The idea of creative contributions by

Transcription

1 Chater The Royal Theme rom A Musical Oering in dialogue among Bach, Mozart, and Beethoven y Ortrun Cramer The idea o creative contriutions y sovereign individuals o any historical era, which act uon all other contriutions o the ast, resent, and uture, can e wonderully studied in a kind o dialogue among the three greatest musical comosers, Bach, Mozart, and Beethoven a dialogue on one suect, which is discussed y all o them, and where new contriutions and new solutions or a discovered rolem are rovided y each o them, on each level (There exist more contriutions to the dialogue, oth rom the three comosers discussed, and rom other comosers as well, than the examles we will discuss here) This chater will investigate three comositions: Bach s A Musical Oering (1), Mozart s C minor Fantasy or Piano K (1) and C minor onata K (1), and Beethoven s onata or Piano O 111 (11/) For reasons o clarity, Beethoven s onata or Piano O 1, the so-called Pathétique (1/), is riely reerenced All these works are comosed in (or, as the earlier comosers would have said, out o ) the key o C minor etting the Theme : Bach s A Musical Oering Ater some hesitation, in 1 Bach acceted an invitation o the Prussian King Frederick II ( The Great ) to visit Potsdam, where Bach s son, Carl Phili Emanuel, had een serving as music master to the court since 10 Bach s older son, Wilhelm Friedemann, accomanied his ather on the visit, and the descritions o the course o the visit are ased on his eyewitness reorts On the irst day o the visit, Frederick introduced Bach to his collection o the newly develoed ilermann orteianos Bach was invited to try them, and to imrovise new comositions Ater a while, he asked the King to give him a FIGURE 1 Two canons rom Bach s A Musical Oering Canon B 1 a C B 10 n 11 n # n suect, which he started to execute immediately, without rearation Later, ater Bach s return to Leizig, he elaorated the suect into a 1-section n n 1 n 1 1 B 1 n n 1 n 1 1 n a er Augmentationem, contrario Motu B C n R B Thema C % n B # n n R R n R B B B n n n n R n n n n R n n R n The various cles indicate the inversions intended y Bach, in oth horizontal and vertical directions B C ecial Reort EIR etemer, 1

2 comosition, which he titled A Musical Oering (BWV 10) and dedicated to Frederick, with the ollowing words: In deeest humility I dedicate herewith to Your Maesty a musical oering, the nolest art o which derives rom Your Maesty s Own August Hand With resect to the suect and its elaoration, Bach wrote: I noticed very soon, however, that, or lack o necessary rearation, the execution o the task did not are as well as such an excellent theme demanded I resolved thereore and romtly ledged mysel to work out this right Royal theme more ully and then make it known to the world The work, which carries the inscrition Regis Iussu Cantio Et Reliqua Canonica Arte Resoluta ( At the King s command, the song and the remainder resolved with canonic art ), whose irst letters are an anagram selling out the word Ricercar, o which we ind one in three arts, and later one with six arts, comosed in a much reer manner The work also includes a numer o various canons on the Royal Theme (two o these are shown in Figure 1), which are indicative o Bach s mastery in the art o inversion Then, inally, there is an extensive, three-movement trio sonata or lute (the instrument layed y the King), violin, and ass continuo A Musical Oering later ecame known also as the Prussian Fugue A letter y Bach to his cousin Elias Bach, written in 1, indicates, how the iece was later distriuted: I cannot olige you at resent with the desired coy o the Prussian Fugue, the edition having een exhausted ust today, since I had only 100 rinted, most o which were distriuted gratis to good riends From a letter o the Austrian amassador to the Prussian court, Gottried van wieten, rom 1 that is, more than years ater Bach s visit at Potsdam we learn that Frederick the Great told him aout Bach s visit, and sang, in a loud voice, a chromatic ugal suect, which he had given this old Bach, who immediately made rom it a ugue in our, then ive, and inally in eight arts Thus, we know, that van wieten, who hosted Haydn, Mozart, and, later, Beethoven in his Vienna salon, knew o the Musical Oering For a etter understanding o the key art o the Musical Oering, the six-art Ricercar, it is helul to introduce some comments rom the irst iograhy o Bach, ulished in 10, which was written y ohann Nicolaus Forkel in close FIGURE a Bach, six-art Ricercar rom A Musical Oering, oen-score version C B C B C B C B C C B B B B B B B B n # n n # # n n n n n # n dim th minor rd Lydian aug nd 10 n n n n # n 11 n n n n 1 n # n n n n n n n The entrance o the second voice creates all the crucial intervals, which Mozart later icked u on in his K Fantasy: the diminished seventh rom the modulated theme, the minor third, the Lydian, and the augmented second EIR etemer, 1 ecial Reort

