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Pianoforte Sonata

<h3>JOHANN KUHNAU</h3> This remarkable musician was born, April 1660,[36] at Geysing, where his grandfather, who, on account of his religious opinions, had been forced to leave Bohemia, had settled. Already in his ninth year young Kuhnau showed gifts for science and art. He had a pleasing voice, and first studied under Salomon Krügner, and afterwards under Christian Kittel,[37] organist of the Elector at Dresden. His next teachers were his brother Andreas Kuhnau, Alexander Hering,[38] and Vin[Pg 39]cenzo Albrici. In 1680 the plague broke out at Dresden, and Kuhnau returned to his parents. He then went to Zittau with a certain Erhard Titius, who had been Praefectus at the Kreuzschule, Dresden, and received help from the court organist, Moritz Edelmann, also from the "celebrated" Weise. A motet of Kuhnau's was given at Zittau under his direction. After the death of Titius, Kuhnau resided for a time in the house of J.J. von Hartig, judge at Zittau. In 1682 he went to Leipzig, where D. Scherzer endeavoured to obtain for him the post of organist at St. Thomas'; Kühnel, however, was appointed. The latter died in 1684, and was succeeded by Kuhnau, who in 1700 also became cantor of St. Thomas'. He devoted much of his time to jurisprudence. Among other things, he wrote a curious satire, entitled Der musikalische Quacksalber, published in 1700. There remain in manuscript, Tractatus de tetrachordo and Introductio ad compositionem musicalem. Kuhnau had many pupils; we know of two who afterwards became distinguished men. The one was Christoph Graupner (1683-1760), who in 1710 became capellmeister at Darmstadt. In 1722, on the death of Kuhnau, Graupner,[39][Pg 40] who had been prize scholar under him, presented his testimonials, was examined, and seemed likely to become cantor as his teacher's successor. Meanwhile, however, John Sebastian Bach offered himself as candidate, and as Dr. Pepusch before Handel at Cannons in 1710, so did Graupner retire before his great rival. Mattheson, in his Ehren-Pforte (p. 410), tells us that "as a composer for the clavier, Graupner may rank as one of the best of his time." He wrote suites and sonatas for clavier. Johann Friedrich Fasch (1688-1758 or 9), the second pupil, soon after leaving Leipzig, where he had enjoyed Kuhnau's instruction from 1701-7, went to Italy, and on his return studied for a short time with Graupner. Fasch then filled various posts, until in 1722 (the very year indeed of Kuhnau's death) he became capellmeister at Anhalt Zerbst, where he remained until his death. His son, Carl Friedrich Christian, was the founder of the Berlin Singakademie. In 1756 Emanuel Bach had something to do with Fasch's appointment as clavecinist to Frederick the Great. The father, who was then seventy years of age, and who, like old Sebastian Bach, lived with the fear of God before his eyes, opposed the wish of his son to enter the service of the infidel king. Emanuel, who wished the younger Fasch to come to Berlin, wrote to the father to say "that in the [Pg 41]land over which Frederick the Great ruled, one could believe what one liked; that the king himself was certainly not religious, but on that very account esteemed everyone alike." Bach offered to take young Fasch into his house, and to preserve him as much as possible from temptation. With regard to Graupner, it would be interesting to know whether in any of his sonatas (the autographs of which are, we believe, at Darmstadt) he worked at all on Kuhnau's lines. And with regard to Fasch, one would like to know whether he ever conversed with Emanuel Bach about his father, who taught him theory, and about Johann Kuhnau, his father's renowned teacher. It is from such by-paths of history that one sometimes learns more than from statements showing how son descended from sire, and how pupils were directly influenced by their teachers. But it is as a musician that we are now concerned with Kuhnau, and, in the first place, as the composer of the earliest known sonata for the clavier. In 1695 he published at Leipzig— "Sieben Partien aus dem Re, Mi, Fa, oder Terzia minore eines jedweden Toni, benebenst einer Sonata aus dem B. Denen Liebhabern dieses Instrumenten zu gar besondern Vergnügen aufgesetzet." That is— Seven Partitas based on the Re, Mi, Fa, or minor third of each mode, together with a Sonata in B flat, for the especial gratification of lovers of this instrument. [Pg 42] With respect to this sonata, Kuhnau remarks in his preface: "I have added at the end a Sonata in B flat, which will please amateurs; for why should not such things be attempted on the clavier as well as on other instruments?" In such modest fashion was ushered into the world the first sonata for clavier, or, at any rate, the earliest with which we are acquainted.[40] Mattheson, in Das neu eröffnete Orchester (1713), speaks about the revival of clavier sonatas, so that it is not quite certain whether that B flat Sonata was actually the first.