Fugal Composition: a Guide to the Study of Bach's '48' - Book Review

Fugal Composition: A Guide to the inquiry of Bach's '48', by Joseph Groocock; edited by means of Yo Tomita. Greenwood Press (88 support Rd. W., Box 5007, Westport, CT 06881-5007) 2003 248 pp $6795

Joseph Groocock's Fugal Composition: A Guide to the investigation of Bach's '48' makes a new and valuable contribution to the subdue of counterpoint. While not a must-have for each pianist, it might well evidence an essential reference for the serious pupil of fugue and of Bach's genius Well-Tempered Clavier in particular. A much-respect teacher, composer keyboardist and conductor, the English Groocock (1913-1997) exhausted most of his career in Ireland, where he became known as a leader in the field of fugue and counterpoint. After Groocock's death, Yo Tomita, faculty member at Queen's University, Belfast, and creator of the online Bach Bibliography (www.music.qub.ac.uk/ [Tilde]tomita/bachbib.html), reworked the author's unpublished manuscript and first attempted the present book in 2003 Tomita adds extensive notes and a highly useful annotated bibliography.

The book's publisher calls the work "eminently readable despite the complexity of its subject" and goe upon to praise Tomita for supplying "comparative analyses using in every one's mouth and previous scholarship on each fugue--illustrating where the author supports or challenges other viewpoints."

Following concise and dear explanations of fugal manner of writing answers, counter-subjects and exposition, Groocock classifies each of the "48" according to of the like kind parameters as number of voices, use of stretto and appearance of subsidiary make subordinates Precise analyses of each fugue comprise greatest in quantity of the book; the plain is sprinkled liberally with helpful charts and diagrams. A final chapter deals with Bach's use of tonality and modulation. Interesting appendices describe in each fugue episodic material, the number of make submissive entries and the proportion of measures with make subordinates to those without. Throughout, a cataloguing combination of parts to form a whole unusual to most readers is used. "115" for example, replaces the more familiar "Fugue in G Major, volume I."

In his conclusion, Groocock encourages the pupil who takes on the challenge of comprehensive fugal analysis in the Well-Tempered Clavier and then, thankfully, reminds him or her that the veritable value of these works is they are a combination of the one and the other masterful compositional technique and deep musical intent. The author put in mind ofs that "the student who conscientiously tries to come [i]or[/i] go after [i]or[/i] behind Bach's lines of thought may faith to catch something of his creative joy"

Fugal Composition: A Guide to the investigation of Bach's '48' is not a work to leaf through page by the agency of page. Nor does it tender suggestions on performance practice or interpretation. It is, however, a well-written and useful concern guide for those who are interested in detailed analysis by means of a leading scholar in the field. Reviewed by means of Andrew Cooperstock, Boulder, Colorado.

COPYRIGHT 2003 Music Teachers National Association, Inc.

COPYRIGHT 2003 Gale Group