3 cooeration and corresondence with Bach s sons Wilhelm Friedemann and Carl Phili Emanuel In this ook, Forkel writes aout Bach s method o comosing: Now, when Bach egan to unite melody and harmony so that even his middle arts did not merely accomany, ut had a melody o their own, when he extended the use o the keys, artly y deviating rom the ancient modes o church music, which were then very common even in secular music, artly y mixing the diatonic and chromatic scales, and had learned to tune the instrument so that it could e layed in all the keys, he was at the same time oliged to contrive another mode o ingering, etter adated to his new methods, and articularly to use the thum in a manner dierent rom that hitherto emloyed Bach considered music entirely as a language, and the comoser as a oet, who, in whatever language he might write, must never e without suicient exressions to reresent his eelings On Bach s olyhonic setting, Forkel who oten literally quotes rom the letters o CPE or Wilhelm Friedemann writes: Very dierent is the case when two melodies are so interwoven with each other that they, as it were, converse together, like two ersons o the same rank and equally well inormed [T]his kind o union o two melodies gives occasion to new cominations o tones and consequently to an increase o the store o musical exressions In roortion as more arts are added and interwoven with each other in the same ree and indeendent manner, the store o musical exressions increases, and inally ecomes inexhaustile when dierent time and the endless variety o rhythms are added And later, Forkel elaorates: But to roduce such harmony, in which the single arts must e in the highest degree lexile and yielding towards each other i they are all to have a ree and luent melody, Bach made use o quite eculiar means, which were not taught in the treatises o musical instruction o those times, ut with which his great genius insired him These means consisted in the great lierty which he gave to the rogress o the arts A little urther on: Hence, in the modulation o his instrumental works, every advance is a new thought, a constantly rogressive lie and motion within the circle o the keys chosen and those nearest related to them O the harmony which he already has, he retains the greatest art; ut at every advance, he mixes something FIGURE Bach s own keyoard reduction o the six-art Ricercar rom A Musical Oering C C 1 n 0 n n n # n 1 n 10 min rd # n 1 dim th 11 1 n # n # n Lydian n 1 n 1 # n n aug nd n n # n 1 1 n n n FIGURE WA Mozart, onata K, oening o irst movement The oening o the irst movement shows the Royal Theme, in a dierent gestalt n n 1 n n n Molto allegro c R n c ḟ n n R Ó n n n n Ó 10 n 11 # n n n # n n n n n n 1 1 n 1 1 n ḟ 0 ḟ ecial Reort EIR etemer, 1

4 related to it; and, in this manner, he roceeds to the end o a iece so sotly, so gently and gradually, that no lea or harsh transition is to e elt; and yet no ar is like another With him, every transition is required to have a connection with the receding idea, and to aear to e a necessary consequence o it And: A single art never needs to orce itsel through, ut several must, in their comination, occasionally turn, end, and yield in a very intricate and delicate manner This o necessity causes uncommon, strange, and entirely new, hitherto unheard-o turns in the melodies Concerning the comosition o ugues, we read: It ulills all the conditions which we are otherwise accustomed to demand only o reer secies o comosition A highly characteristic theme; an uninterruted rincial melody [Gesang], wholly derived rom it and equally characteristic rom the eginning to the end; not mere accomaniment in the other arts, ut in each o them an indeendent melody, in accordance with the others, also rom the eginning to the end; reedom, lightness, and luency in the rogress o the whole; inexhaustile variety o modulation