The Permutation Fugue and Johann Sebastian Bach's Compositional Development

1. The Permutation Fugue and Johann Sebastian Bach's Compositional Development The 14th Biennial International Conference on Baroque Music Queens University Belfast, July 1, 2010 Matthias Röder Harvard University roeder@fas.harvard.edu Matthias Röder | roeder@fas.harvard.edu

2. Overview The Permutation Fugue Compositional Challenges Permutation Fugues in the Early Cantatas Implications for Chronology and Authenticity? Matthias Röder | roeder@fas.harvard.edu

3. The Permutation Fugue The Five Principles1 Voices must enter successively Voice entries alternating on tonic and dominant Fixed sequence of subjects Little or no free counterpoints Multiple / invertible counterpoint Fugue { S A T ….. B T D T D T D T D T • 1 Walker1989 Matthias Röder | roeder@fas.harvard.edu

4. Fugue …? { S A T B T D T D T D T D T Compositional Challenges Harmonic Diversity Large-Scale Development Integration Central Question How does Bach address these challenges in the permutation fugues of his early cantatas? Matthias Röder | roeder@fas.harvard.edu

5. Permutation Fugues in Bach’s Early Cantatas Basic use Experimen- tation Full inte- gration 1 Dürr 1977. Küster 1996 for a differing opinion. 2 Schering 1913 and Rifkin 2005. See also Glöckner 1988 and Dürr 1977. Matthias Röder | roeder@fas.harvard.edu

6. “Muß täglich von neuem” (BWV 71) tr v I v II vla vc S A T B 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 Matthias Röder | roeder@fas.harvard.edu * Permutation scheme based on Neumann 1950

7. “Dein Alter seiwiedeineJugend” (BWV 71) { S A T B 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 Matthias Röder | roeder@fas.harvard.edu * Permutation scheme based on Neumann 1950

8. Combination and Variation of Fugue Subjects for Transition Source: NBA I/32.1 Matthias Röder | roeder@fas.harvard.edu

9. “Ersegnet das Haus Israel” (BWV 196) v I v II vla vc S A T B 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 Matthias Röder | roeder@fas.harvard.edu * Permutation scheme based on Neumann 1950

10. Real Answer in Comes Results in Harmonic Shift to Subdominant Tonic Subdominant Matthias Röder | roeder@fas.harvard.edu

11. “Denn er wird meinen Fuß“ (BWV 150) v I v II bsn S A T B Analytical Remarks • 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 Matthias Röder | roeder@fas.harvard.edu * Permutation scheme based on Neumann 1950

12. 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 Strategies • Insertion of instrumental voices to fill gaps between vocal expositions • Instrumental doubling of voice parts to vary texture and increase sound • Increase harmonic diversity by employing the “wrong” Comes • Inclusion of non-fugal material Matthias Röder | roeder@fas.harvard.edu

13. “Lebe, SonnedieserErden” (BWV 208) v I v II vla Bsn + vc S A T B b.c. 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 Matthias Röder | roeder@fas.harvard.edu * Permutation scheme based on Neumann 1950

14. Permutation Fugue Subject in Instrumental Interlude and B-Section Matthias Röder | roeder@fas.harvard.edu Source: NBA I/35

15. “Himmelskönigseiwillkommen” (BWV 182) fl v I vla I vla II vc S A T B Analytical Remarks • 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 Matthias Röder | roeder@fas.harvard.edu * Permutation scheme based on Neumann 1950

16. Uses permutation subject to signify arrival of new key in B-section of da-capo form Source: NBA I/8.2 Matthias Röder | roeder@fas.harvard.edu

17. “So lasset uns gehen in Salem der Freuden“ (BWV 182) fl v I vla I, II, vc S A T B S Analytical Remarks • 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. Matthias Röder | roeder@fas.harvard.edu * Permutation scheme based on Neumann 1950

18. “Lob und Ehre und Preis und Gewalt” (BWV 21) v I v II vla bsn S A T B Analytical Remarks • Combines the permutation principle with free fugal sections and a concertizing section between the solo, tutti, as well as instrumental choirs Matthias Röder | roeder@fas.harvard.edu * Permutation scheme based on Neumann 1950

19. “Höchsterschau in Gnaden an” (BWV 63) • Similarity to BWV 150: • Connection to preceding section Overlapping of voice entries Matthias Röder | roeder@fas.harvard.edu

20. Overlapping of Dux and Comes Dux trp. Comes . . . . . . . . . . . . . . . Comes Source: NBA I/2 Matthias Röder | roeder@fas.harvard.edu

21. Comparison Pre-Weimar 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 • 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 Matthias Röder | roeder@fas.harvard.edu

22. 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 Matthias Röder | roeder@fas.harvard.edu

23. 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. • Werner Neumann, J. S. Bachs Chorfuge. Ein Beitrag zur Kompositionstechnik Bachs, 2nd ed., Bach-Studien 3 (Leipzig: Breitkopf & Härtel, 1950).   • Joshua Rifkin, “BachsersteKantate,” (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) Matthias Röder | roeder@fas.harvard.edu Slides are available from http://matthias.zeitschichten.com/belfast Matthias Röder | roeder@fas.harvard.edu