[41] During the seventeenth century, sonatas were written for various instruments, with a figured bass for the cembalo. It will, of course, be interesting to trace the influences acting upon Kuhnau. They were of two kinds: the one, Italian; the other, German. Corelli deserves first mention; and next, the Italian organist and composer, Vincenzo Albrici,[42] capellmeister to the Elector of Saxony from 1664-88, and afterwards organist of St. Thomas', Leipzig, who is known to have encouraged Kuhnau when young, and to have helped him to learn the Italian language. But German influence must also have been strong. Of Froberger special mention will be made later on. There was one [Pg 43]man, Diderich Becker, who published sonatas for violins and bass already in 1668, and these, if we mistake not, must have been well known to Kuhnau. Apart from the character of the music, the title of the work, Musikalische Frülings Früchte, and the religious style of the preface, remind one of Kuhnau's "Frische Früchte," also of his preface to the "Bible" Sonatas. It is curious to find the quaint expression "unintelligent birds" used first by Becker, and afterwards by Kuhnau. Let us describe briefly the above-mentioned B flat Sonata. The first movement is in common time, but the composer gave it no heading. It is generally supposed (Becker, Rimbault, Pauer) to be an Allegro; moderato might well be added, for the stately, Handelian-like (the anachronism must be excused) music will scarcely bear a rapid tempo. The movement opens with an eight-bar phrase, closing on the dominant. Then the music, evolved from previous material, passes rapidly through various related keys. After this modulation section there is a cadence to F major, and in this, the dominant key, something like a new subject appears, though it is closely allied to the first. A return is soon made to the principal key, but there is no repetition of the opening theme. After a cadence ending on the tonic (B flat), and two coda-like bars, comes a fugal movement, still in the same key. The vigorous subject, the well-contrasted counterpoint, the interesting episodes, and many attractive details [Pg 44]help one to forget the monotony of key so prevalent in the days in which this sonata was written. This, and indeed other fugues of Kuhnau show strong foreshadowings of Handel and Bach; of this matter, however, more anon. The counterpoint to the third entry of the subject is evolved from the opening subject of the sonata. The third movement consists of a fine Adagio in E flat, in the key of the subdominant and in three-four time. Then follows a short Allegro in three-four time, of polyphonic character. At the close of the movement Kuhnau has written the opening chords of the first movement with the words Da Capo. A similar indication is to be found in one of the "Frische Früchte" Sonatas. This repetition, also the third movement leading directly to the fourth, and the thematic connection mentioned above, would seem to show that the composer regarded the various sections of his sonata as parts of a whole. In addition, Kuhnau wrote thirteen sonatas. The "Frische Clavier Früchte," or "Sieben Suonaten von guter Invention u. Manier auf dem Clavier zu spielen," were published in 1696, and later editions in 1710 and 1724. In a quaint preface the composer tells us that in naming his "Fresh Fruits" "sonatas," he kept in mind all kinds of inventiones and changes (Veränderungen) by which so-called sonatas are superior to mere partitas. Already a century before this preface was written, Praetorius had distinguished between two classes of instrumental music: the one, grave; [Pg 45]the other, gay. The composer has also a word to say about the graces or ornaments, the "sugar which sweetens the fruits." In modern reprints of Kuhnau the sugar is sometimes forgotten.[43] These "Frische Früchte" were followed by six "Bible" Sonatas in 1700. The former, both as regards form and contents, are remarkable. Kuhnau was a man of deeper thought and loftier conception than Emanuel Bach, but he was fettered by fugal forms,[44] and was fighting against them much in the same spirit in which Beethoven, a century later, fought against sonata-form, in the most general sense of that term. Beethoven was not only the more gifted, but he profited by the experiments of his predecessors, and he enjoyed the advantage of a vastly improved technique; Haydn, Mozart, Clementi, and others were the stepping-stones by which he rose to higher things. Kuhnau's attempts at sonata writing were bold, often rugged; and his experiments in programme-music, extraordinary. The latter were soon forgotten, while the clever, clear-formed sonatas of Emanuel Bach served as a gratification to the age in which he lived, and as guides to the composers who followed him. The "Frische Früchte," standing between