Sept 2010 Pp. 24-29 .Indd

An Old Look at Schumann’s Organ Works Robert August

his is a work that has occupied of Fugue.9 Other biographers carelessly system, the so-called Bach numbers, which me for the whole of the previ- mislabel op. 60; Marcel Brion describes Bach himself had used to provide cohesion Appendix 1. Selective outline of T 19 ous year in an effort to make it worthy the Four Fugues on the name of Bach, in his contrapuntal work. Schumann’s contrapuntal excercises 10 and studies of the lofty name it bears. It is also a op. 72, while John Worthen writes: “In 1817. Piano studies with Gottfried work which, I believe, is likely to outlive April he began writing his Six Fugues With all due respect to Mr. Ostwald, Kuntsch, organist at St. Mary’s, Zwick- my other creations the longest.”1 This for Organ on B-A-C-H (op. 60), a se- his fi ndings are based on pre-existing, au. The Well-Tempered Clavier was part was Schumann’s description of the Six quence interrupted only by the arrival fl awed research. Though Schumann of these studies. Fugues on the Name of BACH, op. 60, of a rented pedal-piano which allowed indeed incorporated certain Baroque 18 February 1829. “. . . Bach preludes with in a letter to his publisher, after comple- him to write works for keyboard and principles in his organ works, Peterson’s Glok.” tion of the fi nal fugue. Schumann took pedal which did not require an organ.”11 attempt to attribute “Bach numbers” 9 June 1829. “. . . Bach à la mode.” great care and pride in the six fugues, Schumann, in fact, did not interrupt his to the fugues holds no ground. Similar 1831–32. Counterpoint studies with Heinrich Dorn. These studies resulted in several but his prediction could not have been fugal writing. Instead, a pedal attach- misguided assumptions have been ap- exercise books, dealing with harmony and more off target as the fugues are rarely ment for the piano was hired to practice plied to Bach’s music as well, claiming counterpoint.87 performed anymore. Rather, they have organ.12 Eric Jensen makes a similar mis- for example, that Bach had left clues April 1832. Studies in Marpurg’s Abhandlung become the topic of ongoing discussions take: “Schumann rented a pedal piano— in his music in regards to his own date von der Fuge, as well as the Well-Tempered about Schumann’s mental state in rela- a piano fi tted with pedals for the feet like of death.20 Despite his intrigue with Clavier. “The advantage of this [analysis] is tion to the quality of his output. an organ—in order to become familiar Bach numbers, Peterson’s opinion of great, and seems to have a strengthening The notion that the Six Fugues on the with the technique involved.”13 the fugues as a whole is less than favor- moral effect upon one’s whole system; for Name of BACH are of lesser quality than Although Schumann was by no means able: “Schumann’s fugal writing seems, Bach was a thorough man, all over, there is nothing sickly or stunted about him, and his the majority of Schumann’s oeuvre seems an accomplished organist like Mendels- in spite of his studies, to have been a works seem written for eternity.” to be based on largely subjective analy- sohn, he did have a deep understand- contrivance which he discarded when 14 May 1832. “Johann Sebastian Bach did ses. Such subjectivism is not uncommon ing of the instrument, as is evident in he felt hampered by it, even in a work everything—he was a man through and in art and music, as is evident in Albert numerous sources.14 Robert Schauffl er entitled ‘fugue’.”21 Stephen Walsh pro- through.” Schweitzer’s discussion of J.S. Bach’s claims that the fugues were mere play: vides us with a similar statement: “Even 29 May 1832. Schumann describes Bach’s in- Passacaglia in C Minor, BWV 582: “He “To Schumann at the height of his ca- in the fi nest passages of op. 60 one is fl uence in the Impromptus op. 5. [Bach] saw clearly, however, that on the reer, such exercises [contrapuntal stud- aware of a certain impersonal quality 27 July 1832. Bach’s Well-Tempered Clavier whole the incoherency of this kind of ies] were mere play. While diverting him, about the writing.”22 had become Schumann’s “grammar.” 1837. Studies in the Art of Fugue and Mar- work was not suitable to the greatest or- they used up so little of his true creative A recent biography by John Worthen purg’s “dry as dust” Abhandlung von der gan music, and he ventures upon the ex- power that, with the approach of warm reads: “This [study of counterpoint] was, Fuge. periment only with this colossal theme.”2 weather, he was able to throw himself after all, a musical cure; one that in- October 1838. Review of Marpurg’s treatise In Schweitzer’s opinion, the Passacaglia into making two of his chief masterpiec- volved creating music on the page, after on fugue. Analysis of Bach’s organ fugues. was a compositional failure that did not es: the Piano Concerto and the C Major the enforced dry period of the autumn 2 November 1838. “Fugue passion.” compare to Bach’s other organ works. Symphony.”15 Schauffl er continues: of 1844.”23 Worthen continues with some 1839–1841. Schumann published six organ Robert Schumann was of a differ- blatant assumptions: works by Bach in the Neue Zeitschrift für ent opinion: “After a pause, these [or- Schumann must have felt in his bones Musik. that fugal writing was not in his line; for Such music insisted on structure and September–October 1840. Studies in the gan compositions] were followed by the pattern, rather than on the harnessing and fugues of the Well-Tempered Clavier. Passecaille in C Minor (with 21 varia- not until 1839 did he compose his fi rst published attempt, that unsuccessful ex- expression of emotion and melody which 21 September 1840. “Robert indicates the tions, intertwined so ingeniously that one periment, the Fughette, op. 32, no. 4. He had made the work on Faust so exhausting. places where the theme enters . . . and rep- can never cease to be amazed) admirably gave out nothing more of the sort until the The fugal music could be worked out logi- rimanded me [Clara] fi rmly because I had handled in the choice of registers by Men- nervous collapse of 1845, during which he cally and tunefully, within its own very nar- doubled one passage in octaves, thereby delssohn.”3 Schweitzer’s and Schumann’s row confi nes. Its very limitations offered erroneously adding a fi fth voice to the four- wrote works that look passing strange in a freedom from excitement.24 remarks, published roughly sixty years catalogue of his music.16 part texture.” apart, could not be more contradictory. What Worthen exactly means by ‘tune- July 1841. “Heard the excellent Silbermann organ.” Why is it that the Passacaglia can ren- After a short description of Schumann’s fully’ remains uncertain. As an analysis Fall 1841. Clara and Robert began playing der such opposing views, especially by contrapuntal works of 1845, Schauf- of the fugues will demonstrate, his claim Bach’s organ works on the organ. Schumann two men known for their deep respect fler writes: that the fugues are confi ned or free from describes their struggles with the organ and understanding of Bach’s music?4 excitement could not be farther removed (Oct. 24): “. . . but we want to try it again With regard to Schweitzer, we cannot be The composer’s nervous collapse had from the truth. Worthen’s next statement soon; the instrument really is just too mag- sure if his comments were the result of a been aggravated by the too intense labor too, is completely false: “At any rate, the nifi cent.” somewhat subjective analysis, but he un- and excitement of his years of song, sym- ‘quiet’ neo-Baroque music that engaged March 1842. Exercises in counterpoint and phony, and chamber music. One suspects fugue. doubtedly would not have published his that when, as he wrote Mendelssohn on Schumann in the spring and early sum- fi ndings unless he believed them to be mer of 1845 may have been a rather April 1842. “. . . this royal instrument [organ].” 5 July 17th, 1845, ‘an onslaught of terrifying 8 July 1844. “First organ lesson.” correct. Schumann’s opposing remarks thoughts’ had brought him to try his hand narrowly focused sequence of works to 24 April 1845. “. . . we obtained on hire a ped- are fascinating as well. They not only at fugal writing, very much as we of today occupy the composer of the Finale zu al to be attached below the pianoforte, and provide us with his opinion of the Pas- would cajole a nervous invalid into doing Faust, but it had served the purpose of from this we received great pleasure. Our sacaglia but also unveil his often-over- crossword puzzles, to take his mind from getting him back into composing.”25 As chief object was to practice organ playing. looked understanding of the organ. his troubles. The very fact that Schumann’s we will see in the following discussion, But Robert soon found a higher interest in Tragically, Schumann’s organ works, intensely subjective nature made it almost the perception of Schumann’s contra- the instrument and composed some Stud- the Six Fugues on the Name of BACH, op. impossible for him to give of his best in this puntal studies as mere therapeutic tools ies and Sketches for it, which are sure to formal, objective style allowed him to play fi nd favor as something quite new.”88 60, have often been deemed ‘unworthy’ with these contrapuntal forms without ex- has remained a common yet fl awed as- 21 February 1845. “Fugue passion.” and are repeatedly criticized or, perhaps pending too much energy.17 sumption for over a century. 1845. Contrapuntal studies resulting in Four worse, omitted from Schumann biogra- Fugues for the Piano (op. 72); Studies for phies. Op. 60 is systematically neglected Peter Ostwald too, believes that the Schumann and Bach the Pedal Piano, fi rst part (op. 56); Six and misinterpreted, often as a result of contrapuntal works of 1845 were exer- An aversion to the organ works is Fugues on the Name of BACH, for the or- careless research. It is undoubtedly the cises to improve the composer’s men- routinely linked to Schumann’s mental gan (op. 60); Sketches for the Pedal Piano most disputed cycle Schumann ever com- tal condition: illness, while some scholars maintain (op. 58); sketch of orchestral Symphony in posed. Despite a number of favorable ar- that Schumann simply was not a real C major. Despite his physical and psychological 3 March 1846. “Revision of the BACH- ticles, a fl ow of negative writings remains contrapuntist, and that his knowledge Fugues.” 6 complaints, Schumann was beginning to do consistent. Numerous articles on the six of counterpoint was quite moderate. 20 April 1846. “Finally ended the revision of fugues are based on fl awed research and, some composing again, but it was mainly Though the number of unfavorable com- the sort of counterpoint exercises he had the BACH-Fugues.” in some cases, pre-existing articles. Bi- relied on, as a way of settling his mind, dur- mentaries seems perhaps overwhelming, Mid-1840s. Schumann wrote a brief Textbook ographers often use Schumann’s mental ing earlier depressive episodes. He rented it is interesting to make the comparison of Counterpoint for his student, Karl Rit- condition to explain the lack of quality in a special musical instrument, called a pedal with—at least as many—complimen- ter, largely based on Cherubini’s work. In the six fugues, conveniently ignoring the piano, that “has an extra set of strings and tary testimonials. Schumann’s studies in the introduction to his method, Cherubini fact that Schumann produced some of hammers, making it easier to play fugues, counterpoint commenced well before points out that “It is essential to subject the and worked on Bach for a while.”18 learner to strict rules, in order that subse- his best works during the same period, composing the six fugues. The numer- quently, when composing in free style, he including the Symphony in C Major and ous entries in the diaries and household may be aware of why his talent, if he has the Piano Concerto in A Minor.7 While Ostwald does not stand alone in books depict Schumann as a prodigious any, often compels him to break free of the his opinion of Schumann’s mental state student of Bach works and contrapuntal severity of the basic primary rules, to tran- A musical cure in relation to the compositions of the techniques (see Appendix 1). Schumann scend them, if you will.”89 A general misconception of contrapuntal year of 1845, one cannot seems to have taken a natural liking to Schumann’s organ works seems to have but wonder why they, in particular the Bach’s music, perhaps enhanced by the carried well into the 20th and 21st organ works, have methodically been Bach revival of the early 19th century. This ‘extended line’ manifests itself in centuries, as several of even the most deemed inferior. Ostwald also writes: Leon Plantinga writes: the organ fugues as Schumann reaches recent Schumann biographers merely He [Schumann] subscribed to a rather back to older forms while engaging in reference the fugues rather than open- Before the trip with Clara, in August deterministic view of history in which a a new kind of fugal writing. Though ing up a dialogue or deeper discussion. 1845, Schumann had composed several central tradition in music could be ex- Schumann was not the fi rst composer to Schumann’s organ works are neglected fugues based on the name BACH, and he pected to develop in certain orderly and incorporate the famous BACH theme, in several “comprehensive” Schumann published an impressive amount of contra- predictable ways. For him this tradition, the Six Fugues on the Name of BACH biographies. Alan Walker, e.g., speaks puntal work later that year and the next. for all practical purposes, had its beginning comprise the fi rst signifi cant cycle of or- The six BACH Fugues in particular must in Bach, the fi rst in a series of monumental favorably of the 1845/46 compositions have required enormous concentration, gan works of its kind, soon to be followed in general, but omits op. 60 altogeth- composers whose personal contributions by Liszt, Reger, and many more. For 8 since not only are they based on a musi- comprised the locus of an inevitable line of er. George Dadelsen describes the six cal relationship between Bach’s name and progress leading to his own time. This line Schumann, studies in the Art of Fugue fugues as “appallingly monotonous” the notes of each fugue subject, but they extended through Beethoven and Schubert were crucial in the genesis of the organ while trying to compete with Bach’s Art also incorporate an intricate mathematical to Schumann’s own contemporaries.26 fugues. As Gerhard Weinberger writes:

24 THE DIAPASON The overall conception, the thematic artistically transmuted form, in the book pirations, though Schumann may have compositions, for example, were simply material and the extremely high quality of of Fugengeschichten [Fugal matters] (No- chosen a slightly different path to avoid too long to be included in church ser- the writing all derive from Bach; this fugue vember 1837) which is at present held at 46 35 comparison with Mendelssohn’s com- vices. Similarly, Mendelssohn, Brahms, cycle represents the end of a developmen- the Robert Schumann Haus in Zwickau. positions; in addition to writing the Six and Schumann were not employed by tal phase which culminated in Schumann’s study of Bach’s music (the six fugues may According to the Haushaltbücher, the Fugues on the Name of BACH he wrote the church, yet their output includes a Schumanns’ studies of Cherubini’s trea- a set of canons and sketches for the pedal large quantity of sacred works.47 be viewed directly as modeled in the Art of 44 Fugue) and of the fugue per se.27 tise commenced April 6, 1845, the same piano. Schumann hoped to be among Scholars have often blamed month Robert fi nished the fi rst two or- the fi rst to publish works for this rela- Schumann’s limited knowledge of the Weinberger continues: “Nevertheless, gan fugues. Cours de Contrepoint et de tively new instrument, ensuring fi nancial organ for the so-called poor quality of the fugues are by no means derivative Fugue is largely based on Bach works and artistic gain. Including the piano as the organ works. However, Schumann stylistic copies, but effective ‘character and clearly serves as a point of departure an optional instrument for performance knew the organ well, and his under- fugues’ in the romantic vein.”28 An inter- for Schumann’s organ fugues. Two and a of the fugues, sketches, and canons aided standing of the instrument was in fact esting detail is the fact that Schumann, half weeks later, on April 24, Clara de- Schumann in several ways; it bypassed greater than most of his contempo- despite his admiration of Bach, deemed scribes the rented pedal board for their the archaic reputation of the organ while raries. Russell Stinson recently uncov- the Art of Fugue too intellectual. His piano: “. . . we obtained on hire a pedal marketing the music for the most widely ered an important document in regards view in this matter may be explained by to be attached below the pianoforte, and used keyboard instrument of that time. to Schumann’s perception of Bach, as his famous quote: from this we received great pleasure. An advertisement in the Neue Zeitschrift well as the organ. The Clara Schumann Our chief object was to practice organ für Musik states: Bach Book offers a detailed list of Bach The best fugue will always be the one that 36 the public takes for a Strauss waltz; in other playing.” Both Robert and Clara en- keyboard works from Schumann’s li- words, a fugue where the structural under- joyed the organ, but it seems that the Some Studies and Sketches for the piano- brary and contains numerous detailed pinnings are no more visible than the roots intent was to study organ rather than forte with pedal will shortly be published markings (corrections, registrations, becoming concert organists like Men- from Robert Schumann. We would like to etc.) in Schumann’s hand (see Appendi- that nourish the fl ower. Thus a reasonably remind our readers that in our opinion, knowledgeable music-lover once took a Bach delssohn. Clara by then was a renowned when once this combining of instruments ces 2 and 3 on page 26). fugue for a Chopin etude—to the credit of concert pianist, while Robert had given fi nds general acceptance, performers will The source is very specifi c and pro- both! Thus, too, one could play for many a up keyboard playing some fi fteen years have the opportunity not only to return vides us with a list of Bach’s keyboard maiden the last part of one of the Mendels- earlier, due to his numb fi nger. works that Schumann owned before sohn fugues and call it one of the Lieder ohne to the earlier art and bring classical organ Worte. The charm and tenderness of the A combination of counterpoint stud- works into private homes, but also discover the contrapuntal year of 1845. In one ies, a deep admiration for Bach, and a many different uses for the pedal piano and particular example Stinson points out: fi gures are such that she would never be re- 45 minded of churches and fugues.29 great appreciation for the organ fi nally accomplish new effects. “In the case of the Clavierübung set- resulted in the counterpoint episodes ting of ‘Vater unser, im Himmelreich,’ This last comment is fascinating. “Never of 1845. In regards to Schumann’s or- Alas, the pedal piano never became the Schumann bracketed every phrase of the be reminded of churches” is a telling gan compositions, Joachim Draheim widely used instrument Schumann was canon on the chorale melody, similar to statement that says a lot about the Zeit- writes, “The exceptional importance and hoping for, and none of the contrapuntal how he analyzed fugues from the Well- geist, since churches and fugues are so originality of these fugues were long in- studies of 1845 were a fi nancial success. Tempered Clavier.”48 The Vater unser strongly connected here, and in such a suffi ciently appreciated, although they chorale prelude is a compositional tour harsh way. belong to the very few truly distinctive Schumann and the organ de force and one of Bach’s most complex Schumann’s interest in the organ was organ compositions from the fi rst half of The rise of the Enlightenment caused organ works. Based on the many mark- steeped in a deep admiration for Bach. the 19th century, together with Mendels- a great shift in the use of instruments in ings, this work must have had a great In the April 1842 issue of the Neue sohn’s Organ Sonatas, op. 65, to which churches, the court, and at home. The impact on Schumann. Schumann also Zeitschrift für Musik he wrote: “ . . . At they owe certain impulses.”37 Besides new, galant style called for instruments corrected typographical errors and gave our next meeting, a volume of well-exe- generating an artistic legacy, Schumann capable of immediate and subtle chang- detailed descriptions about the use of cuted fugues would please us more than may have anticipated commercial suc- es in timbre and dynamics; hence, the stops, manual changes, as well as pitch another one full of sketches. At this royal cess from his contrapuntal output; works piano became the new keyboard instru- designation, all of which demonstrate instrument, the composer must have for pedal piano were hardly available, ment of choice. The organ, as Schumann more than basic knowledge of the or- learned the value of clearly defi ned artis- and Schumann made sure he was among wrote, reminded people of “churches and gan.49 As Stinson points out: tic form, such as that given to us by Bach the fi rst to write for the instrument, en- fugues,” and was considered an archaic in the largest as well as smallest works.”30 suring a ‘head start’ in any possible fi nan- and static instrument. Despite its tainted Just consider how Schumann annotated, Three years earlier Schumann wrote: cial gain. The six fugues were, like Men- status, Schumann proceeded to compose from Part 3 of the Clavierübung, the man- ualiter setting of “Aus tiefer Not schrei ich “But it is only at his organ that he [Bach] delssohn’s organ sonatas, among the very for the instrument, a decision that may zu dir,” a work in which Bach subjects each appears to be at his most sublime, most few serious organ compositions of their be partially attributed to a long tradi- phrase of the chorale tune to a complex audacious, in his own element. Here he time, and the fi rst large cycle of organ tion; many post-Renaissance compos- fugal exposition before stating the melody knows neither limits nor goal and works fugues on the name of BACH. And as ers wrote larger works to preserve their in augmentation in the soprano voice. Fol- for centuries to come.”31 Schumann’s Schumann himself points out, the organ name in history. Several of Bach’s sacred lowing Bach’s constant use of inversion and organ fugues, thus, are not a byproduct fugues can also easily be performed on of mental exercises. They are carefully piano (four hands). Schumann cleverly crafted works, based on a long tradition. published opp. 56, 58 and 60 as works Approaching fugal composition from a for pedal piano or organ, most likely to new (Romantic) perspective, Schumann enhance sales. However, the Six Fugues felt that he had created works that on the Name of BACH lacked (fi nancial) were truly unique. Like Bach himself, success, and remain Schumann’s only at- Schumann united the old and new, re- tempt at organ composition. Schumann, sulting in six spectacular character pieces. however, was very pleased with his con- After all, according to Schumann, “Most trapuntal endeavors. A letter of 8 Feb- of Bach’s fugues are character pieces of ruary 1847 to his friend Carl Ferdinand the highest kind; in part truly poetic cre- Becker illustrates Schumann’s satisfac- ations,”32 and Schumann’s fugues were no tion with the six fugues: “I have never different. In the diaries Schumann refers polished and worked so long on any com- to Bach’s compositions repeatedly. He position of mine as on this one in order seemed to be concerned with preserving to make it worthy of the illustrious name and reviving Bach’s legacy, which, accord- which it bears.”38 ing to Hans T. David, “. . . by invoking the name of Bach again and again, helped Mendelssohn gain for Bach’s work a secure place in the Like Mendelssohn, Schumann fa- minds of educated musicians.”33 In addi- vored a modern fugal type steeped in tion to the Bach legacy, Schumann was the Bach tradition, yet combined with concerned with preserving his own leg- a poetic fl avor. As Plantinga points out: acy. His preferred medium in this—the “It was the particular genius of Mendels- fugue—is easily explained by his lifelong sohn, Schumann said, to show that suc- admiration of Bach’s keyboard fugues. cessful fugues could still be written in a Charles Rosen gives a second reason for style that was fresh and yet faithful to its Schumann’s choice: “In the nineteenth Bachian and Handelian models; these century, the fugue had become a demon- fugues hold to the form of Bach, he felt, stration of conventional mastery, a proof though their melody marks them as mod- of craftsmanship. Besides competing ern.”39 Already a famous conductor, com- with Beethoven, Schumann conforms to poser and organist, Mendelssohn wrote the standard pattern of fugue laid down his Three Preludes and Fugues, op. 37 in by Cherubini.”34 1836–37. Later, in 1844–45, he wrote the In addition to Bach’s keyboard fugues, Six Sonatas, op. 65. As Klaus-Peter Rich- at least two more sources play an impor- ter points out, the motivic resemblances tant role in Schumann’s contrapuntal between Mendelssohn’s and Schumann’s output: Marpurg’s Abhandlung von der organ works are more than obvious.40 In Fuge (1753) and Cherubini’s Cours de reference to Mendelssohn’s fugues of Contrepoint et de Fugue (1835). Feder- the six sonatas,41 Schumann writes: “I do hofer and Nauhaus write: not wish to indulge in blind praise, and I know perfectly well that Bach made The composer’s concern with counter- fugues of quite a different sort. But if point began during his ‘apprenticeship’ he were to rise from the grave today, with Heinrich Dorn (1804-1892) in the he would, I am sure—having delivered years 1831/32, and bore its fi rst fruits in his himself of some opinions about the state exercise books. Schumann subsequently of music in general—rejoice to fi nd at turned his attention to F.W. Marpurg’s least fl owers where he had planted giant- Abhandlung von der Fuge [Treatise on 42 Fugue], parts of which he studied again, limbed oak forests.” albeit reluctantly, in the autumn of 1837, Mendelssohn’s organ works were along with Bach’s Well-Tempered Clavier. well received by critics43 and may have This independent study is refl ected, in an generated Schumann’s contrapuntal as-

