The Pianoforte Sonata Part 3

It should be noticed that the three Handel quotations are all from the same suite. We do not mean to infer that the above pa.s.sages from Handel are plagiarisms, but merely that the Kuhnau music was, unconsciously, in his mind when he wrote them.

C.F. Becker, in his _Hausmusik in Deutschland_, has suggested that these sonatas were known also to Mozart, and begs us to look on this picture, the opening of a Vivace movement in Kuhnau's 6th Sonata:--

[Music ill.u.s.tration]

and on this, from _The Magic Flute_:--

[Music ill.u.s.tration]

Faisst, however, justly observes that though the harmonic basis is the same in both, with Kuhnau the under-part is melody, whereas with Mozart it is the reverse. He also accuses Becker--and justly, as readers may see by turning to the pa.s.sage in the _Zauberflote_--of not having represented the pa.s.sage quite honestly. Reminiscence hunters need to be very careful.

In these sonatas, as compared with the one in B flat, the thematic material is of greater importance; and so, too, in the slow movements the writing is simpler and more melodious.

The rapid rate at which they were composed deserves mention. Kuhnau seems to have had the ready pen of a Schubert. In the preface to these "Frische Fruchte" he says: "I wrote these seven sonatas straight off, though attending at the same time to my duties (he was _juris practicus_, also organist of St. Thomas'), so that each day one was completed. Thus, this work, which I commenced on the Monday of one week, was brought to an end by the Monday of the following week."

Kuhnau's second (and, so far as we know, last) set of sonatas bears the following t.i.tle:--

Musikalische Vorstellung Einiger Biblischer Historien In 6 Sonaten Auf dem Klavier zu spielen Allen Liebhabern zum Vergnugen Verfuget von Johann Kuhnauen.

That is--

Musical Representation of some Bible Stories In 6 Sonatas To be performed on the Clavier For the gratification of amateurs Arranged by Johann Kuhnau.

Kuhnau was not the originator of programme-music. In the so-called _Queen Elizabeth Virginal Book_,[46] in the Fitzwilliam Library, there is a Fantasia by John Munday, who died 1630, in which there is given a description of weather both fair and foul. Again, Froberger, who died in 1667, is said to have been able, _on the clavier_, to describe incidents, ideas, and feelings; there is, indeed, in existence a battle-piece of his. And then Buxtehude (_d._ 1707) wrote a set of seven Suites for clavier, in which he is said to have represented the nature and characteristics of the planets; these are, unfortunately, lost. With Froberger's music, at any rate, Kuhnau was familiar. In a long preface to these Bible stories, the composer refers to the subject of programme-music. He reminds us how from ancient times musicians have tried to rival the masters of rhetoric, sculpture, and painting in terms of their own art. And he expressly refers to programme pieces, and even to sonatas by the "distinguished Froberger[47] and other excellent composers." The essence of his long, elaborate, and, at times, somewhat confused argument (it must be remembered that he was discussing a very difficult subject; and, also, that he was the first to write about it) is as follows:--He believes music capable by itself of producing wonderful effects, but in special cases, requiring the a.s.sistance of words. Music, he tells us, can express sadness or joy; for that no words are necessary. When, however, some individual--as in his sonatas--is referred to, words become essential, _i.e._ if one is to distinguish between the lamentation of a sad Hezekiah, a weeping Peter, or a mourning Jeremiah. In other language, words are necessary to render the emotion definite. Kuhnau gives a quaint ill.u.s.tration of the absolute necessity of words in certain cases; and that ill.u.s.tration is of particular interest, inasmuch as it points to still earlier, and possibly, clavier sonatas. "I remember," says our author, "hearing a few years ago a sonata composed by a celebrated Chur-Furst capellmeister, to which he had given the t.i.tle, 'La Medica.' After--so far as I can recall--describing the whines of the patient and of his relations, the running of the latter to the doctor, the pouring forth of their sorrow, there came, finally, a Gigue, under which stood the words, 'The patient is progressing favourably, but has not quite recovered his health.' At this some mocked, and were of opinion that, had it been in his power, the author might well have depicted the joy at a perfect recovery. So far, however, as I could judge, there was good reason for adding words to the music. The sonata commenced in D minor; in the Gigue there was constant modulation towards G minor. At the final close, in D, the ear was not satisfied, and expected the closing cadence in G." In this wise was the partial recovery expressed in tones, and explained in words.

Except for the unmistakable seriousness of the author, this description might be taken as a joke, just as in one of the "Bible"

Sonatas the deceit of Jacob is expressed by a deceptive cadence; but such extreme examples serve to emphasise the author's declaration that, at times, words are indispensable. Before noticing the sonatas themselves, one more quotation in reference to the same subject must be made from this interesting preface. The humblest scholar, Kuhnau tells us, knows the rule forbidding consecutive perfect consonances, and he speaks of certain strict _censores_ who expose the clumsiness of _musical poets_ who have refused to be bound by that rule. "But,"

says Kuhnau, in lawyer-like language: "_Cessante ratione prohibitionis cessat ipsa prohibitio_." The term _musical poets_ (the italics are ours) is a remarkable one; Kuhnau himself, of course, was one of them.

