[Smt-talk] Readings
Olli Väisälä
ovaisala at siba.fi
Thu Dec 8 05:36:40 PST 2011
Mark Anson-Cartwright wrote
>
> I'd like to recommend a publication that would most readily be
> called a work of historical musicology, one that engages with
> theory in a compelling way, namely, Laurence Dreyfus's _Bach and
> the Patterns of Invention_ (Harvard University Press, 1996). The
> first chapter, in particular--"What Is an Invention?"--should be
> essential reading for any student doing analytical work on Bach.
>
>
I would like to add that, apart from its merits, Dreyfus's book
offers an illustrative negative example of a kind of one-sidedness
that often mars musical discussion. I am referring to authors who,
arguing for the musical aspect they are concerned with, combine such
arguments with the unjustified dismissal of complementary aspects,
which may lie outside their expertise. Such arguments seem to
manifest excessive confidence that their limited purview matches the
multidimensional richness of music such as Bach's.
Dreyfus's book is characterized by the strong antagonism he sees
between his "mechanist" approach and the "organicist" Schenkerian
approach and by the concomitant attempts to downplay the
significance of harmony and voice-leading. While this tendency is
most clearly evident in his explicit anti-Schenkerian essay in
chapter 6, its symptoms are already evident in chapter 1.
In ch. 6, Dreyfus argues against the Urlinie concept on the basis
that it "seems counterintuitive to imagine that the work that went
into the invertible permutations was not *the primary* motor behind
the deepest structure of the piece [C-minor Fugue from WTC I]" (p.
178, my emphasis). This is one of several passages in which Dreyfus
seems to fail to consider the possibility that "mechanist" and
"organicist" viewpoints might offer complementary illumination for
Bach's art (a consideration I think is extremely pertinent for its
nature). Dreyfus's argument is a bit similar as if we tried to
dismiss the significance of syntactic construction in a poem by
arguing that the work that went into the rhyme scheme is *primary*.
Chapter 1 includes similar more or less unfruitful attempts to
determine whether "mechanist" or voice-leading considerations are
*primary* for each compositional decision. Discussing C-major
Invention, Dreyfus explains (p. 14) that "the adjustments in the
treble in m. 8 therefore resulted neither from artistic whimsy nor
from a desire for variation but from a need to replace the result of
a faulty transformation." Leaving aside that his preceding discussion
about this "mechanist" explanation is itself hard to make sense of, I
would question whether we should, in general, assume that each of
Bach's compositional solutions "results from" from a single factor.
Rather, they tend to fulfill several functions at once, and this is
essential to his contrapuntal genius. While the adjustment in
question – the transpositional level of the thematic figure at the
latter half of m. 8 – may improve local verticalities (Dreyfus's
explanation), it also enabled Bach to build a stepwise ascending
voice-leading progression (G–A–B–C–D) towards the ^2 (albeit, not the
Urlinie ^2), in parallel with the opening C–D–E ascent towards the ^3.
There are also several details in Dreyfus's book that suggest that
his attempts to downplay the significance harmony and voice leading
may partially stem from his defective command of these aspects. For
example, his Example 1.3 (p. 16) includes a reduction in which the
beginning D of the left-hand statement of the theme figure in m. 5 is
reduced out and the passing E shown instead, despite the significance
of the D as the root of the V7/V and despite the lucid parallelism
and registral connection between this statement and the one that
establishes the tonic in m. 1.
Olli Väisälä
Sibelius Academy
ovaisala at siba.fi
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