SEPTEMBER, 2010 25 Appendix 2. Bach organ works in Schumann’s library Appendix 3. The contents of Clara Schumann’s Bach Book Title given by Schumann Contents according to BWV number Contents of print Title of print Date of print

44 kleine Choralvorspiele für die Orgel, hg. BWV 599-630, 632–44 (Orgelbüchlein) Goldberg Variations, BWV 988 Exercises pour le clavecin par 1820 Von Felix Mendelssohn-Bartholdy (Clavierübung, Part 4 J. S. Bach, Oeuv. II. 15 grosse Choral-Vorspiele für die Orgel, BWV 651–63, 667, 740 (Great Eighteen Clavierübung, Part 3 (BWV 552/1, Exercises pour le clavecin par ca. 1815 hrsg. Von Felix Mendelssohn Chorales) 669–89, 552/2) J. S. Bach, Oeuv. III. Choralvorspiele für die Orgel, 4 Hefte BWV 614, 633–34, 645–50, 664b, 675–84, Prelude in A Minor, BWV 551 Prelude et fugue pour l’orgue ou le ca. 1832 691–93, 697–701, 704–8, 710–11, 748, 759, 769a piano-forte composée par J. S. Bach. No. I. Orgelkompositionen, hrsg. Von Adolf BWV 532, 533, 539, 542, 550, 565, 566, 569 Prelude and Fugue in G Major, Prelude et fugue pour l’orgue ou le ca. 1832 Bernhard Marx, 3 Hefte BWV 541 piano-forte composée par J. S. Bach. No. II. Praeludien und Fugen für Orgel, 3 Bde. unknown Prelude and Fugue in G Minor, Prelude et fugue pour l’orgue ou le ca. 1832 BWV 535 piano-forte composée par J. S. Bach. No. III. Klavierübung Teil III Teil III contains BWV 522, 669-89, and 802-5 Chromatic Fantasy and Fugue, Chromatische Fantasie für das 1820 Toccata und Fuge für Orgel, Nr. 2 und 3 Nr. 2 = BWV 540; Nr. 3 = BWV 538 BWV 903 Pianoforte von Johann Sebastian Bach.

