IMportant Fugue Sve Imaaaaaa
IMportant Fugue Sve Imaaaaaa
IMportant Fugue Sve Imaaaaaa
by
T e r e n c e R. Kroetsch
Faculty of Music
iii
I would like to thank Dr. Jack Behrens, my advisor, f o r
invaluable support, advice and assistence. Many thanks go t o
Dr. Richard Semens for h i s last minute dedication to this
project and f o r the m a n y lessons learned. Much of my approach
was informed and inspired by D r . Catherine N o l a n , and for t h i s
I am grateful.
Introduction 1
CHAPTER 1: Shostakovich and the Prelude and Fugue 7
Opus 87 - An Overview 7
Conclusion 108
BIBLIOGRAPHY 128
VITA 137
Introduction
3 ~ u g u sKlengel
t (1783-1852), German pianist, organist and
composer. He was a student of Clementi and admired by Chopin.
considered.
This structural and stylistic discussion of Opus 87 will
be prefaced by a brief exploration of the evolution of the
prelude genre (from the early keyboard praeludium to the
preludes of Chopin, Debussy, and Shostakovichfs own 24
Preludes, Opus 3 4 ) , the fugue and the codification of fugal
procedures (from Zarlino to Marpurg), as well as the prelude
and fugue as a paired structure.
Examination of Shostakovichfs Opus 87 facilitates our
understanding of this mid-twentieth-century Soviet composer
w h o was struggling with and stepping away from Soviet ideology
and its emphasis on the extramusical message, and moving into
the realm of absolute music. His experience at the Bach
festival encouraged Shostakovich to indulge his love of J.S.
Bachfs music and, indeed, his interest in counterpoint and
fugue. There are many instances of fugal expositions in
earlier works of ~hostakovich~,
but prior to Opus 8 7 , he had
not composed a full-scale work exploiting a specific model,
nor were there large-scale excursions into neo-Baroque
compositional styles. He had, however, written one collection
of twenty-four preludes (Opus 34) for piano, responding to the
precedents of Chopin, Debussy and Scriabin. Given his devotion
to the works of these composers, as evidenced in his
performances of them in his recitals, there can be little
f .
edited by Julien ~ u s aia
Shostakovich appeared to be sufficiently satisfied with
Opus 87 to arrange the Prelude and Fugue Number 15 (D-flat
major) f o r 2-pianos ( [Op. 87B 1 9 6 3 1 as well as the Prelude and
Fugue Number 8 (F-sharp minor) f o r orchestra [Op. 87C.
published 1990). It was uniformly ignored by performers until
t h e recordings of Sviatoslav Richter ( - 6 0 and Roger Woodward
(1975) aroused attention. Only in the present decade have
. ..You can meet young people who try to prove that melody
in music has lost the right to exist and that i t s place
is now being taken by new music - 'dodecaphony,* t h e
music of noises. I t is hard for a normal person to
understand what the word dodecaphony' means, but
apparently it means t h e same as cacophony-' Well, we
flatly reject this cacophonous music. Our peo le can't
use this garbage as a t o o l of their ideology.'P
Two months after Opus 8 7 was completed, Shostakovich
performed it in a private recital at the Soviet Union of
Composers in Moscow, --April and again in May, 1 9 5 1 . T h e first
public performance was not given until December, 1952, over
the evenings of the 23rd and 28th in the small Glinka Hall in
2 4 ~ h New
e G r o v e Dictionary of Music and Musicians, S.V.
"Jewish Musicn by Eric Werner.
LS~oachimBraun, T h e Double Meaning of Jewish Elements in
Dimitri Shostakovich' s MusicM . Musical Ouarterlv 71 (1985 ,
76.
15
d Testirnonv, I S 6 .
2 6 ~ i t e in
example) .33
Tchaikovskyfs folk song collections (Fiftv Russian Folk
Says for pianoforte 4-hands (1868-9 , Childrenfs Ukrainian
and Russian Folksonas (two books: 1872, 1877) and 66 Russian
Folk Sonas (voice and piano, 1872) display a number of
elements of Russian folk songs: quintuple meter (displayed as
changing meters usually 3/4 to 2/41 as well as predominantly
stepwise motion (melodic perfect fourths when there are
leaps), modal scale structures and small melody ranges. These
characteristics can be found throughout Opus 87 and are
detailed in the selected preludes and fugues analyzed in
Chapter 3.
''~efer to Appendix C.
26
(1631), three groups of 12 fugues presented in open score f o r
dominant.
Various aspects of Bach's p r e l u d e s and f-ques such as
motivic development, form, texture, and dance scyle appear to
have interested Shostakovich. The preludes from WTC 1 contain
consistent motivic development as well as rnotivic links
between prelude and fugue; therein l i e s much or their interest
f o r listeners, performers and scholars. The n o t i v i c unity
between Bach's preludes and fugues has been argued by Wilhelm
Wercker in h i s Studien fiber d i e Svrnrnetrie im Bau der Fuqen
(Leipzig, 19221, where he asserts that w h i l e it is c e r t a i n
28
I Piece Piece
(alto/soprano).
The similarity between the subject of fugue Number 7 WTC
-
I1 in E-flat major and the C major fugue of Opus 8 7 is
remarkable: they are both 4-voice fugues with note values of
primarily quarter, half, whole or t i e d notes and feature
suspensions throughout (Shostakovich suspending over the bar
and Bach over the f i r s t and second b e a t ) .
Table 1.3.
VOrCES
- -
Shostakovich Op. 87
2 voice = 1 (No-9)
3 voice = 11 (No.2,3,5,7,8,11,14,~6,19,21,23)
4 voice = 11
(No.&, 4,6,10,12,15,17,18,20,22,24)
5 voice = 1 (No.13)
Bach WTC I
2 voice = 1 (N0.10)
3 voice = 11 (N0.2,3,6,7,8,9,11,13,15,19,21)
4 voice = 10 (No.&, 5,12.14.16,17,18,20,23.~)
5 voice = 2 (N0.4~22)
Bach WTC I1
2 voice = 0
3 voice = 15
(N0.1,3,4,6,10,11,12,13,14,15,18,19,20,21,24)
4 voice = 9 (No.2,5,7,8,9,16,~7,22,23)
5 voice = 0
T a b l e 1.4
FUGAL PROCEDURES in WTC I
I
OJTC 1 Procedure Fugue
Countersubject all but
NOS.^,^, 8,10,IS,16,19,20,22
23
Tonal Answer Nos.2,3,7,8,11,12,13,,16,17
18,19,21,22 23, 24
I ~tretto Nos.1,4,6,8,11,15,16,22,24
--- --
I1 Augmentation
Diminution
N0.8
10
I11 inversion
Coda
Nos.4,8,14,15,20
1all but NO. 14.16
Tonic Pedal ( i n the final Nos.1,2,4,6,20
section)
Dominant Pedal (in the Nos.4,20,24
final section)
I1 Counter Exposition
Tierce de Picardi*
Nos~1,4,9,11,15,18
Double Fugue
* w h w a fugai p remains a stylistic f e r n
of t h i s form
Table 1 . 5
FUOAt PROCEDtlRES IM OPUS 87
ghoatakovich Om. 87
Procedure
countersubjectn a l l fugues
[Countersubject being a
consistent and recurring CS
1 throughout the cycle with
some free use of new and
non-recurrinq CS1
Nos.5,10,14,17,21,23,24
(both exnositions)
Real answer
----- - - - - - --
Stretto Nos.1,2,3,4,5,7,8,9,10,11
12,13,14,17,
- -
18,22
Augmentation Nos. 10,12,11,13,IS,16,20,24
Diminution
- -
No. 13
nversion/retrograde Nos.6,7,9,1Or11,14
Coda Nos. 3.14
A section)
- - - - .
