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(Download PDF) Xi Jinping S Anti Corruption Campaign The Politics of Revenge 1 Edition Steven P Feldman Online Ebook All Chapter PDF
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“The anticorruption campaign under Xi Jinping has been one of the
most ambitious and striking aspects of China’s domestic politics in the
last decade. In this lucidly argued and written study, based on extensive
in-country field research, Steven Feldman gets under the skin of a com-
plex and sometimes confusing phenomenon. He shows that by dexterous
use of feelings of resentment and anger, the Chinese public has been
invited to turn against Communist Party officials, but made the most
senior of these, Xi himself, paradoxically even more powerful.”
Kerry Brown, Professor, Kings College London, UK
“Dictatorships such as China face a dilemma that has not been resolved
either theoretically or practically: their built-in mechanism encourages
corruption, yet the dictator must maintain legitimacy. Steven Feldman’s
book addresses this issue from a novel perspective. He argues that Xi’s
anticorruption campaign is a status reversal ritual that takes advantage
of fantasies of revenge in everyday people, who suffer under widespread
corruption. Feldman reveals that Xi’s anticorruption campaign helped
make him the ‘good emperor’ by attacking corruption, but by replacing
corruption with ideology, Xi further represses Party and society.”
Shaomin Li, Professor, Old Dominion University, USA
The modern Chinese state has traditionally affected every major aspect of
the domestic society. With the growing liberalization of the economy, cou-
pled with an increasing complexity of social issues, there is a belief that the
state is retreating from an array of social problems from health to the envi-
ronment. Yet, as we survey China’s social and political landscape today we
see not only is the central state playing an active role in managing social
problems, but state actors at the local level are emerging in partnerships with
relatively new actors such as social organizations and private enterprises.
The Routledge Research on the Politics and Sociology of China series is
interested in examining the sociology and politics of this ‘new’ China. The
series will engage with contemporary research that explores the intricacies of
institutional interactions, and analysis of micro-level actors such as migrant
workers, ethnic minorities, and women, who are shaping China’s future. The
book series seeks to promote a discourse and analysis that views state and
society as contested spaces for power, authority, and legitimacy. As a guiding
principle, the series is notably interested in books that use China as a labora-
tory for confirming, modifying or rejecting existing mainstream theories in
sociology and politics.
Steven P. Feldman
First published 2023
by Routledge
4 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
and by Routledge
605 Third Avenue, New York, NY 10158
Routledge is an imprint of the Taylor & Francis Group, an informa
business
© 2023 Steven P. Feldman
The right of Steven P. Feldman to be identified as author of this work
has been asserted in accordance with sections 77 and 78 of the
Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or
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Trademark notice: Product or corporate names may be trademarks or
registered trademarks, and are used only for identification and
explanation without intent to infringe.
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
ISBN: 978-1-032-36269-4 (hbk)
ISBN: 978-1-032-36271-7 (pbk)
ISBN: 978-1-003-33106-3 (ebk)
DOI: 10.4324/9781003331063
Typeset in Times New Roman
by SPi Technologies India Pvt Ltd (Straive)
Dedicated to the Chinese people.
Contents
Preface x
Conclusion 170
With the decline of Mao Zedong’s ideology-driven politics and its replace-
ment with Deng Xiaoping’s pragmatism with market characteristics, corrup-
tion became widespread in the Chinese political economy. Over decades,
despite numerous attempts to contain it, including ones by Deng, by the end
of the Hu Jintao regime, it had become a threat to the Communist Party’s
survival. Upon taking leadership of the Communist Party in the fall of 2012,
Xi Jinping made his massive Anticorruption Campaign the centerpiece of his
domestic agenda.
Xi’s Campaign has many interrelated goals. By fighting corruption, he
seeks to win personally the population’s support and improve the legitimacy
of the Communist Party. By arresting corrupt figures, he is creating openings
in the Party and government that he can fill with loyal personnel. With his
own people in charge and competitors and competing factions in decline, he
greatly concentrates power in himself.
Importantly, the Campaign never stopped. As of 2022, ten years after it
started, it is still active. In fact, its original organizational home, the Central
Commission for Discipline Inspection merged in 2018 with other anticorruption
organizations to become one of the most powerful political organizations in the
country. The name of the new commission is the National Supervision
Commission. Fighting “corruption” is the central way Xi moved to take control
of the Chinese Community Party (CCP) and concentrate power in himself.
