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and the following passage from theLegendfor à capella voices of Tchaikowsky,e.g.
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The Ionian mode corresponds exactly with our modern major scale, and the common people among all nations early showed a strong predilection for its use. The Church, in fact, because of this popularity with the people, named it the "modus lascivus" and prohibited its use in the ecclesiastical liturgy. One of the very earliest Folk-tunes extant—"Sumer is icumen in" (already referred to)—is in the Ionian mode and, according to Cecil Sharp,[27]the majority of English Folk-tunes are in this same mode.
We now cite a few typical folk-songs (taken from national sources) which, in their structure, show a natural instinct for balance of phrase and oftentimes for that organic unity of effect gained by restatement after contrast.
THE TRUE LOVERS’ FAREWELL
Old English
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The pattern of this song, in the Aeolian mode, is A, A, A, B. Unity is secured by the three-fold appearance of the first phrase; and a certain balance, by having the second phrase B twice as long (four measures) as A.
THE SHIP IN DISTRESS
Old English
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The formula of this characteristic song in the Dorian mode is A, A, B, A; merely an extension, through repetition, of the simple type A, B, A which, in turn, is the basis of the fundamental structure known as the three-part form. This will later be studied in detail. It is evident to the musical sense how complete a feeling of coherence is gained by the return to A after the intervening contrast of the phrase B; evident, also, that this song is a perfect example of the principle of unity combined with variety.
We further cite a few examples from Scottish, Irish, French, Hungarian and Russian sources. They all illustrate quaint melodic intervals and an instinct for balance and symmetry.
WANDERING WILLIE
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This song[28]expresses that note of pathos often found in Scottishfolk-music and is noteworthy also because the lyric poet, Robert Burns, wrote for it words of which we give the first stanza.
WOULD GOD I WERE THE TENDER APPLE BLOSSOM
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This Irish tune[29]is certainly one of the most perfect that can be imagined, remarkable alike for its organic unity, gained by the frequent use of the first ascending motive, and for the manner in which the successive crises are reached. Note in particular the intensity of the final climax, in measure 13, attained by a repetition of the preceding phrase.
EN PASSANT PAR LA LORRAINE AVEC MES SABOTS
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This charming song[30]from Lorraine exemplifies that rhythmic vivacity and lightness of touch so characteristic of the French.
Observe the piquant effect, in the final phrase, produced by the elision of a measure; there being in the whole song 31 measures instead of the normal 32 (16 + 16).
Old Hungarian Folk-song
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Hungarian folk-music[31]is noted for its syncopated rhythm and its peculiar metric groupings. It is also often highly embroidered with chromatic notes; the Hungarian scale, withtwoaugmented intervals, being an intensification of our minor mode,e.g.
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Russia is fortunate in her musical inheritance; for not only has she a wealth of folk-songs, but her famous composers, Balakireff, Borodin and Rimsky-Korsakoff—who are men of letters as well—have published remarkable editions of these national melodies. The Russian folk-songs express, in general, a mood of sombreness or even depression—typical of the vast, bleak expanses of that country, and of its downtrodden people. These songs are usually in the minor mode—often with sudden changes of rhythm—and based on the old ecclesiastical modes, the Russian liturgy being very ancient and having an historical connection with that of the Greek church. The folk-music of no nation is more endowed with individuality and depth of emotion. Five characteristic examples are herewith cited:
I
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II
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III Harmonized by Rimsky-Korsakoff
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IV
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V
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This last melody is of particular significance, because Tchaikowsky has used it so prominently in the Finale of his Fourth Symphony.
