-■yj. THE USE OF THE FUGUE IN THE MODERN ORATORIO By NELLE ALMEDA KIRBY THESIS FOR THE DEGREE OF BACHELOR OF MUSIC IN MUSIC SCHOOL OF MUSIC UNIVERSITY OF ILLINOIS 1921 •V s Digitized by the Internet Archive in 2015 https://archive.org/details/useoffugueinmodeOOkirb THE USE OF THE FUGUE IN MODERN ORATORIO 'r’^fii^^i^i^-'^}'fV :i=i \t ^ It & ■. r ..-'m ‘ ' W^Sil‘- '-r. ' ,, V. -^'^ ■ ‘j 1 .... '— ,Y>- ■• 'i«!i .'..T?f. . ^I'W. 'i v'. ;'. . ^ • . s . / ^ 1 ^ i. . * TS‘ i» ■ t‘ '!>' 1-i.M f 'i i.t', J V r * k'' 1, • ' ''■ ^ -L;'« ■'' ■ ■C't'.v-S-'-./'f ■.?!}: '■( ’:-i,;< \,,!iXm^ vf' ■ ■ .v^ ' t ■;> '<: ■A.. ••>''■ -i'' ' ■” ' ■ -tj 1 -''^ ' ""! " uli '■•' ' ' ' ■; ’^•'i i ,^k1R ..V,' ' Jr" ;l'/’*'i^'''2i<#-..viV 3»aA r •■'id ' ‘‘'V rir 'irrTi '* iiii^wiffM ^ .; Table of Contents Page Bibliography i Part I Introduction 1 Part II List of fugues, etc 6 Part III Conclusion 22 Part IV Examples of fugues 24 r.* >.-■ -’.y: ’ ... /' ii‘ •;■ •W ■' l!f^' . A '■' ■ ' • 1 ^* I ^ • V V ||i ■« • I • » • > « I •* • f • '• 1 f •»' « *^» • » • *‘’ < ^* • • j * *' •■ 'V' * 7 * Yy*V* . ' . • *Xj^^«X '*'..«a^Vv>,t ^'■^' '^' -r'.’^co I, ^LIi> vTKS®/ » V ' — w • ii* -. .\ c '»; «. I ♦ • • * t » • » • • * • • • » • • » • • • » *,»•' 4 f i^.f. t i I AH»-'Jl£^' 3 fc‘ ■ s ’ f *^.7 ■ ». * < • *1 • • •■ • * • I • 4 * » 4. ♦ . • • I • 4 . • 4 • • •■ » • • 4 » ,» » .» 4 I, « *. • ^ « ■ tX(fi, 0 C/ii. 9 d 9 ^ ' J tr. . iuM'^* ’ ■* ‘ • • < • 4 * • • • • • • ' • -• » • 4 J » 1 •■ 4.* * • • 4 »./.» 4 4 4 i|^ i' 4 2lC|Xfl[W^XtS 'S'- « ^ r .4 « * u .« le^i'. -■ ^ ^wr\- * («■ — iHt' :■ V^VZ-U, i BIBLIOGRAPIIY Books and Dictionaries Grove’s "Dictionary of Music and Musicians" Stainer and Barrett "Dictionary of Musical Terms" Music and Musicians - "Oratorios and Masses" Theodore Baker "History of Musical Terms" Gaddis "The Development of the Dorm of the Vocal Dugue" Higgs, James "Pugue" Matthews, W. S. B, "Popular History of Music" Soetschius "Applied Counterpoint" Spitta, Philipp "The Life of Bach" American History and Encyclopedia of Pamous Composers and their Works Music Cyclopedia of Music and Musicians List of Oratorios examined 1, Beethoven--The Mount of Olives 2, Brahms --Requiem 3, Benedict — St. Peter 4, Bennett --The Woman of Samaria 5, Costa--Eli 6 , Dvorak--Sta"bat Mater 7, Dvorak — St. Ludmila 8, Elgar--The Apostles 9, Elgar--The Kingdom 10. Elgar--The Dream of Geronitus 11. Gounod--The Redemption 12. Gounod--Mors et Vita ii 13. Haydn--The Creation 14. Haydn--The Seasons 15. Liszt — Legend of Holy Elizabeth 16. Liszt--Christua 17. Mendelssohn--Eli jah 18. Mendelssohn — St, Paul 19. Macfarren--St , John the Baptist 20. Mackenzie— The Rose of Sharon 21. Parker- -Mo rven and the Grail 22, Patten — Isaiah 23. Paine--St. Peter 24. Rubinstein— Paradise Lost 25. Rossini--Stabat Mater 26. Schumann — Paradise and the Peri 27. Spohr--The Last Judgment 28. Spohr --Calvary 29. Sullivan — The Prodigal Son 30. Sullivan--The Li^t of the World 31. Saint-Saens- -Christmas Oratorio 32. Verdi --Requiem Part I INTRODUCTION Before proceeding with the subject proper it will be necessary to have some concrete knowledge about the fugues. Grove's "Dictionary of Music and Musicians" defines the fugue as a "movement in v/hich a definite number of voices combine in stating and developing a single theme, the interest being cumulative , " The word "fugue" comes from the Latin verb, "fugare", which means to put to flight, the idea being that one voice of the fugue is pursuing the other voices. Every development of the fugue is more or less directly dependant upon the principle theme or subject. The main idea of the fugue is that of one voice contrasting with other voices. In order that there may be this necessary contrast a fugue must be written in a definite number of parts, at least two. Eugues may be classified as: 1 . Real 2. Tonal 3. Eughetta 4. Eugues of Imitation 5. Irregular--merely pieces in fugal style. Every fugue must have: I, A subject II. An ansv/er III. May have a counter subject IV. Sometimes a strettt) In addition to these constituents which, with the exception of the stretti, are absolutely necessary- there are - 2 - other conti'apuntal devices