Fugue)s( (French Edition)

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Show summary of all matches fugue noun fugue fuguer intransitive verb. French Canadian French un mineur en fugue. French Canadian French fugue. French Canadian French fuguer. Are you missing a word, phrase or translation? Submit a new entry. Compile a new entry. Enter your mobile number or email address below and we'll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required. To get the free app, enter your mobile phone number.

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Read more Read less. Kindle Cloud Reader Read instantly in your browser. Product details File Size: Philippe Rey November 5, Publication Date: November 5, Sold by: Not Enabled Enhanced Typesetting: Beethoven incorporated fugues in his sonatas, and reshaped the episode's purpose and compositional technique for later generations of composers.

Nevertheless, fugues did not take on a truly central role in Beethoven's work until his late period. The finale of Beethoven's Hammerklavier Sonata contains a fugue, which was practically unperformed until the late 19th century, due to its tremendous technical difficulty and length.

The last movement of his Cello Sonata, Op. According to Charles Rosen , p.

Fugal passages are also found in the Missa Solemnis and all movements of the Ninth Symphony , except the third. A massive, dissonant fugue forms the finale of his String Quartet, Op. Joseph Kerman , p. By the beginning of the Romantic era , fugue writing had become specifically attached to the norms and styles of the Baroque. Felix Mendelssohn wrote many fugues inspired by his study of the music of J. Franz Liszt's Piano Sonata in B minor contains a powerful fugue, demanding incisive virtuosity from its player:.

Giuseppe Verdi included a whimsical example at the end of his opera Falstaff and his setting of the Requiem Mass contained two originally three choral fugues. The exposition of the finale of Bruckner's Fifth Symphony begins with a fugal exposition. The exposition ends with a chorale, the melody of which is then used as a second fugal exposition at the beginning of the development.

The recapitulation features both fugal subjects concurrently. Twentieth-century composers brought fugue back to its position of prominence, realizing its uses in full instrumental works, its importance in development and introductory sections, and the developmental capabilities of fugal composition.

Igor Stravinsky also incorporated fugues into his works, including the Symphony of Psalms and the Dumbarton Oaks concerto. Stravinsky recognized the compositional techniques of Bach, and in the second movement of his Symphony of Psalms , he lays out a fugue that is much like that of the Baroque era. Techniques such as stretto , sequencing, and the use of subject incipits are frequently heard in the movement. It expresses the Creation of All Things: Instead, I have sheltered behind the form of the Fugue. Bach's Art of Fugue and the fugue from Beethoven's Opus the Hammerklavier sonata have nothing to do with the academic fugue.

Like those great models, this one is an anti-scholastic fugue. At the micro level of the individual lines, and there are dozens and dozens of them in this music The Henry Purcell's theme is triumphantly cited at the end making it a choral fugue. In "Fugue for Tinhorns" from the Broadway musical Guys and Dolls , written by Frank Loesser , the characters Nicely-Nicely, Benny, and Rusty sing simultaneously about hot tips they each have in an upcoming horse race. A widespread view of the fugue is that it is not a musical form but rather a technique of composition.

The Austrian musicologist Erwin Ratz argues that the formal organization of a fugue involves not only the arrangement of its theme and episodes, but also its harmonic structure.

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Ratz stressed, however, that this is the core, underlying form "Urform" of the fugue, from which individual fugues may deviate. Thus it is to be noted that while certain related keys are more commonly explored in fugal development, the overall structure of a fugue does not limit its harmonic structure. For example, a fugue may not even explore the dominant, one of the most closely related keys to the tonic. This is unlike later forms such as the sonata, which clearly prescribes which keys are explored typically the tonic and dominant in an ABA form.

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Fugue is the most complex of contrapuntal forms. In Ratz's words, "fugal technique significantly burdens the shaping of musical ideas, and it was given only to the greatest geniuses, such as Bach and Beethoven, to breathe life into such an unwieldy form and make it the bearer of the highest thoughts. This is related to the idea that restrictions create freedom for the composer, by directing their efforts. He also points out that fugal writing has its roots in improvisation, and was, during the Renaissance, practiced as an improvisatory art.

Writing in , Nicola Vicentino , for example, suggests that:. This formulation of the basic rule for fugal improvisation anticipates later sixteenth-century discussions which deal with the improvisational technique at the keyboard more extensively. From Wikipedia, the free encyclopedia. For other uses, see Fugue disambiguation. Music in Theory and Practice. Harvard University Press, , "credo Reference". Michael Kennedy Oxford and New York: Oxford University Press, A classic fugue analysed". Tucker and Andrew V.

Alison Latham Oxford and New York: Contrapuntal Technique in the Sixteenth Century.



Das Wohltemperierte Klavier I. Bach and the Patterns of Invention. Music in the Age of the Renaissance. Music of the Baroque.

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