The growing interest in folk-music in America is a tendency concerning which the progressive student should inform himself. For a national basis of creative work, our country has always been at a disadvantage in comparison with nations which, as their birthright, have much music in their blood. Moreover, with the exception of the tunes of the aboriginal Indians and the plantation melodies of the Negroes, it has been asserted that America could boast no folk-songs. Recent investigations have shown, however, that this is not entirely true. Cecil Sharp, Henry Gilbert, Arthur Farwell and other musical scholars have proved that there are several regions of our country, settled by colonists from England, Ireland and Scotland, where folk-songs exist practically in the condition in which they were first brought over. One of the best collections of such material is the set of so-calledLonesome Tunes from the Kentucky Mountains, taken down by Miss Lorraine Wyman and Mr. Howard Brockway directly from the mountaineers and other dwellers in that region. These melodies have great individuality, directness and no little poetic charm. It is certainly encouraging to feel that, in this industrial age, there are still places where people express their emotions and ideals in song; for a nation that has not learned to sing—or has forgotten how—can never create music that endures.
WE have traced, in the preceding chapter, some of the fundamental principles of design in musical expression, as they were manifested in the Folk-music of the different nations. All music of this type was homophonic,i.e., a single melodic line, either entirely unaccompanied or with a slight amount of instrumental support. Hence however perfect in itself, it was necessarily limited in scopeand in opportunity for organic development. Before music could become an independent art, set free from reliance on poetry, and could attain to a breadth of expression commensurate with the growth in other fields of art, there had to be established some principle of development, far more extensive than could be found in Folk-music. This principle[32]of "Thematic Development"—the chief idiom of instrumental music—by which a motive or a theme is expanded into a large symphonic movement, was worked out in that type of music known as the Polyphonic or many-voiced; and Polyphonic music became, in turn, the point of departure for our modern system of harmony, with its methods of key relationship and of modulation. As we have stated inChapter I, the principle of systematic repetition or imitation—first discovered and partially applied by the musicians[33]of the early French School and by the Netherland masters—finally culminated in the celebrated vocal works (à capella or unaccompanied) composed by Palestrina and his contemporaries for the Roman Catholic Liturgy. Up to this point the whole texture of music had been conceived in connection with voices; but with the development of the organ, so admirably suited for polyphonic style, and the perfection of the family of stringed instruments, the principles of polyphony were carried over and applied to instrumental treatment. The composer who, through his constructive genius, most fully embodied these principles[34]was John Sebastian Bach (1685-1750). We are now prepared to explain the characteristics of polyphonic music and then to analyze some typical examples from Bach and other polyphonic composers. The essential difference between homophonic and polyphonic style is implied by the termsthemselves. When there is but one melody, the skill of the composer and the attention of the listener are concentrated upon this single melodic line; and even if there be an accompaniment, it is so planned that the chief melody stands out in relief against it. The pre-eminence of this chief melody is seldom usurped, although the accompaniment often has interesting features of its own. As soon as we have more than one melody (whether there be two, three or still others) all these voice-parts may be of coequal importance, and the musical fabric becomes an interwoven texture of a number of strands. The genius and skill of the composer is now expended on securing life and interest for each of these voices—soprano, alto, tenor, bass—which seem to be braided together; and thus a much more comprehensive attention is required of the listener. For instead of the single melody in the soprano, or upper voice, of the Folk-song, we now must listen consciously to the bass and to both of the inner voices.[35]Too much emphasis cannot be laid upon the recommendation that, in appreciating music, the first task is to train the ear to a wide range of listening. These differences in style are often apparent just as a pattern of design—to be seen from the following examples:
Homophonic Style. Irish Folk-Song
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Polyphonic Style.Bach: Fugue in C Minor
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In the latter example it is evident that there is an interweaving ofthreedistinct melodic lines.