for the purpose of sustaining the interest such as: V. The episode VI , . The codetta VII. The pedal point VIII, The coda In general structure the fugue is made up of: IX, Exposition X, Development section XI. Recapitulation, I, The subject of a fugue is the chief theme or melody upon which the entire fugue is based. It should have the following basic characteristics: (a) Moderate length. (b) Freedom from modulations except in the dominant of the principal key. (c) Should be easily recognized wherever it recurs. (d) Follov;ing the rule of a melody, fugue -subjects may begin on any part of the measure but should generally end on an accent. (e) Scale passages are frequent in fugue subjects. II. The answer is primarily a transposition of the subject into the key of the perfect fifth above or fourth below the key of the subject. The relation of a subject to the answer determines the character of the fugue. An Answer to a fugue may be real or tonal , A Real Answer is an exact transposition of the subject one fifth above or a fourth below the original key. - 3 - Example — Real Eugue A Tonal Ansv/er is a modified transposition of the subject which really resolves into answering the dominant by tonic and the tonic by the dominant. Example--Tonal Eugue III, THE COUNTER-SUBJECT is a supplementary melody intended to accompany the subject and ansv/er. As the accompaniment must sometimes be placed in an upper and sometimes a lower part it is necessary that the subject and counter-subject be written in invertible counterpoint, generally of the octave. The counter- subject (or second subject) of a double fugue is in all respects as important as its companion subject. IV. THE STRETTO — Stretto is derived from the Italian verb "stringers” meaning to bind together. It is the narrowing of the interval of time between the subject and ansv/er. In the Stretto the answer may lead and the subject reply a fifth below, the answer may be at the octave or both subject and answer may be used ' - ... a.. -rw'- r: ~v gr.w’ ■ «, ■ .vir*v'7//-^iP‘..TW«, “.isar "■'«{••• •v»in 1 ' V •U*!* ’t <, .■■ m; Jroi« ■ jii(^ •f.' T-y . ;• . t. “V . -'v.. • V* : ■ yji^OlA;..' vyr '■-5^ ■ - V :vj . -a' ■ «'■ ' ... • • ; H >. } ■". M Li!:: :..: » ■ -Jfi . • Yl^'V^ V- ■ :^, . jfawif;' ■> m ■'■ ‘ •; ■ V •- ■ '4 I. mV ■■ ..:&'i,<« >. ’ •» f»' ;.• TSFfXw * "■'iP' MHKv' ^, . , , , •• ♦?» ;* V * x TA' ,4 ' ' <•■* . . -f/ ■ .,*. X'‘X'* , *> X, ;•'*/' . ■ «i'*’..J|3 :’%' •4®- >5 {;«»;!« - tiL • 0 7JB ... »■ ■ >' •: ,. '^. ■ ’ '. v\ fS'-.* . ■- - ^ ‘ ■* ■^■- '■'" '' t •■•■ *'•-'•<•' ■■■' “• ’ ■ ' ' ^ V *^w '■ • .lU ‘ '■ . . 5 a ' ■ :,■' • .i' >, .ziA -4 in augmentation, diminuition or contrary motion. All voices of the fugue may take part in the stretto , V. THE CODETTA. When the subject and answer have been developed to some extent other voices enter in turn with the subject or answer alternately; sometimes there is a duet between two voices lengthened by a few measures before the entry of the third voice: This is a little digression and is called a Codetta, VI. THE EPISODE. Intermediate matter introduced as contrast and relief to the more essential parts of the fugue is called an Episode . frequently the Episode is the means of modulation. The best episodes are those founded on some motif previously employed in the fugue. The individuality of the composer is often exerted in the Episode, VII. THE PEDAL is a sustained tone, usually on the dominant or the tonic and sometimes both (in v/hich case the tonic must appear last) upon which points of imitation are constructed. VIII. THE CODA. Coda is the Italian for tail, and the part of music to which it is ascribed is expressive of it. The Coda is used in a fugue to give a rigorous ending to the entire composition, IX. THE EXPOSITION of a fugue serves as an introduction of the parts, of which there may be from two to eight. After all the parts have entered there is a short digression or Episode which gives interest to the composition and keeps it from becoming mono tonous . X. THE COUNTER -EXPOSITION or DEVELOPITENT section is a sort of reflected exposition in which the subject and answer accompanied by the counter-subject are presented according to some .V Yrr •' St \ir A ■ ■' ' / •I'.. 