The Tonally Developing Ricercar Fugue
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Abstract
The history of the fugue testifies to its inexhaustible artistic potential. For nearly 400 years the fugue has held an
irrefutably stable position in the framework of musical forms, provided by its constant evolution. The hundred-year
span from the mid-17th to the mid-18th century is comprised of two stages. The first of them (up to the early 18th century)
is examined as the formation of the fugue proper (with the set of its basic attributes) in the form of the repercussive
structure of the tonally stable form. The second (spanning the first half of the 18th century) – as the appearance of the
tonally developing fugue, where this particular genre preconditioned the subsequent stages of its development in the
direction of synthesis of homophonic principles with polyphonic ones.
The occurring changes drew up the foundation of the remarkable events in the history of the fugue, the ideas of
transformation of which have fully confirmed the strength of the connections between the traditions of the early 18th
century (the music of J.S. Bach and G.F. Handel) with the innovative explorations of Mozart. These connections have
fructified that path and meaning of the evolution of the fugue, which Russian musicologist Boris Asafiev termed as
“Mozartian counterpoint.” This in particular is what became the basis for the development of European (and world)
professional music up to the present day.
Keywords: evolution of the fugue, ricercar, ricercar qualities, tonal system, tonal plan of the fugue, tonally
developing fugue, ricercar fugue, dispersed fugue, orchestral fugue, fugato.
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