comined with erect urity; the exclusion o every aritrary note not necessarily elonging to the whole Concerning this latter oint, the exclusion o every aritrary note, Forkel writes o Bach s method o teaching comosition: Every note was required to have a connection with the receding: i any one aeared concerning which it was not aarent whence it came, nor whither it tended, it was instantly anished as susicious The conused mixture o the arts, so that a note which elongs to the tenor is thrown into the alto and the reverse; urther, the untimely droing-in o several notes in certain harmonies notes which, as i droed rom the sky, suddenly increase the estalished numer o the arts in a single assage, to vanish in the next one ollowing, and in no manner elong to the whole; in short, what Bach is said to have called mantschen [dauing, or mixing notes and arts together in a disorderly manner] is not to e ound either in himsel or in any o his uils He considered his arts as i they were ersons who conversed together like a select comany I there were three, each could sometimes e silent and listen to the others until it again had something useul to say But, i in the midst o the most interesting art o the discourse, some uncalled or and imortunate strange notes suddenly rushed in and attemted to say a word, or even a mere syllale, without sense o vocation, Bach looked on this as a great irregularity, and made his uils comrehend that it was never to e allowed Forkel s treatise reresents an almost contemorary document, and it gives today s readers eautiul insights into how Bach s music and comosition generally were thought aout, in the time o Mozart, Haydn, and Beethoven Now, let us turn to a rie examination o the six-art Ricercar rom A Musical Oering This is a six-art ugue, comosed in a rather ree manner, in which the arts (or voices) enter airwise, and as is tyical or Bach s treatment o the middle voices with the third and second voices ollowed y the ith and ourth Only ater a rie interlude, do the sorano and ass voices enter, and here, we can already oserve a irst change in the continuation n c c Ó 1 n n o the sorano voice ater the oening statement In the susequent develoment, new suects are introduced in the various arts, which are nonetheless all derived rom the original theme; they are all changed through inversion and modulation At the end, all are interwoven, until the ass voice inally, in conclusion, reresents the theme in its original orm A wonderul examle o a redecessor o Motivührung For the sake o later discussion, let us riely look, close u, at the characteristic conlict, or aradox, that is created right at the eginning, when the second voice enters, and the irst shits to sing an additional art The second voice, which resents the theme in a modulated orm, runs into a conlict with its comanion, when the modulated alling interval rom e to ˇ is contrasted to a longer c o the comanion irst voice Here, we oserve a air o two intervals, which create a shit, rom FIGURE Ascending chromatic sequence in Mozart s onata K n 0 # A seemingly new element, in the exosition o the irst movement, is generated y inverting the chromatic descending line rom the Royal Theme FIGURE Oening o third movement o Mozart s onata K Allegro assai inversion 1 inversion n n The oening moti o the third movement consists o an inversion o the irst movement s oening theme n # n n EIR etemer, 1 ecial Reort

5 the e -c minor third, to the c -ˇ Lydian interval, which indicates a way out o the C minor key o the comosition Also note, that at the eginning o the next measure, we ind another characteristic interval -cˇ, an augmented second, which we will meet again later on This aradoxical result o uxtaosing two voices o two comositional levels, or keys, i you wish is also what we will meet again later, as we move on to Mozart and Beethoven Bach originally wrote the six-art Ricercar, as shown in Figure a, on six dierent staves, without indicating which instruments are to lay them He himsel re-wrote it also, on two staves (Figure ), so that it could e layed on keyoard instruments In the original oen score, each sta has a dierent cle, indicating a dierent imlied secies o human singing voice With the excetion o a ew notes in the extreme high and low registers, the ugue can e readily sung y a el canto-trained six-art choir In general, the distinguishing characteristic o the theme lies in the connection o the