The Permutation Fugue and Johann Sebastian Bach's Compositional Development Matthias Röder Harvard University [email protected] Matthias Röder | [email protected]

The Permutation Fugue and Johann Sebastian Bach's Compositional

Development

Matthias RöderHarvard University

[email protected]

Matthias Röder | [email protected]

The 14th Biennial International Conference on Baroque MusicQueens University Belfast, July 1, 2010


Overview

1. The Permutation Fugue

2. Compositional Challenges

3. Permutation Fugues in the Early Cantatas

4. Implications for Chronology and Authenticity?


The Permutation Fugue

The Five Principles1

1. Voices must enter successively

2. Voice entries alternating on tonic and dominant

3. Fixed sequence of subjects4. Little or no free counterpoints5. Multiple / invertible

counterpoint

T D T D T D T D T

B

T

A

S

{ …..

Fugue

1 Walker1989


T D T D T D T D T

B

T

A

S

{Fugue

Compositional Challenges

1. Harmonic Diversity

2. Large-Scale Development

3. Integration

…?

How does Bach address these challenges in the permutation fugues of his early cantatas?

Central Question


BWV Cantata Title Performance Date or Chronology

Movement or Section Title

71 Der Herr ist mein König February 4, 1708 “Muß täglich von neuem”“Dein Alter sei wie deine Jugend”

196 Der Herr denket an uns Early, possibly in Mühlhausen on stylistic grounds1

“Er segnet das Haus Israel”

150 Nach dir, Herr, verlanget mich

Early, but authenticity and chronology debated2

“Denn er wird meinen Fuß“

208 Was mir behagt, ist nur die muntre Jagd!

February 27, 1713 “Lebe, Sonne dieser Erden”

182 Himmelskönig sei willkommen

March 25, 1714 “Himmelskönig sei willkommen”“So lasset uns gehen in Salem der Freuden“

21 Ich hatte viel Bekümmernis

June 17, 1714 (or earlier?)

“Daß er meines Angesichtes”“Lob und Ehre und Preis und Gewalt”

63 Christen, ätzet diesen Tag

December 15, 1714 “Höchster schau in Gnaden an”

Permutation Fugues in Bach’s Early Cantatas

1 Dürr 1977. Küster 1996 for a differing opinion.2 Schering 1913 and Rifkin 2005. See also Glöckner 1988 and Dürr 1977.

Basic use

Experimen-tation

Full inte-gration


“Muß täglich von neuem” (BWV 71)

Analytical Remarks• Picture book permutation fugue. Standard employment of the technique• Instruments fill-in when voices drop out. Later on, instruments double

voice entries creating an impressive increase in sound• Fugue is contained in a multi-part movement, but thematically not

connected to surrounding sections

B

T

A

S

vc

vla

v II

v I

tr

* Permutation scheme based on Neumann 1950


“Dein Alter sei wie deine Jugend” (BWV 71)

B

T

A

S

{Analytical Remarks• First step towards incorporation of permutation subjects into the

larger movement context• Fourth subject is fixed only rhythmically. Pitch content is variable• Used in combination with variations of the third fugue subject for

the transition between the fugue expositions and for the ending



Combination and Variation of Fugue Subjects for Transition

Source: NBA I/32.1


“Er segnet das Haus Israel” (BWV 196)

Analytical Remarks• Further refinement of instrumentation strategies as well as

exploration of harmonic shifts• Irregularities in permutation scheme result from Bach’s idea to

double voice entries with instruments in corresponding range• Real answer in Comes results in harmonic shift to subdominant

B

T

A

S

vc

vla

v II

v I



Real Answer in Comes Results in Harmonic Shift to Subdominant

SubdominantTonic


“Denn er wird meinen Fuß“ (BWV 150)

• Combination of permutation fugue with non-fugal violin solo. First step towards fusion of permutation principle with other techniques

• Violin transition linking the fugue directly to preceding section. There is however, no thematic connection

• Dux and Comes are overlapping

Analytical RemarksB

T

A

S

bsn

v II

v I



Summary Pre-Weimar Fugues

• All fugues have at least one complete exposition• If fugues are integrated into larger movements, there is

no thematic connection

Four Compositional Strategies1. Insertion of instrumental voices to fill gaps between

vocal expositions2. Instrumental doubling of voice parts to vary texture and

increase sound3. Increase harmonic diversity by employing the “wrong”