Fugue-Meter: Total
l 3 (Triple)
2 (Duple)
l (2/2) Nos.4,22
6 (Duple (6/4) N0.14 (6/8)
Com~ound) No. IS
9 (Triple
Com~ound)
12 (Quadruple
com~ound)
-
-- - . - - -
T a b l a 1.7
Meter: in Bach WTC I1
r l
11 Prelude--Meter Number of Prelude Total
Nos. 1,2,3,8,16,18, 8
- - - - - - -
20,23
3 (Triple) ( 3 / 4 ) Nos.6,9,13, 8
14,15, 17 ( 3 / 8 )
N0.10 ( 3 / 2 ) N0.11
(2/2 or 12/81 No.5 4
( 2 / 2 ) Nos. 22,24
(2/4) N0.12
6 (Duple
compound) I I
9 (Triple
12 (Quadruple
Compound)
Numberr o f Fugue Total
C (Quadruple) Nos. 2,3,6,8,14,16,
I
17,19,20
3 (Triple)
( 6 / 8 ) No-18 (6/16)
No. 11
9 (Triple
Compound)
12 ( Q u a d r u p l e
Compound)
- - - - - - -
Total
C (Quadruple1 Nos.2,3,4,9,10,20,
21,23
3 (Triple) (3/4)
Nos.1,5,6,12,15,16
18,19,22,24
2 (Duple) (2/4) No.8 ( 2 / 2 )
Nos.ll,17
6 (Duple (6/8) No.13
Compound)
9 (Triple
Compound)
L
Fugue-Meter Numbel: o f E'ugue Total
C (Quadruple) Noso4,16,20
13 (Triple) I Nos.6,8,9,10,14,15
- - - - -- . .
2 (Duple) (2/4)
Nos.2,S,ll,l3,18
(2/2) Nos.1,7,23
6 (Duple (6/8) N0.3
Compound)
9 (Triple
--
compound)
- - --
12 (Quadruple
Compound)
1rregular S / 4 Nos. 12,17,19
Constantly NosoE,16,20
P
changing meters
Preludes and Nos.4,6,11,13*,IS,
Fugues with 20,22,24
shared m e t e r s + distinguished
shared meters with
one being
compound, the
other simple
Shortest I honge.6
I: Prelude 18 measures 104 measures
(No.ll) (N0.3)
(NO.l&5) (N0.4)
(N0.16) (N0.10)
I
WTC 11 : Fugue 27 measures (No.6 ) 143 measures
(No.18)
b
I 66 measures (No.9 )
I 296 measures
5 8 ~ r a lBedbrook,
d Kevboard Music from the Middle Aaes to
the Becrimincrs of the Baroaue (New York: Da Capo Press, 1973) ,
55. Schlick' s S~ieaelder Oruelmacher und Oraanisten (1511)
and its practical complement Tablaturen etlicher lobcresanq
(1512) contained repertoire which, while usually woven around
a cantus firmus, contains passages of imitation as well as
canonic versets. Schlick was a German organist and composer
and Kofmainer was a composer and organist in Austria.
contrapuntal devices such as proportional rhythms, florid
additions, inversions, contrary motion, augmentations and
diminution^.^ Original usage of the term ricercare was
reserved for a piece of preludial character for lute or
keyboard instrument. Works of this tme developed in such
keyboard collections as those of Cavazzoni and Ortiz," first
to include, then to feature imitation. This form reached a
high level of complexity--tonally and in terms of the amount
and complexity of imitation--with the ricercares of
Frescobaldi, Froberger , Krieger, Pachelbel and
6 0 ~ a v a z o ~ i 'Recerchari,
s motetti, canzoni ...libro ~rirno
(Venice, 1523 ) . Marco Antonio Cavazzoni (cl49O-lS6O) was an
Italian keyboard composer. Diego O r t i z , Spanish theorist and
composer (1510-~1570)published his Trattado de slosas in
Rome, 1553.
6 1 ~ hNew
e G r o v e Dictionarv of Music and Musicians, s . v .
l1RicercareWby John Caldwell.
%lf red Ma=, The Studv of Fume (New Brunswick, N. J . :
Rutgers University Press, 1958) , 19.
49
C h o ~ i nPreludes On. 2 8
Christoph ~ e s s l e r ~Chopin's
, c o l l e c t i o n w a s to stana as a
modern addendum to Bachfs "48" but without t h e accampanying
*~igeldinger,Jean-Jacques. C h o ~ i n :P i a n i s t and T e a c h e r .
Cambridge: Cambridge University Press, 1986, 60.