minor-triad with the chromatic line, which oens u a great numer o otions or develoment as Bach roves in his Musical Oering It is an outstanding theme, esecially or a musical amateur like Frederick the Great However, CPE Bach was in his service, and many researchers consider it a ossiility, that he may have heled the King to ormulate the theme In 1, CPE Bach wrote in a letter to Forkel, aout his ather: When he listened to a rich and many-voiced ugue, he could soon say, ater the irst entries o the suects, what contrauntal devices it would e ossile to aly; and to which o them the comoser y rights ought to aly, and on such occasions, when I was standing next to him, and he had voiced his surmises to me, he would oyully nudge me when his exectations were ulilled Mozart: Nothing is layed, ut Handel and Bach We know or a act, that Mozart studied Bach s works in the house o Gottried van wieten, the already-mentioned Austrian dilomat, whose ather, an immigrant rom The Netherlands, had een the ersonal hysician o Emress Maria Theresa In 1, Mozart wrote to his ather in alzurg: Every unday at noon, I visit the Baron van wieten and there, nothing is layed ut Handel and Bach I am FIGURE E -F # interval in third movement o Mozart s onata K FIGURE Oening, and second theme, o second movement o Mozart s onata K Adagio c T sotto voce r cresc c n n cresc T T r n R R n R n cresc R R R g n ( ) 1 g cresc cresc The second theme o the slow movement o this sonata was chosen y Beethoven as the theme or the second movement o his onata or Piano O 1, Pathétique ust now making a collection o the Bach ugues, o eastian and Emanuel and Friedemann Bach A ew days later, he writes to his sister Nannerl: The cause o his ugue s coming into the world is really my dear Konstanze Baron van wieten, to whom I go every unday, has let me take all the works o Handel and eastian Bach home, ater I layed them through or him When Konstanze heard the ugues, she ell quite in love with them 1 n g g 1 g 1 n n 1 U U cresc 1 # 1 n 1 cresc he will hear nothing ut ugues, esecially (in this ield) nothing ut Handel and Bach Now, since she had heard me requently imrovise ugues, she asked me whether I had never written any down, and when I said No, she gave me a roer scolding or not wanting to write the most intricate and eautiul kind o music, and she did not give u egging me until I wrote her a ugue, and that is how it came aout In the same letter, Mozart r n 0 1 ecial Reort EIR etemer, 1

6 descried van wieten s musical lirary as although in quality a very large store o good music, yet in quantity a very small one The roo that Mozart must have known the Musical Oering, or at the very least its suect, is in his iano sonata in C minor, K, to which he later added the C minor Fantasy K 1 The Fantasy was written in 1, less than three weeks eore the comosition o the Lied Das Veilchen (see Chater 1), which also reresents a milestone in the develoment o musical comosition In the oening section o the sonata s irst movement (Figure ), we ind all the elements o the Royal Theme, ut in a changed resentation and registration We also ind, more elaorated, the conlict o the two arts o Bach s comosition, which is now resented in the horizontal develoment also: a uxtaosition o the oening areggio in C minor, and the reetition a ourth lower, starting rom G, and aearing as i in G maor! In the course o the exosition, one can also study how a second suect o the sonata is derived according to the Motivührung rincile rom the irst, ut in such a way, that it can hardly e recognized at irst In this iece, we again ind the chromatic element, in inversion and rhythmically changed (Figure ) The oening moti o the third movement (Figure ) reresents a direct quotation rom the oening theme o the irst movement, ut in a douly-inverted way In addition, we are led to our conlict o two keys and modes, the C minor- G maor conrontation, leading into the resentation o our old acquaintance interval e -ˇ, now resented as a melodic line (Figure ) In the sonata s second movement, Mozart again resents the Motivührung elements o the entire sonata, which we recognize this time in inversion and modulation o the intervals o the oening theme, and we ind the chromatic element, used as a means o exression (Figure, measures 1-) The second theme introduced in the movement (Figure, measures -) again through inversion is later icked u, almost veratim, as the leading theme in the second