1 '' . ^ "Vlr* ■.'Oj - Y * I- '■ t r o'.i'Ai.y'' f ^ ' ^ » s i ! ■,./• • , r.> 'j' •■.•.*. '-• ,' J ■3: .1 ■ . ‘' a*i' '.• i. . C> ■ '*, 1 . jCia J t - ,'• : ._L * . i ' . ' '-♦ 1. 1^3 ■ [ ! n i : a. ■ ?.r ' t..i •• :3r. :r it#: if- k*<> - . .. , •rr. ,;i a '•>> r . ' .. fr' ■’; .rtv. /r^ix»w;;vi. :•:- .;. M ■ ri-J ^ u’. vt .0;\. .U';' :J ■ - r. i ] .ri^:c* Ui .1 ^7n ' r,’ ■ .:. ri'.^j' I'C -V i ' V^' 'hT^.>nh :■ I ■' I ■ •^ : '♦ , ■» \K' x :r^' I ' - vJ ; > i I* ’V 1 , ?■ ’M ..w •:■,:> '! :..t JIOQ'. :> ^ ■> ^ . f . •**,j . ,\t* •H,| ‘IV. .' . ■. .jf'ii.' 'Ivi. k • » • '' k' j v., - ■' j . ;<'i i r. ..“^ ‘ ./ ' -5- modulatory scheme as suits the taste of the composer. This is the largest division of the fugue, XI, THE RECAPITULATION is what the word implies. In this section the themes are announced in the original key. Types of Euguea: 1, A Real fugue is one in which the answer is throughout at the interval of a fifth above or fourth below the subject, 2, A Tonal fugue is one in v/hich the ansv/er deviates somewhat from the original subject, 3, A fugue of Imination is one in which the answer is always similar to the subject. In a fugue of this type the composer is at liberty to introduce changes and curtail the answer as he sees fit. In a fugue of Imitation the answer may be in tonic, dominant, sub-dominant, mediant, sub-mediant, super-tonic, leading- tone or their compounds, 4, The Eughetta is a short fugue usually not over twenty measures. Many four-part vocal fugues v/hich are to be found in cantatas and oratorios are of this type. 5, Irregular Eugues or pieces in fugal style which do not adhere to all the characteristics of a real or tonal fugue but still have the ear-marks of a fugue, A Choral is often introduced into a fugue as a free part in the chorus "But our Lord," in Mendelssohn’s "St. Paul." J. S. Dwi^t has written the following on the aesthetic character or expression of the fugue in his article on the Eugues of Bach: - "A fugue is the unfolding of a musical germ; it is the I r*x- . .V ' : ; r 'w ' |.''< *U' .I'' .'•>▼ .- i'.'’"^.' V \ aL -lt '1 J- f. i ■•' < . -tf;; j i’ '■ *j_t :o;^l ’■- : ^ !, . :/:a'; '.'^^ 'll/ ■’ j,t j n,£ r , . I. I ■■’ ■ • ■I ** ' ^ f ♦ M L* ^ P. M . » . ^ M .. . r - ■/■ ■ ■ ■! . ,t:r ,vo: . : -.I.' '. .•'' j- ■■’ii-v . , > s 4 ' j. . .1' ' ,J.J? .r..r?tj> n. '■ •■ ;.'• 1J' -■ •>T ^ ' * ^ ‘ c.c- ■ ^ -o/ii: 4 ^ ’ir- i| c'i. »*ips:-vl j '/■;. ■ ‘itro .t ■ ■ 4 , A' . j - 4 .? ;; ,.-,trr ' Gr’oy ^.' 'i:>i:wc*»'» ^ ■ ■■•^/ :;rt a '.^6 :;.f /* '■: » V y?V.‘, -r:» - ■ *tr • fcv' . .■:. ' :'■ 4 ^'* ir.> J T - 6 - development^ the opening out, the organic growth of a musical thought, first lying latent in any simple phrase, according to its innate law. In its effect, as you get it on the grand scale from a multitudinous chorus, it is the theme echoed hack reflected from all quarters, till it becomes all -pervading. As a form of art it is analogous to Gothic architecture."^ "The fugue is a comparatively modern development of what we now call canon , which during the sixteenth century was called fuga .^ Johann Joseph Fux, a native of Gratz, Styria, who lived from 1660 to 1741 and who was a master of composition and interweaving contrapuntal forms, was perhaps the earliest composer 'Z to develop the fugue. The "Gradus ad Parnossum," a treatise on the theory and practice of composition, was studied by Cherubini, Mozart, Haydn, not to mention Bach to whom may be given much of the credit for the development and perfection of the fugue form. Part II List of Fugues Beethoven, Ludwig Van "Mount of Olives" 5 choruses Chorus #15, "Hallelujah" Tonal fugue Pugue theme "Praise the Lord, ye bright angelic choirs, "Encyclopedia of Music and Musicians" p. 34, The American History and Encyclopedia of Music, p. 217, * Cyclopedia of Music and Musicians. * r ) ■ \ ■' I f > i I T5?f,r <■ ’ I ? . • , : •' I -.