Corelli and Emanuel Bach, are [Pg 46]of interest. The fugal element is still strong; and we find, not so much the smooth style of Corelli as the vigorous style of Froberger and other composers of North Germany. In character of subject-matter and in form there is decided advance as compared with the B flat Sonata. Kuhnau still seems rather limited in figures, and therefore repeats himself;[45] then again his movements do not always show gradation of interest. Their order and number are, indeed, perplexing, and not always satisfactory. The 2nd Sonata, in D, for instance, commences with a fine Allegro, followed first by a short Adagio, commencing in the relative minor, and intermixed with short presto passages, and then by a lively movement in six-eight time. These three would form an admirable sonata, yet the composer does not end here. There is still another short Adagio, and a concluding movement; and in spite of some fine passages, these appendages form a decided anti-climax. Similar instances are to be found in the other sonatas. Now for a few words concerning their form. Some of the opening movements (for instance, those of Nos. 1, 2) are practically based on fugue-form, with which, by the way, sonata-form is allied. The first movement of No. 4, in C minor, is of interest, both in its resemblances to, and differ[Pg 47]ences from, modern sonata-form. It has four sections:— <div class="blockquot">a. Eleven bars, beginning and ending in C minor, and containing a characteristic theme. b. Eleven bars, beginning in E flat (i.e. relative major of opening key) and closing in G minor (i.e. key of minor dominant). It contains a theme rhythmically allied to the principal theme. This section is repeated. c. Nine-and-a-half bars, opening in C minor, and passing to, and closing in E flat. It contains imitative passages evolved from the principal theme. d. Exact repetition of first section, only with a close on the major chord. </div> The last movement of the 6th Sonata, in B flat, offers a still more striking resemblance to sonata-form; the various sections are better balanced; the middle or development section (with its close strettos) is particularly noticeable; also the recapitulation, which is not literal, as in the above example. The slow movements—occasionally very short—follow no particular plan. The fugal element is always more or less present, but some of the other movements have somewhat of a suite character; No. 6, indeed, opens with a Ciaccona. There is a certain formality about Kuhnau's music, and, for reasons already mentioned, he is occasionally monotonous. But there is an independent spirit running through his sonatas, and a desire to escape from the trammels of tradition which are quite refreshing. And there is a nobility in the style and [Pg 48]skill in the workmanship which remind us of the great Bach. There are, indeed, resemblances to Bach, also to Handel. Scheibe, in his Critischer Musikus, mentions Kuhnau, in conjunction with Keiser, Telemann, and Handel, as one of the greatest composers of the eighteenth century. The mention of Kuhnau together with Handel deserves note. The constant discoveries which are being made of Handel's indebtedness to other composers suggest the thought that perhaps Kuhnau was also laid under contribution. No one, we think, can hear the "Bible" Sonatas without coming to the conclusion that Handel was acquainted with the works of his illustrious predecessor. We will just place side by side three passages from the "Bible" Sonatas of Kuhnau with three from a harpsichord suite of Handel— <ANTIMG src="images/music012.png" alt=""Bible" Sonata, No. 2. Kuhnau." width-obs="299" height-obs="115" /> To hear this music (MIDI), click here. To view the Lilypond source file, click here.   <ANTIMG src="images/music013.png" alt="Collection I., Suite 7, Ouverture. Handel." width-obs="406" height-obs="116" /> To hear this music (MIDI), click here. To view the Lilypond source file, click here.   <ANTIMG src="images/music014.png" alt=""Bible" Sonata, No. 6. Kuhnau." width-obs="740" height-obs="180" /> To hear this music (MIDI), click here. To view the Lilypond source file, click here.  [Pg 49] <ANTIMG src="images/music015.png" alt="Collection I., Suite 7, Passacaille. Handel." width-obs="740" height-obs="161" /> To hear this music (MIDI), click here. To view the Lilypond source file, click here. <ANTIMG src="images/music016.png" alt=""Bible" Sonata, No. 6. Kuhnau." width-obs="740" height-obs="104" />  To hear this music (MIDI), click here. To view the Lilypond source file, click here. <ANTIMG src="images/music017.png" alt="Collection I., Suite 7, Passacaille. Handel." width-obs="740" height-obs="100" /> To hear this music (MIDI), click here. To view the Lilypond source file, click here.   