ABSTRACT
In Harmonielehre , in the context of a discussion of scale-step motion in relation to large-scale form, Heinrich Schenker cited the succession of B♭-major and G-major Stufen in the exposition of the first movement as an example of alternatives to the conventional tonic-dominant sequence: without the possibility of such alternatives, art would, after all, not be a 'free art'. Earlier still, in 1910, Beethoven and Brahms had already been cited as worthy successors to Bach in the realm of fugal composition: 'in the last analysis, after Bach only the greatest among great composers achieved absolute mastery of the fugue - only Haydn, Mozart, Ludwig van Beethoven, Mendelssohn, and Johannes Brahms'. Schenker and Jeanette Kornfeld married in 1919 but had known one another since at least 1903; she is referred to as variously Jeanette or Lie-Liechen depending on the original source context.
