leading tone of the initial statement is answered at the perfect fifth, assuring the arrival of the dominant key and completing the tonal answer.

Example 9* Fugue in C, Subject 4, mm. 1—4

•« » w * * *

The first two four-note motives in the counterpoint to the answer, particulary the second one, £»

Following a bridge beck to the tonic key that incor­ porates the second motive in its counterpoint, the third voice (mm. 4-6) entering the exposition presents the sub­ ject an octave lower than the initial statement. The two voices set against the third entry maintain movement at the rate of the eighth note, the only instances of quick movement being supplied by two pairs of sixteenth notes in the subject. The last four notes in the uppermost part of the counterpoint, e,f,f—sharp,g, introduce a stepwise chromatic motive employed in the work. A connecting pas­ sage (mm. 6 —7 )t though not essential between tonic and dominant announcements, appears between the third and fourth entries varying the time distance of earlier imi­ tations.

An answer in the bass (mm. 7-8) completes a descend­ ing order of entries in a I V I V arrangement. The tex­ ture diminishes from four to three voices during this en­ try, and harmonic progressions are influenced by the pres­ ence of the four-note chromatic motive. A bridge (mm. 8 - 9 ), with voice leading that presents and partially imi­ tates the second four-note motive from the counterpoint to the initial answer, leads from the dominant key to a V^-I cadence in the tonic key, ending the exposition.

An appearance of the subject in an inner voice (mm. 9 -1 1 ) with free material in the lowest part and a 45

line incorporating the two stepwise motives in the upper part begins the development. The accompanying voices maintain movement with eighth notes and a pair of six­ teenth notes during the lengthy first tone of the subject.

An extension (mm. 11-12), with modest elaborations in an indirectly descending line of the uppermost pert, con­

cludes with a cadence in the tonic key, providing a breathing point between entries.

A textural change after the cadence involves the dis­ continuing of the lowest part and the entering of an up­ per voice that presents the subject in a higher range than

that of other entries (mm. 12-15). The wide distance be­ tween the upper voice and the two lower voices in this three-voice texture are gradually decreased until there is scarcely space for the inner voice to present the chroma­ tic motive.

The two upper voices are paired in thirds and imi­ tated by the lower voice at the distance of an eighth note in the course of a bridge (mm. 14-15) from the dominant key to the tonic key. Close spacing among the parts in range on or above middle c continues in the next entry as the subject

(mm. 14-15) is positioned in an inner voice. Here, the outer voices progress entirely in oblique or contrary mo­ tion. Kear the end of the statement and through a link that leads to the next entrance (mm. 1 5 -1 6 ), the texture 44 is two-voice, a point that bears mentioning since there is no episode in the work to provide an opportunity for s change to fewer voices.

Use of range below middle c resumes with an entrance of a voice (mm. 16—18) that presents the subject in the

lowest part for the first time in the middle passage. The upper voices during this entry are in the process of pro­ gressing along a path into lower range, gravitating toward

the range of the subject. In the bridge that follows (ra. 18) the descent into lower range is completed.

An announcement of the subject in the dominant key reveals a transposition (mm. 18-20) that begins on the

third degree instead of the first degree as with previous subjects. Modulation to the mediant minor key provides a departure from the alternation of tonic and dominant keys. The bridge accomodating this modulation (mm. 20-21) con­ cludes with a four-voice cadence confirming the mediant minor key, and an entry in an upper voice (mm. 2 1 -2 2 ) of­ fers the first opportunity to hear the subject in minor mode. The four-note motive consisting of an ascending leap of a fourth followed by stepwise progressions in the opposite direction is worked into the bass line of the mi­ nor tonality. In a bridge (mm. 22-23) that prepares a forthcoming announcement in the dominant, modulation is made from the mediant minor to the tonic, the usual key to precede dominant entries in this work. The modulation to 4-5 the mediant minor, the entry in minor tonality, and the

bridge that follows ere shown in the following example*

Example 10. Fugue in G, Subject 4, mm. 20-23

I / - f - i t * ._„ * * I * i -- * * * K* — r::. r . •__/ / - - J •

The first of two entries in the dominant and the link joining them (mm. 23—26) contrasts with previous passages by employing similar motion more often than usual. The second of these dominant announcements transposes the ear­ lier entry that began on the third degree down an octave, placing it in an inner voice. The outer voices combine the first four-note stepwise motive end free material to create a unique contrapuntal setting. Unlike earlier dom­ inant entries, this one ends with an altered chord han­ dled as a subdominant in the tonic key. The progression of this chord to an incomplete tonic chord supplies a ple- gal cadence (mm. 27-28), ending the passage of middle en­ tries. A single tonic statement of the subject and closing progressions in the tonic key occur in the section of re­ turn. The final announcement (mm. 28-29) presents the subject in lower range than that of any other entry in the Fugue. The progressions following this final entry, including a stepwise descent from b down a sixth to d in the highest part, provide an extension (mm* 29-32) in

four-voice texture with the dissonance of suspensions falling on each strong beat until a half cadence is reached. A series of eleven sixteenth notes following a

sixteenth rest while other voices are tacet imbues the re­

turn with a rhapsodic element* This single line plus a note on the first beat of the next measure constitutes an

elaboration upon the stepwise descent from b to d. The elaboration begins a passage dominated by four-, five-, and six-note chords (mm. 52-35)* A modified occurrence of the rhapsodic motif and several final multi-note chords

(mm. 35-37) bring the Fugue to an end, one last dissonance being ornamentally resolved in augmentation.

Example 11. Fugue in C, Subject 4, mm. 29-37 4-7 Fugue in C on 4- Subjects

The fifth C major fugue in the Anmuthige Clavier- Ubung employs the subjects of the other four C major fugues in the collection. Since it is advisable to dis­ tinguish between a fugue that merely uses four subjects and a quadruple fugue in which the subjects appear to­ gether at least once, it is pertinent to mention that in this work the subjects are set against one another. Six passages overlap two subjects; one combines three sub­ jects; and five introduce all four subjects together. None of these twelve passages is merely a recurrence or transposition of another, invertible counterpoint at the octave, tenth, and twelfth being used to accomplish in­ terchanges of the voices. The most remarkable instances of interchange arise during the five passages that the four subjects are set against one another. During the first four of these five passages, each subject is presented once in the highest voice and .once in the lowest voice. With regard to all five of these passages, each subject is given the op­ portunity to appear at least once in the position of a soprano, an alto, a tenor, and a bass. The different positions of the four subjects in the five passages of quadruple counterpoint are shown in the table below. 48 Table 2. Positions of the Four Subjects in the Five Passages of Quadruple Counterpoint, Fugue in C on 4 Subjects

soprano: 4 2 1 3 5 alto: 3 1 4 4 2 tenor 2 3 2 1 4 bass: 1 4 3 2 1

The exposition is typical of others in that it pre­ sents thematic material, subject one, in four-voice imi­ tation. A I V I V order of entries occurs reversing the arrangement that appeared in the first C major fugue. The passage of middle entries makes use of subjects two, three, and four within its first six measures. An extensive working out of the subjects creates a lengthy period of

development. A brief section of return that features a final reference to all four subjects ends the longest

fugue found among the keyboard works of Krieger. Unessential tones in common time with four beats per measure take the form of passing tones, neighboring tones, suspensions, cambistss, and a pedal tone. Passing tones

appear as sixteenth notes off the beat, and as eighth notes off the beat or rarely on beats t*;o and four. A few passing tones are found in polyphonic melody (m* 19, 37). Neighboring tones occur as sixteenth notes off the beat, and as eighth notes off the beat or on beats two and four. Neighbors also appear ina double trill, end in handling the seventh of a seventh chord. Cembiata figures 49 introduce sevenths off the beat. The three—note cambiate figure is frequently embellished by the interpolation of a consonant tone that modifies the stepwise turning back; for example, e,g,f becoming e,g,e,f (m. 11). The characteristic rate of change in harmonic rhythm is represented by the quarter note. Temporary departures from change at the rate of four times per measure are ac­ complished by eighth notes and half notes, and one in­ stance of a dotted half note.

The keys of this work are tonic major, dominant ma­ jor, mediant minor, and relative minor. Subject one (mm. 1-3) begins the quadruple Fugue af­ ter an eighth rest with a two-measure theme of ten notes that encompass the range of a perfect fifth. The second entry (mm* 3-5) is a real answer counterpointed by a line that assures movement on each quarter end contributes the contrast of two pairs of sixteenth notes. The customary bridge (m. 5) between the second and third entries of a I V I V order is one-half measure long in this exposition*

The third entry (mm. 5-7), a statement of the subject an octave above the initial one, is changed with regard to its position in the measure, beginning after an eighth rest on the third beat, a half measure later than the first two entrances. Following a few progressions that allow the time distance between the third and fourth statements to be varied by comparison with that of the 50 first two, the fourth entry (trim. 8-10) introduces the sub­ ject an octave below the initial answer* The last two notes of this second answer occur in a cadence, V^-I, end­ ing the exposition in the dominant key. In the first twelve measures of the middle passage, subject one is notable for its absence, and the other three subjects are presented at least once in an outer voice. First, subject two, the one-measure idea of nine notes spanning a perfect fourth (mm. 10-11), is heard in stretto at the fifth below and at the tine distance of one beat. The two-voice texture of this stretto as well as its brevity causes the passage to function as a connecting passage between the end of the exposition and the next statement of a single subject. Subject three, a two-measure theme of twenty notes in the range of a perfect fifth, is sounded in two statem^u.'

(mm. 11-1 5 ), the second one being a transposition up a fourth but modified at the end to permit a stretto with subject four. Subject four, a one and one-half measure theme with ten tones spanning the range of a fourth, is presented three times in succession, once in stretto in the outer voices (mm. 15-15) once in an inner voice

(mm. 16-18). The essentially free materiel in the counterpoint of the entries thus far in the middle passage employs note values no shorter than the eighth note, allowing the 51 sixteenth notes of the second, third, and fourth subjects to provide the quickest movement. Linking passages no longer than the duration of a quarter note employ pairs of sixteenth notes contributing to the continuity of the three-voice texture.

The first instance of two subjects beginning together, both with the final interval altered (mm. 18-20), combines subjects two and three with motives from subjects two and four in a third voice. An extension (mm. 20-21) with a descending stepwise line in the uppermost part and suspen­ sions on each strong beat leads to a V-I cadence in the dominant key (mm. 21-22).

Subject one returns after the cadence combined first with subject three (ram. 22-24) and after a link with sub­ jects three and four (mm. 24-26). A departure from over­ lapping different subjects follows as subject two in a stretto similar to the initial passage of the middle part is presented with the leader doubled at the third and with the follower positioned a fifth and seventh below at the distance of one beat. A four-note stepwise chromatic as­ cent reminiscent of the fourth G major Fugue is worked in­ to a cadence. Thereafter, the first instance of subjects one and four being combined with a free inner voice is found (mm. 28-30). A one-measure bridge (mm. 30-31) emerging from a sequential extension of that inner voice sets the stage for the initial appearance of the four 52 subjects together.

Due to the different rhythms of the four subjects, the voices enter in a slightly staggered order. The first tv;o subjects begin after an eighth rest on the first beat;

the third one comes in after an eighth rest on the second be3t, and the fourth one starts on the fourth beet (mm. 31-32). One of the notes of subject three, a middle c in the alto (n. 32), has undergone a register transfer dov;n an octave avoiding unisons between the same pair of voices on consecutive beats despite intervening conso­ nances. Later arrangements of these voices do not involve unisons at these points. Instead, octaves or fifths occur, obviously permitted on consecutive beats with an inter­ vening consonance.

Example 12. Fugue in C on 4 Subjects, mm. 31-55

Prominence of thematic material is avoided for the next three measures (mm. 35-56) with only the fourth sub­ ject present in an inner voice. The principal means of introducing variety here accrues from departing from the tonic and dominant keys with progressions into the mediant minor key. 55 The second time the four subjects appear together the previous two lower voices become upper voices and vice versa (mm, 36-58), Subjects one and two are a fifth high­ er and subjects three and four are one octave and two oc­ taves lower respectively. Thus, the interchange of voices is carried out with invertible counterpoint at the octave

end twelfth. The time distances among these subjects is the same as before but the interchange of voices accom­ plishes different outer voice relationships, spacings,

harmonic progressions, and a modulation from the tonic to the dominant key. A single instance of subject four (mm. 38-59)* ap­ parently with a tie omitted from its first two notes, is again denied prominence by free material, this time in the tv/o upper voices. The arching line of this free material in the uppermost part and the inner voice coupled with it mostly in thirds lead to double presentations of subject

tv;o again in stretto with the bass one beat later. A * bridge from the dominant to the tonic key prepares the

next appearance of the four subjects together. The third combination of the four subjects (mm. 41-

43) positions the quickly moving parts in the lower voices and subject one in the highest part. Here, the harmonic analysis is especially straightforward, A reversion to quickly moving parts in the upper voices finds subject one

in the lowest voice, subject three in the uppermost part, 54 and the first part of subject three linked with the last part of subject four in the inner voice (mm. 4-3-45), A reduction in texture to two voices accomplishes the effect of a brief episode (mm* 4-5-46), distributing rhythmic ac­ tivity between both parts in a stretto of subject two. The combination of the four subjects, its harmonic analy­ sis, and the passages immediately following it are shown in the example below.

Example 13. Fugue in C on 4 Subjects, mm. 41-46

The fourth occurrence of all the subjects together (mm. 47-49) is more expansive in its use of range than the others, spreading over nearly three octaves, c-b . In comparison v/ith the initial combination of the themes, subjects one and two are in invertible counterpoint at the tenth; subject three is transposed up a sixth until its last three tones which are replaced by other notes, and subject four is transposed down a third. Modulation to the relative minor key providing de­

parture from the frequent alternations of tonic and domi­ nant keys is brought about with five-note fragments from the beginning of subject two in stretto with a six-note

fragment from the end of subject four (mm. 49-50). Trans­ posed invertible counterpoint from a passage beginning in the thirteenth measure (mm. 50-52) provides a transient modulation through the dominant key to the tonic key.

Confirmation of the tonic key in a V-I cadence (mm. 52-53) ends the passage of middle entries. The closing section of the Fugue includes one final

appearance of the four subjects set against one another.

This combination (mm. 53-55) is similar to the first pre­ sentation with the exception that the bass is an octave lower and the former soprano line now appears in the ten­ or. The placing of the fourth subject in the tenor and the second subject in the alto completes the appearance of each subject in every one of the four voices. This set­ ting of the four themes is somewhat lower in range and more sonorous than the others. Four-voice texture contin­ ues to the end, incorporating single and double suspen­ sions, four-note motives from the fourth subject, a domi­ nant pedal, and a closing fragment of imitation in the fi­ nal tonic chord (mm. 55-59)* 56 Fugue in G

The Fugue in G major from the Anmuthige Clavier-

Ubung is coupled by key with a Prelude that precedes it. An exposition presents four entries of the subject, and the counterpoint of the second entry is a source for three much used motives in the work. Two episodes sepa­ rate three groups of subject statements in a passage of middle entries. Here, the means of development arises largely from modulation and from assigning different voices the role of presenting the subject and countersub­ ject motives in combination. Invertible counterpoint of these combinations plus one or more additional parts of­ ten occurs, incorporating inversion at the octave, twelfth, and tenth. A single statement of the subject and one fi­ nal instance of the countersubject motives presented one after another characterize a section of return.

The unessential tones of dissonant intervals are handled conjunctly in common time. With four beats per measure, the most used type of unessential tone is the sixteenth-note passing tone off the beat. Sixteenth-note neighboring tones and eighth-note passing tones appear with regularity throughout the piece. Suspensions in­ clude infrequent sevenths and fourths, and their resolu­ tion involves diatonic progression downward by step from the upper note v/ith or without a change of bass. 'When the 57 dissonance of a suspension falls on a beat end the prepa­

ration is at least a quarter note in duration, resolution

takes place on the next quarter note. When the prepara­ tion has the duration of an eighth note, resolution oc­ curs off the beat an eighth note after the dissonance. Six-four chords and a seventh chord in root position appear as essential dissonances, with the seventh in a suspension figure. Other dissonances are of singular oc­ currence: an escape tone, a quarter-note passing tone, a six-four chord with the fourth held over in a suspension, a cambists, an escape tone analyzed as a note in a line within a line (m, 39)» and an anticipated appoggiatura.

Harmonic rhythm is characterized by changes at the rate of the quarter note, with variety provided by changes at the rate of the half note and dotted half note. Values longer than the quarter note in harmonic rhythm, includ­ ing successive half notes at the end of the piece, are rare. The lceys of the Fugue are tonic major, dominant ma­ jor, supertonic minor, and relative minor.

The initial announcement of the subject (mm, 1-3) is heard as an eight tone, diatonic, non-modulating line in­ distinguishable from what \\rould customarily be an answer in the dominant. The dominant beginning is followed by a statement in the tonic key (mm, 3-5) with counterpoint that provides the origin of three recurring motives. The first of these, g,e,f-sharp,e,f-sh8rp,g,d, a brief idea with a busy oscillation in sixteenth notes, will be celled

the initial countersubject fragment. The second idea is

formed by the last four notes of the first idea, and its

recurrences are invariably prolonged by an extension, thus the designation extended motive. The third idea, b,c,e,d,

c,b, is itself not repeated but its progressions disclose the source of an arch-shaped nine-note line appearing in­

itially in the first episode. Based on the location of

its initial treatment, the nine-note line will be referred

to as the episode idea, regardless of where it appears.

Sxample 14. Fugue in G, mm. 1-5

The third entry (mm. 5-7) is a transposition of the initial announcement in the dominant hey down an octave v;ith free counterpoint. The fourth entry (mm. 3-10) is a transposition of the second announcement up an octave that works in a reference to the countersubject fragment and and completes an alternation of dominant and tonic keys.

The end of the exposition occurs with the final harmonic progression of the fourth entry, a cadence in the 59 tonic key.

A brief non-modulating passage (mm. 10-11) based on the initial countersubject fragment begins the passage of middle entries. A statement of the subject in an inner voice (mm. 11-13) combined with the extended motive and the initial countersubject fragment is presented with a change of key to the dominant. Following a bridge, the voices of the previous entry are interchanged at the oc­ tave (mm. 14-16). Here, the subject is still in an inner voice and an additional reference to the initial counter­

subject fragment is incorporated. A link leads to a sec­

ond interchange of voices (mm. 17—19) with the subject now appearing in the uppermost part.

After a cadence in the dominant and a brief connect­ ing passage, an episode begins. The nine-note episode

idea is exploited in three successive instances of stretto (mm. 20-22), the leader of the first stretto becoming

paired with followers as it is sequentially extended. Composite rhythm exhibits an increase in sixteenth-note activity during the stretto but a subsiding into eighth- note movement during the chromatic progressions that fol­

low.

The subject is reannounced in the tonic key (mm. 23- 2 5 ) following the episode and here it appears in combina­ tion with the extended motive, the initial countersubject fragment, and the recently initiated episode idea. The 60 ensuing entry (mm* 25-27) retains the countersubject frag­ ment in a familiar position relative to the subject, but

the episode idea is set a half measure earlier than be­ fore.

The second episode (mm. 27-31) presents the three countersubject ideas in combination or in brief points of imitation in modulatory tonality that settles in the rela­ tive minor key*

In the next passage (mm. 31-33) the thema undergoes modulation from the tonic to the dominant key. This entry

is set against the extended motive in the uppermost part

and a stretto of the episode idea in the lower parts. This passage exhibits invertible counterpoint at the twelfth in measures twenty-three and twenty-four. The closing reference to the subject in the middle passage presents one last unique setting. Here, the sub­ ject is set against a nearly complete statement of itself in voices a third apart, with the extended motive provid­ ing the bass line. Composite rhythm reverts from a pre­ dominance of movement in sixteenth notes to a constant

flow in eighth notes for the last two measures of the mid­

dle passage (mm. 34— 35)* end the texture is diminished from three voices to two voices. An announcement of the subject in the bass (mm. 56-

58) that corresponds by octave transposition to the tonic key entries in the exposition combined with the first 61 complete four-voice setting of the subject provides rea­ sons to acknowledge the beginning of a closing passage or

section of return. The latter part of this tonic key set­ ting is striking for its homorhythmic and somewhat chordal texture.

Example 15. Fugue in G, mm. 36-38

Following the only entry of the subject in the clos­ ing passage, a farewell reference (mm. 38-4-1) is made to each of the three countersubject ideas, not set in combin­ ation with the subject or with one another as has been their role, but presented one after another. With regard to melodic progression, the three ideas are set in an in­ teresting order. The first of the three ideas is the most angular one; that is, the one with the most leaps, the widest range, and the most frequent changes in direction. The second one is equally as long as the first but more conjunct and with only a single change of direction in its stepwise arching contour. The third idea is the briefest of the three, the most restricted in range, and the most transitory in melodic direction. 62 A chromatic chord, describable as a tonic minor triad in the major key in first inversion and with a doubled third in the outer voices, occurs in the progression I-ig-V (m. h-1). The altered tonic harmony is used as a chromatic passing chord,

Example 16, Fugue in G, mm. hl-h2

A cadence, 7-1 (mm, 4-1-4-2) , with the dominant harmony prolonged by a passing'six-four chord concludes the work. Ornamental resolution of a fourth above the bass in each of the final two chords provides an ending fashionable for the time.

Fugue in d

The Fugue in d minor in the Anmuthige Clavier-flbung exists as an independent piece, as the third movement of a four-movement Suite, Preludio, Ricercar. Fuga. Fassacaglia. and as the conclusion of a Fantasy and Fugue arranged and edited in the practical edition by Max Seiffert. Of these three, only the score of the Fugue as an independent work in the Anmuthige Clavier-tlbung of the Denkmaler der Tonkunst in Bayern is an authentic reproduction of the 63 publication from the Kassel Archives of German Music. i The form of the Fugue shows no departure from the customary sequence of an exposition, middle entries and a

section of return; however, the presence of several coun­ tersubjects is of special interest. A motive in the coun­

terpoint at the end of the initial answer and two complete and distinctive countersubject melodies introduced after the exposition are employed. The meter of the work is du­ ple and the rhythm is measured out in common time.

Contrapuntal dissonances include a predominance of passing tones, approximately half as many neighboring tones, ten suspensions, and a pedal tone. The passing tones are mostly unaccented sixteenth notes and eighth notes. One eighth-note passing tone occurs on the beat and one quarter-note passing tone is found on the fourth beat. The neighboring tones are unaccented sixteenth notes with the exception of two eighth notes off the beat* In addition to single instances of suspensions used in re­ solving a six-five chord, a ninth, and a seventh over a pedal, the suspension figure appears in 4— 3*3. The pedal tone is a dominant bass note that is intermittently ais- chordant for the four measures prior to the final tonic harmony.

The characteristic rate of chord change can be repre­ sented by the quarter note in common time. Deviations from this rate are introduced by half notes in the same 64- half measure as a subject entrance, in the half measure prior to a subject entrance, within an episode and in the closing passage of the Fugue, The keys of this work are tonic minor, dominant mi­

nor, subdominant minor, the relative major, and the rela­ tive major of the dominant.

The subject (mm, 1-3) is a diatonic, internally se­ quential theme beginning after a quarter rest and encom­ passing the range of a perfect fifth. The line begins on

the dominant note and ends on the tonic note. The last of its twelve tones is notated with different note values; otherwise, the rhythm of the subject consists of quarter notes and pairs of eighths.

The subject appears transposed to the dominant for its second entry, A tonal answer is used, the only ad­ justment being that of the first note which is a tonic re­

sponse to a dominant beginning.

Example 16, Fugue in d, mm, 1-6 The counterpoint at the end of the answer introduces a mo- ^ \ ^ ^ * tive • • • • • • used as a countermotive throughout the Fugue*

The third and fourth entries (mm. 6-8, 9-12) provide outer-voice completion of a X V X V order of keys* Wider and wider range is explored by the alto, tenor, bass, and soprano order of entries in the exposition* The exposi­ tion ends with the last note of the fourth entry without cadence.

The initial middle entry (mm. 12-14) is set against an upper voice with new countersubject material. This ma­ terial is allied with the subject to the extent that both are sequential, but it contrasts with the subject in that it is characterized by sixteenth-note figuration* An ep­ isode (mm. 14-16) based partly on the original countermo­ tive introduces yet another countersubject, this one chro­ matic. The countermotive and both countersubjects are combined as the subject occurs in an inner voice during the second middle entry*

Example 17. Fugue in d, mm. 16-19 66 Different interchanges of the voices in this three­ fold combination appear with every other entry of the sub­ ject in the remainder of the Fugue. These sre found in mm. 23-25 and 28-31. Between these interchanges the sub­ ject is prominently displayed either in the relative

transparency of two-voice texture or by doubling the sub­ ject at the tenth or third in three-voice texture (mm. 19-

22, 26-29* 31-3*0 • The connecting passages of these five entries are too short to be considered episodes. Of the six bridges in the Fugue as a whole, five involve imita­

tion. In the remaining one, there is imitative treatment of the rhythm only.

A cadence in the dominant appears in measure twenty- six and a Phrygian cadence concludes the middle entries in measure thirty-four.

The closing passage of the Fugue (mm. 34— 4-3) contains a single entry of the subject. The dominant pedal of this passage is longer than in most of the Fugues. Each of the two countersubjects and the countermotive makes a final appearance, one at a time, this aspect being reminiscent of the closing passage in the quadruple Fugue. The final cadence is a V-I progression that incorporates a Picardy third.

Fugue in G, MS 4982 In addition to a Fugue in G major in the Anmuthige 67 Clavier-Ubung. a fugue in the same key is found in MS 4-932 from the Lowell Mason Library of Yale University, This

second Fugue carries no composer's name in the manuscript; however, a version of the work edited in 1716 by a con-

tempory of Krieger, H, Gerber, and contained now in the Bayerische Staatsbibliothek in Munich, confirms the work

to be that of Johann Krieger, The Yale source is used as the basis of the following analysis; the Munich score omits nine notes, interpolates an unstylistic e-sharp be­ tween e-naturals, and contains thirty-eight other discrep­ ancies.

The work is a four-voice fugue written in common time, and although f-sharps are ’written in for passages in the tonic key of G major, no key signature is used. The principal organization involves entries of the subject in the tonic and subdominant with two announcements in the dominant. Modulatory connecting passages separate all but tv.o pairs of entries with interludes a half measure, one measure, or one and a half measures in length.

Due to neighboring figures in the subject, neighbor­ ing tones are nearly as frequent as the usually predomi­ nant passing tones. Both of these types of unessential tones appear as sixteenth notes, and less frequently as thirty-second notes and as eighth notes; virtually all are off the beat. Suspensions are noted in connection with six-five chords, 2-3's, 7-6's, and 4— 3*s, and occasionally with sevenths and fourths that involve a change of hass or augmented fourths and seconds that in­ volve a change of upper voice. The rate of chord change that typifies harmonic

rhythm is represented by the quarter note. Temporary de­ partures into change at the rate of the eighth note and half note are found. Eighth-note changes occur in series

of two or four at a time and half-note changes are found in two instances as an announcement of the subject begins. One instance of syncopation involves a measure in which a quarter note is followed by a half note (m. 8), Half-note changes are the most frequent in the final two and one- half measures.

The keys of this G major Fugue are tonic major, sub- dominant major, and dominant major. The subject (mm. 1-2) is a one-measure diatonic theme of twelve notes beginning after an eighth rest with a ton­ ic-dominant leap. This thematic material spans the range of a major sixth and presents the contrast of three eighth notes followed by sixteenth-note figures and a final tone on the beat.