•• •*» «:i;‘ •■' (If' • ^ j . . , • i<: ij 0 ' * - 1 ' , ^ • '.. C \i,oL'(;Jf, \ ‘ I ' II* -7- in holy songs of Joy,” Voice entries--S, A, T. B, Stretto B. S, Measure 13 and 14 ^ 46 measures long, Stretto all voices -24-27. Benedict, Jules "St. Peter” 23 choruses Chorus #2, ”They that go down to the sea in ships.” Tonal fu^ietta Pughetta theme ”They that go down to the sea in ships," Voice entries--B. T, A. S. Pughetta 16 measures in length. Chorus .^22, "Praise ye the Lord" Pugal imitation. Pugue theme "Praise the Lord from the earth, ye dragons and all deeps" Voice entries--S, A. T. B. Imitation 8 measures in length, Bennett, William Sterndale "The Woman of Samaria" 9 choruses Chorus #13, "Blessed, blessed be the Lord God" Tonal fugue ^ Pugue theme "And blessed, blessed be the Lord God of Israel" ^*See appendix, example #7, -8 Voice entries--S. A. T, B. I\igue 123 measures in length Coda — Lomophonic style--23 measures. Chorus 7^19, "Now we believe" Real fugue Fugue theme "Now v/e believe, we now, we believe" Voice entries--S. T. A. B, 59 measures in length Stretto all voices 14 to 18. Dvorak, Antonin "St. Ludmila" 20 choruses Chorus #17, "Now all gives way together" Tonal fugue Fugal theme "Now all gives way together, there is chaos and all v/ithin a gulf of sinking, and all is only mourning and straying in darkness." Voice entries--T. A. S. B, Three voices, T, A. S. carry fugue for 18 m'easures when bass enters. Chorus #45, "Mighty Lord to us be gracious" Tonal fugue Principal fugue theme "Lord be gracious." Counter-subject theme "Mighty Lord to us be gracious, be thou gracious." Voice entries--B. T. A. S. ......lir "tTH? - V > T. ■ . M’ f-4j •♦ T'* A-5-' ''3r;:V^ .... . ■' '.i,' ,t;W . ..,.t ry . Vr- :>)4 _ « ■' ■' ‘ . , . ,V • 'y.''.’“ vS-tk!! .,'^,f ' W ;4* Ji ,, * .H> . / ». ‘ ,•! ■’■' ' -“T '^V5’‘<^:. ^ fV , ’’1^’ ij ' ■,'■ ■' 'iv^'-' ‘^ ' . . Jr ^'Su. Jt^.. V LiM .ft Am idtr .■ ' M- ■< EC^ r- • I •- r J 6 **^ *' ' - ' ' ‘ f * ') ;y. 1 hiJJi 'fc'i .,*H •.*^ ,.r*.. n »: ,• . • '• *.«..'!'• ■ H . . .1^‘ '? ; ^'- . . v-v -■ ■ -V - •. ^ ^ . 4 iV/ A . if ' r ’ ' ^ ■■^' &v ''. ' -■ ^'. 'M . ''I .‘.^f ^Si.to7 ■Lv^^'l' ,5 L>Pi ' -'- I...'*. f * •', ■ ‘ . ■ ■ ^;V' • I s , ' o.4’it3 ' ■•■ ’• ’■ ' V f «'v' i* ‘ -'■« rlii T -9- JJ^igue 37 measures in length. Costa, Michael "Eli" 17 choruses Chorus #10, "The Lord is good" Tonal fugue Eugue theme "The Lord is good, a stronghold in the day of trouble and he knoweth them that trust in him." Voice entries — S. A. T. B. Eugue 78 measures in length Stretto 21-25 - B. T. A. S. Chorus #6, "Blessed be the Lord" Tonal fugue Eugue theme "Amen" Voice entries--T. A. S. B. Eugue 107 measures in length Homophonic episode 67-69 Homophonic coda 96-107 Chorus #35, "Hold not thy peace" Real fugue Eugue theme "So persecute them v;ith thy tempest, and make them afraid with thy storm." Voice entries--B. T, A. S. Eugue 129 measures in length Counter-subject theme "So persecute them with thy tempest and make them afraid with thy storm." ■i . ,*CT y 3^'4*t ^. .■ lAi-; ' » \(T'’ • •''.?^ ■ K \''F,i.i '•'^^ '', . ■ :<• • ^^'- V- ■ A» *’\ , * I --J, >iif ^ _ 'Tf-'V h' •;:ilN-:ii •4 IS''/"- - ’ i 'r ■-'■ V ‘ ' ?' ' ‘ * Vi j V. , I l^'^x * ff T> f ?• .. ■► ■ '•■" 1 ^ L&v: ' w- £^i ii A, 'a :!’M ' ' ■ ‘ - . i' ' % 4 '. *^- 1 ’ ,. . . 4 ^.,^. , Jlws •■ ' n i - < ia ..'., '•4 ., tv. ,.;V crf^w: *^. t(if. '.f^SWfirj^^ ,jaU *C- D ^ ' / <3P*A: S '-'I 'm .£M,*,t'.. SCi/" ■t.'..A ‘.V T - 10 - Voice entries--B. T. A. S. Fugue 129 measures in ?.ength Counter-subject tlieme "So persecute them with thy tempest and make them afraid with thy storm." Measures 52-55 homophonic episode to key of sub-dominant Measures 74-129 polyphonic Coda. Chorus #49, "Hallelujah" Tonal fugue Fugue theme "Hallelujah, amen, amen, Hallelujali amen." Voice entries--T. B. S. A. Fugue 116 measures in length 32 measures polyphonic Co^da Elgar, Edward "The Kingdom" 21 choruses Chorus #21, "Lord, behold their threatenings" Tonal fugue Fugue theme "Lord, thoud didst make heaven." Voice entries — B, T. A. S, Fugue 22 measures in length Elgar, Edward "The Dream of Gerontius" 13 choruses Chorus #32, "Demons" Tonal fughetta Fughetta theme "Dispossessed, aside thrust, chuck’d dovm by >r ^ ' I nrre-w .mwwTwiHr-j^T. -n-^t ‘’'! '( J miH' r ;»'■ v ' .>7 1li'~ '*iiiih'r*%iiiiiii)i>r^ ' '' ♦ f; „- ■■' .j™ i"'i v> ! '••: - 'll liiUilXfA* ,.tert> ,(« 3 ia ■ ^: .