Editing Fugue (section)

===Classical era===
During the [[Classical period (music)|Classical era]], the fugue was no longer a central or even fully natural mode of musical composition.<ref name="Graves-1962-p64">{{harvnb|Graves|1962|p=64}}</ref> Nevertheless, both [[Joseph Haydn|Haydn]] and [[Wolfgang Amadeus Mozart|Mozart]] had periods of their careers in which they in some sense "rediscovered" fugal writing and used it frequently in their work.

==== Haydn ====
Joseph Haydn was the leader of fugal composition and technique in the Classical era.<ref name="Ratner-1980-p263"/> Haydn's most famous fugues can be found in his [[String Quartets, Op. 20 (Haydn)|"Sun" Quartets]] (op. 20, 1772), of which three have fugal finales. This was a practice that Haydn repeated only once later in his quartet-writing career, with the finale of his [[String Quartets, Op. 50 (Haydn)|String Quartet, Op. 50 No. 4]] (1787). Some of the earliest examples of Haydn's use of counterpoint, however, are in three symphonies ([[Symphony No. 3 (Haydn)|No. 3]], [[Symphony No. 13 (Haydn)|No. 13]], and [[Symphony No. 40 (Joseph Haydn)|No. 40]]) that date from 1762 to 1763. The earliest fugues, in both the symphonies and in the [[Baryton trios (Haydn)|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 [[oratorio]]s of Handel during his visits to London (1791–1793, 1794–1795). Haydn then studied Handel's techniques and incorporated Handelian fugal writing into the choruses of his mature oratorios ''[[The Creation (Haydn)|The Creation]]'' and ''[[The Seasons (Haydn)|The Seasons]],'' as well as several of his later symphonies, including [[Symphony No. 88 (Haydn)|No. 88]], [[Symphony No. 95 (Haydn)|No. 95]], and [[Symphony No. 101 (Haydn)|No. 101]]; and the late string quartets, Opus 71 no. 3 and (especially) Opus 76 no. 6.

==== Mozart ====
[[File:Jupiter finale.png|thumb|400px|Fugal passage from the finale of Mozart's Symphony No. 41 (''Jupiter'')[[File:Mozart Symphony 41, finale, fugal passage.wav]]]]
The young Wolfgang Amadeus Mozart studied counterpoint with [[Padre Martini]] in Bologna. Under the employment of [[Hieronymus von Colloredo|Archbishop Colloredo]], and the musical influence of his predecessors and colleagues such as [[Johann Ernst Eberlin]], [[Anton Cajetan Adlgasser]], [[Michael Haydn]], and his own father, [[Leopold Mozart]] at the Salzburg Cathedral, the young Mozart composed ambitious fugues and contrapuntal passages in Catholic choral works such as [[Mass in C minor, K. 139 "Waisenhaus"]] (1768), [[Mass in C major, K. 66 "Dominicus"]] (1769), [[Mass in C major, K. 167 "in honorem Sanctissimae Trinitatis"]] (1773), [[Mass in C major, K. 262 "Missa longa"]] (1775), [[Mass in C major, K. 337 "Solemnis"]] (1780), various litanies, and vespers. Leopold admonished his son openly in 1777 that he not forget to make public demonstration of his abilities in "fugue, canon, and contrapunctus".<ref>{{cite book |chapter-url=http://mrc.hanyang.ac.kr/wp-content/jspm/20/jspm_2006_20_10.pdf|chapter=On ancient languages: the historical idiom in the music of Wolfgang Amadé Mozart|page=236|year=2008|author=[[Ulrich Konrad]]|translator=Thomas Irvine (this chapter)|title=The Century of Bach & Mozart|editor1=[[Thomas Forrest Kelly]]|editor2=Sean Gallagher|isbn=9780964031739|location=Cambridge, Massachusetts|publisher=Harvard University Department of Music}}</ref> Later in life, the major impetus to fugal writing for Mozart was the influence of Baron [[Gottfried van Swieten]] in Vienna around 1782. Van Swieten, during diplomatic service in Berlin, had taken the opportunity to collect as many manuscripts by Bach and Handel as he could, and he invited Mozart to study his collection and encouraged him to transcribe various works for other combinations of instruments. Mozart was evidently fascinated by these works and wrote a set of five transcriptions for string quartet, K. 405 (1782), of fugues from Bach's ''[[Well-Tempered Clavier]]'', introducing them with preludes of his own. 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. He begs her not to let anybody see the fugue and manifests the hope to write five more and then present them to Baron van Swieten. Regarding the piece, he said "I have taken particular care to write ''andante maestoso'' upon it, so that it should not be played fast – for if a fugue is not played slowly the ear cannot clearly distinguish the new subject as it is introduced and the effect is missed".<ref>{{Cite book |title=Letters of Mozart|publisher=Dorset Press|year=1986|location=New York|page=195}}{{full citation needed|date=January 2022}}</ref> Mozart then set to writing fugues on his own, mimicking the Baroque style. These included a fugue in C minor, K. 426, for two pianos (1783). Later, Mozart incorporated fugal writing into his opera ''[[Die Zauberflöte]]'' and the finale of his [[Symphony No. 41 (Mozart)|Symphony No. 41]].