Example 18. Fugue in G, MS 4*982, mm. 1-2 The second entry (mm. 2-3) answers the tonic-dominant leap of the subject with a dominant-tonic response. Thereafter* the answer is a transposition up a fourth. The relationship of the subject to the answer is that of a dominant to a tonic, and with regard to the main key of the Fugue the first two entries can be viewed as tonic key to subdominant key.

Example 19. Fugue in G, MS 4982, mm. 2-5

The third and fourth voices of the exposition (mm. 3- 5) complete a I IV IV I order of entries with outer voice announcements of the subject. The final interval of the fourth entry is expanded from a third to a fifth, and a cadence,ii^-vii^-I, in the subdominant key ends the expo­ sition a half measure later. Neither this cadence nor the three within the series of middle entries creates the cec- tionalization associated with homophonic forms, continuity being assisted in these instances by positioning the third of the tonic chord in the soprano and by maintaining six­ teenth-note movement. A one-measure bridge to the tonic key prepares an en­ trance of the subject in the bass (mm. 7-8), an octave 70 lower than its initial appearance. The rarity of an aug­ mented fourth as an interval in melodic progression is in­ curred by the bass line of the bridge. A second bridge, this one with fragments of free material in imitation at the octave above, sixth above, and fourth below, modulates

to the subdominant for an entrance of the subject in the soprano (mm. 9-10), an octave higher than the second en­

try. This latter entry concludes with a iir^-V-X cadence in the subdominant key. The next three entries of the middle passage (mm. 11- 1 5 ) continue the alternation of tonic and subdominant en­ tries varying the counterpoint with each entrance and sep­ arating the announcements with bridges. The last of these three entries ends with a respaced transposition of the earlier ii^-V-I cadence now in the tonic key.

The tonic-subdominant-tonic relationship of subjects in the exposition is reflected by the organization of the next three entries; namely, by announcements in the domi­ nant, subdominant of the dominant, and dominant (mm. 16- 21). As before, the final entry of the group is concluded by a transposition of the ii^-V-I cadence, this time in the dominant key.

The last two entries (mm. 22-25) in the middle pas­ sage are in the subdominant transposing the initial an­ swer first up an octave and after a link down an octave. A cadence without the continuous sixteenth-note movement 71 of earlier cadences ends the middle part. The section of return (mm, 26-29) presents one state­ ment of the subject in the tonic key, a transposition down an octave of the initial entry. Suspensions end a domi­ nant pedal prolong activity with the texture becoming five-voice in the final one and a half measures. A domi­

nant-tonic cadence concludes the Fugue embellishing the seventh of the dominant chord with a consonant escape tone.

Fugue in d, MS 4982

Among the copies of Krieger manuscripts obtained from

the Lowell Mason Library of Music at Yale University, is a Fugue in d minor based on an indirectly descending chroma­

tic subject. The meter signature is that of common time; however, the two half-note units per measure recall works notated in alia breve. The penmanship of the score may be the work of a copyist. Two beats per measure are appar­ ent, and the subject is a mirror of the theme in the alio breve e minor Hicercar as well as in a Fugue to be dis­ cussed later.

In addition to chromatic progressions of a subject ’written mostly in long values, a quickly moving diatonic countersubject not introduced until the first entrance af­ ter the exposition supplies much of the melodic progres­ sion. The countersubject, often with slight variances, 72 accompanies the subject in each of its appearances in the passage of middle entries. One modified statement of the subject occurs in the return.

Contrapuntal devices employed in this Fugue include stretto, modification and fragmentation of the subject, and interpolation of single quarter notes and a pair of embellishing eighth notes. In voice leading, there ere recurring instances of a major interval or chord followed

by its minor counterpart or the reverse without change of root.

Dissonances falling on first beats include suspen­

sions, although on second beats passing tones of quarter- note and half-note duration are found. More frequent than these are unessential tones off the beat including eighth- note and ausrter-note passing tones as well as neighboring tones of similar lengths. One half-note neighboring tone on the second best is held over as a suspension. A domi­ nant pedal tone occurs prior to the final cadence chord, and a cambists introduces a dominant seventh. A half-note rate of chord change represents the har­

monic movement. Changes introduced by whole notes in har­ monic rhythm occur during the work as well as longer tied values over the pedal at the end. The keys of this Fugue are tonic minor, dominant mi­ nor, relative major and the dominant of the relative ma­ jor. 73 The first announcement of the seven—note subject (mm# 1-4) stands in a dominant to tonic relationship with

the second entry# Transposition of the subject up a per­ fect fourth occurs with the second entrance until the fi­ nal note (mm. 4-7). The dominant-tonic order of entries is repeated by the third and fourth voices (mm# 8-15) com­ pleting an ascending V I V I series, bass, tenor, alto, and soprano. The key of each imitating voice in this ex­ position is prepared by at least one diatonic progression prior to the entrance of the subject. The sixteen-mea­

sure exposition ends in the dominant one measure after the final progression of the fourth entrance.

Example 20. Fugue in d, MS 4982, mm. 1-15

Presentation of the subject in the middle passage is varied by a variety of means in the following order. The subject is announced for the first time in a lower voice of two-voice texture, and it is combined with a nine-tone countersubject (mm. 16-19)* The last note of this an-

noucement begins the second appearance of the countersub­ ject (mm. 19-22). In this instance, the countersubject is

freely counterpointed by a stepwise descending line until its last four notes are imitated at the distance of a half measure. This intervening passage between announcements serves as a bridge separating the distance between domi­ nant and tonic entrances of the subject by a wider margin than before. The tonic entrance (mm. 22-25) finds the subject in the lowest voice, the countersubject in an in­ ner voice, and a voice in contrasting rhythm in the high­ est part. An extension (mm. 25-26) sets the stage for a

departure from the tonic and dominant keys. The subject and countersubject are given their ini­ tial appearance in major tonality (mm. 26-52), first in the relative major, then in invertible counterpoint at the octave in the dominant of the relative major, reversing

the dominant-tonic relationship of the V I V I order in the exposition. In the counterpoint of these entrances,

the countersubject is either incomplete or modified, and a fragment of both the subject and countersubject appear in the context. During these entrances in the major key, the number of voices varies more quickly than before changing

from three to two to three to four to three. The I V order of entries and its counterpoint can be seen in the following example. 75 Example 21. Fugue in d, MS 4-982, mm. 26-32

A return to a stable texture of two voices finds the sub­ ject and countersubject in the same key as the previous entrance, dominant of the relative major, but in inter­ changed position, the subject now appearing below its ac­ companying line (mrn. 33-3&)• After a link with'stepwise movement, strettos based on the first four notes of the subject are featured in a three-voice episode that finds fragments of thematic ma- 2 terial introduced in the highest range of the Fugue, a , and in each of the lower voices (mm. 37-4-3). A tie in the uppermost part appears to be omitted across the bar be­ tween measures forty-one and forty-two. The last of the three fragments of thematic material in stretto is overlapped by an entrance of the complete subject in still lower range and in the dominant key (mm. 4-3-4-6). Here, the countersubject appears for the first time in the highest voice of three-voice texture against free material in the inner part. The only 76 interchange of three voices presenting the subject, coun­

tersubject and a third part not used earlier in the work is presented in the tonic key (mm. 47-50). The third part

in this instance introduces a few notes of free material and a stretto based on the countersubject. Motives from the countersubject set against one another in two voices are combined with the first four notes of the subject

( m . 5 1 -5 5 ) in the dominant key. To begin the closing passage in the tonic key, a statement of the subject is modified by inverting the last four notes and diminishing the size of the final interval

(mm. 53-56). The end of the modified statement becomes a

dominant pedal. The countersubject, absent from the coun­

terpoint of the final entry, reappears in a variation over the pedal (mm. 56-56) snd two upper voices combine to form the most prolonged occurrence of four-voice texture. The Vy-I cadence ending the Fugue (mm. 59-61) is embellished by a suspension in the dominant chord and inner voice ac­ tivity in thirds in the tonic chord.

Fugue in d, MSS 4982, 5056 Each of the two manuscripts numbered above contains a score of a d minor Fugue based on .an indirectly ascending chromatic subject. This work is a companion of the d mi­ nor Fugue just discussed, the subjects of the two being mirrors of one another. The Fugue analyzed here is barred 77 differently in the two manuscripts, one with two half-note

units per measure, the other essentially with four; the measure numbers employed here are based on the latter

source, MS 5056* Three differences between this fugue and its compan­

ion ere that the exposition contains an extra entry of the subject; two countersubjects are used instead of one; and the entire subject appears in stretto. In this work the dissonance of suspensions is found on both strong and weak beats, the former being more fre­

quent. Suspensions occur with and without diatonic and chromatic changes of bass. The tone that progresses down­ ward by step in the suspension figure appears as the lower note of a second or the upper note of a seventh, fourth, ninth, or fifth in a six-five chord. Passing tones of

eighth-note and quarter-note duration off the beat or on a weak beat are used in descending lines. One passing tone is held over and resolved in a suspension figure; the root of a diminished triad is handled in a double auxiliary figure, and a dissonant portamento ornaments a resolution. Chord changes customarily occur at the rate of the half note. Exceptions arise with the occurrence of occa­

sional whole notes in the harmonic rhythm. Entrances of the subject as well as cadences entail the use of tonic minor and dominant minor keys. In addi­ tion, the relative major of the dominant key is used. The exposition presents the first four statements of

the subject in a descending order of entries (mm. 1-7), an opposite of the ascending arrangement in the companion fugue. Sharing a common characteristic with that work, these four announcements involve the unusual V I V I key plan, the first tone of each entry being a tonic note. It

can be noted that a reversal of the first two entries would result in a wholly regular scheme complete with a

standard tonal adjustment of a tonic-dominant leap.

Example 22. Fugue in d, MSS 4982, 5056, mm. 1-7

J J £ T ^ r ) Jfj rJ J Jm^ [ • - q — ' * g f r = ^ - — p -—a ------U -----

J u. - -- n 1 1 " l -

■ - *■ - I 1

with each of the four voices of the Fugue having in­ troduced the subject, an extra entry occurs (mm. 7-8).

Phis fifth statement is best understood as an extra entry within the exposition for several reasons: (1) it contin­ ues the alternation of dominant and tonic keys with the same time distance between entries as exists with the 79 first four voices; (2) no five-voice texture occurs in the Fugue to support the acknowledgement of a five-voice ex­ position; and (3) a countersubject appearing with the sec­

ond, third, and fourth entries also occurs with the extra

entry. A V^-I cadence in the dominant (mm. 8-9) after the extra entry ends the exposition.

The first two middle entries (mm. 9-12) are set against a variation of the countersubject that keeps the melodic intervals in tact but varies the rhythm. The var­ iation is shown below together with the countersubject.

Example 23. Fugue in d, KSS 4-982, 5036, mm. 2-4, 9-12

cs

■ w jm -|------;--- £ • . -

> ; f e ■— 1 — ■ ■ ■

A two-measure episode (mm. 12-14) elaborates upon the countersubject variation prolonging a note with the notion of a double auxiliary; sequential treatment of an earlier suspension figure adds to the presence of development. 80 The subsequent entry (mm. 14— 16) is provided with new surroundings by means of fragments from the subject and countersubject variation* The fourth middle entry and the partial statement of the countersubject following it

(mm. 16-19) are notable for the fresh use of range in the uppermost voice and the nev/ness of spacings arising from

a pair of voices positioned well below. Treatment of the subject in higher range gives way to a presentation in the bass (mm. 19—20), and a bridge leads to a cadence in the dominant minor key.

The subject is exploited in stretto (mm. 21-25) with a tonic or dominant entry in each of the four voices. As many as three voices are overlapped at a time, the only modification being the size of a final interval, d-e, in an inner voice.

Sxample 24-. Fugue in d, MSS 4982, 5056, mm. 21-25 81

The counterpoint against the followers combines the coun­

tersubject with modified forms of the countersubject vari­ ation.

The closing passage of the Fugue (mm. 25-27) presents the final entry of the subject with the second note omit­ ted. This omission transforms the chromatic theme into a diatonic line. The cadence, V-i in the tonic key, fea­ tures an ornamentally resolved 4-3 suspension in each chord.

Fugue in C, MS 5056

Regarding one of four Fugues to be found in manu­

script only, a statement on page 113 of MS 5056 suggests that the Fugue in C exists in tablature transposed to the key of ?. The score in tablature is either lost or un­ available. That the work was written by Krieger is sug­ gested by the handwritten abbreviation J.K. Jun., thus Johann Krieger Jr. The appendage Jun. is fortunate since otherwise the initials might be mistaken for his brother Johann Philipp Krieger or Johann Kerll, Johann Kindermann or Johsnn Kirnberger. The signature for common time is used in a notation that marks off four half-note units per measure. The bars of measures six through eleven are drawn a half measure too late; however, the measure numbers herein are based on the barring as it occurs in the score. The first bass 82 note of measure ten is probably erroneous in view of the unstylistic dissonance that occurs; a unison £ would be more reasonable than £. In measure seventeen, a led­

ger line for the first bass note is apparently missing since the note appears tied to a middle c in the previ­

ous measure* It is advisable in this Fugue to consider

accidentals as applying only to the following note, not to notes later in the measure*

The exposition recalls those of some of Krieger*s Ricercars in its use of long note values* A single black note, a quarter-note passing tone in the bass, occurs in an exposition permeated with white notes. The indi­ vidualistic trait of the form in this Fugue appears in the three-part organization of the middle entries. The closing tonic section is distinguished from earlier pas­ sages by its prolonged use of a contrapuntal texture in­ volving all four voices for the first time.

The passing tones of the Fugue ere quarter notes off the beat. The quarter-note neighboring tones are lower neighbors off the beat. Half-note neighboring tones be­ come suspended and are initiated on beats two and four in figures reminiscent of the so-called consonant fourth of the Palestrina style as in measure eleven below. Dis­ sonant portamenti occur on the second half of the first or third beats. 83 Example 25. Fugue in C, MS 5056, m. 11

One half-note anticipation is found. Suspensions are more than twice as frequent as any other kind of contra­ puntal dissonance. Of similar abundance are 4-3*s, 2-3's, and 7-6's; two of the 7-6*s resolve into six-four chords. The suspension figure is also used in handling six-five chords, 9-8*s and double suspensions that combine a sev­ enth and ninth. The latter are spaced with the suspended notes a tenth apart. A pedal tone occurs in a prolonging of dominant function prior to the final tonic sonority. It is customary for chord change to occur each whole note. 'When this is not the case the harmonic rhythm con­ tains half notes or dotted whole notes. Aside from regu­ lar harmonic rhythms, occasional syncopation does occur. The tonality is limited to just three keys: the tonic major, dominant major, and relative minor. The subject (mm. 1-4) is an eight-tone arching con­ tour of diatonic notes and long values with a single syn­ copation pos tioned near the middle and at the peak of the line. The second entry (mm. 4-6) is a real answer in the 84

dominant that halves the vhole-note value of the first note of the subject.

A pyramiding order of I V I V entries, bass, tenor, alto, soprano is completed by the third and fourth entries

(mm. 6-9, 9-12). The third and fourth entries are in stretto and the exposition ends with the last note of the second answer. The middle entries of the subject are organized in passages of three announcements each. The first three of

these (ram. 12-22) are slightly overlapped, followed by an extension and concluded by a cadence in the relative mi­

nor. The next three entries (mm. 22-32) are nearly as closely spaced and conclude with a cadence in the domi­ nant. An extra entry connects the end of this passage v/ith the beginning of the next one. The final three mid­ dle entries (mm. 33-40) form a series of two-voice stret- tos in textures of three and occasionally four voices. This last passage concludes with a cadence in the tonic hey. A countersubject, an inversion of the arched contour of the subject, is similar to the subject in that it be­ gins and ends on the tonic note and spans the range of a fourth. Not used until after the exposition, the counter- subject introduces shorter note values than the subject. In the passage of middle entries, the countersubject is used in the counterpoint of each announcement unless tightly spaced points of imitation or stretto at the dis­ tance of a half measure occur. The countersubject and

subject are invertible at the octave. Interchanges of parts occur with the subject, countersubject and free ma­ terial.

Due to the short distances between subjects only three connecting passages and no episodes are found. These include (1) an extension with imitation after the

seventh entry, (2) a bridge with imitation after the ninth entry, and (?) a bridge with fragments of the countersub­ ject in different voices after the fourteenth entry.

The section of return (mm. 40-47) presents a single statement of the subject. An extension, progressions over a dominant pedal, and a V-I cadence conclude the Fugue. Throughout most of the final seven measures, the original syncopation of the subject is manifest in a series of tied values occurring at the rate of at least one each half measure.

Fugue in g, Anhang. DTB, xxx Among the organ and clavier works appearing in manu­ script until publication of the Denkmaler rte.TvTcnkunst in Bayern is a Fugue in g credited to Johann Krieger by edi­ tor Wax Seiffert. Formerly attributed to Johann's brother, Philipp Krieger, the work is similar in innumerable ways to other Fugues of Johann, the principal uniqueness 86 involving fewer middle entries end an increased number of episodes.

Of special mention are transpositions of the subject so that it begins on different degrees, the use of two countersubjects, altering the rhythm of a motive, and stretto.

The four entries of the tv/o-measure subject in the exposition establish a limit for the number of voice parts in the Fugue. Notated in common time with the quarter note as a unit of measure, eighths and quarters are the most typical values in melodic rhythm with sixteenth notes appearing in groups of two or three and in one voice at a time. Tied values, dotted notes, and syncopation are in­ strumental in maintaining contrasting rhythm among the parts.

The kind of contrapuntal dissonance more frequent than any other one is provided by suspensions. A majority of these are 7-6*s, and most of the remainder are 4-3's. Other suspensions include 2-3's, those in six-five chords, sevenths with a change of bass, and a 9-8. Passing tones and neighboring tones ere similar to one another in fre­ quency and all but four of these are eighth notes or six­ teenth notes. Eleven escape tones occur as a result of a recurring countersubject figure. Two anticipations are found and a pedal tone supports dissonances prior to the closing tonic sonority. 37 Half notes in common time permeate the harmonic

rhythm. Divisions or temporary suspensions of the basic helf-note rate occur with pairs of quarters, whole notes, and tied white notes.

The keys of the Fugue are tonic minor, dominant mi­

nor, subdominant minor, relative major, and the dominant of the relative major. The subject (mm. 1-5) is a diatonic eight-tone theme beginning with a tonic note after a quarter rest. The range encompassed by the subject is a perfect fifth, and the mode is clarified by minor third degrees. The domi­ nant answer (mm. 2-4) is in stretto imitating the subject at the distance of one measure. A bridge (m. 4) providing a smooth return to the tonic key introduces the basic pro­ gressions of a countersubject used in the middle passage.

The third and fourth entries (mm. 4-8) are octave trans­ positions of the initial statement and answer; unlike the first two entries the announcements are successive instead of in stretto. A modulating sequential extension (mm. 8-

9) based on the end of the subject leads to a cadence thst ends the exposition in the relative major key. Differentiated lines varying the rhythm of the last six notes of the subject follow the exposition in the so­ prano and tenor of a four-voice episode (mm. 9-11). Eighth notes are interpolated in each of these voices, and a motive from the continuation of the subject is worked 88 into the bass line. The exposition and the initial epi­ sode of the middle passage are shown below.

Example 26. Fugue in g, Anhang. DTB, xxx, mn. 1-11

_.k

. < r - i |£?. f 1 ♦ ' m- f' P ° ■I*-- Im ■■■■ - u: — -- sl a ' * ..4'~ d-^4-- a. ... m v- m a - r;r * r y r- - t----

The first middle entry (nm. 11-15) is a statement in the tonic key set against a countersubject that is an elaboration on material from the bridge of the exposition.

The ensuing episode (mm. 13-16) takes issue with the in­ direct stepwise descent from the latter part of the sub­

ject and repositions the countersubject in relation to the subject material. The second middle entry (mm. 16-18)

transposes the initial dominant answer down a fourth with­ out changing its key. Here, a second countersubject es­ sentially in tenths with the subject but with interpolated notes that create a distinctive rhythm occurs for the first time.

After a bridge, the initial answer recurs with coun­ terpoint causing the entry to be in the relative major 89 instead of in the dominant (mm* 19-21)* Fragments of dot­ ted rhythms and a motive of the subject with changed note values combined with a transposition of the second coun­ tersubject provide material for an episode (mm. 21-25) that introduces the subtonic major and subdominent minor keys* Like the preceding entry, the next statement

(nun* 25-27) is in the relative major but transposed so that it begins on a second degree of the key instead of a third degree.

Following another bridge, the subject undergoes de­ velopment by treating an octave transposition of the orig­ inal answer in the tonic key (mm. 28-30). Modulations in the episode after this entry (mm. 30-34-) involve keys with tonal centers a fifth apart; namely, relative major, sub­ tonic major, subdominant minor, and tonic minor. The ton­ ic entry occurring next in combination with the first countersubject reveals invertible counterpoint at the oc­ tave (mm. 34— 36) by comparison with its initial occurrence in the first middle entry. An incomplete statement of the second countersubject, sequential treatment, and imitation of a fragment from the answer figure in an episode (mm, 36-4-0) that modulates to the dominant, the relative major, and tonic* A reduction to two voices provides va­ riety in texture as an entry of the subject is set against the first countersubject in the subdominent minor key (mm. 4-0-4-2). The final episode (mm. 4-2-47) combines 90 fragments of the subject with successive presentations of the two countersubjects.

The closing section presents the subject in stretto (mm. 47-50) followed by fragments from the beginning of the second countersubject over a dominant pedal (mm. 50- * 52). The final entry of the subject (mm. 52-54) embel­ lishes the tonic harmony at the end of the Fugue.

Thema from the Suite in 5 Movements

Following a Durezza and Fraeludium, a relatively lengthy movement headed Thema concludes the Suite in C ma­ jor with a Fugue. In order that works of like genre may be grouped together the Fugue will be discussed now, the Durezza and Preeludium'later.

The third movement consists actually of two four- voice fugues connected without pause. The first of these explores a subject written in alia breve and notated in m the Denkmaler der Tonkunst in Bayern with half the usual number of bars; the second one transforms the subject to six-four time. Five closing measures written in common time act as a coda for the movement.

The same order of keys, I V I I, and of entries, ten­ or, alto, bass, soprano, occurs in. each of the two exposi­ tions (mm. 1-8, 51-60). Each passage of middle entries follows a decisive cadence eight to ten measures after the exposition. 91 The following example shows how close and how distant the harmonic relationship is between corresponding pas­ sages in alia breve and six-four time.

Example 2 7 • Thema from the Suite in 3 Movements, mm. 7-10. 59-62

Twelve of the thirteen entrances of the subject in the six-four fugue are in the same order and key as en­ trances in alia breve. Eleven of these are exact recur­ rences, and of the two remaining, one entrance, the high­ est of the entire work, is a transposition up an octave from the alia breve section, and the other is an added en­ try that makes possible a quick succession of subjects near the end* In the second fugue the voices accompany­ ing the subject, the texture, bridges, and episodes are often changed by comparison with the first fugue. The bridges and episodes are frequently longer in six-four time than in alia breve. The harmonic progressions of 92 nine passages, i.e., the root movement and almost invari­ ably the chord quality of more than half of the six-four fugue, are transferred from alia breve notwithstanding oc­ casional changes in chord inversion, voice leading and un­

essential tones, as well as the interpolation or eliding of passing chords and chords providing harmonic embellish­ ment.

In alia breve, contrapuntal dissonance is provided by

64 suspensions, 57 passing tones, 15 neighboring tones, 2 incomplete neighboring tone figures, that is, appoggia- turas, 2 cambiatas, and a pedal tone. In six-four time, unessential tones include 62 suspensions, 50 passing tones, 2 neighboring tones, 1 incomplete neighboring tone figure, 1 cambiata, 5 escape tones, and 1 pedal tone. Four suspensions, a passing tone, and a neighboring tone occur in common time at the end. The fundamental rate of chord change occurs each half measure in both alia breve, notated with two whole-note units per measure, and in six-four time, with two dotted half-note units per measure. Interpolated changes occur with half notes in alia breve and quarter notes in six- four time. Slower rates of change are practically non­ existent until changes once per measure add to the dramat­ ic metric change to common time in the coda. The keys of the work are tonic major, dominant major, relative minor, and supertonic minor. 93 Variation technique applied to motives of the subject is rampant in both sections of the Fugue. These involve altering the duration of a note, shifting an idea by one beat, interpolating a quarter note or a pair of embellish­ ing eighths, introducing syncopation, changing the size of an interval, connecting separate motives into a continuous line, mirroring, and diminution.

Example 28. Variation Technique in Alla Breve Applied to Motives of the Subject, Thema from the Suite in 5 Movements, mm. 1-50

-fer l |

-6>-'— ^ tr. I M 1 f 1 SI ,/7^22(?7)f¥2)

m h z , . it q n 1 . - t j i

tnm. 4 3 2 W 6 mrrv. 2*^ f3oJ 37

|4 - M fl X y , i r ^ 1 Ms \ f T 1 t y ~ 1 r * *.1 Dj ___ . .22

# f ■ ■ 1 Wi 1 r 1 4 mm, 2 5 3fe 3 7 94 .Example 28— Continued

* S.Lfl

r^r- - i # * — "— ■■»— ^ -- a---- - 1- ^ — L— -Dll 1— — r— 1----- —1--- = £ = _£_|— :— f-4- ■ ° - \M- b + — ■> ».— L 1 m iq

tr. -e^- flT* r . r 7 *1 - " t r u* r i a =■=? mm, 26 (2

a %T-U- - f r j~ m. iO ~ J2r

r _ _ ----- « T °- T ----- / w v I i o: -y-f--— H ----- 1— J -t* )------}— \— 1 I..1 .. i 1 -L -»!- U0

<9- j«~ TT «• I rv> 12. m. *JO ?

SH~j I I l=F= •i J i i i J * i .—A j g. ±.-- * 9 V --e~-± ~9 «. '*+ m m n t u *4. ti * hi m O ± E 2 B E *4G m, 1*4 95 Example 29* Variation Technique in Six—Four Time Applied to Motives or the Transformed Subject, Thema from the Suite in 5 Movements, mm, 51-101

i m-- — r------— - O' ^ --■1---- 1------I T i!-- r1-- - 11—|= -- [— ' ---*------i. s/

M - o- f , |------— n —i— |------1 ------f ftu y " n ___^__!____|___ ------M—— 1 ^ * 1 J jJ m .5* m n ry xrr%r7(a$$jB»'tyw « o I— ri r t - C T 0*0 " f # t -J—!--- J- 1 * ! f -1-“I------5(,(75)(7?X85X%)

znz £ J W 57, * 7 15,8i

_____ — ~T~ 0 + ‘):7l I 1 4 - M - T ~o *~ 7>, 5 5 ^ 72/fl?;

4 0 - „ r # g . y t * — .— ------^ f c y - 4— j- 1- ;-- f - —J f !■ | | I f ... i a » . l i - u ^ 'T) 54 .88

f.l f 1 11 r § ' i i r_L >. fci rmm. 4 1,84

I 81(18)144) 96 The closing section of the alia breve fugue (ram. 48- pl) is limited to a mere three measures consisting essen­

tially of a dominant pedal and a full-fledged stop on the tonic chord of a cadence. That of the fugue in six-four time (mm. 98-102) is nearly as brief but it is followed by the coda in common time* Neither closing section contains a statement of the subject,

Thema from the Toccata in C with Pedal

The final forty measures of the last compositi.n in the Anmuthige Clavier-Ubung is a four-voice fugue, a cap­ stone of the longest Toccata in the collection. The work then is a Toccata with fugue, the latter marked off by the heading Thema. In a manner that hearkens back to works of Claudio Merulo (1555-1604), no break occurs between the

toccata section and the fugue; in fact, the fugue subject emerges from the tonic chord ending the previous passage.