Philipp Spitta, in his _Life of J.S. Bach_, devotes one short paragraph to the Bible stories, and gives one or two brief quotations from the second; but they certainly deserve a longer notice.

The 1st Sonata is ent.i.tled "The Fight between David and Goliath." It opens with a bold section, intended, as we learn from a superscription, to represent _the bravado of Goliath_. The giant's characteristic theme, on which the whole section is built, is as follows:--

[Music ill.u.s.tration]

Then follows a section in A minor. A Chorale represents the prayer to G.o.d of the terrified Israelites, while the palpitating quaver accompaniment stands for the terror which seized them at sight of the giant; the harmonies are very striking. This Chorale setting should be compared with one by Bach (Spitta's _Life of Bach_, English edition, vol. i. p. 216), said to owe its existence to the influence of Georg Bohm, organist at Luneburg at the commencement of the eighteenth century. Next comes a little pastoral movement (C major, three-four time) expressive of David's courage and of his confidence in G.o.d. Then a tone-picture is given of the encounter; the heavy tread of the Philistine is heard in the ba.s.s, while semiquaver pa.s.sages, evolved from a figure in the preceding movement, evidently portray the spirited youth. One realistic bar scarcely needs the explanation given by Kuhnau that it is the slinging of the stone which smote the Philistine in his forehead; and the same may be said of the "Goliath falls" in the following bar:--

[Music ill.u.s.tration: Il combattere fra l'uno e l'altro, e la loro contesa. Vien tirata la selce colla frombola nella fronte del gigante. Casca Goliath.]

This section, limited to sixteen bars, is not only an early, but a notable specimen of programme-music; it is realistic, but not in the least ridiculous. Rapid pa.s.sages with points of imitation tell of the flight of the Philistines. A bright movement (still in C) bears the superscription, "The joy of the Israelites at their victory"; in it there is an allusion to the pastoral movement. Maidens then advance, with timbrels and instruments of music, to meet the victor, and the sonata concludes with a stately Minuet, similar in character to the Minuet in the Overture to Handel's _Samson_; the people are dancing and singing for joy.

The 2nd Sonata presents to us a very different picture. Here we have the melancholy of Saul driven away by means of music. There are a few realistic effects, such as the paroxysms of madness of Saul, and the casting of the javelin; but the subject is one which readily lends itself to real musical treatment. The music of the 1st Sonata was princ.i.p.ally objective; here, however, it is princ.i.p.ally subjective. In the first part of the work the music depicts, now the sadness, now the rage of the monarch. The opening is worthy of Bach, and presents, indeed, a foreshadowing of the opening of the 16th Prelude of the "Well-tempered Clavier." Spitta mentions the fine fugue, with the subject standing for the melancholy, the counter-subject for the madness of the king; and he justly remarks that these two images of Saul "contain the poetical germ of a truly musical development." The "dimly brooding" theme of the fugue brings to one's mind the "Kyrie eleison" fugue of Mozart's _Requiem_; also the theme of the Allegro of Beethoven's Sonata in C minor (Op. 111), notwithstanding the fact that Kuhnau's is slow and sad, but Beethoven's, fast and fiery. Here is the first half of the former--

[Music ill.u.s.tration]

Let not our readers be deceived by the word "fugue." The movement is no mere formal scholastic piece of writing such as one might expect; the preluding of David on his harp, the "javelin" episode, the paroxysms of rage give to it rather the character of a free fantasia.

One word with regard to the paroxysm pa.s.sages. We quoted above a sentence from the preface respecting the violation of the rule respecting consecutive consonances by certain "poet musicians."

Kuhnau, under this plural mask, was, as we have mentioned, certainly referring to himself, for in another part of the preface he specially calls attention to the consecutive fifths by which he depicts the disordered mind of King Saul. This first movement, opening in G minor, ends on the chord of G major. We now come to a movement (B flat) ent.i.tled "The Refres.h.i.+ng Melody from David's Harp." The following is part of David's soothing theme:--

[Music ill.u.s.tration]

At first it is not heard in its entirety. The sweet singer of Israel plays it, or sometimes only the first two bars, in various keys, and with varied harmonisation, as if watching the king and trying the effect on him of different modulations. Besides in the princ.i.p.al key, it appears several times, and in succession, in the relative minor, then in the minor key of the supertonic. The key of the subdominant enters with refres.h.i.+ng effect; after that, a return is made to the princ.i.p.al key, which continues until the close of the movement.

Between each delivery of the theme, occur pa.s.sages similar to the following:--

[Music ill.u.s.tration]

as if to denote the restlessness of the king. And as the character of the music, especially towards the close, suggests _piano_ and _pianissimo_, it would seem as though intended to express the gradual healing power of the music. As a piece of abstract music, the movement appears long, but not if the dramatic situation be kept well in mind.