movement o Beethoven s Pathétique sonata It is indicative, oth or understanding the movement in resect to clear voice registration, and or the concetion o the exression, that Mozart added the indication sotto voce at the eginning o this FIGURE Oening o Mozart s Fantasy or Piano, K minor rd aug nd dim th Adagio c # T # # n n n c # # n n n n n n n 10 # # n # # # n 11 1 # # # # # # # n # # # n 1 n n n n 1 1 aug nd # # # # n # # n # The oening o Mozart s Fantasy K integrates the Lydian C-F # interval It contains all key intervals generated y Bach in the interaction o the irst two voices in the six-art Ricercar 1 1 # # # # n # n # # # # EIR etemer, 1 ecial Reort

7 movement, as a hint to the erormer and listener Beore undertaking a rie examination o the oening o the Fantasy K, let us kee in mind CPE Bach s short deinition o the intervals, rom his amous Essay on the True Art o Playing Keyoard Instruments (New York: WW Norton, 1): The comarison o one tone with another, is called an interval ( Die Vergleichung eines Tons mit dem anderen heißt ein Intervall ) In other words, it is the relationshi o the tones, and not their distance, which is heard y the mind In the C minor Fantasy, Mozart adds qualitatively new stes, which ut this iece aove the K sonata, which was already a milestone in Mozart s works, in resect to its density and coherence Here, we ind him examining a rolem, which we have so ar met only in the interweaving o two voices: the imortance o the Fˇ, not only as the leading tone to the dominant key o G minor/g maor (as seen rom C maor/c minor), as it is usually taught, ut in its imortance or the C minor/ C maor mode, and the incredily comlex otentialities o develoment, which includes the entire shere o the -key well-temered domain In hearing the oening (Figure ), it is more diicult to recognize the Royal Theme, ecause it is changed, in a characteristic way, already at the eginning, and the chromatic line aears only in the harmonic rogression We ind that Mozart has integrated the Fˇ, which we know rom Bach, and rom the third movement o the sonata, into the theme itsel ie, the aradox is now in the theme We ind the E -Fˇ interval, now in its inversion an augmented second The irony o the integration is underlined y the short two igures, which again reeat this interval, accomanied y hal-stes in dierent directions, underlining the rincile o inversion We now recognize in this oening art how this integrated Fˇ ecomes the ivotoint o constant change, through which the comlexity o the -key well-temered domain is exlored: We ind the Fˇ, and its well-temered twin G ; we ind the Fˇ in the context o C maor/c minor, o B maor, o Fˇ maor, and then, through a new, and surrising turn, showing u riely as art o a clear D maor (Figure )! Each time, the Fˇ is involved, and each time, its surrounding has changed Kee in mind the act, that there is a scale rom C, which contains the Fˇ namely, FIGURE Pivot around F # in Mozart s Fantasy K c # # # # # # Í # # # # c # # # # # # calando # # # # # # cresc # # # # n # # # # FIGURE 10 Beethoven Piano onata O 111, oening o irst movement Maestoso rk c n n n n c # cresc RÔ # # n n n n RÔ n dim th * dim th R n n Ô cresc n n R n Ô n n n n n n n n * R n Ô n Beethoven chose the key interval rom Bach and Mozart as the oening o his own last iano sonata the amous Lydian mode, which Beethoven so oviously icked u in all o his late works, not only in the Heiliger Dankgesang o his O 1 string quartet In conclusion, there is a contemorary reort, which is very imortant, concerning the relationshi o Mozart and Bach: During Mozart s last visit to Berlin, in 1, he traveled through Leizig, where he immediately visited the cantor at t Thomas Church, ohann Friedrich Doles, who had een a student o Bach A witness (most roaly F Reichardt) later says o this visit: On Aril, he was heard without rior announcement, and without inancial comensation, on the organ in the t Thomas Church He layed there, or one hour, eautiully and artistically, or many listeners The organist Görner and the late Cantor Doles were with him, ulling the stos I saw him mysel, a young man, dressed according to the ashion, and middle-sized Doles was excited aout the laying o the artist, and thought that the old e Bach, his teacher, had een resurrected At the end o his visit, Cantor Doles and the t Thomas choir sang or Mozart Bach s motet inget dem Herrn ein neues Lied According to the reort, Mozart listened ecial Reort EIR etemer, 1