74AlanWalker ed. , The C h o ~ i nCornDanion (New York: Norton,
1966), 116.
1 9 4 3 ) , 157.
prelude quotes directly from Chopinfs Opus 28 Number 2 0 by
placing the melody in the middle of the right hand chords
throughout.
Scriabin stands unique in t h i s group of composers in his
lack of interest, even disdain, for the music of Bach. Of
Koussevitskyfs conducting a complete cycle of Bachfs large
ensemble works in Moscow (1914), Scriabin felt it was
"completely unnecessary. " A feud on this point, involving
Scriabin, Koussevitsky and Rachmaninoff, ensued.
Shostakovich was familiar, both as performer and
composer, with the preludes of fellow Russian Sergei
Rachmaninoff whose Opus 23 (10 Preludes) was published in 1903
and thirteen mare preludes, Opus 32, were published in 1910.
The famous C-sharp minor prelude Opus 3 Number 2, the first to
be written (1892), rounds out most coLlections of Rachmaninof f
preludes bringing the total to 24. These works were regularly
performed by Vladimir Horowitz (debut 1921) , Sviatislav
Richter (debut in 1939) and Rachmaninoff h i m s e l f . While
Rachmaninoff's Variations on a Theme of C h o ~ i nOp.22 (1902-31,
employing the Op.28 Number 2 melody and harmony, is an obvious
homage to Chopin, one can find many relationships to Op. 28 of
Chopin in the Op.23, Op.32 and C-sharp minor preludes."
The Rachmaninoff Preludes differ from Chopin's Op.28 in
major).
Another connection between these three collections is
t h e concern shown by the composer for tonal structure. Chopin,
- - - - - - -- ---
-
Y 1 Starting
Pitch
I Ending
Pitch I FUGUE Starting
Pitch
Ending
Pitch
tonic tonic
I2 I tonic I tonic
- - - - - - - -
I dominant tonic
-
lir----
I tonic
- - I dominant I tonic tonic
4 tonic dominant tonic dominant
subject
.
I
4 tonic dominant tonic tonic
subject
2
15 I tonic I tonic I tonic dominant
I7
tonic
I tonic
II dominant
tonic
- II tonic
tonic
super-
tonic
tonic
I", mediant
tonic
1 dominant 1 tonic
tonic
tonic
I
tonic
tonic
dominant
tonic
tonic
tonic
24
subject 1
I tonic
I mediant
I 24
subject 2
dominant tonic
f r o m WTC I.
Example 3.a. Bach WTC I Prelude m e t 1 am. 1-2
-. --
r* .-- -- - - - - - ---
-- ----
---__,
-
---- - , : y u - : - =
.-
%~etronome
markings are a l l by Shostakovich.
74
I accompanied single-
line anticipating
I( return of 5-voice
eighth notes minor
texture - - -- - - - - - - - - --- - - - -
midpoint of piece
Section 3 resumption of
(2 phrases mm. 35- quarter/dotted- and return of C
4 2 andmm. 43-58, quarter/eighth major material
recapitulation rhythrn
on E (111) ~hrygian m. 40
on B ( V I I ) locrian m. 48
dorian m. 66 I
on F (IV) lydian m. 87
107.
Aaswet Scale
Degree of
Entrv
entry real dominant
point -
m. 8 ,
tenor
I
Tonal Areas for Fugue:
Structural Sections :
I:C major (mm. 1-40), modal -
(mm. 41-78 see entry chart
above), 1:C (mm. 79-107)
Exposition: mm. 1-33
Middle Section: mm. 33-79
Final Section: mm. 79-107
I ~irninution II
Beginning m. 80, the stretto
is introduced in the upper 2
parts. At m. 87, the lower 2
parts have the stretto while
the upper parts have free
material. At m. 99 an
incomplete stretto appears
between t h e soprano and bass.
submediant pedal ( tenor) mm ,
96-100
tonic pedal mm. 102-107
I Inversion
I ==lgth
Range
I
Voice I ~eatures 1I
I il
11
alto, mm. 24 notes, 7 6th alto rests,
measures, start: focus o n
14 beats tonic dominant,
end : tonic repetition
staccato
v s . slurs
- -
Type Scale
Voice Degree of
i n i t i a l CS has descending
legato l i n e and sustained
pitches (mm. 8-14) and recurs
m. 33,40,52,59,75,82,98
- second CS first appears mm.
r
19-24 (alto) and recurs m.