Figures common to both the toccata section and fugue pro­ vide a bond between the two contrasting textures within the 'work. . Several of these figures are combined in a rhythm that invites articulate execution to form the fugue

subject. The term Pucknositif, referring to a separate cham­ ber of 3n organ usually operated from the lowest manual and so named because it was placed at the performer's back, makes it possible to determine the intended medium 97 of performance. Performance instructions for the organ within the fugue itself prescribe when the pedal is to be used. The pedal is specified for use in only tv/o passages of the fugue. This judicious use of the pedal heightens

its dramatic effect, and the locating of the pedal parts in the latter part of the fugue underscores that purpose. It is interesting that of the two entrances of the subject for the pedal, the second one is not only lower than the

first, its melodic center is the lowest in range of any subject in the fugues or ricercars. hue to the particular figures in the subject and their frequent recurrence, an usually high number of dou­ ble auxiliary figures and cambiatas are found in the anal­ ysis of consonance-dissonance. Passing tones, mostly six­ teenth notes off the beat, are abundant; neighboring tones and suspensions are somewhat less frequent. Tv/o pedal tones, one near the middle of the work end a longer one near the end, occur as dominant bass notes in the tonic key. Chord change occurs at the rate of the quarter note in common time. Departures from the quarter-note rate are understandable but not infrequent, occurring at points of cadence, at the beginning of some subject entries, with suspension resolutions lacking change of bass, with inver­ sions of chords in passages of busy figuration, over pedal tones, and in the closing measures of the piece. 98 The keys are tonic major, dominant major, relative minor, supertonic minor, and subdominant major, the latter occurring just prior to the tonic closing section. The subject (mm. 1-2) beginning with distinctive re­ iterations of a tonic note, is a one and one-half measure diatonic line that introduces no fewer than ten changes of direction in the course of spanning only a perfect fifth, tonic to dominant, and ending on a third degree.

Example 30. Thema from the Toccata in C with Pedal, mm. 1-2

The second entry is an alto response that presents a real answer to the opening tenor statement (mm. 2-4). following a bridge that borrows a motive from the subject, the ascending order of entries is extended by a tonic statement in the soprano (mm. 4-6). A bass entry (mm. 6-

7) completes the I V I V alternation of keys in the expo­ sition as the counterpoint, only momentarily four-voice, continues to vary with each entrance. A modulating exten­ sion and cadence in the tonic (mm. 7-9) completes the ex­ position. An episode (mm. 9-11) exploiting two contrasting mo­ tives from the subject treats each in imitation during transient modulations. A recurrence of the initial answer (mm. 11- 1 5 ) is counterpointed in tonic tonality as the subject appears in an inner voice for the first time. Following a link, the subject appears in somewhat lower range than before (mm. 14-15), and the counterpoint per­ mits a chromatic progression by temporarily raising the root of a first inversion passing tonic chord. A sequen­ tial extension based on the end of the subject, a trans­ position to the dominant of the earlier link, and the head of the subject doubled at the third (mm. 15-18) comprise the second episode. A tonic statement with all but its first four notes doubled in an inner voice and presented over a dominant pedal (mm. 16-19) completes a trio of en­ tries, inner voice, bass, soprano, in the early part of the middle passage. This portion of the middle passage ends with a cadence in the relative minor featuring double trills in dominant harmony. The cadence ends an episode (mm. 19-22) that employs sequential treatment, imitation, and inner-voice suspensions. Four entries appear in the latter part of the middle passage. The first of these (mm. 22-24) is an inner voice entry in the relative minor followed without need of a bridge by a second statement, this one in the dominant. It is here that the pedal enters for the first time (mm. 24-25) and it is supported by the initial appearance of continuous four-voice texture. Fragments of the 100 subject are tossed about in a modulatory passage (mm. 25- 29) that returns to the main key by means of tonics a t fifth apart, supertonic minor, dominant major, and tonic major.

Example 51* Thema from the Toccata in C with Pedal, mm. 2 5 - 5 ^ ”

The third entrance of these four (mm. 29-30) is varied by the chromatic lowering of a leading tone. The temporary suggestion of subdominent key foreshadows the key of a passage near the end. The ensuing episode (mm. 50-52) provides a recurrence of the descending series of tonics a fifth apart introduced earlier.

The fourth and final entrance of the entire subject in the middle passage is the low pedal statement that an­ nounces the thema in the tonic. Here, the texture is es­ sentially four-voice with an occasional fifth note in some of the chords (mm. 52-54-) • The closing measures of the middle passage (ram. 34— 37) modulate to the subdominant ma­ jor, retard the rate of chord change, and reintroduce the figures and double trills that ended the first portion of

the middle passage. The beginning of the subject is restated and its

fifth note is sustained as a dominant pedal in the tonic key. The closing section (mm. 38-^0) finds motives from the subject worked into indirectly descending lines and a final V-I cadence with the pedal part in the bass doubled

at the octave.

Example 32. Thema from the Toccata in C with Pedal, mm. J>0-4-0"

».♦. *

- | E ------.=. K t H S:.- = ( - - £ r ^ r CHAPTER V RICERCARS

Ricercar in e The Ricercar in e minor, the first in a series of five in this chapter contained in the Anmuthige Clavier-

Ubung, is a bipartite structure. Each of the two parts consists of a complete fugue that contains an exposition, passage of middle entries, and a return. The first fugue is based on s chromatic subject in duple meter and the second one transforms that subject to triple meter. The first fugue ends with a codetta, and upon returning to du­ ple meter after the second fugue, a coda concludes the work as a whole.

Analysis of contrapuntal dissonance discloses fre­ quent passing tones, numerous suspensions, snd some neigh­ boring tones. Typical examples of rhythm and melodic pro­ gression include consecutive half-step progressions in a chromatic line, pairs of eighth notes off the beat with the eighths approached by step, and syncopation initiated on a weak beat. Stepwise movement predominates and leaps of dissonant intervals are virtually non-existent. In general, the melodies are conjunct and indirect in their

102 103 progression.

Harmonic rhythm is represented by the half note in alia breve and three-two, end by the quarter note in com­ mon time and two-four, with occasional variations from those rates. Strettos and extensive use of mirroring appear in both fugues, and although systematic use of a countersub­ ject is absent, the initial counterpoint to the subject,

referred to here as a counterline, is the source of in­ numerable variations. Finally, a relationship can be

drawn between the counterline and the subject itself. The various keys of the work are tonic minor, sub­

dominant minor, dominant minor, and relative major. The subject of the Ricercar in e (mm. 1-4) exhibits

a chromatic stepwise ascent from the dominant to the sub­ tonic, a turning back through a minor sixth degree to the first tone, b, and a leap of a fourth upward. The long values of its first four notes recall the reputation that themes of ricercars have for lacking rhythmic individuali­ ty; however, the use of a dotted note, a pair of eighths, and the final half note contribute to a rhythm of distinc­ tive activity. The subtonic, as a modal element in major- minor tonality, and the chromatic-rising, diatonic-falling characteristic of the line must have been attractive to the composer since the subject of three other works share these traits. These three works are the Fugue in d, MS 4982, the Fugue in d, MSS 4982, 5056, and Ricercar in a; Tor further discussion of these works and their sub­ jects, see pages 7 1 -7 6 , 7 6 -8 1 , and 1 2 8 -1 5 9 .

The second entry (mm. 4-7), unlike a typical answer in a fugue, is an inverted statement of the subject. In keeping with fugue practice, however, this first imitating voice responds to the dominant beginning of the ricercar with a tonic reply. The counterpointing of the second entry consists of four tones, essentially in sixths with the subject, that form a descending stepwise line plus a turning back by step of two more tones. Ideas from this six-tone line are the source of innuroberable variations set against la­ ter entries. Since the line does not recur without ex­ tensive rhythmic variation, and since, as a result, the line lacks a definite form comparable to a subject in in­ dividuality, the six tones, c,b,a,g,a,b, are not properly called a countersubject. They will be identified simply as a counterline.

Example 33. Ricercar in e, mm. 1-7 105 A link (mm. 7-9) separates the second end third en­ tries, both of which are in the tonic key. Here, the low­ er part progresses upward by step retracing the range of its inverted entry with somewhat less chromatic progres­

sion, and the upper part introduces an extension of the counterline in an indirect descent. The convergence of these lines focuses attention on e minor with the progres­

sion of a diminished fifth on the leading tone to a minor

third embellished by a 4— 3 suspension. The resolution of the suspension occurs as the next subject statement be­ gins.

The third entry (mm. 9-12) following the inverted statement in the second voice reverts to the original form of the subject. The inner voice is a variation of the counterline, embellishing the original suspension with an interpolated note and moving more quickly than before through the third and fourth tones, avoiding unstylistic dissonance. The turning back by step in the counterline is summarized here by the upward leap of a fourth. The uppermost part, £*a*3»E*f* appears to be free, yet its first two notes are unmistakably related to the subject and its last three tones are like the beginning of the counterline. Again the resolution of a suspension coin­ cides with the first note of a subject entry. The fourth entry (mm, 12-15)* its final interval di­ minished in size, completes the alternation of original 106 and inverted subjects in the exposition. As one inner voice comes to an end, the other inner voice overlaps with an elaboration upon the second, third, and fourth tones of the counterline. The bass, aided by pairs of eighth notes, progresses primarily by step between white notes a fourth or fifth apart.

The end of the exposition is marked off by a V^-I ca­ dence (mm. 1 5 -1 6 ) that includes a dominant seventh pre­

pared as a suspension and ornamentally resolved. The res­ olution occurs as the bass introduces its tonic root. A passage of middle entries begins (m. 16) initially reducing the texture from three to two parts. The two voices are a transposition up an octave of the lower parts at the point of the third entry. The final tone of the transposed subject is ornamented by leaps down a fourth

and back that maintain quarter-note movement. An entry (mm, 19-22) ending on the dominant of the

subdominant minor key extends the consistency of alternat­

ing original and inverted subjects. The upper part re­ tains the first three tones of the variation heard with the fourth entry, but it is essentially a different elab­ oration upon the second, third, and fourth notes of the counterline. The elaboration includes interpolation of a pair of eighths and the addition of a consonant portamen­ to followed by an extension that develops out of the an­ ticipation figure. The inner voice is stepwise and 107 diatonic in b minor until it moves to g-sharp, which is handled in a first inversion augmented triad before be­ coming the third of a major dominant chord. Progression across the bar (mm. 2 2 -2 3 ) confirms the subdominent minor key with a V-i cadence, and quarter-note movement in the bass prevents the amount of repose found at the end of the exposition from occurring. Development continues (mm. 23-26) with the initia­ tion of the relative major key, as the bass line manages an octave leap on the dominant of 0 major followed by a tonic in the midst of a sequential treatment. The subject alters its final interval, and the upper part links to­ gether the first and last two tones of the counterline varying the rhythm and adding a pair of embellishing eighths. Integral to the development here is the combin­ ing of the initial direction of the counterline with a mirrored form of the subject as compared to the original counterpoint. Opposite directions of movement are main­ tained in a brief link (mm. 2 6 -2 7 ) formed by long values in the bass as the inner voice, f-sharp,g,a,g, imitates in inversion and at the distance of one beat four notes of the top line. A textural change (m. 27) marked off by in- ner-voice rests that notate one part stopping and another one entering on successive half-notes manifests itself in spacing rather than in an increase or decrease in the num­ ber of parts. During the next entry (mm. 27-30) the tv/o 108 lower parts of the three-voice texture ere spaced close together, frequently in thirds, while the upper parts span intervals of an octave or wider. As this occurs the con­ tinual alternation of original and inverted statements is

maintained in an inner voice. The lower part varies the rhythm and interpolates one tone to form a variation of

the entire counterline, previously used only in fragments. Its last two notes are roots of a Vy-vi cadence (mm. 30-

5 1 ) in the relative major key. Different textures continue to be explored with the

next entry (mm. 31-34-) • Here, the voicing recalls ranges p o IP suitable for soprano (e - V ), alto (d-sharp -c ), and ten­

or (g-e1). A stretto develops during this higher voicing with the upper part stating the original form of the subject and the middle part (mm. 33-35) overlapping with an in­ verted statement. The stretto is counterpointed with rhythmic variants of four notes in the first tenor and three notes in the alto, both based on the beginning of the counterline. The lowest part is extended for three progressions, b,a,g»s* and it is imitated at the interval of the fifth above and at the distance of one beat in the first soprano. The final note of the imitation is the first note of a still different and now chromatic varia­ tion on the counterline (mm, 3 5 -3 8 )* 109 Example 34. Hicercar in e, nn, 31*53

Against the chromatic variation, the subject enters later

than before, delaying its entry until a ^ £ “ 1 cadence

(mm. 36-37) has confirmed the subdominant minor key. The cadence is surrounded by chromatic steps reminiscent of the half notes of the subject. The chromatic variation of the counterline is extended (mm. 33-4-0) by sequential con­

tinuation and by embellished stepwise descent. Against the variation and extension, the subject enters later than before, and it ends with a step instead of a leap. The lowest line ascends by step from its cadence tone, follow­

ing the ascent with four tones (mm. 33-39) that are echoed in imitation up through the texture, and it completes its counterpointing of the subject with free material. A second instance of stretto (mm. 40-4-6) develops the

subject further. This time three entries are involved in­ stead of two, but only two are overlapped at any given mo­ ment. The first tv;o voices are presented as invertible counterpoint of the earlier stretto. The accompanying voices opposite much of the leader in the stretto consist of material, ultimately from the counterline and subject, 110 but they are similar to the counterpoints of the third en­ try. The third voice in the stretto imitates the second

one at the temporal distance of one measure as opposed to tv/o measures in previous strettos. Against the third voice, the inner part introduces a chain of suspensions, and the uppermost line upon completion of its entry intro­ duces a sequential extension (mm. 4-5-46) based on three

notes, d,e,b. The passage concludes with a vii^—I ca­ dence (mm. 46-47) that provides a return to the relative major key.

The last middle entry (mm. 47-50)* like the beginning of the middle passage, is in two-voice texture. It is counterpointed by a line somewhat the same as the inner

voice of the fourth entry with the exception that here the ornaments of suspension resolutions are varied.

The closing section begins (m. 50) with an entry in the bass that restates an intervalically unaltered subject in its original form and on the same degree as its first appearance. The last two notes of this subject are set in harmony with dominant-tonic roots, and in the following

measure the major dominant third of e minor appears. The entry (mm. 5 0 -5 5 ) initiates a return to the tonic minor key. It is counterpointed by lines that embellish step- wise progressions reminiscent of the counterline. The second entry of the return (mm. 55-56) is an al­ tered statement of the original second entry, the final note being changed here to form a leading tone of the ton­ ic key. This entry and its counterpoint contain transpo­ sitions of tv/o progressions from the subdominant statement in measure thirty-seven, but the remainder is altered by progressions that maintain rather than undermine a key.

The last note of the entry is set in a dominant seventh chord that resolves to a neighboring tonic six-four chord.

Return to an incomplete version of the inner-voice neigh­ boring figure, and movement through a passing dominant seventh in the bass introduces a tonic chord in first in­ version. References to the counterline occur in both out­ er voices.

The third entry of. the return (mm. 57-60) makes it possible to view a harmonization of the opening statement of the subject in an upper voice. The harmonic progres­ sion in e minor is tonic with a change of inversion, sub- dominant, an altered subdominant used as a chromatic pas­ sing chord with □ passing seventh in the bass, supertonic v.ith a change of inversion, a minor dominant triad set against the subtonic tone of the subject, and tonic with a change of inversion.

Jxaxple 55. Ricercar in e, mm. 57-60 112 The bass introduces a variation of the counterline in in­ version, v/ith step relationships, £*a*h,c, and a turning back. Stretto combining tv/o statements of the subject (mm. 57-61) in its original form, rather than including a mirror in one voice, occurs here for the first time. The entry following the stretto provides a chromatic bass line for wide-spaced chords briefly used in four- voice chordal texture. The bass is similar to the final entry in the exposition v/ith the exception that here the last interval allows the tonic note to be sounded as the root of a minor tried. The accompanying voices, apart from chromatic progression in similar movement with the subject and a familiar upbeat-downbeat consisting of two auarters and a half note, are essentially free. An exten­ sion (mm. 64-67) with a diatonic stepwise descent embel­ lished by at least one pair of eighth-note neighboring figures in each voice ends v/ith a half cadence, i-V, in the tonic minor key, and a dominant bass note begins to be sustained. The final entry of the subject (mm. 67-70) begins a codetta with its indirectly descending, inverted form over a dominant pedal. The inner voices sublimate their rela­ tionship to the counterline retaining only its stepwise characteristic, with the exception of an exact transposi­ tion of the last three tones, £,£,b, that occur here above the third measure of the dominant pedal. 113 The closing cadence of the codetta, V-i, in the tonic minor key, develops directly out of the dominant pedal.

The minor form of the tonic triad is sounded for one heat (in. 7 1 ) and promptly altered to a major triad which is em­

bellished in the inner voices. In the initial expression of a new section narked

Adagio, the entire subject is transformed from duple to triple meter, and a second complete fugue begins, notated

in three-two measure. The subject (mm. 74— 77) has the same notes on strong beats as it did in duple meter, with the exception of the first tone which has become an upbeat.

Example 36, Ricercar in e, mm. 1-4-, 74— 77

A’Urtfl

The exposition is somewhat similar to the first one, con­

taining octave transpositions of three of the original four entries, but reversing the order of the first and

third statements of the subject. Unlike the earlier four- voice fugal treatment, the section in triple meter con­ tains a three-voice exposition. The first two entries of 114 the Adagio ere overlapped in the manner of a stretto fugue. The order of entries is the same as that of the first exposition as well as those in the three other works

based on a similar subject in that each entering part is an outer voice.

The second entry (mm. 74-77) in the Adagio is coun­ terpointed below by a line that forms thirds on the first beats of three successive measures. These thirds recall the sixths, d-b, c-£, end b-g, that occurred when the original second entry was counterpointed above. The in­ direct descent from b to g and the turning back through two notes (mm. 7 7 -7 9 ) beginning with the final note of the first entry in triple meter is an elaboration upon all but the first tone of the original counterline.

Example 37. Ricercar in e, mm. 4-8, 77-79

The third entry (mm. 79-82) is a transposition up a fifth of the third entry in the first exposition with the 115 addition or a quarter-note neighboring tone in the highest part. The last two notes of the entry form the bass line of a cadence ending the exposition. The cadence, v-i, in the tonic minor key (mm, 81-82), exhibits the same voice leading across the bar as appeared in the cadential progression ending the exposition of the d minor Fugue, MSS 4982, 5056 on a similar subject.

Example 58. Ricercar in e, mm. 80-82

Fugue in d, MSS 4982,5056, mm. 8-9

The middle passage begins with an entry (nra. 82-85) featuring 7 - 6 suspensions in the outer voices on consecu­ tive downbeats, and a 4-5 inner voice suspension in the follov;ing measure. Counterline material appears in the upper part,and a stepwise descending line embellished by quarter-note upper neighboring tones on the third beat and by an ornamental resolution of the 4-3 suspension are 116

found in an inner voice.

The next entry (mm. 85-88) positions the subject in an inner voice for the first tine in triple meter, its first interval being adjusted in size. A variation on

three notes of the inverted counterline also with the first interval adjusted occurs in the lowest part with free material in the highest voice. An extension (mm. 88-90) in which all voices partici­ pate in a composite rhythm of quarter notes ends with a cadence, V^-I, in the relative major key, and a 9 - 8 sus­ pension ornamentally resolved in the tonic chord prevents cessation. A textural change.reducing the number of parts from three to two voices overlaps the beginning of an inverted statement of the subject that starts on the tonic note of the relative major key. A more lengthy variation based on an inversion of the last five tones of the counterline oc­ curs in the lower voice (mm, 90-95)• Notes corresponding to those of the counterline are circled in Sxanple 59.

Jxample 5 9 * Hicercar in e, mm. 9 0 - 9 5 117 A bridge freely extending the upper part v/ith the

notes, d,b,e (m. 9 3 )* is imitated at the fifth below and at the distance of one beat. As the upper part remains on

the sane pitch, the lower part becomes the leader intro­ ducing the notes, b,c (n. 94), which are then imitated at the fifth above and at the distance of one beat.

In the ensuing passage of development (mm. 94-97) the subject appears in the lowest voice. Yet another varia­ tion on the counterline occurs in the inner part, and the free material is in the top line. Near the end of the free material, the two upper voices become coupled in thirds progressing upward by step for the distance of a perfect fifth. As a link begins (mm. 97-98)* the lower part imitates these two voices at the intervals of a fourth below and sixth below end at the distance of two beats. As this imitation occurs the next entry (sin. 97-100) begins a statement of the inverted subject in an inner voice that participates in a chromatic passing chord, and c variation of the counterline (mm. 9 8 -1 0 2 ) is found in the highest part 'with free material in the bass. The last bass note set against this statement of the subject intro­ duces a stepwise descending line of four tones (mm. 1 0 0 - 1 0 1 ) imitated by the upper parts at the intervals of the sixth above and octave above and at the distance of one beat. 118 After the bass turns back by step and leaps across

the bar, it introduces a transposition of eight notes (an, 102-104) heard five measures earlier in the middle passage. The upper part completes its variation with b

in the middle of a measure (m. 1 0 2 ), end it proceeds to outline, first by leap end then in stepwise movement, the tritone, f-sharp-c, of the relative major key. The inner voice introduces an inverted statement of the subject that is overlapped in stretto by a voice that expands the texture from three to four parts for the first time in the Adagio. The lowest voice (mm. 103-104) begin­

ning on f-sharp imitates the stepwise outlining of the previously described diminished fifth at the interval of the octave below and at the distance of one beat. The highest part extends its stepwise movement upward

to the highest note on a first beat in the development passage, whereupon it begins another variation (mm. 1 0 5 - 108) of the counterline. The lowest part is temporarily discontinued clearing the range for its next entry, and the other lower part presents essentially free material in familiar rhythm. The final interval of the follower in the stretto is adjusted, allowing an ornamentally resolved

suspension to occur. The subject is developed next with an entry (mm. 107-

1 1 0 ) in the lowest part that presents the last three in­ tervals in inversion. An elaboration (mm. 107-111) upon 119 the first four notes of the highest part from the third entry of the exposition in duple meter begins with the half-note resolution in an inner voice. The upper voice

(mm, 108-110) embellishes the last six notes of the coun­ terline extending the variation with a rhythmically free repetition of the last two notes. The combination of

these lines creates clear harmonic progression in the rel­ ative major hey, including a V^-I (ram, 1 0 8 — 1 0 9 )* The same root movement with different voice leading occurs across the bar tv/o measures later, A 9-8 suspension, its reso­ lution, and continued trailing off in stepwise progression maintains movement at least once per beat, (in. 1 1 1 ). The final development of the subject (mm. 111-114)

takes place with an inverted statement in an inner voice beginning on b. The lower part varies the counterline in

a manner that recalls the answer of the exposition in tri­ ple meter. In this entry, the signs of a forthcoming re­

turn to the tonic minor key appear. Both outer voices re­ volve about the tonic introducing leading tones in harmony of dominant function and diatonic second degrees. The up­

per part completes an indirect descent to the prospective tonic with a whole note e in values longer than the norm. The entry ends with a deceptive progression, V-VI

(ram, 113-114), in the tonic minor key. A leap in the in­ ner voice causing chord change (p. 114), and quarter-note movement in the bass avoid an excessive respite. The two 120 lower voices of this entry in e minor (mm. 111-114) though

not the upbeat ere transpositions down a fourth of most of the second entry in the Adagio, Beginning the section of return, the uppermost voice

reannounces the statement of the subject that began the Adagio (mm* 114-117), its final note marked with a fermata.

The inner voice elaborates on two notes of the counterline moving freely toward a half cadence. The bass confines

itself mostly to introducing the roots of chords arriving on the dominant of a half cadence, VI-V (mm, 116-117)* confirming the return to the tonic minor key. The inner part resolves a 4-3 suspension as the outer voices sustain whole notes, A change to common time, constituting a close rela­ tionship to the duple meter that began the Ricercar, marks the beginning of a coda for the work as a whole. With the quarter note of common time viewed as a value equivalent to the half note of alia breve, the subject (mm, 1 1 8 -1 1 9 ) is e duplicate of the opening statement in the Ricercar,

Following this statement, the uppermost part progresses through the first three notes of its initial continuation. The inner voice moves in tenths with the recurring subject for four notes, producing a somewhat less contrapuntal texture than before. The bass centers around the tonic note. An inner voice presenting a final but altered statement of the subject (mm, 1 2 0 -1 2 2 ) is counterpointed 121

by free material in the other upper voices. In the bass

(mm, 1 2 0 -1 2 3 ) a final variation on the counterline trans­ posed down a sixth interpolates leaps that create a poly­ phonic melody.

Example 4-0. Ricercar in e, mm. 120-125

The cadence, 7V,-I, in the tonic key is embellished by a

passing six-four chord in dominant harmony and by 4— 3 sus­ pensions, the latter one resolved ornamentally in augmen­ tation.

In reflecting upon the relationship between the sub­ ject and counterline of this work one final observation can be made. Both the subject for its first six tones and the counterline after its initial tied note outline a third stepwise in one direction and turn back by step to the initial pitch. The first note of the counterline can be understood as an upbeat held over as a suspension. Af­ ter this upbeat is held over, the remaining notes of the counterline, b,a,g,a,b, analyze as a mirror of the diaton­

ic tones that begin the subject, b,c,d,c,b. This means that the counterline and all its variations have as their ultimate source the subject itself. 122 Ricercar in P

-he Ricercar in F major is an imitative work consist­

ing of an exposition with four entries of a subject, a

passage of middle entries expressed primarily in three-

voice texture, and a return that features a long pedal tone. The pedal, nine measures of tied notes in alia

breve, suggests organ as the intended medium of perfor­ mance .

The contrapuntal procedure involves the introduction of numerous statements of the subject and its mirror, twenty-three in all. These statements are overlapped, or separated by brief connecting passages varying in length

from one beat in alia breve to four and one-half measures. The longest of these passages are episodes that develop a motive from the counterpoint in the eighth end ninth mea­

sures of the exposition. Frequent use of mirror inversion stamps the work with

a distinctive trait. Of the twenty-three references to

the subject, twelve are melodic inversions. A frequently used motive from the counterpoint is also mirrored. Un­

like several of the other Ricercars, the mirrored subject appears not until after the exposition. Stretto is used only once, and the subject is ordinarily varied only by adjustment of the length of its first and last notes. The preponderance of passing tones off the beat re­ flects the prevalence of stepwise lines that incorporate 125 contrapuntal dissonance with subtle care. Neighboring tones appear off the beat in lower neighboring configura­

tions. Pwo types of suspensions ere found: a customary one with dissonance on the first of the two beets per mea­ sure and resolution on the second beat, and an infrequent one with dissonance on the second beat and resolution on

the second half of the beat. Basically this latter type of suspension differs only in rhythm from the others, end

it is found in a 7-6, 9-8, A— 5, and 2-3 variety. Passing tones on the beat, though few in number, occur in both de­ scending and ascending lines that originate with the re­

curring motive from the counterpoint of the exposition. Ihe upper note of a fourth approached by leap in a six-

four chord (m. 1 9 ) can be understood as a passing tone in a line within a line, f,e-flat,d, The pedal tone in the

bass at the end of the piece is intermittently foreign to essential and unessential tones including suspensions.

The characteristic rate of change in harmonic rhythm employs the half note, but an irregular rate of change is in evidence. Deviations from the characteristic rate oc­ cur with whole notes, whole notes tied to 'whole notes, ■whole notes tied to half notes, half notes tied to whole notes, and half notes tied to half notes. In relation to a half note rate of change the penultimate measure has a lengthening of the first chord to a dotted half note leaving only a quarter-note duration for the other chord 124 of the measure.