8 FIGURE 11 Beethoven Piano onata O 111, oening theme c c Arietta Adagio molto semlice e cantaile Allegro con rio ed aassionato 1 0 FIGURE 1 Oening o second movement o Beethoven onata O w cresc n n w n n n n n U n n u n 1 n n 10 dolce # 11 # 1 1 # # 1 ƒ n n n n mezzo oco ritente r R # 1 1 n n n semre ligato # # cresc - n with concentration, and then said: This is something to learn rom! He asked or the arts a ull score did not exist sread them all out eore himsel, and studied them careully Beethoven: He could ecome a second Mozart There is a well-known un y Beethoven, on Bach: Nicht Bach Meer sollte er heissen ( He shouldn t e called Brook [ Bach ]; his name ought to e Ocean ) Already in his early education in Bonn, Beethoven had een introduced to Bach s works at that time a rather excetional exerience through his teacher Christian Gottlo Neee Neee had studied law in Leizig, ut had then switched to music, and ecame a student o the later Cantor at the t Thomas Church, ohann Adam Hiller Hiller himsel had een a student o Doles In 1, Neee wrote in an article in Cramer s Magazin der Musik: Louis van Betthoven, son o the aove-mentioned tenor, a oy o 11 years, who has a talent that romises much He lays very luently and owerully on the clavier, reads very well at sight, and, to say everything in a word, he lays most o the Well-Temered Clavier y eastian Bach, which Mr Neee has laced in his hands Anyone who knows this collection o reludes and ugues in all the keys (which one could almost call the non lus ultra) will know what that means This young genius would deserve suort so that he might travel He would certainly ecome a second Wolgang Amadeus Mozart i he were to continue as he had egun Later, in Vienna, Beethoven was among the guests in van wieten s salon, and he dedicated his First ymhony to him Through his entire lie, he considered Bach to e one o the greatest comosers In his conversation ooks, there is an exchange, where Beethoven ironically asks a visitor: Bach, is he dead He asked his ulishers or coies o Bach s works, and included also Bach s sons in his high estimation In a letter to his ulisher Breitko und Härtel in Leizig, in 10, he wrote: Generally, I would areciate, i you would gradually send me most o the scores, which you have, or examle Mozart s Requiem etc, Haydn s masses, Bach, ohann eastian Bach, Emanuel, etc I have only a ew o Emanuel s iano works, ut some o them must not only serve the artist or his leasure, ut also or his studies EIR etemer, 1 ecial Reort

9 But Beethoven seaks out most clearly in his comositions, which stand in the context o the Bach-Mozart treatment o the Royal Theme We ind elements o the rolem treated in many works, ut most directly irst in his Piano onata O 1 in C minor, the amous Pathétique While the irst movement, with its Grave introduction, and then the um into the Allegro molto e con rio, aears to e a sort o synthesis o Mozart s Fantasy and the sonata s irst movement, the second movement quotes exlicitly rom the second theme o Mozart s second movement Thus, Beethoven, already relatively early on, deals with the Bach-Mozart material, and the sonata marks a key oint in his own develoment The high oint o the dialogue among the three geniuses, however, is ound in Beethoven s inal iano sonata, No, O 111 in C minor, comosed in 11/ Already the oening (Figure 10) attacks the core, the unctum saliens o the dialogue We meet again our amiliar interval E -Fˇ, this time in a alling line, layed in all voices, orte and in unison, in the Maestoso introduction o the irst movement, eore the theme is introduced in the Allegro con rio ed aassionato section (Figure 11) Thus, this movement again, like the Pathétique, aears to e a kind o synthesis o Mozart s C minor Fantasy and onata One is oliged to understand the entire sonata rom the standoint o Bach s and Mozart s dealing with the given rolem; and, at the same time, to re-examine them rom the new, higher standoint o Beethoven, which adds new value to their eort! In conclusion, a rie examination o the second movement o Beethoven s O 111 sonata rovides some striking elements, in the context o the C minor issue The sonata has only two movements The second one is a large-scale integrated variations movement, which in the course o develoment ecome more and more comlex, ut also ree The movement is called Arietta, to e layed Adagio molto semlice e cantaile (Figure 1) Thus, we again ind exlicitly the demand, which we know rom Bach s laying in a singale ashion, something strongly reiterated y CPE Bach in his ook on laying keyoard instruments At the end o the second movement s ourth variation, which also marks the eginning o an extremely ree, coda-like end section, we have the incredile trile FIGURE 1 Trile trill in Beethoven s onata O * (cresc) Immediately ater the highest oint o tension and condensation, in the trile trill, Beethoven introduces a rememrance o the oening o Mozart s Fantasy K # 1 * * ~~~~~~ 10 rk # < ~~~~~~~~~~~~~~~~~~~~ < ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ < ~~~~~~ ~~~~~~~ dim ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~ 11 < n n # n n ~~~~~~ cresc cresc dim - ~~~~~~~~~~ n n esressivo 10 1 n n n dim n n n semre # # n n n n 0 ecial Reort EIR etemer, 1

10 trill, never heard eore, and right aterwards, with a rie shit in the key signature to the C minor coding, we ind reerence to an old acquaintance: a modiied orm o the oening o the Mozart antasy (Figure 1)! From there, Beethoven roceeds to the inal develoment o the movement (Figure 1), which ends in a unique way: We ind variants o the movement s theme resented under and aove a long, edaloint-like trill, which, although the same tones are always layed, is constantly changing its voice and registral characteristic Thus, an old means o ugal olyhonic comosition, the edal-oint, concludes the ugue, y giving a clear ass orientation to the conclusion o the modulations Here, we ind a edal-oint, which itsel ecomes a kind o ivot-oint Much remains to e discovered in the dialogue among these works And, many later comosers have gotten involved: even Choin, or examle It was not an aritrary choice y Lyndon LaRouche, to reeatedly insist in the unique imortance o the C minor series, or understanding o the develoment o Classical comosition It was the rocess o standing on each other s shoulders, o looking a little urther or deeer, that made the successive qualitative stes ossile It will e the intense, in-deth re-living o these exeriences, that will enale us, in the uture, to ring orth new artners in the dialogue 1 The original manuscrit o the antasy and sonata was re-discovered in 10, in Philadelhia A acsimile o the manuscrit has een ulished y the International titung Mozarteum alzurg, and y Bärenreiter-Verlag (IBN [Internationale titung Mozarteum] and IBN [Bärenreiter]) FIGURE 1 Conclusion o Beethoven onata O ~~~ # # rk ~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ # ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 1 # # # n ~~~~~~~~~~~~~~~~~~~~~ 1 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~ 1 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ n ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 1 # ~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ R # # # n # # # 11 1 n cresc continued on ollowing age EIR etemer, 1 ecial Reort 1

11 FIGURE 1 (continued) 1 dim The trill orms a higher-order edal oint, which ecomes a ivot-oint o the conclusion Chater WA Mozart s Fantasy in C minor, K, and the generalization o the Lydian rincile through motivic thorough-comosition y ohn igerson Let us take as our oint o dearture, the ollowing assage rom Lyndon LaRouche s main article, a assage that has seciic earing uon Mozart s comosition o the Fantasy in C minor, K, in May 1: A urther reinement is required The mind hears the inversion o any interval (eg, C-E-G heard as G-E-C), to such eect that a simle Lydian scale is derived as an inversion o a C-minor, Fˇ ivotted scale The eort to ring the intervals reresented y the scale indicated y the inversion, [into coherence] with the scale which has een inverted, introduces a urther degree o reinement o the well-temering Add, the inversion heard across the olyhonic arts to the inversions generated within each art, and a urther reinement is introduced Mozart oens the K Fantasy with a are statement o ust such a C-minor, Fˇ ivotted scale (Figure 1) But eore we lunge into the work itsel, let us irst see recisely what kinds o inversions are required to derive a simle Lydian scale rom it Let us reresent the leading eatures o the original scale as C-E -(Fˇ)-G The intervals descried are an ascending minor third, ollowed y an ascending augmented second, and then an ascending hal-ste Now, using C as our ivot, invert the direction o the intervals rom ascend- ecial Reort EIR etemer, 1