---
33,40.59,75,98,134
Tonal Areas for Fugue:
. . - - - --- -
4 bars, 22 asymmetri-
notes, 18 start: cal
beats tonic subject ,
end : rests,
mediant chromatic -
ally
altered
ea
Scale
Degree of
II
real
The E-flat lasts f o r two bars (mm. 100-1011 under which a "CW
.I - - -
- - - - - - - -- - -- --
Answer/ Scale
Voice Degree of
R
entry t o n a l (only dominant
point - m. first p i t c h
7, tenor a1tered)
Voice Errtrier f o t
Exposition: No.1 - bass rn. 1 w i t h
BTAS (same as Fugue No, 1 C anacrusis, No.2 - tenor m. 7,
ma jor) N0.3 - alto m. 17, No.4 -
soprano m. 23
CS 1 has a range of a path and
suspensions. appearing first
at mm. 7-12 and recurring
CS 2 has a range of a pSth and
appears at mm. 17-22
dorian on D (1-661, aeolian on
C (67-991, E major (100-111)
S t r u c t u a l Sections: first m o a i t i o n : 1-28
subject area mm. 1-110 Middle Section: 29-60 (cadence
in F)
Final Section:60-98, coda 100-
110 repeated cadential
material in V kev (A)
IPedal P o i n t
-
T a b l e 3-13. Opus 87 Fugue Number 24: Second Subject Uea -
Exposition etaa ails ( 111-217 A-f lat tonalitv)
-
I1 soprano I 1
II Pedal Point
Kessles 24 Preludes .
(N.D , prior to Chopin8e Opus
28)
prelude i n F ( 1 8 9 1 )
10 Preludes, Opus 23 (1903-4)
13 Preludes, Opus 32 ( 1 9 1 0 )
Prelude ( 1917
Liadov 2 Preludes, Opus 41 (1896)
Tolstoy, Dmitri 12 Preludes (ND)
12 Preludes Opus 63 ( 1 9 0 0 )
Individual preludes as well as individual
fugues are found within
Opp.19,34,42,74 between 1 8 8 4 and 1 9 0 5
Pianist
I D a t e of
Recording I Tempo
I Length in
Minutes/Second
s
Shostakovich 1952 h a l f note = CZ*221
924
Nikolaeva 1962 half note = E2.283
92+
Nikolaeva 1987 h a l f note = C2'401
929
Nikolaeva 1991 half note = [ 2 ' 271
921F
Pertacarolli 1964 quarter = 138 r3.211
I
Publication of
Werkmeister ' s
temperament treatise
Orcrelnrobe
misc-including fugue
(C-B-flat/c-b)
Speth, Johannes mama. large
(1664-1720) collection including
Augsburg many studies and
toccatas
1696/1787 Murschhauser, Franz Octi-tonium no-
Xaver orsanicum and
(1663-1738) Prototman lonqo-
Miinich breve oraanicum [a 91 ,
pedagogical fantasies
and fugues w i t h a
wide variety of
subjects, written on
psalm tones and based
on plainsong melodies
ttibeck, Vincent 7 preludes and fugues
(1654-1740) K,c, d.E.F,G,g) -
Hamburg virtuosic
Krieger , Johann Anmutioe Clavieriibunq
(1652-1735) [?I a collection of
Zittau ricercares, preludes,
and fugues of which
Handel was
particularly fond
Kirchoff, Gottfried L' ABC musical :
(1685-1746) Praeludia und Fuoen
Halle aus allen Tenen [241 ,
shows influence of
Fischer: imitative,
free melismatic upper
line. A pupil of
Pachelbel.
Heinichen, Johann Kleines harmonisches
(1683-1729) Labvrinth, spuriously
Leipzig/Dresden included in the Bach
catalogue as BWV 5 9 1 ,
moves through remote
keys
Anonvmous I 3
B u l l , John 13 11
Farnaby, Gilles (c.1560- 1
c.1640)
Anonvmous 4