90 Fantasie für Orgel BWV 562/1 Fantasy in C Minor, BWV 906 Fantaisie pour le clavecin ca. 1815 composée par J. S. Bach No. I. stretto, Schumann bracketed, in addition termed character pieces, but in the strict to each phrase of the chorale proper, every style.”53 Charles Rosen was right when Fantasy in G Major, BWV 572 Fantaisie pour l’orgue ou le 1832–33 50 pianoforte composée par J. S. Bach No. II. one of the roughly forty fugal statements. he wrote, “Throughout his short musical life, Schumann produced his most strik- Toccata in D Minor, BWV 913 Toccata per clavecimbalo composta ca. 1815 The Clara Schumann Bach Book is an ing works not by developing and extend- dal Signore Giov. Sebast. Bach. No. [I]. invaluable source, and for once and for all ing Classical procedures and forms, but does away with the general misconcep- by subverting them, sometimes under- Toccata and Fugue in F Major, Toccata et fugue pour l’orgue ou le ca. 1832 tion of Schumann’s limited knowledge of mining their functions and even making BWV 540 piano-forte composée par J. S. Bach No. II. the organ. The evidence in Schumann’s them momentarily unintelligible.”54 Toccata and Fugue in D Minor, Toccata et fugue pour l’orgue ou le ca. 1832 personal library discloses both his inter- The six fugues remain among the (“Dorian”) BWV 538 piano-forte composée par J. S. Bach No. III.91 est and knowledge of Bach, the organ most unique works in the organ rep- and counterpoint. ertoire, and Schumann was well aware that these compositions differed from Schumann Fugue No. 1, mm. 38–43 A new approach his earlier output. Having given up his Schumann was known to compose old habit of composing at the piano, rather fast, but it took him from April Schumann felt liberated. Daverio sheds to November to write the fugues. In the more light on Schumann’s new manner Diaries, Schumann writes: of composing: “. . . it is perhaps better understood as a logical outgrowth of his I used to write most, practically all of my approach to large-scale instrumental shorter pieces in [the heat of] inspiration; composition in the earlier 1840s rather many compositions [were completed] with than as a radical break.”55 Scholars have unbelievable swiftness, for instance, my First Symphony in B-fl at Major [was writ- maintained the notion that Schumann’s ten] in four days, as was a Liederkreis of oeuvre refl ects several distinctly differ- twenty pieces [Dichterliebe]; the Peri too ent compositional periods. Daverio’s op- was composed in a relatively short time. posing view, however, “explains” the six Only from the year 1845 on, when I be- fugues in a nutshell: gan to invent and work out everything in my head, did a completely new manner of Perhaps Schumann intermingled ‘subjec- composing begin to develop.51 tive’ and ‘objective’ qualities throughout his career, but with varying degrees of empha- sis, a hypothesis implying that the passage This new manner of composing re- from a ‘subjective’ to an ‘objective’ phase sulted in works that were based on a was hardly abrupt. To insist on a hard and thorough, perhaps more intellectual ap- fast demarcation of style-periods in time is proach. Schumann’s keyboard composi- to miss the point, namely, that Schumann’s tions of 1845 are often said to be more oeuvre unfolds in a series of sometimes objective than his earlier compositions.52 parallel and sometimes overlapping phases. That in itself is a subjective statement, The products of his imagination may thus be viewed as points where divergent or and should be taken with a grain of 56 salt. Traits of the younger Schumann complementary trends intersect. can be found in any of the collections written in 1845, but they also expose a Von Wasilewski agrees with this view, maturing composer. These are indeed pointing out the combination of strict contrapuntal works based on models form and a Romantic, poetic spirit: by Bach, Marpurg, and Cherubini, but Of the two sets of fugues (ops. 72 and Schumann remained true to himself as a 60), the latter, consisting of six fugues on person and artist by combining the new the name of Bach, is of extraordinary mer- Though the Canons and Sketches dis- sic, it seems plausible that he was familiar with the old. The fugues exhibit a blend it. The fi rst fi ve fugues especially display play a more intimate, subjective side of with the concept. The use of the Golden of sentiment (third fugue), restriction so fi rm and masterly a treatment of the Schumann, the six fugues demonstrate a Ratio though, so closely related to na- (fi fth fugue), and excitement (second most diffi cult forms of art, that Schumann stronger balance between head (Eusebi- ture, seems to have prevailed through and sixth fugues). Schumann, as Wein- might from these alone lay claim to the us) and heart (Florestan). Daverio’s and the Romantic period into our time.61 A berger says, “demonstrates the highest title of a profound contrapuntist. They Von Wasilewski’s points of view are sup- close examination of the Six Fugues on show variety of plastic power with four skill in contrapuntal writing, using all notes only. The tone of feeling varies in ported by the great variety of character the Name of BACH unveils Golden Ratio sorts of complicated polyphony culmi- all six pieces, and is always poetic, which, in Schumann’s mid-1840s compositions. (G.R.) proportions (often multiple times) nating in the concluding double fugue. in connection with a command of form, is in each of the six fugues. These examples But at the same time he produced ex- the main point in composition. These are Six Fugues on the Name of BACH are often found within a measure of the pressive compositions which he himself serious character pieces.57 Schumann’s Six Fugues on the Name exact G.R. When applying the G.R. to of BACH are the product of a carefully the number of measures in each fugue planned blueprint. Modeled after Bach’s we see the following outcome: examples, one might expect various Ba- Fugue I. The fi rst fugue totals 64 mea- roque elements in these pieces. Indeed, sures. When we apply the G.R. to these the fugues were conceived as a set of six, 64 measures, we come to 64 x 0.61 = 39, similar to many of Bach’s cycles (includ- or measure 39. This measure contains two ing many of his organ works).58 Such sys- consecutive subject entries in the pedals. tematic arrangement of cycles containing A ‘reversed’ G.R. (counting 39 measures six pieces was common in the Baroque from the end) is found in m. 25, located era and, as Piet Kee points out, is rooted between two more subject entries (the in numerology that goes back as far as second being a false entry) in the pedals. Pythagoras.59 The use of number sym- NB: this fugue only contains two such bolism in music diminished substantially double-pedal entries, each clearly defi ned after the rise of the age of the Enlight- by the Golden Ratio. In addition, the apex enment, and despite Schumann’s use of (c3) is reached fi rst in m. 40 (one measure ciphers (on several occasions) there is no after G.R measure 39).62 evidence that points to the composer’s Fugue II. The second fugue is 174 AHIGHER L EVEL of E XCELLENCE knowledge or intentional use of num- measures long; 174 x 0.61 = 106. In m. ber symbolism. Schumann’s fugues, 106 new material is presented (ascend- however, do reveal a consistent obser- ing octaves/scales). A reversed G.R. leads Great musicians need extraordinary instruments vance of the Golden Ratio. This number us to m. 68, where the subject appears (0.6180339887…) is found in nature, in the pedals (in its entirety) for the fi rst to deliver magnificent performances. music and art.60 Schumann’s knowledge time. Like several Bach compositions, of the Golden Ratio is not recorded any- this fugue contains Golden Ratios within P.O. Box 156 • Orrville, Ohio 44667 • P 800.416.7426 • F 330.683.2274 • www.schantzorgan.com where, but based on the many examples Golden Ratios. The second fugue can be found in his and his contemporaries’ mu- separated into three separate divisions:

26 THE DIAPASON Schumann Fugue No. 5, mm. 103–107 Appendix 4. Symmetry in the Six Fugues on the Name of BACH

Schumann Fugue No. 6, mm. 59–61

Schumann Fugue No. 6, mm. 95–97

At m. 74 we see a clear separation in the = 30, which appears exactly at the pedal music; there is a sudden dynamic change point in m. 104. Additionally, the original The number of Golden Ratios in ganization of larger collections.65 Notice, (from forte to piano), while the texture subject appears in retrograde. Schumann’s fugues is overwhelming, yet for example, the symmetry in time signa- changes from chordal homophony to Fugue VI. 155 x 0.61 = 95. Measure the question remains if they were in- ture, tempo, dynamics and texture (see strict polyphony with the BACH motive 95 presents a clear statement of the sub- tentionally ‘placed’ or if they are a mere Appendix 4). in stretto. An inverted G.R. within that ject in the pedals. A reversed Golden compositional byproduct. Schumann’s or- The six fugues are based on the fa- section highlights m. 29, where the ex- Ratio (95 from the end, rather than the gan compositions are an unusual blend of mous BACH theme that Bach himself position is stirred up by a repeat of the beginning) leads us to m. 60. Schumann styles, which could easily generate an over- had used in the fi nal (incomplete) fugue subject in the alto voice. This entry starts writes a clear break in the music at mea- analytical approach. Peterson’s and van of The Art of Fugue. As Daverio points on B-fl at, similar to the very first entry sure 59, immediately before introducing Houten’s previously mentioned fi ndings out, “Though all the fugues incorporate (slightly modifi ed for harmonic purpos- the second subject of this double fugue; are prime examples of such “determined the BACH theme, some of them use es), but then suddenly shifts from a dux the fugue’s two sections are separated research,” and one needs to be careful not this theme merely as a starting point to a comes entity; the fi rst four notes of by a quarter note rest and a double bar to attribute music’s every single detail to a for a larger subject (see the subject of the subject appear in dux form, while line, as well as a dynamic increase (più f). genius mind. In regards to Golden Ratio, the second and fi fth fugues).”66 Stinson the remainder of the entry is presented In addition, Schumann writes lebhafter perhaps the truth lies somewhere in the discusses the many motivic similari- in comes fashion. It is the only fugue (livelier). When we apply the G.R. for- middle. Regardless of Schumann’s inten- ties between Schumann’s opp. 56 and in the cycle where Schumann applied mula to the fi rst part of the fugue (the tions, the number of G.R.s is remarkable 60 and Bach’s organ works. The second (uniform) dynamic markings to each fi rst 58 measures) we come to 58 x 0.61 and cannot be denied. fugue on BACH, for example, has occa- voice entry in the exposition, as to point = 35. One measure earlier the subject sionally been ridiculed for its elongated out the exposition’s irregularity. Feder- is fi rst introduced in the relative minor Styles subject, but is analogous to BWV 575, hofer and Nauhaus point out that “. . . key (G minor). Similar Golden Ratio di- Schumann’s organization of the cycle which was published by Schumann in Schumann probably regarded the treat- visions are found in the second part of reveals a fascinating blend of Baroque the Neue Zeitschrift für Musik in Febru- ment of the ‘comes’ (different in each the fugue (97 measures long): 97 x 0.61 and Romantic principles. Burkhard ary 1839.67 In Abhandlung von der Fuge, case) as depending on the character of = 59 (m. 117). In m. 116, just one mea- Meischein points out the cycle’s sonata- Marpurg discusses the proper treatment the subject.”63 Mm. 75–121 mark the sure earlier, Schumann clearly defi nes like layout: of fugue subjects: second division of the fugue, totaling 47 the break in the music after two (!) four- Fugue 1: Slow introduction measures; 47 x 0.61 = 29 = m. 102, which measure pedal points, when the BACH Fugue 2: Faster section I myself once heard him [Bach], when is marked marcato while presenting new motive is re-introduced—this time in Fugues 3 and 4: Cantabile, slower sec- during my stay in Leipzig I was discussing material. The fugue’s third division com- block chords. A reversed G.R. is found at tion with him certain matters concerning the prises mm. 123–174, totaling 53 mea- mm. 95/96. In m. 95, after a three-mea- Fugue 5: Scherzo fugue, pronounce the works of an old and sures. This section contains a reversed sure pedal point, the fugue’s fi rst subject Fugue 6: Exciting, intensely growing hardworking contrapuntist dry and wood- 64 en, and certain fugues by a more modern G.R. (counting 32 backwards) at m. 143. appears fi rst in the second part of the fi nale and no less great contrapuntist—that is the The score reveals a signifi cant change in (double) fugue. Other changes involve a form in which they are arranged for cla- m. 143 as the music changes from a thin, dynamic increase and the introduction of Interestingly, Schumann’s Classic out- vier—pedantic; the fi rst because the com- three-part polyphonic to a full, chordal both subjects simultaneously. line is not unlike Bach’s symmetrical or- poser stuck continuously to his principal and homophonic texture. Fugue III. The third fugue is the shortest one of the cycle, counting only 59 measures; 59 x 0.61 = 36. The G.R. is 7KHQHZSLSHGLJLWDOFRPELQDWLRQRUJDQ found in m. 36, where the music moves to the sub-mediant, E-fl at major. A re- DW0DVODQG0HWKRGLVW&KXUFKLQ6LEX versed G.R. points to m. 23; the end of 0DOD\VLDGUDZVDOOH\HVWRWKHFHQWUDOFURVV the exposition. This fi ve-voice fugue does not combine all fi ve voices until close to ZKHUHWKHVXUURXQGLQJSLSHVDUHDUUDQJHG the end, after the third (and fi nal) pedal OLNHXSOLIWHGKDQGV5RGJHUV,QVWUXPHQWV entry. Schumann uses the pedals to single out the Golden Ratio. &RUSRUDWLRQZDVKRQRUHGWRSDUWQHUZLWK Fugue IV. The fourth fugue is 116 0RGHUQ3LSH2UJDQ6ROXWLRQVRIWKH8.RQ measures long; 116 x 0.61 = 71. M. 72 is marked fortissimo, the loudest dynamic WKHLQVWDOODWLRQ marking in the fugue. Here the music also has a strong sense of forward motion (see endnote 64). The drastic change at 6HHPRUHSLFWXUHVDWZZZURGJHUVLQVWUX m. 72 divides the piece into two sections. The second division, totaling 45 mea- PHQWVFRP)RUPRUHLQIRUPDWLRQDERXW sures, unveils one more reversed G.R. at 5RGJHUVSLSHGLJLWDOFRPELQDWLRQRUJDQV Pipe-Digital Combinations m. 92, where the music changes from a homophonic to a polyphonic texture. FRQWDFW6DOHV0DQDJHU5LFN$QGHUVRQDW Digital Voice Expansions Fugue V. The fi fth fugue in the cycle totals 124 measures; 124 x 0.61 = 76, the Solutions for Old Pipe Organs beginning of the pedal tone F. When looking at that fi rst section separately (mm. 1–76), we fi nd yet another striking place; 76 x 0.61 = 46; in m. 46 the subject appears in the middle voice, while the BACH theme (in sustained note val- ues) are presented—in stretto—in the bass and soprano voices. NB: this is the only time the BACH theme is played in www.rodgersinstruments.com the pedals. The fugue’s second part (mm. 76–124) contains one more G.R.; 49 (number of remaining measures) x 0.61

SEPTEMBER, 2010 27 Schumann Fugue No. 5, mm. 103–107 Appendix 4. Symmetry in the Six Fugues on the Name of BACH