■' '■ ■ ■ - ' ' ,, . Vv ' ■'■■ ■■• ■.• .■'M':';«i^»-'7'<3,’S. V^' i>'*iI 2 L ■•V'« ill 'll' j u3 JSi , L “L‘- # . '; V. 1 «' t'ii &•>'. V4i .Vi" f* =5 • . •* ■ i*S / .*': ' M . , • ■ '■ : \ t I * ■; -i.; r*'V; ' ■>, ' ' ■ ..‘^>K,>tuV.i- : J'S .ll ij - ■ -.IV'-. '. j -f.-.-rr.- ■■ ■ f *»>!)<«(?■ *ft’: «* 4 1 •a ^^ ( tli y %g y t -V- ''''‘ . ^ ^ay^ 7» a r . '^ i f »! * v^asg^a h W) |W ■"" ■> ’ ^ ' ./. a\ W*. . ..'i. - 11 - sheer might of a despot’s will." Voice entries--®. T. A. S. Fughetta 12 measures in length Gounod, Charles "The Redemption" 18 choruses Chorus #3, "Hymn of the Apostles" Real fughetta^ Fughetta theme "He, like the Holy Ghost, is one with God the Father in everlasting Trinity." Voice entries — B. T. A, S. Fughetta 15 measures in length Haydn, Franz Joseph "The Seasons" 13 choruses Chorus //24, "What e'er the "blossom’d Spring" Tonal fu^etta Fughetta theme "From thee 0 Industry, from thee springs every good" Voice entries — B. T. A. S. Fughetta 19 measures in length Haydn, Franz Joseph "The Creation" 10 choruses See appendix, example #6 - 12 - Chorus #3, "Despairing, cursing rage" Tonal fugue Fugue theme "Despairing, cursing rage attends their rapid fall" Pughetta 18 measures in length Voice entries — B, T. S. A, Chorus #11, Awake the harp" Tonal fugue^ Pugue theme "Por He both heaven and earth and earth has clothed in stately dress" Pugue 45 measures in length Voice entries — B, T. A. S. Measure 27 — Stretto in all voices Chorus #14, "The heavens are telling" Real fugue Pugue theme "The wonder of his works displays the firraament" Voice entries — B. T. 3. A. Pugue 35 measures in length Stretto in all voices measure 12 Chorus #27, "Achieved is the glorious work" Tonal fughetta Pughetta theme "In lofty strains let us rejoice" Voice entries — B, T. A, S. Pughetta 6 measures in length Chorus #33, "Sing the Lord, ye voices all" See appendix, example #8 I ■ r' -13- —a. Tonal fugue ?ugue theme “Jehovah’s praise forever shall endure." Voice entries — T. B. S. A. Counter theme "A-men" Stretto measure 13 and 14 in tenor and bass Measure 46-58 principal theme in A, S. and B, v/ith counter -subj ect "Amen" Mendelssohn, Felix #Elijah" 22 choruses Chorus #1, "Help, Lord’." Tonal fugue Fugue theme "The harvest now is over, the summer days are gone; and yet no power cometh to help us." Voice entries — T. S. A. B, Fugue 49 measures in length Measure 42-49 - homophonic Coda Chorus #22, "Be not afraid" Tonal fugue Fugal theme "ThoU^ thousands languish and fall beside thee and tens of thousands around thas perish" Voice entries — A. S. B, T. Fugue 82 measures in length. Stretto measures 19-21, A. B. S. Polyphonic Coda 40-32. ■” yf- ■73 V Mendelssohn, !Felix ”St. Paul" -14- 20 choruses Chorus #23, "The Nations are now the Lord's" Real fugue^ Fugal theme "Por all the Gentiles, all the Gentiles come before thee" Voice entries — T. A. 1st S. 2nd S. B, Stretto 1st S. measure 16 Polyphonic episode 41-52 Second theme "Now are m.ade the glorious le-w and judgments" Voice entries — 1st £l T. A. B. 2nd S. Reappearance 1st them.e -measure 105 Komophonic Coda measure 139-160 Pugue 160 measures long Chorus #36, "But our God abide th" Rea.1 fugue with corale sung by second soprano Pugal theme "But our God abideth in heaven, hi^ in heaven." Ccrale enters in measure 20 second soprano part Measure 98-105 homo phonic Coda Fugue 105 measures long Chorus #44, "Not only with Him." Tonal fugue Pugal theme, "Bless thou the Lord, 0 my soul and s,ll within mie bless his holy name." Voice entries--S. A. T. B. ‘See appendix, example #1. , R^ ,Mi'W % \ ‘''W' "N: I ltV"^lj|> •' " •■■ '^^i' *,'1; \ .‘ftev ' j' ■ jt f >‘,*'s1 '•I' t i Jf-i »« 'fe'x-^T ^ v^tt. i!i;^'i^(a^i;)^»i'*'' 's^ € At 1 a I t) 4H Si' .. ♦ ♦Vi t .• •'■ •■' ^ ■ ;■ ' -Si ?^v.Vr^ "'v5 ' kVfcs.’'. „. ■ .'■ - • • i ’ ' « vi'- ^ .* r% ‘i ■ ■; _ */A*Vi' . r 'V^ ^fT!? «-if k si’- i/' • tv '^Xu ‘?4■ ‘ i* 9 I '" I ■ . * ^ ■n^'fV- '. ’ '■ -• ■ ” ■ ■/..■■■ ' • . ' ^r ;•■ '’^ifl ■ ' .'■<' '■' ^’ V* ’ .’•^■.rp' f V' ■ ';. ' A4H- '•'^ ^' 'iit- < c"^v :,r ^ '"M '/yP' >"/ , ** *'*'*■ -V'. *'3| ' . " ■ “..'tW' 'r(>;iw ;,■ SP.w'' ' ■••■'«“- ‘J*^ ; :■ :"s •Ssiftb- '■;.