JOHANN KUHNAU
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 Vincenzo
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] 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 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.
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 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 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; 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 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 differences from, modern sonata-form. It has
_four_ sections:--
_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.
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 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--
[Music illustration: "Bible" Sonata, No. 2. KUHNAU.]
[Music illustration: Collection I., Suite 7, Ouverture.
HANDEL.]
[Music illustration: "Bible" Sonata, No. 6. KUHNAU.]
[Music illustration: Collection I., Suite 7, Passacaille.
HANDEL.]
[Music illustration: "Bible" Sonata, No. 6. KUHNAU.]
[Music illustration: Collection I., Suite 7, Passacaille.
HANDEL.]
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:--
[Music illustration]
and on this, from _The Magic Flute_:--
[Music illustration]
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."
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 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
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 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:--
[Music illustration]
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-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:--
[Music illustration: Il combáttere frà l'uno e l'altro, e la loro
contésa. Vien tirata la selce colla frombola nella fronte del
gigante. Casca Goliath.]
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 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--
[Music illustration]
Let not our readers be deceived by the word "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:--
[Music illustration]
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 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:--
[Music illustration]
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 companions of Rachel: a short,
quaint, and delicate movement in minor and in triple time. It
commences thus:--
[Music illustration]
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:--
[Music illustration]
And again--
[Music illustration]
The Fugue, short and vigorous, has a characteristic theme:--
[Music illustration]
A new section expresses Jacob's happiness until he discovers the
deceit practised on him. The 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 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:--
[Music illustration]
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
[Music illustration]
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--
[Music illustration]
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 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 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 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.
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 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 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.