Fugue - EBENEZER PROUT - PREFACE - there's most likely no department of musical conlposition during which thought is extra extensively, one may perhaps nearly say hopelessly, at variance with perform than in that which kinds the topic of the current quantity. In concord, we're often neeting with instances during which the foundations of the previous text-books desire inuch amendment yet in regards to Fugue there are few certainly of the outdated precepts are usually not continuously, to not say systenatically violated via the best masters. the cause of this is often without doubt that the traditional gurus at the topic, Fux and Marpurg, handled it from the perspective of the 17th century, and that the majority in their successors, corresponding to Cilerubini and Albrechtsberger to call of the main illustrious, have mainly followed their principles, tnking very little account of the reformation, amounting nearly to a reconstruction, of the fugue on the lzands of J. S. Bach. a little extra liberality of tone should be present in the treatises of Anclr6, Richter, and Lobe yet nut this type of, excepting Lobe, has taken Bachs paintings because the start line for his investigations. Lobe, however, is simply too progressive he ever abolishes the names topic and resolution, utilizing as an alternative the phrases first imitation, moment imitation, c. after we discover a distinct theorist like announcing that Bach isn't an outstanding inodel simply because he permits himself too many exceptions, and are educated that one of many imperative Gerinarl lecturers of counterpoint is within the behavior of telling his scholars that there's now not a unmarried adequately written fugue between Bachs 40- 8, absolutely it truly is excessive time that an earnest protest have been entered opposed to a approach of educating nrliich areas in a type of Expurgatorius the worlts of the best fugue author that the realm has ever obvious. In writing the current treatise, the writer has consulted all of the regular professionals, yet as will be inferred from what has simply been stated has none. He has proceeded at the salsle rules that have guided him in all of the previous volumes of this sequence, and has long past to the works of the nice composers themselves...........