Friedrich Wilhelm Marpurg
Marpurg (1718–1795), a Berlin theorist and critic, published the Abhandlung von der Fuge (Treatise on the Fugue, 1753–1754, in two parts). It is the first great treatise devoted entirely to the tonal fugue and takes the practice of Bach as its model; he also wrote the preface to the second edition of The Art of Fugue (1752). Contributions:
- He systematizes the terminology: proposta and risposta (dux and comes), countersubject, episode, stretto.
- He clearly distinguishes real fugue and tonal fugue, with rules for the answer.
- He classifies fugues by number of subjects, by devices (contrary motion, augmentation) and by style.
- He treats double counterpoint at all intervals.
The treatise is one of the oldest sources for the interpretation and study of The Art of Fugue.
Padre Giovanni Battista Martini
The Bolognese Franciscan Martini (1706–1784), teacher of Mozart, published the Esemplare o sia Saggio fondamentale pratico di contrappunto (1774–1775): an annotated collection of examples of old polyphony, with analyses of fugues and canons. The Italian school distinguishes between real fugue and fugue of the key (tonal) and keeps the tradition of vocal counterpoint alive.
Johann Georg Albrechtsberger
Albrechtsberger (1736–1809), court organist and maestro di cappella at St. Stephen's in Vienna (the same post as Fux), published the Gründliche Anweisung zur Composition (1790). He is the bridge between Fux and the nineteenth century:
- He takes up Fux's species and extends them, including writing in more voices.
- He treats in detail imitation, canon, simple and double fugue, double counterpoint.
- He adapts the rules to the major and minor keys, no longer only to the modes.
His most famous pupil is Beethoven, who studied counterpoint and fugue with him in 1794–1795 after his lessons with Haydn; other pupils include Hummel and Reicha.
Cherubini and the Paris school
- Anton Reicha (1770–1836), a pupil of Albrechtsberger, was from 1818 professor of counterpoint and fugue at the Paris Conservatoire; his treatises remained a reference throughout the nineteenth century.
- Luigi Cherubini (1760–1842), director of the Paris Conservatoire from 1822, published the Cours de contrepoint et de fugue (1835, with Halévy). He fixes the rules of the fugue d'école: tonal answer, countersubject, counter-exposition, episodes, strettos, pedal.
- André Gedalge (Traité de la fugue) and Théodore Dubois (Traité de contrepoint et de fugue), in the early twentieth century, definitively systematize the model; among Gedalge's pupils was Ravel. For Gedalge the episode is built essentially on imitations of fragments of the subject.
The twentieth century
- Knud Jeppesen (Kontrapunkt, 1930; English edition Counterpoint, 1939) returns to the style of Palestrina with a historical method.
- Alfred Mann translates Fux (The Study of Counterpoint, 1943) and collects in The Study of Fugue (1958) the treatises of Fux, Marpurg, Albrechtsberger and Martini with a historical essay.
- Salzer and Schachter, Kennan, Gauldin bring the species into American university courses.
- Composers such as Shostakovich (24 Preludes and Fugues op. 87) and Hindemith (Ludus tonalis) write fugues in new languages.
Summary table
| Author | Work | Date |
|---|---|---|
| Marpurg | Abhandlung von der Fuge | 1753–1754 |
| Martini | Esemplare o sia Saggio fondamentale pratico di contrappunto | 1774–1775 |
| Albrechtsberger | Gründliche Anweisung zur Composition | 1790 |
| Cherubini | Cours de contrepoint et de fugue | 1835 |
| Mann | The Study of Fugue | 1958 |
Typical mistakes in historical reading
- Thinking that the fugue d'école is the form of Bach's fugues.
- Ignoring the Italian school: Martini and the Neapolitan conservatories are a line parallel to the German one.
- Confusing counterpoint treatises with harmony treatises: Albrechtsberger and Cherubini teach mainly counterpoint.
Modern application
- Choosing study texts: Fux for the species, Gedalge for the school fugue, Mann for history and the original texts, Bach as a repertoire for analysis.
- Composition: knowing the different schools helps you choose the stylistic register of a fugato (German Baroque, French academic, Italian old style).
- Choral teaching: Albrechtsberger's fugues and the solfeggi of the Neapolitan school are practical material still in use.
Related topics
History of fugue theory 1, school fugue, Fux's Gradus ad Parnassum, The Art of Fugue, partimento and the Neapolitan school.