The polyphonic instrumental works of Bach and his contemporaries were called by such names as Preludes, Fugues, Canons, Inventions, Toccatas and Fantasies; but since a complete account of all these forms would lead too far afield, we shall confine ourselves to a description of the Canon, the Invention and the Fugue. A Canon (from the GreekΚανών, meaning a strict rule or law) is a composition in which there is aliteralsystematic imitation, carried out to the end, between two or more of the voices (often with subsidiary voices filling in), and may be considered a kind of musical dialogue in which the second, or answering, part reënforces the message previously uttered by the leading voice. This imitation may take place at any degree of separation; and Canons are in existence at the interval of the second, third, fourth, fifth, etc. The most effective Canons, however, are those in which the answering voice is an octave away from the leading one. Although the Canon is not a form employed frequently by modern composers for an entire composition, Canonic imitation appears so often in all large works for orchestra, string quartet or ensemble combinations, that the music-lover should acquire a certain ease in listening to a structure of this type. The Canon, moreover, is an integral factor in the style of César Franck, d'Indy and Brahms; and illustrations of its use abound in their works. The organ is particularly well suited to the rendition of Canons; since, by its facilities for tone-color, the two voices may be clearly contrasted. Those interested in organ literature should become acquainted with the following excellent examples: TheCanon in B-flat major, op. 40, by Guilmant; the 4th movement of theFifth Organ Symphonyby Widor; the Canon in B minor, op. 54, by Schumann; theCanon in F-sharp major, op. 30, by Merkel, and the set ofTen Canonic studies, op. 12, by G.W. Chadwick. In other fields of composition the following should be cited: The set ofPianoforte Pieces in Canon form, op. 35, by Jadassohn; a like set by Rheinberger, op. 180; theCanonic Vocal Trios, op. 156, by Reinecke and the famous Canon from the first act of Beethoven's operaFidelio. There is also a beautiful bit of Canonic imitation between two of the upper voices in the introduction of Berlioz'sCarnaval Romain Overturefor orchestra. One of the most appealing Canons in modern literature is the setting for soprano and barytone, by Henschel, of the poemOh that we two were Mayingby Charles Kingsley. This example alone would sufficiently corroborate the statement that the firmness of structure inherent in the canonic form is perfectly compatible with genuine freedom and poetry of inspiration. In the first movement of César Frank'sSymphony in D minor, at the recapitulation (page 39 of the full score) may be found a magnificent example of the intensity of effect gained by a canonic imitation of the main theme—in this instance between the lower and upper voices. Possibly the finest example of canonic writing in all literature is the Finale of César Franck'sSonata in A majorfor Violin and Pianoforte in which, for several pages, there is an eloquent dialogue between the two contrasting instruments. The movement is too long for citation but it should certainly be procured and studied. In the Trio of the Scherzo in Beethoven'sSeventh Sonata for Violin and Pianofortethere is a free use of canonic imitation which will repay investigation. Lastly, theAria with 30 Variations—the so-calledGoldberg Variationsof Bach—is a perfect storehouse of every conceivable canonic device.
A few standard examples are to be found in the Supplement. These should be played over and studied until they are thoroughly familiar—not only for the pleasure to be derived, but for the indispensable training afforded in polyphonic listening.
Ex. No. 9 Canon by Thomas Tallys (1510-1585).
Ex. No. 10 Canonic Variation by Schumann from theÉtudes Symphoniques.
Ex. No. 11 of Bach'sGoldberg Variations.
Ex. No. 12 Canon in B-flat minor, op. 38, Grieg.
Ex. No. 13 Canon in F-sharp major, op. 35, Jadassohn.
One of the most simple and direct types of polyphonic composition is the form known as theInventionin which, as the term implies, the composer—through hisinventive geniusand by means of the polyphonic devices of imitation and transposition—develops to a logical conclusion some short and characteristic motive. We are fortunate in having from Bach himself, that consummate masterof polyphony, two sets of such Inventions: fifteen for two voices, and fifteen for three. These flights of fancy—in which art so subtly conceals art—though originally composed for the clavichord and harpsichord (the precursors of the pianoforte), are very effective on our modern instrument and should be in the possession of every music-student.[36]A brief analysis is now given of the first one in the set for two voices, and Nos. 4, 8 and 10 in this set are particularly recommended for study; also Nos. 2, 6 and 14 among those for three voices. The opening motive
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is the foundation of the entire composition and is at once imitated, canonically, in the lower voice. Then the two voices play about, with figures clearly derived from the motive, until we reach, in measures three and four, a systematic downward transposition of the material. Such transpositions or shiftings up or down in pitch are calledSequences. They are very frequent in all polyphonic composition, give a strong sense of unity to melodic progression and are generally carried out in groups of three,i.e., the original figure and two repetitions. After the sequence the music naturally works toward the most nearly related key (the dominant) and in the seventh measure reaches in that key its first objective. These Inventions of Bach, as well as the Dance forms soon to be studied, are almost invariably in what is known asTwo-partform,i.e., the music consists of two main divisions, clearly marked off by cadences[37]; the first of which modulates to the dominant or some related key while the second part, starting in this key, works back to a final close in the home key. In Inventions it early became customary in the second part to begin with the same motive as the first—but in theoppositevoice. Thus we see, in the Invention now being discussed, that the seventh measure begins with the original motive in the bass which, in turn, is imitated by the Soprano—a process just the reverse of that in the opening measures.
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In pieces in this Two-part form the second portion is generally longer than the first; for the composer, by the time he has reached this second part, may consider the material sufficiently familiar to be expanded and varied by excursions into more remote keys, and by more intricate manipulations of the chief motive. In measure 11 we find a modulation to D minor and then, after some free treatment of the motive, we reach—in measure 15—a cadence in A minor. A long sequential passage brings us, through a modulation to the subdominant key of F major (in measures 18 and 19), to a strong closing cadence in the home key. It should be noticed that in this Invention and in some of the dance forms there is shown a strong leaning towards a tripartite division of the material as is indicated by thethreecadences in measures 7, 15 and 22. Since, however, the middle part is lacking in any strongcontrast—which is such an essential factor in the fully developed three-part form—it seems better to consider this piece, and others like it, as a tendency rather than as a complete embodiment of tripartite arrangement. It is expected that the music lover will take these Inventions for what they really are and not search in them for those notes of intense subjectivity and dramatic power so prevalent in modern music. They are merely little pieces—a "tour de force" in polyphonic ingenuity; music rejoicing in its own inherent vitality. Accepted in this spirit they are invigorating and charming.
The form in which polyphonic skill reaches its highest possibilities is the Fugue; and the immortal examples of this form are the Fugues of John Sebastian Bach, found in hisWell-tempered Clavichordand in his mighty works for the organ. The fundamental structure of a fugue is implied in the term itself (from the Latin "fuga"—flight); that is, in a fugue the main theme or subject is always announced in a single voice, and the remaining voices, appearing successively in accordance with definite principles of key-relationship, seem to chase each other about and to flee from pursuit. The several stratified entrances of the subject are relieved by intermediate passages called "Episodes." An Episode, as shown by the derivation (ἰπί ὁδός, bythe way), is something off the beaten path—a digression; and it is in these episodical portions of a fugue rather than in the formalistic portions that the genius of the composer shines forth. This is especially true of Bach, for almost any well-trained musician can invent a subject which will allow of satisfactory fugal treatment according to accepted usage; but no one save Bach has ever invented such free and fanciful episodes—so daring in scope and yet so closely connected with the main thought. The general effect of a fugue iscumulative: a massing and piling up of voices that lead to a carefully designed conclusion which, in some of Bach's organ fugues, is positively overwhelming. A fugue may be called a mighty crescendo, like the sound of many waters. There is a popular conception, or rathermisconception, that a fugue is a labored, dull or even "dry" form of composition, meant only as an exhibition of pedantic skill, and quite beyond the reach of ordinary musical appreciation. Nothing is farther from the truth, as a slight examination of musical literature will show. For we see that the fugal form has been used to express well-nigh every form of human emotion, the sublime, the tragic, the romantic; very often the humorous and the fantastic. When we recall the irresistible sparkle and dash of Mozart'sMagic Flute Overture, of the Overture to theBartered Brideby Smetana, of the Finale of Mozart'sJupiter Symphony, and of many of the fugues in theWell-tempered Clavichord, it is evident that to call a fugue "dry" is an utter abuse of language. It is true that there are weak, artificial and dull fugues, where the composer—frankly—had nothing to say and merely filled out the form; but the same may be said of every type of composition,i.e., among them all are examples inspired and—less inspired. This, however, is no indictment of the fugueper se, against which the only thing to be said is that it requires on the part of the listener an exceeding concentration. Some of the masterpieces of the world being wholly or partially in the fugal form, it is the duty of those listening to polyphonic music to train their powers to the same seriousness of attention expected and freely given in the appreciation of an oration, a drama or a cathedral. These latter manifestations of artistic expression, to be sure, are less abstract than the fugue and more closely related to daily life. Yet no effort is more repaying than the mental and emotional energy expended in listening to the interweavings of a good fugue; for, conscious of missing the periodic divisions of the Folk-song, we have to listen to more than one melody at a time. A fugue being a composition, as the French say, of"longue haleine," our attention, in order to follow its structure, must be on the "qui vive" every moment. The fugue, in fact, is an example of the intricate and yet organic complexity found in all the higher forms of life itself; and whenever a composer has wished to dwell with emphasis on a particular theme, he almost invariably resorts to some form of fugal treatment, strict or free. The most effective media for rendering fugues are the chorus of mixed voices, the organ (by reason of its pedal key-board always making the subject in the bass stand out majestically) and the stringed orchestra which, with the "bite" of the strings, brings out—with peculiar sharpness—the different entrances of the subject. The student should become familiar with standard examples in each of these classes and should, above all, seek opportunity to hear some of the organ fugues of Bach performed on a really fine instrument. A few well-known fugues are herewith cited in order to stimulate the student to some investigation of his own. In all the Oratorios of Handel and in the choral works of Bach, such as the B minor Mass, may be found magnificent fugues—as free and vital in their rhythmic swing as the ocean itself. Particular attention should be called to the fugue in the Messiah "And by His stripes we were healed." One of the most impressive fugues in modern literature is the à capella chorusUrbs Syon Unicafrom H.W. Parker'sHora Novissima. From among the organ works of Bach everyone should know the Fugues in G minor, in A minor, in D major[38]and the Toccata and Fugue in D minor. These have all been transcribed for the pianoforte by Liszt and so are readily available; they are often played at pianoforte recitals by Paderewski and other virtuosi. In hearing one of these masterpieces no one can remain unmoved or can fail to reverence the constructive genius which fashioned such cathedrals in tone. For orchestra we have the Prelude to Puccini's operaMadama Butterfly, and the beginning of the Prelude to the third act of Wagner'sMastersingers. There are striking fugal passages in Beethoven's Symphonies,e.g., the first movement of theHeroic Symphonyand the rollicking Trio of the Scherzo in theFifth Symphony. In more modern literature there is the fugal Finale to Arthur Foote'sSuite for Orchestraand in Chadwick'sVagrom Ballada humorous quotation of the theme from Bach'sG minor Fuguefor organ. One of the most superb fugues in free style is the last movement of César Franck'sPrelude, Choral and Fugue in B minorfor Pianoforte. Thismovement alone would refute all charges of dullness or dryness brought against the fugue by the unthinking or the unenlightened. A good fugue, in fact, is so full of vitality and demands suchactivecomprehension[39]on the part of the listener that it is not difficult to imagine where the dullness and dryness are generally found.
At this point by an analysis of a fugue from theWell-tempered Clavichord, let us explain some of the technical features in fugal structure. We shall then be in a position to understand the more subtle devices of fugal treatment and to appreciate more enthusiastically some additional comments upon Bach's style in general.
