The Pianoforte Sonata Part 5

The Adagio opens with short phrases for each instrument alternately. A new subject in the relative major is treated in imitative fashion.

After a return to the opening theme, also an allusion to the second theme, a new figure is introduced, but the movement soon comes to a close. This slow movement brings to one's mind "The Lord is a Man of War," and the major section of the duet, "Thou in Thy Mercy," in Handel's _Israel in Egypt_. The third movement, in structure, much resembles the first; the music is broad and vigorous. The closing bars suggest the stringendo pa.s.sage and pres...o...b..rs in the coda of the Scherzo of the "Choral Symphony." Of course it is disappointing to have only the ba.s.s parts for each instrument. The volume, as we have already stated, was for the use of Ricordati, and probably the uncle and nephew performed these sonatas together. Musicians will be able to write out the figured ba.s.ses, and thus form some idea of the music.

The figures are an outline of what was in the composer's mind; but these ba.s.ses, like those of Bach and Handel, so simple, so clear to the composers who penned them, will always remain more or less a _crux criticorum_. It will be noticed that the three movements, as in some of Corelli's sonatas, are all in the same key.

We now give the opening bars of the three movements of the piece for one or two cembali:--

[Music ill.u.s.tration]

All the other sonatas are more or less after the pattern of the one given. The other two volumes contain suites, airs with variations, arias, and a quant.i.ty of short figured ba.s.ses, apparently as studies.

Before closing this short chapter we will add a word or two about Italian music for the harpsichord at the beginning of the eighteenth century. A recent writer remarks that "Domenico Scarlatti seems to spring full-armed into the view of history." But his father, the renowned opera-writer, Alessandro Scarlatti, wrote music for the harpsichord, also his pupil, Gaetano Grieco, who succeeded him as Professor at the Conservatorio dei poveri di Gesu Cristo (Naples) in 1717. The influence of the master can be clearly traced in the music of the pupil; and, if one may judge from the simpler character of Grieco's music[55] as compared with that of D. Scarlatti, he, too, was a predecessor. Grieco is said to have been born about 1680; D.

Scarlatti was born in 1683; but this, of course, decides nothing as to the dates of their compositions. The harpsichord music of G. Grieco has both character and charm, and it is indeed strange that none of his pieces have been included either in the _Tresor des Pianistes_, the _Maitres du Clavecin_, or Pauer's Collections of old music.

This chapter is headed: "A Contemporary of Kuhnau." The latter published all his known sonatas by the year 1700, while the dates a.s.signed to the Pasquini sonata volume are, as we have seen, 1703-4.

But at that time Pasquini was over sixty years of age; it is therefore more than probable that he was really the predecessor of the German master as a writer of clavier sonatas.

CHAPTER IV

EMANUEL BACH AND SOME OF HIS CONTEMPORARIES

Carl Phillip Emanuel, third son of J.S. Bach, was born at Weimar, 8th or 14th March, 1714, and died at Hamburg, 14th December, 1788. He studied composition and clavier-playing with his father. His brother, Wilhelm Friedemann, his senior by four years, went through a similar course, but learnt, in addition, the violin under J.G. Graun.

Emanuel's attention, however, was concentrated on the one instrument; and to this we probably owe the numerous clavier sonatas which he wrote, and which paved the way for those of Haydn, Mozart, and Beethoven. In his twenty-first year (1735) Emanuel left his father's house in order to study jurisprudence at Frankfort-on-the-Oder; three years later, however, he went to Berlin, and as cembalist entered the service of Frederick the Great (1740).[56] Already in his father's house, the young student saw and heard many distinguished musicians; he himself has told us that no musician of any note pa.s.sed through Leipzig without seeking an opportunity to meet his father, so famed as composer and as performer on the organ and clavier. And again, afterwards, at the Court of Prussia, he came into contact with the most notable composers and performers of his day. From among these may be singled out C.H. Graun (composer of the "Tod Jesu") and Georg Benda.[57] Graun was already in the service of Frederick when the latter was only Crown Prince.[58] It would be interesting to learn the special influences acting upon Emanuel before he published his first set of sonatas in 1742, but this is scarcely possible. The collection of symphonies[59] or sonatas published at Leipzig in 1762, mentioned in our introductory chapter, gives, however, some idea of the music of that period; and it is possible that many of the numbers were written before Emanuel Bach published his first works. The "Sammlung Vermischte Clavierstucke fur geubte und ungeubte Spieler," by Georg Benda, may also be mentioned; it is of great interest, especially the Sonata in C minor. The character of the music and style of writing for the instrument constantly remind one of Emanuel Bach. Benda, born in 1721, joined the King of Prussia's Band in 1742, and soon became known as an experienced performer on the harpsichord. Unfortunately it is impossible to ascertain the dates of composition of the various pieces of this collection, and thus to find out whether Benda was an imitator of Bach or _vice versa_; the collection itself was only published at Gotha in 1780.