>' ,*v ■, . * m>^.--^^-iAlBlHLii -^.V- *•;, ‘ ■ :i?- *' ’ A' • J •;. ■ ^ 4 >^ , ,\v i . •' 'f •♦', ^^■y a *' » * -aw^ >P>r t¥;;^»t(u ip » g w L ’ r ' ;,f ■ ,, fe- ' 1 . ■ . '»'ji . ►/ iH, " f i- ■i, -V«' 5 i ^3 ■’“f -15- Homo phonic episode 33-34 Second theme ''All ye his angels bless ye the I-crd.” Voice entries--S. A. T. B. Bugue 59 measures long. Measures 54-59 homophonic Coda. Macfarren, Walter "St.John the Baptist" 7 choruses Chorus 7^2, "Behold I will send my messinger." Fugal st 3 '’le . Pugue theme "And he shall turn the heart of the fathers to the children" Voice entries--A. S. B. T. Bugal imitation 55 measures in length. Chorus #10, "My soul praise the Lord" Tonal fugue. Pugue them.e "My soul praise the Lord, Speak good of his name . Voice entries — S. A. T. B. Pugue 73 m.easures in length. Mackenzie, A. C. "The Rose of Sharon" 19 choruses Real fugue Chorus 7#54, "Sing, sing C heavens and be joyful" im t .TTii J .1 pi.:,Wu.i:.H V •' , V, i> ^ ' ' •' A ym^ pi’ jT‘ 4 .' '-j -' ^ ' y>yf^^ •’, vi% : , ' '■• ' P. • BiSSvjlSR'’'' ‘ ... »•'> N* 4 i.' » :■ ■ .j' : St *S {-ijfc^-' ■ ' .t 5 ’?.v c: vp ■ V '"I kv k>^.' , ‘ ',' .v^P".. ■ ^:i." ’■■ ;.^-v . in J*! ii- . .' ;< \ ^* 1 .'; , , , ^ ^ V .,, . ,.. J *? ‘tK\ I •-■ ■, N ., ■■ [. "* ¥* ■.’ 1 p' 5 i>«^. ■"■■/: §USA‘^”4^' / '!^.?i< ’ ' ’<|J- » - F *J™ i; -- Wf ‘ '• *;■,. ■ 7 - ’■ ■ »*•>»**; ‘ ^ T-v^- ■ . '*' ' •’ ' i'l S^« . ,|j*^\ L. ■ '••V ',• , ■■‘,11 '*// t**b^A a '^^1 gf . ■ ■*'<.; ,» ■ »■. 4; w.v;?^ n,n- \ a . s 7 i:' ■’-:<■ ‘ n'- ■■>. ■,■ i*- '. 'V ’ ’ ■■; - ',: „ 'Mymmk ' '' 4 , tyw ■■•kk : ■■■ ' ' ' ri '■‘' ' . . f'i - . "•' *. • I'y’^ - '^x^t'Oi y'Sm t' y ^ . ■■ ■ ^ 0 . >’ 3x. ' f“>'^ *ff tT» ' ?' , jtwwjua ip* : I < \ ij i jL i ^iH ,vV.:^.:i -16- ■^gue tlieine "For the lord hath comforted his people." Voice entries--T. A. S. B, Fugue 38 measures long. Patten, Willard "Isaiah" 11 choruses. Chorus #5, "The Lord sent a word" Tonal fugue . Fugue theme "The Lord sent a v;ord unto Ja^coh, and it hath lifted upon Israel." Voice entries — B. T. A. S. Fugue 50 measures in length. Stretto- measure 33-36 in T. A. B. S. Homophonic Coda measure 36-47. Rubinstein, Anton "Paradise Lost" 8 choruses Chorus #9, "Clear resound.ed the trumpets of heaven." Tonal fugue . Fugue theme "Pra,ise the Almighty One," Voice entries--B, T. A. S. Fugue 69 mieasures in length. Rubinstein, Anton "The Tower of Babel" 12 choruses f ■» ;TV^ ' Tvrv Tt!' V . *'1‘ V ,.'*,.-:f;-'.u^.^ '. I % •«kia.Vj4i ^ •"ft Jfs- "'^^- -j;: - Xt-' ’ V ;, ■ ' ■ » • ’ ./ • ■* '>-, * il ’■*• y '■ *■ :L ’ /' ' %•' • » i^'V< V -■5^. ■ f 1 . , '• ' ■ I'-.* ii ’i ■■ ' h • ’ viL.y • . . i ••• . . ; A ^ ''" ■t I > " ,i' V" ’’ ’ ” ■>■•/ Ik - .. » %y ( I , j L 4 - ,^j't 7 *r' .I. -V v'ft ' ' .cr/' i o'"’’ ',c 1 ' * . V ^ * '• 1 .' X ■ - '■ ^ ■■■}. ■ • . ' ,.’ ■ ' v'n: . . . • I J-, . ; tuvu'jj ’^'1 • /. .i . '.M J-.t *Tl\VX^)C( » '■ - L ‘ > L . -. . ( • ■ ' ,,‘l ■■ ' ^ j :>' ■‘*^1 ' >' ■ . 5 rV: .. * ‘ *‘ I . : > ■ j r w ^ TF JM ^y jM I l hWr -18- Tonal fugue !Pugue theme "For 1)100(3. must holy te,” Itigue 56 measures long. Voice entries--T. A. S. B, Spohr, Ludwig ’’The La.st Judgment” 9 choruses. Chorus #10, ’’Blessing honour glory and pov/er.” Tonal fugue . Fugue theme ’’Blessing, honour, glory and power." Voice entries — B. T. A, S. Fugue 41 measures long. Chorus #22, ’’Great and v;cnderful” Real fugue . Fugue themie ’’Great and v/onderful are all thy v/orhs, C thou Almi^xty God.” Voice entries--B. T. A. S. Polyphonic episode measures 20- 25 Second them*e ”How just and true are all thy commandments 0 Jehovah’." . Voice entries — B, T. A. S. Measures 37-56 third theme "Thine he the kingdom, power and glory forever and evermore." Organ point on V 49-56. Measures 50-89 polyphonic Coda. Spohr, Ludwig ' ■-■■' ■■'>.•. ,T. ' ' ' ' >•*. 'i " T ' ' r .< f-:!r I n ■'"’!*; /• r t. V ••, *•' t* '■'.v*-'' ■ '’'"'TVTi . , ,. .. * /A '» -:r-ni»V ■ I J K; ’'4 :tJ3V.v : k ■ .... t .>w\' . '.'V1.‘ 1. x -* 't t * '' * ^ » .i. ■•.v v . ’. ■ '>'^U'< iSi^wls ; ' ■ »i e r. ^ . - ■>’»»g "y jyi * BH 8L »a tamg B> ip uv^i.. »8i 3 aRi^^.