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This fugue in three voices begins with a graceful subject, announced in the upper voice. In the third measure this is answered by an imitation of the subject in the alto; while the opening voice continues with a contrasting part called the counter-subject.[40]As the whole subsequent fabric is organically derived from these two motives, both subject and counter-subject should be played frequently and so committed to memory. Observe also the contrasts in rhythm and melodic outline between the subject and counter-subject. In measures 4 and 5 we have a short sequential passage leading, in measure 6, to the third entry of the subject in the bass. Then after another sequential passage, which includes an emphatic assertion of the subject in the soprano (measures 11 and 12), we enter upon a long episode which leads, at measure 17, to our first objective point of rest—a cadence in C minor. With the entry, in this measure, of the subject in the alto we have an interesting example of what is termed "shifted rhythm;" the subject beginning on the third beat instead of the first, as at the outset. In the middle portion of the fugue we have two appearances of the subject in the related keys of C minor (measures 17 and 18) and G minor (measures 20 and 21). Then, following two very vigorous sequences, a modulatory return is made to the subject in the home key, and with its normal rhythm at measure 26. A repetition, in more brilliant form, of one of the previous episodes, in measures 31 and 32, gives a strong impression of unity; leading in measures 34 and 35 to a last appearance of the subject, with a beautiful change in one of the intervals (E-flat-G-flat). The closing measures establish the main tonality of E-flat major, rendered still more expressive by the counterpoint associated with the last chord. As to the general structure of this fugue, it is evidently tripartite, the first part A presenting the material, the second part B affording variety by modulating into different keys, and the third part A´ reasserting the material of A and bringing the composition to a logical close in the home key. (See Supplement Ex. No. 15.)
We should now acquaint ourselves with the more subtle devices of fugal treatment; although but one of these is employed in the fugue just studied, which is comparatively simple in structure. I. Inversion; the melodic outline is turned upside down while identity is retained by means of the rhythm,e.g.
Bach: 3rd English Suite
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Inversion
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An excellent example from an orchestral work is the theme of the third movement of Brahms'sC minor Symphony, the second phrase of which is an Inversion of the opening measures,e.g.
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II. Augmentation and Diminution; the length of the notes is doubled or halved while their metrical relativity is maintained,e.g.
Bach: Fugue No. 8, Book I
Theme
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Augmentation
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Bach: Fugue No. IX, Book II
Theme
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Diminution
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Augmentation is very frequent in modern literature when a composer, by lengthening out the phraseology of a theme, wishes to gain for it additional emphasis. Excellent examples are the closing measures of Schumann'sArabesque, in which the reminiscence of the original motto is most haunting,e.g.,
Motto
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Motto augmented
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the Finale of Liszt'sFaust Symphony, where the love theme of the Gretchen movement is carried over and intoned by a solo baritone with impressive effect,e.g.
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In augmentation
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Das ewig Weibliche
III. Shifted Rhythm; the position of the subject in the measure is so changed that the accents fall on different beats,e.g.
Bach: Fugue No. V, Book II
Subject
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Shifted
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IV. Stretto; (from the Italian verb "stringere," to draw close) that portion of a fugue, often the climax, where the entrances arecrowdedtogether,i.e., the imitating voice enters before the leading voice has finished,e.g.
Fuga giocosa,J.K. Paine, op. 41
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The effect is obviously one of great concentration and dramatic intensity—with a sense of impending climax—and its use is by no means limited to fugal composition; being frequently found in all large symphonic works of the classic and modern school. For a magnificent example of the climactic effect produced by a Stretto, witness the last part of Bach's Fugue in G major (see Supplement, Ex. No. 16).