The keys of the work are tonic major, dominant major, subdominant major, and relative minor.

The subject (mm. 1—4) is a diatonic line of six notes in long note values with both a leap and a stepwise pro­ gression in ascending and descending direction. The key

of ? major is initiated clearly with a tonic pitch and the

initial whole note makes its only appearance, being repre­ sented thereafter by a half note on the second half of a measure.

The second statement (mm. 3-6) is a real answer in

the dominant in stretto with the subject. Its counter­ point is an independent line contrasting in rhythm and me­ lodic progression.

Example 41. Ricercar in ?, ran. 1-6

A bridge (mm. &-?) reaffirms the tonic key, and the third entry (mm. 7 -1 0 ) restates the subject beginning on a tonic note an octave lower than that of the initial entry. A fragment from the progression of the lines set against the third entry is a step-wise ascent of four notes used later in the work. The fourth entry (mm. 10-13)* a 125 transposition down an octave of the initial answer, is similar to the third entry in that it presents the subject in an outer voice. As the fourth entry draws to a close, an inner voice begins an ornamental suspension figure imi­ tated in stretto by each of the outer voices (mm. 1 3 -14-).

The imitation leads from the dominant key of the fourth entry to a Y-I cadence (mm. 14— 15) in the tonic key ending the exposition.

A textural change from four voices to two voices sig­ nals the beginning of development; however, the next en­ try, a mirror of the subject (mm. 14— 17), has already be­ gun by virtue of a voice entering during the cadence that closes the exposition.

The next four entries (mm. 17-31) in this middle pas­ sage begin on starting tones in unison or octave relation­ ship to those of the exposition. They present the mirror of the subject with the exception of the third entrance, v;hich is not a mirror but a recurrence from the exposition until suspensions are counterpointed against its last two notes. Departure from the tonic major key into the sub­ dominant major key can be noted during these entries in the case of a mirrored subject beginning on f, and the stepwise ascent of four notes from the counterpoint of the exposition and its mirror appear against the subject or in connecting passages between entries. 126 Instances of the stepwise ascent of four notes or of its mirror, presented first in one voice and imitated one measure later in another voice, characterize the counter­ point in the setting of the next five subject entries (mi. 51-52). Interpolation of an altered note modifies the diatonic subject in one statement with consecutive half steps at the end.

In the counterpoint against the final four subject entries of the middle passage (am, 5 2 -6 7 ), the four-note motive continues to be presented in one voice and imi­ tated one measure l3 ter in another voice but now the de­ vice of mirror imitation is exploited. Ascents ere an-

sv/ered by descents or the reverse in five instances of im­ itation. A passage (mm. 67-69) leading to an end of the exposition with a half cadence in the tonic key desists from the mirror imitation maintaining continuity with chromatic progression and continuous quarter-note movement in composite rhythm*

The final return to the tonic key begins with a pas­ sage (mm. 6 9 -7 8 ) recalling a tonic key segment from the middle entries. Three statements of the subject, the first and last mirrors, are repeated beginning on the same starting tones as occurred earlier. The time distance be- tv/een the second and third of these statements is dimin­ ished by one measure. In view of the contrasting voice leading, the similarity in harmonic progression for the 127 two passages is striking.

Table 3. Similarity of Harmonic Progression in Passages of Contrasting Voice Leading

Hicercar in F, mm, 21-31

21! 22 23 2425 26 127 2829 !Z>0 i : i31 TF1 I IT _V _ i■ • vO I I/,,VtfO ,1 VI * 111^» » » 11* • 11 -V— V. I ii Qi O 4 O ib. o 6 I6

Ricercar in F, mm. 69-78

39! 7C :71 7 273 74 |75 '76 7 7 75

7^ -I vii? ;i- ii^vii?!— vi ;V ii vii? I^V -V. I IV Ir o oobp o : 6 o '6

Vj'hile similar to a significant degree, the two passages are contrasting in that the lines providing counterpoint to the subject in the return are more active and the com­ posite rhythm is more continuous than in the middle pas­ sage.

An extension (mm, 78-83) contains several final in­ stances of imitation of stepwise motives from the exposi­ tion as well as an effective moment deriving from the pro­

°gression to an altered chord. This chord is a i^ u in the tonic major key, with leaps to the altered notes in the

outer voices. The extension concludes with a V-I cadence. Two final statements of the subject (mm. 83-89), the first one mirrored, and the second one presented partially by an inner voice and completed by an outer voice, are heard over a tonic pedal. An extension (mm. 39-92), in 128 which upper voices revolve about notes of the tonic chord eventually introducing an augmentation of a dotted rhythm,

ends the piece with a major triad, the third of the chord appearing in the uppermost part.

Ricercar in a

The Ricercar in £ minor is a fugue in alia breve con­ sisting of a nine measure three-voice exposition, a middle passage of sixty-four measures, and a return of ten mea­ sures. A stretto beginning overlaps both the second and third entries of the subject before the first entry is completed.

Due perhaps to the stretto at the beginning, a coun­

tersubject first appears in the development. The counter- subject is a diminution of the first five diatonic tones of the subject,preceded by an upbeat. Passing tones, neighboring tones, suspensions, and a nodal tone comprise the kinds of contrapuntal dissonance employed. Quarter-note passing tones for outnumber oil other unessential tones combined. In melodic progression, it is typical for leaps to be followed by movement in the opposite direction. Eighths occur off the beat in stepwise lines. In rhythm, it often happens that a voice entering the texture will begin with a half note on the second beat of the alls breve measure. In imitation, the time distance is that of one or more hoIf notes. 129 In the absence of suspensions, sonorities on the beat are

consonant except over a pedal tone. The characteristic rate of harmonic change is represented by the half note;

however, changes once per measure, once each quarter, or in the rhythm of a dotted half note followed by a quarter are not uncommon.

The keys of the Ricercar are tonic minor, subdominant rir.or, relative major, dominant minor, and subtonic major.

The Ricercar in £ exhibits a subject (mm. 1-5) simi­

lar to that of the Ricercar in e, the Fugue in d, MS 4-9S2,

and the Fugue in d, f*!SS 4982, 5056. Whereas these latter three works begin with a chromatic line of four notes, this work delays introduction of that line by first leap­

ing from the dominant to the tonic and back. The- work is fifty measures shorter than the bipartite Ricercar in e minor, and unlike both that work and the thematically related fugues, it uses no variations on e line set against the subject. As shown below, the Ricer­ car in a minor uses a countersubject consisting of an up­ beat and on inverted diminution of the first five diatonic tones of the subject.

Example 42. Ricercar in a, mm. 9-1? 130 A similar relationship has been noted between the subject of the e minor Ricercar and its counterline; however, in that case melodic inversion was involved instead of dimi­ nution. See page 121.

The countersubject is generally introduced by a half­ note upbeat that progresses by step in the opposite direc­

tion of the leap that follows. When this is not the case, the countersubject is preceded conjunctly by a variety of note values.

A three-voice stretto (mm. 1-8) of the five-measure

subject begins the Ricercar. The subject is imitated at the interval of the fifth below and at the distance of one measure by the second voice. The first note of the fol­ lower, as with succeeding entries of the subject in this Ricercar, is shortened from a whole note to half that val­ ue. The initial imitating voice of the stretto introduces the chromaticism of a tone notated as a lowered supertonic in an ascending line. The third voice of the stretto imi­ tates the subject at the octave below and at the distance of three measures, again with a shortened first note. The upper parts, providing imitation of a four-note turn, end the exposition and complete a cadence, V-i in the ton­ ic minor key (mm. 8-9)* as the lowest part comes to a rest. Development begins as the subject (mm. 9-13)» in higher rrnge than eerlier entries, is presented in the 151 subdominant minor key. The middle voice supports this

statement with the first instance of a countersubject. Following a few notes of free material in the lower parts during the onset of this entry, a second statement of the

countersubject overlaps its initial occurrence. Further overlapping of countersubjects takes place when the lowest part enters (mm. 12-14). In the absence of a subject, and in unstable tonality,

an episode occurs (mm. 14-17) alluding briefly to the sub­ tonic major key and returning to the subdominant minor.

The return to the subdominant key is brought about by a chromatic fragment of the subject being combined with the last five notes of the_ countersubject. Extensions occur in the outer voices and the inner parts fulfill a support­ ive role resolving suspensions and progressing in thirds. Development continues with a brief reversion to the tonic minor key. The entry (mm. 17-21) is set predomi­ nantly in two-voice texture and with the initial instance of the subject in its mirrored form. The countersubject also appears mirrored, conjunct and embellishing connect­ ive progressions being provided to counterpoint the com­ plete subject. An upper voice reenters overlapping the entry with a countersubject in its original form and in­ troducing an altered tone that assists further modulation*

Cne measure later, a voice in bass range begins an imita­ tion at the sixth below (mn. 21-24). The imitation 132 extends beyond the end of the entry, provides a link, and

overlaps the next subject. The inner voice proceeds es­ sentially in thirds with the highest part.

Modulation to the dominant minor key, a statement of the inverted subject beginning on a different tone than was used for its previous mirrored form, and a transposi­

tion of the countersubject characterize the next entry (nr., 22-26). The bass turns back after an octave leap, proceeding stepv;ise for two more progressions. The free material in the highest part adheres slavishly to thirds

against the subject incurring consecutive leaps of a di­ minished fourth. In addition, the highest part assists in maintaining quarter-nqte rhythm,

With some voices entering and others coming to a tem­ porary end, the next entry (mm. 26-30) finds itself in a volatile state regarding texture* The lowest part pre­ sents the subject in a combination with the countersubject

that is similar to an earlier entry predominantly in two parts. Mere, upper voices are added to the earlier coun­ terpoint in spacings that more often than not have their widest distances between the inner parts. The tonic mi­ nor key is again resumed briefly. The first three chords of this statement recur at the end with the former inner voice now appearing in the upper part to form a link

(ran. 30-31) between entries of the subject. The last of these chords, an E major triad, becomes minor as a voice 133 in higher range begins the next entry.

The texture becomes more stable as three parts are maintained throughout the next statement of the subject

(mm. 31-35)- The dominant minor hey, initiated by the simple change from a major triad to its minor form, oc­ curs until the final chord progression of the entry. The

inverted subject appears in the highest voice with a cor­ responding form of the countersubject in the middle, and free material in the bass. A textural change allows for the development of the subject in two rather than three voices (mm. 35-39). The final major chord of the preceding entry is handled as a dominant triad reintroducing the tonic minor key within the section. The counterpoint to the subject is similar to earlier lines with the exception of a turning back and a suspension ornmentally resolved after the countersubject. The resolution of the suspension occurs with a change of bass, that note being the first tone of a four-note chromatic fragment from the subject. The fragment is ccunterpointed by conjunct progression that provides a link (mm. 39-4-0) and overlaps the next statement. A chordal texture in half notes provides the setting for several notes of the next entry (mm. 40-44). Quarter- note movement in the countersubject alleviates the effect of block chords. Here, both the subject in the lowest part and its accompanying line ere in mirrored form with 154 free material in the uppermost voice. In keeping with the range of the two-voice entry that precedes, the center of

gravity for all three parts is above middle c. A suspen­ sion figure, including the preparation, a fourth above the final note of the subject, and its ornamental resolution is imitated in inversion by the highest voice at the dis­

tance of one beat. The resolution of the suspension in­ troduces the leading tone of the next key, the tonic mi­ nor, and the completion of the brief imitation elided with

a statement of the countersubject over a tonic bass note links and overlaps the forthcoming entry (mm. 44-4B).

Example 4-5. Ricercar in a, mm. 40-44

- - - ■ ■■ : •>, ..

Oounterpointed in chords that provide temporary modu­ lation to the subtonic major and relative major keys, the subject is developed essentially in tonic tonality (mm. 45-49) with a sequential treatment of the countersub­ ject, and free material otherwise. Resolution of a 9-3 suspension into an incomplete tonic chord in first inver­

sion ends a series of four consecutive progressions of roots a fifth apart. Passing tones connecting the first inversion and root position forms of the tonic chord 135

(mm. 43-4-9) contribute to a composite rhythm in quarter notes, and three notes in the bass, c,b,s, are imitated in

inversion at the distance of one best in the other outer voice*

Though the subject of the next entry (mm. 4-9-53) con­ tinues to be in the bass and in the tonic key, the state­ ment is inverted and presented with the possible intention of four-voice texture thoughout, Cne or more notes or a rest in the inner voices (mm. 51-53) appear to be missing from the entry, A temporary digression into the subtonic key occurs with the first progression across a bar in a brief episode (nm, 53-56) as the bass occurs in stretto with the coun­ tersubject at the fourth below, except for an adjustment of the first interval, and at the distance of one measure.

The three-voice texture is enhanced by a top line progres­ sing downward by step in long values and by an inner voice that ornamentally resolves a suspension in such a v:ay that the loading tone of the current key, subtonic major, is denied. dhord progression across the bar (mm. 55-56) re- institutes the tonic minor key. ’vith minor differences the next developmental treat­ ment (mm. 56-60) is invertible counterpoint at the cctave of the two—voice entry that began in measure thirty-five, plus an added free voice in the uppermost line. The minor differences contribute an extra quarter note to the 136

rhythmic activity and avoid a fourth that would arise if the invertible counterpoint were carried too far. The

avoidance of the fourth is accomplished by mirroring three notes. '.Vith regard to tonality, the entry begins in the

tcnic minor key and modulates to the relative major.

Example 44. Ricercar in a_, mm. 56-6C

v: i ii " i'. i 9 j r r r *r &

Incomplete statements of the subject involving the first six of the eight tones, and a total of four refer­

ences to the countersubject combine to form an episode (mm. 60-67) that modulates to the subdominant minor key

and returns to the relative major key. The incomplete subjects are displayed in outer voices, first in the high­

est part with an inverted statement and next in the low­ est part with an original form. The two forms of the sub­ ject are not in stretto, but a chromatic extension of the first one overlaps the latter. Tones not directly in­ volved in presenting development of the subject or coun­ tersubject appear as half notes or whole notes in the in­ ner voices. The countercubjects are freely distributed among all the voices with the exception of the highest part which comes to an end shortly after the midpoint of 137 the episode. Like the subjects the four instances of countersubject material make use of both their original

and inverted forms. The last three notes of the subject; that is, those progressions not used during the above- mentioned incomplete statements, serve as connecting lines beginning and ending the episode, first in the lowest voice, c,d,e (mm. 60-61), and then in mirrored form in the highest voice, e,d,c (mm. 66-67). Imitation of the mirrored three-note idea, e,d,c, as v;ell os of the countersubject set with it, forms a link (mm. 66-68) connecting the episode with the next entry.

The imitation is at the fifth below and at the distance of one measure. example 4-5. Ricercar in a, mm. 50-68

The final entry of the subject and countersubject in the development (mm. 67-71) is similar to the one that be­ gan the passage, but here the lower parts are adjusted, porticularly the bass which plunges into previously unused low range emerging in a rhythm of long regular values.

The other lower part is temporarily discontinued, perhaps 135 because the left hand would be unable to span the interval that would result from the bass being in such low range.

V.'hen this part does reenter, it presents a recurrence of the countersubject heard in the first passage of develop­ ment. Analyzed in the subdominant minor key, the end of the subject is handled in a v^-i progression with passing tones progressing downward from the root and doubled third of the dominant chord, including passage through the major sixth degree. An extension (mm. 71-73) reverts to the mi­ nor dominant triad with imitation of countersubject ma­ terial in the upper parts. The v in d minor (n. 7-) is reinterpreted as i in the tonic key of a minor and the progression of i-vi°-7 in the new key initiates the tonic minor tonality ending the extension and preparing the way for a brief section of return. It may be recalled that contrary to customary prac­ tice in fugue writing the countersubject was not intro­ duced in the exposition. In the development, however, the third note of each subject was set against the first note of the countersubject. During the progressions of the fi­ nal entry of the subject, the countersubject is again conspicuous by its absence. V.fith this final entry in the bass (era* 73-77), the uppermost part reaches the high note of its contour and progresses indirectly downward orna­ mentally, resolving suspensions with inversions of the turn from the exposition, and moving into range that 170

could have been used for an inner-voice entry of the ccun-

tersubject. The inner voice progresses in half notes with the subject, holds a note briefly, and contributes a pair of eighth notes to a series of the three such pairs in the composite rhythm. As this inner voice sustains a long dominant tone, a fourth part enters primarily bolstering the cadence, i^-V^-I (mm. 77-78), in the tonic minor key. Elaboration upon the final cadence chord extends the

piece for five more measures (mm. 78-85 ). Gountersubject material is heard in three more instances, and three-note fragments from the subject are given a final hearing. Harmonically, the tonic major triad is embellished by passing and neighboring notes, a chromatic progression em­ ploying a passing f-sharp, and subdominant and supertonic chords, all over a tonic pedal in the bass.

Hicercar in 3-Plat The Ricercar in B-f1st major is an imitative work in two sections. The first of these is a fugue based on a subject with long note values and written in alia breve. The second section transforms the subject to a triple me­ ter notated in three-two. This latter section presents a second fugue based on the transformed subject. Each sec­ tion contains an exposition, middle entries, and return.

The two sections are unified by 3 relationship between the opening entries of the first section and the closing 140

entries of the second section. Passing tones, particularly quarter notes and eighth notes in alia breve and quarter notes in three—two, occur

in abundance. Longer values, half notes in either meter and occasionally whole notes initiated on the second beat

of three-two appear. Upper neighboring tones are found less frequently than lower neighboring tones. Suspensions occur with the upper note of fourths, sevenths, and ninths and the lower note of seconds resolved downward by step with or 'without a diatonic change of bass. The dissonance of suspensions in three-two falls on beats one and two. Seventh chords with the seventh usually prepared in a sus­ pension figure, as v/ell as passing and neighboring six- four chords, are found from time to time in the duple me­ ter. Of exceptional occurrence are an anticipation orna­ menting a suspension figure with a portamento resolution, cambiatas, and near the end of the work, a pedal tone. The principal rate of harmonic change can be repre­ sented by the half note; however, nearly twenty of the ore hundred twenty measures deviate from that rate. Suspen­ sions -with no change of bass combined with the beginning of a subject entry sometimes occur when the rate of change in less frequent. Two-voice counterpoint, measures with one or more pairs of ornamental eighths, and an instance of a consonant suspension figure, 6-5, are found in mea­ sures with a quicker rote of change. 141 The contrapuntal devices in addition to imitation

that provide sources of considerable interest are mirror­ ing and stretto. Instances of both diminution and augmen­ tation occur.

The tonic major and dominant major keys are used pri­ marily. Brief uses of the mediant minor, relative minor, and supertonic minor are also employed.

The Hicercar begins in a single voice (rom. 1-5) with an eight-note subject five measures in length. In melodic rhythm, the subject is regular and unpretentious, succeed­

ing a whole note with a series of half notes, the last one dotted. In melody, its intervals are stepwise progres­ sions, or leaps followed by change of direction.

Zxample 46. Hicercar in 3-flat, mm. 1-9

•- * _ _ o _ ~ - 4

f-P ; . L i ■:f i- : T? ? r-- r - *fT ■ ■

The answer (mm. 5—9) is a mirror of the subject in the dominant key. A short bridge (mm. 9-10) leading back to the tonic key contains a canceling of the leading tone of the dominant key in a diatonic stepwise descent. A four-note figure, d,e,f,e, beginning in the bridge and ex­ tending into the next entry, appears for the first time, huch used throughout the piece, this figure will be called 142 the turn, and its mirrored form will be called the orna­ mental suspension figure.

The third entry (mm. 10—14) initiates an alternation

of statements and mirrored answers. Linked by the orna­ mental suspension figure (mm. 14-15), the final entry (mm. 15-19) of the exposition completes that alternation. Each subject of the exposition is presented in a different register, and each entry is made in an outer voice. The

texture is progressively more polyphonic as voices enterf until the fourth statement, whereupon the number of voices remains three instead of increasing to four.

Example 47. Hicercar in B-flat, am. 10-17

ni------* * ------0 ~ 8

A return to the tonic key is prepared during the latter port of the fourth entry, and the exposition ends as an inner voice concludes an imitation of the ornamental sus­ pension figure (mm. 19-20), a seventh and a fourth being resolved in the context.

The initial passage of development (mm. 20-24) ex­ ploits the subject by transposition of its original form to the dominant major key. As an additional contrast to 143 earlier statements, this one appears in an inner voice. A one measure prolongation of the phrase functions as a bridge (mm. 24-25) providing a return to the main key. The subject is next developed (mm. 25-29) by present­ ing a tonic key statement of the inverted form. The orna­ mental suspension figure is elided with the turn. Suspen­

sions in the upper voices including those in a chain of

7-5's with resolutions on the second half of beats in alia breve decorate the counterpoint as the entry occurs in the

lowest voice. Following the upbeat of this statement, movement is maintained by the faster moving upper voices at the rate of at least one per quarter note throughout. A link (n. 29) consisting of a single passing tone off the beat prevents an interruption of quarter-note move­ ment . Further development occurs with the subject in stret- to (mm. 29-55)* Temporary modulation to the dominant key is initiated by the leader of the stretto; however, the follower functions as a statement of a subject succeeding an answer in the dominant, and the tonality promptly re­ turns to the tonic key. Four-voice texture occurs during the overlapping of the stretto imitation, A slight ad­ justment in the rhythm of the subject occurs with its last three notes. Dovetailed entries of the ornamental suspen­ sion figure provide instances of imitation (mm. 55-56) during a bridge to the next entry. 144- Tonic and dominant keys continue to alternate in the next passage (mm. 36-40). Here, the range of all three parts combined encompasses only an eleventh and contrapun­ tal activity takes place in lines that reach no lower than middle c. A diminution of four notes from the subject is

set in the middle voice against the fifth and sixth notes of the entry.

A bridge (mm. 40-42) using the turn and the ornamen­ tal suspension figure contains a modulation from the domi­

nant key through tonic tonality to the relative minor of the dominant key. The turn is combined with the ornamen­

tal suspension figure in successive instances of mirror imitation.

A second passage of stretto (mm. 42-47) with imita­ tion at the distance of one measure instead of two mea­ sures as before, combines a mirror of the subject with its original form. A more prolonged departure into the domi­ nant key occurs here than in earlier modulations. A mod­ ified form of the subject, with the rhythm altered and c pair of eighths added, prolongs the passage of stretto

(mm. 46-48). A chromatic modulation from the dominant ma­ jor key to the relative minor key is initiated during the last half of the modified statement. A bridge again uses the turn and the ornamental suspension figure as connect- ting devices (mm. 48-49). In contrast to the twelve previous statements begun 145 on b-flat, f, or £, the subject (mm. 49-54-) is now devel­ oped in stretto fashion with starting tones on d and £.

These tones, like the other starting tones, are tonic and

dominant• The passage modulates from the relative minor key to the tonic key ending with an initiation of the su­ pertonic minor key. The progressions into the supertonic key prove to be a means of temporarily departing and returning for the fi­

nal time to the primary tonality. A bridge (mm. 54-57) with further use of the turn and the ornamental suspension

figure ends with a Y^-I cadence that concludes the middle passage.

A texture change from three to four voices begins the return, and a transposition down a fifth of the imitating voices in a stretto becomes the basis of a differently

counterpointed statement of subjects (mm. 57-62) in the return. A four-note fragment from the modified statement

of the subject, transposed down a fifth from the Diddle

passage, is heard. The closing statement (mm. 62-69) is a transposition down an octave of an entry that has appeared twice in the middle passage. A dominant pedal finally progressing to tonic occurs in the bass, as two instances of the turn and four instances of the ornamental suspension figure, the lost one in augmentation, appear in the upper voices. 146

In keeping with e tradition in dance music that fol­ lowed a dance in duple time with one in triple time, the subject (mm. 70-74) of the Hicercar is transformed to tri­ ple meter and a section in three-two begins to succeed the section in alia breve. The subject replaces the rhythm of two half notes in an alia breve measure with a half note and a whole note in triple measure, and the whole note that began the subject has become a half note upbeat. A mirror rather than a transposition of the original subject is used to begin the exposition in triple time, apparently due to some intrinsic characteristic in the mirrored ver­ sion such as the upward progression to the initial down- best. Two other Ricercars do not use a mirror at this point, but they are consistent in the melodic direction of their opening upbeat downbeat progression. In the remain­ der of the analysis of this piece the word "subj’ect" will refer to its initial statement in triple meter unless otherwise indicated. The second entry, an inversion of the subject

(mm. 7J-77)* is an answer in the dominant overlapping the initial tonic statement with its first two notes. The modulation back to the tonic key is accompli shed by an ex­ pedient means involving a bridge with three essential in­ tervals (mm. 77-78). The third entry (mm. 78-62), a transposition down an octave of the subj*ect, is counter­ pointed by lines that are simultaneously independent and w complementary• The independence derives from the rhythmic individuality of each part, and the complementary quality springs from the contribution of each part to a composite rhythm of one chord per half note. A link (mm. 82-83) in­

itiates and repeats a more active composite rhythm involv­ ing half notes and a pair of quarters.

The fourth entry (mm. 83-87) departs from an alterna­ tion of original and inverted statements of the subject in the exposition. Like the first three entries, this one

participates in an alternation of keys, I 7 I V, and en­ trances in outer voices. During this final entry in the

exposition, the texture is initially in four parts de­ creasing to three parts. The exposition ends with a ca­ dence, viig-I, in the dominant key. A suspension and a passing tone (ra. 87) provide continuity between the end of the exposition and the beginning of the next statement of

the subject.

A departure from following answers in the dominant by statements in the tonic and the presenting of the subject

in its mirrored form in an inner voice (mm. 87-01) mark

the beginning of the middle passage. The composite rhythm involving half notes and a pair of quarters that appeared earlier in a link is maintained throughout this passage. The next link (m. 91) uses an inversion of the first three notes of the subject in its bass line. 148 Development continues with octave transpositions of the initial statement and its answer, overlapped in a

stretto (mm. 91-98) that features wide distances between the two voices. A second overlapping, following the

first, appears with the entrance of a fragment from the beginning of the subject. The last note of the first

stretto imitation begins a turning figure reminiscent of the turn from the section in duple meter. The turning

figure is presented in a sequence that provides a link

(mm. 98-99) and extends into the counterpoint of the next statement. The effect of the turning figure on composite rhythm is to increase the frequency of quarter-note activ­ ity and to establish a new norm of movement, one half note

and four quarters per measure, from which deviations oc­ cur only momentarily for the remainder of the work. In the next passage of development (mm. 99-103), the subject is presented essentially in thirds in the lower

voices. The statement of the subject in the higher of these two parts is modified by an inclusion of the turning

figure, adjusted at the end to form a 4-3 suspension. The

small distances between lower parts and the much wider distances between upper parts yield spacings that contrast with earlier passages. A bridge (mm. 103-106) presents and elaborates upon the turning figure in modulations from the tonic major key through the supertonic minor to the dominant major key. 149 The first four notes of the eight-tone subject are linked in an inner voice with an inversion of the last four notes

(mm. 106-110). This development of the subject occurs in an episode that modulates to and from the tonic key. Un­ stable tonality comes to an end following a bridge (nr. 110-111) that concludes the development section.

The return introduces a statement of the subject be­ ginning on a tonic starting tone that did not appear dur­

ing the entire section in triple meter; however, it is the subject transposed down an octave that occurred at the very beginning of the Ricercar. The closing entry of the

work is a transposition down an octave of the very first answer. A dominant pedal and harmonic progressions in B-

flat major assure a tonic key ending.