Schumann Fugue No. 6, mm. 59–61

Schumann Fugue No. 6, mm. 95–97

SEPTEMBER, 2010 27 Schumann Fugue No. 2, mm. 48–51 Fugue VI. Schumann ends the cycle and decrescendos of opp. 56 and 58 with a majestic, fi ve-part double fugue. (see the beginning of the fourth sketch), Simultaneous use of duple and triple Schumann employs practical dynamic meter, combined with a gradual buildup changes, easily realized through registra- of tension and grandeur, creates a strong tion or manual changes.76 A compelling sense of completion. Stinson claims that piece of evidence lies in the treatment the fugue is based on Bach’s Fugue in E- of pedal points; Schumann frequently fl at Major, BWV 552, pointing out the employs pedal points in both the piano similarities between the two fugues.72 and organ cycles. In the piano cycles Schumann, however, once again deviates Schumann repeats the pedal points every from the Bach models and moves towards so often to ensure a continuous sounding a thinner texture before the end of the ex- of the bass note. Pedal points are never subject, without any change; and the sec- Schumann Fugue No. 4, mm. 1–2 position. In the second exposition (start- sustained longer than two measures.77 In ond because, at least in the fugues under ing at m. 59), Schumann’s approach is the organ fugues Schumann writes pedal discussion, he had not shown enough fi re 78 to reanimate the theme by interludes.68 unconventional too, but not without rea- points for as long as twelve measures. son. As the second theme is introduced, Also, unlike opp. 56 and 58, op. 60 never While some of the subjects are in- Schumann holds off on the expected exceeds the compass of the typical Ger- deed rather lengthy, Schumann seems pedal entry of m. 67. Instead, he omits man Baroque organ, which may give us to adhere to Bach’s examples, avoiding ject (its starting pitch) is modifi ed for the pedals until much later, in m. 92, an idea of Schumann’s favored organ redundant (complete) repeats of fugue harmonic purposes.70 where a three-measure pedal point adds type. Hermann J. Busch points out that subjects. Similarly, rather than following Fugue III. The third fugue appears gradual tension, leading to the fi rst pedal Mendelssohn preferred older organ conventional compositional techniques, to be a double fugue, but the second statement of the fugue’s fi rst subject. As types. For his fi rst performance of the Six Schumann used existing forms as a start- subject is never fully developed. De- the pedals introduce the fi rst subject, the Sonatas for Organ, Mendelssohn chose ing point for a more modern idiom. rived from the main subject, it might be second subject is played in the manuals, an older instrument (Franz and Johann Thus, the amalgamation of old and new conceived as a melodically and rhythmi- thus combining the fugue’s two themes. Michael II Stumm, 1779), while a mod- techniques generated compositions that cally weak countersubject. ‘Undermin- Towards the end of the fugue, starting at ern instrument (a large Walcker organ) were (and still are) anomalies in the or- ing’ the second subject may have been m. 116, the fugue shifts suddenly from was available.79 Mendelssohn’s infl uence gan repertoire, and may in part explain intentional, as Schumann’s focus seems a polyphonic to a homophonic texture. on Schumann as a composer and organist their unfortunate fate. A closer examina- to be mainly on the principal subject. Daverio points out the motivic resem- suggests that Schumann too may have fa- tion of the fugues reveals some very in- Whereas the fi rst two fugues were writ- blance in Schumann’s second symphony: vored older organ types, as is evidenced teresting patterns: ten in the key of B-fl at major, the third “Culminating in a chordal peroration on in Schumann’s comments in the diaries.80 Fugue I. The fi rst fugue initially fol- is written in G minor. Bound by the the B-A-C-H theme, the fugue’s coda at Busch also points out that the majority lows the conventional exposition pattern, initial BACH motive (centered around the same time prefi gures a climactic pas- of the organs known to Schumann were as each of the voices is introduced in the B-fl at), Schumann may have used the sage in the Final (mm. 343ff.) of the sec- from the 18th century. These instruments right order. However, when the fi fth voice countersubject as a means to establish ond symphony.”73 Just like the fi rst fugue, were generally not equipped with a swell is introduced in m.12 (in the pedals), the the fugue’s tonality. This thought also the fi nal fugue concludes with a coda. In box. Crescendos therefore were realized alto part drops out, leaving a four-part explains the countersubject’s lack of de- the fi rst fugue, at m. 34, Schumann in- by manual changes and/or adding stops. texture before fi nishing the exposition. In velopment, as Schumann’s focus is on dicated: “gradually faster and louder.” In fact, the fi ve voices never appear togeth- the principal subject. Of the six fugues, the fi nal fugue he specifi ed: “Moderate, Schumann the organist er in contrapuntal passages. Schumann, the third maintains the strictest counter- gradually faster.” While a thinning in the It is obvious that Schumann took great undoubtedly aware of this atypical ap- point throughout, and never resorts to a texture of the fi rst fugue’s coda seems to pride in the six fugues. Rooted in a long proach, applied the idiosyncrasy in fi ve homophonic texture. suggest a sudden quieting down of the tradition, stemming from his primary of the six fugues (the fi fth being the ex- Fugue IV. In the fourth fugue music, the sixth fugue’s coda undoubt- example, Bach, Schumann felt that he ception). Throughout the cycle, both the Schumann for the fi rst time deviates from edly calls for full organ, ending the cycle had contributed an important work that core subject (the BACH motive) and the the established BACH motive. Though in a grand, majestic manner. could stand the test of time. As Larry complete subjects appear in many differ- still citing the same motive, the notes are Todd points out: “Thus, Bach was me- ent forms. Klaus Jürgen Sachs points out ordered in a new manner, incorporating Schumann and the pedal piano morialized in Schumann’s penchant for the repeatedly changing order of empha- the interval of a sixth. There are a num- As discussed earlier, Schumann’s main learned counterpoint, culminating in that sized notes of the BACH motive.69 In the ber of similarities between the fourth purpose for hiring a pedalboard was to erudite fugal compendium for organ, the fi rst fugue, for example, the motive ap- fugue and Schumann’s second sympho- practice playing the organ. He found, Six Fugues on BACH, Op. 60 (1845).”81 pears straightforward in four half notes, ny, which was written 1845–1846. The however, that the pedal piano had much How ironic then, that the cycle he had with B-fl at and C being the emphasized symphony’s Adagio exhibits chromatic potential and that it might develop as worked on for so long was received with notes (B-fl at and C appear on beats one elements similar to the BACH motive an independent instrument. It seems such little approval. Perhaps Schumann and three in a 4/2 time signature). In m. used in the six fugues,71 and even incor- plausible, then, that Schumann’s output would have been more successful if he, 5 the same motive is presented in the alto porates a (semi) exposition, starting at m. of 1845 was conceived for pedal piano, like Mendelssohn, had written organ so- voice, starting on the second beat rather 62, using two subjects. The Adagio’s har- organ, or both. Though opp. 56 and 58 natas rather than fugues. Rejcha perhaps than the fi rst. This metrical displacement monic progression of m. 82 also appears are clearly written for the pedal piano explains the early 19th-century Zeitgeist is typical of Schumann and is employed in m. 100 of the fugue. Schumann must (Studies for the Pedal Piano and Sketches best, saying “Since Handel and Corelli’s throughout the cycle. have been fond of the chord progression, for the Pedal Piano, respectively), there time, everything in music has changed Fugue II. In the second fugue we repeating it several times (consecutively) seems to be a discrepancy in regards to two or three times, both in inner, as well see a continuation of metrical shifts; in both pieces. Like the fugue, the Ada- op. 60, which is labeled Six Fugues on the as outer form. Only the fugue remains starting in m. 3, the running sixteenth gio reveals a striking G.R. (130 measures Name of B-A-C-H without any further unaltered; and therefore—nobody wants notes suggest a duple (2/4) rhythm in x 0.61 = 80) at m. 82, where the music— specifi cation in regards to the instrument to hear one.”82 Schumann, who “main- a 3/4 time signature. In m. 48 the fi rst marked by a double bar line—suddenly of choice. The cover of the 1986 Henle tained with equal conviction that slavish fugue’s subject is introduced in the ped- shifts from C minor to C major. Urtext edition of opp. 56, 58 and 60 reads imitation of older models was to be avoid- als, combined with the second fugue’s Fugue V. The fi fth fugue, the scherzo Works for Organ or Pedal Piano without ed,”83 must have thought that his organ main subject in the manuals. Schumann of the cycle, maintains a strictly poly- any further specifi cation. In its preface, works were indeed a breath of fresh air, takes great liberty in the intervallic re- phonic texture. The independent voice Gerhard Weinberger explains that in the as he expected them to outlive his other lationship between the fi rst and second leading, combined with fast-moving fi rst publication op. 60 is referred to as creations the longest.84 Notwithstanding parts of the subject. The fi rst part of eighth notes, makes for some daring har- an organ work. their unfortunate fate, Schumann mas- the subject (BACH) starts on B-fl at, monies. Similar writing is found in the Interestingly, in the 2006 Schott edi- terfully combined the old with the new. while the second part (continuous six- second Duetto of Bach’s Clavierübung tion the three cycles are published as As Heinrich Reimann writes: teenth notes) follows at the sixth, on G. III, of which Schumann owned a copy. Schumann Organ Works. In the preface, This relationship remains consistent Schumann again takes some liberties in the editor, internationally renowned or- . . . the best proof of how deeply until m. 30, where Schumann separates the exposition, as the fourth entry of the ganist Jean Guillou, writes: “Schumann Schumann had penetrated, in thought and the two motives by abandoning the in- exposition starts on E-fl at rather than F. composed these masterpieces as a pianist feeling, into the spirit of the Old Master. Everywhere the fundamental contrapuntal tervallic connection. The two motives In addition, the pedal entry consists of and he wrote them for the piano, allow- principles of Sebastian Bach are recogniz- still appear together throughout the two short, repeated motives rather than ing for the possibility that they might be able. They rise up like mighty pillars; but fugue, but the second part of the sub- the entire subject. performed on the organ, but not really the luxuriant tendrils, leaves, and blossoms envisaging the precise manner in which of a romantic spirit twine about them, an organist might ‘translate’ them for partly concealing the mighty edifi ce, partly the instrument.”74 Guillou’s edition pro- enlivening it by splendour of colour and vides the performer with registration varied contrast and bringing it nearer to and tempo markings that go well beyond modern taste. The most obvious proofs of this are:—The second fugue with the char- the original. As useful as a performer’s acteristic Schumann rhythmic displace- edition may seem, one needs to keep in ment (2/4 time in triple rhythm); the fi fth, mind that such is the interpretation of with its subject on quite modern lines; and one person, and one needs to be mindful the last, with its romantically treated coun- of the composer’s intentions. Notwith- ter-subject.85 standing the usefulness of such an edition, Guillou seems to have overlooked Though Schumann is perhaps remem- a most important issue; unlike the Stud- bered foremost as a composer of homo- ies and Sketches, the Six Fugues on the phonic music, it is no coincidence that, Name of BACH were written for the or- as Nauhaus and Federhofer point out, gan, not for the piano. Werner Krützfeld used two examples of In the preface of the Henle edition Schumann’s Kreisleriana in Die Musik in Weinberger explains that the fi rst edition Geschichte und Gegenwart as examples refers to the six fugues as organ works.75 of counterpoint.86 The Six Fugues on the As we will see, the fugues are stylistically Name of BACH mark an artistic high quite different than the other cycles. point in Schumann’s career, and one can They lack, for example, the very pia- only hope that these erudite composi- nistic approach, as found in the second tions will eventually become part of the and third canonic studies. Also, there is standard repertoire. A deeper under- a drastic difference in the use of dynam- standing will perhaps spark a renewed ics. Rather than the pianistic crescendos interest in these wonderful pieces. ■

