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This article lists the fugal works of Johann Sebastian Bach, defined here as the fugues, fughettas, and canons, as well as other works containing fugal expositions but not denoted as fugues, such as some choral sections of the Mass in B minor, the St Matthew Passion, the St John Passion, and the cantatas.
The six-part fugue in the "Ricercar a 6" from The Musical Offering, in the hand of Johann Sebastian BachIn classical music, a fugue (/ f juː ɡ /, from Latin fuga, meaning "flight" or "escape" [1]) is a contrapuntal, polyphonic compositional technique in two or more voices, built on a subject (a musical theme) that is introduced at the beginning in imitation (repetition at different pitches ...
Fuguing tunes are sacred music, specifically, Protestant hymns. They are written for a four-part chorus singing a cappella. George Pullen Jackson has described the fuguing tune as follows: In the fuging tune all the parts start together and proceed in rhythmic and harmonic unity usually for the space of four measures or one musical sentence.
His choice of a fugal form for the final movement was well grounded in tradition: Haydn, Mozart, and Beethoven himself had previously written fugues as final movements of quartets. But in recent years, Beethoven had become increasingly concerned with the challenge of integrating this Baroque form into the Classical structure.
The title page of Mus. ms. autogr. P 200, which bears the title Die / Kunst der Fuga / di Sig.o Joh. Seb. Bach. / (in eigenhändiger Partitur). The earliest extant source of the work is an autograph manuscript possibly written from 1740 to 1746, usually referred to by its call number as Mus. ms. autogr.
The fugal sections are often embedded in the development sections of sonata form movements, as in the 1st movement of the Hammerklavier sonata, or become full movements unto themselves, as in the 4th movement of the Hammerklavier or the Grosse Fuge. [54] These full-scale fugues are often a series of variations on the fugue theme itself. [60]
A Fugal Concerto (Op. 40, no. 2; H 152) by the English composer Gustav Holst is a short concerto in three movements for flute, oboe and string orchestra. It was composed and first performed in 1923. Influenced by the counterpoint of J. S. Bach, it is an early example of neoclassicism. Early reviews of the concerto were mixed, but it has since ...
For example, the C-major fugue from J. S. Bach’s The Well-Tempered Clavier, Book 1 (BWV 846) opens with an initial succession of statements of the subject, each at a distance of six beats: Bach Fugue in C WTC1 opening bars Bach Fugue in C BWV 846 opening bars. As the musical argument proceeds, the gap between the entries closes to two beats: