Fugetta |
Music Terms

Fugetta |

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ital. fughetta, lit. – small fugue; French, English fughetta; German Fughetta, Fughette

Relatively simple in terms of artistic and imaginative content, compositional techniques and texture, the fugue (1).

F. are usually written for organ or ph. (other performers are rare: the choir “Sweeter than honey is a sweet word” from the 1st act of the opera “The Tsar’s Bride”, orchestral intermezzo from the 1st edition of the opera “Mozart and Salieri” by Rimsky-Korsakov). As a rule, F. does not contain a complex development of significant muses. thoughts, its movement is measured, the character is most often contemplative (org. choral arrangements by J. Pachelbel), lyric-contemplative (F. d-moll Bach, BWV 899), sometimes scherzo (F. G-dur Bach, BWV 902). This determines the appearance of the F.’s themes – usually small and smooth (the use of song melodies is typical: Three F. for piano on Russian themes by Rimsky-Korsakov, piano Prelude and Fugue “On a Summer Morning on the Lawn” op. 61 by Kabalevsky). In many cases, the essay F. due to its small size, however, the understanding of the terms “F.” and “small fugue” as synonyms is not always justified (in the c-moll fugue from the 2nd volume of Bach’s Well-Tempered Clavier, 28 measures; in the clavier F. No 3 in D-dur by Handel, 100 measures). It is impossible to draw a clear line between F., fugue and small fugue (Fp. F. No 4 op. 126 of Schumann is actually a fugue; Fp. Fugues op. 43 of Myaskovsky are similar to F.).

F. are built in principle in the same way as “large” fugues (see, for example, double F. No4 C-dur for Handel’s clavier, org. F. to Pachelbel’s chorale), but they are always smaller in scale. The most complete and stable construction of the exposition; the developing section of the form is usually small – no more than one group of introductions (in many cases, composers consider a sequential or imitative interlude to be sufficient: org. choral F. “Allein Gott in der Höch’ sei Ehr” by Bach, BWV 677); the final part of the form is often limited to unity. carrying out the theme (fp. F. in h-moll op. 9 No 3 by Čiurlionis). Although the use of complex contrapuntal forms are not excluded (the infinite canon in F. No 4 in C-dur by Handel, bars 10-15, reversal of the theme in F. from the “Polyphonic Notebook” for piano Shchedrin, stretta in magnification in piano F. in d-moll by Arensky) , yet simple types of imitation for F. are the norm. F. occurs as independent. prod. (F. c-moll Bach, BWV 961), as variations (No 10 and 16 in Bach’s Goldberg Variations, No 24, in Beethoven’s Variations on a Waltz by Diabelli, F. on Rimsky-Korsakov’s BACH theme in Paraphrases ”), as part of a cycle (“Mini Suite” for organ, op. 20 by Ledenev). There is an opinion that F. may be a section of a larger whole (Praut, ch. X), but in such cases, F. practically does not differ from fugato. F. often precedes enter. the piece is a prelude or a fantasy (Fantasies and F. B-dur, Bach D-dur, BWV 907, 908); F. are often combined into collections or cycles (Baxa’s Preludes and Fughettas, BWV 899-902, Handel’s Six Fugues for Organ or Harpsichord, op. 3, Schumann’s Four Fp. F. op. 126). At 17 – 1st floor. 18th century org. F. as a form of processing chorale melody (usually only for manuals) was used frequently and in a variety of ways (J. Pachelbel, J. K. F. Fischer, J. K. Bach, J. G. Walter). Perfect samples belong to J. S. Bach (some org. F. from the 3rd part of the “Clavier Exercises” are simpler manual versions of large choral arrangements: for example, “Dies sind die heilgen zehn Gebot”, BWV 678 and 679); small preludes and fugues for organ (BWV 553-560) and F. for clavier Bach intended for pedagogical. goals. Composers 2nd floor. 18th-19th centuries (W. F. Bach, L. Beethoven, A. Reich, R. Schumann, N. A. Rimsky-Korsakov) turned to F. much less frequently; in the 20th century it has become widespread in the instructive and pedagogical. repertoire (S. M. Maykapar, A. F. Gedike and others).

References: Zolotarev V. A., Fuga Guide to practical study, M., 1932, 1965; Dmitriev A. N., Polyphony as a factor of shaping, L., 1962; Rrout E., Fugue, L., 1894, 1900 See also lit. to Art. Fugue.

V. P. Frayonov

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