The Campaign is very popular with the population. When I arrived in
China in 2015, executives I spoke with were reading the newspapers every day
to see what “tigers” were under arrest. They were astonished, almost in awe,
to see Xi exercise power on this scale, arresting elite members of the
Communist Party, even generals in the military.1 Xi gained respect. Many see
him as courageous and righteous. China’s new moral leader.
I argue in The Politics of Revenge, the Communist Party dictatorship,
which leaves the population powerless and often mistreated, has created in
the population, what Friedrich Nietzsche calls ressentiment, a complex con-
dition where humiliated subjects must repress their anger (self-censor), out of
fear of punishment, while pursuing equality and fairness to overthrow those
on top.2 In communist China, as if to beat them to the punch, the Party says
they already have equality or soon will.
Preface xi
Right in this dark moment of corrosive corruption (and a slowing econ-
omy), Xi Jinping has arrived to treat them as comrades. As he knocks the
elite cadre low, he releases the terrible pain of repressed ressentiment, provid-
ing the population with a vicarious release of aggression toward the hated
corrupt cadre. In fact, he even encourages them to get involved, snapping
photos of the fat cats drinking expensive wines or driving expensive cars and
sending them to the discipline authorities.
I argue in this book, the Anticorruption Campaign is a status reversal
ritual, bringing high-level cadre low and raising, symbolically, the ressenti-
ment-filled population. In the process, General Secretary Xi uses his popular-
ity to concentrate power and expand his control. Ironically, Xi’s attack on the
hierarchy has strengthened the hierarchy, with himself the main beneficiary.
Ressentiment in China is a complicated phenomenon because it originates
from more than just the repressive CCP. It includes the period, roughly
between 1850 and 1950, the Chinese suffered under the colonization of mul-
tiple countries in their western port cities and a brutal invasion by the
Japanese. During this period, the imperial system was in decline, leading to
societal disintegration and civil war. The Chinese, refer to this period as the
“century of humiliation.”
The Chinese attitude toward their present success and toward foreigners is
not understandable independent of this history. It is with bitterness that the
Chinese feel their competitors want to hold them down, arrest their return to
one of the world’s great nations.
It is in this context that one should understand the Anticorruption
Campaign and Xi Jinping as a moral leader. Xi is concentrating power inside
China and telling the Chinese people he will lead China’s rejuvenation, back
to the greatness it once enjoyed and deserves. The intensifying dictatorship,
Anticorruption Campaign, and history of colonization are all sources of
ressentiment, which influences how different groups differently understand
the current political situation. Unpacking the dynamic relations between
these groups is the goal of The Politics of Revenge.
Internally, in addition to arresting corrupt cadre, Xi is intensifying control
of society by increasing censorship, increasing propaganda, increasing intol-
erance, increasing surveillance, expanding Party cells in organizations, tight-
ening controls on nongovernmental organizations, tightening controls on
education, tightening controls on the Internet, using big data to monitor cit-
izens down to jaywalking, and so on. Crucial in this effort is the Anticorruption
Campaign, which he uses to remove resistance to his agenda, concentrate
power, and pursue his vision of a rejuvenated China under the leadership of
the Communist Party, with himself at the top.
In this book, I will examine the Anticorruption Campaign in multiple
ways. I will analyze its basis in ressentiment, its use to increase the role of
ideology in Chinese society, how it functions to concentrate Xi’s power, its
cultural form as a status reversal ritual, and its continuity with previous com-
munist campaigns and ancient Chinese political traditions, especially the
state as a family and the leader as a father.
xii Preface
I will also examine the legal system, which is a developing instrument of
CCP power.3 The legal system must remain secondary to campaigns because
its full development is a threat to the dictatorship. The campaign model,
however, is the child of communist ideology, created for top-down control.
My focus will be the Anticorruption Campaign’s use of ressentiment to create
a status reversal ritual that creates “unity” in society and power for Xi Jinping.
The data for this book comes from a year of full-time fieldwork in Beijing,
with important side trips to Hong Kong and Singapore, from July 2015 to
July 2016. Seventy-five percent of the data comes from 145 semi-structured
interviews with business executives, professors (business, law, and social sci-
ence), lawyers, accountants, and nonprofit executives. A handful of
Communist Party officials participated. Twenty-five percent of the data
comes from observation and participant observation. I was teaching at Peking
University during the year. I was also active in local associations and events.
Notes
1 As of 2019, McGregor’s best guess is that 300–400 “tigers” have been arrested
(McGregor, Richard. Xi Jinping: The Backlash (Melbourne: Penguin Books, 2019)).
2 This observation of the Chinese population is at odds with much of the literature
that holds, in the words of Andrew Nathan, there is “a high level of public sup-
port for China’s authoritarian regime” (Andrew Nathan, “The Puzzle of
Authoritarian Legitimacy,” Journal of Democracy 31, no. 1 (January 2020): 158).
Much of this literature is based on survey methodology that asks a relatively
small number of questions and offers the participant a smaller number of
responses. In contrast, the ethnographic methods used in my research speaks to
participants for hours, going much deeper into their thoughts and feelings and
their perceptions of the thoughts and feelings of others, as well as observations of
how people act in their daily lives. I show the Chinese have multiple, sometimes
contradictory, thoughts about their government. My research makes an original
contribution by exploring the unconscious feelings of ressentiment in Chinese
political attitudes.
3 Under Xi, law is used to fortify and legitimate the CCP’s control of society
(Trevaskes, Susan. “A Law Unto Itself: Chinese Communist Party Leadership and
yifa zhiquo in the Xi Era,” Modern China 44 no. 4 (2018)).
4 The modern drive to equality driven by ressentiment irrupts in the French
Revolution (Scheler, Max. Ressentiment (Milwaukee: Marquette University Press,
2007 (1915)). It becomes part of a political ideology in the Chinese Communist
Revolution through the works of Karl Marx.
Bibliography
McGregor, Richard. Xi Jinping: The Backlash. London: Penguin Books, 2019.
Nathan, Andrew J. “The Puzzle of Authoritarian Legitimacy.” Journal of Democracy
31, no. 1 (January 2020): 158–68.
Scheler, Max. Ressentiment. Milwaukie: Marquette University Press, 2017 (1915).
Trevaskes, Susan. “A Law Unto Itself: Chinese Communist Party Leadership yifa
zhiquo in the Xi Era.” Modern China 44, no. 4 (2018): 347–73.
1 The Theory of Ressentiment*
* The modern drive to equality driven by ressentiment irrupts in the French Revolution (Scheler,
Max. Ressentiment (Milwaukee: Marquette University Press, 2007 (1915)). It becomes part of
a political ideology in the Chinese Communist Revolution through the works of Karl Marx.
DOI: 10.4324/9781003331063-1
2 The Theory of Ressentiment
because of what it implies for their own longevity.4 One threat to their sur-
vival is their own corruption. Hence, the current leader, Xi Jinping, has initi-
ated the largest anticorruption campaign in CCP history.5 During my year of
fieldwork in Beijing in 2015–16, I concluded it was the most important polit-
ical and cultural institution in Chinese society at the time. One of its main
goals is to regain the population’s trust and support.
Given the level of CCP corruption, the Anticorruption Campaign is very
popular. In fact, the population is encouraged to participate in the Campaign
by reporting offenders, which they were doing in large numbers. My interest
is to explore the role of ressentiment in the Party’s use of and the population’s
response to the Anticorruption Campaign.
On the surface, it appears obvious that since the population greatly suffers
under government corruption, they would greatly appreciate a campaign that
punishes corrupt cadres, even at the top levels of the Party, but it is exactly
the Party’s monopoly on power that makes such severe corruption possible.
Why would the population not realize or not care that General Secretary Xi
is a product of the same system that produces so much corruption? Why
would they consider General Secretary Xi a great hero for leading the Party
attack on corruption that the Party in fact created? In other words, I will use
the concept of ressentiment to explore the sharp mismatch between the CCP’s
central value of equality and their abuse of power. I will focus on the politi-
cally impotent middle class, for they pay much of the bribes yet express little
ambivalence about the complex implications of General Secretary Xi’s pun-
ishing Anticorruption Campaign.
Sociology of Ressentiment
Ressentiment is a social feeling and social movement that develops as a pro-
test against oppressive elites, in situations where the ressentiment group is in
moral and political decline. Ressentiment is not a positive value, not an alter-
native to elite values. It is a protest against elite values, a counter-impulse. It
is not action in the sense of attacking or overthrowing the elite. It simply
rejects elite values and hierarchy through criticism. In this sense, it is nihilis-
tic. The criticism is dependent on what it criticizes. It exists as an abstraction.