Although there is considerable complexity in any complete fugue, and although it requires great concentration on the part of the listener, we should avoid thinking of the form as mechanical in any derogatory sense, but rather as a means to a definite artistic end. Certainly no greater mistake can be made than that of considering Bach, the supreme master of polyphonic writing, as too austere, too involved, for the delight and edification of every-day mortals. Bach means brook, and the name[41]is most appropriate; for Bach is a never ceasing stream of musical life, the fountain-head from which spring the leading tendencies of modern music. In these days when stress is laid on the romantic element in music, on warm emotional appeal, it is well to consider the quality so prevalent in Bach of spiritual vitality. Exactly because the romantic element represents the human side of music, it is subject to the whims of fashion and is liable to change and decay. Bach carries us into the realm of universal ideas, inexhaustible and changeless in their power to exalt. Schumann says that "Music owes to Bach what a religion owes to its founder"; and it is true that a knowledge of Bach is the beginning of musical wisdom. By some, Bach is considered dry or too reserved for companionship with ordinary human beings. Others carelessly assert that he has no melody. Nothing can be further from the truth than these two misconceptions. Bach surely is not dry, because his work abounds in such vitality of rhythm. As Parry says, in his biography, "No composer ever attained to anything approaching the spontaneity, freshness, and winsomeness of his dances, such as the gavottes, bourrées, passepieds and gigues in the suites; while many of his great choruses and instrumental fugues are inspired with a force of rhythmic movement which thrills the hearer with a feeling of being swept into space out of the range of common things." The charge of a lack of melody is the same which used to be brought against Wagner. Instead of there being no melody, it isallmelody, so that the partially musical, who lack the power of sustained attention, are drowned in the flood of melodic outpouring. A strong claim, in fact, may be made for Bach as apopularcomposer in the best sense of the term. Many of his colossal works, to be sure, are heard but seldom, for they require the most highly trained executive ability. But if the average music-lover will become familiar with the French and English Suites, with thePreludes and Fugues of theWell-tempered Clavichord, with some of the Violin Sonatas, he will find for his imagination and mental machinery a food which, once enjoyed, becomes indispensable. For his music has that greatest of qualities in art as in human relationships—it wears well andlasts. We all know that books which reveal everything at a first reading are soon thrown aside, and that people whose depth of character and sweetness of disposition we discern but slowly, often become our life-long friends. Music which is too easily heard is identical with that which is immediately forgotten. The first impulse created by any great work of art is our longing to know it better. Its next attribute is its power to arouse and hold our steady affection. These observations may be applied literally to Bach's music, which can be heard for a lifetime, never losing its appeal but continually unfolding new beauties. Furthermore, in Bach, we feel the force of a great character even more than the artistic skill with which the personality is revealed. In this respect Bach in music is quite on a par with Shakespeare in literature and Michael Angelo in plastic art. With many musicians, there is so disconcerting and inexplicable a discrepancy between their deeds as men and the artistic thoughts for which they seem to be the unconscious media, that it is inspiring to come into touch with one who rings true as a man whatever demands are made upon him; whose music is free from morbidity or carnal blemish, as pure as the winter wind, as elemental as the ocean, as uplifting as the stars. In Bach let us always remember the noble human traits; for the universal regard in which his work is held could never have come merely from profound skill in workmanship, but is due chiefly to the manly sincerity and emotional depth which are found therein. The revival of his works, for which the world owes to Mendelssohn such a debt, has been the single strongest factor in the development of music during the 19th century; and their influence[42]is by no means yet at an end, as may be seen from the glowing tributes paid to him by such modern composers as Franck, d'Indy and Debussy.[43]
Two additional fugues are now given in the Supplement (see Nos. 17 and 18) for the consideration of the student: theCat-Fugueof Domenico Scarlatti, with its fantastic subject (said to have beensuggested by the walking of a favorite cat on the key-board) and theFuga Giocosaof John Knowles Paine, (the subject of which is the well-known street-tune "Rafferty's lost his pig"). This latter example is not only a brilliant piece of fugal writing but a typical manifestation of American humor.
Several eulogies of the fugue are to be found in literature; three of the most famous are herewith appended.
Throughout, a most fantastic description of fugal style.