Ricercar in g The Ricercar in g minor consists of an exposition,

middle passage, and return in each of two sections that present fugues, one in alia breve and one in triple meter. The first section ends with a codetta and the work as a whole concludes with a coda that introduces a return to duple meter. The coda is notated in common time. In this piece the half note of alia breve is understood to be com­ parable in duration to the half note of three-two, and the latter becomes comparable to the quarter note of common tine. 150 Suspension dissonance occurs on the first beat of the alia breve, on the first and second beats of the three- two, and on the first and third beats of the common time. It is stylistic for passing tones to occur off the beat; in addition, a half-note passing tone appears on the sec­ ond beat in the alia breve, and a quarter-note passing tone appears on weak beats of the three-two in descending lines that turn back by step. With few exceptions, neigh­ boring tones occurring off the beat provide quarter-note motion, A neighboring six-four chord occurs on the second beat in alia breve with the upper note of the fourth held over in a suspension, and a neighboring figure introduces the seventh of a seventh chord on a third beat in common time. Pedal tones give rise to single and occasionally consecutive instances of dissonance. An escape tone off the beat occurs once in three-two. Essential dissonances, though rare, include the di­ minished triad in root position and seventh chords han­ dled in suspension, passing, neighboring, and embellished neighboring figures* Harmonic change is most typical at the rate of a half note in alia breve and in three-two. Other rates of change, for example at the whole note or quarter note, are commonly encountered. The inverting of a chord may occur at a point when a change of chord would create a steady harmonic rhythm. In general, syncopated harmonic rhythm 151 is avoided. In the four measures of common time, change

at the rate of a half note and other values is found.

Contrapuntal devices of particular interest include imitation, mirroring, stretto, an instance of retrograde, and the modification of the subject by interpolation of an embellishing figure or by the omitting of a note. Methods of manipulation involve changing meter and writing varia­ tions upon a motive from the counterpoint of the exposi­ tion.

The keys of the Hicercar are tonic minor, subdominant minor, dominant minor, and relative major.

The subject (mm. 1-5) is an arched contour with two leaps in an ascending direction followed by a stepwise de­ scent bach to the first pitch. The line encompasses a mi­ nor sixth, uses four different note values including the typical whole note at the beginning, and its first and fourth notes form a perfect fifth often treated as tonic and dominant in a key. The announcement serves as a tonic beginning for a fugue exposition. The answer (mm. 4—8), a subdorrinont entry, is a mir­ ror of the subject with counterpoint that previews some of the rhythm and interval relationships of a five-note mo­ tive used in the piece. The stepwise ending of the an­ swer is imitated at the fourth below during the continua­ tion of the first subject. 152 The third entry (mm. 8-11) is a statement of the sub­ ject beginning a fourth lower than the initial entry. The

five-note motive that counterpointed the ansv/er acquires a j j fixed melodic shape, — — £ b-flat* A dominant-tonic

progression provides a bridge (mm. 11-12) from the domi­ nant key back to the tonic.

The last entry (mm. 12-16) of the exposition, briefly in four voices but ending in three-voice texture, extends the pattern of alternating the subject v;ith its mirror,

and completes a series of starting tones of subjects, g,£,

^*-*■ 9 d'■J- #

This statement like the others of the exposition oc­ curs in an outer voice. An extension (mm. 16-17) of the entry leads to a cadence, V7-i, ending the exposition in the tonic minor key.

The first passage of development (mm. 17-21) presents a mirror of the subject in the subdominant minor key set against a variation of the five-note idea. Dovetailed with the end of that entry is another statement of the mirrored subject (mm. 20-24) now presented in the tonic key and in an inner voice. Between that entry and the next one, the counterpoint features a brief use of imita­ tion (mm. 24-25) as a connecting device. Composite rhythm to this point in the development consists of quarter-note movement with the exception of an occasional half note on a weak beat. 155 The subject is next developed in a texture of three voices in higher range than before (mm. 25-28). An exten­

sion of the passage (mm. 28-29) clarifies that the key of the movement is dominant minor. A homorhythmic setting

(~m. 29-52) reminiscent of the third entry in the exposi­ tion but with contrasting chords at the end provides va­

riety as the development exploits different textures of primarily three-voice counterpoint. Following the brief

movement of a single chord progression (nm. 52-^5) that connects entries, the subject is initiated in a four—voice

chord, but two per to are quickly feathered out leaving

root of the entry in two-voice counterpoint (mx. ;*5-5w. imitation in the two-voice texture provides s bridge (nm. 56-”7) betv/een the dominant key and an instance of the tonic minor key 'within the passage of middle entries. A return to three-voice texture initiates the first of four statements of the subject in an alternation of

tonic minor and subdominant minor keys (mm. 57-51)• four

different rogistors of range er. compassing a cpu. from Z^ to ^ ore used by those entries. The composite rhythm in

continuous in quarter-note movement with two exceptions of half-noto movement. A fragment from the subject is used in the connection of the first two of these entries; the thirl entry is an embellished transposition from the statement beginning on the third beat of the eighth mea­ sure, and the last of these four entries provides the 154 variety of extraordinary spacing with wide distances be­ tween the two upper parts of the three-voice counter­ point.

A unique development occurs (mm. 51-54) with the sub­

ject set against itself in lower voices a third apart, and the middle passage ends its series of entries by present­ ing again two earlier statements (mm. 55-62) in four-voice and two-voice texture respectively. A section of return to the tonic key (mm. 63-81) con­ sists of a single entry of the subject with counterpoint

that contains a variation of the five-note motive, and two passages of stretto, the first one over a dominant pedal and the second one over a tonic pedal. A change to three-two sets the stage for an announce­ ment of the subject in triple meter. A four-voice exposi­ tion presents alternate statements of the transformed sub­ ject and its mirror. The third and fourth entries provide completion of a I I V I order of outer-voice entries, and their counterpoints contain variations on the five-note

motive. The exposition ends with a V-i cadence (mm. 95-

94) in the dominant minor key. With the subject presented prominently in the outer voices of the exposition, entries are then confined to lower voices allowing an obbligato to occur throughout the uppermost part. The counterpoint of several entries in the development (mm. 95-127) and two connecting 155 passages contains elaboration upon the five-note motive,

The mirror of the subject appears more frequently than the subject itself, and the bridges tend to be longer than those in the earlier part of the work.

The return (mm. 137-137) provides a restatement of three subjects from the exposition transposed down an oc­

tave with counterpoint in the tonic minor key. The lest of these three entries is presented over a dominant pedal

that extends into a four-measure coda. The coda, written in common time, contains a modified statement of the sub­ ject characterized by dotted rhythm.

Ricercar in d, Anhang. DTB, xxx The object of study here is the second movement of a four-movement work— Prelude-Fugue-Fugue-Fassacaglia. In­ dications that the second movement should be included among the analyses of Ricercars rather than Fugues are convincing. Typical of all the Ricercars and unlike any of the Fugues, this movement makes extensive use of the mirrored subject. In the Denkmaler der Tonkunst in Bayern the movement is listed as Fuga in the table of contents; however, editor Max Seiffert adds in parenthesis at the head of the movement the designation "Ricercar". The Ricercar in d is the briefest and most succinct­ ly organized of those analyzed. Written in three-two time until three concluding measures in common time, it 156 presents four entries of the subject in the exposition, a series of five middle entries, and a pair of statements in

the tonic section of return. Of these eleven entries the even numbered announcements are mirrors of the subject.

Four-voice texture in common time at the end is employed with a dramatic purpose of providing a chordal culmination to the contrapuntal texture that pervades the work to that point.

The handling of dissonance in triple meter is remark­ able for its consistency. Unessential passing tones and neighboring tones appear only as quarter notes off the beat. Suspensions are found with dissonance on any of the three beats. In common time dissonance is so concentrated that it occurs on seven consecutive beats, involving su­ pertonic seventh chords and embellishments of dominant harmony.

Chord change occurs at a regular rate of once per measure in three-two time. Divisions of that rate are brought about by whole-note and half-note changes, tied whole notes being the exception. As the meter changes near the end from triple to duple, a steady rate of change notated as half notes in three-two time and quarter notes in common time provides continuity.

The keys of the Ricercar are tonic minor, dominant minor, and relative major. The subject, a six-note diatonic line spanning the range of a sixth, begins and ends on the tonic note. The four entries of the exposition (mm, 1-11) are organized as follows: the subject in the tonic, a mirror of the subject in the dominant, the subject in the dominant, and a mirror of the subject in the tonic.

Example 4-8. Ricercar in d, Anhang, JXT3, xxx, mm. 1-11

A modified statement of the subject (mm. 12-15) di­ minishing the widest interval from a sixth to a fourth be­ gins the section of middle entries in the relative major. A five-note motive from the counterpoint of the initial answer and fragments from the subject comprise the coun­ terpoint of this entry. The initial answer then recurs

(mm. 15-17) with counterpoint that, prolongs the relative major key. Here, melodic progressions from the counter­ point of the preceding entry are presented v/ith changes in rhythm. A bridge (mm. 18-19) restates the original dotted 153 rhythm of the idea, presents it in imitstion at the dis­

tance of one beat and shifts its position in the measure*

Imitation, still at the distance of one beat, sur­ rounds an inner-voice statement of the subject (mm* 19-21)

with counterpoint from the third entry of the exposition. Two motives from the initial entry of the Ricercar and its

continuation are presented in different parts and set against an extension of an earlier voice to form a bridge

(mm. 21-25) from the tonic to the relative major. Contin­ uous stepwise movement in the two accompanying voices counterpoints an entry in the relative major (mm. 25-25) that originally appeared as an answer in the dominant. In the following measures (mm. 26-29) a link leads to a final entry in the relative major, this one facilitated by a transposition of the initially tonic minor subject up a third. Extensions and imitation characterize the approach

(nm. 29-51) to the closing section. Octave transpositions of the fourth and first entries from the I V V I order in the exposition introduce two fi­ nal statements of the subject in the tonic key (mm. 5 1 - 55). The six remaining measures in three-two and common time provide a conclusion using progressions that predom­ inate in roots a fifth apart and an indirectly descending uppermost part. The last chord is a tonic major triad of the minor key. CHAPTER VI PRELUDES

With the single exception of Fugues, Krieger is dis­ covered to have more extant Preludes than works of any other genre. No direct contact with these works by J.S.

Bach can be established; however, a number of Preludes are contained in the collection reportedly perused and recom­ mended for study by G.F. Handel. In all, twelve Preludes are to be found among the keyboard works of Krieger. In the Anmuthige Clavier-Ubung. seven of these can be matched by key with a Fugue or Ricercar; two individual Preludes are also found here. The lack of a systematic position­

ing of a Prelude before a Fugue or Ricercar provides the performer with the option of pairing a Prelude with one of

the fugal works or using it as an individual piece prelu­ sive to some other event, sacred or secular. The free or­

dering of Preludes and fugal works in the Clavier-Ubung is typified by the following: Praeludium in e, Ricercar in e,

Ricercar in F, Praeludium in F... Ricercar in £, Ricercar in 3-flat, Praeludium in a, Praeludium in B-flat... four individual Fugues in C, the quadruple Fugue in C, Praelu­ dium in C. Not all Fugues and Ricercars can be coupled by

159 160 key with a Prelude.

Apart from the Clavier-Ubung. two Preludes are found in Suites and one more appears in the Yale manuscript

5056. A Prelude introduces one of the Suites— Prelude-

Ricercar-Fugue-Passaceglia— and follows a homophonic move­ ment in an other— Durezza—Prelude-Fugue. The meter and melodic rhythm of the Preludes is duple throughout. Syncopation occurs in each Prelude contribu­

ting to the independence of parts in contrapuntal passages. V/hile contrasting rhythm among the voices is more charac­ teristic, an essentially horaorhythmic style can be found for brief periods in introductions, interludes, and clos­ ing passages. The extension principal, based on continu­ ing a rhythm by echoing its latter values, though not nec­ essarily in the same voice, is in evidence. Cross ac­ centuation between parts and in relation to the beat de­ rives from a fluid placement of tonic and quantitative ac­ cents. Motoric rhythm throughout a Prelude is foreign to the style; however, the Prelude in F maintains continuous sixteenth-note movement in one voice or another until the final two measures. The diversity of the Preludes thwarts acknowledgment of a single plan or organizing element. True, each one contains some amount of imitation, but its meager use in several instances promotes recognition of the differences among the pieces. The Preludes are distinguished from one 161 another as follows: (1) are characterized by imitation, (2) feature improvisory style, or (3) freely develop a mo­ tive. The imitative Preludes exploit motives a haIf-measure or one measure in length. The Preludes in e, F, and A em­ ploy both the original motive and its mirror. The g minor

Prelude in the Yale source is indistinguishable in its first seven measures from one of the four-voice fugal ex­ positions except for the simplicity of its four-note theme. Unlike the Fugues, the thematic material here does not reappear thereafter until the closing measures. In place of a section of middle entries, sixteenth-note fig­ ures permeate the texture occasionally imitated, treated in sequence* and doubled at the tenth. The texture of the imitative Preludes differs from that of the more contra­ puntal works by virtue of two voices being permitted to move in similar rhythm, sustain the same long note values, and progress in similar motion. The Preludes featuring improvisory style are not eas­ ily distinguished from toccatas. Each is highlighted by a passage written for a single part that traverses at least two octaves of range in a rapid succession of six­ teenths or thirty-second notes. Those of the a minor Pre­ lude and the Prelude from the three-movement Suite consist of a series of one-octave diatonic scales transposed up or up and down the keyboard with starting tones of tonic and 152 dominant notes. The Prelude in C in the Clavier-Ubung

opens with an angular, improvisory melody notable for its frequent leaps, changes of direction, neighboring motions,

and the dominance of notes contained in the tonic triad; its first twelve notes are a transposition of those be­ ginning the C major Toccata. The c minor Prelude begins its improvisory passage with a chromatic line that ex­ tends from the tonic note downward to the raised fourth degree, turns back by step, and proceeds to introduce four-note segments of the chromatic scale in increasing­ ly lower range, ending with a halting series of notes in •which every tone initiates a change of direction.

Preludes in which the principal characteristic is motivic development include those providing the organ­ ist or harpsichordist with opportunities to press into massive chordal sonorities. Also included are the short­ est and longest Preludes; one in g minor with thirteen measures in common time and the other in d minor with over a hundred measures in alia breve* In the course of motivic development, much greater variance in pitch and rhythm is found in the Preludes than in the fugal works.

Below, a seven-note motive initiated in the introduc- ductory measures of the the work appears later with its first four notes freely mirrored. The latter example also shows one of the longest sequential extensions found. 16? Example 49. Prelude in d, mm. 15-16* 96-100

_ Jt, .. y - u J : IT w _

--- -

| -» 1 ST # ~ t ---- ' i f

»«

An even more remote relationship occurs between sn initial motive (a) and its development (b) in the follow­ ing instance. Here, numerous intervals as well as some of the note values are altered. ?he recurrence of the pitches d and e-flat, the similarity in melodic direction, and the retaining of the last note on a strong beat of the measure help assure an audible relationship between the motive and its development.

Example 50. Prelude in g, mm, 1-2

-fVJ a, '

In general, the relationship between a motive and its development is much closer than those of the two examples above. Simple transposition and mirroring of a motive ap­ pear in both the G major and B-flat major Preludes. The texture of these pieces reflects no need for 3 prelude to adhere to a particular number of parts. In most of the Preludes two, three, or four voices are ac­ tive; however, fluctuations from these norms are numerous to the extremes of a single voice and a nine-note chord. There is very little employment of writing in five or more parts, yet block chords of six and seven notes appear in half of the pieces. The table below lists the Freludes according to the principal number or numbers of voice parts in each. Parentheses enclose the number of parts found elsewhere in the Prelude and the number of tones in multi-note chords, opposite the designation of the key.

Table 4. Texture of Preludes

2—3 voice 3-voice 3-4- voice 4-voice C, Suite (1,4) F (4,3,6) e (5) S (5,6,7,8) E C^.5) £ 0 ,5) g, MS 5056 (1,2,4,5) C (1,6,7,8,9) A (1,2,5,6,7,8) 0 (1,5,6,7) d (1,5,6,7,8)

In the special case of the B-flat major Prelude, not listed above, the impact of a single multi-note chord or group of chords sets into motion a single part in contin­ uous sixteenths or more often two such voices progressing note against note mostly in contrary motion. The variable 165 number of notes in these multi-note chords of five, six,

seven, or eight tones reflects less concern for maintain­ ing a particular number of parts than for filling in the outer-voice intervals with every possible chord tone, barring excessive density and parallel octaves with an outer voice* Six measures from the end the texture be­ comes more stable with four voices, deviating only once for a half measure to five voices. Even nearer the end, a pyramid organization is expressed as the number of notes in chords changes from 4 to 5 "to S to 7 to 6 to 5 to 4. The rising-falling arch shape of the uppermost part coin­ cides with the contour of the pyramid. Even without change in registration on the organ or harpsichord the ef­ fect of crescendo and diminuendo is gained.

Example 51. Prelude in B-flat, mm. 17-19

I - V * 14 = ! f 1 <* m...—_ . . .. — O. ....- *J V ♦ * f - *

d J ^ M -m ~ q—fi & - —: -tr— r

The principal kinds of contrapuntal dissonance in the twelve Preludes are passing tones .(4-15)* suspensions

(250), and neighboring tones (222). Only these three ap­ pear in every Prelude. Cambiatas (51) occur in six Pre­ ludes; pedal tones (21) are found in all but two of the 166 pieces, and anticipations (5) are found in three works. The predominance of passing tones, nearly double that of

suspensions and of neighbors, arises from the abundance of of sixteenth-note figuration and stepwise melodic movement.

Suspensions provide the main source of dissonance falling on the beat. Suspended tones progress downward by step for resolution, with or without a change of bass or

upper voice. Suspension dissonance appears on any of the four beats in common time or two beats in alia breve, and

rarely on the second half of these beats. Ornamental res­ olution is commonplace. Certain suspensions are used much more frequently than others, as shown in Table -5»

Table p. Suspensions in Preludes

7-6's (49) and 7ths with a change of chord (47) 96 4-5's (55) snd 4ths with a change of chord (1) 59 2-5's (25) and 2nds with a change of upper voice (4) 29 6-5 chords with the upper note of the fifth suspended 23 9-8's (13) and 9ths with a change of chord (1) 14 Diminished 5ths v/ith the upper note suspended 5 4-3 chords with the upper note of the third suspended 3 Double suspensions combining a 9-8 and 7—6 2 An augmented 4th with the lower note suspended 1

Since sevenths were the most frequently suspended, a further study was carried out to determine if the style showed a preference for certain intervals leading to the 167 lower note of the seventh. The results of the study show a preference to progress to the lower note of a suspended seventh from an essential tone by leap of a perfect fourth upward, or by perfect fifth downward, or by stepwise move­ ment. The complete findings are given below.

Table 6. Melodic Intervals Leading to the Lower Note of a Suspended Seventh

Perfect fourth upward from an essential tone 31 Perfect fifth downward from an essential tone 20 Major second downward from an essential tone 14 Minor second downward from an essential tone 12 Major second upward from an essential tone 11 Minor sixth upward from an essential tone 3 Others (M3, m2, M2 from a passing tone) 3

Neighboring tones appear in motives, ornamental res­ olutions of suspensions, figuration, trills, and in other areas where melodic activity is carried out within narrow range. Since neighboring tones are usually off the beat, and since sevenths are ordinarily prepared in a suspension figure, it is notable that a particular contour with a neighboring seventh occurs in over half of the Preludes. Example 32 shows the two characteristic rhythms of this six-note contour for which Krieger. apparently had a like­ ness. The final interval is sometimes inverted, and oc­ casionally the line is a third or fifth lower in relation to the bass, thereby involving a consonant interval in 168 place of the neighboring seventh.

Example 52. Prelude in e, mm. 17-20

< V fl^-

An anlysis was undertaken to see if unessential tones appear primarily in the outer voices. Since the Preludes are less contrapuntal than the Fugues and Ricercars, it was expected that melodic activity would not be spread as equally among the parts, and that therefore a larger num­ ber of unessential ton6s might occur in particular voices, perhaps outer voices. This proved not to be the case when unessential tones were taken together, since the texture is most typically in three voices and 67# of the unessen­ tial tones appear in the outer voices. However, consider­ able differentiation resulted when unessential tones were appraised .separately. Passing tones appear in outer voices 73# of the time, neighboring tones 62#, suspensions

55#i and others, namely the pedal tones, cambiatas, and anticipations, 89#* These figures, reflect a style in which the faster moving voices, with numerous sixteenth- note passing tones and some neighboring tones, are more characteristic of outer-voice activity. Suspensions, 169 many v/ith ornamental resolutions that introduce a neigh­ boring tone, are more characteristic of inner-voice activ­ ity* In short, for every suspension in an outer voice there is an average of about three passing tones, and for every suspension in an inner voice there is approximately one passing tone, despite the longer duration of the sus­

pension figure. Considerable variance from these norms is in evidence from one Prelude to another. The extraordi­ narily high percentage of pedal tones, cambiatas, and an­ ticipations in outer voices is to be expected since all

the pedal tones occur in the bass.

Melodic progressions make use of all the intervals of diatonic scales with the exception of augmented intervals. As melodic intervals, diminished fifths, diminished

fourths, and sevenths are rare. When altered, it is usual for notes to be introduced conjunctly. In melodic rhythm the figures and motives ordinarily combine different note values, though streams of quarters, eighths, sixteenths, and thirty-seconds can be found. The longest note values □re found in the bass. Syncopation is typical of the me­ lodic rhythm and it often occurs in combination v:ith a suspension. Harmonic materials include major and minor triads generally in root position or first inversion, diminished and rarely augmented triads in first inversion, and in­ complete triads. There are in addition certain seventh 170 chords, namely, dominant, small, major, and half-diminished. Hoot position and first inversion seventh chords frequent­ ly omit the fifth of the chord; second inversion seventh chords are rare; and third inversion seventh chords are

handled with a suspension figure in the bass. Six-five chords often omit the third above the bass. Consecutive

seventh chords can be found. Chord change at the rate of the quarter note and half note is characteristic of the Preludes in common tine, one or the other of these values emerging as a reg­ ular rate. Slower rates of change are often found at the beginning and end. The one Prelude written in alia breve settles into a half-note rate of change following an in­ troduction with numerous whole-note chords. The closing cadence is a iv-I in the e minor Prelude, a V-i in the £ minor Prelude, and in all others a V-I with a 4-3 suspension in the dominant. A Picardy third appears at the end of five of the six Preludes in a minor key. The soprano note of the final tonic chord is a root in seven Preludes, a fifth in three of the pieces, and a third in the other two. The internal cadences are authen­ tic, plagal, leading tone (vii^-I or i), and half ca­ dences. The keys used in the six Preludes in major tonalities are tonic major, dominant major, relative minor, and su­ pertonic minor. The six Preludes in minor tonalities 171 employ tonic minor, subdominant minor, dominant minor, relative major, submediant major, and subtonic major.

The key signatures of the six Preludes in minor to­ nality contain one less sharp or flat then modern signa­ tures with the exception of the one in a minor. These signatures are used for the tonic keys of e, g (twice), c, and d. For the most part the missing sharp or flat in the signature is compensated for by an accidental in the score. Nevertheless a few remnants of modality are found. The e minor Prelude has cadences on £ and c but none on the dominant b, recalling characteristics of Phrygian mo­ dality. Acknowledging an influence of Phrygian mode here helps explain the emphasis on subdominant harmony and the appearance of only one dominant major chord on b. In the a minor Prelude the Aeolian form of the scale appears in both ascending and descending directions throughout the improvisory opening; thereafter, the raised sixth and leading tone are used in ascending lines* In the g mi­ nor Prelude, s supertonic seventh chord in the tonic key employs the major sixth degree instead of the minor sixth in the progression i^-ii^-V, one of the few scattered sug­ gestions of Dorian mode. CHAPTER VII TOCCATAS

The five Toccatas by Johann Krieger are idiomatic keyboard works employing imitative treatment to varying

degrees. The three short Toccatas are written in common time throughout and the two longer ones begin in common

time, change to triple meter, and return to common time.

The grandest of the Toccatas is that in C mit dem Pedal. Special reference is made to this organ work on

the title page of the Anmutige Clavier-Ubung, and its toc­ cata section is followed by a full-fledged Fugue previous­ ly discussed on pages 96-101,

Based on the systematic announcement of a subject or motive in tonic and dominant keys, three of the other four

Toccatas contain a truly fugal section, the first of these being the Toccata in D, MS 5056, which introduces a motive

in each of. four voices in the latter of its two sections. Unlike the actual Fugues in Krieger's works, this middle

section is not designated Fuga or Theme; its consistently imitated melodic idea is only three notes long, it is written in triple meter, and after the exposition there is an occasional passage where one voice dominates the

173 173 melodic activity or two voices progress note against note in similar motion without the presence of a third voice. Another Toccata with a fugal section, in d, MS 5056, also exploits a thematic idea following the idiomatic key­ board writing of an initial section. Here, the imitated melody is longer than in the above D major Toccata, seven

notes instead of three, but from the outset the subject is handled more freely than in the Fugues; namely, by varying

the duration of the second note of the subject which ap­ pears either as a quarter tied to an eighth or os a half

note tied to an eighth. The adjustment in duration per­

mits a stretto to occur momentarily at the close distance of one quarter note. As in the above Toccatas in C and D,

the fugal exposition introduces its subject or motive in four voices and each initial entry is in an outer voice. The order of keys in these expositions is I V I V and V I

I V. A second Toccata in D, this one in the Clavier-t)bung.

exhibits the freest fugal treatment of all. Following the typical clavieristic opening of the Toccatas, the imita­

tive section begins with a motive, d,e,f-sharp,g, without reducing the texture to a single voice. Maintaining a context of three voices, the motive is given a dominant answer but not until after a delay of two and a half mea­ sures, an unusually long duration in relation to Krieger*s customary fugal procedure in view of the shortness of the 174- imitated idea. A second answer follows at the distance of one and a half measures, each announcement freely con­

tinued with contrasting and distinctive progressions. The

motive along with the continuation of this second answer

provides the thematic material for the remainder of the Toccata. As in the fugal section of two other Toccatas, a

departure from strict contrapuntal texture is permitted, in this case by lapsing into a two-voice homorhythmic

style and by interspersing passages in continuous thirty- second notes for a single voice.

The one remaining Toccata, in a, MS 5056, is unique not only in its lack of a fugal section but in its brevi­

ty* The style of its seventeen measures in common time

corresponds to that of the initial section in the other

Toccatas. Its scope is that of some of the Preludes and its frequent imitation of a short idea appearing in the various voices recalls the e minor Prelude. Whether this Toccata was intended to precede a Fugue cannot be con­ firmed since no a minor Fugue is found among the works.

The thematic material of the fugal sections in the Toccatas is always foreshadowed by progressions in the initial section. A turning figure of four notes in the opening section invariably becomes a part of the thematic material or its continuation in the fugal section. The duration of the first note varies, and its progressions often bring about an ornamental resolution of a 175 suspension.

Example 53« Toccatas in C, ran. 96-97; in D, mm. 17-18; in D MS 5056, mm. 15-1?; in d, mm. 17-15

The one Toccata without a fugal section incorporates the

above turning figure no less than twenty-four times. A general plan for the Toccatas, not including the

abbreviated a minor one is bipartite: (1) an enlivened toccata section with or without an intervening passage based on a lyric theme in triple time, and (2) a fugal section.