^.r. - ’ , .. I -19- " Calvary " 12 choruses Chorus #11, "0 thou Eternal God.” Tonal fugue . Fugue subject "Thou art his refuge, mi^tj’’ in peril to save him . " Voice entries — B. T. A. S. Polyphonic Coda 56-90 Chorus #15 "0 that men could praise the Lord." Real fugue . Fugal theme "0 that men would therefore praise the I.'Ord" Voice entries — T. A. S. B. Second theme measure 83-96 "And declare the wonders that he doeth to the children of men.” Fugue 96 measures long. SulliATEin, Arthur "The Prodigal Son" 6 choruses. Chorus #18, "Thou, 0 Lord art the father" Tonal fugue Fugue theme "Halleluja,h" Fugue 33 measures long. Sullivan, Arthur "The Light of the World" 17 choruses Chorus #15, "I will pour out my Spirit" ^ . ,iy^c ■ ^ S®b' ';::Vt;-' ' “" 1 ^^''!^ ■ V •>'A .'■ TO •:?»•■.• '•.^'■W} ^:. J 3 »,* 1 . iV^..»i,* ^ «r» > - • *••’:'•■ V ■ , , ;%^>'3:v'i »;v4 9<3i.’,tcr i}4idl{^','jp>ciF r.''V^r »fe .»iii«ir eitofti *.* fSt.-i* i»afit' *>i»j y*, V * ' . ■ . i^BH • ,j.,\ .• ::\- .ri / ’ ••• '• •♦m; •••'-^^tii ,..,4 t ^ 9\.--.iQ':>''' L '• &-;■ v *<‘:> -XX Xi- ■-■•'.'.'■I '..' • .,>••' 'jr> * i ^>^5i P 1 , :' C-y -A ''m ;«'?‘^ .. "^‘ ' J’.. V%. -i‘-'.. ^ . ‘jv’' : . l£i -- V '• *■ -'f-Ps ^l^Jr *W$xh' k?, '^' ' ^ -I ' '/M'' F'V ''^§r.'V ^■•' ■ ■ -■' '■ „ . ., , , '■ , ' ■•’ ■' . jj^Jhllliifi, ,i:-v .• rV-*r • v’. 1 .:P rg‘w * ^ W ’ W r : .<^^ ei ff jjuj y ; ■ y t ik »» M riiMMWiiM||i^^ ; • j ~ iL,' ifUMiitiiij i. v y m g ju i g » ' :■ ■' '^■•’ ' ■ ^ tfi. . .-k. ■ ^ . « *<^ 1 - 20 - Tonal fugue . Fugue subject, "Ke shall stand and feed in the strength of the Lord." Homophonic episode measure 17-24 Return of subject Chorus #14 "The Spirit of God" Tonal fughetta. Fughetta theme "Whence hath this man wisdom and these miighty v^orks?" Voice entries--B, T. A. S. Fughetta 15 measures long. Chorus #25, "Hosanna." Tonal fugue Trio 18 2nd soprano and alto. Episode 11-16 entrance of 2nd theme "Blessed is the king of Israel that cometh in the name of the Lord.” Chorus #42, "Him hath the Lord exalted." Tonal fugue Fugal theme "How is come the salvation and strength and the kingdom of your God and the power of his Christ." Voice entries — A. S. B. T. Spretto all voices masure 27. Organ point mieasures 48-54 on tonic. Verdi, Guiseppe "Req.uiem" 9 choruses ir- i 1 I I i ii- 'i ■ ■ T'lr - f ■ ■) : 1 !’ !, 'I ' J r' '■Ziff ■'fl'i l| f / I , :f ' ■; t I / ■!• I ■I \ i M I • i-i > it i - 21 - Chorus 7 t 4, "Sanctus " Real fugue^ Rugal theme "Holy, holy holy, Lord God of Sahaoth” Voice entries--Soprano — 1st Choir Soprano — 2nd Choir Contralto — 1st Choir Tenor --1st Choir Contralto --2nd Choir Tenor --2nd Choir Bass --1st Choir Bass --2nd Choir Measures 35-27 -polyphonic episode. Measure 38 nev/ theme enters — "Blessed he he that comes in the name of the Lord." Chorus 7f7, "Lord deliver my Soul" Tonal fugue Lugue subject "Lord deli\’’er my soul from the doom, of the external death in the great day of judgment." Voice entries — A, S, B. T. Fugue 176 measures long See appendix, examples #3 and #4. ' y *■ ■ a ~ Ailvr •‘'■■'‘^iU. '.'i<-, .. Ml :.''C : .•■■ '■ .-' MWBH '"*^ ^ ^ ' V* . .- ■H ‘ y^^^rmSOp. I.* JT '^_I '. JC ^ - ■ ..d^ * W ^ ‘<3^9* |v\ ■ .-. :> '■' ■*:,•• - a « h ;;i' ’*?■■ W-M ''t>\ ?;j ■A • >-'^i Ek* A V-, >-\ ■- ■ ■ '’ u,Tt '‘JlW ^ . 1 ;/.' -i. 1 ^' ;;'| <■' " '. ' / 8 t-lo ['.» iijiir .» ,:' •■> uf»-3 .*i'.’‘ ,«il .»J. '' > »r-,.-;' ■ . .pi „'«. ■ ■ ■ v^,;,^v/^!*^ ■ -oV-v^' V. Vp M ' A: * A r’ /■*- ' . rS^ ' V " ’ ■ ^ Til: i,^ ' ■•^^•.( ' ■: lir&y ' ’■ •'S^i .' > 1 /' '•'.** ’ ' j’^ ''*"'ii^y' -riiv * ■ J ■ *.:f' ' ^ 'ix . K-v’ ■ : tr^ vt-v-' i Skl r * [v- .1 ✓ \y .,sif> . . ) ^ ■ - ml ' I '' 1 *r.\ . ^ < .1 V . ;y ^ _ l:,j.t ■ > v^t ,i •' ■ f. * ■ » t i - ‘ ■' '\t ’ i, '. 't !-' -tAT '.‘^.•Ih '''f.'-' I ’: *v ;4 !' • - *r T • '<-.% ... y%' r- '•■■' { ! .; •:■■• ./.red' , ■ - .,'V^. ..