DICTIONARY OF MUSIC - El Atril

FUGUE FUGUE 119
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Sub. inverted.
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(d) Beethoven, Pf. Sonata, op. 106.
Subject.
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Fart of subject in
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(b) The subject with its various countersubjects
can be presented inverted, in double
counterpoint at various intervals (usually the
octave, tenth or twelfth).
Mozart, * Kyrie/ jRequiem.
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Parts inverted at the 12th.
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(c) The device of stretto may be made use of.
Stretto is defined by Cherubini as ' a device
which consists in bringing the entrance of tlie
res})onse nearer to that of the subject ; to whicli
'
it may be added that a stretto often consists
in introducing a second entry of the subject
instead of the answer at tliese close quarters.
This ' ' liurried introduction of the answer can
often be introduced at more than one point
of the subject, as the following examples will
explain. When the entrance of the answer
follows close on that of the subject, it is .said to
he a dose stretto. A stretto in which all the
voices take ])art, and in which each voice takes
up sulijpct or answer in turn in their entirety
and without any modification, is called a masterly
stretto or ' strclto macsirale.'
Bach, '
Wohlt. Clav.,' No. 33.
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Strclto maestrale.
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The device of stretto ma}^ also be combined
with the various other devices of augmentation,
etc., just described. A good example of stretto
combined with augmentation will be found in
the fugue 'Cum Sancto ' from Beethoven's
' Missa Solennis.
The emotional effect of sti-etto is obvious, and
the closer the stretto the greater the excitement
produced. Therefore, wdrere more than one
stretto is employed in a fugue, the simpler is
usually placed first, and the closest and mcst
elaborate is kept till later, so that the fugue
may grow in interest.
{d) Sometimes one or two subsidiary subjects
are introduced in the course of the fugue. These
may be introduced in one of two ways: (i.)
by a regular fugal ex]tosition in the middle of
the fugue, as in Bach's organ fugue in C minor
(Peters' edition, vol. iv.). (ii.) Tliey can be
imposed on the normal flow of the counterpoint
as in the fourth fugue (Cj minor) of the