The idea of a toccata as a touch piece and the oppor­ tunity for the performer to display keyboard and pedal technique is presented most vividly in the toccata sec­ tions. An essentially chordal beginning no longer than two measures appears as an optional beginning for the Toc­ catas. following this, or from the outset, o single voice unaccompanied or set against long values for the left hand introduces angular, running passages of rhapsodic charac­ ter. In the toccata section of the Glavier-tJbung. pas­

sages of full chords are alternated with excerpts in free

rhythmic style while those in manuscript present a single instance of a rhapsodic line followed by imitative coun­ terpoint.

The angular, running passages in the toccata sections favor certain sixteenth-note patterns in melodic progres­ sion; patterns of four notes repeated or transposed at least once in one or more Toccatas are shown below. These are found in lines of continuous sixteenths. Those that are immediately transposed create descending, diatonic se­ quences. In such sequences, the pattern is transposed usually by step as many as three times in succession. "ere, no more than two leaps in the same direction are permitted without a change of direction.

Example Recurring Figures in the Angular, Running Passages of the Toccata Sections 177 The texture of the Toccatas would be misleadingly de­

scribed if one were merely to enumerate the number of parts set against one another* In the toccata sections,

adherence to a given number of voices is often superceded

by a freer treatment in which one or more notes are added to chords for increased sonority* In the fugal sections

four different voices are found; however, three voices at a time are customary, and it is typical for the entrance

of a fourth voice to be followed shortly by the temporary

ending of another voice* In general, the texture of the toccata sections is chordal and sonorous, while that of the fugal sections is contrapuntal and transparent* With the understanding that the following list shows the characteristic number of independent voices rather than the exact number of notes sounding from moment to mo­ ment, once can gain an idea of the linear activity* As with the Preludes discussed previously, the table below indicates the principal number or numbers of voices in each Toccata, and parentheses enclose the number of parts found elsewhere, including the number of tones in multi­ note chords. When more than one number is given at the head of a column, the contrasting texture from one section to another is shown* The 6-4—6 of the C major Toccata represents the ternary structure of the toccata section that precedes the full-fledged Fugue. 178 Table 6 * Texture of Toccatas

4-voice 4-3 voice 6-3 voice g-4-6-3 voice a (2,3,5) D, MS 3056 (2) D (1,2,4,5,7,8) C (1,2,5.7,8,9) d (2,5)

The spacing in multi-note chords ordinarily positions the widest interval between the two lowest voices. In the most densely spaced arrangements thirds appear in the spacing above the bass even though the range extends well into the great octave. The favored notes doubled are the • root and fifth. In chords of six or more notes a doubled third is not infrequently found, and rarely a doubled sev­ enth, but only one of the sevenths resolves downward by step. In multi-note chords falling on the beat, thirds and sevenths are never doubled more than other notes, nor are they but rarely found in both outer voices at the same time» Among the thinner textures, passages for two voices progressing by similar motion a tenth apart are stylistic for periods of two to three measures in the Toccatas. These excerpts are often in continuous sixteenth notes though dotted rhythm, successions of eighths, and eighths interspersed with pairs of sixteenths are found. The range of these excerpts tends to be higher than others, with both hands becoming involved with treble clef nota­ tion at times and never dropping below c in the small 179 octave. The following of such an excerpt with full chords

provides a dramatic textural change. In the following in­ stance the linearity of sixteenth-note lines is contrasted with the block chords of half-note sonorities. The pro­ gressions of these sonorities are based primarily upon

successions of roots by fifths.

Example 5 5 . Toccata in C, ram. 17-22

P r d .

The kinds of unessential tones used in every Toccata

are passing tones (254-), suspensions (1 7 6 ), neighboring tones (152), cambiatas (26), and pedal tones (14). Escape tones (2 5 ) occur in three of the five Toccatas; double auxiliary figures (8 ) are found in two of the works and anticipations (3 ) appear in two of the pieces.

Passing tones are more frequent than any other kind of unessential tone in each Toccata; suspensions are at least as frequent as neighboring tones in three of the five works. The cambiatas occur in a figure consisting of a leap up or down a third and a turning back by step. Pedal tones, tonic and dominant, are found as rarely as once and as often as seven times. 180 The variety of suspensions used in the Toccatas in­ cludes the following.

Table 7. Suspensions in Toccatas

7 -6 's (61) and 7 ths with a change of chord (29) 9 0 4-3's 41 2- 5 's 23 9 -8 *s 9 6 - 5 chords with the upper note of the fifth suspended 9 Diminished 5ths with the upper note suspended 3 Double suspensions combining a 9-8 and 7-6 2 Double suspensions combining a 7-6 and 4—3 1

Since sevenths were suspended most frequently, a de­ termination was again made to see if a preference for cer­ tain intervals appeared in the bass leading to the lower note of the seventh. Unlike the Preludes, stepwise move­ ment in the bass was far more frequent than leaps of fourths and fifths, no doubt as a result of the conjunt- ness in the fugal sections of the Toccatas. Most of the leaps of fourths and fifths appeared in the homophonic section prior to fugal treatment. The total distribution can be noted in the following list.

Table 8 . Melodic Intervals Leading to the Hoot of a Suspended Seventh

Major second upward 22 Major second downward 17 Perfect fourth upv/ard 16 181 Table 8-—Continued

Perfect fifth downward 11 Minor second upward 8 Minor second downward 4

An unessential tone akin to the neighboring tone and cambists appears in several Toccatas prior to the fugal section. It occurs off the beat in sixteenth-note lines against longer values in the lower voices. The note is approached by leap from above and constitutes a leap into dissonance that is resolved by stepv/ise movement upward. Since it neighbors the following note and is invariably attached to non-consecutive notes of an outlined chord, it is understood here as a note occurring in an incomplete neighboring tone figure and it is counted among the other notes functioning as auxiliaries. Examples of unessential notes in incomplete neighboring tone figures are circled below.

Example 56. Toccata in d, mm. 1-4

rz. ■ 182 Once the analysis of contrapuntal dissonance was com­ pleted, the prevalence of unessential tones in inner and outer voices was again noted. Some 69# of the unessential tones appear in outer voices. Since the texture, usually three-voice, not infrequently involves four, five, or six voices, this reveals a tendency for unessential tones to

occur primarily in the outer voices. It may be recalled that this was not the case in the Preludes.

A breakdown of the different kinds of unessential tones in the inner and outer voices shows 74-# of the pass­ ing tones in outer voices. Outer voices also contain 60#

of the suspensions, 6 8 # of the neighboring tones, and 82# of the others including pedal tones. With the exception

of a higher percentage of neighboring tones in the outer voices, these figures are quite similar to those of the Preludes. For every two passing tones in the outer voices there is approximately one suspension and one neighboring tone. In the inner voices passing tones and suspensions are of similar frequency and neighboring tones are en­ countered less often. While some contrast from one Toc­ cata to another is to be expected, passing tones always outnumber any other kind of unessential tone, and suspen­ sions and neighboring tones rank second and third with the exception of the C major Toccata in which escape tones are more prevalent than neighbors. 183 The manner of progressing to the notes of a dissonant interval above the bass, whether by similar, oblique, or contrary motion was noted. All but ten of the more than

six hundred dissonances, nearly 9 9 #» were approached by oblique motion. The exceptions, a few of which are shown

below, are interesting since they include some of the most aggressive handlings of dissonance in the style.

Example 37* Toccatas in D, mm. 10, 20; in C, mm. 21-22, 26-27, 71, 88

Chord change in the opening section of Toccatas is generally slower than in the fugal sections. Changes once or twice per measure in common time characterize the for­ mer while changes at the rate of the quarter are typical of the contrapuntal section. The triple meter in the mid­ dle part of the ternary structure that precedes the Fugue in the C major Toccata offers change once per measure with deviations occurring when a half note is followed by a quarter, or the reverse. In addition, the device of 184 hemiola is supported by change once every two beats, as in the following excerpt.

The keys of the three Toccatas in which the princi­ pal tonality is major are tonic major, dominant major, subdominant major, relative minor, and mediant minor. Those of the two Toccatas in which the principal tonality is minor are tonic minor, dominant minor, and relative ma­ jor.

The key signatures are the same as modern ones with the exception that the D major Toccata in MS 5056 contains a sharp in the signature for every f and c on the staff.

The customary F-clef is used for low notes, and as in the other of Krieger's manuscripts and early publications, a 0 -clef positioned on the lowest staff line is used for higher notes. CHAPTER VIII

FANTASIAS

Of the four Fantasias found among Krieger's keyboard works, one acts as a prelude for the first of six dance

Suites in the Sechs Musikslische Partien, one can be paired in the Clavier-tfbung with a Fugue discussed earlier (see pages 62-66) and edited by Max Seiffert in that com­

bination, and two appear as independent pieces. Triple rhythm throughout distinguishes the Fantasias from the

Preludes, Fugues, and Toccatas. Rhythms organized in threes employ three—four time in two Fantasias, three-two time in a third one, and with regard to the triple divi­

sion of the beat, twelve-eight time in the remaining one. The form of the Fantasias is a source of considerable contrast among the pieces. By measures the works vary in length from 20 in twelve-eight, to 48 in three-two, to 91 end 115 in- three-four. The shortest of these is unipar- tite while the longer ones are sectional, either ternary,

ABA, or as in the Suite, a rondo form, ABACABA. The sec­ tions of this rondo are clarified by the recurrences of the A theme, always in the tonic key.

The ABA form appears in two of the Fantasias. In these cases, recurrence of the theme in the final A 185 186 section provides unity, and transposition of the theme to

the dominant or to both the relative major and dominant provides variety. In the rondo form and ternary struc­

tures the accompanying lines of the initial statement re­ cur whenever the theme reappears.

The element that all the Fantasies have in common is clavieristic motifs of a fanciful, easily improvised na­

ture. These figurations, though somewhat lacking perhaps in thematic intricacy, occur in internal passages rather than at the beginning, and they add a dimension to the

compositional technique through a relaxed compositional approach that contrasts with the strictness of the Fugues

and Ricercars. The simplest and most characteristic con­ text expresses clavieristic motifs in two voices. These involve progressions in similar motion with the voices a tenth apart. Variants of this procedure permit one of the two voices to be more figurative than the other or they allow occasional changes in the distance between the two parts, mainly to successions of sixths or thirds with or without instances of successive consonance. Similar mo­ tion is occasionally followed by brief passages in con­ trary motion.

The distinctive element of the clavieristic motifs is a disjunct melodic interval, usually an octave. Leaps, often of an octave or even a tenth, appear as often as once or twice per measure. Since the wide leaps are 187 ordinarily followed by movement in the opposite direction,

following the leap of an octave with a note outside that interval constitutes a distinctive and capricious detail in the melodic progression of some of the Fantasia motifs. Although many of these figures reflect consideration for what the fingers can reach within a set position on the keyboard, quick shifts in hand position are necessary in these instances. The motifs vary in length; durations of

a measure or merely one unit of measure are representa­ tive. Sequential treatment and simple transposition of

the motif is common, but clever devices such as the in­ vertible counterpoint in the measures below are not en­ tirely avoided.

Sxample 59* Fantasia in the Partita in G, mm. 21-22; 95-95

• | It*' y:\ s • [2

T T- 'I*, ‘"rffitfte

Register changes in the upper part replace stepwise movement with leaps of a seventh in the following motifs. 188 Example 60. Fantasia in d, MS 5056, mm. 4-4—46

Mirroring the motif* in different voices of consecu­ tive measures is less characteristic but more contrapun­ tal.

Example 61. Fantasia in d, Clavier-tlbung. mn, 9-1?

t *• • T-*_■ ■n ::"' ' " — It: _ 7 “ : 1 ^ ol *-.r zr^iT: — *) " '•7 7 V 7 - ,'*'V?

The thematic, rhythmic, end textural surroundings of the motifs are permitted to vary from one Fantasia to an­ other. The themes, rhythms, and textures provide an in­ dispensable framework for the motifs; however, they appear as variable elements with regard to the essence of these

Fantasias. A contrast is especially noticeable when the twelve-eight Fantasia is compared to those in triple me­ ter. The former one is a perpetual motion piece with a fugal opening whereas the latter ones are contrapuntal at the outset, employing themes with syncopation or dotted rhythm. A further distinction is that the Fantasia in 189 twelve-eight time develops from a motivic idea a half­ measure long and the others emerge from through-composed

themes six or eight measures in length. Despite this dif­ ferentiation among the Fantasias when all four are consid­

ered together, a remarkable similarity exists between the initial progressions of the two d minor Fantasias (i-VI -

Example 62. Fantasia in d, Clavler-Ubung, mm. 1-2; Fantasia in d, MS 5^56, mm. 1-2

The texture of the Fantasias, unlike that of the Pre­ ludes and Toccatas, rarely departs from two, three, end four-part writing. Aside from the Fantasia with a fugal opening, these works express a certain solidity in texture in the first one or two phrases, a result of coincident rhythm in at least two of the several voices. These near­ ly homophonic openings, best described as three or four- port counterpoint in which the uppermost part is set against a linear'accompaniment, give way to an imitative texture. Thereafter, the pieces proceed with textures that shape the individual forms of the works. 190 As shown below, the principal textures of the Fanta­ sias involve two, three, end four-part writing. Numbers greater than four merely reflect the presence of an oc­ casional multi-note chord. The number one in parenthesis

represents the initial measure of the fugue-like beginning

in the twelve-eight Fantasia, and the fours in parenthesis indicate little used textures.

Table 9. Texture of Fantasias

2-3 voice 3-voice 2-3-4 voice

d, MS 5056 (4,5) j>, (4) C, Suite (7) G, Anhang, DTB (1,5)

Three types of unessential tones are found in each Fantasia: passing tones (216), neighboring tones (58)* and suspensions (40). Unlike most other genres, the passing tones are more numerous than all other unessential tones combined. Cambiatas (15)» with the dissonance usually ap­ proached by an ascending rather than descending leap of a third before turning back by step, appear in three of the four Fantasias; escape tones (14) are found in only one of the pieces; and pedal tones (4) occur in two of the works. The dissonance is somewhat less evenly distributed among the measures than in works already analyzed since wholly consonant two-voice passages occur for periods as long as six, seven, or even ten measures. 191 Passing and neighboring tones appear off the beat, rarely on a weak beat. Suspension dissonance falls on any of the three beats in triple meter and a variety of rhythms introduce the resolution, particularly for suspen­

sions on beat one where consonance occurs on the second half of this beat or on beat two or three.

Seven-six suspensions are again more frequent than any other type. Here, however, only a few other kinds are found.

Table 10. Suspensions in Fantasias

7-6's (2 5 ) and 7ths with a change of chord (1) 24 4-3's 10 6-5 chords with the upper note of the fifth suspended 6

The study to determine a preference for certain ap­ proaches to the root of suspended sevenths was continued. The melodic interval introducing the root of suspended sevenths was, unlike previous findings, always a second. This result reflects the more consistently conjunct and contrapuntal progression of the Fantasias in comparison with the occasionally more harmonic and chordal Preludes and Toccatas. The complete findings are given below; a predominance of descending approaches can be noted. 192 Table 11. Melodic Intervals Leading to the Hoot of Suspended Sevenths

Major second downward 11 Minor second downward Major second upward Minor second upward

The only notated ornaments in the Fantasias are out- ter-voice trills of dominant and tonic notes. These ap­ pear in the C major Fantasia of the Suite and the one in d of MS 5056, the trilled tonic notes being pedal tones in both cases, numerous opportunities exist for the addition of embellishments, such as the mordents and inverted mor­ dents by Max Seiffert in his edited version of the d minor Fantasia from the Clavier-Ubung.

The distribution of unessential tones among the voices of three—voice texture was determined. The results show a tendency for such tones to appear in the highest and lowest parts: outer voices, 7^#; inner voices, 26#. V/hen the unessential tones of all textures are considered, 30"5 of the passing tones are found in the ourer voices.

Also found in the outer voices are 85# of the neighboring tones, 56# of the suspensions, and 91# of the cambistss, escape tones, and pedal tones. The principal observation to be made here is that suspensions are the favored kind of unessential tone for inner voice activity. Harmonic change in triple meter occurs with consis­ tency in the Fantasias only at the rate or once per mea­ sure# Passing chords appear on beat two and especially on beat three of three-four and three-two time# Deviations from a change once per measure are introduced by quarter notes and by durations equal to two measures# In the twelve-eight Fantasia, the harmonic rhythm consists of dotted quarter notes with infrequent occurrences of dot­ ted half notes in measures containing inverted chords on weak beats.

With regard to main keys in the four Fantasias, two are C major and two are d minor. Those in which the prin­ cipal tonality is major employ the tonic major, the domi­ nant major, and the relative minor keys. Those in minor mode use the tonic minor, dominant minor, relative major, and dominant of the relative major. Neither of the Fantasias in d minor uses a key signa­ ture; however, the flat for b is frequently written in on the staff. Interesting exceptions to this practice, show­ ing remnants of modality, appear in the supertonic chords of the opening phrase of the Fantasia in manuscript. If b-flat were added here, a diminished fifth above the boss of the root position supertonic chord would occur, result­ ing in an unstylistic dissonance. CHAPTER IX WORKS BASED ON THE CHORALS

Because Krieger's activities in Zittau, Germany in­ cluded a prolonged association with the Church, it is not surprising to find works based on the chorale among his

compositions. Three such compositions are extant: two chorale variations and a chorale fughetta. The chorale melodies of these works existed for nearly a century or

more before Krieger's time, and they were preserved in a

variety of German sources, though not necessarily in the same meter.^ The two chorale variations by Krieger— Herr Christ der einig Gottes Sohn and In dich hab ich gehoffet, Herr— consist of on introduction based on the initial material of the chorale melody, and several verses, each being a variation that employs the complete chorale melody. The first verse in each set positions the chorale melody in the highest part against continuous sixteenth-note pas­ sages in the bass and values similar to those of the cho­ rale in the inner parts. The second verse in each chorale

^Johannes Sahn, Die Melodien der deutschen evangel- ischen Kirchenlieder. 3 vols. OlildesheTra: Georg 01ms, 1953;, vol. 1, p. 3l5; vol. ?, p. 14-1; vol. 3» p. 27. 194- variation reverses the roles of the outer voices in the first verse, i.e., the chorale melody appears in the bass and sixteenth-note passages occur in the highest part. The third verse in these two works is a metric variation changing the division of the beat from duple to triple. Here, the notation is altered from that of common time to six-eight. In the one metric variation a measure of cho­ rale melody in common time consumes two measures of six-

eight as in Example 63, whereas in the other one a measure of common time is compressed into a single measure of six- eight as in Example 64.

Example 63* Herr Christ..., m. 18; Variation, mm. 46-47

Example 64. In dich..., m. 11; Variation, m. 44

I Vers 3.J \£' i i -* r r r > f a

:">» I

In Example 63 the notes of primary accent are re­ tained. as primary accents in the variation. However, at times in the metric variation of In dich..., the notes of the chorale melody undergo a shift of accent. The last two notes of the first chorale phrase from In dich..., a and originally on the fourth best and the following first best are delayed in the variation by the interpola­

tion of a chromatic passing chord, assuming a position on beats one and two.

Example 65. In dich..., mm. 12-13, 45-46

As the metric variation occurs, the chorale is also varied by unaccented rhythmic changes. Thirdly, the chorale is

made more ornate by melodic embellishment. As an example of these two Jtinds of change, the repeated d in the ini­ tial chorale melody appears in the variation as a tied note introducing syncopation. Added notes provide an or­ namental resolution of the suspension.

Example 66. In dich..., mm. 14-15, 50-51 197 following treatment of the chorale in six-eight time, each chorale variation contains a return to common time. In Herr Christ..., this return introduces a fourth varia­ tion, one in which the chorale melody is presented in straight forward note values accompanied by four-note fig­ ures frequently imitated in the lower voices. The return to common time at the end of In dich..., ushers in a coda with toccata-like flourishes of motivic activity and mul­ ti-note chords.

The form of each verse in the chorale variations is s reflection of the relationships among the phrases of the chorale melody itself. Each verse in the two works con­ sists of five phrases, and each ends in the tonic key with material reminiscent of the beginning of the chorale. Oth­ erwise the form of individual verses differs from one work to the other. Each verse in Herr Christ... is two-part; the first section ends in the tonic key and its two phrases ere marked off by repeat signs. In dich... con­ cludes each verse with a codetta, and the return to the tonic key is not made until the final phrase of each verse.

Table 12. ?orm of the Individual V.erses in Chorale Variations

Herr Christ.. . : I"a b c a ' b ; In dich...: ;a b c d a'[ 198 The chorale fughetta, Yater unser in Hiromelreich. is a fugal treatment in common time that employs only the first phrase of the chorale. Its scope is miniature by comparison with the Fugues for the reason that it contains

only one middle entry. Indeed, it is similar in length, in contrapuntal texture, and in the limited number of cho­ rale phrases to the introductions of the chorale varia­ tions just discussed. It differs from the introductions

of the variations Herr Christ... end In dich.*. in that imitation of the initial chorale phrase is carried out in strict fugal style; i.e., v/ith I V I V entries in an as­ cending series, bass, tenor, alto, soprano, as is often found in the expositions of Krieger's Fugues. The pres­

ence of tonal answers attests to the strictness of the fu­ gal style in the fughetta.

Fermatas are absent in Krieger's chorale works. How­ ever, in place of holds, the final note of chorale phrases is often assigned a long value that can be understood as

equivalent to a hold. In such coses, movement is main­ tained in the accompanying voices.

The barring of measures is somewhat curious at times in the chorale variations. In both common time and six-

eight, an extra half measure sometimes appears between bars. In common time, this suggests that there is no need to distinguish between the strength of the first beat and that of the third beat. In the six-eight, the extra half 199 measure represents a temporary shift to triple meter. The textures of the chorale works vary according to the treatment of the chorale melody. The brief Veter unser... being a fughetta, is contrapuntal and imitative

throughout. The chorale variations exhibit a ternary structure in texture; each begins with a contrapuntal in­ troduction, proceeds with variations that consist primar­ ily of four-part harmonic progressions with quick movement in one outer voice, and returns to a linear texture of three voices for the final variation. Sonorities ere in­ termittently reinforced by octave doubling, especially in the introduction of In dich... resulting in chords with as

many as eight notes. A summary of the number of voices in the principal and secondary textures, the latter in paren­ thesis, is given below.

Table 15* Texture in Chorale Works

3-4 voice

Herr Christ... (1,2,3) In dich... (5*6,7,3) Vater unser... (1,7,5)

The mainstays among unessential tones in the chorale works are passing tones (24-7), suspensions (82), and neighboring tones (73)* Carobiatas (13) approached by leap of a third usually upward appear in the florid figuration of the chorale variations. Several of the cambiatas 200 approached by leap from below are sevenths above the bass that turn back by step to a dissonant passing tone. Other unessential tones include pedal tones (6), double auxilia­ ries (5)i escape tones (2)t and an anticipation (1). That

the handling of dissonance in the chorale variations is slightly less strict than usual is shown by the rare ap­

pearances of arpeggio six-fours and by the treatment of an occasional seventh chord in first inversion that changes

to root position prior to resolution of the suspended sev­ enth.

The variety of suspensions used in the chorale works includes the following.

Table 14. Suspensions in Chorale Works

6-5 chords with the upper note of the fifth suspended 26 7-6's (20) and 7ths with a change of chord (2) 22 4-5's 22 2-5's (4) and 2nds with a change of chord (2) 6 9-3's 5 4-5 chord with the upper note of the third suspended 1

Unlike genres discussed previously seven-six suspen­ sions are less frequent than six-five chords and no more numerous than four-three suspensions. This shows an in­ crease in the kinds of suspensions most easily adapted to a harmonic rather than a purely linear content. The dis­ sonance of inverted seventh chords as well as suspensions in root position triads are more characteristic of these 201 works than of those analyzed earlier.

Consistent with the analysis undertaken with Pre­ ludes, Toccatas, and Fantasias, the following information was ascertained regarding approaches to the root of sus­ pended sevenths.

Table 15. Melodic Intervals Leading to the Lower Note of a Suspended Seventh

Major second downward 6 Major second upward 6 Minor second dov/nward 5 Perfect fourth upward 4 Perfect fifth downward 2 Minor second upward

In three-voice texture the inner voice obtains more than an equal share of unessential tones; only 56# appear in the outer parts. In four-voice texture the outer voices are much more actively involved in introducing con­ trapuntal dissonances than the inner voices; here, 83# of the unessential tones appear in the outer parts. In five- voice texture the outer voices introduce 88# of the unes­ sential tones. This means that the frequency of unessen­ tial tones in the outer voices increases as the number of voices increases from three to four to five. In textures of six or more parts, a dramatic drop-off in outer-voice unessential tone activity occurs; only 40# of the unessen­ tial tones appesr in the outer voices of these 202 progressions.

During the verses of the chorale variation, the quar­ ter note in common time and the dotted quarter in six- eight represent the rate of chord change. When the final note of a chorale phrase is prolonged or when the harmony ending a phrase begins the next phrase, the regularity in harmonic rhythm is sometimes relaxed. When a repeated note or a progression involving a first degree and a third degree in the chorale melody appears in the bass, chord

change is lacking, and a syncopation in harmonic rhythm sometimes occurs. Passing, neighboring, and other embel­ lishing chords off the beat are typical in the six-eight time of In dich.... In the contrapuntal introductions of

the chorale variations,, in codas, and in the fugal Vater unser..., the regularity of harmonic rhythm is less strictly maintained than in the variations themselves,

primarily when a voice enters in imitation and at ca­ dences.

The keys of the chorale variations, both of which are in major tonality, are tonic major, dominant major, sub- dominant major, and relative minor. Those of the brief chorale fughetta, in minor tonality, are tonic minor and dominant minor. CHAPTER X THE CHACONNE AND PASSACAGUA

Both the Chaconne, an independent work, and the Fes- sacaglia, the concluding movement of a four-movement Suite, are continuous variations. The Chaconne is based on a re­ curring eight-measure scheme of harmonies, four measures plus four measures; the Passacaglis employs a four-measure ostinato that usually appears in the bass. The meter of both works is triple; however, the Chaconne is notated in three-four, the Passacaglia in three-two. The recurring scheme of harmonies in the Chaconne is in evidence in each of twenty-nine variations. Adherence to the scheme is pervasive rather than rigid; in a few in­ stances the inversion of a chord is permitted to change; a seventh or ninth may be added; the leading tone and domi­ nant triads are occasionally interchanged; a subtonic tri­ ad takes the place of a leading tone triad once; and the closing tonic minor triad is changed to major in one in­ ternal variation. The harmonic rhythm is characterized by one chord per measure end harmonic- movement across the bar is assurred by contrasting harmonies in successive mea­ sures or by the placement of a passing chord (P) or 203 neighboring chord (N) just prior to the bar.

Table 16. Recurring Scheme of Harmonies in the Chaconne

I i (P) ji6 (P) ;V (N) y jiig(P) 'viig (P) jV ! i j

Passing and neighboring chordsin the above scheme vary. The individual passing chords connecting the tonic * i chord in root position with the tonic chord in first in­

version are vii0^, ^ * 5 * an(* Tlie passing chords be­ tween a tonic chord in first inversion and a dominant tri­

ad are ii^, iig» ^ 6 * an(* ^v * dominant harmonies in suc­ cessive measures are separated by neighboring chords ana­ lyzed iv^, ii0^, iv^» 3nc* VI with the fifth omitted. The supertonic triad in first inversion is connected to the leading tone triad in first inversion with a i^ passing chord. Extensive elaboration upon the basic harmonic scheme occurs when one, two, and even three chords are in­ terpolated; for example, vii?to V in a harmonic rhythm of one chord oer triole measure becomes !vii°-i-ii,- ' i^-V f . 1 a o 1 h - I It should be mentioned that the supertonic triad when it appears in the basic harmonic scheme is a minor rather than a diminished triad in the minor mode of the Chaconne.