The Italian taste in music which prevailed at the Prussian Court[60]

had undoubtedly a marked influence on Bach, and one for good. The severe counterpoint of the North German school and the suave melody of the Sunny South blended together with happy results.

It is customary to speak _en bloc_ of Emanuel Bach's sonatas; if, however, the earlier be compared with some of the later ones, interesting differences may be detected, and developments traced. But the composer's artistic career, unfortunately, does not show a steady, regular advance such as we find in J.S. Bach or Beethoven. C.H.

Bitter, his biographer and enthusiastic admirer, has to confess that he was a practical man, and that he wrote at times to please pupils and amateurs; while, occasionally, his aim may have been pecuniary gain.

Of his early period, we shall notice the "Sei Sonate per Cembalo,"

dedicated to Frederick II. of Prussia (1742), and the Wurtemberg Sonatas, published in 1745. Of his middle period, the "Sechs Sonaten furs Clavier mit veranderten Reprisen," Berlin, 1760, and the "Sechs leichte Sonaten," Leipzig, 1766. And of his latter period, the six collections of "Sonaten fur Kenner u. Liebhaber," published at Leipzig between 1779 and 1787. With regard, however, to the last-named, it must be remembered that some are of a comparatively early date. Thus the 3rd Sonata of the 3rd Collection, one of the finest of Bach's works, was composed in 1763, while the collection itself only appeared in 1781. But a table of dates will be given further on.

If some of the best sonatas written after 1760 be compared with those of 1742, there will be found in the later works more character in the subject-matter, also movements of greater length. Practice, too, had improved the composer's style of writing. The later Bach did not return to the princ.i.p.al theme in such a crude, nay, lawless, fashion as the following:--

[Music ill.u.s.tration: (Frederick) Sonata 1. First Movement.]

In these "Frederick" Sonatas there is as yet no tendency to enharmonic and other surprise modulation such as Bach afterwards displayed. Then as to technique, we find here octaves and large chords comparatively rare,[61] while scale pa.s.sages are more restricted. Like Beethoven, Emanuel Bach seized hold of additional notes to the keyboard. In 1742 his highest and lowest notes, apparently, were--

[Music ill.u.s.tration]

but afterwards--

[Music ill.u.s.tration]

In the introductory chapter we noted the change with regard to the number of movements of a sonata which took place between 1683, when Corelli published his first sonatas, and 1740, when E. Bach composed his first set. Instances were given of sonatas in three movements by Corelli, but with that composer _four_ was the normal number; with E.

Bach, _three_. This change came about in great measure through the concerto. From E. Bach, we are able to show the links in the chain of development: Bach, Haydn, Mozart, Beethoven; but though between Kuhnau, the first writer of sonatas for the clavier, and Bach, B.

Pasquini wrote, as mentioned in the last chapter, sonatas in three movements, yet we have no knowledge that Bach was acquainted with them. Kuhnau, in fact, however interesting a phenomenon in the musical firmament, is not necessary to explain the appearance of Bach. Joh.

Sebastian Bach was undoubtedly acquainted with the "Bible" Sonatas. He must have admired them, but he may have been afraid of the freedom of form which they displayed, and of their tendency to programme-music; and perhaps he did not speak of them to his sons, lest they should be led astray. For, as we have already mentioned, Sebastian Bach seems to have yielded for a moment to the Kuhnau influence, but, if we may judge from his subsequent art-work, he did not feel satisfied that it was a good one.

In 1742, E. Bach dedicated the six sonatas (composed in 1740) to Frederick the Great. The t.i.tle-page runs thus:--

Sei Sonate per Cembalo che all' Augusta Maesta di Frederico II.

Re di Prussia D.D.D.

l'Autore Carlo Filippo Emanuele Bach Musico di Camera di S.M.

Alle spese di Balth. Schmid in Norimberga.

And in the obsequious dedication, the composer describes them as works "debolissimo Talento mio." As Bach's earliest published sonatas, they are, for our purpose, of special interest. Their order is as follows:--

Sonata 1, in F Poco Allegro, Andante, Vivace.

" 2, " B flat Vivace, Adagio, Allegro a.s.sai.

" 3, " E Poco Allegro, Adagio, Presto.

" 4, " C minor Allegro, Adagio, Presto.

" 5, " C Poco Allegro, Andante, Allegro a.s.sai.

" 6, " A Allegro, Adagio, Allegro.

The first and last movements of all six are in binary form. In the five major sonatas, the first sections close in the key of the dominant, and in the one minor sonata (No. 4), in the relative major.

The opening movement of each sonata is in early sonata-form: the second section starts with the princ.i.p.al theme, or a brief allusion to it; but then, after a short development with modulation, there is a return to the princ.i.p.al key and to the princ.i.p.al theme.[62] The final movements, on the other hand, are of the usual _suite_ order. Of interest and, indeed, of importance in our history of development are the contents of the first section of the opening movements. In some of the Scarlatti sonatas (see No. 56) there is to be found a fairly definite second subject in the dominant key, or, in the case of a minor piece, in the dominant minor or relative major. Here the process of differentiation is continued; in the 2nd Sonata the contrast between the two subjects is specially marked. We give the opening bar of each--

[Music ill.u.s.tration]

In most of the developments the composer steers clear of the princ.i.p.al key, so that at the return of the princ.i.p.al theme it may appear fresh.

To such a method, since Beethoven, we are quite accustomed; but it is curious how little attention--even with the example of E. Bach before him--Haydn paid to such an effective means of contrast in some of his early sonatas. In Bach's No. 6, in A, the development a.s.sumes unusual magnitude; it is even longer than the first section. And it is not only long, but interesting. One pa.s.sage, of which we quote a portion, has rather a modern appearance:[63]--

[Music ill.u.s.tration]

The return of the princ.i.p.al theme is preceded by an unexpected entry of the opening bars in B minor,--a first sign of that humour which afterwards formed so prominent a feature in Bach's music. And the theme itself, after the opening notes, is dealt with in original fashion.

The middle movements of Nos. 2, 3, 5, and 6 are in the key of the relative minor; that of No. 1 is in the tonic minor, and that of No. 4 (C minor), in the relative major. No. 1, twice interrupted by a recitative (upper part and figured ba.s.s),[64] is dignified, yet tender, and, in form, original. The Adagio, in C sharp minor, of No. 3 is a movement of singular charm; it is based on imitation, but, though old in style, it breathes something of the new spirit, or rather--for there is nothing new under the sun--of the old Florentine spirit which freed music for a time from the fetters of polyphony. The genius of Johann Sebastian Bach gained the victory over form, and, in fact, exhausted fugue-form. It is in the clever, but dry fugues of some of his contemporaries and, especially, successors, that one can feel the absolute necessity for a new departure. This Adagio is, as it were, a delicate remembrance, and one not unmixed with sadness, of the composer's immortal parent.

The light, lively final movements need no description. All the music of these sonatas is written in two or three parts or voices; occasionally there are chord pa.s.sages in which for the moment the number is increased. We have dwelt somewhat in detail on this work, as it appears to be little known.

There is a sonata in the key of D major, published in the 3rd Collection (1763) of Marpurg's _Clavierstucke_ (p. 10), by E. Bach, which was written in the same year (1740), but earlier than the "Frederick" Sonatas. C.H. Bitter remarks that if the year of composition were not known, it would certainly pa.s.s as a much later work. The first movement reminds one of Beethoven's terse, bold style.

Bitter refers to the freedom with which the thoughts are expressed, to the melodious character of the Andante, and to the humour of the Finale. He might also have referred to the style of writing for the instrument, which suggests a later date.

In 1745 (?) appeared the Wurtemberg Sonatas (so called because they were dedicated to Bach's pupil, the _Duca di Wirtemberg e Teckh_, as he is named on the t.i.tle-page of the original edition). These sonatas are marked as Opera seconda. They were offered by the composer to the Duke in recognition of the many favours shown to him "at the time when I had the honour of giving you lessons in music at Berlin."[65] Of these sonatas we have only been able to have access to the two preserved in the British Museum; the others are probably of similar character.

No. 1, in E flat, opens with an Adagio, followed by an Allegro a.s.sai (E flat), and then by a Menuet alternato and Trio, both in E flat, and with the former _da capo_. The first and second movements are in old binary form; the Allegro shows the influence of D. Scarlatti. The Minuet is fresh and pleasing. It is evident, taking E. Bach himself as standard, that this is a suite rather than a sonata.

No. 2, in B flat, is of similar character and construction. Both sonatas are old in form, but more modern in their subject-material and style of writing than those dedicated to the King of Prussia. In the latter there is a solidity not to be found here; in its place we have lightness, almost merriment; they were written, one would almost think, expressly for the amus.e.m.e.nt of the Duke. The rapid semi-quaver pa.s.sages (as in No. 1) and the crossing of hands (as in No. 2) tell in no undecided manner of the influence of Scarlatti. The exceedingly light and graceful Minuets remind one of the kinship between the composer and Haydn.

In a letter to Forkel, dated 10th February 1775, Bach writes as follows:--

"Die 2 Sonaten, welche Ihren Beyfall vorzuglich haben, sind die einzigen von dieser Art, die ich je gemacht habe. Sie geh.o.r.en zu der, aus dem H-moll, die ich Ihnen mitschickte, zu der aus dem B, die Sie nun auch haben, u. zu 2en aus der Hafner-Wurtembergischen Sammlung, u.

sind alle 6 anno 1743, im Toplitzer Bade von mir, der ich damahls sehr gicht-bruchig war, auf einem Claviacord mit der kurzen Octav verfertiget."[66]

It would be interesting to know the two sonatas belonging to this period, "the only ones of the kind that I have ever written." In the catalogue of musical remains of E. Bach, published two years after his death, the opening bars are given of a Sonata in B minor (see above letter) written at Toplitz in 1743--