Comes4. Inclusion of non-fugal material


“Lebe, Sonne dieser Erden” (BWV 208)

Analytical Remarks• First vocal exposition is not complete in order to pace

movement• Incorporates Permutation Fugue into Da-Capo Form• Non-permutation-fugue sections contain fugue subjects

as well, binding the fugue more closely into the movement at large

B

T

A

S

Bsn + vc

v II

v I

b.c.

vla



Permutation Fugue Subject in Instrumental Interlude and B-Section

Source: NBA I/35


“Himmelskönig sei willkommen” (BWV 182)

• Da-Capo movement that contains a variety of fugal and canonic techniques

• Permutation fugue is basis of entire movement, providing structurally important material

• For example: uses permutation subject to signify arrival of new key in B-section of Da-Capo form

Analytical Remarks

B

T

A

S

vla I

v I

vla II

vc

fl



Uses permutation subject to signify arrival of new key in B-section of da-capo form

Source: NBA I/8.2


“So lasset uns gehen in Salem der Freuden“ (BWV 182)

• Seamless integration of permutation fugue into Da-Capo movement. First instance in which permutation fugue subject is used for Ritornello

• Furthermore: harmonic shift to subdominant widens harmonic space before launching into closing group.

Analytical Remarks

B

T

A

S

vla I, II, vc

v I

fl

S



“Lob und Ehre und Preis und Gewalt” (BWV 21)

• Combines the permutation principle with free fugal sections and a concertizing section between the solo, tutti, as well as instrumental choirs

Analytical Remarks

B

T

A

S

bsn

v II

v I

vla



“Höchster schau in Gnaden an” (BWV 63)

• Similarity to BWV 150:1. Connection to preceding section

2. Overlapping of voice entries


Overlapping of Dux and Comes

trp.

......

......

...

Dux

Comes

Comes

Source: NBA I/2


Pre-Weimar• All fugues have at least

one complete exposition• Seldom integrated into

larger context• If so, there is no

thematic connection• Experimentation with

use of free counterpoint within permutation fugue

Weimar• First fugue exposition is

often cut off• Always connected to

larger context• Close thematic

connection between sections

• Free counterpoint used to connect permutation fugue with preceding or following section

Comparison


Some Implications?

• Chronology of BWV 196– Full exposition, use of instrumentation, harmonic

experimentation all point to pre-Weimar practise

• Authenticity of BWV 150– Overlapping of Dux and Comes (also in “Höchster schau in

Gnaden an“)– Transition from free section to fugue (also in “Daß er meines

Angesichtes“ and „Höchster schau in Gnaden an“)

• Chronology of BWV 150– High degree of experimentation in permutation fugue

excludes earliest composition– Lack of thematic integration does not point towards Weimar

period, however


References

Carl Dahlhaus, “Zur Geschichte der Permutationsfuge,” Bach-Jahrbuch 46 (1959): 95–110.

Alfred Dürr, Studien über die frühen Kantaten Johann Sebastian Bachs, 2nd ed. (Wiesbaden: Breitkopf & Härtel, 1977).

Andreas Glöckner, “Zur Echtheit und Datierung der Kantate BWV 150 'Nach dir, Herr, verlanget mich‘,” Bach-Jahrbuch 74 (1988): 195–203.

Konrad Küster, “Eine frühe Bach-Kantate und ihr Kontext,” Musik und Kirche 66 (1996): 84–96.

Matthias Röder | [email protected] are available from http://matthias.zeitschichten.com/belfast

Werner Neumann, J. S. Bachs Chorfuge. Ein Beitrag zur Kompositionstechnik Bachs, 2nd ed., Bach-Studien 3 (Leipzig: Breitkopf & Härtel, 1950).

Joshua Rifkin, “Bachs erste Kantate,” (presented at the Bach Colloquium, Cambridge, Mass, 2005).

Paul Walker, “Die Entstehung der Permutationsfuge,” Bach-Jahrbuch 75 (1989): 21–41.

Arnold Schering, “Die Kantate Nr. 150 "Nach dir, Herr, verlanget mich",” Bach-Jahrbuch (1913): 39–52.

NBA = Neue Bach-Ausgabe (Kassel: Bärenreiter)

Documents

The Permutation Fugue and Johann Sebastian Bach's Compositional Development Matthias Röder Harvard University [email protected] Matthias Röder | [email protected]