The supertonic minor triad is not surprising because the key is g minor and the signature has one flat. As an em­ bellishing triad the supertonic chord is minor or dimin­ ished. Subdominant triads even in close proximity with 205 minor supertonic triads are generally minor, rarely major. 7/hen a subdoninant chord progresses to a supertonic chord, major or minor sixth degrees may prevail, but cross rela­ tions and diminished fifths above the bass are avoided.

Apparently, the reason for Krieger's preference for the minor rather than the diminished supertonic triad is that only the former appears consonant in its root position ar­ rangement. Example 66 shows the subdominant and superton­

ic triads and their most typical chord qualities in the Chaconne.

Example 67* Chaconne, mm. 51-53

Diatonic submedient chords are consistently major in the Chaconne. The chords of the Passacaglia, also in mi­ nor tonality and with one less flat in its signature than is modern practice, employ the minor sixth degree system­ atically .

The ostinato of the Passacaglia, shown below in the bass line of two variations, and in its most conjunct ar­ rangement, is a diatonic series of notes unifying the six­ teen four-measure units. P06 Example 68 . Passacaglia Ostinato, Variations 14 and 15

The classic ostinato or ground bass is characterized

by the recurring notes of a bass line that changes very little if at all from one variation to the next. While

the notes of such a line can be found here, except on beats two and three of measure eleven in the Passacaglia,

the freedom of treatment of the ostinato is much greater than one might expect. The ostinato is subjected to reg­ ister change, variation, and the transference of some or

all of its notes to an upper voice. Since the notes of the ostinato tend to be associated with particular harmo­ nies in the variation, there is nearly as much recurrence of harmonies in the Passacaglia as was found in the Cha­ conne. In addition, the reiteration of a bass line re­ sulting from an ostinato in the Passacaglia is not much more obvious than the repeated bass that resulted from the recurring scheme of harmonies in the Chaconne. The prin­ cipal reason here for acknowledging a recurring scheme of 207 harmonies in the Chaconne and a recurring melodic line in the Passacaglia stems from the contrasting textures of the two works; the Chaconne is the more harmonic and chordal of the two works, end the Passacaglia is the more linear and contrapuntal.

In the fifth phrase of the Passacaglia, the first five notes of the ostinato appear in the highest voice, and the remaining four are found in a melodic variation in the bass.

Example 69* Passacaglia, mm. 17-20

(5>

In no two phrases are the notes of the ostinato in­ troduced in the same way. Rhythmic displacement, notes interpolated into the ostinato, and the chromaticism of half-step progressions characterize the tenth phrase. example 70* Passacaglia, mm. 37-^0

r i O )

4 & * ■ W ______> * irT~=fr-- 208 Syncopation and a composite rhythm of continuous quarter notes individualize the twelfth phrase.

Example . Passacaglia, mm. 45-48

The number of principal textures in the Chaconne and

Passacaglia is greater than in other works analyzed since each variation establishes its own norm of texture, ond a textural change occurs from each variation to the next. This greater variety of principal textures shows up to some extent just in terms of the number of voices that are used, five different ones in the Chaconne and three in the Passacaglia. As before, other secondary textures are giv­ en in parenthesis.

Table 17* Texture in the Chaconne and Passacaglia

’ 2-3-4-5-6 voice 2-3-4 voice Chaconne (7,8) Passacaglia (5,6,7)

The continuous variations in the Chaconne and Psssa— caglia use a greater variety of contrapuntal dissonances than is found in most other genres: passing tones (297), neighboring tones (106), suspensions (97), cambiatas (19), incomplete neighboring tones (12), anticipations (6), and 209 escape tones (5)- In addition the Ohaconne employs double auxiliaries (4) and pedal tones (2), one of which is a trilled internal dominant pedal sustained for nearly all of the twelfth eight-measure variation. An extended dou­ ble auxiliary figure, actually a triple auxiliary, d, e- flat, c, e-flat, d, appears in measure one hundred twelve following the internal pedal.

Example 72. Chaconne, mm. 110-112

Essential dissonances are infrequent; however, a dom inant minor ninth is approached by leap and left by leap in the opposite direction once, and there are recurring instances of a vii ^ in which the leading tone is the res- olution of a suspension. fhe variety of suspensions used in the Chaconne and

Passacaglia is shown below. fable 18. Suspensions in the Chaconne and Passacaglia

4-3* s 36 7 - 6 ' s 32 6-5 chords with the fifth suspended 73 9-8* s 6 21 0 Suspensions are used in textures of two to six voices. The only double suspensions found are combina­

tions of a 9—8 and an outer voice 4—3. The approach in

the bass to the root of the seventh in 7-6 suspensions is stepwise•

Table 19. Melodic Intervals Leading to the Lower Note of 7-6 Suspensions

Major second upward 17 Major second downward 9 Minor second upward 5 Minor second downward l

In three-voice texture, a slightly higher percentage

of unessential tones than would be found with an equal distribution, 72#, appears in the outer voices. As with

the works based on chorales, an even greater proportion of unessential tones occurs in the outer voices of four-voice

progressions, 84#. In five-voice progressions the tenden­ cy of unessential tones to appear with greater end greater frequency in the outer voices as the number of parts in­ creases reaches a maximum, 85#. In textures involving six or more voices the percentage of unessential tones in the outer voices decreases slightly to 77#. Both the Chaconne end Passacaglia are in minor keys, the variations of each being unified by the tonic key throughout. In the absence of modulation it is inter­ esting that chromatic variations are carefully placed in the two works. The most chromatic of the twenty-nine var­ iations in the Chaconne are numbers eleven and twenty- one, and in tfcu T‘ sssacaglia the ninth of the fifteen var­ iations is especially chromatic. The chromatic harmonies include passing chords resulting from the presence of seg­ ments of chromatic scales, secondary dominant and leading tone triads. In the Passacaglia, Neapolitan sixth chords progress to dominant following first inversion mediant and first inversion subdominant embellishing chords: N^-III^- iv^-V, the Neapolitan and dominant chords appearing on successive first beats of triple meter. CHAPTER XI WORKS WITH SPECIAL TITLES: THE DUREZZA AND BATTAGLIA

Works by Krieger with special titles; thet is, mis­ cellaneous works with unusual designations include a Du- rezza that acts as a prologue to a prelude and fugue in the C major Suite and a Battaglia as it has been appropri­ ately suggested but with question mark by editor, Max Seiffert. The Durezza consists of massive chordal sonor­ ities with all voices characterized by long note values, harmonic change twice per measure in common time, and most notably, suspension dissonance on the first beat of twen­ ty-six consecutive measures of the thirty-measure piece. The Battaglia is a homophonic work in common time with an extensive amount of technically demanding repetition, in which a single pitch is iterated in the right hand part 8,

15, 16, 32, 48, or even 64 times in the course of two measures or less, and in wrhich neighboring motion, effect­ ing measured trills, measured tremolos of thirds, and four-note turns, are also repeated.

The primary characteristics of these two works are understandable in relation to the meanings of their ti­ tles, As a musical term, durezza in Krieger's time meant 212 P 13 dissonance --hence, the long succession of suspensions.

Battaglia is a title given to a kind of program music that 2 portrays a battle; thus, the remarkable amount of repeti­ tion, commotion, end imitation of drum rolls.

The technical difficulties of the Durezza and Batta­ glia are opposite in nature. The former presents the pro­ blem of sustaining tones and keeping the keys continuously depressed, while the letter requires the execution of thirty-second note repetitions of a pitch necessitating cuick releases of the fingers from the keys. The sostenu- to problems of the Durezza call for a sufficient pressure into the suspension preparation to prevent the tone from fading into silence before the suspension dissonance on the following beat has an opportunity to be heard. The repeated notes invite a cycling of the fingers, performed in Krieger's time without the use of the thumb.

Example 75* Durezza, mm. h-9

« I 8 % * .“u i f :-f i Lf-’ --rE-i -U

^Harvard Dictionary of Music» ed. Willi Apel, 2nd d. , rev7, and enl. (l?c>9), p“ 2 50.

2Ibid., p. 36. 214 Example 73— Continued

Battaglia. mm. 59-40

• • * r y - . •

The texture of the Durezza can be described as chord­

al with suspensions; that of the Battaglia is homophonic with narked contrasts of note values. The former consists

primarily of five and six-voice progressions with occa­

sional uses of four and seven parts. The battle piece is

mostly three and four-voice in its progressions with brief interludes of two-voice texture and for the final chord in

each of the two sections a five-note chord with tripled

root. The form of the Durezza is that of a single section work, phrase endings being suppressed by the continuous use of dissonance on strong beats. The organization of

the Battaglia is binary. Its first section, measure one through twenty-three, ends in the dominant key; the second section, measures twenty-four through fifty, is similar in length beginning dominant end ending tonic. Each section in this binary form is marked with the usual repeats of the time. The analysis of contrapuntal dissonance yields unique results. Instead of a predominance of passing tones, sus­

pensions account for a majority of the dissonances in the Durezza and neighboring tones are in the majority in the 3attaglia. The work using suspensions (32) almost exclu­ sively contains only two other kinds of unessential tones;

namely, passing tones (10) and pedal tones (4). In addi­ tion to the numerous neighboring tones (95) in the Batta­

glia , unessential tones include passing tones (53), sus­

pensions (13), escape tones (5), and anticipations (2). Suspensions in the Durez?,a derive their dissonance from a variety of intervals above the bass: sevenths (13), fifths in combination with a sixth above the bass (7), fourths (4), seconds as bass suspensions (4), and ninths with downward progression of the upper note for resolu­ tion (4). The nineteenth measure contains an effective use of dissonance combining a minor seventh and minor ninth in a double suspension over a third degree in the

bass. The entering soprano voice prepares the upper sus- nension introducing at the same time the highest note of

the Diece.

Example 74 . Durezza. mm* 18-19 216 In contrast to the prevalence of 7-6 suspensions in the Durdzza. the Battaglia employs 4-5's mostly (10) with two 9-3* s and. only one 7-6. The contrast reflects the prominence of unessential seventh-chord sounds in the one work and a norm of triads in the other. The lower note of suspended sevenths in the two works is approached by whole step from above (3) or below (3)» leaps of a fourth upward (3) or fifth downward (3)* an£l by minor third (2) or major third (1) from above.

The unessential tones of the Durezza appear primarily in one of the two highest voices or in the bass line. A

large percentage of the unessential tones in the three- voice texture, 7^-#, and especially four-voice texture, 98#, are located in the outer voices of the Battaglia. The keys of these two works, both in C major, are tonic major and dominant major. Chromatic harmonic pro­ gressions borrow progressions from the dominant, relative minor, and supertonic minor keys. CHAPTER XII THE DANCE SUITES

Sechs Musicalische Partien is a collection of dance

suites and additional dance pieces published in 1397. Al­ though the number of movements varies from five to nine, each Suite invariably includes an Allemande, Corrente, Sarabande, and Gigue in that order. Three of the Suites contain a movement with the title Le double, i.e., Double, and a fourth Suite has two such movements as well as three movements entitled Variatio. i.e., Variation. All of these Doubles and Variations are based on Sarabandes, and they are located between the Sarabandes and Gigues.

The additional dance pieces include Minuets, Bour- rees, a Gavotte, and a Rondeau. In the publication of

1597, these extra dances appear after the Gigue, and their position has led to the supposition that in some of his Suites, Xrieger intends the optional movements to be played at the end.^ At least three arguments can be made

to weaken that view. First, the keys of the extra dances disagree with the keys of the Suites they follow in three

Harvard Dictionary of Kusic ed. Willi Apel, 2nd ed., U9&9)Tp7“5I5

217 218 of the four instances. Secondly, the simple formal orga­ nization and technical easiness of these extra dances would provide a less fitting conclusion to the Suites than the livelier Gigues. Thirdly, Krieger comments in the Preface of the Anmuthige Glavier-Ubung "where some space or room existed I filled it with a few Minuets, Bourrees and Gavottes,.." and he discusses these extra pieces in relation to "those who do not especially understand music and the clavier...." In short, he speaks of the addition­ al dance movements as afterthoughts which he included rather than leave a page partly empty, and he assigns them the particular function of serving beginners. It is unlikely then that the exora dance pieces were intended as optional movements to be played at the ends of Suites. The role of optional movements is actually fulfilled in krieger's dance Suites by his Doubles and Variations for these are the movements sometimes included in the Suite, sometimes excluded. It is notable that these Vari­ ations are located just prior to the closing Gigue, a po­ sition used by J.3. Bach for optional movements.

Allemandes The six Allemandes by Krieger are stylized dances in common time consisting of two repeated sections similar in length. The initial section of the Allemandes in major mode ends in the dominant while the one in minor mode ar­ rives in the relative major. Within the second section of 219 the Allemandes in major node, the transition from the dom­ inant key back to tonic usually borrows progressions from the relative minor. The one exception to this occurs in the A major Suite where the use of the relative minor

•would involve the key of f-sharp minor, a key quite rare in krieger* s works. V/ithin the second section of the

Allemsnde in minor mode, the transition from the relative major back to tonic borrows progressions from the dominant minor.

fable 20. Tonality of the Allemandes

In major mode: ";l V (vi) I :,! In minor mode:

i III V III (v) i =:i

The initial progressions and the closing cadence of the first section reappear transposed in the second sec­ tion. Occasionally, the direction of the initial melodic progressions of the first section is reversed in the sec­ ond section, but strict mirroring is uncharacteristic. The Allemandes invariably begin with an unaccompanied upbeat. The upbeat consists of two, three, five, or seven notes that lead to a first or fifth degree in tonic or dominant harmony. The notation contains numerous instances that call for holding down the notes of outlined chords or 220 intervals. This involves tones that could be notated for a single voice but are written for two or three or four parts instead. The significance of this notation could be over emphasised since performers may instinctively arrive at the same result without such meticulous notation. The texture is one in which the sustaining of successive chord tones underscores the harmonic aspect and disguises the contrapuntal element. Step relationships from one out­ lined chord to the next are very much in evidence. The term pseudo-contrapuntal, sometimes used in connection with Allemandes, is an apt description of the texture here. liotes of the same pitch in an outlined chord are often beamed together, the remaining tones being individ­ ually stemmed.

Example 75. Suite I, Allemande, mm. 5-5

The melodic rhythms of two or more voices frequently combine into a single rhythm. Continuous movement ordi­ narily results from a repeating series of four sixteenths or an eighth and tv/o sixteenths. It is possible to find both of these composite rhythms within the same phrase of all six Allemandes. 221

Example 76. Suite IV, Allemande, mm. 1- y

% ;^S e i * to- * t 0 0 0 ' *KTr**Lr*? *? *i*L?' £

-Jf y »mt a ---**-% *;>r J

It is rare in any texture of the Allemandes that tv;o voices are set against one another in the same rhythm for

even a single progression. A stylistic exception to this occurs when two voices move in eighths, and a third part alternates a sixteenth rest with an off-heat sixteenth note.

Regularity in harmonic rhythm is represented by chord change tv/ice per measure in common time. Slow rates of chord change prolong the unfolding and embellishing of in­

tervals in triads and dominant seventh chords, particular­ ly at the beginning and ending of the two sections in the binary forms. Chord change at the rate of the quarter note provides variety. The final tonic cadence chord in each section of the binary form is embellished by notes of a neighboring chord in five of the six Allemandes. The neighboring chord is a subdominant, supertonic, or leading tone triad. Apart from the predominance of passing tones and neighboring tones, which is more pronounced than usual, the analysis of contrapuntal dissonance reveals contrast­ ing results in comparison with other genres. The 222 principal differences are a decrease in the use of suspen­

sions, a more even distribution of all unessential tones other than passing tones and neighboring tones, and an in­

crease in the variety of contrapuntal dissonances due to the presence of appoggiaturas. "The unessential tones in­

clude passing tones (156), neighboring tones (95)» sus­

pensions (29), cambiatas (16), double auxiliaries (1 5 ), appoggiaturas (11) including four off the beat, pedal tones (10), and anticipations (6).

A majority of the unessential tones occur in three- part writing. Of these, 6 6 ; ’ appear in the outer voices.

The character of the Allemandes is stately and re­

served. The Allemandes are the most ornate and in pages the longest of the dances in Krieger's Suites. Eith the

exception of Suite I which begins with a Fantasia, the Allcmande is used as the first movement of a dance Suite.

Jorrentes The second dance in each of the Suites of Sechs Mu­

sic a 11 she Parties is an Italian rather than French cor- rente in triple meter and three-four notation. Each be­ gins with a simple upbeat consisting of a quarter note or two eighths. Once a phrase is underway, eighth-note move­ ment is ordinarily maintained by one voice or another un­ til the cadence has begun. Sixteenths are the shortest values in the Correntes and they appear only in pairs em- bellirhin-' the atepv:ise progression to tonic in the 225 uppermost voice of cadences. The maintaining of movement at the rate of the eighth for longer than a measure is a result of composite activi­ ty in two or more separately notated voices. In numerous instances these separately notated voices could be approx­ imated by a single part, as with the voices on the upper

staff of measures twenty and twenty-one below. Here, the succession of tones for the right hand uses as many as four upper voices to express what could have been written

as a single polyphonic melody. fhe result of this some­ what typical deriving of two or more lines from one basic melody is an instability of texture and a vagueness of me­

lodic contours.

Example 77."Suite V, Corrente, mm. 20-21

As might be expected the bass contributes less to me­ lodic activity than the other voices. Indeed, the texture can be described as upper voice melodies accompanied by a

bass line. The Oorrentes are similar to each other in their gen­

eral structure. Each is a binary form twenty-eight to thirty-two measures in length, and each of the tv/o 224 repeated sections consists of two phrases. The binary forms are essentially symmetrical since the two sections differ in length by no more than two measures. The two phrases in each section are six to eight measures long.

In the second section the beginning of the first phrase and the end of the second phrase are related in melodic material and harmonic progression to corresponding por­ tions of the first section.

The tonal framework of the Gorrentes in Suites of ma­ jor tonality is lf; I 7 -!l: 7 I :'t; the one Corrente in minor tonality substitutes the relative major for the dom­ inant. The tonic and dominant keys are always of the same mode; however, in the C major Corrente the tonic minor triad is used as a color chord in the tonic major key. In the course of the return to the tonic key in five of the Gorrentes, an intermediate key is confirmed by a cadence near the middle of the second section. This key is the relative minor in major keys and the dominant minor in the one minor Corrente. The lack of an intermediate key in the A major Corrente bears out the insignificance that this key has to the structure of the Corrente as a whole.

Nevertheless, the intermediate key in the second section is of interest since it shows that these miniature binary forms signify an embryonic stage in the history of sonata form. It is of equal interest that the cadence of the in­ termediate key concludes a modulating phrase characterised by a change from strict transposition of earlier material to free developmental technique.

The devices of developmental technique in the middle portion of the second section vary among the Correntes, In the C major Corrente, melodic chromaticism is shifted from the original voice to another part. The d minor Cor­ rente begins its development with an extension based on

the melodic rhythm of the preceding measure. The F major Corrente initiates development by altering a chord of the initial phrase and weaving figures heard earlier into es­ sentially the same texture. In developing the G major

Corrente, the interval of transposition is altered from a fifth above to a third above. These two transpositions are freely connected by a register change in a descending line of eighth notes in the highest voice.

Example 78. Suite IV, Corrente, mm. 3-5» 18-20

Mirroring a motive of the theme gets development un­ derway in the A major Corrente while changing the size and even the direction of melodic intervals and retaining the original rhythm is found in the B-flat major Corrente. 226 The basic harmonic rhythm of the Correntes is one change per measure in three-four time. Passing chords ap­

pear on weak beats, and occasionally a chord on the first beat of a measure infringes upon the duration of the pre­ vailing harmony of the measure. Rates slower than one change per measure are somewhat typical of the tonic har­ mony at the end of one section and the beginning of the next.

The kinds of contrapuntal dissonances appearing in all six Correntes are passing tones (136), neighboring tones (4-3), suspensions (34-), and appoggiaturas on the second half of beats, (25). Other unessential tones in­ clude pedal tones (5), anticipations (3), and escape tones (2). The unessential tones are quite evenly distributed between inner and outer voices; 69# of the unessential tones in three-voice texture appear in the outer voices.

Suspensions, which find favor in the inner voices of most genres, predominate in the uppermost voice of the Cor­ rentes, It is rather difficult to verbalize the character of the Correntes without interpreting the tempo, a reasonable interpretation being moderately quick. The charm of these dances is the clear, regular pulse, the unequal phrase lengths, and a texture in which the impression of two or three voices is created by the cleverly integrated melodic rhythms of two to five notated parts. 227 Sarabandes

The third dance in each of the Suites of Sechs Music- alische Partien is a sarabande of miniature proportions organized as a binary form in sixteen measures of three-

four time. Each of the binary forms consists of two eight-measure sections marked with repeats and each sec­ tion contains two four-measure phrases. The four phrases begin without upbeat and almost al­ ways conclude with a feminine phrase ending, the last chord of each cadence falling on the third beat of a mea­ sure. The first phrase establishes the tonic key and the second phrase brings about modulation. As found in the

Allemandes and Correntes, this modulation is to the domi­ nant major when the tonic key is major and to the relative major when the tonic key is minor. The third phrase in each Sarabande begins the second section prolonging the key confirmed at the end of the first section. Here, the

A major Sarabande remains in the dominant key. In the other Sarabandes, the third phrase modulates cadencing in a transient key, the relative minor of a tonic major key or dominant minor of a tonic minor key. The fourth phrase contains a return to the tonic key.

The cadences are root position dominant to tonic pro­ gressions in all cases but one. The third phrase of the A major Sarabande ends with a half cadence, tonic to domi­ nant with both chords in root position. In cadences at 228 the end of sections, the top line progresses by step to the doubled root of a tonic tried. Cadences within the sections have the top-line progressing by step to the root, third, or fifth of a tonic or dominant triad,

A particular melodic rhythm in three-four time, that of a dotted quarter, eighth note, end quarter note, or a

variation of that rhythm that preserves any two of those three note values, appears in the uppermost part of eighty-nine of the ninety-six measures in the Sarabandes, This basic melodic rhythm, the variation, and the number of measures in which each is used is shown in the follow­ ing table. Only the first, third, and fourth rhythms are used in the first measure of a Sarabande, The second rhythm appears in even numbered measures nearly always at cadences, lable 21, Characteristic Sarabande Melodic Rhythms

*— » 59

17

Q

»■i #rpni * < »» 5 i rm\ ■m— » » i 229 It is characteristic of the bass line to be articu­ lated by a quarter rest on the first beat of a measure once or twice in each four-measure phrase. The entrance of the bass after one of these quarter rests accents the second beat. The combination of the most characteristic melodic rhythm in the highest part— a dotted quarter, eighth note, and quarter note— set against a quarter rest

and two quarters in the lowest part is representative of the rhythmic movement in the Sarabandes. In the d minor

Sarabande, the four phrases contain, respectively, one, two, three, and four instances of quarter rests on the first beat in the bass. In two Sarabandes the bass line discontinues the use of quarter rests on first beats for the final phrase in favor of a more continuous, less halt­ ing rhythm. The texture is homophonic and usually three or four- voice. Quarter-note chords on third beats, especially at cadences, are often reinforced by octave doubling that temporarily increases the number of notes to four, five, six, seven, or eight tones. Chord change on the first and third beats is typical of the Sarabandes. To understand the chords on third beats as passing chords is rendered difficult if not im­ possible by the feminine phrase endings. Passing chords and other intervening chords do occur, though rarely, on second beats. Departures from the norm of a half note 230 followed by a quarter note occur with one change per mea­ sure; such a rhythm usually appears early in the Sarabande and never at cadences. The first chord of a phrase some­ times prolongs the final harmony of the preceding phrase. In four instances, always the third measure of a four-mea­ sure phrase, the harmonic rhythm of the half note and quarter note is reversed. Some eighty-one contrapuntal dissonances are distrib­ uted rather evenly among the ninety-six measures. Disso­ nances on first beats are suspensions; passing tones are found on the second beat and on the second half of any beat. Unessential tones occurring in all six Sarabandes include passing tones (30)* suspensions (24-), and neigh­ boring tones (17). Other dissonances entail cambiatas (6), appoggiaturas on the second half of beats (3), and a pedal tone (1). Three-fourths of the unessential tones occur in three-voice writing. Of these 75# appear in the outer voices, especially the highest part. The Sarabandes imply a slow, dignified tempo as is

“ypical of the dance at this time. Though not stylized by a profusion of ornate figuration, the Sarabandes are ex­ cellent models of simplicity and brevity. The Sarabande below is the most ornate of the six in the Suites by

Krieger. 231 Example 79* Suite I, Sarabande

Joubles

The Doubles in Krieger* s works are varied restate­ ments of Sarabandes in Suites II, III, V, and VI. These appear as single movements between the Sarabande and Gigue with the exception that in Suite VI two Doubles follow the Sarabande and precede the Variations.

The basic chord qualities, the harmonic inversions, harmonic rhythm, meter, tonality, and form of the Doubles match, literally double, those of the Sarabandes. Al­ though the' measures of the Doubles retain many of the pitches and some of the note values of the Sarabandes, it is primarily in the area of melodic change, especially melodic rhythm, and in texture that the Doubles take on individual characteristics. The texture of the Doubles is more linear, less chord"1 thon the Jarabandes* The rhythm is less homorhythmic, more polyrhythmic than the Sarabandes. The intervals in the spacing of harmonic entities are fre­

quently unfolded, the successive notes of these intervals being notated in separate parts. In this regard the tex­

ture of the Doubles is not unlike that of the Correntes. The allegiance of the Doubles to the Sarabandes is r:ore evident in its chord tones than in the embellishing notes of its melodic contours; however, it is possible to find a

substantial amount of the original direction of the upper­ most part of a Sarabande spun into the two upper voices of the polyphonic web in the Double.

Sxarople 80. Suite III, Sarabande, mm. 1-4-

Suite III, Double, mm. 1-4-

Triads in the Sarabandes, with the third omitted and the leading tone triad with the seventh degree only im­ plied, often appear in their complete form in the Doubles.

In addition, a triad is sometimes varied by the addition 255 of a note of doubling or a chordal seventh. The distinc­ tive rhythm involving a pair of ornamental sixteenths at cadences in the Sarabandes is invariably deleted in the Doubles.

The combined voices of the Doubles, even in cadential measures, create a composite rhythm of continuous eighth- note movement with two exceptions. The first of these is in measure eight of the F major Double which may be an un­ finished measure. The other exception occurs with the second Double of Suite VI, which differs from the other Doubles in that it employs sixteenth notes. These six­ teenths introduce conjunct and ornamental melodic varia­ tion, and they appear during the middle third of a measure in fourteen of the sixteen three-four measures. In these cases the melodic rhythm in each measure of the uppermost part is a quarter tied to the first of four sixteenths followed by a quarter, and the combined activity of ell the voices yields a composite rhythm consisting of two eighths, four sixteenths, and two eighths. Analysis of the unessential tones of the first four Doubles in comparison with their respective Sarabandes shows a decrease of passing tones and suspensions, a re­ moval of all neighboring tones, and a retaining of the only unessential tones involving a leap into dissonance, in these cases, cambiatas. The fifth Double would yield similar results were it not for the fact that in this one 25^ instance the highest part is a florid melodic variation* Here, the interpolation of embellishing notes into the original melody adds a number of passing tones, neighbor­ ing tones, and tv;o cambiatas*

The only kind of contrapuntal dissonance appearing in all five Doubles is that of passing tones (28). Lour of the Doubles contain suspensions (11), one uses neighboring tones (10), and two employ cambiatas (6). In three-voice texture 82:5 of the unessential tones, including all the neighboring tones and cambiatas, appear in the outer voices. The A raa^or Double and the Sarabande preceding it entail the simplest counterpoint in Krieger's works, using one contrapuntal dissonance, a passing tone on a weak beat. The Doubles make use of several essential seventh chords; namely, dominant seventh chords and minor seventh chords, but in general, dissonances are sparsely distrib- ted.

