In this article, Mattheson’s concept of Klangrede (Der vollkommene Kapellmeister, 1739) is applied to two distinct fugues. The analysis focuses on the rhetorical structure and form of the pieces and links the art of rhetoric to compositional techniques. First Klangrede is demonstrated in Bach’s D major fugue from The Well-Tempered Clavier, vol. 2, which was composed close to Mattheson’s theoretical description of the phenomenon. Then, Mozart’s use of Klangrede in the Kyrie fugue from his Requiem, K. 626, is demonstrated. Therefore, Mozart’s knowledge of Bach’s fugal compositions is discussed. This leads to a more accurate understanding on Bach’s influence on Mozart’s contrapuntal skills, Mozart’s knowledge in rhetorics and his mastery of the Baroque compositional style, which is sometimes attributed to him.
Bach kontrapunkt – tostemmig invention I
Bach Counterpoint - Two-part invention I
‘Bach Counterpoint – Two-part invention’ is a textbook in two volumes. The aim of this book is to explain Bach’s…
Counterpoint
Used by: The Royal Danish Academy of Music (DENMARK)
Read more