■r . . ••. - iK-'- j^m^ . -v: - ' sj £■' ■ i . • %' I ’^'1 >'■« •Ti * L ' > . • V_ M* r: ■ ■ » «i V»:» ' ]j M *j |||ll| ^y » »^ I ' U yfy ’ i i tii'. * - 'ii« *‘ -= W ty vaiia.:t.aavi .ta ^^v ■■'*^‘ r ., . > -'Mra - 22 - Part III Conclus ion To the casual reader the word, fugue, means little or nothing; it is hoped that the introduction has given some idea of its main characteristics. The strict fugue, — ie — that of strict imitation at the fifth above or a fourth below the subject as announced, is very fast disappearing, from choral works at least, and a canonic imitation which in the early stages of musical composition was called fuga is taking its place. In Haydn's oratorios "The Seasons" and "The Creation", which mark the beginnings of modern oratorio as we now know it, there is very little of the fugal element. Mendelssohn who was a great student of Bach who in turn perfected the fugal form in its strictest sense uses some fugal treatment but does not develop his themes to any considerable length. In all the oratorios examined there was never more than one fugue of any length. This fugue was most often toward the close of the composition and had for its principal theme phrases which were more emphatic after the fugal repetition. The extremely modern composers, as for example Saint- Saens, do not use the strict fugue at all but employ rather, the canonic repetition. Modern composers are tending toward a greater realism in their music just as literary creators are giving more attention to content and less to form. Th\is, there is every indication that the fugue as a strict form of musical composition will MT 'iiit: IT- ■>&'! f'i .1. 1 1 ' ■*f!a'5^'i»r> "'-tysM- " 'rt^w^ ■ ■■■ '■; * ~?fe‘ jP'' • ,J *«I .i! V < t 1 t ■', ) rr _ /fiplx.^v* ’»', T'O <^T?.'Xr oT*^ . . . '■ ",?: r- ■: - "v-r >-•.■ ‘-•v.a-:’ -mM 5o ^9lit \iiiOA'. ri^y.i’?j^-&BC:‘ /K«i J-Ol^t^/^ff! g‘‘^ noifiT^u i.u.: ‘i.^ ",X^; -v' . . ' - . .. - ; " . ^-’v. 'S'l . ..''im^ f/ ,x>e'ort'jo v'is ;i^‘ , tfl&W «" to. ©v(Jcf« xfi’^^. M {■' I*' ■' r. • . •■•. •'■ • ‘ " /' jjH: -1 ! r, T . ■• ■ '■■ V/-^ ‘ , ^, . '■' 'v. • \ • m ..'..if utt/f -t?^ |iw.S-.- .;t;^ •' ;ijir^3’pi^' JjU-5«'J'/i\?Sr:»^a;x^ Xs'^ii ,6'p^-.^*' i>a^o >* ‘ . ,' '• ’ •. .' ^ . '- >' ‘ ■ '. ..' ' ,.. , ' f -f ' * ’ ' ^ '■ • *■••'. ***y* drS:'- a'oilia^' tf../- '•■'<■■ '.* 3 w ' .■■ ■ ■ ' '■'■'*■ * ', ' , j '■ , •'5<'.'- ■■', - Tv‘'* , / 'V^^- . H ■' >.»',Ti;. ■' ’ ’^'t ' i’rj *. ^ r SK .'iri43 i nnli.iU'i r iiwf'- Vi«pq{«oo P.1A'7«.- »p'Qi^ JOf _ dito, 1 ^ I . .'to, l ? !r-vj 0 Cjp,i^i viw^ ,T«,fTb' aT^ip bxPW^sxi'stft'/; «j./^ ■■ V ;. * ^,' 4. j. t j T~' 'V'’’’ 1^-^ ID^' ‘SiJ ^ , •iT^isaasiob '♦■'.< , ■'!|? • •>■ • B ' " . ..*• J' • '■ '■ ■■ ■ ■ *i« • . ■ • . ___ ■-■■ , ^ ja -'Im j ».- ’j.n.i,i.*i .T*,»*ot.j a «.|£,.n,- 'j4tK,^'.-t !>Ti9 ssi.4-w<|i»ca fnojjuP .1 ■■ 'W. 5s."v;.. ' -'S<‘'“ ■'r^/'i?' W; - ■ I: I . !•: , . ' ‘ -.>.■ - -j • t ' ‘i. ,x-j^f ''T‘ "' ’► J- Q , ''' L.,*: :' *V- ,’ ,•' . ; V. •'■,•' ', ' • *,; 'V: , H ifc/f U’t T T T "l .a!/ 4.L » I ■! > r . " ! ■ ji yn gradually disappear. w '‘«'V ' ' i ^ •/* r-rl V iui I •? I ;:■ ' ■ . 5f(Kr*‘ ‘ 4 ■ y '' " " " ' • f'- '•m ." •v ••■■^ m, ;jjwf->vi.‘ri'-.' • ■ '-t*! ' • •^■'i*:'yi»^}tfr^-J^'"* ■■ ■ r'^rj.pr ■: - ■ • '. I ■ > '1^ - "K' ••' ■ *iS? ‘rj^- ■ ■ ^M''S " '■ & " ' * '• ■ ■ ' ' ISfWi* ‘^* ■''^''i’V''*'*// ' ' » srf V/i- ’’ 'i •. > *’>r tfltri--- 1> 'V 4 %-‘-vrAA >/r'-S' . > MfcW;» ';*t,: »y '-T .3;. I : V.. «%;* r ^ ;jw .i. <;| .. *. ,■ • .* > w« 37 iW ' ■ •■ ■• ' fa -34- Part IV Examples of fugues 1. Mendelssohn "St. Paul" Real fugue — Chorus #23, "The Nations are now the Lord's" ^ #■„ # s i »' 0 i==t 1 / s +i^aa- 4irf ^ .14. C'^- j- — - !L»Arr’eA«y*. si>- t. — r Sirtiv |— ic! .-X > - Iv-:* >'?'/ ' ■'•■'’ '■;' k S' ' • t OVt- '•|^J#| .u K^' p I ‘ *?3i' 1^ ‘ti^ -. rrar, ■ rJ''' ' , ■ ■' 1 V\ ... 'S.. ri' '1 ' . > , V : ' -r^f' ai "WJ/ . • V w f' ' “ w •- C r s'*- I ■ ■ '/^ xX‘a ^ 4 ■ "P; ■■ V. ' iSt'" .' y/inJk,;'..: ... v^ '> ■ • . ■ - k v'Jif'ytov.; v'/- j|4iv., 'ikiilje/ i:.U siiftlW' niiSPA'^ U-iii* ^ ■ Ve Y-A-'.^. 4*-*- rrr- •!*»' -- Vrt- ,. -'^I^ ■ ■ y ^,‘K k.Tpa *.'..» C . %*J^V •• >v ■■^- fr •>~r* wicak..' -*i.'^-».f-v -4V' .|‘'1A,- i '!• < v'WLh ’I • i.« «■•<«>*#• WUkV. V-. ^ ■ - A I >4» t *!k- r . ■ "’^*"r^ ' If>l f > '■■-■V •' ■ ■'i'- ■S-Xj jDL;# .. -W - ' ■ • '-^ ' ‘ -ihtsri '. i«i“i a*>*«.6i'8!Mi«4* .»»' ••?“-4^5I T si% ^ .-••.i7'-"\4i , ....«^ ,.#.V > -/r'-w .. V.W,' .. .4vV«.i,~ , '■ f.U^- '■’^ “'j/ V,. .. . 47:fc’4 ; ' '...StiJR : W ; ■• tv^. , 2 • S'lT’ f •: ;.,f ;■. .^,,y.. ™ -M 'IS ■- mkii ■i ' 4 *y- ” , * 10111^...^ 1.' * V