It creates an emotional state of negativity and apathy. If the power relations
do not change, ressentiment can endure, forming a tradition and incorporat-
ing other facets of social life.
Ressentiment Man denies the objectivity of the value hierarchy. In this
sense, he is completely modern, even postmodern. Binding forms of judg-
ment, essential for thought, trust, and organization require an objective value
hierarchy. Ressentiment Man rejects social ideals because he does not look
good in comparison to them. He seeks social values that put him in a positive
light. He claims, as do some modern moral theories, all values are merely
subjective. Ressentiment motivates the doctrine of equality, according to
2 Literature Review on “Anticorruption”
Campaigns
V
Most of Bach’s predecessors and many of his contemporaries
regarded the fugue as the highest form of instrumental music. It was
the form in which they put their most serious endeavor. The
harmonic basis of music was generally accepted and skill in weaving
a contrapuntal or a polyphonic piece out of a principal motive or
theme, and two or three subsidiary ones, was more or less common
to all musicians. Yet fugues up to the time of Bach lacked a logical
unity of construction. Excellent as the craftsmanship displayed in
them might be, the effect was not satisfactory. There seemed, for
instance, to be no very clear reason why a fugue should end except
that the composer chose to end it. There was no principle of balance
governing the work as a whole. It was architecturally out of
proportion, or it failed to impress its proportions upon the listener.
Bach alone seems to have given the fugue a perfectly balanced
form, to have endowed it not only with life but with organization as
well.
The secret of this is that at the bottom of his fugues lies a broadly
conceived, well-balanced and firmly constructed harmonic plan. It
must be granted, besides, that the subjects out of which he builds
them have a singular vitality and are full of suggestion. But Bach,
with his fertility in highly charged musical ideas and his apparently
unlimited power to weave and ravel and weave musical material in
endless variety of effects, rarely let his skill or his enthusiasm betray
his sense of proportion. There is a compactness in nearly all his
fugues which results from the compression of expressive ideas
within the well-defined limits of a logical, harmonic plan.
Pause for a moment at one or two of those that are better known.
Take, for example, the fugue in C-sharp major from the first book of
the ‘Well-tempered Clavichord.’ There is the conventional opening
section, in which the theme and secondary themes are announced.
We have tonic, dominant, and a clear cadence again in the tonic.
Then begins the strong pull toward the dominant, so nearly inevitable
in most kinds of musical form, and finally the dominant triumphant
with the main theme strong and clear, and a solid cadence.
Here, on the basis of harmony, the first broad part ends, and the
music goes on to explore and develop through other keys. The
harmonies are rich, the counterpoint melodious, the theme
whispered as a recollection from the first land of familiar tonic and
dominant. Then clearly we are held for a moment to enjoy E-sharp
minor before we play back again, with fragments of the theme, to our
well-known dominant and tonic. Off again on motives we cannot fail
to recognize, as if we were again to wander afield in harmonies. But,
no; we sink firmly upon a swelling G-sharp, our dominant again, the
best known note of our theme. The captive harmonies rise and fall.
Movement they have, but escape is impossible. The return home is
inevitable, it is imminent, it is done. Cheerfully our theme traces its
old ground. It pauses a moment as if contemplating further flight, but
the tonic key is all-powerful and the flight is ended and with it our
fugue.
It is all lucid and logical: the first broad section with its twice-told
tonic and its accustomed urge to the dominant; the many measures
of wandering that yet pause to make harmonies clear; the long
struggle against the anchoring G-sharp that pulls ultimately home.
Both these fugues are built upon a well-balanced and yet varied
harmonic groundwork. The art of Bach shows especially in the
middle or developing section in the clearness with which he brings
out the various harmonic stages through which he leads his music,
and in the manner in which, by the unmistakable method of a
persistent pedal point or a regular sequence, he brings back the final
restatement of his material in a section balancing the opening
section.