At length the sounds of the harp cease, and a closing, peaceful, and dignified movement in G minor tells of Saul's now tranquil state of mind.

The 3rd Sonata, ent.i.tled "The Marriage of Jacob," opens with a delightful Gigue; over it stands the superscription, "The joy of the family of Laban at the arrival of their relation Jacob." The beginning of the second section has, as usual, the subject inverted. The music is gay and sparkling. Then comes a section ill.u.s.trative of Jacob's seven years' service for a wife. The music expresses effort and fatigue, but by way of musical contrast sprightly bars intervene from time to time, to represent happy moments when the lovers meet. Further on we have the bridal-song of the companions of Rachel: a short, quaint, and delicate movement in minor and in triple time. It commences thus:--

[Music ill.u.s.tration]

A short section follows, full of rapid semiquaver pa.s.sages and points of imitation (such a mode of procedure is frequently adopted by the composer); and then comes a sudden change in the character of the music. No _tempo_ is marked, but, evidently, it must not be rapid. It is a tone-picture of the deception practised by Laban upon Jacob when he subst.i.tuted Leah in place of Rachel. At first, it is a free recitative. A quotation of a few bars will give a good idea of the extraordinary harmonies and rhythmical figures:--

[Music ill.u.s.tration]

And again--

[Music ill.u.s.tration]

The Fugue, short and vigorous, has a characteristic theme:--

[Music ill.u.s.tration]

A new section expresses Jacob's happiness until he discovers the deceit practised on him. The exact moment of displeasure is indicated by a superscription; the latter, however, was scarcely necessary--the notes speak for themselves. For there are reminiscences of the Laban recitative, of the fugue theme, and also (in augmentation) of the counter-subject. This is, indeed, an early instance of the employment of representative themes. The composer then navely orders the section descriptive of the wedding festivities to be repeated, to ill.u.s.trate the second marriage of Jacob with the beloved Rachel.

The 4th Sonata deals with Hezekiah's mortal sickness and recovery. It is shorter than the preceding ones, and of simpler structure. It opens with slow, sad music: the prophet of G.o.d has summoned the king to prepare for death. His ardent prayer to heaven is naturally expressed by a well-known Chorale, supported by most effective polyphonic harmony. After a short thematic working of a figure from the Chorale, the latter is submitted to fresh treatment: the movement (in six-four time) somewhat resembles the old Corrente. The sonata concludes with a lively movement in binary form. It is intended to depict the king's joy at his recovery. There are a few bars _adagio_ in each section: Hezekiah recalls the past. This is the only one of the sonatas which, as abstract music, would be satisfactory without any programme.

No. 5 is ent.i.tled "Gideon, the Saviour of Israel." From a musical point of view it is the least interesting of the set, yet it contains some curious programme effects. It will be remembered that a sign from heaven was given to Gideon: the fleece was to be covered with dew, but the ground to remain dry; the next night, however, the order of things was reversed. Kuhnau expresses the latter by giving a theme in _contrary motion_. This may almost be described as punning in music. The composer, however, meant it seriously; from the tone of his preface, and the narration, with comments, which he has prefixed to each sonata, in addition to the explanatory words over the music itself, it is clear that his aim was to elucidate and intensify the Bible stories by means of his art. He was a man, apparently, of deep religious belief.

The battle-picture is a curiosity, but, as music, of little value. The flight of the Midianites is depicted in the following primitive manner:--

[Music ill.u.s.tration]

The 6th (and last) Sonata bears the t.i.tle, "The Tomb of Jacob." We have, at first, mournful music: the sons of the Patriarch are standing round the deathbed. At length Jacob dies, and they "ponder over the consequences of the sad event." A quiet, expressive theme

[Music ill.u.s.tration]

is then treated fugally, and with marked effect. Then comes the journey from Egypt to the land of Canaan. The ba.s.s, progressing in quavers, expresses motion. From time to time a curious syncopated semiquaver figure is heard in the upper part: it may be intended to represent sobbing. The following quotation, including one of these "sobbing" pa.s.sages, will give a good idea of the character of this section--

[Music ill.u.s.tration]

A short, solemn phrase is headed, "The Burial of Israel." Then a finely worked-out fugal section depicts the great grief of the bystanders. It is in four parts, but in one place the addition of a fifth part and stretto treatment render the feeling of grief more intense. A peaceful closing section in the major key and in triple time expresses the consoled minds of the survivors.

From this _resume_ of these "Bible" Sonatas, it will be seen that they have nothing in common with the ordinary sonata of the time in which they were written. They were bold attempts at programme-music; and, as we have already said, the form is entirely determined by the subject-matter.

In the old edition of these "Bible" Sonatas, in addition to the preface of which we have made mention, Kuhnau has related the Bible stories in his own characteristic language. We give a translation of the first two, as specimens.