The most influential text was Johann Joseph Fux's Gradus Ad Parnassum ("Steps to Parnassus"), which appeared in 1725.
Bach and through the theorist Friedrich Wilhelm Marpurg (1718–1795) whose Abhandlung von der Fuge ("Treatise on the fugue", 1753) was largely based on J.S.
40) that date from 1762 to 1763.
40) that date from 1762 to 1763.
20, 1772), of which three have fugal finales.
Leopold admonished his son openly in 1777 that he not forget to make public demonstration of his abilities in "fugue, canon, and contrapunctus" (Konrad). Later in life, the major impetus to fugal writing for Mozart was the influence of Baron Gottfried van Swieten in Vienna around 1782.
Leopold admonished his son openly in 1777 that he not forget to make public demonstration of his abilities in "fugue, canon, and contrapunctus" (Konrad). Later in life, the major impetus to fugal writing for Mozart was the influence of Baron Gottfried van Swieten in Vienna around 1782.
In a letter to his sister Nannerl Mozart, dated in Vienna on 20 April 1782, Mozart recognizes that he had not written anything in this form, but moved by his wife's interest he composed one piece, which is sent with the letter.
The earliest fugues, in both the symphonies and in the Baryton trios, exhibit the influence of Joseph Fux's treatise on counterpoint, Gradus ad Parnassum (1725), which Haydn studied carefully. Haydn's second fugal period occurred after he heard, and was greatly inspired by, the oratorios of Handel during his visits to London (1791–1793, 1794–1795).
24, is a work for solo piano written in 1861.
Another fugue occurs at a similar point in the 1992 sequel film, Home Alone 2: Lost in New York. The jazz composer and film composer, Michel Legrand, includes a fugue as the climax of his score (a classical theme with variations, and fugue) for Joseph Losey's 1972 film The Go-Between, based on the 1953 novel by British novelist, L.P.
Another fugue occurs at a similar point in the 1992 sequel film, Home Alone 2: Lost in New York. The jazz composer and film composer, Michel Legrand, includes a fugue as the climax of his score (a classical theme with variations, and fugue) for Joseph Losey's 1972 film The Go-Between, based on the 1953 novel by British novelist, L.P.
Another fugue occurs at a similar point in the 1992 sequel film, Home Alone 2: Lost in New York. The jazz composer and film composer, Michel Legrand, includes a fugue as the climax of his score (a classical theme with variations, and fugue) for Joseph Losey's 1972 film The Go-Between, based on the 1953 novel by British novelist, L.P.
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