Bach did not bind himself to rules in writing his fugues. He handled
his material with great freedom. Witness many fugues like that in F
minor in the second part of the ‘Well-tempered Clavichord,’ in which
he often subdued the main theme to a capricious, obvious second
theme. Such a treatment of the fugue approaches the dramatic; and
this, together with the division, quite clear in so many, into three
sections of exposition, development and restatement, cannot but
suggest some sort of kinship between the fugue as Bach conceived
it and the movement in so-called sonata form which grew to such
splendid proportions in the half-century after his death. At any rate,
we are compelled to recognize that in spite of the contrapuntal style,
inherited from an age in which harmonic sequence was a secondary
element in music, the Bach fugues owe their imperishable form to
the same principles of harmonic foundation as those upon which the
sonata-form of Mozart and Beethoven is known to rest.
VI
Though in the matter of musical form the name of Bach at once
suggests the fugue, he brought the suite to no less perfection and
significance. It must, however, be granted that the suite suffers by
comparison with the fugue as a great form in music. First, the
convention that all its movements be in the same key is more than
likely to make the work as a whole monotonous. Secondly, the more
or less obligatory dependence upon dance rhythms tends to restrict
emotional vivacity and subtlety. Thirdly, since there can be but little
contrast and variety among the separate movements, the suite lacks
organic or internal life.
On the other hand, the emphasis laid upon rhythm may give the
individual movements more obvious charm than the fugue is likely to
exert. Furthermore, though the scope of the movements is more
restricted than that of the fugue, the form is freer. And the neat
balance of structure, with its two repeated sections, is undoubtedly
more sympathetic to our modern ear than the involved architecture
of the fugue. Lastly, though the sequence of allemande, courante,
bourrée, gigue and other conventional movements may give us too
much of a good thing, the sarabande does afford that striking point of
contrast which is the precious asset of the great cyclic forms,
whether sonata, string quartet, or symphony.
Inasmuch as the form of the suite, its sequence and normal number
of movements, had been clearly defined both by Froberger and
Kuhnau some time before Bach began to write, he cannot be said to
have assisted in its creation, as he did in the creation of the fugue.
From the point of view of form he neither added anything nor, strictly
speaking, improved upon what he inherited. What he did do was to
expand the limits of the various movements to great and noble
proportions, and to fill them with a wealth of musical vigor and
imagination hardly suggested before his day in any instrumental
music except Corelli’s.
The French suites are the simplest and the most conventional. The
style of them is unquestionably lighter than that of the later suites;
but this may well be due less to an attempt to write in the style galant
of Couperin, than to a desire to compose music technically within the
grasp of his young and charming second wife. The sequence of the
movements is conventional. All six have as their first three
movements the normal allemande, courante and sarabande. All
close with a gigue. Between the sarabande and the gigue he placed
a number of extra dances, two minuets in the first suite, an air and
minuet in the second, two minuets and an Anglaise in the third. The
fourth and fifth have each three of these intermezzi, including
gavottes, a bourrée and a loure; and the last has an odd group of
four, consisting of a gavotte, a polonaise, a bourrée and a minuet.
Only two of the courantes follow the French model with its
complicated shifting rhythm. The others are of the more rapid Italian
style.
The movements are all short and in the now familiar binary form,
with its first section modulating from tonic to dominant, and repeated;
and its second section going by way of a few more complicated
modulations back again from dominant to tonic. There is little trace of
a marked differentiation between the musical material given first in
the tonic, and that given later in the dominant.
The hand of Bach is, however, not to be mistaken even here in these
relatively simple pieces. The style is firm and for the most part close
upon the organ style; the melodies—and there are melodies—are
surprisingly sweet and fresh; the rhythm, delightfully crisp and
vivacious. It is to be regretted that these early suites have generally
dropped from the concert stage.
The style is highly contrapuntal and with few exceptions follows the
convention of uninterrupted movement. This tends, as in many of the
fugues, to hide the formal outline. The listener hears the music
flowing on page after page and may be pardoned if, being able to
recognize in the torrent of sound only one distinctly recurring theme,
he thinks he is hearing music akin to the fugue. As a matter of fact,
however, with the exception of only the first, the structure of these
preludes is astonishingly formal and astonishingly simple. The
second, fourth, fifth and sixth are fundamentally arias, on a huge
scale.
