Хоральные фугетты Баха в системе "variierte – fugierte" хоралов

Цель статьи - рассмотрение хоральной фугетты в органном творчестве И.С. Баха как жанра, глубоко укорененного в современной ему композиторской и исполнительской практике и обладающего всеми типичными признаками немецкой хоральной обработки XVIII века. В результате становится возможным по-новому взглянуть как на внутреннее содержание данного жанра, так и на место, которое он занимает в общей жанровой системе эпохи барокко. Bach chorale fughettas in the variierte - fugierte chorale system The goal of this article is to study chorale fughettas in J.S. Bach’s organ works as a genre which struck its roots deep into Bach's contemporary composing and performing practice and which has all the typical features of the German chorale arrangements of the XVIII century. As a result, it becomes possible to take a fresh look at both the internal content of the genre, and its position in the general genre system of the Baroque period. Several authoritative statements in the German musical-theoretical literature, as well as the names of some manuscripts belonging to the contemporaries of Bach, allow to state confidently that in 18-century Germany it was common to divide organ chorale arrangements into the following two types: variierte – "performing a chorale in a multitude of ways," as a holistic tune in the form of Сantus Firmus or a rhythmically unchanged melody in very different ways, and fugierte – performing in the form of Fughetta (fugue), where the integrity of the chorale melody was broken. The stating "performing a chorale in a multitude of ways» («auff allerhand Art einen Choral durchzuführen») is written in the heading of "Little Organ Book" on its title page. Considering the didactic orientation of Bach’s collection and the limiting of Chorale arrangement forms with variierte type only, though in its various manifestations, there raises a question about a possible incomplete Bach’s intention of supplementing series of Fughettas that is to say fugierte arrangements. Indirect confirmations of the existence of that Chorale arrangement forms typology can be found in much earlier sources. Thus, a very valuable evidence in this regard is the reasoning of a Bach contemporary - Christoph Raupach (1686-1744), an organist from Stralsund , about the structure of chorale improvisation (i.e. the intonation or verset for alternation) in relation to the words chorale affect. These reasonings were stated by him in the essay titled «Veritophili deutliche Beweis-Gründe», which was printed as an introduction to the edition of Mattheson's early works in 1717. Moreover more than two decades later, Mattheson himself repeats Raupach's considerations almost literally in his «Perfect Kapellmeister» [Mattheson, J. Der vollkommene Capellmeister, 1969]. There we can find a description of idem variierte - fugierte (varied and fugued) Chorale arrangement forms, fugued and with cantus. Among the fugued forms which are interesting for us above all, one's attention can be attracted by their differentiation into just fugued, fugues and fughettas into the chorale (apparently, this is perhaps the first mentioning of the Chorale Fughetta in theoretical literature). The echoes of the «variierte - fugierte» approach to chorale melodies arrangement can be guessed in general terms in much later manuals. Thus, at the end of the XIX century S. Jadassohn gives some importance to the figured chorale in his "Course of instruction in instrumentation." Here he specifies the basic chorale variierte types in a following way: simulation forms with cantus in different voices and - within variierte type - "fugue pieces where chorale melody appears as a filling voice, in other words that is only used to fill", showing as an example the chorale BWV 652, that is a motet [Jadassohn, S. A Course of Instruction in Instrumentation, 2008]. Such an approach to the principle of chorale arrangement throws light on the question of the didactic orientation of Clavier-übung III. After all, if we assume that the motet is a kind of variierte chorales (BWV 686 «Aus tiefer Nor schrei ich zu dir»), there is no doubt that the Clavier-Übung III structure - as a kind of Chorale art in parallel to the later "The Art of Fugue" - largely reflects the pass-through idea of the double arrangement of the group of related chants (from catechism) in two techniques: variierte - a figured chorale (that is with cantus or a motet form) for a complete organ, and fugierte - сhoral fughetta or fugue for an incomplete one. As a result of the conducted research it can be concluded that the described division of organ chorales in Germany of the XVIII century into two basic types such as "varied" and "fugued", made a significant effect on the Bach organ works, and therefore it's quite appropriate as another possible criterion when classifying chorale arrangements. In this connection fughettas, embedding into this genre system, take their rightful place as a typical kind of chorale arrangement with a number of distinct typological features, namely - a violation of the integrity of chorale melody, setting as a fughetta (fugue), using of an incomplete organ (the absence of the obligate pedal), as opposed to "varied" (variierte) arrangements as to a holistic melody conducting in the form of cantus firmus or a rhythmically unchanged melody in various ways using the obligate pedal and complete organ