It should be noticed that the three Handel quotations are all from the same suite. We do not mean to infer that the above passages 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:— <ANTIMG src="images/music018.png" alt="Vivace movement in Kuhnau's 6th Sonata" width-obs="740" height-obs="181" /> To hear this music (MIDI), click here. To view the Lilypond source file, click here.   [Pg 50] and on this, from The Magic Flute:— <ANTIMG src="images/music019.png" alt="from The Magic Flute" width-obs="740" height-obs="173" /> To hear this music (MIDI), click here. To view the Lilypond source file, click here.   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 passage in the Zauberflöte—of not having represented the passage 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 Früchte" 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." [Pg 51] Kuhnau's second (and, so far as we know, last) set of sonatas bears the following title:— Musikalische Vorstellung Einiger Biblischer Historien In 6 Sonaten Auf dem Klavier zu spielen Allen Liebhabern zum Vergnügen Verfüget 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 [Pg 52]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 assistance 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 illustration of the absolute necessity of words in certain cases; and that illustration is of particular interest, inasmuch as it points to still earlier, and possibly, clavier sonatas. "I remember," says our author, "hearing a few years [Pg 53]ago a sonata composed by a celebrated Chur-Fürst capellmeister, to which he had given the title, '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 [Pg 54]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 entitled "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:— <ANTIMG src="images/music020.png" alt="Goliath's theme" width-obs="184" height-obs="70" /> To hear this music (MIDI), click here. To view the Lilypond source file, click here.   Then follows a section in A minor. A Chorale represents the prayer to God 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 Böhm, organist at Lüneburg at the commencement of the eighteenth century. Next comes a little pastoral movement (C major, three-[Pg 55]four time) expressive of David's courage and of his confidence in God. Then a tone-picture is given of the encounter; the heavy tread of the Philistine is heard in the bass, while semiquaver passages, 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:— <ANTIMG src="images/music021a.png" alt="Battle between David and Goliath" width-obs="740" height-obs="664" /> [Pg 56] <ANTIMG src="images/music021b.png" alt="David and Goliath continued" width-obs="740" height-obs="323" /> <ANTIMG src="images/music021c.png" alt="Goliath falls" width-obs="740" height-obs="311" /> To hear this music (MIDI), click here. To view the Lilypond source file, click here.   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 passages 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 [Pg 57]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 principally objective; here, however, it is principally 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— <ANTIMG src="images/music022.png" alt="Kuhnau Bible Sonata No. 2" width-obs="461" height-obs="53" /> To hear this music (MIDI), click here. To view the Lilypond source file, click here.   Let not our readers be deceived by the word[Pg 58] "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 passages. 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) entitled "The Refreshing Melody from David's Harp." The following is part of David's soothing theme:— <ANTIMG src="images/music023.png" alt="David's theme" width-obs="222" height-obs="123" /> To hear this music (MIDI), click here. To view the Lilypond source file, click here.   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 principal key, it appears several times, and in succession, in the relative minor, then in the [Pg 59]minor key of the supertonic. The key of the subdominant enters with refreshing effect; after that, a return is made to the principal key, which continues until the close of the movement. Between each delivery of the theme, occur passages similar to the following:— <ANTIMG src="images/music024.png" alt="David's restlessness" width-obs="304" height-obs="85" /> To hear this music (MIDI), click here. To view the Lilypond source file, click here.   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, entitled "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 illustrative 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 [Pg 60]companions of Rachel: a short, quaint, and delicate movement in minor and in triple time. It commences thus:— <ANTIMG src="images/music025.png" alt="Bridal song" width-obs="741" height-obs="143" /> To hear this music (MIDI), click here. To view the Lilypond source file, click here.   