The aria form is one of the simplest in music, one of the most
effective as well, and was the first to develop under the influence of
the Italian opera of the seventeenth century. It has frequently been
called the A-B-A form. This is because it is made up of three distinct
sections of which the first and last, predominantly in the tonic key,
are identical, and the middle in some contrasting key or keys and of
contrasting musical material. To spare themselves the trouble of
writing out the last section, composers adopted the convention of
merely writing the Italian words da capo (from the beginning) at the
end of the second section, and of placing a double bar at the end of
the first, over which the singer or player was not to pass upon his
second performance of this section. Bach could have adopted this
economical device, had he so desired, in the four preludes just
mentioned; for each of them proves, upon examination, to be
composed of three distinct sections, the middle more or less the
longest, the first and last note for note the same.
The second section begins at once with a wholly new figure which
dominates the music from now on up to the one hundred and tenth
measure. At this measure the second section ends, and here Bach
might have written the words da capo; for what follows is but a
repetition of the first fifty-five measures.
VII
Besides the fugues and the suites there is a great deal of other and
less easily defined harpsichord and clavichord music. We are not
wanting in titles. We have Preludes, Toccatas, and Fantasias, also
some Capriccios. These are, on the whole, of free and more or less
whimsical structure. The preludes, and one thinks of the forty-eight
little masterpieces of the ‘Well-tempered Clavichord,’ are usually
simple and short. They are for the most part clearly harmonic music.
Some are nothing more than a series of chords, notably those in C
major, C minor, D minor, in the first part. The origin of this simple
form of music has already been discussed; but the origin of the
particular and well-nigh matchless beauty of these of Bach’s
preludes can be found only in the great depths of his own genius,
which here more almost than anywhere else, is incomprehensible.
The subtlety of the modulations, the great tenderness and poetry of
the chords, the infinite suggestion of feeling—all these within little
pieces that might easily be printed on half a page, that have no
definite outline, no trace of melody: we can but close our eyes and
wonder.
Other preludes which are far more articulate, so to speak, are still
fundamentally only harmonic music. So we may reckon the preludes
in C-sharp major, in C-sharp minor, in E-flat minor, in G minor, in E
major, in the first book. In these there is but a faint network of
melody, usually contrapuntally treated, thrown over the profoundly
moving harmonies underneath. Some others are little studies in
fleetness or brilliancy of playing, such as those in D major and B-flat
major; and still others are lyrical, suggesting Couperin, or even the
Preludes of Chopin. It may be mentioned in passing that there is little
internal relationship between preludes in the ‘Well-tempered
Clavichord’
and the fugues which follow them. Nor is there evidence to show that
the ones were composed for the others. Rather there is in many
cases reason to believe that the preludes were composed often
without any consideration of a fugue to follow. Still one cannot fail to
observe, or rather to feel, a subtle affinity between most of the little
pieces so united, which must have guided Bach in his selection and
pairing.
Fac-simile of Bach's Manuscript of the Prelude in C major (Well-
Tempered Clavichord).
The toccatas and the fantasias are on a much broader plan than the
preludes. The former are essentially impressive, if not show pieces.
They are usually built up upon a series of brilliant runs, oftenest
scales or close arpeggios, with slower moving passages of chords
and contrapuntal weavings scattered here and there. The fantasias
are, as the name implies, quite free and irregular in form. Both
fantasias and toccatas are for the most part distinctly in organ style.
Their glory is, like the beauty of the preludes, a glory of harmony.
The long, rapid runs may have lost their power to thrill ears that have
heard the studies of Liszt; but the chords which lie under them have
a majesty that seems to defy time.
The idea of the concerto in Bach’s day was not the idea which
Mozart planted firmly in the mind of musicians. To show off the
special qualities of the harpsichord against the background of an
orchestra is not often evident as a purpose in Bach’s concertos. He
wrote for the harpsichord much as he wrote for the orchestra; or for
the orchestra as he wrote for the harpsichord. To the solo instrument
he allotted passages which required a fineness in execution of
details, or passages which he wished to be softer than the general
run of the music. There is a clear intention to get contrast between
the group of instruments and the solo instrument, but apparently little
to write for the two in a distinct style.
One may take the D minor concerto for harpsichord and a group of
instruments, or even better, the Italian Concerto, for a single
harpsichord, preferably with two manuals, as the perfect type. The
arrangement and number of movements is well worth noticing. There
are three, of which the first and last are in the same key and of about
the same length and style. The middle movement is in a contrasting
key, is shorter and nearly lyric in character. The scheme is perfectly
balanced as a whole, and, it will be noticed, shows little kinship with
the suite.
