2007-06-07 16:02:26 UTC
impression that Fux is a very minor player. These sources were from
the next generation- the age of 'Empfindsamkeit'. These were the punk
rockers of their day who, like their counterparts today had neither
time nor patience for 'dray as dust' theories.
These writers tended to project their own views on to Bach instead
of presenting his view. The sources must be set into perspective by
The events in not just fugues but most all of Bach's music are
themes stacked in layers and put through permutations. Two themes
give double counterpoint, three themes give triple counterpoint with
six permutations. These take on a different mood as they pass through
Bach's usual key scheme. The quoted sources, as evinced from their
compositions, just didn't get it.
Haydn and Mozart had only a partial grasp of the principles of
double and triple counterpoint. Beethoven was frustrated with Haydn's
unsystematic approach to teaching it. Mozart discovered the '48' late
in life and it changed and enriched his works. Most of Mozart is
disfigured by lame 'Alberti' basses and came to recognize the
deficiency. Schubert came to the same conclusion about his own work.
The Fux 'Gradus' tells how to do it. Whoever disses Fux is
revealing his or her own amateurism.
I can compose a fugue in Bach's own musical language so I know what
I'm talking about.