A short section follows, full of rapid semiquaver passages 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 substituted 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:— <ANTIMG src="images/music026a.png" width-obs="748" height-obs="143" alt="Laban's deception" /> [Pg 61] <ANTIMG src="images/music026b.png" alt="Laban's deception" width-obs="754" height-obs="148" /> To hear this music (MIDI), click here. To view the Lilypond source file, click here.   And again— <ANTIMG src="images/music027.png" alt="Laban's deception" width-obs="736" height-obs="139" /> To hear this music (MIDI), click here. To view the Lilypond source file, click here.   The Fugue, short and vigorous, has a characteristic theme:— <ANTIMG src="images/music028.png" alt="Fugue" width-obs="742" height-obs="81" /> To hear this music (MIDI), click here. To view the Lilypond source file, click here.   A new section expresses Jacob's happiness until he discovers the deceit practised on him. The [Pg 62]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 naïvely orders the section descriptive of the wedding festivities to be repeated, to illustrate 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 God 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 entitled "Gideon, the Saviour of Israel." From a musical point of view it is the least interesting of the set, yet it contains some [Pg 63]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:— <ANTIMG src="images/music029.png" alt="Flight of the Midianites" width-obs="744" height-obs="153" /> To hear this music (MIDI), click here. To view the Lilypond source file, click here.   The 6th (and last) Sonata bears the title, "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 <ANTIMG src="images/music030.png" alt=""The Tomb of Jacob"" width-obs="738" height-obs="70" /> To hear this music (MIDI), click here. To view the Lilypond source file, click here.   [Pg 64] is then treated fugally, and with marked effect. Then comes the journey from Egypt to the land of Canaan. The bass, 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" passages, will give a good idea of the character of this section— <ANTIMG src="images/music031.png" alt="Journey from Egypt" width-obs="755" height-obs="345" /> To hear this music (MIDI), click here. To view the Lilypond source file, click here.   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 résumé of these "Bible" Sonatas, it will be seen that they have nothing in common with the ordinary sonata of the time in which they [Pg 65]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. I. The Combat between David and Goliath The portrait given in Scripture of great Goliath is something quite uncommon: a monster of nature appears, a giant, tall as a tree. Six ells will not suffice to measure his length; the high helmet of brass which he wears on his head makes him appear still taller; and the scaly coat of mail, the greaves of brass placed about his legs, together with the enormously heavy shield which he carries, also his strong spear, tipped with iron, like unto a weaver's beam, sufficiently show that he is of mighty strength, and that all these exceedingly heavy loads do not inconvenience him in the slightest. If the mere description of this man creates fear, how much greater will not the terror of the poor Israelites be when the living image of this their enemy appears before them. For he stands before them in his brazen armour, rivalling the sun in brilliancy, makes with the rustling of his armour a terrible din, and snorts and bellows as if he would devour them at one [Pg 66]mouthful; his words sound in their ears like dreadful thunder. He holds in contempt his enemies and their equipage, and demands that a hero be sent out to him from their camp; this combat is to show whose shoulders shall bear the yoke of bondage. By this means he imagines that the sceptre will soon pass from the Israelites to the Philistines. But a miracle is about to happen! When courage fails all the heroes of Israel, when the giant has only to show himself, to cause them to flee, when, also, the terrible warrior continues, according to his custom, to pour contempt on the enemy, David, a slim, courageous stripling, a simple shepherd-boy, then appears, and offers to fight the bully. He is accused of rashness. This, however, troubles David but little; he adheres firmly to his heroic resolution, and seeks audience of King Saul. By God's help, he had fought with a bear and a lion who had taken from him a lamb, had snatched the prey from the jaws of these cruel beasts, and, further, had slain them. Thus he hoped would end the struggle with this bear and lion of a Philistine. Strongly relying upon God, he advances towards the powerful giant, with a sling, and with some specially selected pebbles. Then the Philistines think to themselves, "Now will the great hero blow away the enemy like a speck of dust, or kill him as he would a fly." All at once Goliath becomes terrible in his rage, and raves, uttering frightful oaths at David, declaring that he is treated as if he were a dog, and that[Pg 67] David comes to him with shepherd's staff, and not with