28 THE DIAPASON Notes 38. Ibid. 59. Piet Kee, “Number and Symbolism in 77. In the third movement of the sketches 1. Robert Schumann, Werke für Orgel 39. Plantinga, “Schumann’s Critical Reac- the Passacaglia and Ciaconna: A Forgotten (mm. 17–19 and 125–127) a pedal point is oder Pedalklavier, with a preface by Gerhard tion,” 13. and Hidden Dimension,” Loosemore Occa- held for three measures. Schumann avoids Weinberger (Munich: Henle, 1986), viii. 40. Klaus-Peter Richter, Musik Konzepte sional Papers, vol. 2. (Cambridge: Tavistock the fading out by adding a second pedal point 2. Albert Schweitzer, J. S. Bach, vol. 1 Sonderband: Robert Schumann (München: Press, 1988), 2–4, 6. In this article Kee dis- (one octave higher) in the next measure. (Leipzig: Breitkopf & Härtel, 1911; reprint Heinz-Klaus Metzger and Rainer Riehn, cusses the importance of the number six. Ac- 78. Fugue no. 2, mm. 163–174. with English translation by Ernest Newman, 1981), 181–82. cording to the Bible, for example, the earth 79. Hermann J. Busch, “Die Orgeln Men- New York: Dover, 1966), 280. 41. Mendelssohn’s Six Sonatas for Organ do was created in six days. Kee also writes: “The delssohns, Liszts und Brahms,” in Proceedings 3. Robert Schumann, Gesammelte Schrift- not replicate the conventional sonata allegro number six is a so-called “perfect” number; a of the Göteborg International Organ Acad- en über Musik und Musiker, 5th ed., ed. Mar- form. Instead, they were conceived as sets of perfect number is equal to the sum of its fac- emy 1994, ed. Hans Davidsson and Sverker tin Kreisig, transl. by Fanny Raymond Ritter individual, stand-alone movements (volun- tors; 6=3+2+1. It is also the sum of the trin- Jullander (Göteborg: Göteborg University, (Leipzig: Breitkopf & Härtel, 1914); quoted taries), while several of the sonatas include ity. NB: There are only four perfect numbers 1995), 236–7. in Hans Theodore David, Arthur Mendel, fugues (which are fugal expositions rather under 33,000,000 (6, 28, 496, 8218).” 80. Robert Schumann, Tagebücher, Band II: Christoph Wolff, ed., The New Bach Reader: than conventional fugues). 60. For a detailed discussion of the Golden 1836–1854, ed. Gerd Nauhaus (Leipzig: VEB A Life of Johann Sebastian Bach in Life and 42. Schumann, Selection of the Writings, Ratio, I refer the reader to the numerous Deutscher Verlag für Musik, 1987), 174. Letters (New York: W. W. Norton & Compa- 124. books available on this topic, such as Richard 81. R. Larry Todd, ed., On Quotation in ny, 1998), 503. 43. August Gottfried Ritter, review of Felix A. Dunlap, The Golden Ratio and Fibonacci Schumann’s Music (Princeton: Princeton Uni- 4. In a discussion (ca. 1995) about the Pas- Mendelssohn-Bartholdy: Six Sonatas for Or- Numbers (Singapore: World Scientifi c Pub- versity Press, 1994), 96. sacaglia, a fellow organist from Germany ex- gan, Allgemeine Musikalische Zeitung (Feb- lishing, 1997) and Scott Olsen, The Golden 82. Antonín Rejcha, “Philosophisch-Prac- pressed that German organists consider this a ruary 1856); quoted in John W. Stansell, An Section: Nature’s Greatest Secret (New York: tische Anmerkungen zu den practischen holy (‘heilig’) piece. Expressive Approach to the Organ Sonatas Wooden Books, 2006). Beispielen,” Ms. Paris Bibliothèque Natio- 5. Schweitzer and Widor published the of Felix Mendelssohn-Bartholdy (Ph.D. diss., 61. Chopin, highly admired by Schumann, nale Sign. Ms 2510, [ca. 1803], 24; quoted in complete organ works of Bach in 1912–14, Juilliard School, 1983), Appendix II. frequently used the Golden Ratio in his 24 Michael Heinemann, Bach und die Nachwelt including detailed analyses and performance Henry John Gauntlett, “Mendelssohn Preludes. See Kenneth Patrick Kirk, “The vol. I (Laaber: Laaber Verlag, 1997), 143. suggestions. While Schweitzer occasionally as an Organist,” The Musical World (15 Sep- Golden Ratio in Chopin’s Preludes, Opus 28” 83. Daverio, Robert Schumann, 248. identifi ed musical qualities in the preludes tember 1837); quoted in Stansell, Expressive (Ph.D. diss., University of Cincinnati, 1987), 84. Schumann, Werke für Orgel, viii. and fugues (several of which were published Approach, Appendix II. abstract. The abstract reads: “Each of the 24 85. Heinrich Reimann, Robert Schumanns in the same volume as the Passacaglia), he Robert Schumann, “Mendelssohn’s Or- preludes, op. 28, exhibits a turning point (TP) Leben und Werke (Leipzig: Peters, 1887), never seems to have warmed up to the Pas- gan Recital,” Neue Zeitschrift für Musik (12 after which musical motion is better charac- cited in Frederick Niecks, Robert Schumann sacaglia, as is evidenced in the lack of positive August 1840); quoted in Stansell, Expressive terized as ‘toward the end’ than ‘away from (London & Toronto: J.M. Dent & Sons, Ltd., feedback in the performance suggestions. Approach, Appendix III. the beginning’. Statistical analysis shows that 1925), 242. 6. Compare, for example, articles and 44. Six Studies for the Pedal Piano, op. 56 the proportional placement of the 24 TPs 86. Die Musik in Geschichte und Gegen- biographies by Robert Schauffl er, Peter and Sketches for the Pedal Piano, op. 58. cluster around the Golden ratio (.618). The wart, s.v. “Kontrapunkt,” quoted in Robert Ostwald, John Worthen, and Georg von 45. Gustav Jensen, ed., Robert Schumanns clustering of the TPs around this point and Schumann: Sämtlicher Werke, ed. Robert Dadelsen. A lack of quality in Schumann’s Briefe (Leipzig: Breitkopf & Härtel, 1904), other approximately Golden Sections of the Schumann Gesellschaft by Akio Mayeda and 1845 output is attributed to a variety of faulty 540. preludes are important to the form and aes- Klaus Wolfgang Niemöller, series VII, group assumptions. A more detailed discussion will 46. The Clavier Übung III, for example, thetic of the pieces.” 3, vol. 5 (Mainz: Schott, 2003), 343. be offered below. contains numerous organ pieces (i.e., Vater 62. The typical compass of German Ba- 87. Cf. Matthias Wendt, “Zu Robert 7. Robert Haven Schauffl er, Florestan: The unser, im Himmelreich, BWV 682) for which roque organ keyboards is C–c3 (Helmholtz Schumanns Kompositionsstudien,” in Atti del Life and Works of Robert Schumann (New liturgical use has been questioned. Scholars notation). The pedal board typically spans Congresso della società internazionale di musi- York: Henry Holt and Company, 1945), 188. suggest that the collection, as the title page from C–c1 or C–d1. cologia, Bologna/Ferrara/Parma 1987, III Free 8. Alan Walker, ed., Robert Schumann: suggests, was written for compositional edu- 63. Schumann, Sämtlicher Werke, 342–3. Papers, 793–803; quoted in Schumann: Sämt- The Man and His Music (New York: Harper cational purposes rather than for church use. 64. Burkhard Meischein, Robert Schumanns licher Werke, series VII, group 3, vol. 5, X. & Row, 1972), 1–40. 