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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.
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