The Bach selections upon the present program include three preludes and fugues, those of C-sharp major, C minor, and G major, all from the first volume of the "Clavier." There is no necessary connection between the prelude and the fugue following, except that in Bach's idea they somehow corresponded or contrasted in such a manner that they could be heard agreeably in connection.
The prelude in C-sharp, which opens the program, consists of a long leading idea (eight measures) which is repeated completely six times in the course of the work. After it has been heard four times,—in the keys of C-sharp, G-sharp, D-sharp minor, and A-sharp minor,—it is relieved by a modulatory interlude, constructed out of new material (measures 33 to 46). Then the original theme is resumed in the subdominant of the principal key (F-sharp major) and is given entire in the original key of C-sharp, the repetition being exact. In measure 63 the conclusion begins. It consists of a pedal point upon G-sharp, treated very pleasantly, and relieved and developed in measures 75 to 91 by interesting matter of a more impassioned character. At measure 91 the pedal figure returns, and is abandoned only at measure 101, after which the end speedily follows. (Before playing the piece have the parts played and explained separately, each division as here marked, and then the whole prelude entire.) The work as a whole is singularly light and pleasing.
The fugue is built upon the subject in the soprano at the beginning, running two measures. This subject is repeated entire ten times, and fragments are used over and over again.
In immediate contrast with this work is placed the so-called "Moonlight Sonata"—the title affixed not by Beethoven but by some fanciful writer. The first movement of this is quite as much a monody as anything of Bach's, but with a difference. Little is attempted in the way of modifying the harmony of the theme except to carry it through several different keys, nor is there much accessory matter employed as filling. It is practically a song,—an ode if you like,—of a melancholy, grieving character. Its structure will be understood by aid of the following analysis: It begins with a prelude of four measures, after which the leading idea enters in the key of C-sharp minor, closing in E-major, four measures. After a measure of accompaniment the subject resumes in C major, proceeding immediately to B minor, after a cadence in which an accessory melodic bit is introduced, having the character of suspending the action, eight measures, ending in F-sharp minor. The leading idea now enters in F-sharp, five measures, and three little melodic bits followed by eleven measures of arpeggio matter hold back the action for the return of the theme in measure 42 (first accent in 43). Everything in this movement grows out of the leading melody, and the movement has no skeleton or orderly arrangement of parts except in a very general manner.
The allegretto which follows is practically a sort of scherzo, in song-form with trio. Then comes the very dramatic finale, consisting of three main elements handled in the style of a sonata-piece. The Principal extends to the first beat of the twentieth measure. On the second beat of this the Second enters and runs twenty-three measures. With the second eighth note of this measure a movement of eighth notes in chords enters, which forms the concluding piece. This carries us to the double bar, after which a free fantasia follows upon the same material. The free fantasia extends to two measures of whole notes, thirty-six measures in all, where the original theme returns and the first part is recalled in different keys. At the end there is an added coda of thirty-four measures counting from the end of the piece.
The Prelude in G major of Bach is another pleasing illustration of his manner. It is very simple in construction and needs only to have the first two measures and a half played in advance for defining the subject, and the fourth measure once, to define the second leading idea. Everything else is developed out of these ideas. In measure 11 some new material is introduced and treated with excellent effect.
The fugue is rather an elaborate one. After the subject has been carried through the first time, the subject is introduced in a new form, in inversion (measure 43, alto), all ascending passages in the original being now imitated in downward directions and by the same interval. This taken as a new subject affords ground for much additional development, and later on the fugue becomes very complicated and interesting. When well played, however, the complication is only an incident of a very playful and varied composition. In the entire work there is no lyrical idea; everything comes thematically.
In the Beethoven sonata which I have chosen for contrast, D minor, opus 31, No. 2, the thematic mode of construction is also marked, but the contrast of subjects is very much greater than in the Bach work, and the effect of the whole impassioned to a high degree. Beginning with a slow arpeggio chord (two measures) the first theme follows only to be interrupted in the sixth measure. In the seventh the Principal subject is resumed, and in measure 10 a new motive appears in the vigorously ascending bass theme, which is immediately answered by a soprano counter theme, measures 11, 12, 14. This carries us forward to measure 30, where an episode comes in not unrelated to the first theme, and again in measure 44 a passage of chords practically forming a pedal point, and the conclusion proper in measure 55. In the elaboration these themes are delightfully treated, and the entire movement has much the character of an improvisation. The slow movement continues the rhapsodical spirit of the first movement. The finale is one of the most delightful examples of charming effect reached by means of composition essentially thematic.
The Sonata, opus 90, in E, is one of the most pleasing of Beethoven, and, aside from a certain figure in tenths for the bass (measures 55 to 58, and again later on), it presents no serious difficulties for the player. The second movement is a delightful song, which is carried out at great length.
The first movement of Bach's Italian concerto is much more modern in style than the other pieces of Bach in this program. Without ever quite reaching the modern conception of the lyric, it at least approaches it closely at times, and produces a beautiful effect.