47. At this time a signifi cant change in con- Werke für Orgel oder Pedalklavier, Studien 88. Litzmann, Clara Schumann, I:403. 9. Georg von Dadelsen, “Schumann und cert life occurred; in the age of the Enlighten- zur Orgelmusik: Zur Deutschen Orgelmusik 89. Luigi Cherubini, Theorie des Contra- die Musik Bachs,” Archiv für Musikwissen- ment sacred music was performed more and des 19. Jahrhunderts, ed. Hermann J. Busch punctes und der Fuge (Leipzig, 1835), 1; quot- schaft 14 (1957): 56. more in concert halls, rather than at houses of and Michael Heinemann (St. Augustin: Dr. J. ed in Robert Schumann: Sämtlicher Werke, 10. Marcel Brion, Schumann and the Ro- worship. Butz Musikverlag, 2006), 180. ed. Robert Schumann Gesellschaft by Akio mantic Age, trans. Geoffrey Sainsbury (New 48. Stinson, Reception, 78. 65. I.e., the Clavier Übung III. Mayeda and Klaus Wolfgang Niemöller, series York: The MacMillan Company, 1956), 146. 49. Russell Stinson, “Clara Schumann’s 66. Daverio, Robert Schumann, 309. VII, group 3, vol. 5 (Mainz: Schott, 2003), 337. 11. John Worthen, Robert Schumann: Life Bach Book: A Neglected Document of the 67. Stinson, Reception, 92–3. 90. Stinson, Reception, 99. and Death of a Musician (New Haven and Bach Revival,” Bach 39 (July 2008): 6–7. 68. Friedrich Wilhelm Marpurg, Abhan- 91. Stinson, “Clara Schumann’s Bach London: Yale university Press, 2007), 260. 50. Ibid. dlung von der Fuge nach den Grundsätzen Book,” 5. 12. Berthold Litzmann, Clara Schumann: 51. Robert Schumann, Tagebücher, Band und Exempeln der besten deutschen und aus- An Artist’s Life, translated by Grace E. Had- II: 1836–1854, ed. Gerd Nauhaus (Leipzig: ländischen Meistern (Berlin, 1753); quoted in Robert August is director of music/or- ow, 2. vols. (London: McMillan and Company, VEB Deutscher Verlag für Musik, 1987), 402; Hans T. David, Arthur Mendel, and Christoph ganist at First Presbyterian Church of Fort 1913), I:403. quoted in John Daverio, Robert Schumann: Wolff, eds., The New Bach Reader: A Life of Worth, Texas. Previously he was assistant 13. Eric Frederick Jensen, Schumann (Ox- Herald of a New Poetic Age (Oxford: Oxford Johann Sebastian Bach in Letters and Docu- university organist and choirmaster at The ford: Oxford University Press, 2001), 285. University Press, 1997), 305. ments (London: W.W. Norton & Company, Memorial Church at Harvard University, 14. See Russell Stinson, The Reception of 52. Franz Brendel, “Robert Schumann,” Inc., 1998), 363. during doctoral studies at the New England Bach’s Organ Works from Mendelssohn to Neue Zeitschrift für Musik, vol. 25 (1846), 181; 69. Klaus-Jürgen Sachs, “Robert Schumanns Conservatory of Music. A native of the Neth- Brahms (Oxford: Oxford University Press, quoted in Daverio, Robert Schumann, 12. Fugen über den Namen BACH (Op. 60)” in erlands, he has an extensive background in 2006), 76–101. 53. Gerhard Weinberger, preface to Johann Sebastian Bach und seine Ausstrah- historical performance. 15. Schauffl er, Florestan, 188. Schumann, Werke für Orgel oder Pedalkla- lung auf die nachfolgende Jahrhunderte: 55. August has served as carillonneur at 16. Ibid., 348–9. vier, viii. Bachfest der Neuen Bachgesellschaft, ed. Brigham Young University, and as organist 17. Ibid., 349–50. 54. Rosen, Romantic Generation, 655. Hellmann (Mainz, 1980), 160–1. and conductor at churches in the Netherlands 18. Peter Ostwald, Schumann: The Inner 55. Daverio, Robert Schumann, 13. 70. See for example mm. 48–49, 54–55. and the United States. In addition to collabo- Voices of a Musical Genius (Boston: North- 56. Ibid. 71. See for example mm. 36–44. ration with artists such as Yo-Yo Ma, Chris- eastern University Press, 1985), 200. 57. Joseph Wilhelm Von Wasilewski, Life of 72. Stinson, Reception, 94. topher Hogwood, and Simon Carrington, 19. Ibid. Robert Schumann, trans. A. L. Alger (Boston: 73. Daverio, Robert Schumann, 309. he has performed in Europe and the United 20. Kees van Houten and Marinus Kasber- Oliver Ditson, 1871; reprint, Detroit: Infor- 74. Jean Guillou, preface to Robert States as a solo artist and accompanist, in- gen, Bach en het Getal (Zutphen: Walburg mation Coordinators, 1976), 149. Schumann, Werke für Orgel (Mainz: Schott, cluding tours and CD recordings with the Pers, 1985), 194–209. 58. I.e., the Brandenburg Concertos, Trio 2006), i. Harvard University Choir and the Harvard 21. John David Peterson, “Schumann’s Sonatas for Organ, the Cello Suites, the Eng- 75. Weinberger, preface to Schumann, Wer- Baroque Chamber Orchestra. Robert and his Fugues on B-A-C-H: A Secret Tribute,” The lish and French Suites for Harpsichord, the ke für Orgel oder Pedalklavier, viii. wife, fl utist Dolores August, often collaborate Diapason 73 (May 1982): 12. Six Partitas for Harpsichord. 76. See fugue no. 6, mm. 59, 95, and 116. on modern and period instruments. 22. Stephen Walsh, “Schumann and the Or- gan,” Musical Times 111 (July 1970): 743. 23. Worthen, Robert Schumann, 260. 24. Ibid. Custom builder of pipe, combination 25. Ibid., 262. 26. Leon Plantinga, “Schumann’s Critical and all-digital organs Reaction to Mendelssohn” in Mendelssohn and Schumann, ed. Jon Finson and R. Larry Todd (Durham: Duke University Press: 1984), 17. 27. Gerhard Weinberger, preface to Robert Schumann, Werke für Orgel oder Pedalkla- vier, viii. 28. Ibid. 29. Robert Schumann, A Selection of the Writings, trans. and ed. Henry Pleasants (New Wicks York: Dover Publications, 1965), 124–25. 30. Robert Schumann, Neue Zeitschrift für Musik, 16, no. 28 (April 1842): 115–16; quot- Organ Company ed in Stinson, Reception, 86. 31. Robert Schumann, Neue Zeitschrift für Musik, 10, no. 39 (May 1839): 153–54; quoted in Stinson, Reception, 82. 32. Robert Schumann, Gesammelte Schrift- en über Musik und Musiker (Leipzig: Breit- kopf & Härtel, 1914), 5th ed., vol. 1, 354. 1100 5th St. 33. Hans T. David, Arthur Mendel, and Christoph Wolff, eds., The Bach Reader: A Life of Johann Sebastian Bach in Letters and Highland IL 62249 Documents (New York: W.W. Norton, 1998), 501. 34. Charles Rosen, The Romantic Gen- eration (Cambridge, Massachusetts: Harvard University Press, 1995), 665. 35. Robert Schumann: Sämtlicher Wer- 877-654-2191 ke, ed. Akio Mayeda and Klaus Wolfgang Niemöller, series VII, group 3, vol. 5 (Mainz: Schott, 2003), X. 36. Litzmann, Clara Schumann, I:403. 37. Robert Schumann, Complete Works for Pedal Piano/Organ, Andreas Rothkopf, Au- Opus 3047 www.wicks.com dite 368.411, 1988, CD, liner notes, 7. Basilica of St. Mary Minneapolis, MN

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