The parts of the [[Requiem (Mozart)|Requiem]] he completed also contain several fugues (most notably the Kyrie, and the three fugues in the Domine Jesu;<ref>{{harvnb|Ratner|1980|p=266}}</ref> he also left behind a sketch for an [[Amen]] fugue which, some believe{{Who|date=January 2018}}, would have come at the end of the Sequentia).

==== Beethoven ====
[[File:Beethoven Op 131.png|thumb|400px|Beethoven, Quartet in C{{music|sharp}} minor, Op. 131, opening fugal exposition. [https://www.youtube.com/watch?v=WlFYC1U5viw Listen]]]
[[Ludwig van Beethoven]] was familiar with fugal writing from childhood, as an important part of his training was playing from ''[[The Well-Tempered Clavier]]''. During his early career in [[Vienna]], Beethoven attracted notice for his performance of these fugues. There are fugal sections in Beethoven's early piano sonatas, and fugal writing is to be found in the second and fourth movements of the ''[[Symphony No. 3 (Beethoven)|Eroica Symphony]]'' (1805). Beethoven incorporated fugues in his sonatas, and reshaped the episode's purpose and compositional technique for later generations of composers.<ref>{{harvnb|Graves|1962|p=65}}</ref>

Nevertheless, fugues did not take on a truly central role in Beethoven's work until his late period. The finale of Beethoven's [[Piano Sonata No. 29 (Beethoven)|''Hammerklavier'' Sonata]] contains a fugue, which was practically unperformed until the late 19th century, due to its tremendous technical difficulty and length. The last movement of his [[Cello Sonatas Nos. 4 and 5 (Beethoven)#Sonata No. 5.2C Op. 102.2C No. 2|Cello Sonata, Op. 102 No. 2]] is a fugue, and there are fugal passages in the last movements of his Piano Sonatas in [[Piano Sonata No. 28 (Beethoven)|A major, Op. 101]] and [[Piano Sonata No. 31 (Beethoven)|A{{music|flat}} major Op. 110]]. According to [[Charles Rosen]], "With the finale of 110, Beethoven re-conceived the significance of the most traditional elements of fugue writing."<ref>[[Charles Rosen|Rosen, Charles]] (1971) ''[[The Classical Style]]'', p. 501. London, Faber.</ref>

Fugal passages are also found in the ''[[Missa Solemnis (Beethoven)|Missa Solemnis]]'' and all movements of the [[Symphony No. 9 (Beethoven)|Ninth Symphony]], except the third. A massive, dissonant fugue forms the finale of his [[String Quartet No. 13 (Beethoven)|String Quartet, Op. 130]] (1825); the latter was later published separately as Op. 133, the ''[[Große Fuge]]'' ("Great Fugue"). However, it is the fugue that opens Beethoven's [[String Quartet No. 14 (Beethoven)|String Quartet in C{{music|sharp}} minor, Op. 131]] that several commentators regard as one of the composer's greatest achievements. [[Joseph Kerman]] (1966, p.&nbsp;330) calls it "this most moving of all fugues".<ref>[[Joseph Kerman|Kerman, Joseph]] (1966), ''The Beethoven Quartets''. Oxford University Press</ref> [[J. W. N. Sullivan]] (1927, p.&nbsp;235) hears it as "the most superhuman piece of music that Beethoven has ever written."<ref>[[J. W. N. Sullivan|Sullivan, J. W. N.]] (1927) ''Beethoven''. London, Jonathan Cape</ref> [[Philip Radcliffe]] (1965, p.&nbsp;149) says "[a] bare description of its formal outline can give but little idea of the extraordinary profundity of this fugue ."<ref>Radcliffe, P. (1965) ''Beethoven's String Quartets''. London, Hutchinson.</ref>