The first and last movements are in the same rapid tempo and both
are treated contrapuntally throughout. Their internal structure is
fundamentally tri-partite, like the fugues and the preludes in the
English suites, the opening and closing sections being the same.
The middle section brings out new material, but also retains
suggestions of that already announced; the new material tending to
take on an episodic character, like the couplets in Couperin’s rondos.
This is unusually clear in the middle section of the last movement of
the Italian Concerto, in which there are three very distinct episodes,
one of which appears twice, quite after the manner of the Beethoven
rondo. But one feature, which Bach probably acquired from Vivaldi,
makes the whole procedure different from Couperin’s. This is that the
main theme, either the short or long part of it which may be restated
between the episodes, appears in different keys. The same feature
is evident in the preludes to the English suites.
The slow movements in both the D minor and the Italian concertos
are written upon a favorite plan of Bach’s. The bass repeats a certain
form or ground over and over again, above which the treble spins an
ever varied, rhapsodical melody, highly ornate in character. The plan
is an exceedingly simple and a very old one. It may be traced in the
old motets of the mensuralists of the thirteenth century, with their
droning ordines; and in the favorite ‘divisions’ of the early English
composers. The Chaconne and the Passacaglia are but variants
from the same root. It is, of course, a simple form of variations.
VIII
Even before his death Bach knew that the forms and style of music
which he had given his life to perfect and ennoble were already of
the past. That he invented a simple system of temperament in order
to afford himself the harmonic freedom necessary to his expression,
or that he devised a system of fingering which considerably
facilitated the playing of his difficult music, does not constitute him
the progenitor of the new style of the eighteenth and nineteenth
centuries. The composers who followed him knew little or nothing of
his music. They were far less likely to appropriate what they might
have found useful in his old-fashioned art, than to meet the problems
inherent in the new, which they served, with their own ingenuity.
Accept, if you like, Scarlatti as the founder of the modern pianoforte
style; Couperin as the creator of the salon piece. The fugue had had
its great day, and so had the suite. The flawless counterpoint of
Bach, with its involutions and its smoothness, was of too compact a
substance to serve the adolescent, transparent sonata. His
harmonies were too rich and fluent. And Bach had been but once the
Bach of the Goldberg Variations.
The harpsichord works of his great contemporary Handel are far less
significant. Several sets of suites were published in London between
1720 and 1735, also six fugues for organ or harpsichord. In the third
suite of the first set (1720) there is an air and variations. In the fifth of
the same series is the so-called ‘Harmonious Blacksmith,’ the best
known of his works for the harpsichord. It is a theme and variations.
The air and variations in B-flat major which has served as the
groundwork of a great cycle of variations by Brahms constitutes the
first number of the second series (1733). There are in other suites a
Passacaglia and two Chaconnes, all of which are monotonous series
of variations. One Chaconne has no less than sixty-two varied
repeats. In these works Handel shows little ingenuity. His technical
formulas are conventional and in general uninteresting. The dance
movements of the suites are worthier of a great composer.
[12] A learned Roman collector, born in 1778, died in 1862. Mendelssohn had the
free use of his library and wrote that as regards old Italian music it was most
complete.
[14] J. S. Shedlock writes in ‘The Pianoforte Sonata’: ‘The return to the opening
theme in the second section, which divides binary from sonata form, is, in
Scarlatti, non-existent.’ Out of some two hundred sonatas which I have examined,
I have found but one to disprove the statement. This one exception, No. 11 in the
Breitkopf and Härtel edition of twenty, is so perfectly in sonata form that one
cannot but wonder Scarlatti did not employ the form oftener. [Editor.]
[15] See articles by Edward J. Dent in Monthly Musical Record for September and
October, 1906.
[16] See Chrysander’s articles prefatory to his own edition (Denkmäler), edited by
Brahms, in the Monthly Musical Record for February, 1889, et seq.
[17] The pieces in one ordre may be in major or minor. The first ordre is in G, that
is the pieces in it are either in G minor or G major. The second is in D, minor and
major, the third in C, etc.
[18] That which appeared in 1713. The earlier set is not commonly reckoned
among his publications.
[20] The origin of the title is rather doubtful. On the first page of the manuscript
copy, which was in the hands of Christian Bach, of London, were written the
words: Fait pour les anglais. The first prelude is on a theme by Dieupart, a
composer then popular in England.