Variations The three Variations of Krieger*s works are based on the Sarabande of the sixth dance Suite. They appear as consecutive movements providing elaboration upon the the­ matic and harmonic material of the Sarabande in a Suite consisting of an Allemande, Corrente, Sarabande, Le Double I, Le Double II. Variatio I, Variatio II. Variatio III, and Gigue. 255 The harmonic, metric, tonal, and formal characteris­ tics of the Variations are, like the Doubles, similar mea­

sure by measure to those of the Sarabande. The Variations

are, however, not merely varied restatements of the Sara­

bande as are the Doubles, but ornamental melodic varia­

tions in the case of Variations I and II, and a motivic,

patterned variation in the case of Variation III. The

variation technique in these three movements is reminis­

cent of that in the chorale variations.

In Variation I, the uppermost part is a continuous series of sixteenth notes creating typical Baroque figures .

that decorate the original top line of the Sarabande.

Only an eighth rest at the beginning of each section in

the binary form supplies a respite from this continuous

right-hand activity. The left-hand part recreates the harmonic accompaniment of the Sarabande. The texture of Variation I is less dense than the Sarabande and it con­

sists essentially of three linear voices instead of the

four and five-voice harmonic sonorities of the original dance. Aside from a measure in which a first inversion is substituted for a root position dominant chord, an octave transfer of five tones and the closing cadence, the boss line of Variation I is identical to that of the Sarabande. In Variation II, the bass line supplies an amount of sixteenth-note activity similar to that of the highest nort of Variation I. In this variation the original highest part of the Sarabande is kept virtually in tact and the typical Baroque figures decorate the bass. The only differences in the top lines of Variation II and the Sarabande involve deletion of formula-like single pairs of sixteenth notes in the original cadences and a replacement of some of the dotted rhythm with consecutive quarter notes. A tonic six—four chord is replaced by a first in­ version supertonic seventh chord at cadences.

Example 81. 3uite VIt Sarabande, mm, 9-12

n : - -T— * • m*i ■ vi . " S ^ . > ■ S . | i* • m* • 0' ' •

. f m ~ * ' T

Suite VI, Variation, mm. 9-12

In Variation III, the principal notes and a few of the passing tones in the highest voice of the Sarabande are preserved in brief motives. Nearly all the motives consist of two sixteenths and a longer value on the beat. These appear in the uppermost part of the variation. In addition, this two-voice variation is characterized by a 'center of ideas stated alternately in the two parts at the 237 distance of a quarter note, occasionally involving strict imitation, real or mirrored. The intervallic distance in the imitation sometimes changes from motive to motive.

lixample 82. Variation III, on. 9-12

Analysis of the unessential tones in each Variation, in comparison with that of the Sarabande, shows an in­

crease of passing tones, an increase of neighboring tones, except in Variation III, a retaining of some of the sus­ pensions particularly at cadences, and the addition of a few cambiatas and double auxiliaries. Contrapuntal disso­ nances employed in all three Variations include passing tones (91), neighboring tones (40), and suspensions (9). Jsmbiatas (6) ore found in two Variations and double aux­ iliaries (2) occur only in one of the three variations. In. general, the dissonances are much more densely distrib­ uted in the Variations than in the Doubles.

Gigues The final score in each of the keyboard Suites of techs Vusicalische Fartien is a Gigue characterized by a point of imitation always positioned at the beginning of a 238 section in the binary form and found all but once at the beginning of both sections. In four of the six Suites the theme of the Gigue is inverted in the second section; in one the theme is simply transposed, and in the remaining one the two sections begin with contrasting materials, the first sonorous and harmonic, the other linear and imita­ tive.

A duple pulse is triply divided in four of the

Gigues. These are notated in six-eight or six-four time. The latter occurs just once and it is marked Presto, one of only two tempo indications in scores of Krieger. The

other work with a tempo mark is also a Gigue marked Pres­ to, but here, the duple pulse is doubly divided and the rhythm is notated in common time. This duple Gigue ex­ presses a motoric succession of dotted-eighth and six­ teenth-note figures relaxed only in the final measure of each section in the binary form. The remaining Gigue is notated in common time, its duple rhythm incorporating dotted values. The representative movement in melodic rhythm of digues in compound duple meter is a series of eighths in six-eight time and quarters in six-four time rather than an alternation of longs and shorts. In six-eight time the quickest movement occurs with sixteenth notes though never more than eight at a time in one voice. The combined ac­ tivity of two or more voices in the G niajor Gigue is 239 notable for passages in which composite movement occurs at

the rate of the sixteenth at the same tine that syncopa­ tion is preserved in at least one of the voices*

Example 83. Suite I, Gigue, mm. 23-24

f 9J *■ • • » » . •> r» * —

An additional point of rhythmic interest occurs in the G major Gigue where single-measure occurrences of hemiola are found in six-four time* Hemiola is employed in the penultimate measure of each phrase. Harmonic rhythm corroborates the change from two dotted-half notes per measure to three half notes as can be seen in measure fourteen belov;.

Example 84. Suite IV, Gigue, mm. 12-15

*1 $ 6 d'\

StL m- U * ^ e i m • f i S'

The tonal form of the Gigues is much like that of the other dance movements. The tonic key is ordinarily con­ firmed by a cadence at the end of the first phrase.

Gigues in a major key modulate to thedominant key of the 24-0 same mode; the one Gigue in minor tonality contains fugal statements and answers involving tonic and dominant keys followed by confirmation of the relative major key. Ca­ dences confirming the structural dominant or relative ma­ jor key near the middle of the dance are extended by a prolonging and embellishing of tonic harmony just prior to the repeat signs of the binary form.

As the repeat of the first section is undertaken, the tonic of the dominant major key leads back to the begin­ ning v/itli a progression that analyzes as 7-1 in the tonic key. The Gigue in minor tonality, ending on a tonic chord of the relative major key prior to beginning the repeat of the first section, progresses to a submediant chord of the relative major. This submediant becomes reinterpreted as tonic harmony of the tonic minor key initiating the repeat of the first section.

The second section of the binary forms in the Gigues continues the key ending the first section, at least mo­ mentarily. Thereafter, the Gigues vary os to what happens next. Ip three Gigues, fugal treatment of the inverted subject employs progressions of the tonic and the dominant or subdominant keys. In two Gigues, the second section arrives at a cadence near its midpoint in an intermediate key, the relative minor. In the remaining Gigue, the sec­ ond section establishes a return to the tonic key using as on element of variety chromatic harmony that borrows 241 dominant-tonic progressions from the dominant major and supertonic minor keys* The second section in each of the

Gigues concludes in the tonic key with progressions that are transpositions of the closing measures in the first section,

Hegularity in harmonic rhythm is represented by two

changes per measure in six-eight and six-four and by four changes per measure in common time* Values longer than these are typical of sectional endings. The rate of change deviates from the norm in compound duple meter at the beginning of a section or when the initial harmony of a phrase continues the final harmony of the preceding phrase. In six-eight time, change represented by an eighth note followed by a quarter note or the reverse in­ troduces the dominant chord of cadences or prevents the some chord from occurring in consecutive half measures. Heniola in six-four time finds three changes per measure as in Bxample 84, or change involving a whole note fol­ lowed by a half note. In common time the usual change at the rase of a quarter is divided into two eighths or tem­ porarily suspended in multiples of the quarter note; namely, single half notes or dotted half notes. The six- four Gigue contains consecutive instances of syncopated harmonic rhythm in measures three and four prior to the establishment of a regular rate. 242 The contrapuntal dissonances in the Gigues are dis­ tributed with a density reminiscent of the Allemandes and in contrast to the less frequently dischordant middle dances, i.e., Correntes, Sarabandes, Doubles, and Varia­

tions. Unessential tones appearing in all Gigues include passing tones (116), suspensions (44), and neighboring

tones (57). Other kinds of unessential tones include cam-

biatas (11), pedal tones (11), appoggiaturas (4), and an anticipation (1). Passing tones and neighboring tones in

the predominantly three-voice texture occur somewhat more frequently than expected in the outer voices; suspensions find their favorite position in an inner voice. These po­ larities for different kinds of unessential tones tend to cancel out one another; thus, a seemingly even distribu­ tion of unessential tones among the three voices is found. Approximately 68;^ of the unessential tones of three-voice progressions are employed in the outer voices. The Gigues, partly because of the compound duple me­ ter and occasional use of disjunct melodic intervals as well as the dotted rhythm in common time, are easily in­ terpreted as light, quick, and free. It might be added that the Gigues conclude the Suites with a character of liveliness and humor.

The Extra Dances The extra dances of Sechs Musicslische Fartien that

Erieger inserted into the collection "where space allowed" 24-5 include four Minuets, two Bourr£es, a Gavotte, and a Ron­ deau. The scope of these is miniature enough to permit

three or four to be notated on a single page. The prac­ tice of using such dances as optional movements in a Suite is soon to be established at this time in history; yet, there is no indication that these dances were to be used as such. The G major Suite is followed by three miscel­ laneous dances in the conflicting key of G major. The fi­ nal tv/o extra dances are in a minor, a tonality not used as a tonic key in any of the six Suites. It would not be impossible for a performer to undertake the insertion of an extra dance into a Suite as an optional dance provided the keys agreed, but he would have to do so on his own and without clear information as to the position of,the dance in the Suite. The likelihood that Krieger did not intend the extra dances to be used as optional movements in the Suites is supported in matters of tonality and form. The fixed dances within a given Suite are symmetrical binary forms with the same sequence of keys in each movement. None of the extra dances corresponding by tonic key with a Suite carries out this same tonal and formal plan. Unlike the

Allemandes, Correntes, Garabandes, Doubles, Variations, and Gigues, these extra dances are asymmetrical two-part forms, or they cadence on tonic in the tonic key at the end of the first repeated section, or they lack the intermediate key of the fixed dance movements. The first phrase of the second section in the second of the two G

major Minuets cadences in the supertonic minor, a key not used in the fixed dances of any of the Suites.

The texture of the extra dances is homophonic and primarily two-voice. The Bourree in G major is an excep­ tion, being essentially three-voice with the inner voice

coming temporarily to an end in the course of each phrase. By contrast, the texture of the fixed dances was found to be three and four-voice. The thin texture of the extra dances invites the performer to supply an ample number of ornaments, especially since none are symbolised in the scores.

Instead of the variable and relatively complex phrase lengths of the fixed dances, the extra dances consist of regular four or eight-measure phrases. Different phrase lengths are not mixed within a given dance. Cf the two repeated sections, the first contains one or tv;o phrases; the second section has two phrases or more. The a minor Minuet is a rounded two-part form with the entire eight- xeasure opening recurring at the end. The Gavotte employs a segno indicating a repetition of the last half of the second repeated section. The form of the Rondeau is

a *‘-b a c a u . The Minuets and Rondeau are in triple meter notated three-four, whereas the Bourrees and Gavotte are in duple 245 meter with the signature of common time. These extra dances begin 'without upbeat excepting the Bourrees, which have an anacrusic consisting of two eighth notes. Harmonic change occurs once per measure in the Min­ uets and Rondeau, twice per measure in the Bourrees and Gavotte. Passing chords and divisions of the established rate of change provide variety. The contrapuntal dissonances of the extra dances is a unique group consisting of passing tones (101), neighbor­ ing tones (20), anticipations (11), and suspensions (8). In no other grou^ of works by Krieger do anticipations rank as high as third among kinds of contrapuntal dissonance used. Bue primarily to the pervasive use of two-voice writing, only two unessential tones, both being four-three suspensions with the fifth present, occur in an inner voice. CHAPT2R XIII SUMMARY

The extant keyboard scores of Johann Krieger include 1-r Fugues, 6 Ricercars, 12 Preludes, 5 Toccatas, h Fanta-

sias, 5 works based on Chorales, a Chaconne, a Fassaca- Slia, a Durezza. a Battaglia. 6 dance Suites, and 8 extra dance pieces. The principal reputation of Krieger, that of a contrapuntist, is most clearly in evidence in the Fugues, Ricercars, fugal sections of Toccatas, and chorale fughetta: Vater unser. Variation technique is evident in the two sets of chorale variations, the Chaconne, and the

Passacaglia. The technique of composing in homophonic texture with imitation characterize the Preludes, toccata sections of Toccatas, and the Fantasies. Homophonic tex­ ture with little or no imitation distinguishes the works with special titles— "Durezza and Battaglia— , os well as the dar.ee -Suites, and the extra dance pieces. In all three of these techniques of composition— fugal, varia­ tion, and homophonic— Krieger proves to be an intricate organizer of detail whose works are exceptionally reward­ ing to analyse.

The Fugues are monothematic and tripartite, and they ore usually written in common time. The fugue subjects ?A6 247 are duple in rhythm, rarely longer than two measures, and frequently span a fourth, fifth, or sixth. The exposi­

tions of Fugues almost invariably present four entries of the subject, each entry positioned in an outer voice. The order of keys in these expositions is not always a conven­ tional I V I V arrangement; other arrangements include V I 7 1 , ; IV IV I, and I V I I. The expositions end in the

tonic, dominant, or subdorainant keys. A distinctive trait of Krieger's fugal procedure is the use of links or bridges featuring imitation. Such im­ itation is usually heard in two or three voices; mirror

imitation is often involved. The links and bridges ordi­ narily begin prior to the completion of one subject entry

and overlap the beginning of the next entry. The counterpoint of the Fugues relies heavily on ma­ terial heard initially in the exposition* Full-fledged

countersubjects are rather sparingly used, and their ap­ pearance is sometimes delayed until the beginning of the passage of middle entries. The initial appearance of fre­ quently used motives is found: in the subject itself, in

the counterpoint to the initial answer, in the continua­ tion of the initial answer, and in bridges connecting the

second and third entries. Variation by means of rhythmic change or melodic elaboration upon these motives is not at all uncharacteristic. At times, one or more motives or countersubjects is combined with the subject and treated 248 in invertible counterpoint. Special devices in Fugues in addition to invertible

counterpoint at the octave, twelfth, and tenth include stretto, altering the size of an interval in the subject

or countersubject material, interpolation of one or two notes, altering the rhythm of the countersubject, and mir­ roring, though rarely of the entire subject. Instances of diminution and augmentation are also to be found, but again, almost never of the subject as a whole.

Each succession of middle entries in the Fugues fol- lov/s a unique plan. In general, the subject is presented in a series of different contrapuntal contexts. Groups of entries for individual Fugues have been identified by (1) the recurring use of decreasing intervals of time between subjects (2), textural reductions to two or three voices that separate tightly spaced entries of the subject (3), the occurrence of passages in which the subject appears in stretto (4), episodes that occur every tv;o, three, or four entries (3), consecutive placements of the subject in prominent or hidden positions, and (6) by separating two or more series of entries with cadences in different keys. Ir. a few notable cases, the cadences are made distinctive by trills. Momentary variety provided by a subject entry and its counterpoint in the Fugues stems from two of the several voices progressing in similar motion; from unusual 249 spacing, such as with the lower voices spaced close to­ gether; from positioning all the voices in range above or

below middle c; from transposing the subject so that it begins on a different degree than earlier entrances; from varying the harmonic progression through chord substitu­ tion or by including an altered chord, passing chords, or consecutive half-step progressions; and, from changing the node o-' the subject. The closing passage or section of return in the

Fugues adheres to the tonic key by gravitating to a domi­ nant pedal or embellished dominant harmony. This final

passage is shorter than that of the middle entries, and ends with a dominant-tonic cadence. Short returns may or

may not contain a final statement of the subject; longer returns contain one or more statements of the subject, a

stretto, or closing references to countersubject material. Four of the Fugues by Krieger are particularly re­ markable. The first of these is a quadruple Fugue that combines in five different passages of invertible counter­ point the subjects of four other Fugues. The second one is the Thema from the Suite in three movements. Here, the tripartite structure of the Fugues is exhibited in each of two metrically contrasting sections, the latter containing a transformation of the subject and much of the counterpoint from duple to triple meter. The third and fourth Fugues are companion works based on chromatic 250 subjects that mirror one another. The Ricercars of Krieger, like the Fugues, are mono- thematic fugal works. In contrast to the Fugues, the Ri- cercars employ subjects characterized by long note values, usually in alia breve notation, and the Ricercars create a structural organization out of alternating one or more

statements of the subject with one or more statements of the mirrored subject. Use of the mirrored subject is espe­ cially characteristic of the succession of middle entries, but mirrors are also found in most of the expositions and closing passages. V/hen the mirrored subject does not oc­ cur in one of these expositions, the Ricercar begins with the subject in stretto. Three of the six Ricercars ore similar to the Fugue entitled Thema in the three-movement Guite in that each consists of two consecutive fugues, the second one based on the subject in a meter that is triple instead of duple. The use of innumerable variations upon a counterline replaces the role of a conventional countersubject in the £ minor Ricercar. In this work the counterline, following an upbeat, mirrors the diatonic notes that begin the sub­ ject. A similar relationship to the subject occurs with the countersubject of the a minor Ricercar. Here, the countersubject consists of an upbeat and an inversion in diminution of notes beginning the subject. 251 The Preludes are works based on a single motive or theme that are characterised by imitation, improvisory

style, or free notivic development. Those in which imita­ tion is the principal feature present numerous transposi­

tions of a motive a half-measure or one measure in length. The improvisory passages in several Preludes brings to mind the favored style in Preludes by Kondel, who is known to have had access to some of these works. Preludes with free notivic development substantially alter the pitch and rhythm of the motives, especially by comparison with the conservative modifications of the fugal v/orks. Of the twelve Preludes, the seven in the Anmuthige Clsvier-Ubung can serve as introductory pieces to a Fugue or Ricercar. Two other Preludes precede a Fugue or Ricer­ car in Suites. The remaining three Preludes stand alone. The Toccatas, except one, consist of two sections: a . toccata section with opportunity for displaying keyboard and organ pedal technique, and a Fugue or fugal section that follov/s without pause. The a minor Toccata lacks the fugal conclusion of the others, and the ^ major Toccata mit dem Pedal ends v/ith a Fugue subtitled Thema. V/ith the exception of this Thema. which is indistinguishable from works entitled Fuga. the fugal sections of the Toccatas lack the strict fugal writing of the Fugues and Ricercars. The motive or subject of the fugal section in Tocca­ tas is unified with the toccata section through the common 252 bond of particular figures. The favorite figure ic a four-note turn, such as fi£*d,e. In addition, the toccata sections employ a variety of angular, running passages in sixteenth-note rhythm. Leaps into dissonance, though off the beat, during these idiomatic keyboard passages, are □ore characteristic than in other genres. The Fantasias, unlike most genres in Krieger's works, employ triple rhythm. Triple division of the measure or of the unit of measure occurs in each of these pieces.

All but one of the Fantasias (that one, a brief single section work) have a sectional form with significant re­ currence. The forms represented are ternary, ABA, and rondo, ABACA3A. In these two forms, the theme and its ac­ companiment recurs.

Clavieristic motifs are typical of all the Fantasias. For from erudite, these motifs are essentially simple pat­ terns often for two voices progressing in similar motion.

A number of the patterns fit the hand easily; however, the disjunct interval that is a distinctive characteristic of many motifs requires the hand to reach to on outstretched position at times. The length of typical motifs is simi­ lar to that of the motives in the imitative Preludes, i.e., approximately one measure or less. Cf the three extant works based on Chorales, two ore chorale variations and one ic a chorale fughetta. The fu- ghetta is similar to the introductions of the chorale variations, and though complete in itself, would serve nicely as an introduction to a third set of variations.

The two chorale variations consist of three and four verses. The first two verses position the chorale in one outer voice and sixteenth-note movement in the other outer voice. The third verse is a metric variation notated with a change from common time to six-eight. In the chorale variation -with a fourth verse, the last variation accom­ panies the chorale melody with imitations of four-note figures in the lower voices.

The Chaconne and Passacaglia are both continuous var­ iations in triple meter. The recurring scheme of harmo­ nies that is the basis of the variations in the Chaconne retains the harmonies on strong beats in triple meter and varies the passing and neighboring chords that appear on third bests. The Passacaglia employs an ostinato that usually appears in the bass. Flexible treatment of the ostineto occurs as a result of register change, variation, and the transposing of part or all of the ostinato to an upper voice. "Jhe Durezza and Battaglia are homophonic v/orks with little in common except provocative titles. The Durezza expresses the connotation of harshness, i.e., dissonance, in its title through suspensions that appear on the first beat of every measure except the first three end the last one. The 3a tteglia« a title suggested by Max Seiffert, is 254- a show piece rampant with reiterated notes that 3re tech­ nically demanding. The predominance of suspensions in the Durezza and of neighboring tones in the Battaglia under­ score the uniqueness of these works in Krieger's output, since others works are predominant in passing tones. The form of the Durezza is too concise and continuous to be considered sectional, but the lengthy Battaglia is a bi­ nary form complete with repeated tonic to dominant and dominant to tonic sections. Concerning the collection of dance Suites, Sechs Mu­ sic a lische Partien. the conclusion reached in this study is that the extra dance pieces appearing after the Gigues of several Suites are separate, additional pieces rather than optional movements intended to be played as part of o Suite. The single most convincing reason for this is that in three of the four instances the extra dances dis­ agree in key with the Suites they follow. Another reason is that these extra pieces, because of their simplicity and easiness, v;ould provide less appropriate endings than the lively Gigues. In addition, Krieger refers in his prefatory remarks to filling the blank space, where it existed, v/ith sundry Minuets, Bourrees, and Gavottes. Viewed in this way, the keyboard Suites consist of five to nine movements, always including an Allemende, Corrente, Carabande, and Gigue, in that order. Doubler or Doubles and Variations appear between the Garabande and 255 Gigue of four of the six Suites, An introductory move­ ment, 3 Fantasia, begins the first Suite, The dances within the Suites are essentially symmet­ rical, binary forms. Those movements that are in major tonality adhere to a structural tonality consisting of

!i: I 7 -jr V I m. Those movements that are in minor tonali­

ty replace the dominant key of this plan with the relative major, 5i III III i Intermediate or transient keys; namely, the relative minor in maj'or tonality and the dominant minor in minor tonality frequently occur in the second section during the return from the dominant to the tonic key.

The Allemandes are written in common time with an up­ beat of two to seven notes. The texture is pseudo-contra­ puntal, primarily because notes of outlined chords that could be expressed in a single part are sustained and me­ ticulously notated for several voices. The Correntes are of the Italian rather than French variety. These movements are written v/ith unequal phrases in triple meter, and they begin v/ith an upbeat of a quar­ ter note or two eighths. The most typical melodic rhythm is that of eighth notes in three—four time. The texture is best described as upper voice melodies accompanied by a bass line. The imaginatively integrated melodic rhythm of as many as five voices gives the impression of two or three voices. 256 The Sarabandes are homophonic dances notated in three-four time, and they consist of four-measure phrases which almost invariably end with a feminine cadence* The phrases begin on the first beat of a measure, and the fi­ nal cadence chord falls on the third beat* The most typ­ ical rhythmic movement occurs when a dotted quarter, eighth, quarter in the uppermost part is set against a quarter rest and two quarter notes in the bass. Movements entitled Le Double and Variatio are varia­ tions upon the Sarabande that they follow. The harmony, meter, tonality, and form of these movements are similar measure by measure to those of the Sarabandes. Whereas the Doubles are varied restatements of the Sarabandes, the

Variations are ornamental melodic variations or motivic, patterned variations. The Gigues are dances written in six-eight, six-four, or common time, v;ith or without upbeat, but always with thematic imitation at the beginning of at least one and ordinarily both sections of the binary form. In four of the six Gigues, the imitation beginning the second section is based on the inverted theme. Triple rhythms in com­ pound duple time and dotted rhythm in common time are characteristic; syncopation is frequent, and hemiola is found sparingly used in six-four time. The density of contrapuntal dissonances in the Gigues is similar to that of the Allemandes and greater than that of the Correntes, 257 Sarabandes, Doubles, and Variations* The eight extra dances of Sechs Musicalische Fartien include four Minuets, two Bourrees, a Gavotte, and a Ron­ deau. These dances differ from the fixed movements of the

Suites in that they are asymmetrical two-part forms, or they exhibit a contrasting key plan. Other differences are that the phrases are consistently four or eight mea­ sures in length; the texture is usually only two-voice; and cadences ending the first section are in the tonic and dominant keys rather than dominant and relative major hey s.

Cf the nearly seven thousand unessential tones in the one hundred pages of Krieger* s keyboard music, 4-8# are passing tones, 22# are suspensions, 21# are neighboring tones, 5# are cambiatas, 2# are pedal tones, 1# are escape rjones, 1# are appoggieturas, 1# are double auxiliaries, and 1# are anticipations. The Preludes, Fugues, and par­ ticularly the Ricercars, are especially restricted in their use of unessential tones other than passing tones, suspensions, neighboring tones, pedal tones, and ''".rtbis- tas; however, isolated works exploit figures v/ith an es­ cape tone or double auxiliary. In addition to using the contrapuntal dissonance in those works, the Toccatas, Fan­ tasias, Chorale -works, Chaconne, and Passacaglia also em­ ploy escape tones, anticipations, and appoggioturas off the beat. The Durezza and Battaglia are the only works in 258 which passing tones do not predominate. The Durezza is unique due to its majority or suspensions, and the Batta­ glia is predominant in neighboring tones. The Suites em­ ploy the largest variety of contrapuntal dissonances, in­ cluding appoggiaturas on the beat.

Appoggiaturas on the beat, suspensions, and neighbor­ ing or passing tones of long duration account for virtual­ ly all the dissonances that fall in an accented position in Krieger*s works. Investigations of suspensions show the 7-o suspension to be the favored dissonance of this kind. Observations of the intervals occurring in the ap­ proach to the lower note of suspended sevenths reveal a predominance of stepwise progressions, numerous leaps of a fourth upward and a fifth downward, and rare use of other intervals. The harmonic rhythm is characterized, by numerous de­ viations from the established rate of chord change. The most cr ^ternary instances of deviations appear with or im­ mediately prior to the entrance of a fugal subject, and near the end of a work* Changes at the rate of the quar­ ter note are typical of common time and three-four, and at the rate of the half note in alia breve and three-two. Two changes per measure in six-eight or six-four and four changes per measure in twelve-eight are customary. The harmonic vocabulary is primarily triadic. Sssen- ti"l seventh chords with a major or minor seventh occur 259 but not frequently. Seventh chords almost never have a diminished seventh. Six-five chords* ordinarily with the

third above the bass omitted, also appear. The major and minor triads are most often in root position or first in­

version. Diminished triads end rarely an augmented triad are to be found, usually in first inversion. In minor to­ nality, the mediant triads are ordinarily major; the su­ pertonic triads are sometimes minor as well os diminished; the subdominant and submediant triads are characteristi­ cally minor and major respectively. V,Tith regard to tonality, the tonic and dominant keys of the keyboard works are clearly the most used and most structurally important. The mode of the tonic key in a

composition invariably agrees with that of the dominant. A key of the opposite mode, the relative major or relative minor, ranks third in priority among the keys of the genres discussed. The subdominant key, which is also sim-

lar in mode to the tonic of a composition, is less fre- ouent than the above; however, it appears in expositions of fugal works, in middle passages and internal sections, and rarely, as the penultimate key of a work. The rela­ tive major and relative minor of the dominant and subdorai—

nant keys are represented at least once in Fugues, Ricer­ cars, Preludes, Toccatas, and the extra dances of the

Suites. BIBLIOGRAPHY

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