weapons worthy of a warrior. David, however, is fearless. He relies on his God, and prophesies to the enemy that, though without sword, spear, or shield, he will cast Goliath to the ground; that he will cut off his head, and leave his carcase as food for birds and wild beasts. Hereupon David rushes at the Philistine, wounds him in the forehead with a sharp stone cast from his sling, so that Goliath falls to the ground. Before he has time to rise, David, making use of his opportunity, slays him with his own sword, and bears away from the field of battle, the hewn-off head as a trophy of victory. As formerly the Israelites fled before the snorting and stamping of the great Goliath, so now flee the Philistines in consequence of the victory of young David. Thus they give opportunity to the Israelites to pursue them, and to fill the roads with the corpses of the slain fugitives. It is easy to imagine how great must have been the joy of the victorious Hebrews. In proof of it, we learn how women came forth from the cities of Judea, with drum, fiddle, and other musical instruments, to meet the victors, and sang alternately: "Saul hath slain his thousands, but David his ten thousands." Thus the sonata expresses— 1. The stamping and defying of Goliath. 2. The terror of the Israelites, and their prayer to God at sight of the terrible enemy. [Pg 68] 3. The courage of David, his desire to humble the pride of the giant, and his childlike trust in God. 4. The contest of words between David and Goliath, and the contest itself, in which Goliath is wounded in the forehead by a stone, so that he falls to the ground and is slain. 5. The flight of the Philistines, and how they are pursued by the Israelites, and slain by the sword. 6. The exultation of the Israelites over their victory. 7. The praise of David, sung by the women in alternate choirs. 8. And, finally, the general joy, expressing itself in hearty dancing and leaping. II. David curing Saul by means of Music Among the heavy blows dealt to us at times by God, for holy reasons, are to be counted bodily sicknesses. Of these one can in a real sense say that they cause pain. Hence the invention of that physician of Padua was by no means ridiculous, who thus represented in picture-form, over his house-door, the various sicknesses: a man attacked by many dogs and gesticulating wildly, through pain. To each of these dogs was given a name, and each acted accordingly. The dog, Gout, was biting the man's foot; the dog, Pleurisy, his [Pg 69]loins; Stone, his kidneys; Colic, his belly, and so on. Finally, a great sheep-dog, representing daily fever, had thrown the man to the ground. The inventor could easily have known (for that he did not require any special experience) that sicknesses act upon men in a manner not less gentle. By the exercise of patience, pain can at length be conquered, although the soul, so intimately combined with the body, must feel it not a little. But when the soul is attacked by sickness, patience always gives way; for bodily, cannot in any way be compared with mental, suffering. Inner anguish shows itself in restless gestures. Scripture takes us into a lazaretto of such afflicted persons. Among others, we meet with a royal and singular patient. Saul is his name. Of him we read: "The spirit of the Lord departed from Saul, and he was vexed by an evil spirit from the Lord." Where God is absent, and the Evil One present, there must dwell all manner of evil. The hateful aspect of this man in his paroxysms of pain can readily be imagined. His eyes turn the wrong way, and sparks of fire, so to speak, dart out one after the other; his face is so disfigured, that human features can scarce be recognised; his heart casts forth, as it were, a wild, stormy sea of foam. Distrust, jealousy, envy, hatred, and fear burst forth from him. Especially does the javelin, constantly flying from his hand, show that his heart rages fiercely with anger. To sum up: his soul-sickness is so great that [Pg 70]the marks of hellish tortures can be clearly traced. At lucid intervals (lucidis intervallis) or quiet hours, the tortured king realises his indescribable evil; and he therefore seeks after a man who can cure him. But under such extraordinary circumstances can help be hoped for? From human arts, Saul could not expect any salvation. But God sometimes works wonders among men. So he sends to him a noble musician, the excellent David, and puts uncommon power into his harp-playing. For when Saul, so to speak, is sweating in the hot bath of sadness, and David plays only one little piece, the king is at once refreshed, and brought into a state of repose. Thus the sonata represents— 1. Saul's sadness and madness. 2. David's refreshing harp-playing, and 3. Tranquillity restored to the king's mind. <hr style="width: 65%;" /> [Pg 71] <h2>CHAPTER III</h2> <div style="break-after:column;"></div>

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