Canons, ‘Musical Offering’, ‘Art of Fugue’.

Bach’s preoccupation with the canon as the strictest form of counterpoint can be traced back to the Weimar period. In his organ chorales and particularly in the Orgel-Büchlein the canonic principle plays a major role. Canonic elements are present also in several of the early vocal works. Here however it is a matter of canonic technique cropping up in a context of complex contrapuntal construction; as a genre in its own right, the canon, in Bach’s day, would appear almost exclusively as a theoretical example in composition teaching. It was in this sense that it was often favoured – generally in the form of a circular canon – by musicians for entries in students’ albums: such entries were normally notated in enigmatic fashion, setting the would-be solver an intellectual exercise. Bach wrote such canons in albums more than once; for the most part they are probably lost. Except for bwv1076–7, all the surviving individual canons (1072–5, 1078, 1086) were probably dedicatory works of this kind; 1077 was re-used for this purpose. What is probably the earliest of them is dated 2 August 1713 (bwv1073, dedicatee uncertain); the latest is dated 1 March 1749 (bwv1078; dedicatee Benjamin Faber).

A new kind of theoretical canon came into being in connection with the Goldberg Variations, in which the canonic principle played a special part. In his personal copy of the Goldberg Variations Bach wrote in 1747–8 a series of 14 perpetual canons on the first eight bass notes of the aria ground (bwv1087), exploring the most varied canonic possibilities of the subject, subsequently arranging the individual perpetual canons in a progressive order, organized according to their increasing contrapuntal complexity. The types included range from simple, double and triple canons, retrograde canons and stretto canons to a quadruple proportion canon by augmentation and diminution. Nos.11 and 13 of this series are identical with bwv1077 and 1076 (depicted on Haussmann’s Bach portrait of 1746).

Closely related to these (and likewise probably dating from the later 1740s) are the Vom Himmel hoch variations, where Bach first used a strictly canonic scheme for a monothematic work in several movements of progressive difficulty. The Musical Offering (1747) is also plainly influenced by this mode of musical thinking. Here, for a theme incomparably more complex than that of bwv1087, he devised ten canons of differing structural types, notated as puzzle canons in the original printed edition of 1747. The series of canons on the ‘royal theme’ includes a canonic fugue, providing a bridge between the canons, which are primarily theoretical in conception though also intended for performance, and the two keyboard fugues or ricercares in three and six parts. A further constituent part of the Musical Offering is a trio sonata for flute, violin and continuo, also based on the royal theme. In its second slow movement Bach introduced echoes of the fashionable style practised at the Prussian court. The Musical Offering, in effect a compendium in three sections, shows Bach elaborating on the theme supplied to him by Frederick the Great in every imaginable way for an ensemble of up to three instruments.

The Art of Fugue constitutes the final contribution to this group of monothematically conceived works intended as representative examples of a specific principle. As a didactic keyboard work, the Art of Fugue in some ways forms a counterpart to the two books of the ‘48’, with the difference that here it is exclusively the fugue that is in question, and, what is more, the fugues are developed from a single theme. Bach’s work on the Art of Fugue was accomplished in two stages – from about 1740 to about 1745, and then (in connection with preparing the work for publication) in about 1748–50. The extant autograph score represents the conclusion of the first stage, in which the conception of the work already appears clearly: beginning with simple fugues (Bach avoided this term, speaking of ‘contrapunctus’), progressing through ‘counter-fugues’, double fugues and triple fugues, with interpolated canons, and culminating in a mirror fugue. For the printed version the number of movements was not only increased by four (two canons, a fourth simple fugue and most notably a closing quadruple fugue) but their order was rearranged so as to expound more logically the ‘chapter of instruction on fugues’. When Bach died the work may have been more ‘complete’ than it is in the form in which it has survived. In particular the quadruple fugue had surely been completed in all essentials, since the composition of its combinatorial section must necessarily be an early stage in the composition of a quadruple fugue. Only the three opening sections of the exposition, however, are extant, and these – further abbreviated by the editors, give the Art of Fugue the appearance of being a mighty torso.

The Musical Offering and the Art of Fugue mark both the end and the culmination of Bach’s activity as a keyboard composer in the broadest sense. While the two ricercars on the ‘royal theme’ of the Musical Offering represent different fugal styles (forward- and backward-looking) and different textures (three- and six-part polyphony), the Art of Fugue explores a notably more intensive monothematic conception. As a didactic keyboard composition in some sense it counterbalances the two parts of the ‘48’, yet with the difference that it concerns itself with fugue alone, in a series of compositions developed out of a single ‘principal composition’ (theme) – and does so using a technique in which forward- and backward-looking styles operate alongside each other, synoptically as it were. It was probably unintentional, and yet it is hardly by chance, that the initial premiss and the goal of Bach’s keyboard art and his musical thinking come together in the Art of Fugue.

Bach, §III: (7) Johann Sebastian Bach

Date: 2015-12-11; view: 747